Click at the beginning of the downbeat, and then press M to place a marker there. If you click right on the marker, the playhead will snap to it because snapping is enabled. The pasted verse now follows the first verse before going into the bridge. Play the file from the beginning to verify this. You can use a similar concept to shorten music. Note that the intro repeats twice, from 0 seconds to 3. Remember that the marker needs to go at the precise beginning of the beat. A dialog box appears where you can adjust the levels distortion.

If you try to of the copied audio and existing audio. Save this file, and then close it before proceeding. Repeating part of a waveform to create a loop Many elements in music are repetitive.

You can move the region boundaries during playback. If you have a hard time finding good loop points, set a region to start at 7. Now you have a loop you can use in other pieces of music. E Tip: There are several others ways to save an individual selection.

Fading regions to reduce artifacts Audio may have unintended noises, such as hum or hiss, that are masked when audio like narration is playing but are audible when the narration stops. Audition has advanced techniques for removing noise and doing audio restoration, but for simple problems, a fade is often all you need.

You can see the fade attenuating the spike. Use a convex fade for this application. Review answers 1 As soon as you make a selection, a heads-up display opens with a volume control that lets you change level.

Copy the Lesson04 folder that contains the audio examples into the Lessons folder that you created on your hard drive for these projects. Draw from the extensive collection of effects included in Audition, or use third-party plug-in processors.

They are the audio equivalent of video effects, like contrast, sharpen, color balance, light rays, pixelate, and so on. Adobe Audition includes a wide range of effects. Most can work with the Waveform and Multitrack Editors, but some are available only in the Waveform Editor. There are three main ways of working with effects, which are available in the Waveform and Multitrack Editors. You can add, delete, replace, or reorder effects.

The Effects Rack is the most flexible way of working with effects. When you need to apply only one specific effect, using this menu is quicker than using the Effects Rack.

Some effects are available in the Effects menu that are not available in the Effects Rack. If you come up with a particularly useful effects setting, you can save it as a Favorite preset.

The preset is then added to the list of Favorites you can access with the Favorites menu. Selecting it applies that preset instantly to whatever audio is selected; you cannot change any parameter values before applying the effect.

This lesson initially covers using the Effects Rack, which introduces the majority of effects. The second section covers the Effects menu and discusses the remaining effects that are available only via the Effects menu.

The final section describes how to work with presets, including Favorites. Using the effects rack For all lessons involving the Effects Rack, it is best to use the Default workspace. Click the Transport Play button to audition the loop, and then click the Transport Stop button. A toolbar is located above the inserts, and meters with a second toolbar are below the inserts. You series, meaning that the audio file feeds the first effect input, the first effect output can leave empty inserts feeds the second effect input, the second effect output feeds the third effect input, between effects and and so on until the last effect output goes to your audio interface.

Press the spacebar again to stop playback. Begin playback. The echoes are now in time with the music. Keep this lesson open as you continue. Either of these actions brings the effects window to the front and opens it if it was closed. If an effect already exists in that insert, the existing effect will be pushed down to the next higher-numbered insert.

When powered back on, only effects that had been on prior to bypassing return to being on. For example, a fil- ter that emphasizes the midrange could create distortion by increasing levels above acceptable limits. To set levels, in the lower part of the Effects panel use the Input and Output level con- trols with associated meters. These controls can reduce or increase levels as needed. Do not start playback yet. Close the Parametric EQ window.

However, the massive EQ boost is overloading the output. Turn up the monitoring level enough so you can hear the distortion this causes. Reduce the Input level until meter to reset the red distortion indicators.

This will likely require To reset the Input or reducing the Input to dB or so. Sometimes you want a blend of the wet and dry sounds rather than all of one or the other. E Tip: Using the Mix 2 Drag the slider to the right to increase the amount of wet, filtered sound, and slider to blend in more drag to the left to increase the amount of dry, unprocessed sound.

This is called a nondestructive process using a real-time effect, because the original file remains unaltered. However, you may want to apply the effect to the entire file, or only a selection, so that saving the file saves the processed version. For this lesson, choose Entire File.

Also note that any changes are still not amplitude and compression effects permanent until you save using either Save or Save As the file. At Amplitude and Compression effects change levels or alter dynamics. When increasing amplitude to make a file louder, choose a low enough amount of amplification so that the file remains undistorted.

With Link Sliders selected, adjusting gain for one channel changes gain equally in the other channel. Deselecting Link Sliders allows for adjusting each channel individually.

They do not go into the red so it is safe to increase the gain by this amount. The Output meter goes into the red, which shows that the gain is too high and is overloading the output. Also, try decreasing the level and listen to the results. Keep Audition open. Consider two possible applications: converting stereo to mono and reversing the left and right channels.

When bypassed, the stereo image is wider. Now the signal is monaural. Click the L tab and set operation that the the L slider to 0 and the R slider to Now the left channel consists entirely of Channel Mixer preset named All Channels signal from the right channel. Set the L slider to and the R slider to 0. Now the right conversion. When bypassed, the hi-hat is in the left channel. De-essing is a three-step process: Identify the frequencies where sibilants exist, define that range, and then set a threshold, which if exceeded by a sibilant, automatically reduces the gain within the specified range.

This makes the sibilant less prominent. Sibilants are high frequencies. Look carefully at the spectrum and confirm that you see peaks in the range around Hz. Similarly, when set to minimum Hz , the sibilants are above this range and are still audible.

