Yes exactly why I back in the day removed any of my mono plugins, and used their stereo counterparts.
Still on stereo tracks, but with a mono source.
Nowadays I don’t have any plugins that are mono, I haven’t encountered one in the last 10 years or more.
Today’s computer power makes it not worth the time and effort to create specific mono versions, is my guess.
So no I don’t think there is anything that needs to be addressed, in that regard.
No… I use mostly stereo for sure as there are not many mono I would want. But I have used, for example “MonoDelay”, which I figured was a mono VST without issue (as far as I can tell).
Regards. 
svennilenni, Thanks for your patience trying to explain your position to me. From what I’ve gathered from Prock’s message and others, you can put mono clips in a stereo track. Is that true? If so, THAT was the ACTUAL answer and solution to the question of Mono2Stereo support. Is this the case? And can you record a mono clip to a stereo track?
What confused me is this thread was a request for Mono2Stereo plugin support which means it doesn’t have it. But you said, “Yes”, it does support them and then just said “learn it” as an answer. If, as you said, it does support them then why is this thread asking for M2S support? I hope you can see where your answer was so confusing. Mono2Stereo plugins are like the Fender RV6 reverb pedal for guitar (or like the Boss RE-20 Space Echo pedal I own). Plug a mono guitar into the input and you get a stereo output.
In Pro Tools and Sonar it’s the analog equivalent of putting an 1176 on the mono output of let’s say a vocal track coming off 2” tape into a console. Then plugging in a “Y” cable on the output of the 1176 to go into the left/right stereo inputs of an H3000 which then outputs back to the console maybe via a stereo FX return or back in on two channels hard panned. I used this example and gear selection because the big studio I also work with has such gear. Our console is a Sound Workshop Series 34 which doesn’t have stereo channels and must use two channels hard panned to return the stereo output of the Eventide back into the mix. That’s not like the workflow described in this thread in Cubase which is why I was asking questions. That’s how we learn, by asking. My eLicenser came in this morning (still have to go pick it up) so before I activate, I want to know if I’m letting myself in for disappointment. I didn’t realize Cubase needed workarounds for tasks that are more direct in Pro Tools. Don’t get me wrong, I’ve done nothing but criticize Avid for their mishandling of the PT product so I’m no fanboy of theirs. I’ve read the PT manual cover to cover and several times including after major updates and got my Pro Tools certification. That was before I started to do this for a living. Now, time is precious so I ask for a quick and dirty answer, not RTFM. I’ve skimmed through it but don’t have the time yet for a good month long study. As I’ve used Cakewalk since version 3 for Windows 3 and Pro Tools since version 6.x and the MIDI sequencer called Texture for DOS since 1987, I thought there would be enough similarities to dive right in. Seems not to be the case as far as signal routing. The Pro Tools paradigm can be used just like we use our real gear up at the commercial studio, complete with busses that mimic patch cables, aux tracks that mimic the 8 mono channels to the right of the center section of our real console. I always hated the way Cakewalk Pro Audio 9 and all Sonar versions implemented busses. They aren’t like regular tracks and don’t even share the same screen space. Seems like Cubase has some idiosyncrasies as well (as does EVERY DAW). Again though, thanks SO MUCH for your time and attempt to explain.
Sorry but I agree with the original poster, why not have Mono2Stereo plugins? What’s wrong with having more than one way to solve a problem and making Cubase appeal to an even larger audience? That’s also been my complaint about Sonar but just about the very last version ever released while still called Sonar, finally added “wiring” and Aux tracks which is identical to busses and Aux tracks in Pro Tools. I appreciate product flexibility for various workflows to suit the user, not the programmers. Why be against more? I’d be against a product that was less.
Here’s my penny’s worth in response to the general consensus and this in particular: “ There is Nothing to fix. A Mono track is mono and therefore anything that happens inside a mono track before the Output is also.”
- That’s not how an analogue desk with a stereo outboard delay would work, either as an Aux Send or an Insert!
Unless I am misunderstanding you: Sure it is.
EDIT: When I wrote this, I did not know that recording a mono source on a stereo track produces a mono file. So my premise below is incorrect.
Overall this thread clarified some details for me. I think the OP has a point, though it’s not entirely clear what the “fix” would be. This confusion about the PingPongDelay plugin not working properly on a mono vocal track is real. And while there at at least three solutions, none of them are ideal.
The three solutions are:
• Record the vocal on a stereo track (using a mono source input). This is the easiest of the three solutions, but the result is that the vocal will be recorded as a stereo file, taking up twice as much disk space and requiring twice as much processing power for processing (including effect plugins etc.).
• Record the vocal on a mono track, and create a parallel stereo effects channel that contains the stereo effect. Send the mono channel output to the stereo channel. In this case, you may want to set the effect’s Mix to 100% wet, and use the two channel faders to blend the original dry vocal with the effect. This works fine but complicates routing. If additional inserts are needed, make sure you match mono plug-ins to the mono channel, and stereo to the stereo channel. For example, you might apply EQ, compression and de-essing to the vocal on the mono channel using mono plugins, before it is send to the stereo channel for the stereo effect.
• Record the vocal on a mono track. Later when mixing, create a parallel stereo audio channel and Ctrl+drag the mono audio event to the stereo channel. You now have a mono recording on a stereo channel. This is ideal unless you are still tracking. In that case, subsequent recordings on the stereo channel will be captured in stereo. This complicates tracking, because any additional takes or punch-ins will need to be dragged from the mono channel to the stereo channel.
A good response from Steinberg might be to allow reconfiguring an existing channel from mono to stereo with a setting in the inspector. This would be comparable to copying a mono event to a stereo channel. You could switch it back to mono if you wanted to continue recording in mono, then switch it stereo when you want stereo plugins to work.
I don’t know how many times this needs to be stated …
Recording a mono input bus to a stereo track does not create a stereo file.
Have you actually tried it?
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Thank you, you are correct. I just tried it. As they say, “this changes everything”!
(For me it only needed to be stated once. Thanks for being the one who did.)
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That gave me a good laugh! Thanks. 
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