Reenable all un-checked audio channels

I am starting to work with an audio engineer on my film.
The edit contains mostly compound clips, each consisting of a video track synced with a bunch of audio. Most clips have a camera audio track, boom, and some lavs - each in it's own mono or stereo channel of a larger compound clip.
As I've been editing, I have been turning some channels off. Sometimes the camera audio is terrible or a lav has lots of clothing noise.
But as I hand off the locked edit to the audio engineer, I want to give her ALL of the audio, even if it was unchecked.
Other than selecting each individual clip, does anyone know hoe to re-enable ALL of the UNchecked channels in my compound clips?
If I select multiple clips, the options for the channels are greyed out in the audio settings. If I show all audio components, the Unchecked ones do not show in the timeline.
If the only way is to select each clip, does anyone know a keyboard shortcut for selecting clips in the timeline?

Your first fcp troubleshooting step is resetting your preferences. I strongly recommend digital rebellion's preference manager
https://discussions.apple.com/docs/DOC-2491
Here are some other troubleshooting steps
https://discussions.apple.com/docs/DOC-2591

Similar Messages

How can I use all tracks from multi-channel source audio with Multicam clips?

I cannot figure this out. Working in Premiere I'm prepping for a 2 camera show, with typically 4 to 6 track dual-system audio recorded by the sound guy. I can sync, and make multicam clips any number of ways–whether sync by timecode, sync by audio, or eyeballing–but whenever I edit using the MC clip, Premiere mixes down all the audio channels into a stereo single track, and I cannot pick and choose which audio track from the original to use. With 2-5 people mic'd on lavs, I need to be able to choose which audio is either cut in or heard at any given shot.
Is there any way to have control in multicam clips over which track of audio gets edited into the timeline, or even: that all tracks of audio get cut in? It's very important for the editors to be able to see waveform (which also disappears for some reason in the mixdown) and pick and choose which audio is heard?
I'm sure this might be a simple fix, but I cannot get my head around it for workflow purposes for my assistant editors. We need to use multicam, but this audio thing is driving all of us crazy. None of us can figure out how to have a multicam clip and use it with control over what audio is cut in.

True, but what I need to be able to do is have my multicam sequence in the source monitor, and cut into my working sequence with either just the audio I need from the sound guy's multi-channel WAV, OR cut in all the sound and from then I can just enable or disable what I need or don't need. But also be able to match back to the Multicam source from my working sequence.
I don't want to have to open the synced sequence, and razor blade the things I need and have to copy and paste into my working sequence in order to have the full spectrum of my multi-channel mono lav WAV files...with their waveforms visible.
Essentially, I want my Multicam clips to load in the source monitor, and the ability to cut them into the working sequence without it mixing down the audio into a single track with no visible waveform–which is what it is doing currently. Can I choose to edit in either ALL of the tracks of the WAV file along with the camera shot I want, or control which audio gets cut in?

PP CS5, importing mp4's I only get 1 audio channel instead of all 4...?

PC,
PP CS5, importing mp4's I only get 1 audio channel instead of all 4...? I put the clips in Vegas & all 4 channels appear. What can I do? Going insane!!!
Steve

It's pretty simple... when you know how
Get ffmbc - FFMedia Broadcast . This is a customized build of FFmpeg that is more geared toward broadcast formats and applications. The latest "official" release (0.5) will work.
Open the archive and find the "ffmbc.exe" file in the "bin" folder. Drop it into the folder with the MP4s--or if you know how to set up a custom path, you could do that too.
Create a new text file called something like "mp42mxf-4mono.bat" making sure that you can see file extensions; you need to have the .BAT extension. Make this file in the same folder as the MP4s and FFmbc.
Paste the following into the batch file:@ECHO OFF
for %%a in (*.mp4) do ffmbc -i "%%a" -vcodec copy -acodec pcm_s16le -f mxf -y "%%~na".mxf -acodec pcm_s16le -newaudio -acodec pcm_s16le -newaudio -acodec pcm_s16le -newaudio
Save it--again making sure it has a .BAT extension--and then double-click it to run it. It will rewrap all of the MP4s as MXF files that will import into Premiere. It will also retain the original four mono tracks as four mono tracks in the destination MXF.
That's all there is to it. Save that script, and you can recycle it whenever you get a batch of these types of problematic files in. Note that it's a completely lossless rewrapping, and should only take a few moments (or minutes, if you have a lot of footage, I suppose). Let me know how that goes.

