How To Change Audio Output Premiere Pro Windows

Adobe Premiere Pro User Guide
Beta releases
1. Beta Programme Overview
2. Premiere Pro Beta Domicile
Getting started
1. Get started with Adobe Premiere Pro
2. What'southward new in Premiere Pro
3. Release Notes | Premiere Pro
4. Keyboard shortcuts in Premiere Pro
5. Accessibility in Premiere Pro
Hardware and operating organization requirements
1. Hardware recommendations
2. System requirements
3. GPU and GPU Commuter requirements
4. GPU Accelerated Rendering & Hardware Encoding/Decoding
Creating projects
1. Showtime a new project
2. Open projects
3. Move and delete projects
4. Work with multiple open projects
5. Work with Project Shortcuts
6. Astern compatibility of Premiere Pro projects
7. Open and edit Premiere Rush projects in Premiere Pro
8. Best Practices: Create your own project templates
Workspaces and workflows
1. Workspaces
2. FAQ | Import and export in Premiere Pro
3. Working with Panels
4. Windows touch on and gesture controls
5. Use Premiere Pro in a dual-monitor setup
Capturing and importing
1. Capturing
  1. Capturing and digitizing footage
  2. Capturing HD, DV, or HDV video
  3. Batch capturing and recapturing
  4. Setting up your system for HD, DV, or HDV capture
2. Importing
  1. Transfer files
  2. Importing yet images
  3. Importing digital audio
3. Importing from Gorging or Final Cut
  1. Importing AAF project files from Avid Media Composer
  2. Importing XML project files from Final Cut Pro seven and Last Cutting Pro X
4. Supported file formats
5. Digitizing analog video
6. Working with timecode
Editing
1. Sequences
  1. Create and modify sequences
  2. Add clips to sequences
  3. Rearrange clips in a sequence
  4. Find, select, and grouping clips in a sequence
  5. Edit from sequences loaded into the Source Monitor
  6. Simplify sequences
  7. Rendering and previewing sequences
  8. Working with markers
  9. Scene edit detection
2. Video
  1. Create and play clips
  2. Trimming clips
  3. Synchronizing audio and video with Merge Clips
  4. Render and replace media
  5. Undo, history, and events
  6. Freeze and concord frames
  7. Working with attribute ratios
3. Audio
  1. Overview of sound in Premiere Pro
  2. Sound Track Mixer
  3. Adjusting volume levels
  4. Edit, repair, and improve sound using Essential Audio panel
  5. Automatically duck audio
  6. Remix audio
  7. Monitor clip volume and pan using Audio Clip Mixer
  8. Audio balancing and panning
  9. Advanced Audio - Submixes, downmixing, and routing
  10. Audio effects and transitions
  11. Working with audio transitions
  12. Apply furnishings to audio
  13. Measure audio using the Loudness Radar result
  14. Recording audio mixes
  15. Editing audio in the timeline
  16. Audio channel mapping in Premiere Pro
  17. Use Adobe Stock sound in Premiere Pro
4. Advanced editing
  1. Multi-photographic camera editing workflow
  2. Editing workflows for feature films
  3. Set up and use Head Mounted Brandish for immersive video in Premiere Pro
  4. Editing VR
5. Best Practices
  1. All-time Practices: Mix audio faster
  2. All-time Practices: Editing efficiently
Video Furnishings and Transitions
1. Overview of video effects and transitions
2. Furnishings
  1. Types of effects in Premiere Pro
  2. Apply and remove effects
  3. Issue presets
  4. Automatically reframe video for unlike social media channels
  5. Color correction effects
  6. Modify duration and speed of clips
  7. Aligning Layers
  8. Stabilize footage
3. Transitions
  1. Applying transitions in Premiere Pro
  2. Modifying and customizing transitions
  3. Morph Cut
Graphics, Titles, and Animation
1. Graphics and titles
  1. Overview of the Essential Graphics panel
  2. Create a championship
  3. Create a shape
  4. Align and distribute text and shapes
  5. Check spelling and Find and Supercede
  6. Utilize text gradients in Premiere Pro
