Audio Stereo to Mono

After reading the help manual, I don't see any info on changing a stereo audio clip to mono once it is already in the timeline. I am probably missing something, I hope. Any help? Thanks

>Can this be done after the clip has been put in the timeline?
Think about what you're asking for. Mono clips go in mono tracks. Stereo clips go in stereo tracks. There is no way to click a button to change one into the other.
I would suggest you copy the stereo audio from track 1 and put it on the next empty stereo track then apply the "fill left" effect to track 1 and the "fill right" effect to the other track. Done.
You will also find links to many
free tutorials in the PremiereProPedia that will quickly show you how things are done in Premiere Pro.
Cheers
Eddie
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Dialogue audio - stereo or mono?

I shot our short using a shotgun mic. When capturing the audio it brings in 2 audio tracks. Do i want to leave those as 2 mono tracks or 1 stereo track?
Thanks

Well - i'm still confused. I had one boom mic. Channel 1 was turned pretty high - and channel 2 was the same mic at a lower level in case of clipping - but there was none.
When i bring the track into the timeline, track 1 audio is the hotter one, track 2 is the lower one. I assume i don't want both.
Do i want to delete track 2, copy down track 1 and make them a stereo pair?
Or should i simply delete track 2, and make sure track 1 is panned to the center?
thanks!

Audio-Stereo or Mono

Hello. I'm editing a 1:30 minute video bio on a community leader and I'm finding my audio levels aren't balanced. I have three audio elements in this video:
1) Sound bites from interviews, which seem to sound mono and only coming out of one speaker on my Powerbook g4
2) Voice track which sounds stereo and coming out of both speakers.
3) Music track which also sounds stereo.
Ultimately, this video will be played at an awards luncheon on one of those huge screens. How do I get my sound bites to sound as loud as my voice track and music? Thanks for the advice.

hmm, 3 audio sources, 2 audio layers.. Houston, we have a problem ...
first of all, I would use a designated audio-processor (Audacity is a nice and free one..) to 'center' your unbalanced interviews... iM has no 'stereo pan' button ...
just to mention: select clip in iM, share/Quicktime/Expert settings, choose "Sound to .aiff" as format, that creates an 'audio only' version of your clip for usage in such audio-processors... after adjusting, import back to iM ...
now, 3 audio layers in iM....
add Interview to A1, VoiceTrack to A2 ... use iM's audio feature 'rubber band' to adjust them as wanted...
when 'mix' is done... drag every A1-audio clip down to A2 .. yepp, you are 'allowed' to lay audio over audio in a single track ... that is a lil' dirty trick, but works... you can NOT adjust your track anymore...
now, add music to the now free A1, again, 'rubber band' the audio to low down the music at voices, and raise at 'empty' parts ...
when done, I would export the project back to tape/or export 'share' as QT Full Quality, 'cause these 'audio overlayers' could probably be a cause for doing iDVD strange things... import back as 'solid file' into iDVD ....

Why does compressor settings of aac audio, stereo, create 2 channel mono from 2 discrete audio channel movies?

Why does compressor settings of aac audio, stereo, create 2 channel mono from 2 discrete audio channel movies?

well depending on how your audio is brought into your system you can select it as two streams of mono or a stereo pair. In reality, unless it's mixed in stereo, that's just two streams of mono locked together. Other streams brought in via other means, can have a lot more audio channels, e.g. 8, 16, 24.
In your case, with what you're doing, two separate channels works best, so you can control the levels of two very different audio sources. If, for instance, you were taking the feed from the mixing board during a concert, you might want their stereo out. Otherwise you might be dealing with the 1.2 zillion channels that they're mixing live.
I like separating the tracks coming in. I work with people who prefer to lock them together. Locking means the tracks move together during editing. Ok, fine, but I'm usually dealing with different audio sources, like you are: a camera mic (safety on location) and a close mic (shotgun, lav). Or I have a shotgun source and a lav. I want to determine the best source audio for the shot. Sometimes it's a lav, sometimes a different feed from somewhere else, sometimes the shotgun, and sometimes a mix of two sources. But if they're locked together and pre-set to come out evenly from both speakers there no way for me to make a determination. The other guys like to cut and figure out the audio later.
To each his or her own. . .

Why Does FCE capture DV audio as dual mono instead of stereo?

