Editing to the beat, without the part everybody hates.
BeatMaxing automatically finds the kicks, snares and hi-hats in your song, or every hit it hears, and drops a beat marker on each one - frame-accurate, on the clip that's already sitting on your Adobe Premiere timeline.
An even grid drops a mark every so many milliseconds and hopes the drummer agreed. Real music doesn't work that way - the snare lands where it lands.
What changes for you: markers land where the hits are, so a track with a lot going on stops being the job you put off. You stop scrubbing the timeline hunting for the one frame the snare is actually on. That is hours back on a music-heavy edit - and it is the difference between turning a complex project down and taking it on.
And BeatMaxing doesn't work out which drum it heard by looking at pitch. It listens with a model trained to hear drums in a finished song.
On a dense mix, that's the whole difference. An 808 kick sitting under a bassline. A clap standing in for a snare. That's where guessing from frequency falls apart and recognizing the drum doesn't.
Nothing here is staged. Those are the real markers from a real Find, redrawn straight from the export. Snap a cut to each marker and your edit is synced to the beat.
When BeatMaxing marks a hit, the marker lands within one frame, 99 times in 100. BeatMaxing marks the hit it actually heard, then puts the marker on the nearest frame of your timeline.
A marker can only sit on a frame, in any tool. So the nearest frame is as close as a marker gets, at any frame rate. That is where BeatMaxing puts it.
Markers a touch early? Nudge them - all together, or one drum at a time, half a frame at a time. Too many markers? Turn on "Only mark strong hits" and slide it.
Nudge and "Only mark strong hits" update the markers as you go, with no second search.
And there are two modes. Drums marks the kicks, snares and hi-hats, each in its own color. Every hit marks the drum hits it hears in the song, all alike.
No importing. No uploading. No sign-in. You click the clip that's already on your timeline and press Find, and the analysis runs on your own Mac. The drum model is inside the helper, so a Find works with your wifi switched off.
The first time you use Ignore vocals or Split, the helper downloads a vocals model from GitHub, once. Apart from that, it goes online for two small things: to check for updates and get them, and to let us count how many Macs run BeatMaxing. Your song, your project and your files are never sent.
BeatMaxing reads the song on your timeline as it is - a WAV, an MP3 or the sound in an MP4. There is nothing to export first.
BeatMaxing comes in two parts: a small panel that lives inside Premiere, and a helper that does the listening. You install each one once and then forget about them.
Not on your Mac right now? BeatMaxing runs on a Mac. Send this page to your Mac, then download it there.
The link opens this same page on your Mac.
BeatMaxing runs on a Mac with Apple Silicon (M1 or newer). Open this page on your Mac to download it.
Download it and double-click it. Creative Cloud installs it into Premiere for you - there's nothing to drag anywhere.
Creative Cloud asks twice before it installs - that's Adobe's standard warning for any plugin from outside their store (what the two boxes say). If it says "Compatible app required", double-click the same file again - it installs the second time.
Or install it straight from Adobe Exchange.
Unzip the download and double-click BeatMaxing Helper. It installs itself and starts with your Mac from then on - one box from Apple, one from us, done.
After that it looks after itself. It's ready whenever you open Premiere, and you never have to launch it yourself.
Why so big? The model comes with it. That's what keeps your song on your own Mac instead of on someone else's server.
Version 0.9.21. The open-source components inside it, with their licenses: third-party notices.
In Premiere, open Window → UXP Plugins → BeatMaxing. Click the music clip that's already on your timeline and press Find.
The markers land on the drum hits.
Nothing to download for this step. You need 2 GB of free disk space to install, and 84 MB more the first time you use Ignore vocals or Split.
Intel Macs and Windows are not supported yet.
No card. No trial countdown. Download it and use it.
BeatMaxing is free while it's new. A paid version is planned for later - this page will say so before anything changes.
Install BeatMaxing, a panel for Adobe Premiere on Apple Silicon Macs, click the music clip already on your timeline and press Find hits & place markers. It listens to the song and drops a marker on each kick, snare and hi-hat, or on every hit it hears, locked to the frame.
The full walkthrough, with the manual way and why a tempo grid misses real drums, is in the guide: how to add beat markers in Premiere automatically.
Not on the desktop, as of September 2026. Adobe's own list of what is new in Adobe Premiere on the desktop, up to version 26.5, includes no beat detection, so editors either place beat markers by hand with the M key or use a panel such as BeatMaxing to place them automatically.
Premiere on iPhone is different: Adobe's help pages describe a Beat Detection feature there that shows the rhythm of your audio as markers on the timeline.
You pick one of two modes. Drums marks the kicks, snares and hi-hats, each in its own marker color, so you keep only the kinds you tick. Every hit marks the drum hits it hears, kick, snare, hi-hat and tom, and those markers all look the same.
A Mac with Apple Silicon, M1 or newer, running Adobe Premiere 25.6 or newer, and 2 GB of free disk space to install. Ignore vocals and Split need 84 MB more, for a vocals model that downloads once. Intel Macs and Windows are not supported yet, and there is no sign-in inside BeatMaxing.
No. BeatMaxing listens to your song on your own Mac, and the song never leaves it, not to us and not to anyone else. A Find works with the wifi off, since the drum model is inside the helper. The first time you use Ignore vocals or Split, the helper downloads a vocals model from GitHub, once.
Apart from that, it goes online for two small things: to check for updates and get them, and to let us count how many Macs run BeatMaxing. Your song, your project and your files are never sent.
Yes. BeatMaxing is free while it's new: there is no card to enter, no trial countdown and no account to create, and you can use it on client projects. A paid version is planned for later, and this page will say so before anything changes.
Step by step, with the manual way beside it: how to add beat markers in Premiere automatically.
One person builds BeatMaxing, and the same person reads every message that comes through this page.
It's new, and the fastest way it gets better is you telling me where it put a marker wrong - which song, which moment. If it saved you time, a review helps more than you'd think. If it didn't, I'd rather hear that.
How to reach me: email support@beatmaxing.com. I read every one.
Questions, bugs, a song it struggled with, or a marker that landed wrong - email support@beatmaxing.com. Tell me the song and roughly where a marker landed wrong. That's enough to work with. I read every message and I reply.