  7. Add together Responsive Blueprint features to your graphics
  8. Employ Motility Graphics templates for titles
  9. Replace images or videos in Motion Graphics templates
  10. Use data-driven Movement Graphics templates
  11. Best Practices: Faster graphics workflows
  12. Working with captions
  13. Spoken language to Text
  14. Speech to Text in Premiere Pro | FAQ
  15. Upgrade Legacy titles to Source Graphics
2. Animation and Keyframing
  1. Calculation, navigating, and setting keyframes
  2. Animating effects
  3. Use Motion result to edit and animate clips
  4. Optimize keyframe automation
  5. Moving and copying keyframes
  6. Viewing and adjusting furnishings and keyframes
Compositing
1. Compositing, alpha channels, and adjusting clip opacity
2. Masking and tracking
3. Blending modes
Colour Correction and Grading
1. Overview: Color workflows in Premiere Pro
2. Motorcar Color
3. Get creative with colour using Lumetri looks
4. Conform color using RGB and Hue Saturation Curves
5. Right and match colors between shots
6. Using HSL Secondary controls in the Lumetri Color panel
7. Create vignettes
8. Looks and LUTs
9. Lumetri scopes
10. Display Color Management
11. HDR for broadcasters
12. Enable DirectX HDR back up
Exporting media
1. Export video
2. Consign Preset Manager
3. Workflow and overview for exporting
4. Quick consign
5. Exporting for the Web and mobile devices
6. Export a however image
7. Exporting projects for other applications
8. Exporting OMF files for Pro Tools
9. Export to Panasonic P2 format
10. Consign settings reference
11. All-time Practices: Consign faster
Collaboration: Frame.io, Productions, and Team Projects
1. Collaboration in Premiere Pro
2. Frame.io
  1. Install and activate Frame.io
  2. Employ Frame.io with Premiere Pro and After Furnishings
  3. Frequently asked questions
3. Productions
  1. Using Productions
  2. How clips piece of work across projects in a Production
  3. Best Practices: Working with Productions
4. Team Projects
  1. What's New in Squad Projects
  2. Go started with Squad Projects
  3. Create a Team Projection
  4. Add and manage media in Team Projects
  5. Interact with Team Projects
  6. Share and manage changes with Team Project collaborators
  7. Archive, restore, or delete Team Projects
Working with other Adobe applications
1. After Effects and Photoshop
2. Dynamic Link
3. Audition
4. Prelude
Organizing and Managing Assets
1. Working in the Project panel
2. Organize assets in the Project panel
3. Playing assets
4. Search avails
5. Creative Deject Libraries
6. Sync Settings in Premiere Pro
7. Consolidate, transcode, and archive projects
8. Managing metadata
9. Best Practices
  1. Best Practices: Learning from broadcast production
  2. Best Practices: Working with native formats
Improving Performance and Troubleshooting
1. Set preferences
2. Reset preferences
3. Working with Proxies
  1. Proxy overview
  2. Ingest and Proxy Workflow
4. Check if your system is compatible with Premiere Pro
5. Premiere Pro for Apple silicon
6. Eliminate flicker
7. Interlacing and field order
8. Smart rendering
9. Command surface support
10. All-time Practices: Working with native formats
11. Noesis Base
  1. Known issues
  2. Fixed issues
  3. Green and pinkish video in Premiere Pro or Premiere Rush
  4. How do I manage the Media Cache in Premiere Pro?
  5. Fix errors when rendering or exporting
  6. Troubleshoot problems related to playback and performance in Premiere Pro
Monitoring Avails and Offline Media
1. Monitoring assets
  1. Using the Source Monitor and Plan Monitor
  2. Using the Reference Monitor
2. Offline media
  1. Working with offline clips
  2. Creating clips for offline editing
  3. Relinking offline medInstia

Learn how to get the most out of Premiere Pro by configuring preference settings for several things from advent to playback, sound, and more.

