Switch to Advanced view in Adobe Premiere Elements editor.
- Adobe Premiere Elements User Guide
- Introduction to Adobe Premiere Elements
- Workspace and workflow
- Working with projects
- Importing and adding media
- Arranging clips
- Editing clips
- Reduce noise
- Select object
- Candid Moments
- Color Match
- Smart Trim
- Change clip speed and duration
- Split clips
- Freeze and hold frames
- Adjusting Brightness, Contrast, and Color - Guided Edit
- Stabilize video footage with Shake Stabilizer
- Replace footage
- Working with source clips
- Trimming Unwanted Frames - Guided Edit
- Trim clips
- Editing frames with Auto Smart Tone
- Artistic effects
- Color Correction and Grading
- Applying transitions
- Special effects basics
- Effects reference
- Applying and removing effects
- Create a black and white video with a color pop - Guided Edit
- Time remapping - Guided edit
- Effects basics
- Working with effect presets
- Finding and organizing effects
- Editing frames with Auto Smart Tone
- Fill Frame - Guided edit
- Create a time-lapse - Guided edit
- Best practices to create a time-lapse video
- Applying special effects
- Use pan and zoom to create video-like effect
- Transparency and superimposing
- Reposition, scale, or rotate clips with the Motion effect
- Apply an Effects Mask to your video
- Adjust temperature and tint
- Create a Glass Pane effect - Guided Edit
- Create a picture-in-picture overlay
- Applying effects using Adjustment layers
- Adding Title to your movie
- Removing haze
- Creating a Picture in Picture - Guided Edit
- Create a Vignetting effect
- Add a Split Tone Effect
- Add FilmLooks effects
- Add an HSL Tuner effect
- Fill Frame - Guided edit
- Create a time-lapse - Guided edit
- Animated Sky - Guided edit
- Select object
- Animated Mattes - Guided Edit
- Double exposure- Guided Edit
- Special audio effects
- Movie titles
- Creating titles
- Adding shapes and images to titles
- Adding color and shadows to titles
- Apply Gradients
- Create Titles and MOGRTs
- Add responsive design
- Editing and formatting text
- Align and transform objects
- Motion Titles
- Appearance of text and shapes
- Exporting and importing titles
- Arranging objects in titles
- Designing titles for TV
- Applying styles to text and graphics
- Adding a video in the title
- Disc menus
- Sharing and exporting your movies
Learn about the wide array of audio effects available in Premiere Elements.
Audio Effects
Enhance your storytelling with new audio effects. Try out effects like Studio Reverb, Vocal Enhancer, and DeHummer to improve your listening experience.
Follow these steps to apply the desired audio effect:
-
-
Open Effects panel > Switch to the Audio tab.
-
Drag and drop any desired audio effect over an audio on the timeline.
-
Within the Applied Effects panel, you've the ability to finely adjust properties linked to chosen audio effects, tailoring them to your preferred output with precision.
Merk:Many of these audio effects have presets available in the Applied Effects panel to ease the audio-tuning process.
Different categories of Audio Effects
Amplitude and Compression
- Mode: Select "Broadband" for even compression across all frequencies, or choose "Multiband" to compress only the sibilance range. While "Multiband" is ideal for most audio content, note that it may slightly extend processing time.
- Threshold: Specifies the amplitude above which compression occurs.
- Center Frequency: Indicates the frequency at which sibilance reaches its peak intensity. To confirm, make adjustments to this setting while playing the audio.
- Bandwidth: Specifies the frequency range that activates the compressor.
- Output Sibilance Only: Enables you to listen to detected sibilance. Start playback and make precise adjustments to the settings mentioned above.
- Maximum Amplitude: Sets the highest permitted sample amplitude.
- Input Boost: Amplifies audio prior to applying limiting, making a selection louder without clipping it. As you raise this level, compression increases. Experiment with extreme settings to achieve the loud and impactful audio characteristic of contemporary pop music.
- Look Ahead Time: Sets the duration (in milliseconds) for the audio to be reduced in volume before it reaches the highest peak.
- Release Time: Sets the time (in milliseconds) for the attenuation to rebound by 12 dB. Typically, a value around 100 (the default setting) is effective and maintains the integrity of low-frequency bass frequencies.
- Link Channels: Associates the volume levels of all channels, maintaining the stereo or surround sound balance.
- Decay to Ceiling: Toggle slider to enable or disable signal decay.
- Limit True Peak: Toggle slider to enable or disable limiting True Peak, which is the maximum level the audio signal reaches.
To hear highly compressed audio examples, consider listening to modern pop music recordings. In contrast, most jazz recordings tend to have light compression, whereas typical classical recordings are often entirely devoid of compression.
- Threshold: Specifies the input level at which compression initiates. The optimal setting depends on the audio content and style. For compressing only the most extreme peaks while preserving a more dynamic range, consider using thresholds approximately 5 dB below the peak input level. For intensive compression and a substantial reduction in dynamic range, experiment with settings around 15 dB below the peak input level.
