gboboski

It's what I know from recording Orchestral stuff with acoustic instruments where mic's too close sound " un-natural " , to that crowd it's a different world listening to mics 10-15 ft away from things, like listening to room mics in a pop context, [ it is ensemble after all ] and part of what I meant to say was that a stereo pair on something may not be panned hard L/R [ depending on perspective ] gives some weight to the idea of L/C/R/ or stereo fx & a dry cab [ for Gtr ] I agree with above poster , two cabs beside each other in stereo still sound bigger & more fun than one, now I'm building some FRFR cabs [ or just plain monitors ! ] with a friend and look forward to trying them in stereo Front - back as in one by the front of stage with the other monitors and one behind where the amps are [ usually facing the back of your head ! ] should make for a bigger " sonic " sweet spot!

Right , there's allot of less than ideal listening spots with many P.A.'s too close to the stage you may not hear the full p.a. mix or get too much subs, too much to one side you get the things panned to that side, but does any mixer mix in mono ? Stick your head in a real piano and it's stereo , move 100 ft out and the piano is mono and the room sound is stereo, I run a stereo 4x12 cab just to get a fuller texture, try two amps one with tremelo and the other without it feels like stereo even though nothing is panning between the two Nothing wrong with stereo you just may need to tweak , make sure FOH has a strong stable gtr, and you have something satisfying