Dear Adobe, AUDIO – OH how awful

[Wendell Davis]

Thanks David.

I’ll give it a try tomorrow. Back to my “frustration” as you said a pain.
Happy editing with a hopefully fixed CS7.
Wendell

[Bob Pierce]

Wendell,
I agree overall with your frustrations with PP audio.

One thing I suggest though is, setting your camera audio tracks to mono, and using STANDARD type tracks in the sequence. This is the best of both worlds – the dual mono tracks are editable separately and true stereo tracks (music) can exist on the very same track but appear as stereo and don’t allow you to edit the channels separately.

You’ll also want to set your preferences so PP stops assuming the audio from your camera is stereo on import. You can change this after importing, but not after you’ve put the clips in the timeline.
Good luck,
Bob

Director of Photography • Editor
http://www.lightstreamassociates.com

[Wendell Davis]

Thanks Bob. I can and do work around it – just frustrating and worse time consuming. Avid and Final Cut had things so much better. However both blew it – Avid were snobs and over charged, Apple came out with FCPX and no longer cares about the pros.

PPr has plenty of pluses but it just seems clunky and takes way to many clicks to do simple things.

Happy editing.
Wendell

[Kevin Monahan]

Thanks! Please keep up the feedback and we’ll do our best to listen and put important fixes in as fast as we can. https://www.adobe.com/go/wish

Kevin Monahan
Sr. Content and Community Lead
Adobe After Effects
Adobe Premiere Pro
Adobe Systems, Inc.
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[Tim Kolb]

Wendell…did you set up your audio handling preferences?

You do know that a standard track can take mono or stereo…

You know you can create a sequence preset with a set mixture of tracks if for some reason you need mono instead of a standard track for camera audio and you can then have standard, or adaptive tracks as well. A sequence can have any/all audio source track types.

Your camera media can come in a a 2 mono track and you can still use your music bed in stereo, and simply adjust the volume on the whole clip.

Premiere Pro is pretty flexible on the audio side…but it doesn’t work like FCP did.

While I understand the desire not to use a mouse, the actual audio capabilities and flexibility inside of Premiere Pro have been very strong for some time…even when many didn’t give it much of a look because the sequence editing tools had some catching up to do.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Wendell Davis]

Thanks Tim. Have gone through all the different settings and haven’t found anything that works the way I feel it might. I generally use mono on tracks 1-3 because I want all my camera audio to come in mono.

PRr CS6 is working for me just way to many clicks and additional things to do. Every non-linear editor has its quarks. My favorite has been FCP7. They lost me with X.

Appreciate the feed back.

Wendell

[Tim Kolb]

Wendell…

This is exactly what I’m saying…it’s at least partially how you’re thinking about this…

How your camera audio is brought into the project isn’t controlled by the audio track designations. There is a preference to control how 2 track camera audio is interpreted…and if there is an occasion where you’d like a particular clip to be interpreted differently, you can modify it in the project panel.

If you used standard tracks instead of mono tracks, the mono audio from your camera will work fine…and if your music bed is stereo, that will work on one standard track as well. FCP only had mono tracks so a stereo clip straddled two tracks and stayed ‘linked’…since Premiere Pro has much more flexible track structure, you just use stereo as stereo.

TimK,
Director, Consultant
Kolb Productions,

Adobe Certified Instructor

[Wendell Davis]

Well 5 of us here have tried not successfully to get it to work the way you suggest. When I have some time I’ll play again.