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I found another button in one of my software packages a while back that lets me convert the stereo track to mono. I was wondering if stereo tracks with all its glory of pan and space are the standard for any taxi film tv submission. Somewhere I remember reading that you need to check the tracks to make sure they sound good in mono because the users for some film and tv work anticipate the listeners or the broadcast in mono. Any thoughts?ArkJack

Quote:I found another button in one of my software packages a while back that lets me convert the stereo track to mono. I was wondering if stereo tracks with all its glory of pan and space are the standard for any taxi film tv submission. Somewhere I remember reading that you need to check the tracks to make sure they sound good in mono because the users for some film and tv work anticipate the listeners or the broadcast in mono. Any thoughts?ArkJackOnce I've mixed everything to my satisfaction in stereo, I run off a mono mix and have a listen to make sure everything sounds balanced. Well-panned stereo tracks are definitely the standard for film/tv submission.

hi ark,I think you confuse two things here:* it's not the meaning that your final mix is a monotrack. the finalmix should be in stereo but...* ...you should CHECK the mix if it's so-called "mono-compatible"; is every element present when LISTENING to the mix in mono? or does the mix "collapse back upon itself"?you also can check that with a stereo-corelation-meter (in most mastering software included.I think you'll find plenty of articles on the net which explain that in deeper details.Ps: the reason why it's recommended to check the mono-compatibility is simple: some tvs, radios etc still work in mono (one speaker). therefore you want to make sure that those listener also can hear the music well enough, and check your mix for mono-compatibility.hth,martin