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February 9th, 2008, 12:35 AM
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#1 |
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Major Player
Join Date: Jan 2008
Location: Calgary, Alberta
Posts: 265
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Why split channels
hello,
just wondering, when importing an audio file sometimes you have an option to split channels, what use would this be if both channels are recorded identically? is this useful only if both channels are different, say one is boom and the second a lav? |
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February 9th, 2008, 01:47 PM
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#2 |
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Major Player
Join Date: Apr 2006
Location: Cedar Rapids, IA
Posts: 563
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Roshdi,
Splitting makes sense whenever the two audio tracks are not one stereo recording. Maybe you recorded to different mics to see in post which one produced better sound for a given shot. Maybe you recorded the same mic twice, with different gain levels. Maybe only one of the two tracks contains any audio at all. In all cases, you will most likely want to edit mono tracks individually, as opposed to deal with them a stereo tracks. I hope this addresses the "if both channels are recorded identically" part of your question - let me know if I misunderstood. - Martin
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Martin Pauly |
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February 9th, 2008, 04:58 PM
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#3 |
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Major Player
Join Date: Jul 2007
Location: Bristol U.K.
Posts: 244
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Also
In the old tape days we always took just one side when dubbing if the playing from tape was dual mono. It was because of phase issues with the azimuth etc... Although with digital it is a somewhat different story, it still makes sense to use only one mono track and pan it to the centre, instead of using two 'identical' tracks in a stereo arrangement. There is nothing to be gained by using both tracks so using one is safer and avoids soem possible issues. |
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February 9th, 2008, 08:05 PM
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#4 |
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Inner Circle
Join Date: Nov 2004
Location: Baltimore, MD USA
Posts: 2,337
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Hey Jimmy,
Well that's not entirely true. All the things you said about tape are pretty on though. I began using doubled audio tracks in my DAW in 1990. You don't have to worry about azimuth and you do gain a bit of volume with two identical tracks. BTW, recording the same signal to two tracks is a good idea if you're going to digital tape in a camera because you may end up with dropout on one track. Regards, Ty Ford |
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February 9th, 2008, 11:39 PM
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#5 |
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Trustee
Join Date: Mar 2007
Location: Sherman Oaks, CA
Posts: 1,259
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Hey Ty,
Where's the Senn 8000 series review? :) :P Seriously, we'd love to get your opinion. -Peter P.S. Sorry for the highjack. |
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February 10th, 2008, 03:17 AM
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#6 |
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Major Player
Join Date: Jul 2007
Location: Bristol U.K.
Posts: 244
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Hi Ty
I was referring to that take one side of the stereo (Dual mono) function that is in Premier for instance. When you import audio I believe you can split the file and put one side to both so to speak. (Panning it centrally in other words). I would always use both tracks on a recorder even if recording one mic, but personally I would only import one side of it back into a NLE. Just got mono compatibility on the brain, was programed that way! |
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February 10th, 2008, 05:12 AM
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#7 | |
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Major Player
Join Date: Aug 2007
Location: Austin, TX
Posts: 383
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Quote:
On topic, one thing that you might do is send the boom to one track and all wireless to another. This isn't a good as ISO tracks, but it does give you some amount control in post. It's not perfect, but if your mixer can handle it (not all will) this might help. Wayne
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Mics: KMR 82 i, NTG-1, MKH418S, MKH8040, SR77, QTC1, QTC40, SR30 Recorder: Zaxcom Deva 5.8 & MIX-12. Wireless: TRX900 stereo, Lectro 411 |
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February 10th, 2008, 07:34 AM
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#8 | |
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Inner Circle
Join Date: Nov 2004
Location: Baltimore, MD USA
Posts: 2,337
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Quote:
I understand. We ran into problems back in the day at broadcast facilities where broadcast cart machines were still mostly mono. Ad agencies would send in spots on 1/4" tape produced in stereo. At some stations, they only took the left channel of the tape machine. When they agencies called to ask where the other half of the spot was, it was embarrassing for the sales dept. Regards, Ty Ford |
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February 10th, 2008, 07:58 AM
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#9 | |
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Inner Circle
Join Date: Nov 2004
Location: Baltimore, MD USA
Posts: 2,337
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Quote:
As a boom mic the 8050 needs a REALLY good shock mount and better wind protection than the stock foam piece.' Regards, Ty Ford |
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February 10th, 2008, 01:10 PM
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#10 |
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Major Player
Join Date: Jan 2008
Location: Calgary, Alberta
Posts: 265
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I've seen a screen capture of a music file imported as a split file, both channels are the same, same level, same sound. where does splitting this clip help?
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February 10th, 2008, 06:11 PM
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#11 |
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Inner Circle
Join Date: Nov 2004
Location: Baltimore, MD USA
Posts: 2,337
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The same, or stereo?
Sometimes it's hard to tell the difference. Regards, Ty Ford |
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February 11th, 2008, 11:07 AM
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#12 | |
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Regular Crew
Join Date: Apr 2007
Location: Olney, Maryland
Posts: 197
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Quote:
I normally send a different level to the second track... a lower level that is less likely to bump up against the limiter. It's there if you need it. If you don't need it...delete it. |
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February 12th, 2008, 03:13 PM
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#13 | |
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Major Player
Join Date: Jun 2006
Location: Toronto
Posts: 539
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Quote:
Which shock mount would you recommend? |
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February 12th, 2008, 03:57 PM
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#14 |
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Inner Circle
Join Date: Nov 2004
Location: Baltimore, MD USA
Posts: 2,337
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Charlie Tomaras, whose opinion I trust, suggests the one PSC makes. I found the K-Tek KSSM works.
http://mklemme.com/pole/ksm.html Don't know about the wind de-ruffler yet. Regards, Ty Ford |
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February 12th, 2008, 07:18 PM
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#15 |
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Major Player
Join Date: Jan 2008
Location: Calgary, Alberta
Posts: 265
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excellent answers. thanks to all
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