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The Audio Clip Mixer lets you monitor and adjust the volume and pan of clips in sequence when the Timeline panel is in focus. Similarly, when the
Source Monitor panel is in focus, the Audio Clip Mixer lets you monitor clips in the Source Monitor.
Audio Clip Mixer
To access the Audio Clip Mixer, choose Window > Audio Clip Mixer from the main menu.
For more information, see Monitor clip volume and pan using Clip Mixer.
Audio waveform changes
Audio waveforms now appear similar to the waveforms in Adobe Audition. In addition, Audio waveforms now appear in nested sequences. You can
return to standard audio waveforms in the panel menu.
You can also use a label color for your audio waveforms. In the Timeline panel, select Audio Waveforms Use Label Color.
New Audio Plug-ins manager and audio plug-ins
The Audio Plug-ins manager is available to work with your audio effects. You can access the Audio Plug-In Manager menu from the Audio Track
Mixer and Effects panels. You can also access the Audio Plug-In Manager from the Audio Preferences dialog.
Premiere Pro now supports third-party VST3 plug-ins. On the Mac, you can also use Audio Units (AU) plug-ins.
Multi-channel QuickTime export
When exporting multi-channel master sequences, the Export Media dialog's Audio Channel setting changes to a pop-up menu. This menu lets you
select the channels to be included in the export.
Control surface support
Premiere Pro now lets you interactively mix audio with control surfaces that use the EUCON and Mackie protocols. You can also use third-party
tablet-based controllers that support these protocols.
To connect your controller to Premiere Pro, select Control Surface in the Preferences dialog box. Choose the controller protocol from the Device
Class menu.
Use the faders, knobs, and buttons on these devices to control Track Mixer faders and parameters, such as track pan and balance. You can
connect supported devices, such as Avid MC Artist and Mackie XT and assume control of the Track Mixer.
For more information, see Control surface support.
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