Problem with STEREO track

hi everyone.
this is a really dumn question since i used to do this all the time is Sonar.
i recorded some vocals and it only recorded in one channel. i could always hit the infinity button to make it mono so i can hear it on both speakers. however, isn't there some effect i can add to get sound on both channels and keep it the stereo track? i'm using the tascam us-122 as an interface and for some reason it only allows you to record on either the L or R. not both of them at the same time. any ideas?

Next time record the mic on two seperate tracks and set the track delay to taste on one of the tracks. Or -quick fix, copy the region to another audio track and set the track delay as above. Use pitch changer to drop or raise the pitch one cent or two (keep it subtle or it will ruin the vocal track). Next ime, you could also use two mics, one a condenser for direct (or ribbon or tube) and a dynamic pointed slightly off center (just becareful to watch for phase issues) small dead rooms work best because they minimize reflections and capture the "dry sound" More track delay can always be added to spread the stereo effect. I find that the spreader plug-ins are good for instruments but deadly to vocals. Your lead vocals have to be kept pure unless you are distorting on purpose. Megabucks are spent on mics and vocal processors by the larger studios for just this purpose. Two or three mics are always better than artificial effects. Try using your best mic in the usual place and set two ambient mics panned hard L/R - watch the phase and enjoy

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Does this seem to be the best and most reliable method? I've only burned audio to video (never using a click) in FCP before and have always played back from a DVD. Now I have this live player/syncing component and am not sure of the best way to do it. I have some experience with Logic, but limited.
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I've opened the movie (with stereo track) in QT Pro and then added the click - and now the 2 audio files are there, sync'd up.
When you say you opened the movie in QT Pro, I assume you mean the QT Pro version of Quicktime Player 7. So let's say you have the movie open in Quicktime Player 7, and you press ⌘J (Window > Show Movie Properties). And in the window that appears, hopefully you see several items listed, including Sound Track 1 and Sound Track 2. These are your two audio files, that are now part of the movie file. One of those files is your stereo soundtrack, and the other is your click. So let's assume that this is a total of 3 channels of sound (because I understand your click is mono).
Select Sound Track 1, and select the tab Audio Settings. Let's assume this is the stereo soundtrack. In the scrolling area at the bottom right of the window, under the heading Assignment, you should see Left and Right. Let's leave it that way.
Now select Sound Track 2. Under Assignment, there should be just one item listed (that is, there is only one channel in this Sound Track, if the click is mono). Under Assignment, it probably says Mono. Change that to Center.
Save the movie. We're done with Quicktime Player for now. Launch Audio MIDI Setup. It's here:
Macintosh HD/Applications/Utilities/Audio MIDI Setup
I assume you have an audio interface connected that supports at least 3 channels. In AMS, find the window (or tab, depending on your OS version) for Audio Devices. Select your audio interface. Select the Output tab, and press the button Configure Speakers. In the window that appears, select Multichannel, and change the menu selection from Stereo to 5.1 Surround.
You will probably see that "left front," "right front," and "center" are assigned to outputs 1, 2 and 3, respectively, of your audio interface. If not, make it so, and press the button Apply.
Now when you play your movie, the stereo soundtrack will appear at outputs 1 and 2 of your audio interface, and the click will appear at output 3. Now you can cable your stereo mains to 1/2 and your in-ear monitors to 3.

