so, you're worried about stereo loss when converting to mono?

You will loose what you have from stereo by going to mono. (some one can do some scientific source here because i don't have it)

But the information of stereo will be there if you let the source remain stereo, and just made it mono (ie with a width controller of some kind).

That's my initial answer to your question.

But, i sense you may have yet to actually describe your problem in detail due to a lack of vocabulary behind the problem you are experiencing. (there's a ton of stuff, i don't aim to insult;i still cuss like a sailor to describe my problems)

or it's a fundamental misunderstanding of what mono compared to stereo actually is...

the reason i put things in mono or make more mono, is to control the stereo image of each element in my track. Instead of having every thing wide ass open, they are almost always tamed and tailored in some one to let a good portion of my buss effects fill in the gaps left by the tailoring of the individual sounds.

I'd reconsider what you're having trouble with (or some one explain to me what the problem is, if you see things differently please) and coming back again on this topic :|

because the solutions you've posted, don't bring to mind an answer that would be beneficial for what you're trying to achieve and in what context you're trying to achieve this in.

it's the nature of mono and stereo.

I have a hunch, that those producers are utilizing techniques that i've described above. So their reference point when mixing, is more of both worlds.

If you only think of things, or do things, in a certain manner all you have to go off of is that one way.

If you hybridize your reference, then you can see what works well in both environments and end up with a decent mix.

You could how ever, specialize in one way of doing things.

If you're interested in having your tunes played out in clubs, look to see what the liver venue reference is (should be mono or stereo depending).

So, once you've understood where other people are coming from, then you might have a better picture (your song) to frame (stereo/mono/hybrid).

Also, you might be looking at a brush stroke, rather than how the brush stroke is involved with the entire picture, within the entire pictures.



Also, it's not that it's loosing power, it's that you've lost the stereo image of the song/sound. So you can't realistically expect to garnish the same results when you deliberately switch how the music is played back.

It ultimately sounds like, it's a mix issue. Look up fletcher munson curves or the thread in this forum (in this topic) about achieving loudness.

There's ways to MAKE THE MIX, louder based on how you bias your frequencies, levels, panning, and stereo imaging (width control) as well.

I don't play by those rules, but the professional mix engineers and masters do.

If you're interested in a very basic and fundamental understanding of what i've talked about, we can set up a skype meeting (some time after finals) if you're interested. no cost of shenanigans lol

Do you have any example of a track? Are you sure the supersaw is not mono in the first place, with just a bit of widening from something like a reverb?

because the effects still come through in mono, but just not as much as you'd hear it as if it was coming through from stereo.

If you want you're super saw very wide but mono compatible , you should try to do make it with Serum , put Osc A on 16 voices with 40% detune layered with Osc B with one voice mono , send both osc in a 18 MG filter and mix levels of the detune osc and the mono one till its the widest before out of phase , then you get that deadmau5 suckfest9001 effect