Yous can customize the look and behavior of Premiere Pro, from determining the default length of transitions to setting the brightness of the user interface. Virtually of these preferences remain in effect until you lot modify them. The preferences you set for scratch disks, nonetheless, are saved with your projects. Whenever y'all open a project, information technology automatically defaults to the scratch disks you selected for it when you gear up that project.

To open the Preferences dialog box, choose Edit > Preferences (Windows) or Premiere Pro > Preferences (Mac OS), and select the category of preferences yous want to change.
To restore default preference settings, hold down Alt (Windows) or Option (Mac Os) while the application is starting. Y'all can release the Alt key or Pick key when the splash screen appears.
To restore default preference settings and plug-in cache at the aforementioned time, hold downward Shift-Alt (Windows) or Shift-Pick (Mac OS) while the application is starting. Release the Shift-Alt keys or Shift-Option key when the splash screen appears.

Preferences are stored in the following location:

For Windows: <drive>\Users\<user name>\Documents\Adobe\Premiere Pro\<version>\Profile-<user name>
For Mac Bone: <drive>/Users/<user name>/Documents/Adobe/Premiere Pro/<version>/Profile-<user name>

Set general preferences

In the General pane of the Preferences dialog box, yous tin can customize settings for several things from transition duration to tool tips, like the following:

You can choose to display Premiere Pro's Start screen or display the files that you most recently opened.

Specify whether you want to meet the First screen or the Open dialog when opening a project.

Bin behavior when double-clicking a bin, or double-clicking with the Shift or Option keys tin be controlled in the Bins preference.

Project beliefs when double-clicking a project, or holding the Alt cardinal while clicking a project.

To plough off the event notification pop-up window that appears in the lower right-corner of the user interface, deselect this preference. For more information, run into Outcome notification.

Lets you plough tool tips on or off.

When this option is turned on, Premiere Pro reads the ICC profile selected in your operating system and does a conversion to display colors perfectly on the monitor. This feature applies to the Premiere Pro Plan and Source monitors, thumbnail previews in the Project panel, Media browser in Premiere Pro and Media Encoder, and export and encoding previews in Premiere Pro and Media Encoder.

By default, color management is disabled in Premiere Pro and Media Encoder.

Leave Color Direction off if your screen matches the media on the timeline. This works well for Rec. 709 and sRGB and YouTube commitment.

Turning Color Direction on is useful for scenarios where yous desire your display to reproduce the colour advent of the timeline on a reference monitor.

Premiere Pro does not colour manage external transmit monitors hooked up through video cards from companies like AJA or Blackmagic. Configure that hardware outside Premiere Pro.

Premiere Pro, all the same, does color manage a secondary computer monitor used as a transmit monitor. It is part of the desktop of the operating system - hooked up through HDMI, Display Port, DVI, or Thunderbolt.

Enabling Display Colour Management does not change the colors in your exported files. It but manages the colors that yous see displayed on your monitor. It is necessary so that you tin can accurately gauge what the colors look like on a true Rec709 display (HDTV for example). In the past, it was necessary to manually ready your OS display profile to Rec709 to view accurate colors, and sometimes it was not possible. Display color management takes the guesswork and displays correct colors no matter what ICC profile your brandish is set to in the OS.

Set Appearance preferences

In the Appearance pane of the Preferences dialog box, you can prepare the overall brightness of the user interface.

You can also control the brightness and saturation of the blue highlight colour, interactive controls, and focus indicators.

Prepare Audio Preferences

The Automatch Fourth dimension preference specifies the fourth dimension, in the Audio Mixer, for any control that has been adapted to render to its previous setting. Afflicted controls are Volume, Pan, Effect, and Transport parameter knobs in Sound, Submix, and (except sends) Chief rail. Automatch Time preference affects properties in Touch mode, and in Read manner for effects with keyframes.

