Unphased time-aligns every microphone to a reference track — correcting a fixed offset, drift that changes across the take, polarity, and the frequency-dependent phase difference between mics. It renders new audio files and places them on fresh tracks, leaving your originals in place.

Analysis runs on a 48 kHz mono signal, but rendering keeps the source's own channel count, sample rate and bit depth — a stereo clip stays stereo.

Open a sequence — Unphased reads it and probes each media file's audio layout automatically.
1. Click one track to mark it REF (usually the boom or the best-sounding mic).
2. Select the clips you want aligned in the timeline — any other track with a selected clip becomes a target automatically, live, with no extra step.
3. Align extracts the overlapping audio, aligns it, and places the results on new tracks at the original positions.

Added a track, added clips, or swapped media without switching sequences? Press Refresh, next to Sources, to pick it up in the panel — Align always re-reads the sequence for itself first, so Refresh only matters for what you see beforehand.

All of the decoding and DSP runs inside the panel, so Premiere's UI pauses in short bursts while a clip is processed. Cancel stops after the segment in flight.

Premiere's scripting API cannot say which audio channel a clip uses. A multi-input camera writes one mono stream per mic, and Premiere spreads them across consecutive tracks — so several tracks share one file and differ only by stream.

Unphased probes each file and can show a source chip on any track that offers a choice — press Sources above the track list, then click a chip to cycle through that file's channels. When several tracks share one file, the default assigns streams by track order, which matches how Premiere lays them out. The log flags this on Refresh; when it does, open Sources and check before aligning.

A multi-channel file used by a single track is an ordinary stereo recording rather than two mics, so it defaults to stereo and keeps every channel. Picking left or right analyses and renders that channel alone — use it only when the two channels really are separate mics.

If a reference and target resolve to the same file, time and channel, the pair is refused — both sides would decode identical audio and produce a perfect-looking but meaningless result.

Null is how deeply the aligned clip cancels against the reference. Higher is not automatically better:

A delay of exactly ±0.0 ms with no drift and a huge null is the signature of a clip aligned against itself.

There are two, because there are only two questions an editor can answer better than the analysis can.

Search range, drift agility, polarity and band weighting are decided per clip. The search window starts narrow and widens only when the evidence says the true offset lies outside it — a hand-set window that is too narrow does not fail, it returns a confident wrong answer. A widened search is noted in the log.

Originals are muted only when aligned audio replaces them end to end — a partially covered clip stays audible so no silent gap appears. Clips with a speed change, offline media, or too little overlap are skipped with a warning and never modified.

The aligned WAVs are project media — Premiere keeps referencing them for as long as the project exists. They are written to an Unphased Audio folder next to your .prproj so they travel with the project and survive a reboot.

Each run stamps its filenames with the date and time, so re-aligning never overwrites audio a clip is already pointing at. Old runs are safe to delete once you are happy with the current one.

On an unsaved project there is nowhere to put them, so they land in the plugin's data folder — the log says so when that happens. Save the project first, or set a rendered audio folder in Settings.