I'm confused. But that's my normal state. But I'm especially so when it comes to channel mapping. I'm recording racing at a local track with one XLR input taking the audio from the track announcer and the other getting ambient track sounds from my shotgun. What I get from that in PP is a stereo audio track with the announcer on the right channel and the track "zoom zoom" on the left.

I tried accessing the channel mapping function in PP but all it seems to let me do is swap left for right. Not what I'm looking for.

I've ended up duplicating the audio track and putting it on audio 2, then taking all left on it and all right on the other. It works, but it's a major pain. Is there a better way to deal with this? I've poured through the manual, but I don't seem to have the secret decoder ring.

You could try using the "breakout to mono" under Clip/Audio Settings. This basically does what you did manually, making 2 audio tracks, one for each channel. The only catch is that you need to do this prior to adding the clip to a sequence.

Alternatively, duplicate the audio track, used Fill Left on A1 and Fill Right on A2.

Here is your solution... and there is one:

First thing you do is import the clip into Premiere's Project Window. Then select that clip and go to "Clip -> Audio... -> Source Channel Mappings". The setting you want to select is "Mono as Stereo". That way, when you drag your clip to the timeline, you will see two audio tracks... one with the left channel and one with the right channel's audio. Since they are seperated on two tracks... both will play balanced in each L/R speaker.

Bill... That works, but it's a messier option than what Harm suggested.

Harm... That's what I've been doing. Slightly time intensive which is OK, but for some reason when I segment the duplicated track sometimes all the audio beyond the CTI disappears. Don't know if it's a bug or pilot error, but I suspect the latter.

Deke... I'm going to give that a go on my next race and see how it works. If it makes it simpler, I'm all for it.

Deke... I'm going to give that a go on my next race and see how it works. If it makes it simpler, I'm all for it.

It's exactly what you're looking for.

Tripp,

The fastest way to use the Fill Left and Fill Right to A1 and A2 is to apply these to the whole timeline, not to individual clips. Select the track, go to the audio mixer, and twirl down (the little arrow on the left) so you see the effects window. Then apply the Fill Left or Fill Right effect to the whole track at once. Repeat that for the other track.

The fastest way to use the Fill Left and Fill Right to A1 and A2 is to apply these to the whole timeline, not to individual clips.

That's what I do. Still looking for something simpler, but maybe I want too much. I'd like exclusive audio in each track so I can more simply apply effects. Specifically, I want a compressor/expander on the ambient track to pull up the car sounds when they get to the far side of the track. The effect seems to apply to the audio on both channels of the track so the announcer's voice pounds down the soft ambient track sounds.

The good news is there's always something new to learn.

Tripp, Source Channel Mappings is exactly what you are looking for, there is only one problem with it - you need to map your files before you start putting them on the timeline. If you don't do it, the option will be disabled.

A-HAH!!! Bart, that's it! I just tried that on a test project and it does exactly what I need it to do. Thanks!