Specifies how Premiere Pro mixes source channels to 5.i sound tracks.

Enables audio scrubbing. You can create a keyboard shortcut called "Toggle Sound During Scrubbing" to toggle audio scrubbing on or off while scrubbing. Using a keyboard shortcut is preferable to returning to the Preferences dialog box each fourth dimension you desire to turn audio scrubbing on or off.

Lets you maintain the sound pitch during scrubbing and playback while using the J,Thou,L keys. Selecting this preference helps improve the clarity of voice communication when playback is at a higher or slower than normal speed.

To foreclose monitoring of the sound inputs while recording the timeline, check this box.

To let Premiere Pro automatically generate waveforms when importing sound, select this preference. To avoid showing audio waveforms, deselect this preference.

To permit Premiere Pro automatically renders sound previews whenever it renders video previews, select this preference. For more data, see Render audio when rendering video.

Select this option if you experience sound dropouts during playback. By default, this selection is off.

Off:Faster playback kickoff but there may be audio dropouts when playing huge sequences with lot of audio prune effects.
On: Premiere Pro does all the preroll computations before playback starts. And then, there is a larger delay earlier playback really starts. However, in that location are less sound dropouts during playback.

Defines the linear keyframe thinning and minimum fourth dimension interval thinning.

Creates keyframes but at points that don't have a linear relationship to the offset and end keyframes. For example, if you are automating a fade from 0 dB to –12 dB. With this option selected, Premiere Pro creates keyframes merely at the points that represent an increase in value from the beginning (0 dB) and ending (–12 dB) keyframes. If you don't select this choice, Premiere Pro creates several incremental keyframes of identical values between those 2 points, depending on the speed at which y'all change the value. This option is selected by default.

Creates keyframes but at intervals larger than the value y'all specify. Enter a value from i through 2000 milliseconds.

This preference lets you ready the number of decibels to increase when using the Increase Clip Volume Many command.

While sending clips to Audience, you can save these files in the scratch disk location, or next to the original media file.

Launches the Audio Plug-in Manager dialog box to let you lot work with third-party VST3 plug-ins, and Audio Units (AU) plug-ins on Mac.

Set Sound Hardware preferences

In the Sound Hardware pane of the Preferences dialog box (Edit > Preferences > Audio Hardware), you can specify the reckoner audio device and settings. You tin can likewise specify the ASIO and MME settings (Windows just), or CoreAudio setting (Mac OS only) that Premiere Pro uses for sound playback and recording. When you lot connect an sound hardware device, the hardware settings for that device blazon, such as default input, default output, master clock, latency, and sample rate are loaded in this dialog box. For example, the following screen shows the settings for a connected MME device (Windows) in which you can modify the default selections in properties:

The following image shows the preferences for low-latency CoreAudio devices that can support input-only, output-but, and full-duplex modes. You tin can change the properties such as Master Clock (MOTU, SPDIF, and ADAT) and I/O Buffer Size (low latency, 32 samples).

Configure audio inputs and outputs

When you configure inputs and outputs for recording and playback, Adobe Premiere Pro tin use these kinds of sound card drivers:

In Windows, ASIO drivers support professional cards and MME drivers typically support standard cards.

In Mac OS, CoreAudio drivers support both professional person and standard cards.

ASIO and CoreAudio drivers are preferable because they provide better performance and lower latency. You lot can as well monitor audio as you record it and instantly hear book, pan, and effects changes during playback.

