Apple Final Cut Pro 5 - Manual (Page 852)

Chapter 4 Audio Levels, Meters, and Output Channels 65
I
When a sequence is downmixed, odd-numbered audio outputs are sent to the left
channel, and even-numbered audio outputs are sent to the right channel. Since
downmixing combines multiple output channels, the level of the stereo output may be
too high. To counteract these high levels, each audio output channel has its level
reduced by the dB specified in its Downmix pop-up menu in the Audio Outputs tab for
the current sequence’s settings (in the Sequence Settings window).
Typically, the more channels you are downmixing, the more reduction is necessary for
each channel to make sure the downmixed stereo signal doesn’t distort.
Stereo Versus Dual Mono Audio
Final Cut Pro handles stereo and mono audio slightly differently. If you have a clip with
stereo audio, the level and pan controls for both channels are linked. You cannot
independently adjust the left or right levels, and the pan control moves both channels
at the same time. Pan and level settings for mono audio clips can be set independently.
Initially, you choose whether clip items are mono or stereo during capture, but you can
change this when you edit in the Timeline. Furthermore, changing a track’s output
channel to stereo or mono affects how clips are treated during mixing.
Capturing
When you capture a pair of audio channels to a media file, you tell Final Cut Pro how
you intend to work with that audio:
 Dual mono: Choose this option when you want separate level and pan control over
each channel.
 Stereo: Choose this option when you want to capture and work with left and right
channels of audio at the same time, such as with stereo music, sound effects, or
sound recorded with a built-in stereo camcorder microphone.
For more information, see Volume I, Chapter 20, “Capturing Audio.”