Using all four audio channels on FS7

Hey, I am currently researching how I can use all of the four audio channels on the FS7? I have the latest update and have read that in order to utlise all the channels I have to use XLR-K2M adapter. Does anyone know if there is a way around that? For example Could someone recommend an on camera shotgun mic that uses the shoe mount? or maybe somewhere I can buy the XLR-K2M adapter without mic kit? Many thanks!

I've noted that using even the internal mic inputs on the FS7 with my Rode NT4, I can hear audio from the 50,000-watt FM station 900' down the road from me, when using it in the yard. Granted, this level of RF shuts down the microprocessors in laptops and some camcorders I've tried out here, so it's pretty severe (over 120dBu, as measured with a HP 8568B spectrum analyzer). My mic cable is custom made, very short, but uses Radio Shack mic cable, so it's not 100% braid shield on the cables.If you're operating in a high RF environment, keep your cables short, and, as a measure, you can either put ferrite beads on the wire just before the input jacks of the camera, or loop the wire 3X around a 1" loop and tie wrap it. The loop is an inductor and will attenuate most VHF-UHF RF energy picked up by the cable's length.

Multiclip--select all audio channels

Hi,
I am making a three camera multiclip. I would like to select between three video angles but keep all 3 audio channels playing simultanously.
The manual is not very clear about keeping all the audio tracks playing while switching between video angles. I have tried most of the choices but I usually get either a single audio track (angle 1 audio) only or the audio angle switches with the video angle.
Is it possible to play all three audio tracks while switching the video angle in a multiclip?
Thank you,
Brock Fisher
San Diego

I have found the problem, damn it, i should have tried it earlier xD..
maybe this will help some people having the same problem because:
They have removed alsa from the DAEMONS array (is needed to store sound levels) because they thought with pulseaudio it is not needed!

How do I export from FCP to a QuickTime file with multiple audio channels?

I'm delivering a project where the first step is to generate an HD Cam SR master, which I will be doing at a post-production lab. They will then do a QC check for me. To generate this HD Cam SR master, they need to me to bring in my 98-minute long movie on a firewire hard drive, in five equal parts -- QuickTime files. From these five QT files, the lab will then be creating an HD Cam SR master that will have...
dialogue on tracks 1 and 2
effects on tracks 3 and 4
music on tracks 5 and 6
MY QUESTION
a) I don't see any way to separate these audio tracks accordingly in the FCP menu for QuickTime export. Does anyone have any experience doing this?
b) And does anyone know the most efficient way to combine timeline audio tracks for this purpose? I have my dialogue sitting on the first FOUR audio tracks, actually. To deliver this film, I'll need to crush these four audio tracks to two, as listed above. I could generate an AIFF file, I suppose, import it back onto the timeline, sync it up, and then re-export along with the visuals to make the final QT file, but this seems like a generation loss.
thanks,
Shanked
PS the movie is made up of footage from a Sony PMW EX1. I used the codec "XDCAM 1080 24p 35mbs VBR" for editing in FCP. I'll either export to QT using this same codec or switch to "Apple ProRes" if my machine can somehow maintain the sync.

The following will answer both your questions a) and b).
Click on your master timeline and press cmd+0 (zero) to bring up Sequence Settings, then click on the Audio Outputs tab on the right. Click on the Outputs option and change it to 6. You can leave them as Stereo pairs.
Now, back on your timeline, you need to make sure all your audio is organised so each track. A1, A2, A3, A4 etc has all the relevant media on it.
Then, on the left of the timeline you see the Destination toggle buttons, then you see the Padlocks to lock tracks, then you have the Toggle Auto Select squares. If you right-click on the Toggle Auto Select squares you bring up a little sub-menu, at the top of this list you'll see Audio Outputs, which will show the stereo channels for that particular track. As you've changed the number of Audio Outputs in the Sequence Settings, the list will show: 1&2, 3&4, 5&6. You just tick whichever channels you want.
In your case, you have dialogue on the first 4 tracks, no problem, just go down through tracks 1,2,3 and 4 as described above and assign these to Audio Outputs 1&2.
Then just go down through your music and effects audio tracks and assign them accordingly.
Now, when you export your timeline as a self-contained media file, it will have different audio channels.
I hope that makes sense. When you change the number of audio outputs as described in the first step, I believe the rest of it is fairly self explanatory, once you know where the settings are.