Cull Edit > Preferences > Sound Hardware (Windows) or Preferences > Audio Hardware (Mac OS).
From the Device Course carte, choose the commuter for the sound card y'all want to apply.
Choose a Default Input and Output from the menu. See Assign audio inputs and outputs to tracks in Adobe Audition Assist.
(MME and CoreAudio) For Master Clock, choose the input or output to which you desire other digital sound hardware to synchronize (ensuring accurate alignment of samples).
For I/O Buffer Size (ASIO and CoreAudio) or Latency (MME), specify the lowest setting possible without audio dropouts. The platonic setting depends on the speed of your system, so some experimentation is necessary.
Choose a Sample Rate for the audio hardware. (For common rates for dissimilar output mediums, see Understanding sample charge per unit in Adobe Audition Assist.)
(Optional) To optimize the operation of ASIO and CoreAudio cards, click Settings. For more than information, consult the documentation for the sound card.
Under Output Mapping, you tin specify the target speaker in your computer sound system for each supported sound channel.

Gear up Auto Salve preferences

Past default, Premiere Pro automatically saves your project every 15 minutes and retains the last v versions of the project file on the hard disk.

Y'all can revert to a previously saved version at whatsoever time. Archiving many iterations of a project consumes relatively trivial disk space considering project files are much smaller than source video files. It'south best to salve project files to the same bulldoze as your application. Archived files are saved in the Premiere Pro Auto-Save folder.

Automatically save Projects, and blazon the number of minutes y'all would similar betwixt saves.

Enter the number of versions of a project file you desire to save. For example, if yous type x, Premiere Pro saves the ten well-nigh recent versions.

When you lot specify auto-save to occur at regular intervals, Premiere Pro automobile-saves a project on detecting changes to the projection file.

The machine-save occurs irrespective of whether you manually save the changes to the project or not. Earlier, Premiere Pro would not execute car-save if yous manually saved inside the interval setting. If the system goes idle for a menstruum beyond the interval setting, Premiere Pro forces an auto-save.

To let Premiere Pro motorcar-save your projects directly to your Creative Cloud-based storage, select this preference.

When Premiere Pro motorcar-saves a project, a directory named "auto-relieve" is created in your Creative Deject online storage. All the backed-up projects are stored in the "auto-save" directory.

You lot can access your backed-up projects from the Files tab of your Creative Cloud desktop application. Or you can access the files from your Creative Cloud account on the Web.

When this setting is enabled, Auto Save creates an archived copy of your current projects, simply also saves the current working project. This setting is off by default.

Auto saved versions have a suffix with the appointment and time it was saved (yy-mm-dd-hh-mm-ss) appended to the project name (for example, ProjectName-2018-08-31_09-53-41.prproj).

When an auto save occurs, Premiere Pro creates a new backup project file and adds it to the auto-salve folder every bit an emergency project fill-in. This file is always the latest saved version of that projection. Here are some of the characteristics of the emergency back projection file:

The backup file has the aforementioned name as the project, it does not have any suffix.
Premiere Pro produces simply i emergency backup file per project, and it is overwritten at each Auto Save interval and when you salve the electric current project.

Ready Capture preferences

Controls how Premiere Pro transfers video and sound directly from a deck or camera. (None of the other project settings options affect capturing.) The contents of this panel depend on the editing fashion. More than capture formats and options announced if yous install other software, such as software included with a capture carte certified to be compatible with Premiere Pro.

For P2 DVCPRO 50 and P2 DVCPRO Hd projects, the Capture Format setting is not relevant. Information technology is considering the assets are captured and recorded directly to the P2 card as digital files by the photographic camera.

Set up Control Surface preferences

In the Control Surface console of the Preferences dialog, you can configure your hardware command device.

The Edit, Add, and Remove buttons let you add together, edit, or remove control surfaces in your configuration.

Nether Device Class, click Add to select the device. You tin can add either EUCON or Mackie. Or you can add both.

To specify configure settings like MIDI Input Device and MIDI Output Device for the selected control surface, click Edit.

For more information on using control surface controls with Premiere Pro, see Control surface support.

