Editing to the beat, without the part everybody hates.
BeatMaxing automatically finds the kicks, snares, hi-hats and cymbals in your song and drops a beat marker on each one — frame-accurate, on the clip that's already sitting on your Premiere Pro 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 runs a trained drum-transcription model — the kind of thing built to read a drum part off a finished recording.
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.
Frame-perfect, better than nine times out of ten. Every marker lands within 1/30th of a second of the real hit — the closest a marker can sit on a timeline!
At 30fps a marker can only ever sit on a frame line — 33.3 milliseconds apart — so a single frame is the floor for any tool that puts markers on a timeline. That's where BeatMaxing sits.
Markers a touch early? Nudge them — all together, or one drum at a time, half a frame at a time. Too many hi-hats? Untick hi-hats. Move the sensitivity slider.
The markers update as you go. You never run the search twice.
And drums aren't the only mode. BeatMaxing also marks every hit, the beat, vocals, or beat + vocals. Drums is the one most people want — it's every hit, but labeled by which drum it was and filterable.
No importing. No uploading. No account. You click the clip that's already on your timeline and press Find — the analysis runs on your own Mac, and once its engine is downloaded it even works with the wifi switched off.
Reads MP3, WAV, M4A, MP4, MOV and more — straight off your timeline. Anything that needs converting, the panel converts for you.
BeatMaxing comes in two parts: a small panel that lives inside Premiere Pro, and a helper that does the listening. You install each one once and then forget about them.
Download it and double-click it. Creative Cloud installs it into Premiere Pro 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 Pro, 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 0.9.14. 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. Needs 1.5 GB of free disk space: 750 MB for the helper, plus a 639 MB detection model it downloads once.
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.
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.