Feature Request: Option to Ripple Audio Track Keyframes When Editing

Forum|Forum|6 months ago
November 19, 2025
4 replies
137 views

Currently, when I create keyframes on an audio track in Adobe Premiere and later make timeline edits (such as trimming or rearranging clips), the keyframes remain fixed at their original positions. This often causes misalignment between audio adjustments and the edited sequence, requiring tedious manual corrections.

A valuable enhancement would be to introduce an option similar to “Markers → Ripple Sequence Markers”, allowing users to choose whether audio track keyframes should maintain their relative timing and move with the edits (ripple) or stay locked to their original positions. This flexibility would greatly improve workflow efficiency when making structural changes after detailed audio adjustments.

Example Use Case:
When recording a voice-over and mixing “live” using submixes, it becomes extremely cumbersome to make changes later—such as closing a gap before an interview soundbite (O-Ton). Without ripple functionality, every keyframe adjustment must be manually realigned, which slows down the process and increases the risk of errors.

A

athletic_fact6385

Known Participant

I don’t see why this isn’t a feature in the first place and I don’t know any DAW that will leave automation behind when cutting or inserting parts (I’m not talking about moving clips but whole segments with setting in/out and insert or delete).

Personally I couldn’t think of a situation where I would this not to be happen but for the people who do have a case, the option to switch behavior would be best (like with markers).

At the moment, this is a huge problem and the main reason why I don’t work with audio as much in Premiere. In that state, track keyframes are pretty much unusable for me as it would mean way too much work to adjust everything in case something changes (again, I only talk about easy, general changes like inserts or cuts).

Even for a NLE this should be basic functionality in my opinion.

M

maximeb24899079

Inspiring

Yes it’s really annoying. I use send reverbs to polish audio cuts quite early in the editing process and this feature would be a huge time saver.
Someone told me to use compound clips to add reverb (like you do in FCP), but it’s not a good solution when you have submix tracks at disposal.

M

MaaaritAuthor

Participant

I’m aware of that method and use it myself, but it has significant limitations. First, it’s not very precise, especially when dealing with complex timing adjustments. More importantly, audio work often involves multiple tracks—sometimes several layers of dialogue, music, and effects. The lasso workaround only works on one track at a time, which makes it inefficient and time-consuming for multi-track audio editing.
Having an option to ripple keyframes across edits—similar to how sequence markers can ripple—would save a lot of manual work and reduce the risk of errors. For professional workflows, where timing and consistency are critical, this feature would greatly improve efficiency and accuracy.

C

Christian28966414kxux

Participant

This may be true, however it is usually much more painful when dealing with audio IMO. Lassoing / moving does work, but being precise (basically moving the exact amount of frames that you added to / cut out of your piece) is a PITA.