Prepare Device Control preferences

In the Device Command pane of the Preferences dialog box, you lot specify the settings Premiere Pro uses to control a playback/recording device, such as a VTR or camcorder.

Fix Graphics preferences

You can set the post-obit preferences for working with the Essential Graphics console. All changes accept effect the next time yous create a text layer.

If you need support for Western, Chinese, Japanese, Latin, or Korean languages, selectEuropean and East Asian. If you need Eye-eastern or Indic language support, chooseDue south Asian and Heart Eastern.

If you need Ligature support, selectLigatures. If you want support for Hindi numerals, selectHindi Digits. Y'all can also choose if you want the text to flow left to right or correct to left.

Y'all can define a custom replacement font in the Graphics tab. This font is gear up as the default font when the fonts in a Motion Graphics Template cannot be synced.

Gear up Labels preferences

In the Characterization Colors section, yous tin can alter the default colors and color names. You tin can label assets with these colors and color names in the Projection panels.

In the Label Defaults section, you lot can alter the default colors assigned to bins, sequences, and different types of media.

Specifies the frame rate for imported notwithstanding-image sequences.

Specifies whether Premiere Pro shows the original timecode imported clips, or assigns new timecode to them, starting at 00:00:00.

Specifies whether Premiere Pro assigns a 0, or a 1 to the first frame of an imported clip, or assigns a number past timecode conversion.

To specify whether you want toScale to frame size orSet up to frame size, ready this media preference. If you select scale to frame size, then Premiere Pro automatically scales imported assets to the project's default frame size.

To write ID information into XMP metadata fields, select this cheque box.

To specify where you want Premiere Pro to save prune marker, set up this selection. If you select this option, clip markers are saved with the media file. If yous turn off this selection, clip markers are saved in the Premiere Pro projection file.

To link clip metadata to XMP metadata, so that irresolute one changes the other, select this cheque box.

To detect and automatically import embedded closed explanation data in an embedded closed explanation file, select this cheque box. Deselect this check box to non import embedded captions, which helps save fourth dimension while importing.

If you lot want Premiere Pro to automatically switch to displaying the proxy video in the timeline after a proxy job is consummate, select this option.

If you lot want to allow duplicate media while importing a project, select this selection. Deselect this choice if you don't want multiple copies while importing.

When you select this option, Premiere Pro hides the primary clips when dragging in a sequence from another projection.

Premiere Pro supports growing files for OP1A MXF files. The preference allows users to opt whether Premiere automatically refreshes as they grow, and if so, how frequently. This preference allows yous to edit with these files in your project immediately.

This preference allows yous to enable and disable hardware decoding from AMD, Nvidia, or Intel. By default, this preference is enabled.

H.264/HEVC hardware accelerated decoding preference

Based on the card availability on your organisation, Premiere Pro displays the AMD, NVIDIA, and Intel options.

If you want H.264 editing to be faster by using the hardware decoders in your organisation, select this pick.

The Media Enshroud is where Premiere Pro stores accelerator files, including acme files (.pek) and conformed audio (.cfa). Premiere Pro. Clearing erstwhile or unused media enshroud files can help maintain optimal performance. Deleted cache files are recreated whenever source media requires them.

For more than information on setting Media Enshroud preferences, see How practice I manage the Media Cache in Premiere Pro?

Ready Memory preferences

In the Memory pane of the Preferences dialog box, you lot can specify the amount of RAM reserved for other applications, and for Premiere Pro. For instance, every bit yous reduce the amount of RAM reserved for other applications, the amount of RAM left bachelor for Premiere Pro increases.

Some sequences, such as those containing loftier-resolution source video or even so images, require large amounts of memory for the simultaneous rendering of multiple frames. These assets can force Premiere Pro to abolish rendering and to give a Low Memory Warning alert. In these cases, you tin maximize the available memory by irresolute the Optimize Rendering For preference from Performance to Memory. Alter this preference back to Performance when rendering no longer requires retention optimization.

