proxy media and full resolution media must have matching audio channels

Please change this. It's a fault that cuts to the fundamental failure of Premiere not to give the user ultimate control over everything and that is where Avid and increasingly Resolve gives Premiere such a good spanking. In Avid the user can select or deselect everything - there is always a fix or work around. The issue that Avid then has to deal with is fiendish complexity, which Premiere doesn't have. It would be fantastic to have a straightforward system where everything can be changed...!!! In Premiere you always hit these seemingly pointless brick walls. Now I have to reconfigure all the proxies I created in Media encoder.... my issue is that Canon MXF seem to have 4 numbered audio channels that I can't delete and yet I created two channel proxies with left and right, the modify audio channel box simply doesn't have enough buttons to change more things about the representation of the media and there is lots of space for more buttons...! My overall suggestions would be more more functionality but not at the expense of logic - more complex yes, but more complex logically, there is so much in Avid which seems like the Ivy grew round the house and became knotted and illogical, and operates against itself, if we could have much more functionality that works in a straight line, where its expected to be and not in conflict with another function that would be great...it seems crazy there is still so much that is imperfect about all these editing systems in 2021, why aren't they perfect by now? Why have they become less perfect over time, I think that is a fundamental question that needs answering.

Not only this, but they need to allow us to use audio passthrough for building proxies.

Oh my gosh, this is doing my head in! Handed over a production with 38TB of footage , proxy files generated outside of adobe with 2 channel stereo audio vs the Full-Size version which have 5 channel mono and now can't connect the Full-SIze media short of Offline/Unlink the whole sequence and then link manually. If I use auto-connect other media it only re-links the one file and the rest connected back to the low res versions. I'm sure there is a work around but a what a mission... Please give us the option to choose whether or not we want the audio..

I use Adobe Premiere to make proxies, and it's always worked fine, but after a recent update it longer works for me. The issue is the audio channels.

My camera (C300 mkiii) records 4 mono channels. I have to use ProRes to make the proxies since h264 doesn't support 4 channels. The audio on the proxy does not show up on my timeline, but it does when I toggle the proxy off. It never used to do this, perhaps a recent update changed something?

This is utterly frustrating, has there been a fix yet?

In my experience, Premiere has the best system in place for generating proxy media, in that the files that are generated are very easy to share with other editors who can download them, re-attach them inside a project, and keep the ball rolling with editing. however, the hurdle of actually MAKING the proxies certainly is the hardest part of the process. every time I sit down to make proxies, I encounter this "incompatible audio channels" error. I have tried making my own export settings, creating ingest settings, I have tried everything. and time after time, it has this problem. I really think this issue needs to be solved soon for Premiere to remain a solid competitor.

Many of my film friends here in NYC are just switching to Davinci Resolve because Premiere has too many impediments to their workflow. On set DITs use Silverstack or Resolve to deliver proxy files on the hard drive at the end of the day, along with the Arri/Red RAW files. The proxies are already made. Amazing. But these files are totally useless to Premiere. The only solution is to re-render all of them (days of footage) or just build entire project with proxies only and have to wait until color/online to finally see the high resolution version. Not great for client relationships. And why? Just because the *audio* channels don't match which has *nothing* to do with the video. It's so inane and stupid. Just like how Premiere has no color management control to speak of. Like do any of the developers actually use their own program? Do *you* think proxies are well implemented? Really? Have you ever user-tested and just watched your users flounder, unable to figure out your byzantine workflow? Maybe fix that, no? Stuff like this is why Blackmagic Design is absolutely eating Adobe's lunch.

If your camera generate mp4 proxy with only 2 audio channels, the fastest way for the moment is to convert it to MXF with 4 audios channels (or matching numbers to your main video) using Media Encoder... But yes it's a pity to have to break the workflow with a proxy encoding.

This issue must really be addressed soon... Modern workflows record proxies in-camera. Premiere must be able to attach two files, generated by the same camera, at the same time, right after shooting!
It's absurd not doing so just because the audio channels don't match!
PLEASE MAKE THIS A PRIORITY IN NEXT RELEASE!

the proxy-workflow is partly useless with this limitation which doesn't make any sense