1 - It seems that FFmpeg attempts to respect a common pan law (when routing a centered mono track to a stereo track, lower the mono signal by - 3 dB on each channel of the stereo track). The goal is that the perceived loudness remains coherent.
As mentioned by @Mulvya, you can use the pan filter to keep input file level untouched :
ffmpeg -i test.wav ...
Download Audacity here. Also download the LAME MP3 library here
Install Audacity on your system. Install the LAME MP3 library.
Click on File > Open... and select the mp3 file in question
Click on Track > Stereo track to Mono
Click on File > Export. Choose "MP3 Files" as Format on the dropdown menu and click save.
Note 1: If you want to save ...
I just came up with a rule of thumb. I don't know if it is is really any good or not, but maybe worth considering.
If you are taking things away (cleanup) better to do it in mono.
If you are adding things, (sweetening such as reverb) better to do it in stereo.
You have the wrong adapter. You have a signal splitter rather an a dual mono to stereo converter. 3.5mm and 6.5mm jacks have multiple possible configurations of the connector. The most common are TS (tip/sleeve), TRS (tip/ring/sleeve) and TRRS (tip/ring/ring/sleeve). Each of these serves a different purpose.
In all cases, one portion is the ground, ...
The answer is MS, or Mid-side. There are 2 types of "ambiance" situations that are very different. The first is dialogue recording with mono mics. Mono ambiances from those mics are needed to patch up issues and replace the talent mics at certain parts to cover other sounds. That is a critical function of mono sounds, but those are not technically field ...
Take a look at the bottom of the Channel Strip section.
Here you will find a Format button that shows if the track is stereo or mono (there is a two-circle icon indicating it is stereo):
Click-hold the button and select either Left or Right channel:
Additional details in the manual around page 264-265.
Note that if you want to physically change the ...
It's all about listeners' beliefs about what staying true to artistic integrity means. If a record was recorded mono (mostly very old recordings), and then re-mixed or re-mastered to be stereo, it means that someone other than the original artist or engineer has altered the source material. This concept is contrary to some people's desire for the original ...
There are two answers to your question. Simple answer has been given by ObscureRobot here. I only add to make sure your source already completely summed to mono, otherwise the right channel will be dropped, as explained below.
The right channel on all five stereo jacks are connected to literally nothing (a waste if you ask me), but ...
Well, as you've noticed yourself, it will normally work. This is because both channel outputs should be expected to have the same output impedance, so wiring them parallel effectively creates an averaging circuit. However, this is not really an intended mode of operation.
The output impedance of this combined output will be half the individual impedance, ...
You need a 2 mono to 1 stereo 3.5 adapter. (As it seems the input of the Zoom H1 is a 3.5 mm female jack). This is not a Y combiner.
That is a cable with 2 female mono 3.5 mm jack to 1 male stereo 3.5 jack.
For example :
I've finally sorted this issue out. It turned out I don't need to have a headphone amp for this and all I really have to use is some cables and adapters.
The connection I have now is this:
TRS plug Y-adapter to dual TRS socket (duplicates the mono signal to two mono signals)
2xTS - TRS cable (TS plugged to TRS sockets, TRS plugged to CD/MP3 in of POD ...
Stereo cables aren't special in any sense that would stop them from operating as independent halves. A common ground might cause some issues if you have two sources with different earth grounds, but in general this shouldn't be a problem.
You have a few options,
1) you can buy a 1/8 or 1/4 inch headphone jack and short the L R connections together since (in an unbalanced situation (most regular headphones)) they share a common ground. Keep in mind you will be driving twice the load from the same source which will effect the output.
2) You can buy a headphone amplifier that has a mono ...
It's a mono output jack, so needs a mono jack, or preferably TRS with bridge, if you're going to a stereo headphone amp.
A regular TRS > TRS will arrive at the headphone amp as one side of a 'stereo' feed, so will need bridging to provide dual mono. You can buy jack converters that will do this, or with a soldering iron, connect left & right, leaving ...
As such, I would never mix effects on the sides but nothing in center, and I normally place most effects, and here I'm talking about straight in-frame effects, pretty much centered, with only reverbations in the sides and rear. Unless it's panned. Then it's still mono plus acoustics, but panned. On certain rather big things though, like close ups to trains, ...
