[Marco Circosta garcia]

I solved it, thanks to Michael for providing me with the right imput. I used an easier method though, discovered after messing with Matt Lyon’s tutorial a bit.
Here’s what I did: I simply selected the file in the bin, choose MODIFY–>TIMECODE… and then I unchecked the SOURCE TIMECODE.
Doing this simply disables the timecode from the audio files, apparently solving my problem.

[Marco Circosta garcia]

You absolutely understood my problem. Both film and telecine are at 25 fps. The recordist did exactly what you said.

[Michael Gissing] “So copy all the audio to aif files and before you import them into FCP make sure your easy setup is on 25fps. The aif files should have a slight name change so when batch converting, add a prefix. Do not change the sample rate as the sync drift is due to FCP interpreting a frame rate.”

If you mean export all the audio files with compressor to aif files and then import them in FCP I already tried it: it works but it merges the 4 tracks of the WAVE files into a single stereo track. As I said above the WAVE files have 3 to 4 tracks, each one recorded with a different microphone at the same time.
Is there a way to do this without merging the tracks?

[Marco Circosta garcia]

Ok, sorry, I thought the audio recording itself wasn’t frame based, otherwise I don’t understand how could I solve the problem by re-encoding it without changing the sample rate, like I did in that previous case I mentioned. That time I literally didn’t do anything to the audio other then re-encoding it in the same format (48Khz, 24 bit) and when I imported it on Final Cut it didn’t have any frame rate/timecode anymore and I could sync it without any problem.