- Ratio: Sets the compression ratio, ranging from 1-to-1 to 30-to-1. For instance, a setting of three outputs 1 dB for every 3 dB increase above the threshold. Common settings fall within the range of 2 to 5, with higher values yielding the compressed sound commonly found in pop music.
- Attack: Determines how quickly compression initiates once the audio surpasses the Threshold settings. The default value, 10 milliseconds, is suitable for a broad spectrum of source materials. Utilize faster settings exclusively for audio with quick transients, such as percussion recordings.
- Release: Determines how quickly compression ceases when the audio falls below the Threshold settings. The default value, 100 milliseconds, is effective for a diverse range of audio. Experiment with faster settings for audio featuring rapid transients and slower settings for less percussive audio.
- Output Gain: Adjusts the amplitude by either boosting or reducing it after compression. The available values span from -30 dB to +30 dB, with 0 representing unity gain.
Delay and Echo
The Delay effect can be employed to generate single echoes as well as a range of other effects. Delays of 35 milliseconds or longer produce discrete echoes, whereas delays spanning 15 to 34 milliseconds can yield basic chorus or flanging effects.
The Delay time setting is the period between the original sound and the delayed repetition.
The Feedback setting is to control the delayed signal being fed back into the delay line multiple times. This can create a series of repetitions.
Filter and EQ
To eliminate shrill "ess" sounds, apply the Sibilance Softener preset. Alternatively, employ DTMF presets to eliminate the standard tones associated with analog telephone systems.
- Frequency: Designates the center frequency for each notch.
- Gain: Sets the amplitude for each notch.
- Enable: Activates the button to pass without any processing.
- Fix Gain to: Specifies whether notches have uniform or separate gain levels.
The Simple Notch Filter lets you specify a single notch frequency for attenuation while allowing all other frequencies to pass through relatively unaffected. Q setting controls the width of the notch. A higher Q value results in a narrower, more selective notch, while a lower Q value widens the notch.
The Simple EQ effect offers the ability to manage tonal equalization. Equalization can be used to adjust the balance of frequencies within an audio signal. It supports modifying of the volume of a specific frequency to shape the tone of the sound. Equalization can help to correct audio imperfections, enhance the sonic quality, and achieve artistic effects.
This effect supports the below settings:
- Center Frequency: This determines the specific frequency around which the adjustment is made.
- Q: Q defines the width of the frequency range affected by the adjustment. A low Q value results in impacting a broader range; a higher Q value restricts impact to a narrow range.
- Boost: This controls the volume of the frequency band. Increasing Boost amplifies the frequency while decreasing it cuts frequency.
Modulation
The Chorus/Flanger effect combines two widely used delay-based effects. The Chorus option simulates the sound of multiple voices or instruments played at once by introducing several short delays with a small amount of feedback. This produces a lush, rich sound. You can use this effect to enhance vocal tracks or introduce stereo spaciousness to mono audio.
- Mode: The following modes are available:
- Chorus: Simulates multiple voices or instruments playing concurrently.
- Flanger: Simulates the delayed, phase-shifted sound that was initially prominent in psychedelic music.
- Chorus: Simulates multiple voices or instruments playing concurrently.
- Speed: Sets the speed at which the delay time shifts from zero to the maximum setting.
- Width: Sets the maximum delay.
- Intensity: Controls the proportion of original audio to processed audio.
- Transience: Enhances transients, providing them a sharper and more distinct sound.
Flanging is an audio effect achieved by blending a fluctuating, brief delay with roughly equal weighting to the original signal. Its origin can be traced back to the practice of sending an identical audio signal to two reel-to-reel tape recorders and manually slowing down one reel's flange. The combination of these two recordings results in a phase-shifted, time-delay effect, characteristic of the psychedelic music from the 1960s and 1970s. The Flanger effect allows you to replicate a similar outcome by introducing slight delays and phasing to a signal at predetermined or random intervals.
- Initial Delay Time: Sets the point in milliseconds at which flanging begins behind the original signal. The flanging effect unfolds over time, transitioning from an initial delay setting to a second (or final) delay setting.
- Final Delay Time: Sets the point in milliseconds at which flanging ends behind the original signal.
- Stereo Phasing: Allows you to set separate left and right delays, measured in degrees. For instance, setting it to 180° synchronizes the initial delay of the right channel with the final delay of the left channel. This option can be adjusted to invert the initial and final delay settings for the left and right channels, producing a circular and psychedelic effect.
- Modulation Rate: Controls the speed at which the delay transitions between the initial and final delay times, measured in cycles per second (Hz). Even minor adjustments to this setting can result in a wide range of effects.
- Mix: Adjusts the blend between the original (Dry) and flanged (Wet) signal. You need some of both signals to achieve the characteristic cancellation and reinforcement that occurs during flanging. Setting Mix to 0% eliminates flanging while setting Mix to 100% produces a wavering sound, like a malfunctioning tape player.