FCE captures DV audio as dual mono audio files instead of a single stereo audio file. You can see this if you "Show Movie Properties" in Quicktime. Files I captured in Premiere 6 years ago have a single stereo file. The problem is that the new dual mono format for DV won't play on the Final Cut Pro 3.04 installed on my wife's G4 (OS 10.4.11, Quicktime 7.6.2). FCP 3.04 doesn't see any audio for these dual mono files though it will play the video. It won't even create an audio waveform. But FCP 3.04 plays the older stereo audio clips captured in Premiere just fine. And if I export the dual mono files out of QT as a stereo file, then FCP 3.04 will play them just fine.
This lack of backward compatibility is quite frustrating. I can't seem to find a setting in FCE that will capture audio as a single stereo file. Why isn't NTSC DV always stereo? I guess maybe they had to go dual mono to facilitate surround sound panning in 5:1 or something. If nobody knows how to do this in FCE, I guess I'll just capture in FCP 3.04. I spent the better part of a day figuring out this hidden little tidbit. The lesson is don't try to go back!! We must always accelerate forward into newer versions and formats.

The problem is in your wife's machine. She is using a version of the OS and QuickTime that are much too new for the version of the software she's using. She really not not be using an OS newer than 10.4.10 and QT should 7.2 or earlier.
Yes. I was beginning to suspect that this was at the root cause of my issue. Thanks for the info. Frankly, my wife needs to buy a new Intel iMac so we'll both be able to work on the video I'm dumping. I had FCP 3 lying around from years ago and it's the only thing that might have worked on her old G4 AGP, so I thought I'd give it a try.

How can I switch my output audio from stereo to mono?

Hey,
I can only hear out of one ear and I would like to be able to listen to the other half of my music on my headphones, how can I switch my audio from stereo to mono?
Thanks!
Zach

http://www.radioshack.com/product/index.jsp?productId=2102690
http://www.scansound.com/index.php/stereo-to-mono-adapter.html
Or you could buy a mono/one ear headset. http://www.beso.com/2699431644/detail

HT4589 How do I change the audio to dual mono from stereo when using Share to DVD in Final Cut 10.1?

How do I switch the audio to Dual Mono from Stereo when using Share in Final Cut Pro 10.1? Even though the audio is all in dual mono in the timeline, it lists it as stereo in the share box.

Hi rationale1,
Welcome to the Support Communities!
The share to DVD settings in Final Cut Pro X use the Dolby Digital settings which are stereo for DVDs. So this can’t be done directly in Final Cut Pro X.
The link below will explain the Dolby Digital parameters and options in Compressor 4. You may need to research a different DVD authoring software to achieve your desired result.
Dolby Digital - Compressor 4 User Manual
http://help.apple.com/compressor/mac/4.1/#cpsrb71736a2
Dolby Digital
The built-in Dolby Digital settings (in the Create Blu-ray and Create DVD destinations, as well as the built-in AC-3 and EC-3 audio settings) use the Dolby Digital transcoding format. This format encodes Dolby Digital (AC-3) and Dolby Digital Plus (EC-3) audio files that contain multiple audio channels, including 5.1 surround sound. You can also create custom settings that use the Dolby Digital transcoding format.
Note: All files intended for video and audio DVD authoring must have a 48 kHz sample rate as required by the DVD specification.
DVD Video: Choose this option if you’re encoding for use in a DVD video authoring application.
DVD Audio: Choose this option if you’re encoding for use in a DVD audio authoring application.
Tip: For stereo encoding, rates of 192 kbps and 224 kbps are typical and will produce good results. For Dolby Digital 5.1 encoding, a rate of 384 kbps is recommended. For 5.1 Dolby Digital Plus encoding, a rate of 192 kbps is recommended.
Cheers,
Judy

Setting audio recording from mono to stereo

How do you set the audio recording from mono to sterio on windows vista?

Select them all the timeline and press Opt-L.

Stereo to mono

how do I switch from stereo to mono in FCP?

also make sure you do not have "Downmix" enabled ... it is toggled On/Off by using the Downmix button in the Audio Mixer window, it looks like a bowtie, and sits just above the Master fader.

Can Compressor downmix from stereo to mono?

Seemingly simple question - when compressing DV/AIFFs to web H.264/AACs, is there a way to downmix from stereo(dual mono) to mono without boosting the level?
I don't care if it just uses the left channel, the right channel, or mixes both together - I just want it not to clip 0dB when it comes out mono. Is there a way to do this in Compressor?
(NOTE: without using the Peak Limiter filter to lower the level, which always seems to cause the job to fail)

First you have to split up the interleaved stereo file->in the Audio bin select "copy/convert" (or hit control+c) in the menue select "Interleaved->split" and tick the box "add to Audio bin"
Now switch Audio track 1 to "Left" at the very bottom of the channel strip->long click into the stereo symbol->menue opens->select "left"
Do the same on Audio track 2 in this case choosing "right" at the bottom of the channelstrip
Now select the reimported split stereo file in the bin and split it up into two seperate files in the edit menue->"split selected Split-Stereo-file"
You now have created two independendent files for left and right and can drag those onto your Audio tracks 1/2 in the Arrange - of course you need to pan track 1 to the left and track 2 to the right to retrieve your original stereo image

Can Compressor downmix from stereo (dual mono) to mono?