How Do I Change The Number Of Default Audio Channels for Log & Capture

We just upgraded from FCS 1 to FCS 2. And, at the same time we upgraded from Kona II le cards to Kona IIIs. Here's the problem: we work almost exclusively with digital-based video formats where the audio is encoded into the video signal. Something with this new set-up appears to be causing FCP to "assume" that there are 16 audio channels coming into the project (I'm guessing because the Kona set-up offers "16 channel embedded audio" as the only embedded format). Worse, there doesn't appear to be any way to tell FCP to change the default. In fact, the only apparent way to change the number of tracks being ingested is to go in and manually turn off all 14 of the unwanted audio tracks. It gets to be VERY time consuming. There's got to be an easier way of resetting the default tracks.
Anybody have any ideas?
Tim Walton
KVIE Public Television

Thanks for the responses, guys. I guess I wasn't really all that clear. Something to do with FCP 6 and the Kona III card is telling FCP to set up each project with 16 channels of audio - and ONLY 16 channels of audio. Anywhere that there is a drop-down or check box, the drop-down or check box is either grayed out or only provides choices centered around 16 channels of audio. So, for example, let's say I go to the "Capture Presets" tab under "Audio/Video Settings" and click on "Edit" to modify the current preset. Under "QuickTime Audio Settings," I select "AJA Kona" as my device. Then, under the "Format" drop-down, I have four possible audio formats to choose from - ALL of them showing 16 channels (e.g. - "48.000 khz 24-bit 16-channel"). Nowhere is there an option of selecting, say "48.000 khz 24-bit 2-channel." Everything under every tab specifies 16-channel. So, as a result, I can't tell it to disable the fourteen tracks that I'll NEVER use. I even tried starting with the "Generic" settings tab, used to create your own presets, and even that would ONLY allow me 16-channels - and I couldn't over-ride it!
So far, the only way I've found to work around this is to manually go in and turn off the little green nodes indicating which audio track(s) you don't want to capture. The problem is, every time I have to do this, I'm manually turning of FOURTEEN audio channels.
Hope this helps clarify...
Tim Walton
KVIE Public Television

HT5958 Audio prevents relinking to original media -- can I manually change the number of audio channels for a video clip?

I recently updated to Final Cut X 10.1. I had a project for which I was heavily editing the audio, so I was using the "detach audio" feature and in some cases deleting the audio track. Now, when I try to go into the timeline and relink the movie files (which weren't linked automatically after update), the original media won't relink because "the original file didn't have audio, but the new file does."
Is there anyway to edit the misreferenced file so it beleives it has an audio track?
Thank you for any and all suggestions. I really don't want to start this edit over from scratch.
Ben

Thanks for the responses, guys. I guess I wasn't really all that clear. Something to do with FCP 6 and the Kona III card is telling FCP to set up each project with 16 channels of audio - and ONLY 16 channels of audio. Anywhere that there is a drop-down or check box, the drop-down or check box is either grayed out or only provides choices centered around 16 channels of audio. So, for example, let's say I go to the "Capture Presets" tab under "Audio/Video Settings" and click on "Edit" to modify the current preset. Under "QuickTime Audio Settings," I select "AJA Kona" as my device. Then, under the "Format" drop-down, I have four possible audio formats to choose from - ALL of them showing 16 channels (e.g. - "48.000 khz 24-bit 16-channel"). Nowhere is there an option of selecting, say "48.000 khz 24-bit 2-channel." Everything under every tab specifies 16-channel. So, as a result, I can't tell it to disable the fourteen tracks that I'll NEVER use. I even tried starting with the "Generic" settings tab, used to create your own presets, and even that would ONLY allow me 16-channels - and I couldn't over-ride it!
So far, the only way I've found to work around this is to manually go in and turn off the little green nodes indicating which audio track(s) you don't want to capture. The problem is, every time I have to do this, I'm manually turning of FOURTEEN audio channels.
Hope this helps clarify...
Tim Walton
KVIE Public Television

Silent Audio Channels in Compressed Output Files ...

