Hi! I have 280 sequences that all need to have added two effects from the Audio Track Mixer-panel, but the effects there are not possible to copy and paste from one sequence to one or multiples, so I now need to create 1 sequence with correct Audio Track Mixer effects, then duplicate it 279 times, then rename all new 280 comps and then paste every one of the original 280 sequences into the new one in order to have an easy Single Band Compressor on Audio Track 2, and Hard Limiter on Master track.

A simple right-click in the option drop-down menu on Audio Track Mixer with "Copy all effects", and an option while in the panel window in the right-click drop-down menu with "Paste all Audio Track Mixer Effects"

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.

You know the situation. You cut up a sound file and all looks well until you play it back. Then you hear it. The audible click from each start and end of a clip as the sample is jumped from zero of near silence to the audio clip you want there.

The common solution? A one or two frame fade to bring that sample down so it plays nicely in the mix.

The 1-2 frame crossfade on sound clips... So many times people have asked me why I so religiously do it on all sound clips. But killing all the clicks, you so notice them when you know how to get rid of them.

I mean, it is so ubiquitous, that I'm wondering, why is it not applied by default in edit programs? Why is it up to me to make sure that a sound clip doesn't start or end at a non-zero sample? In how many scenarios would a non-zero sample start and end actually benefit an editor?

Ok. I know, some people would point to the meticulous task of editing syllables in speech... But those guys would never accept an NLE's "precision" of 1/24's of a second anyway. So those people need the sample accurate ability of 1/96000 of a second that DAW's provide.

So why do NLE makers not add such an easy to overlook function?

It is so strange for me.

Even if it's simply a button in essential sound I could click on after selecting all potential troublesome clips. It would cut down on mouse clicking so many folds... And it wouldn't bother the old school crew who prefer the dangers of clicky sounds.

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.

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.

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?

Currently Clip Mixer level displays show output channel levels on clips. This is quite counter intuitive.

For example, I can set up 4 channels on a source clip mapped 1 to 1, 2 to 2, 3 to 3, 4 to 4 and set up a sequence to monitor these 4 channels through both left and right hardware monitors (ie. they are all monitored as mono channels going to both monitors).

I can then show channel levels in the mixer ("channel volume"). Intuitively, one would expect each of the four source channels to correspond with volume indicator above which they are positioned. This would be indicating levels of each channel immediately under the channel control.
Unfortunately, and counter-intuitively, this is not how the interface is currently designed. Instead, for the above example, you would only get level indicators on channel 1 and 2 (the L and R monitors as set up for the sequence) and nothing in 3 and 4 - regardless of the channel control you are operating.

The simple solution would be for the level indicators to be mapped to source channels.

This highlights the convoluted design of the channel set-up chain in Premiere Pro right now (from clip to sequence to hardware) which itself needs to be redesigned. But channel monitoring in the clip mixer would be a good place to start.

I have a brand new imac fully loaded with 40 gigs of ram, imac hard drive is SSD, Media Cache is located on another SSD, working files are on another SSD. Premiere is the only program running.
As soon as I have two tracks of video playing with audio, the audio drops out within 30 seconds to a minute of playing the sequence. It's driving me NUTS! It's 1080 P video at 24fps. No effects, just straight video. What is going on here?
I've tried in on metal and open gl, and have even reduced quality to 1/4 quality and it still does it!
How can I fix this issue?

I think the submix tracks should have a sudo clip. This would be very useful if you have added track keyframes and then need to insert something at the front of the sequence. All of he keyframes would then slide with everything above it. A sudo clip could also allow auto ducking to work on a submix track. I would use this extensively as I often have to prepare an international audio mix (all of the sound minus the voice over or narration), then add the VO and Narration to a different track, then create a full mix in English, dipping all the elements under the English so the voice can be heard, but outputting the international track unzipped.