Audio effectsThe Backwards effect reverses the audio of a layer by playing the audio from the last frame to the first frame. The frames remain in their original order in the Timeline panel. Select Swap After effects eq tutorial to swap left and right channels. Anavar results before after Frank and Aharon Rabinowitz provide a video tutorial on the All Bets Are Off website that shows how to use the Backwards effect and the Reverb effect to create a creepy reverse echo result. For greater control, use the Parametric EQ effect.
After Effects Tutorial - Automatic Sound EQ using Shapes on Vimeo
The Backwards effect reverses the audio of a layer by playing the audio from the last frame to the first frame. The frames remain in their original order in the Timeline panel. Select Swap Channels to swap left and right channels. Harry Frank and Aharon Rabinowitz provide a video tutorial on the All Bets Are Off website that shows how to use the Backwards effect and the Reverb effect to create a creepy reverse echo result.
For greater control, use the Parametric EQ effect. The Delay effect repeats audio after a specified amount of time. This effect simulates sound bouncing off a surface, such as a wall. Amount of the echo that is fed back into the delay line to create subsequent echoes. The amounts of the original dry sound and delayed wet sound in the final output. Flange is an audio effect caused by mixing the original audio with a copy that is delayed by a varying amount that cycles over time.
The frequency of the copy is also offset by an amount related to the delay. Chorus uses a larger delay, to make one voice or instrument sound like many. To create a chorus result, use values something like the following: The time in milliseconds that separates each voice. Each voice is a delayed version of the original sound. Use values of 6 or lower for flange, and higher values for chorus.
The modulation phase difference in degrees between each subsequent voice. Divide by the number of voices to find the optimum value. Inverts the phase of the processed wet audio, emphasizing more of the high frequencies; not inverting the phase emphasizes more of the low frequencies.
Alternates assignment of voices to one of the two channels so that the first voice appears in the left channel, the second in the right channel, the third in the left, and so on.
To hear stereo voices, preview or render in stereo. The High-Low Pass effect sets a limit above or below which frequencies can pass. High Pass allows frequencies above the limit and blocks frequencies below. Conversely, Low Pass allows frequencies below the limit and blocks frequencies above.
Use High-Low Pass to do the following:. Enhance or attenuate reduce a sound. For example, using High Pass can reduce traffic noise, which often is concentrated at low frequencies, while minimally affecting a voice recording. Using Low Pass can remove high-frequency sounds, such as static and buzzing. Change the focus from one sound to another over time. For example, in audio that contains both music and voice, you can fade out the music while gradually bringing in the voice.
Direct certain frequencies to specific equipment. For example, use Low Pass to isolate sounds intended for a subwoofer. To check the frequencies that you filter out, switch to the opposite Filter Options value and preview audio.
All frequencies below High Pass or above Low Pass are removed. If the unwanted sound changes over time, animate this property. To identify the frequencies of unwanted sound, use the Audio Spectrum effect. The Modulator effect adds both vibrato and tremolo to audio by modulating varying the frequency and amplitude. The type of waveform to use. Sine produces smoother modulation. Triangle produces more abrupt modulation. The Parametric EQ effect emphasizes or attenuates specific frequency ranges. Parametric EQ is useful for enhancing music, such as boosting low frequencies to bring up bass.
If you have audio with an unwanted sound such as a beep from a forklift in the background , you can isolate and cut the frequency range of the beep to attenuate the sound. Using this effect, you can enhance up to three different bands of audio.
As you adjust controls, a frequency-response graph indicates the combined equalization curve you create; band 1 is red, band 2 is green, and band 3 is blue. You may find it easier to specify controls if you determine in advance the frequency-response curve you want.
The amount by which to boost increase or cut decrease the amplitude of the frequencies inside the specified band. Positive values boost; negative values cut. The Reverb effect simulates a spacious or acoustically live interior by simulating random reflections of a sound off a surface.
The average time, in milliseconds, between the original audio and the reverberated audio. Specifies how much the effect scatters the original audio. More diffusion can make the audio sound farther from the microphone. Specifies the amount of time it takes for the effect to subside. A higher value simulates a larger space.
Specifies the amount of detail preserved from the original audio. High brightness simulates a room with live highly reflective acoustics. The Stereo Mixer effect mixes the left and right channels of audio and pans the entire signal from one channel to the other.
Inverts the phase of both channels of the stereo signal. Use this control to prevent two sounds at the same frequency from canceling each other out. The Tone effect synthesizes simple audio tones to create sounds, such as the low rumble of a submarine, a telephone ringing in the background, sirens, or a laser blast.
You can have up to five tones for each instance of the Tone effect, to create a chord. When you apply this effect to a layer with audio, the dry original, unprocessed audio is ignored, and only the tone plays. You can also apply the Tone effect to a layer that has no audio, such as a solid layer, to synthesize audio.
Specifies the type of waveform to use. Sine waves produce the purest tones. Square waves produce the most distorted tones. Triangle waves have elements of both sine waves and square waves but are closer to sine waves. Saw waves have elements of both sine waves and square waves but are closer to square waves. Changes the amplitude of all tones in this instance of the effect. To avoid clipping and popping, use a Level value that is no greater than divided by the number of frequencies you use.
To avoid clicks at the end of a tone, set a keyframe for the desired Level value at the frame immediately before the end of the tone, and then set a keyframe for a Level value of 0. This technique works well for any audio that you end abruptly. After Effects User Guide. To simulate the acoustic ambience of a room, use the Reverb effect. Time between the original sound and its echo, in milliseconds.
Volume of the first delayed audio, as a fraction of the original. Dry Out, Wet Out. The number of voices in the processed wet audio. The rate in Hz at which the modulation cycles. Use High-Low Pass to do the following: Protect equipment from potentially damaging frequencies. Activates an equalization band and its controls.
To turn off a tone, set its frequency to 0. More like this Preview video and audio Audio Spectrum effect Set or add keyframes.