Another codec tip: if you're encoding with opus, especially with libopus, at low-mid bitrates (96k or so, the default), use --no-phase-inv (apply_phase_inv=0 in ffmpeg libopusenc).
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Take a stereo song, downmix it to mono, it sound good. Take the song, encode it to Opus, decode it in stereo, downmix it to mono, it sounds bad. The Opus guys say you're supposed to let the Opus decoder do the downmixing for you to avoid this problem, but that's not practical.
So the feature is bad because it breaks a property of the audio called mono compatibility. And saying the decoder can fix it if you ask it to is not good, because you can't know ahead of time that the audio will be downmixed later in most practical use cases.
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Fair enough. I'm curious what professional stereo mixes do differently to ensure compatibility with mono that the algorithm doesn't? Does it change the signal average?
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The thing is a stereo mix is *consistent* in its mono compatibility. Some instruments will be louder or quieter in the mono downmix, but it's always the same. Good mixes will engineer with this in mind to keep things sounding good and balanced in mono.
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