there are robust tools to create different master audio tracks in the CREATE sequence dialogue box, but many of these tools are unavailable in the sequence settings AFTER the sequence is created.

I, for instance, have been editing a very complex documentary and using a lot of track automation. I finish it, and have the L/R audio coming out.

Suddenly, my distributor wants breakout tracks for Dialouge, Music, Effects. it would be GREAT if I could just make my sequence an 8-channel master, and then route tracks to the different channels!

Becuase i've made extensive use of automation, I can't just start a new sequence and copy all clips over. Instead, I'm forced to export each track individually, then re-combine in a hacky way in QT Pro to get the 8-channel mix I'm looking for.

An extremely common scenario is to receive a finished film with an existing 5.1 mix as 6-track mono. In order to use a surround effect (such as Loudness radar) you need to map those mono tracks to a 5.1 master track. It's trivial to assign L / R / C / Ls / Rs tracks with the audio panner - but there's no way to pass through the LFE track "as is".

You can set the LFE level to "0.00db" but you're still going to get audio routed to either the front or surround L/R channels (or both) depending on your panner placement.

Audition (as with most DAW software) solves this option by a "LFE Only" button on their panner that will bypass any panning, and just assign the output of a track 100% to the LFE.

This would be a huge quality of life improvement, as it's not feasable to round-trip a completed film through audition if you just want to sample test a loudness reading, or do some other localization edit that is not otherwise touching a finished mix.

System details:

HP Z240
Intel Core i7-6700
32 GB RAM
Windows 10 Pro
Nvidia Quadro P4000
Premiere Pro CC (Version 12.11 / Bld 10)

While I am not sure of the precise error code, I will attempt to describe what transpired.

I imported a finished voice-over audio file (.WAV, 48 kHz / 24-bit) with the intention of splitting the file as appropriate so that it would match a simple screen recording video.

In order to precisely align some sections of audio with the corresponding screen recording, I changed the timeline to "Show Audio Time Units." I then cut and re-positioned the various audio regions, and added one-frame exponential fades to each audio clip. When finished, I changed the timeline timebase back to frames. After briefly reviewing the edit, I rendered out the project using Media Encoder.

After checking the output file, some sections of the audio were INSANELY loud, and extremely distorted. Curious, I re-opened the PrPro file and checked the various audio regions. No effects, and no gain changes had been applied.

What I did see - which was very, very confusing and required me to zoom in considerably - were transitions that had been placed inside the boundary of the audio regions (which WAS NOT where I had placed them). Either the transition had moved forward, or the audio region boundary had moved backward as a result of turning off "Show Audio Time Units."

Subsequently, I attempted to remove the transitions (without success; I was unable to select the transitions to remove them). Trimming the audio regions, while the timeline was set to "frames" and not audio units, fixed the issue. But then, when I attempted to shift an audio region in the timeline, Premiere would crash (this occurred repeatedly).

When it crashed, Premiere displayed a "Premiere Pro Debug Event" message, along with an error, indicating that an "Input Contract Violation Has Occurred!"

Trimming files was fine, but the only way to resolve the issue was to revert to a previous version, and then remove fades from the audio regions that appeared to be affected.

Not entirely sure if this is relevant, but clearing the media cache and media cache database did not resolve the issue, nor did a system re-start.

Lastly, when I was finally able to get a working session file open again, I did notice that after trimming a region AND deleting a fade... the fade re-appeared, but didn't indicate the TYPE of fade (it seemed like an exponential fade, but it was like... a zombie fade, and I couldn't remove it).

Hope that this is helpful...

For some reason, one specific audio clip in my timeline won't allow me to auto-match it to broadcast standards. Instead, it just shows "not matched (Analyzed Loudness -1.00 LUFS)" whenever I click the auto-match. When I click reset and try it again, it does the same thing. None of the other clips have this issue. I discovered this issue with this clip when auto-match would not work for all of the clips selected at the same time. When I did that, it wouldn't auto-match and showed an error that one or more of the selected clips wasn't enabled. Now that I've narrowed it down to this one problematic clip, I'm not sure of what to do next. Nothing I do seems to change anything, even disabling and re-enabling the clip. Could this issue be resolved?

A more coherent approach should be taken to source channels, timelines, and monitoring.

In short, there's no reason that audio tracks in Premiere Pro should have a "track type" assigned to them (mono, stereo, multi-channel).

Any clip (mono, stereo, multi-channel) should be able to be put in an audio track.

There are three issues which need to be addressed:
1 - How channels are assigned within each source clip (ie. is it a mono channel, 2 channels as a stereo pair, or multiple channels as a 5.1 set-up, or any combination of the above)
2 - The number of channels in the master track (ie, what the timeline has been set up as; this should either be stereo, 5.1, or multi-channel)
3 - How the timeline master track is linked to hardware channels for monitoring.

Tracks should play no part in this chain. The channel mixing capabilities on each clip should address the chain of signal from clip to master timeline channel.

If you change settings in the "Audio Clip Mixer" (such as to solo track 7, say), the next time you open a DIFFERENT clip, this same setting sticks around — but it really shouldn't. The nature of this being a CLIP mixer (not a universal mixer), means it should reset each time you open a new clip (and ideally, stick only to that clip, not become a new default.) I just wasted an hour trying to figure out why a 12-channel export was only exporting channel 7... when, as it turns out, Premiere was simply soloing track 7 in the Audio Clip Mixer, because at some point recently I had apparently soloed t7 there for a completely different 12-ch clip...