Has anyone experienced dead silent audio channels in exported MP3 or Podcast/AAC files?
This is included in the application release notes:
Exporting to Compressed Formats
" If you export to compressed formats (MP3 or AAC) using devices that do not use class-compliant Core Audio drivers built into Mac OS X on Intel-based Macintosh computers, the audio track of the exported file may be silent. To avoid this issue, use the Audio MIDI Setup utility to change your default output audio device to Built-in or to a device that uses the class-compliant Core Audio drivers before exporting files."
I'm on a Dual PPC G5, and my Motu interface is compliant. All exported compressed files [with or without video in AAC exports] have silent audio channels.
Any news on this?
-ptfigg.
Power Mac G5 Dual 2.0 gHz
Power Mac G5 Dual 2.0 gHz

All the pods are set to master. I've never set any sub-mix tracks in the
past, and, yes, these are set to zero (but I didn't do it). I set the submix
to 3 for each Stereo & Mono in project settings, default sequence.
Made no difference.
Original audio is standard from a Sony professional camera. Same
camera I've used on a number of occasions.
What baffles me is that I just don't understand the error message
language. In other words: what is it saying?
Cheers,
Bill in Toronto
Date sent:     Thu, 20 May 2010 10:37:47 -0600
From:     Bill Hunt <[email protected]>
Send reply to:     [email protected]
To:     William McQueen <[email protected]>
Subject:      CS3 Error Message The number of audio channels in
     the output need....
OK, the Master is Stereo, and you have 3 Mono Tracks, that should
mix-down to that Stereo Master, which will not be a problem.
Now, it appears that you have no Sub-mix Tracks. Is that correct?
Check to see what the Track Mapping is set to for each of those Mono
Tracks. They should be set to Master.
Having the Track Mapping set improperly could possibly result in this
type of issue, as DVD's can only have a limited number of Audio
streams and these are well-defined.
Maybe someone else will have more ideas for you.
Good luck,
Hunt
PS - as a note, one cannot use ADL to Encore, if the Master is DD 5.1
SS, as that must go through the Minnetonka Audio SurCode DD 5.1 SS
encoder plug-in to get a DD 5.1 SS AC3. That does not seem to be
your case though.

Enabling AirPlay to multiple speakers causes audio channels on local computer to playback incorrectly

iTunes has an audio bug that has been a problem for the last couple releases and it's been driving me crazy lately. The problem is streaming audio to any AirPlay devices from iTunes causes iTunes to for lack of a technical term "munge" the audio placing back out of the local audio output. It seems like stereo audio stops playing out of the local audio output and instead either the left or right audio channel plays back out of both speakers. The stereo channel audio playing out of the AirPlay device appears to be unaffected.
This can be reproduced by:
1. launch iTunes when AirPlay output device is available (AirPort Express, AppleTV)
2. open the Multiple Speakers panel
3. make sure both "Computer" and one other AirPlay output device are checked
4. playback an audio track you are familiar with that has clear stereo separated audio (something with a vocal track with one singer mostly on the left channel and another mostly on the right channel is a good option)
5. the playback will sound odd, like parts of the recording aren't present - vocals quiet or missing; guitar riff quiet or missing
6. uncheck all AirPlay output devices so that only "Computer" is selected
7. listen to the audio track again, it will sound normal
-- if you identify where the audio has missing elements you can click the AirPlay output device on and off in the Multiple Speakers panel and hear the elements magically appear / disappear
A great track to test with the The Beatles / Revolver / Taxman. From 1:12 - 1:25 there is a guitar solo. With the AirPlay device on this solo is completely missing and the track just has bass, drums, and rhythm guitar.
I'm not certain this has to do with stereo audio channel issues on the local playback, but obviously as soon as the AirPlay streaming code kicks it, something with the audio channels on iTunes is getting hosed. It's only been an issue for the last 6-9 months for me and audio streaming worked great for years before that.
Can others reproduce this problem? If so, Apple really needs to escalate this for a fix because using AirPlay pretty much ruins the quality of audio output currently which makes me never want to use it.

don't know if you are still looking at this thread, i hope so.
I have a similar problem, and I wondered if you might help. I have a macbook (2008) running the latest version of itunes (just updated) and Airplay tho with a pretty old router. (I got a relatively new one for the network just a few months ago but the one hooked up to my amplifier is an old airport-- the square ones-- I have had for years -- it's linked to the amp via the 3.5mm output jack)
I seem to run into this on the "Rubber Soul" album, and I checked it agsint the copies from iTunes and even ripping another edition of the CD. The vocal tracks seem to disappear, like the guys are singing at the bottom of a well. "Run For Your Life" for example, the verses Lennon sings are almost inaudible. On Norwegian Wood it sounds like they are in an echo chamber a mile away.
So, on all my other music it seems fine, but I wasn't sure if Steve Jobs hated "Rubber Soul" or what.
I haven't duplicated this on other music -- tho just now I noticed some weird effects on the opening track of Sgt. Pepper. Only half the vocals are on, the lyrics by Lennon are again near-absent) I might try to see what happens when I play the mono version of my Jefferson Airplane CD.
Is there a software fix? Should I be linking my airport in some other fashion to the amp? (The amp is pretty old, I got it in what, 1998?) Should I be using the USB link somehow to the audio out? Is thi an effect of weird stereo mixes of the 1960s?
BTW I am not trying to tream to multiple devices or anythign, just to the one.

