I'll bet they recorded mono of each mic, them a stereo mix of all tracks. Why? Some workflows allows you to edit with only the stereo track and then post mix can get all the masters and conform all the mono tracks. I'd stick with the mono tracks unless a conform is in the budget and on the plan. Most often it isn't
And yes, Avid can have mono and stereo tracks on the se sequence. Do it a lot
Normally that's what I'll get, a stereo track with each mic on a separate channel, but when I look at the waveforms, they're the same. The only real difference is one has two tracks and the other has one. I've added a photo of the audio stacked on top of each other for reference.
It seems I just have to decide which I prefer. The Mono is just the stereo collapsed to one track.
And what I meant about Premiere was in "Modify Clip" you can change the way it reads the Audio Channels, what the channel format is, etc. (http://larryjordan.com/wp-content/uploads/2014/02/Channels003.jpg) Wanted to know if there was an Avid equivalent of this.
Every track you have there is MONO. A Stereo track would have two speakers. Like this:
So it looks like you have ONE mono track, that also happened to be recorded to TWO other tracks...as stereo. But not as stereo tracks....dual mono tracks, one possibly panned Left and the other possibly panned right. But all are mono. Do you have more than those three audio tracks?
And yes, in Avid you can modify audio to be MONO or STEREO. Click on the clip, go to the CLIP menu and choose MODIFY....Multichannel audio...and then make it stereo, or mono....multiple mono. But the exampe you show...all are mono tracks, and mono audio clips. Stereo clips are single track....but stereo...like I show.
Yeah, every audio take has a "Stereo" and a "Mono" version. Probably over 200 clips of audio in total. I think you're right with the dual mono situation. I didn't even think of that since there's really no difference in the audio quality other than it being a little louder (from two mono channels combined into one).
What's the point of creating two different types of audio files if they're, at their essence, the same?
Some higher end workflows allow for audio to b conformed in the audio mix. That is to say to have all the masters loaded on their end, instead of sending an AAF of the cut you work on. In this case, if you have 12 audio stems, to keep things simple, they tell editors to cut with the stereo track keeps timelines smaller. But in this case, I see no point in doing that. Use the mono.
On show I cut, we don't conform, so I need to use the 8-10 audio tracks on my timeline.