checkin mix in mono

hi,i want to check my mix in mono,as it has to be suitabe to play in clubs.
can i do this by inserting cubases stereo enhancer on my stereo out,clicking the mono button,and turning width down to zero? is this correct?
thanks in advance.

I use the included Mix6to2 plug in as in insert in the master bus with all faders at -6dB. I have it turned off for normal (i.e., stereo) use, but when I want to hear in mono, I just turn it on. Easy as pie!

Why is a mono mix necessary for clubs?

some clubs arent wired for stereo,just want to check that some bits arent missing when in mono mode.

huh. Hard to believe these days. I go back to the Stone Age, where we had to check mono compatibility because there weren’t stereo tvs, but since then, I never have. Surely clubs with huge systems are at LEAST in stereo??

Lots of mono all around, though, isn’t there? One speaker in the bar/pub/club being way over on the other side of the room; 2 kids sharing their iPod earphones to listen to a song together; automobile FM radios defaulting/converting to mono when the signal weakens; people listening on their laptop mono speakers … etc.

in a club it`s back to basics . when you listen to your mix in mono you can tell much easier when something is the wrong balance, try it.

I’m not being critical, I just find it interesting.

Try using the ‘mono’ button in control room?

If using the control room mono button, check this thread as there may be a small bug?

No “bug”…just not configured properly out of the box (here at least)…perfectly fine with the collapse since that thread. So much so that I no longer use the analog mono switch (though I do volume attenuation). The Dim and Mono function is fine in the control room once configured.

Ok… not a bug but a “stupid” setting thats hidden from view and caught everyone out, for years in some cases :laughing:

That’s not mono, that’s half stereo. But yeah, there’s still a lot of mono around, and I know of some live venues and bars where they purposely switch their stereo outputs to both output the summed signal, so everyone present will hear all parts of the music. (Try listening to sixties ‘early stereo’ mixes: drums in the left, singers in the right etc.)

If you make sure enough key elements of your mix have good correlation (no stereo-field phasing issues), you’re halfway there to good mono compatibility.

Typically, bass, vox and snare are good center-focus candidates. Lower freqs are the main culprits as they have so much energy, and wave cancellation tendencies.

You can fix the issues and design them in proactively using a good mid-side-oriented plugin like this one:

Also, being able to hear the mid and side parts solo’d “in place” is super informative. There are sweet-spots of where, in the spectrum of an individual track, to mono-ize that will be revealed and will make your mix more solid sounding (and more mono compatible) by using this practice. It’s one of those “secrets” mastering engineers employ. It also helps you use less limiting when mastering as there as less stray phase-based peaks that would unnecessarily trigger your limiter’s readout and thus your setting level of it. Especially when you’re using inter-sample-detection on the limiter.