Goal: Burn iDVD w/Chapters & 2 Audio Channels

I have 10 songs each with video and two audio channels. I want the dvd to go from one song to the next, but also want to have chapters so that I can quickly get to #8 from #4 (for example). What I've tried:
1) Export individual songs via QuickTime - the two audio channels flattened into one. Gotta have 2 discreet that can be controlled via mixer.
2) Exported all 10 as one sequence with a chapter marker for each song via QuickTime Conversion - got 2 stereo channels - poifect - but only one long 'chapter', the only way I can move thru is via FastForward - not good.
Manuals say just add chapter markers (not at beginning, >1 second apart from each other, only 99, etc), but I can't get them to function in iDVD.
SHOULD QuickTime keep two audio channels, if so, how do I do it?
SHOULD I be using QuickTime Conversion - does it toss the markers?
Help and Thanx

I've found the articles on Ken Stone's site about chapter markers and preparing Final Cut materials for iDVD extremely helpful. I would suggest you check them out and try the suggested workflows. The site address is www.kenstone.net
Best of luck.

Right audio channel

I've had my Lumia 822 for a month, just paid first phone bill, and today my right audio channel has quit. It's not in headphones or on phone music speakers. Would this be a software or hardware issue? I was sold on this phone til today. If possible, is this something I can fix myself.

hi mate,
have you checked that there is no dust in your headphone jack or that the headphone jack assembly has not received any physical damage? also check that you are up to date with all the latest Nokia system app updates from the Store, and that you have the latest firmware installed on your device. failing that, try performing a soft reset (pressing the volume down and power buttons together until the phone vibrates).

How To Flip Audio Channels? (KT3 Ultra2 Onboard Audio)

Installed Winxp and the Sp1 update, then the 4.43 via 4in1's. Then I installed the onboard audio driver downloaded off this site for my board. When I click the RIGHT SPEAKER in the audio setup, sound comes out the LEFT speaker, and visa versa. I know the speakers are not backwards, as they have not moved in over a year (and have went through two computers now).
Anyone know how to switch the channels over so they are right?
Kyle

When working with Audio in most NLE's, i.e. Premiere Elements, or Pro, there are basically three areas that can affect how the Audio is handled on one's system. First, there is the Sound settings in Windows (from Control Panel). Next, the Audio card/chip probably/possibly has a console to make settings at the card/chip level. Last, and these are really two locations, but I'm only counting them as one since they are both in the NLE - Edit>Preferences>Audio & Audio Hardware. This is where Steve is referring to. Check all settings, and I'd suggest doing so in the order that I listed them above: OS, Audio card, then Premiere. A Mute, or by-pass in the first two, can override the settings in Premiere, and you may have its setting correct, but still not be able to effectively use your hardware.
The exact settings chosen will depend on the exact hardware that is properly installed. Without knowing all of your hardware and other settings elsewhere, one cannot give you a definitive answer. Ideally, in the settings drop-downs, you *should* see your hardware listed. Look closely, as these can be a bit cryptic.
If you are still unable to get your hardware working properly, a fourth place to look would be Control Panel>System>Hardware>Device Manager for your Audio hardware. Check that Device Manager sees your hardware, and that it is working properly.
If all is set up properly, but still not working, report back with exact specs on your system, including all of your Audio hardware. There are possibly some more steps that can be taken. I will not mention them now, as they *should not* be needed. If you do need further assistance, please list every option in all of the drop-down lists from Premiere, so we can know what your choices are.
Good luck,
Hunt

How can I speed up this VI? It only checks 6 channels, but updates only 20/sec

I am measuring 6 channels of current in this VI. It will only update about 20 times per second.
The VI is quite simple. It measures current on 6 channels, performs a running average using shift registers, and performs some math on the current to convert it to loads. It also writes all values to a file once per iteration. I ran a similar VI that only checked 4 channels and did not write to the file, but it is not much faster. I also tried to make sure all coercion dots were eliminated, but that did not help much either.
Can anyone take a quick look and see if there is something obvious I am doing that is slowing it down? Or is this a reasonable update rate for this VI?
The top-l
evel VI is the one called "RunTestBed 24v loop loop.vi".
Thanks!
Mike
Attachments:
RunTestBed_24v_loop_loop.llb ‏349 KB