Seemingly simple question - when compressing DV/AIFFs to web H.264/AACs, is there a way to downmix from stereo(dual mono) to mono without boosting the level?
I don't care if it just uses the left channel, the right channel, or mixes both together - I just want it not to clip 0dB when it comes out mono. Is there a way to do this in Compressor?
(NOTE: without using the Peak Limiter filter to lower the level, which always seems to cause the job to fail)

I've been editing NLE for over 15 years and have never once used a "mono" track, never felt a need to, and Premiere tracks default to stereo normally, which matches my sources. All delivery is typically stereo anyway, so in the case you have with wanting to use just one mic, the Fill Left or Fill Right works perfectly to "Pan Center" so to speak. Hopefully this will suit your needs. Maybe I have tunnel vision and am not understanding how a mono track is uniquely useful, but always open to learning new things.
In the situation where I might need to switch mic sources from time to time within the same stereo clip, for instance a wedding with a shotgun and wireless lav, I just use the Razor to put cuts in the audio clip where I want to switch. I just alternate applying Fill Left or Fill Right to each cut segment as needed, and throw in an audio crossfade at the cut point for a smooth transition.
If I need to MIX the left and right channels in varying degrees of volume, I will duplicate the stereo track and apply Fill Left to one and Fill Right on the other and this has the same effect as two mono tracks, each centered. There's certainly many ways to accomplish the same thing with almost any aspect of editing and that's just how I do it, not wrong or right really.
Thanks
Jeff Pulera
Safe Harbor Computers

I'm deaf in one ear and need a stereo-to-mono earbud so I can use my iPod and iPhone. It is not good being able to hear only one channel. Can Apple consider making such a thing for those of use who need such a thing?

I'm deaf in one ear and need a stereo-to-mono earbud so I can use my iPod and iPhone. It is not good being able to hear only one channel. Can Apple consider making such a thing for those of use who need such a thing?

bassvid wrote:
Thanks...now I need to do something about the iPod.
I'm not sure which version iPod you have, but I just checked my iPod nano (current generation) and it also has a Mono Audio setting in Settings>General>Accessibility.

Stereo-to-mono glitch when match-framing

While searching for an answer I found a posting from ChiaMac dated Nov. 15, 2005 which describes the same problem I am experiencing. I have pasted the post below. Does anyone have an answer ?
Hi,
Three different editing systems, all running OS 10.3.9 and FCP 4.5 -- an iBook G4, PowerMac G5, and PowerMac G4.
Quite often, when match-framing in the timeline to bring up a clip in the viewer, the viewer will show dual mono audio, whereas the source clip has stereo audio. Then, when I try to cut that viewer clip into the timeline, in this sequence or another, it will be dual mono. Quite irritating.
It is quite replicable. Not all clips will produce the stereo-mono result, but it is replicable with the same clips over and over.
The "linked selection" has no effect on the process, no one has pressed command-L by mistake, and all audio settings on each of the systems are set to capture and output in stereo.
Is this a known FCP 4.5 HD glitch? I haven't seen it listed anywhere when I've searched for it. Any ideas, suggestions...?

>When converting a file from stereo to mono, Audition severely suppresses the amplitude of the entire file. This happens when using both the Convert Sample Rate method, as well as exporting a file from multi-track.
>It gets weirder: files that were recorded quite a while back will process this conversion just fine, but newer ones will not. All files are recorded in 16-bit 44100 stereo and saved as a Windows PCM wav file - so as far as I can tell there is no difference and I'm simply confounded.
Generally when this happens, it means that there isn't that much stereo (ie, difference between the two channels) in the file anyway, and one of these two channels is inverted - so that what happens when you combine them is that the 'mono' parts then cancel out, rather than add together, and all that's left is the difference - which looks pretty much like what you've got.
To test this, the thing to do is to select one channel only in EV, and invert its polarity (Effects>Invert). If you now get more like the waveform you were expecting when you convert to mono, then you've found the cause. But not necessarily the reason for it...