- Feedback: Specifies the percentage of the flanged signal that gets reintroduced into the flanger. When there is no feedback, the effect relies solely on the original signal. By incorporating feedback, the effect utilizes a portion of the affected signal from before the current playback point.
- Mode: Provides three ways of flanging:
- Inverted Mode: Inverts the delayed signal, canceling out audio periodically instead of reinforcing the signal.
- Special Effects Mode: Combines the normal and inverted flanging effects. The delayed signal is added to the effect, while the leading signal is subtracted.
- Sinusoidal Mode: Makes the transition between the initial delay and final delay, and vice versa, to adhere to a sine curve. Without this setting, the transition follows a linear pattern, maintaining a consistent rate of change from the initial setting to the final setting. When "Sinusoidal" is chosen, the signal spends more time at the initial and final delays than it does between them.
- Inverted Mode: Inverts the delayed signal, canceling out audio periodically instead of reinforcing the signal.
Much like flanging, phasing involves altering the phase of an audio signal and then recombining it with the original, resulting in psychedelic effects. However, unlike the Flanger effect, which employs variable delays, the Phaser effect cycles through a series of phase-shifting filters to and from an upper frequency. Phasing has the potential to significantly transform the stereo image, creating unearthly sounds.
- Stages: Determines the quantity of phase-shifting filters. Increasing this setting results in more pronounced and dense phasing effects.
- Intensity: Controls the degree of phase-shifting applied to the signal.
- Depth: Specifies the extent to which the filters move below the upper frequency. Increasing this setting results in a broader tremolo effect, 100% sweeps from the upper frequency to zero Hz.
- Mod Rate: The modulation rate dictates the speed at which the filters move to and fro from the upper frequency. Specify a value in Hz, which represents cycles per second.
- Phase Difference: Specifies the phase offset between stereo channels. Positive values initiate phase shifts in the left channel, while negative values initiate them in the right. The maximum values of +180° and -180° result in complete phase differences and are sonically identical.
- Upper Freq: Sets the highest frequency point from which the filters initiate their sweep. For the most pronounced effects, choose a frequency that falls near the midpoint of the selected audio's range.
- Feedback: Returns a portion of the phaser output back to the input, increasing the intensity of the effect. Negative values invert the phase before feeding audio back.
- Mix: Manages the proportion of the original audio compared to the processed audio.
- Output Gain: Controls the output level after processing. Positive values amplify the output. Negative values attenuate the output.
Noise Reduction
The DeHummer effect eliminates narrow frequency bands and their harmonics, with its primary use case being the removal of power line hum generated by lighting and electronic devices. Additionally, the DeHummer can function as a notch filter, effectively eliminating excessively resonant frequencies from the source audio.
- Frequency: Establishes the root frequency of the hum. If the exact frequency is uncertain, you can drag this setting back and forth while previewing the audio to find the correct value.
- Q: Sets the width of the root frequency and harmonics. Higher values narrow the affected frequency range, while lower values broaden it.
- Gain: Determines the degree of attenuation applied to the hum.
- Q: Sets the width of the root frequency and harmonics. Higher values narrow the affected frequency range, while lower values broaden it.
- Number of Harmonics: Specifies the number of harmonic frequencies affected.
- Harmonic Slope: Alters the attenuation ratio for the harmonic frequencies.
- Output Hum Only: Enables the preview of the removed hum, allowing you to assess whether it contains any desirable audio.
Reverb
Settings
- Low Frequency Cut: Specifies the lower frequency limit for reverb generation.
- High Frequency Cut: Defines the upper-frequency limit for reverb generation.
- Room Size: Sets the room size.
- Width: Governs the spread across stereo channels, ranging from 0% for a mono reverb signal to 100% for maximum stereo separation.
- Diffusion: Simulates the absorption of reverberated signal as it's reflected off surfaces, such as carpeting and drapes. Lower settings produce more pronounced echoes, whereas higher settings create a smoother reverberation with fewer echoes.
- Damping: Regulates the extent of attenuation applied to the high frequencies of the reverb signal over time. Higher percentages result in more damping, yielding a warmer reverb tone.
- Decay: Modifies the duration of reverberation decay in milliseconds.
- Early Reflections: Governs the proportion of initial echoes reaching the ear, influencing the perceived room size. Extremely high values may introduce an artificial quality, while excessively low values might diminish the auditory cues for the room's dimensions. Starting with half the original signal volume is a recommended baseline.
- Dry Output Level: Sets the percentage of the source audio to output with the effect.
- Wet Output Level: Sets the percentage of reverb to be included in the output.
Special
The Vocal Enhancer effect swiftly enhances the quality of voice-over recordings. High Tone and Low Tone modes automatically reduce sibilance, plosives, and microphone handling noise like low rumbles. These modes also incorporate microphone modeling and compression, imparting vocals with a distinct radio-like quality. Meanwhile, the Music mode optimizes soundtracks to better complement voice-overs.