You are using high lvel VI to do you I/O inside the loop.
Take a look at the shipped example that demonstrates how to start a do a continuous acquisition.
The example is title something like
Continuous double buffered acquisition.
The High VI's you are using are configuring the I/O and allocating buffers durring each iteration. THe eaxample I mentioned will do all of this one up front and then just re-use everything inside the loop.
Ben
Ben Rayner
I am currently active on.. MainStream Preppers
Rayner's Ridge is under construction

Feature Request: Modify Audio Channels from the Timeline in Premiere CC.1

Why have we never been able to modify audio channels once a clip is added to a sequence? I'm guessing there's a good reason Adobe has never had this feature. The lack of this feature is explicitly mentioned a few times in the audio section of the Premiere Pro CC manual, as if it's a benefit NOT to have it. But the benefit is entirely lost on me.
In my workflow, I synchronize my double-system video and audio before anything else. I do this in PluralEyes (and unfortunately I'll have to keep doing it this way, until PPr's sync on sound feature gets fixed—for me it's never worked).
Once PluralEyes has synched hours of footage and audio and placed it on a PLURALEYES GENERATED sequence, I import that sequence into Premiere. Note: Since I haven't gone through the step of creating a blank New Sequence, I don't get the opportunity to setup my audio channels the way I'd like in my sequence (i.e. Stereo recordings should occupy ONE track, not two. Typically these tracks come from a camcorder and are used for reference sound, or ambient noise at best, so I don't need them taking up precious real estate in my sequence).
Since PluralEyes doesn't merge my clips for me (or rather I don't want it to since I'm usually doing multi-cam sequences where I want to keep all 14, or so, tracks of audio), I have to go through the clips one by one and do a Merge Clip action once I've adjusted any minor sync issues, or determined which tracks I actually want to keep. But, and here's the key, at this stage I'm not yet 100% certain whether I'll use the nat sound or the wireless mic sound (separate audio recorder, etc). Furthermore, I don't really want to think about that at this point. After I've spent a few mind-numbing hours just ingesting files, sync and merges, I want to jump into the edit as soon as possible, before I lose all will to finish this edit. If I modify my audio channels right now, I'll lose the ability to make some creative decisions later on.
I'd like to start whacking out an assembly edit. And then after I have a rough program, I can start looking at which audio tracks (nat or double-system) I like better in each circumstance. This is where I become stumped that at this stage, I'm locked into whatever audio channels I've setup (or not) in the earliest stage of the edit, back before any media was actually on the timeline! It's at this stage, and usually only at this stage that I want to start Modifying Channels—FROM THE TIMELINE!
Does anyone else feel the same? If not, what is your workflow?
Feature Summary: Right-click on any clip, (master clip, sub-clip, merged, nested or otherwise) in the timeline and choose Modify > Audio Channels.
I've submitted a feature request, with a link back to this discussion, so please pipe in—especially if you want this feature.

Maybe its your specific workflow, asset mangement and use of a 3rd party application that runs you into an issue.
Take Pluraleyes out of the equation, I would imagine my workflow is the same as most everyone else. Find footage in the Media Browser. Import it. Create a Sequence and start editing. Use the Source Monitor to set Ins and Outs and then Insert the clip on the timeline.
At this point, if the audio needs to be modified, it cannot be done on the Timeline. The workaround, of course, is to Find Clip in Project; Modify Audio in the Project panel; then do a Matchframe to replace the audio clip. This works, but requires many steps per clip. Also, Matchframe in Premiere Pro CC is not reliable.
Introducing a new Modify Audio (from Timeline) feature as seen in the fantasy screenshot above would solve it.
I dont use Pluraleyse ...which I understand to be a synching aid...so I dont know the workflow it imposes on one .
Returning to Pluraleyes workflow, this issue is compounded by the need to Modify almost ALL audio. Every stereo track is separated and placed on two MONO tracks taking up precious real estate. This is not something Pluraleyes imposes. It is due to the way Premiere imports XML timelines. This would apply to sequences imported from Final Cut as well.
In this case it would be ideal to select both the LEFT and RIGHT mono tracks and choose "Modify > Audio Channels > Merge L/R Mono to a Single Stereo track." Ideal? No. I guess Ideal would be if Premiere would interpret XML files properly in the first place.
What actually is the issue with Premieres synch and merge workflow in your case?
Audio Sync in Premiere Pro doesn't work. Period.

Reenable all un-checked audio channels

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