On my previous iMac and my current MacBook Pro the audio in Premiere and After Effects would switch to headphones when headphones were plugged in and switch back to the speakers when I unplugged, all without having to go up to Audio Hardware in preferences and switching.

Now, on the iMac Pro that is not the case. Each time I plug in headphones, the timeline stops playing and i have to go up to preferences and audio hardware and select external headphones or iMac Pro speakers if I'm unplugging them.

I was on the phone with Apple about this as well as Adobe, and what the Apple rep and I found out is that the iMac handles audio a little differently. When you plug in headphones it sees it as a new audio source while the previous iMac and the current MacBook Pro switches it.

On the older iMac and the current MacBook Pro in Preferences/Audio Hardware/Default Output you see Built-in Output (this will be whatever the output is for the computer it self)

On the iMac Pro in Preferences/Audio Hardware/Default Output you see iMac Pro Speakers and if headphones are plugged in External Headphones. It's reading it as two different sources.

Also, which I think is a complete bug is if you are on External Headphones and you unplug them, it won't play the video any more even if you switch the audio hardware to iMac Speakers, you have to quit (sometimes force quit) and reopen the application.

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.

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?

I need an option to view iMXL Audio track info in my timeline.

This would be amazingly helpful when editing anything that has multi track audio that has been recorded and labeled in the field.

Films, shorts, dramas - anything that has multi track audio synced to the footage I am working on and need to gain anything up or down, mute and so on.

For an example, an audio person might label, on set his, tracks like this:
Track 1 is MixL
Track 2 is MixR
Track 3 is Boom
Track 4 is Lav1
Track 5 is Lav2

If I could view, on my timeline these "labels" or "markings", that would speed up my workflow tremendously.

Right now I can only see the "file names" of the audio tracks, I can ofcourse go in and rename them by hand but on an hour long TV drama show I have maybe 5 and up to 10 audio tracks that all need different markings, this would take hours of work, and shouldn't be needed because they already exist in the iMXL.

It is common for sound mixers to deliver mixes in multiple mono (wave) files, 1 file per track.

When it's stereo, we just put up with it, and pan the tracks accordingly. With 5.1 (or 7.1) sound, between using the surround panner and handling LFE appropriately, it becomes an unacceptable mess.

(See https://forums.adobe.com/thread/1530411 )

2 ways to handle this:

1. As in Avid (and as in Premiere's venerable Import window "Image Squence" checkbox), automatically recognize a collection of files as surround channels, based on their suffixes, and import them as one surround clip.
(See https://forums.adobe.com/thread/1303803 )

2. Using Merge Clips.
Currently, Merged clips audio can only be Mono, not stereo or multichannel. Those options are grayed out, for some bizarre reason.

We'll also need a better way to map by showing the source clip names, instead of "clip 1", "clip 2", to know which one was which.