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Old February 9th, 2008, 12:35 AM   #1
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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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Old February 9th, 2008, 01:47 PM   #2
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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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Old February 9th, 2008, 04:58 PM   #3
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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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Old February 9th, 2008, 08:05 PM   #4
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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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Old February 9th, 2008, 11:39 PM   #5
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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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Old February 10th, 2008, 03:17 AM   #6
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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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Old February 10th, 2008, 05:12 AM   #7
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Quote:
Originally Posted by Peter Moretti View Post
Where's the Senn 8000 series review? :) :P
FYI, I finally got a deadbeat production company to pay me, so I just placed an order for the 8040. I'm sure it will be a couple of weeks before I see it though.


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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Old February 10th, 2008, 07:34 AM   #8
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Quote:
Originally Posted by Jimmy Tuffrey View Post
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!
Jimmy,

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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Old February 10th, 2008, 07:58 AM   #9
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Quote:
Originally Posted by Peter Moretti View Post
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.
I'm writing a short companion review for a larger review in Pro Audio Review. I'll be deadlining the story tomorrow.

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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Old February 10th, 2008, 01:10 PM   #10
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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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Old February 10th, 2008, 06:11 PM   #11
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The same, or stereo?

Sometimes it's hard to tell the difference.

Regards,

Ty Ford
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Old February 11th, 2008, 11:07 AM   #12
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Quote:
Originally Posted by Roshdi Alkadri View Post
...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?...
Why would you record the same source identically on another track?

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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Old February 12th, 2008, 03:13 PM   #13
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Originally Posted by Ty Ford View Post
I'm writing a short companion review for a larger review in Pro Audio Review. I'll be deadlining the story tomorrow.

As a boom mic the 8050 needs a REALLY good shock mount and better wind protection than the stock foam piece.'


Regards,

Ty Ford
Awesome. Can't wait to read it.

Which shock mount would you recommend?
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Old February 12th, 2008, 03:57 PM   #14
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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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Old February 12th, 2008, 07:18 PM   #15
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excellent answers. thanks to all
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