Splitting a poly WAV, step by step

1. Import

Load the take and let the tool read what the recorder wrote.

• Drop a poly WAV, AIFF, FLAC, MP3, M4A or OGG file on the drop zone, or click to browse.
• Check the spec strip: channel count, sample rate, bit depth and duration must match your sound report.
• Track names come from the iXML and bext metadata, so boom, lav and mix are already labelled.
• Pro users can drop several takes at once to run the whole folder in batch mode.

Tip If a channel list looks shorter than expected, the recorder wrote a mono set, not a poly file. Use the merger instead.

2. Settings

Decide the delivery format before you export, not after.

• Keep the source sample rate and bit depth unless the post house asked for something else.
• Choose WAV 24 bit for editing, AIFF for older Pro Tools sessions, MP3 only for review copies.
• Rename the output stem so files sort by scene and take in the finder.
• Untick channels you do not need, such as an unused plant mic or a duplicated mix track.
• Rename individual tracks if the recorder labels are cryptic, for example CH3 into LAV_MARIE.

Tip Renaming before export saves a rename pass later; the name is written into the file name and the track metadata.

3. Export and ZIP

One channel gives a single file, several channels give a ZIP.

• Press Export mono tracks. A single selected channel downloads as one file.
• Two or more channels are packaged into a ZIP named after your output stem.
• In batch mode each take gets its own folder inside the ZIP, so the structure survives unzipping.
• Unzip into the audio folder of your project before importing, never straight into the NLE from the archive.

4. Quality control

Two minutes here saves a day of conform problems.

• Count the files: channels exported multiplied by takes must equal the file count.
• Play the boom and the main lav in the built in player and confirm the names match what you hear.
• Open one exported file in the Audio Inspector and verify sample rate, bit depth and duration against the source.
• Check the duration of the longest take; a truncated file usually means the source was still copying.
• Import one take into Resolve or Premiere and confirm each stem lands on its own track.