Gear up Playback preferences

In the Playback pane of the Preferences dialog box, you can select the default player for sound or video, and set preroll and postroll preferences. You can too access device settings for tertiary-party capture cards.

Premiere Pro uses the player to play media from clips and sequences for the following:

Source Monitor
Plan Monitor
The preview area at the top of the Project console
Trim mode
Trim Monitor
Multi-Camera Monitor
The video transition preview in the Upshot Controls panel.

You tin can choose the default player for your computer, or a third-political party plug-in role player for Premiere Pro. Tertiary-political party players are installed with some capture cards.

Preroll:The number of seconds earlier an edit point when playing back footage for several editing functions.

Postroll:The number of seconds after an edit point when playing back footage for several editing functions.

Step frontward/Back Many:Specifies the number of frames to movement when you lot apply the keyboard shortcut Shift+Left or Right arrow. The default is set to ten frames.

Suspension Media Encoder queue during playback:Pauses the encoding queue in Adobe Media Encoder when you are playing back a sequence or a project in Premiere Pro.

Audio Device:Choose an audio device in the Audio Device carte.

Video Device:Set upwards DV and tertiary-party devices for output by clicking the Settings button. If a third-party capture carte du jour is installed, click the Settings button to access the Mercury Transmit dialog box for video formats, and pixel formats.A check box is available for disabling video output when in the background.

Fix Sync Settings preferences

When y'all piece of work with Premiere Pro on multiple machines, managing and syncing preferences, presets, and libraries betwixt them can be time-consuming, circuitous, and error prone. The new Sync Settings characteristic lets yous sync your general preferences, keyboard shortcuts, presets, and libraries to the Creative Cloud. For more information, see Sync Settings in Premiere Pro.

Set Timeline preferences

Sound, video, and nevertheless images have a default duration in Premiere Pro.

Specify the default duration for audio and video transitions.

To brandish still images, specify the default duration.

When a sequence is longer than the visible timeline, you can select from different options to auto-curl the timeline during playback.

Page Scroll moves the timeline automatically to a new view after the playhead moves offscreen. Selecting this option ensures that playback is continuous and doesn't terminate.
Smooth Scroll keeps the playhead in the middle of the screen, while the clips and fourth dimension ruler move by.

You tin can choose vertical or horizontal scrolling. Past default, mouse scrolling is horizontal for Windows and vertical for Mac Os. For Windows, printing the Ctrl central to switch to vertical scrolling.

Defines the type of runway in which the clip audio channels are presented when a prune is added to a sequence—Mono, Stereo, 5.1, or Multichannel Mono. Premiere Pro imports and renders each of these track types in the source format (if you select the Utilize File pick) or converted to some other rail format (if yous select 1 of the track types other than Employ File). The following listing describes the compatibility betwixt tracks and clip types:

Mono tracks can concord mono and stereo clips.
Stereo tracks tin hold mono and stereo clips.
5.1 tracks can concord only 5.i clips.
Adaptive tracks tin hold mono, stereo, and adaptive (multichannel) clips (but not v.1).

The post-obit definitions describe how each track blazon is interpreted in Premiere Pro and presented when dropped into a sequence:

Mono Media

Lets you specify how mono files must be interpreted inside Premiere Pro. The mapping works every bit follows:

Utilise File imports the file in the same format, mono.
Mono imports the file as mono, equally what happens when you select Utilize File as the source file and your preference existence mono.
Stereo imports the mono media file as stereo. The mono channel in the file is assigned to one channel in stereo and the other channel is left as silent for the media to be interpreted as stereo.
5.ane imports the mono file as a 5.i surround clip. The mono aqueduct in the file is mapped to one aqueduct in 5.1 format along with 5 silent channels to interpret the file as 5.one surround media.
Adaptive imports the file as an N (Max N is 32) channel clip with the mono aqueduct equally the first channel.

