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Audio effects

  1. Adobe Premiere Elements User Guide
  2. Introduction to Adobe Premiere Elements
    1. What's new in Premiere Elements
    2. System requirements | Adobe Premiere Elements
    3. Workspace basics
    4. Guided mode
    5. Use pan and zoom to create video-like effect
    6. GPU accelerated rendering
  3. Workspace and workflow
    1. Get to know the Home screen
    2. View and share auto-created collages, slideshows, and more
    3. Workspace basics
    4. Source Monitor and Program Monitor
    5. Preferences
    6. Tools
    7. Keyboard shortcuts
    8. Audio View
    9. Undoing changes
    10. Customizing shortcuts
    11. Working with scratch disks
  4. Working with projects
    1. Creating a project
    2. Adjust project settings and presets
    3. Save and back up projects
    4. Previewing movies
    5. Creating video collage
    6. Creating Highlight Reel
    7. Create a video story
    8. Creating Instant Movies
    9. Viewing clip properties
    10. Viewing a project's files
    11. Archiving projects
    12. GPU accelerated rendering
  5. Importing and adding media
    1. Add media
    2. Guidelines for adding files
    3. Set duration for imported still images
    4. 5.1 audio import
    5. Working with offline files
    6. Sharing files between Adobe Premiere Elements and Adobe Photoshop Elements
    7. Creating specialty clips
    8. Work with aspect ratios and field options
  6. Arranging clips
    1. Arrange clips in the Expert view timeline
    2. Group, link, and disable clips
    3. Arranging clips in the Quick view timeline
    4. Working with clip and timeline markers
    5. Sequence settings
  7. Editing clips
    1. Reduce noise
    2. Select object
    3. Candid Moments
    4. Color Match
    5. Smart Trim
    6. Change clip speed and duration
    7. Split clips
    8. Freeze and hold frames
    9. Adjusting Brightness, Contrast, and Color - Guided Edit
    10. Stabilize video footage with Shake Stabilizer
    11. Replace footage
    12. Working with source clips
    13. Trimming Unwanted Frames - Guided Edit
    14. Trim clips
    15. Editing frames with Auto Smart Tone
    16. Artistic effects
  8. Color Correction and Grading
    1. Color Correction and Grading (LUTs)
    2. Color Correction Panel
    3. Color Correction Settings
  9. Applying transitions
    1. Applying transitions to clips
    2. Transition basics
    3. Adjusting transitions
    4. Adding Transitions between video clips - Guided Edit
    5. Create special transitions
    6. Create a Luma Fade Transition effect - Guided Edit
  10. Special effects basics
    1. Effects reference
    2. Applying and removing effects
    3. Create a black and white video with a color pop - Guided Edit
    4. Time remapping - Guided edit
    5. Effects basics
    6. Working with effect presets
    7. Finding and organizing effects
    8. Editing frames with Auto Smart Tone
    9. Fill Frame - Guided edit
    10. Create a time-lapse - Guided edit
    11. Best practices to create a time-lapse video
  11. Applying special effects
    1. Use pan and zoom to create video-like effect
    2. Transparency and superimposing
    3. Reposition, scale, or rotate clips with the Motion effect
    4. Apply an Effects Mask to your video
    5. Adjust temperature and tint
    6. Create a Glass Pane effect - Guided Edit
    7. Create a picture-in-picture overlay
    8. Applying effects using Adjustment layers
    9. Adding Title to your movie
    10. Removing haze
    11. Creating a Picture in Picture - Guided Edit
    12. Create a Vignetting effect
    13. Add a Split Tone Effect
    14. Add FilmLooks effects
    15. Add an HSL Tuner effect
    16. Fill Frame - Guided edit
    17. Create a time-lapse - Guided edit
    18. Animated Sky - Guided edit
    19. Select object
    20. Animated Mattes - Guided Edit
    21. Double exposure- Guided Edit
  12. Special audio effects
    1. Mix audio and adjust volume with Adobe Premiere Elements
    2. Audio effects
    3. Adding sound effects to a video
    4. Adding music to video clips
    5. Create narrations
    6. Using soundtracks
    7. Music Remix
    8. Adding Narration to your movie - Guided Edit
    9. Adding Scores to your movie - Guided edit
  13. Movie titles
    1. Creating titles
    2. Adding shapes and images to titles
    3. Adding color and shadows to titles
    4. Apply Gradients
    5. Create Titles and MOGRTs
    6. Add responsive design
    7. Editing and formatting text
    8. Align and transform objects
    9. Motion Titles
    10. Appearance of text and shapes
    11. Exporting and importing titles
    12. Arranging objects in titles
    13. Designing titles for TV
    14. Applying styles to text and graphics
    15. Adding a video in the title
  14. Disc menus
    1. Creating disc menus
    2. Working with menu markers
    3. Types of discs and menu options
    4. Previewing menus
  15. Sharing and exporting your movies
    1. Export and share your videos
    2. Export settings
    3. Sharing for PC playback
    4. Compression and data-rate basics
    5. Common settings for sharing

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:

  1. Switch to Advanced view in Adobe Premiere Elements editor.

  2. Open Effects panel > Switch to the Audio tab.

  3. Drag and drop any desired audio effect over an audio on the timeline.

    Explore different types of audio effects in Premiere Elements.
    Applying audio effects in Premiere Elements.

  4. 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.

    Adjust settings associated with chosen Audio effects.
    Adjust settings associated with chosen Audio effects.

    Not:

    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

The Amplify effect boosts or attenuates an audio signal. As it functions in real-time, it can be used alongside other effects within the Effects rack.

Gain Sliders: Boost or attenuate individual audio channels.

The Channel Volume effect allows for individual volume control of each channel within a stereo or 5.1 clip or track. The level of Left and Right channels is measured in decibels.

The DeEsser effect removes sibilance and similar high-frequency "SSS" type sounds. These sounds are produced when a narrator pronounces the letters "s" or "t." This effect is available with 5.1, stereo, or mono clips.

  • 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.

The Hard Limiter effect significantly reduces the volume of audio that exceeds the defined threshold. Typically, limiting is employed in conjunction with an input boost, a method that raises the overall volume without causing distortion.

  • 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.

The Single-band Compressor effect lessens the dynamic range, resulting in uniform volume levels and an enhanced sense of loudness. Single-band compression is particularly useful for voiceovers, as it helps the speaker to be prominently heard amidst musical soundtracks and background audio.

Not:

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

The Highpass effect eliminates frequencies that fall below the designated Cutoff frequency. Highpass effects are compatible with 5.1, stereo, or mono clips.

The Lowpass effect filters out frequencies exceeding the specified Cutoff frequency. Lowpass effects can be applied to 5.1, stereo, or mono clips.

The Notch Filter effect allows the removal of up to six user-defined frequency bands. This effect is particularly useful for eliminating narrow frequency bands, such as a 60-Hz hum, while leaving all surrounding frequencies unaffected.

Not:

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.
  • 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.

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.
  • 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

The Studio Reverb effect replicates acoustic environments. This effect enables real-time adjustments without the need for pre-rendering effects on a track.

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 Fill Left with Right effect duplicates the right channel data and replaces the existing left channel data with it. This effect is intended for use with stereo audio clips only.

The Fill Right with Left effect duplicates the left channel data from the audio clip and inserts it into the right channel, replacing the original right channel information.

The Invert (audio) effect reverses the phase of all channels. This effect is accessible for 5.1, stereo, or mono clips.

The Swap Channels effect swaps the positioning of left and right channel data. This effect is applicable exclusively to stereo clips.

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.

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