On Linux systems like Ubuntu, you can use ffmpeg:
ffmpeg -i input.mp3 -c:a libmp3lame -q:a 2 -ac 1 output.mp3
-c:a libmp3lame: The audio codec to use
-q:a 2: The audio quality (bitrate), see LAME Bitrate Overview
-ac 1: One audio channel
I don't believe there is a way to do what you are looking for mostly because there isn't much of a practical reason for it. Pretty much any reasonably modern connection is going to handle streaming audio without buffering, so running multiple bitrates and trying to switch between them on the fly shouldn't be necessary. Also, changing from stereo to mono as ...
If you go for a professional video suite such as Premier, then this is very straightforward, however if your budget won't stretch that far you can do it in three steps:
AviDeMux or FFMpeg will let you split audio from video.
Once you have the audio separated from the video this is easily done in any DAW by simply splitting the left and right into two ...
8-bit 8K isn't going to be great quality in any case, but WAV is as good as you can do. Straight uncompressed MS-format (RIFF) WAV is the most compatible format for interchange.
There are two senses of 'compressed' at work here. U (mu)-law and A-law refer to schemes for compressing dynamic range, not for reducing file size. Typically they would be 'expanded'...
Those outputs are actually mono. When combined they provide the desired stereo effect
You can use the cable to connect the L or R output to the speaker, yet need to be careful when using panning on the channel buses as this will effect volume in this situation
If you only have one speaker, you will only be able to output mono sound. Stereo sound requires two speakers. By convention, you should use the left 1/4 in. output to run to your speaker and ensure that the PAN knobs are all moved to the left (since you aren't using the right output). It is also worth noting that unless your speaker is powered, you will ...
SOME M/S microphones provide discrete access to the Mid and Side outputs, but most provide only the matrixed Left and Right derived signal outputs.
Your question cannot be definitively answered as a generic question. It depends on exactly WHICH M/S mic you are talking about and whether it provides Mid and Side outputs?
Specifically, the Sennheiser MKH ...
Let's start with what's right (though likely by accident). The SM57 is a dynamic microphone not needing phantom power (otherwise the scheme would be doomed to failure without a separate phantom power provision) but having low impedance. Which (without signal buffering/amplification) implies very low signal strengths on circuits designed for high impendance ...
The key is to start with cursor at the beginning and just your mono track - make sure it's selected by clicking it. Then click [CTL] C to copy it. Next, click below the track so nothing is selected. Now that nothing is selected, [CTL] V will create a new track and paste the audio into it.
On each track, the dropdown menu beside the words "Audio Track" (or ...
That the channel is "stereo" is really not important as long as you use the L/mono input. But there are other things to consider:
The load impedance (mixer input impedance) should be higher than the source/output impedance (mic/strument). The usual rule-of-thumb is a 1:10 impedance ratio between instrument/mic and preamp.
A typical passive bass impedance ...
You want to duplicate the signal on both the tip and ring of each speaker.
So basically, Source Left (tip) gets wired to tip and ring on the left. Source Right (ring) gets wired to tip and ring on the right speaker.
Sleeve on all connectors is Ground and therefore common.
Any local electronics store will have the parts you need to wire it up yourself.
I know it's been a year since the OP, though it looks like no easy solution was found.
What you want is known as a DJ Cable. As the name implies, typical use-case is for splitting headphone and speaker outputs for DJ sets, but practically speaking it does exactly what you're asking.
Native instruments makes one for $9 available here: https://www.amazon....
Joint stereo is only really useful for actual stereo recordings. What you are recording here (with two microphones on a table) is actually dual-mono, which is very different to "stereo" as there is no correlation between the two channels.
Joint-stereo is only really useful to the encoder when there is correlation between the two channels of the stereo ...
This is called crosstalk: the signal on the left channel leaks into the right channel. When you have 2 audio circuits (left and right) close together without being shielded, the electromagnetic fields produced by the circuits influence each other.
This can happen anywhere in the analog signal path: in the sound card of your computer, or in the headphones ...