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When importing OMF's from Avid or FCP all stereo audio files come in on separate mono tracks (ie all music tracks will appear as two adjacent mono tracks). When track managing, all stereo audio files need to be moved from the mono tracks and placed on to stereo tracks (for inserting of effects, etc.) prior to editing and mixing.
In another pro audio ap that shall remain nameless, one would simply grab the stereo pair (left and right sides of the audio file) from the adjacent mono tracks and drag them onto a newly created stereo track. This method is extremely fast and is vital when faced with an hour long show (especially when the video editor hands off an OMF to which there is no rhyme or reason which happens more often than not!).
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Rohan Stevenson1 wrote:
aaron, read through this twice before and now about 3 times more. i still don't understand your problem.
i would have prepared tracks prior to importing in logic, or imported them into some kind of template and shifted them around like that. i would use KCs to accomplish most of this. you only need the LH file to play back a split stereo file in stereo.
Hi Rohan,
As a professional post audio mixer, I am given OMF's from either Avid or FCP from the client. I have no control over how the tracks are managed by the video editor prior to my receiving them.
Even if the video editor has track managed the audio appropriately (VO, production audio, FX and music all placed on their own tracks which rarely happens), the files will still come into a DAW on separate adjacent mono tracks.
For example, all of the music in an hour long program will come in with the left side of the stereo file on one mono track and the right side of the audio file on another mono track. This is just how OMF's translate from video aps to DAW's. The OMF cannot be tweaked to operate differently. It is what it is. Obviously any stereo elements need to be placed on stereo tracks for eq, compression and volume automation.
When mixing a show, the first thing that must be done is to 'track manage' all of your elements. Usually VO on one track, production audio split amongst a few tracks, mono and stereo effects on their own tracks and then a couple of stereo tracks for the music.
So let's say I open an OMF. The first thing that must be done is to go through the show, identify all of the stereo elements (most commonly music tracks and FX), grab them from the mono tracks that they came in on and place them on to newly created stereo tracks. In Pro Tools this is a fairly quick process as you are able to grab two mono files and drag them directly on to a new stereo track right in the arrange page.
Every time you open a new OMF you are confronted with hundreds of regions that need to be track managed before you can edit and mix. Deadlines are always tight so a fast and efficient method is a must.
What I am describing is standard practice in a post audio workflow when mixing for television. This is not a pressing issue as the studios I freelance for are all PTHD based. However, I would love to start testing my Logic rig at home to see how it stacks up on big sessions!
Any help or tips would be appreciated.
Thanks

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Sounds to me like the audio targeting is amiss somewhere.
In the audio tracks you will notice a1 & A1: meaning audio track 1 and the audio will go to that track when edited. To get stereo, two tracks will be used eg. a2 & A2. Having A1 and A2 is FCEs default setting with a1 & a2 selected. This setting will place stereo audio into these default tracks. If, for example, you want the tracks to be edited to A5 & A6 then you move the a1 to a5 and a2 to A6 (click and drag). This is called track targeting for obvious reasons, untill you change it, all new edited tracks go to tracks 5 & 6.
Click on a1 twice, did you notice it move and seperate from A1, this is a de-selected state (a gap between a1 & A1). When a clip is edited to A1 in this state it means no audio will be added to that track. Most likely you have an unlinked audio track. I hope this brief bit of info helps you figure out what audio ends up where in the Timeline.
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Al

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the song is a fingerstyle tunes with lots of dynamic changes.
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Question 2. What issues do I have with the fact that I'm using an individual compressor on each of the 2 guitar tracks? Something tells me there might be a better way.
Question 3. I've been using the Silver Compressor because I find it easier to use than the regular Logic Compressor. I'm just not sure what all the controls do on that compressor. Any thoughts on if I should try using the regular compressor rather than the Silver?
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Q4: I usually slap some sort of multiband on the Output 1-2 for mixdown. I do not mix with it on. I use it to tighten things up at the end--but I do not rule out doing more level adjustments on the other tracks with it on

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Hi,
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After recording, I copy the recorded region onto Audio 2 to create the stereo effect (i.e. Audio 1 = left side, Audio 2 = right side). Audio 2 is controlled by stereo object "Track 1-2," which is set in Audio 1 (where I originally recorded the external sound).
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1: if something is stereo record it as stereo and if mono record as mono
2: recording mono and changing it to stereo won't make sense because its the same channel on two sides it'll still sound mono
3: recording stereo then switching the channel to mono is not a good idea because if the the both sides are phase then it'll sound weird because you'll only get the both soft sides in the centre or both loud sides in the centre
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my English is not that good but i hope you got what i mean
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You're right, I didnt even know there was such a thing in the preferences. Anyways, now it's working on itunes, but when I copy the tracks to the ipod I still get the same problem. Does the ipod have the sound enhancer too?? Where do I turn it off?
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Problem with STEREO track

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