Hi all
Can anybody answer me this?
I am using a shotgun mic and a wireless mic to an xlr adaptor then into the camera. Is there any way to split the two channels in the timeline in VS8 so I can work on them separately?
Regards
Grant
Splitting audio
Moderator: Ken Berry
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JohnG
Splitting audio
Not sure if I'm understanding your question, but I think you're talking
about the audio that comes with the captured video, and you want to edit
each (L/R) channel of the "captured" audio separately -- am I on the right
track (pun intended :-)?
Does your camera have stereo sound? And, is each mic going into its
own (L/R) channel? Or are the mics mixing to both channels (if stereo)?
If the mics are on separate channels, couldn't you split the audio to the
voiceover and music tracks? There was a posting here - about doing this -
in the last few days.
John
about the audio that comes with the captured video, and you want to edit
each (L/R) channel of the "captured" audio separately -- am I on the right
track (pun intended :-)?
Does your camera have stereo sound? And, is each mic going into its
own (L/R) channel? Or are the mics mixing to both channels (if stereo)?
If the mics are on separate channels, couldn't you split the audio to the
voiceover and music tracks? There was a posting here - about doing this -
in the last few days.
John
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BrianCee
No - if you fed them both into an adapter before feeding them into your camera that means they both went in on the same track and I can see no way - whatever programme you use - that you are going to be able to separate them.
As JohnG is suggesting if you had used one external mike and the internal one you *may* have been able to separate them but if two mikes went into the one socket ??????? I don't think so
As JohnG is suggesting if you had used one external mike and the internal one you *may* have been able to separate them but if two mikes went into the one socket ??????? I don't think so
depends...
this depends on whether you had your camcorder set to record at 12-bit 32khz or 16-bit 48khz. If recorded in 32khz, then you might be able to separate them as you actually captured two audio tracks...
but if you merged two mics together and fed them as a single stream into your camcorder, then you got trouble...
but if you merged two mics together and fed them as a single stream into your camcorder, then you got trouble...
George
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maddrummer3301
- Posts: 2507
- Joined: Fri Dec 10, 2004 10:24 pm
- Location: US
grant9954,
With the video on the timeline "Right Click" on the video and select
"Split Audio".
Then in Share mode you can save the audio file to various formats which
can then be loaded into an external audio editing program.
After editing you importing the audio file back into VS.
Hope this hleps,
MD
With the video on the timeline "Right Click" on the video and select
"Split Audio".
Then in Share mode you can save the audio file to various formats which
can then be loaded into an external audio editing program.
After editing you importing the audio file back into VS.
Hope this hleps,
MD
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BrianCee
Any audio editor should do. I've been using Goldwave ($45) for many years. Audacity is a free open-source audio editor. I haven't tried it.
You could make two mono wave files from one stereo file, or make two stereo files, one with a silent left, and the other with a silent right. You could make a new mono file with the shotgun and wireless mixed to your liking, etc. As long as you don't do any editing that changes the length of the audio file, or otherwise affects the A/V sync, you should be OK.
Of course, this assumes that you had the shotgun on one stereo channel, and the wireless on the other.
I haven't exactly done that, but I did extract the audio from a concert, as maddrummer3301 suggested. Then, I added some reverb and EQ with Goldwave and used the "new improved" soundtrack for the DVD.
I'm not sure what GeorgeW is trying to say about the sample frequency & bit depth... As long as Visual Studio can convert the audio to a stereo wave file, you can edit it... whatever the "settings".
You could make two mono wave files from one stereo file, or make two stereo files, one with a silent left, and the other with a silent right. You could make a new mono file with the shotgun and wireless mixed to your liking, etc. As long as you don't do any editing that changes the length of the audio file, or otherwise affects the A/V sync, you should be OK.
Of course, this assumes that you had the shotgun on one stereo channel, and the wireless on the other.
I haven't exactly done that, but I did extract the audio from a concert, as maddrummer3301 suggested. Then, I added some reverb and EQ with Goldwave and used the "new improved" soundtrack for the DVD.
I'm not sure what GeorgeW is trying to say about the sample frequency & bit depth... As long as Visual Studio can convert the audio to a stereo wave file, you can edit it... whatever the "settings".
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maddrummer3301
- Posts: 2507
- Joined: Fri Dec 10, 2004 10:24 pm
- Location: US
Brian,
I didn't interpret his question as 2 channels (2 mics) mixed together
to form a mono sound on 1 or both tracks.
His post asked how to split the audio on the timeline to work(edit) the 2
channels.
> Is there any way to split the two channels in the timeline
>in VS8 so I can work on them separately?
I agree with you, if he merged the 2 inputs into 1 channel or even
merged them into both channels he can't reproduce the original material.
Only simulate the original material in an editor.
At least he used 2 external mics to get true stereo (unless he merged
them). Most mics in a camera are so physically close to each other
a person ends up with mono sound on stereo tracks anyway.
I use Sonar 2/3/4 to edit. Or Soundforge 7.
You can load the dv(avi) file in and sync/edit the audio tracks(not video).
GeorgeW meant that many camcorders default to 12bit 32khz audio.
That's means the audio needs to be re-sampled to 16bit 48khz.
Ulead sometimes doesn't convert the audio properly and audio sync
issues arise. There are many posts on the old forum related to the 32khz
48khz conversion/editing issue. Many users would have the project
properties set to 16bit 48khz and the dv.avi file was 12bit 32khz.
Sometimes the audio in the final dv.avi file was out of sync.
MD
I didn't interpret his question as 2 channels (2 mics) mixed together
to form a mono sound on 1 or both tracks.
His post asked how to split the audio on the timeline to work(edit) the 2
channels.