Re-Capturing Media with original settings but with Stereo not Mono Selected

Hi,
I am trying to re-capture about 17 hours of interviews that I just shot in Africa over the past month. It has all been digitized with the audio set to Mono instead of Stereo (in my jet lagged mindset I forgot to set to Stereo)! I need the stereo setting as I always had a wireless lav on the subject and a wired lav on the interpreter and I need to be able to split them out in the sequence. I have already built sequences with all the interviews and a timecode window burn for my client, which sounds fine for simple timecode logging, so I would like to reconnect so that all of those sequences will remain intact.
So when I try to go recapture, whether I delete the original clip OR just make it offline and save the new captured clip to a different location, it automatically captures in Mono, as that is what is set in the original clip under Audio Tracks in the browser. It will not let me change that setting in the Browser, and stereo is definitely selected under Audio Clip settings in Log and Capture.
I have to think there is a way to do this so that I can save my original clip information, without having to reset all new in and out points and recapture it all with the exact same name to a different drive so it works in my sequences.
I don't need to recapture the 18 or so hours of b-roll thank goodness! As it was all shot with a mono shotgun.
Also, when I go to recapture the clip a warning comes up and says I am trying to capture media shot in Non Drop Frame on a device set to Drop Frame..etc etc etc.
I did shoot in non drop frame but I have not changed anything on my deck (Sony DSR-11) and don't even think there is a switch to go between the two. If I try to simply capture a new clip I get no such warning? It seems to play fine regardless but I wonder if I will have issues down the road integrating the new clips in with the b roll.
Many Thanks,
Any help is greatly appreciated,
Peter Mallamo

If both tracks are in the sequence, then just select one side, and in FCP's Modify menu (audio submenu there), pan all to one side, then select the other track and pan all to the other... you can change the stereo to mono and mono to stereo too in that same menu... no need to recapture at all. Do this mono to stereo move simply by selecting the clips in the sequence, and checking on or off the stereo pair selection...
Jerry
Message was edited by: Jerry Hofmann

Stereo or Mono? Which? And why?

Once again I'm starting a new thread to explain some general audio principles that newbies have trouble with.
There's an issue here that's a bit difficult to explain--the difference between "stereo" and "mono".
You have two ears, so you hear "stereo". Your ears send a left signal and right signal to your brain. Your brain processes the difference between the two signals and gives you a sense of direction. You can figure out where the sound you are hearing is coming from.
Originally, recording technology only permitted mono recording. One microphone, and one speaker to play it back. When you listen to recordings made before about 1962, you are listening to a mono recording. If you have a modern stereo and you are playing back a recording from before 1962, you are getting signals out of your left and right speaker, but the signals are identical. You are just getting mono out of two speakers.
Originally "stereo" meant placing two microphones on something--one to represent what the left ear would hear, and one to represent what the right ear would hear.
However, when you take one microphone and plug it into a recording device, you can only record a mono track. Your recording device might permit you to record what you think is stereo, but in reality you are only recording two identical mono tracks.
A guitar also has a plug that comes out of it that sends a mono signal.
Nowadays we create fake stereo inside the recording device by means of what we call a digital reverb or digital delay. This device takes a mono input (such as from a single microphone or from a single guitar cord) and simulates the sound as if it were playing in a much larger room, with positional information included--placing something in a simulated position in the stereo field and creating a simulated left stereo channel and a simulated right stereo channel.
So if you record one input, and put no effects on it, you get mono. If you run it through a stereo reverb or a stereo delay, you get simulated stereo.
If you put an acoustic guitar in a large, reverberant room, and set up two microphones, one on the left side of the room and one on the right side of the room, and record the two mono mike signals to a stereo track on your digital recorder, then you get real live stereo.
When you play a software instrument in GarageBand, it records it as a stereo signal. What you are usually getting is in fact a monophonic sample that is processed through a stereo reverb, simulating stereo. In some cases, it may actually be a digitally sampled musical instrument that was sampled in stereo, with two microphones, like the example of the guitar in the reverberant room that I mentioned above. Software instruments of drum kits and acoustic pianos are examples of instruments that are usually sampled as real or artificial stereo to begin with.
Beginners think "stereo" is the right way to record, and "mono" is not. But this has nothing to do with the right way to record, and has nothing to do with wheter it's a high quality recording. If you are recording through only one microphone, or only one guitar cord, this is mono, and that's right.

Good points, Wheat. And when you record from several sources, and combine them and mix them, panning things to "set the stage" you get a stereo mix, of mono recordings. SI, the final result is stereo, not necessarily each individual piece of the recording. Of course, a drum kit can be recorded in stereo, as well as some keyboards that are actually stereo. But most things you hear on CDs are a compilation of mono tracks, panned to create the stereo image you hear.

Audio Stereo to Mono

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