Probably one of the worst Audio programs.

Hi @juanm43293409 -  It sounds like you’re requesting a feature request for the “New Sequence from Clip” option, allowing users to specify a preset for the created sequence instead of defaulting to stereo.  Personally I always use a multichannel sequence when working as it adds more flexibility.

First, you're right, Premiere's audio setup can be a bit off-putting at first. You gotta learn how it's designed. But once you do, it can be made to do what you're doing. 

Second ... not much on YouTube in editing/grading/motion graphics/Fx that I would really recommend. There's so much claptrap and poor information out there. So that someone complains on YouTube might mean it's actually correctly done.

I can work with multi-track audio just fine. When I bring in an 8-channel source—like a Surround 5.1 mix plus a stereo pair—I see it correctly in the source monitor and source timeline. The meters show eight distinct, single-track levels, exactly as they should be, with each channel assigned its own purpose:

- A1: Right Audio
- A2: Left Audio
- A3: Center
- A4: LFE
- A5: Left Surround (LS)
- A6: Right Surround (RS)
- A7: Right Stereo
- A8: Left Stereo

That’s how it looks in the source, and it’s crystal clear—eight discrete mono tracks, each with its own meter. But here’s where it falls apart: when I create a new sequence from that source in Premiere, it doesn’t mirror this setup. Instead, I have to wrestle with some convoluted preset just to approximate it, and even then, the timeline meters show a single unit with dual channels—like it’s forcing a stereo pair instead of respecting the discrete mono tracks. Visually, it’s a mess, even if it technically plays and exports correctly.

I can’t believe any audio professional would enjoy working this way. Audition gets it right, treating each track as a true single-channel mono signal, but Premiere insists on seeing something like a Channel 1 mono track as a left-and-right stereo pair. It’s baffling. I’d never recommend Premiere as a daily editor for a broadcast-level enterprise. Maybe it’s fine for a boutique shop using DSLRs with sloppy, indiscriminate audio where no one knows or cares about proper sound handling—but that’s it. Mono should be mono, and Surround 5.1 should stay Surround 5.1, not get mangled into some half-baked interpretation.

YouTube tutorials even warn against using Premiere’s 5.1 preset for this kind of work, and that says a lot. Years of updates, countless slick effects and presets, and yet Adobe Premiere Pro still feel more like tools for tweaking and polishing rather than true editing platforms for serious audio workflows.

What is your audio preference behavior set to?