The noisy (aren’t they all?) mono copy we keep around as a reference presents Dylan and his guitar in a starkly immediate, clear and unprocessed way. The stereo version of the album is simply that sound with some light stereo reverb added.
More than anything else, on some tracks the mono pressing sounds like a demo.
It’s as if the engineers threw up a mic or two, set the EQ for flat and proceeded to roll tape. This is a good sound for what it is, but it has a tendency toward dryness, perhaps not on all of the tracks but clearly on some. Certainly the first track on side one can have that drier sound.
What the stereo reverb does is fill out the sound of Dylan’s voice respectfully.
The engineers of the late ’50 and ’60s had a tendency to drown their singers in heavy reverb, as anyone who’s ever played an old Tony Bennett or Dean Martin album knows all too well.
But a little reverb actually benefits the vocals of our young Mr. Dylan on The Times They Are A-Changin’, and there is an easy way to test that proposition. When you hit the mono button on your preamp or phono stage, the reverb disappears, leaving the vocal more clear and more present, but also more dry and thin. You may like it better that way. Obviously, to some degree this is a matter of taste.
The nice thing about this stereo copy, assuming you have a mono switch in your system (which you should; they’re very handy), is that you have the option of hearing it both ways and deciding for yourself which approach you find more involving and enjoyable — if not necessarily truthful.
We suspect your preference will be both listener- and system-dependent. Isn’t it better to have the option and be able to make that determination for yourself?
To see our current selection of Hot Stamper pressings that we think sound better in mono, click here.
To see our current selection of Hot Stamper pressings that we think sound better in stereo, click here.
Mono, Stereo, Reprocessed Stereo, We’ve Played Them All!