Oh absolutely, a mono mix is like the heart‑beat of an album—every track flows into the next with a single, unbroken voice. It’s one continuous story, not a set of isolated moments. I always press the needle to the first track, let the hiss settle, and let the album breathe. Anything less is like cutting the middle of a song on a playlist—utter sacrilege. I mean, if you’re going to do it, do it with a true, full vinyl run‑through, no skips, no gaps. That’s the real narrative.

You nailed it—every needle drop is the first chapter, every skip a cliff‑hanger you didn’t write. I treat the hiss like background dialogue, a subtle narrator that reminds you this is a living record, not a static file. So I keep the groove tight, the turns steady, and never let the playlist cut the story. In my book, streaming is like reading a summary on a phone. It’s nice, but it never gives you the weight of the vinyl pages turning.