> Is there any way to split the two channels in the timeline
>in VS8 so I can work on them separately?
I agree with you, if he merged the 2 inputs into 1 channel or even
merged them into both channels he can't reproduce the original material.
Only simulate the original material in an editor.
At least he used 2 external mics to get true stereo (unless he merged
them). Most mics in a camera are so physically close to each other
a person ends up with mono sound on stereo tracks anyway.
I use Sonar 2/3/4 to edit. Or Soundforge 7.
You can load the dv(avi) file in and sync/edit the audio tracks(not video).
GeorgeW meant that many camcorders default to 12bit 32khz audio.
That's means the audio needs to be re-sampled to 16bit 48khz.
Ulead sometimes doesn't convert the audio properly and audio sync
issues arise. There are many posts on the old forum related to the 32khz
48khz conversion/editing issue. Many users would have the project
properties set to 16bit 48khz and the dv.avi file was 12bit 32khz.
Sometimes the audio in the final dv.avi file was out of sync.
MD
Recording Multiple Channels
I actually meant recording multiple channels using the 12-bit 32khz mode
<<<
12-bit stereo (32kHz, 2 channels) records on two of the four available channels (Stereo 1), leaving two other channels (Stereo 2) available for the addition of sound, music, narration, etc.
The 16-bit mode produces CD quality sound, two channel sound on one track. The 12-bit mode divides the audio track into two, recording two channels on one track while leaving the remaining track open for post production audio recording with separate editing gear. In other words, you can add new sound later using a DV VCR. You cannot add new sound to a tape using the XL1.
12-bit stereo (32kHz, 4 channels) for simultaneous recording on four channels (Stereo 1 and Stereo 2). Audio can then be output as four independent channels.
With 12-bit audio, the sound quality is just slightly lower, because the amount of data gathered through the sampling and quantization procedures is lower than with 16-bit (4,096 variations for 12-bit compared to 65,536 for 16-bit). The 12 bit sound is sampled at 32 KHz. Because there is less data, it does not take up all the space available to audio on the tape, resulting in 2 two-channel tracks.
Also with 12-bit audio, you can use the microphone mounted on the camcorder plus up to two remote microphones, all recording on separate channels, at the same time. At the editing stage, selections can be made for the desired mix for the finished video. Or, if only two channels are used, the original audio can be left on the tape while new audio (music and narration, for example) can be added without erasing the original sound during the editing process.
XLR Microphones
Unbalanced audio equipment is generally found on consumer camcorders, and indeed all previous Canon camcorder models have used a 3.5mm mini-jack as their input. An unbalanced microphone may work well attached to the camera, however if it’s range is extended, the microphone cable frequently picks up interference from extraneous electro-magnetic fields resulting in hum.
Attaching the MA-100 allows the use of two professional XLR microphones, or two wireless microphone receivers on the XL1. Balanced XLR microphones contain a noise-canceling cable that greatly reduces unwanted interference. The MA-100 converts balanced signals from the XLR microphones to unbalanced signals. The MA-100 includes RCA plugs which can be connected directly to the camcorders RCA audio terminals.
>>>
<<<
12-bit stereo (32kHz, 2 channels) records on two of the four available channels (Stereo 1), leaving two other channels (Stereo 2) available for the addition of sound, music, narration, etc.
The 16-bit mode produces CD quality sound, two channel sound on one track. The 12-bit mode divides the audio track into two, recording two channels on one track while leaving the remaining track open for post production audio recording with separate editing gear. In other words, you can add new sound later using a DV VCR. You cannot add new sound to a tape using the XL1.
12-bit stereo (32kHz, 4 channels) for simultaneous recording on four channels (Stereo 1 and Stereo 2). Audio can then be output as four independent channels.
With 12-bit audio, the sound quality is just slightly lower, because the amount of data gathered through the sampling and quantization procedures is lower than with 16-bit (4,096 variations for 12-bit compared to 65,536 for 16-bit). The 12 bit sound is sampled at 32 KHz. Because there is less data, it does not take up all the space available to audio on the tape, resulting in 2 two-channel tracks.
Also with 12-bit audio, you can use the microphone mounted on the camcorder plus up to two remote microphones, all recording on separate channels, at the same time. At the editing stage, selections can be made for the desired mix for the finished video. Or, if only two channels are used, the original audio can be left on the tape while new audio (music and narration, for example) can be added without erasing the original sound during the editing process.
XLR Microphones
Unbalanced audio equipment is generally found on consumer camcorders, and indeed all previous Canon camcorder models have used a 3.5mm mini-jack as their input. An unbalanced microphone may work well attached to the camera, however if it’s range is extended, the microphone cable frequently picks up interference from extraneous electro-magnetic fields resulting in hum.
Attaching the MA-100 allows the use of two professional XLR microphones, or two wireless microphone receivers on the XL1. Balanced XLR microphones contain a noise-canceling cable that greatly reduces unwanted interference. The MA-100 converts balanced signals from the XLR microphones to unbalanced signals. The MA-100 includes RCA plugs which can be connected directly to the camcorders RCA audio terminals.
>>>
George
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BrianCee
but Grant does say he used two microphones and fed them into an adaptor and then fed that into his camera - so if they were both stereo mikes the sound would be mixed and inseperable, if he used two mono mikes his only saving grace would be if he fed each in on a different stereo track - then he may have a chance.
It would be quite nice if Grant came back and maybe gave us a bit more information about the equipment he actually used then perhaps we could all make positive assesments of his problem and maybe find the true solution.
It would be quite nice if Grant came back and maybe gave us a bit more information about the equipment he actually used then perhaps we could all make positive assesments of his problem and maybe find the true solution.