This track based audio type of mixing is how many high-end audio applications works well. In Final Cut Pro automation is only possible per clip.

Automation key framing as in automatically recording keyframes as you play back the timeline and adjusting faders on the audio mixer are also possible only per track basis. You can also route individual audio tracks into the sub mixes and then apply effects to a sub mix. This is great for on camera interview when you have all one subject’s dialogue on the same track. One advantage is that you can add audio effects such as compression or dynamics to the entire track at a time. While some people like this track based audio editing approach better because it allows for a bit more flexibility others do not like the way Premiere Pro works with audio. Rubber banding and key framing the rubber bands can also be turned on on a per track basis as well. When you turn on Track Volume or Keyframes the audio rubberband runs across the entire audio track in the timeline. The audio rubber banding works very much like Final Cut Pro where you can and keyframes and adjust the rubber bands with the mouse.

You can adjust the audio on a per-clip basis by using the audio volume rubber bands that are available when you twirl down one of the audio timelines. Premiere is a track based audio editor which means when you’re using the audio mixer and moving sliders up-and-down you are changing the level for an entire audio track and not just an audio clip. Here are a couple samples of the questions he answered:ĩ) Can you compare working with Audio in Premiere with FCP? Scott Simmons of ProVideo Coalition recently held a webinar where he fielded 105 of these questions, which he turned into a very informative blog post. If you’re a Final Cut Pro 7 or Final Cut Pro X user and have been thinking about checking out Adobe Premiere Pro CS6, you probably have some questions about the similarities and differences in how they operate, or their advantages and disadvantages as editing tools.

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