Synchronizing dual system recorded video and audio, P. 229) – Apple Final Cut Pro 6 User Manual
Page 562
Chapter 14
Linking and Editing Video and Audio in Sync
229
II
If a clip contains two mono audio channels:
 In the Timeline, each mono audio item is treated like any other linked item. Clicking
one item selects both items with linked selection on; with linked selection turned off,
you can select one at a time.
 In the Viewer, each mono channel has its own tab, named Mono (a1) and Mono (a2),
Mono (a3) and Mono (a4), and so on, depending on how many channels the clip has.
Levels, pan settings, and filters applied to one mono channel are not applied to
the other.
If a clip contains a stereo pair of audio channels:
 In the Timeline, the pair is treated as a single linked item. Stereo pair items are always
the same length, and they cannot be modified or selected independently. If you
select a stereo pair of audio items in the Timeline, you must select both together,
even if linked selection is turned off.
 In the Viewer, the stereo pair appears in a single tab, called Stereo (a1a2). If multiple
stereo pairs are linked together, the numbers used by each successive stereo pair
increase, for example, Stereo (a3a4), Stereo (a5a6), and so on. The waveforms of both
audio channels are displayed in this one tab, and any levels or effects applied to one
track are automatically applied to the other.
Details on creating or separating stereo pairs are given in Chapter 17, “
Synchronizing Dual System Recorded Video and Audio
If you are working with captured audio and video from different sources (dual system
recording), you’ll probably want to link the audio and video clips by merging them into
single clips in the Browser after syncing them. This way you can easily work with them
as single clips in the Timeline or the Browser, as if you had captured each one as a
single clip and media file. Before actually merging two or more clip items, you first
need to find a synchronization point between them. There are different ways of doing
this, depending on how you shot your footage. See Chapter 3, “
,” on page 45 for details.