Stereo Media

Lets you specify how files that are inherently stereo must be interpreted in Premiere Pro. Here are the possibilities:

Use File imports the file as in the source format, in this case, stereo.
Mono imports the file equally mono. The Fifty-R channels in the stereo are interpreted every bit two mono channels.
Stereo imports the file equally stereo with the channel mapping exactly as the source format.
5.1 imports the file every bit 5.ane environs clip. The stereo channels in the file forth with the four silent channels are interpreted as 5.1 surround media.
Adaptive imports the file equally an N (Max Northward is 32) channel clip with the stereo channels as the first two channels.

5.1 Media

Lets you specify how Premiere Pro must treat 5.1 media files. The options are:

Use File imports the file in the source format, in this case, as 5.1 channel environs media.
Mono imports file as mono, which results in half dozen mono channels.
Stereo imports file as stereo, mapping the six channels to three stereo pairs.
5.1 imports the file as 5.ane media, with the mapping kept exactly as in the source file. In this case, it works the aforementioned every bit the Utilise File choice.
Adaptiveimports the file equally an N (Max Northward is 32) channel clip with the first six channels and the rest of them as silent.

Multichannel Mono Media

Lets you specify how files that have N detached channels are interpreted within PPro. The options are:

Use File Imports the file in the source format, in this example, every bit multichannel mono media with the same number of channels as in the source.
Mono Same as Use File, that is, all North channels are kept as North mono tracks.
Stereo The N mono channels in the source are grouped into (N/2) stereo pairs.
five.1 Imports a multichannel mono file as sets of one or more 5.i tracks by adding extra silent channels (if needed) to complete sets of 5.ane configuration.
Adaptive Imports the file as an North (Max N is 32) aqueduct prune with the channels mapped to the same number of mono channels in the source media.

Select this preference if yous desire the timeline to be agile, not the Source Monitor, later on you brand an edit.

To turn on snapping, select this preference.

With snapping turned on, moving the playhead in the timeline, makes the playhead snap or spring to an edit straight. For example, yous tin can align the playhead to a specific marker with snapping enabled.

Toggle snapping on and off by pressing South on the keyboard.

Use this pick to control what happens when you are at the terminate of a sequence and y'all restart playback. If this selection is not selected, Premiere Pro stops. If you lot select this choice, Premiere Pro jumps back to the start.

Displays out-of-sync indicators for audio and video when they are unlinked and moved out of sync.

If you want Premiere Pro to play the whole project from the beginning afterwards rendering, select this preference.

To allow Premiere Pro automatically renders audio previews whenever it renders video previews, select this preference. For more information, see Return sound when rendering video.

When yous drag a prune into a sequence, Premiere Pro detects if the attributes of the clip match the sequence settings. If the attributes do not friction match, the Show Clip Mismatch Alert dialog box appears.

When you accept different In and Out points gear up in the Source Monitor and Plan Monitor, a Fit Prune dialog box appears. The Fit Clip dialog lets y'all choose the In and Out points to apply. Select this preference to permit Premiere Pro remember your choice and not display the Fit Clip dialog box every time.

When you enable this pick, Premiere Pro opens the main clip in the Source Monitor and adds a point at the current fourth dimension indicator (playhead) instead of showing the clip in and out points.

Prepare Trim preferences

The Trim Monitor includes Large Trim Commencement buttons. Clicking 1 of these buttons moves a trim indicate earlier or afterwards. In the Trim pane of the Preferences dialog box, you tin can specify the number of frames that the Large Trim Offset buttons move trim points.

To loop playback effectually the playhead position instead of the entire edit point selection, enable Playhead position determines trim monitor loop playback inE dit > Preferences > Trim (Windows), orPremiere Pro > Preferences > Trim (Mac Bone). To larn more than. see Reviewing trims.

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Source: https://helpx.adobe.com/premiere-pro/using/preferences.html

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