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Obviously things like kicks, subbass etc. are all typically mono, but what else?

Are there appropriate times in a mix to make something mono or not?

Kicks and sub will obviously be mono most of the times. I usually also take out anything under 250-200hz on the side channels. Can really clear things up in the mix.

Generally speaking all the freq under 150 hz should be mono

I was analyzing a Spag Heddy track and he had a small amount of chorus on his sub bass. I don't think that rules like...always put xyz in mono really holds these days. Who knows, we might be faced with the days of music being designed for headphones and not for clubs.

Here is a real answer for you...you use all of your stereo space in a mix. Put something in mono if you need it to fit where you have a lot of stereo spread parts.

As Banesy said, there's quite a few tracks out there with stereo lowend, so I don't know how much that 'rule' applies anymore. But generally speaking, I'd say that the most important elements of the mix is mono while the 'flavour/spice' is stereo. But it's whatever gives you the best result imo.

If you want an element to 'jump' out of the mix e.g synth stab. Listen to some Kryptic Minds stuff for good examples of this or any top producer really.

You should be occasionally be checking your whole mix in mono to see if it's still listenable too

I have never done that mono check...I should probably try it!

I do do a routine check on speakers though. I make a lot of stuff in headphones and very often I will make a patch that sounds powerful and clear in the cans but on speakers, it sounds like shit and doesn't even come through in the mix. I think if you even have shit computer speakers, it is worth an A/B just to make sure.

On the topic of mono...it seems like most bass drops these days are stereo spread on the full range from 100hz on up and kind of reside there across the entire phrase. So a lot of tracks have a monotone feel even though they are spread wide if you get what I'm saying. I am most impressed by producers who vary the stereo field throughout a big bass drop. For this day in age...I don't think that classical mono / stereo spread rules apply, it more so comes down to artistic touch and what sounds good relative to what else is in the track. I think in genreal spread things that you want to sound huge but play with collapsing down not fully to mono but close to when you bring in another element OR if something overlaps with a part already in the track, close it down towards mono to make it fit better.

Anything with stereo spread i tend to mono from like 300 down. Sometimes i wont if it doesnt make a difference. Its totally circumstantial though in some tunes i dont use a stereo imager at all.

Banesy wrote:I have never done that mono check...I should probably try it!

It's a good idea because it's inevitable that it's going to be in a situation where someone wants to listen, even if it's just to monitor while DJing.

You're also shafting people over with one speaker, gotta feel sorry for them really

haha imagine having one speaker