Adjust the Center Frequency to hear the greatest amount of sibilants and the least amount of the voice, which will be around Hz. Dynamics processing With a standard amplifier, the relationship between the input and output is linear. A Dynamics Processor changes the relationship of the output to the input.

This change is called compression when a large input signal increase produces only a small output signal increase and expansion when a small input signal increase produces a large output signal increase. Expansion is less common; one application is to expand objectionable low-level signals like hiss to reduce their levels further.

There are also many uses for both as special effects. In the following graph, as the input signal changes from dB to dB, the output changes from dB to only dB. As a result, the Dynamics Processor has compressed 60dB of input dynamic range into 5dB of change at the output. But from dB to 0dB, the output changes from dB to 0dB. Therefore, the Dynamics Processor has expanded 40dB of input dynamic range into 95dB of out- put dynamic range.

Choose the Default preset, which provides neither compression nor expansion. Click in the middle of segment 1 e. Drag it up a little bit to around dB. Click on the line at dB and dB to create two more squares. Click on the one at dB, and drag it down all the way to dB.

This effect makes the drums sound more percussive. Bypass the dynamics processing, and and effects. By adding Make-Up gain, the documentation for processed signal is now a little bit louder. This is different from simple attenuation which lowers the levels of all signals , because in this example of limiting, levels below dB remain untouched. Levels above dB are compressed with an essentially infinite ratio, so any input level increase produces no output level increase above dB.

This limiter also has an Input Boost parameter, which can make a signal subjec- tively louder. In most cases the default is fine. Past a certain amount of input of thumb is to set it for the most natural sound. With no become unnatural. The level at which this will look-ahead time, the limiter has to react instantly to a transient, which is not occur varies depending possible: It has to know a transient exists before it can decide what to do with it.

With voice, instantaneous. The two most important parameters are Threshold the level above which compression starts to occur and Ratio, which sets the amount of change in the output signal for a given input signal change. For example, with a ratio, a 4dB increase in input level produces a 1dB increase at the output. With an ratio, an 8dB increase in input level produces a 1dB increase at the output. Also, delete any currently loaded effects. This shows how the Threshold and Ratio controls interrelate, and explains why you usually need to go back and forth between these two controls to dial in the right amount of compression.

Slowly increase the Ratio slider by moving it to the right. The farther you move it to the right, the more compressed the sound. Leave the Ratio slider at 10 i. The lower the Threshold, the more compressed the sound; below about dB, with a Ratio of , the sound becomes so compressed as to be unusable. Leave the Threshold slider at dB for now. When you bypass the Single- Band Compressor, note that the meters are more animated and have more pronounced peaks.

The reason is that reducing peaks allows for increasing the overall output gain without exceeding the available headroom or causing distortion. Attack sets a delay before the compression occurs after a signal exceeds the threshold. Allowing a slight Attack time, like the default setting of 10ms, lets through percussive transients up to 10ms in duration before the compression kicks in.

Now set the Attack time to 0. There are no rules about Release time; basically, set it subjectively for the smoothest, most natural sound, which will usually lie between and ms.

You can use the same basic steps as in the previous lesson to explore the Tube-Modeled Compressor. The one obvious difference is that the Tube-Modeled Compressor has two meters: the one on the left shows the input signal level, and the one on the right shows how much the gain is being reduced to provide the specified amount of compression. It divides the frequency spectrum into four bands, each with its own compressor.

Note that each band has an S Solo button, so you can hear what that band alone is doing. This shows how multiband compression can add an element of equalization; the output gain for the two upper bands is considerably higher than the two lower bands.

This is the mirror image of the Enhance Highs preset. The reason is that the highest band has an extremely low threshold of dB, so even low-level, high-frequency sounds are compressed. Speech Volume leveler The Speech Volume Leveler incorporates three processors—leveling, compression, and gating—to even out level variations with narration, as well as reduce back- ground noise with some signals.

As you move the slider to the right, the output will become louder than the input. Choose a value of about 60 for now. The output will peak at around -6dB. Adjust the Target Volume Level until the peaks match the peaks you saw in step 6. The slider should be around dB. There should be fewer volume variations between the soft and loud sections.

To best hear how this works, with the Leveling Amount at the default setting of , select the audio between 2 and 6 seconds, and loop it. Move the Leveling Amount back to 60, and the noise goes away. Observe the meters, and see if further tweaking can help create a more consistent output.

In the reducing the attack and illustration the top waveform is the original file, whereas the lower one has been decay time of the effect processed by the Speech Volume Leveler. Delay and echo effects Adobe Audition has three echo effects with different capabilities. All delay effects store audio in memory and then play it back later. The time that elapses between storing it and playing it back is the delay time.

This makes it easy to hear single delay. Leave Adobe Audition where the project has a particular tempo. Samples is useful for tuning out short timing differences, because analog Delay you can specify delays Before digital technology, delay used tape or analog delay chip technology. These down to 1 sample at a 44,Hz sample produced a more gritty, colored sound compared to digital delay.

Analog Delay simply repeats the audio with the start time of the repeat specified by the delay amount. Unlike the Delay effect, there are separate controls for Dry and Wet levels instead of a single Mix control. The Delay slider provides the same function as the Delay effect except that the maximum delay time is 8 seconds. No Feedback a setting of 0 produces a effect. For 4 With feedback at 50, set the Trash control to Vary the loop tempo is feedback, being careful to avoid excessive, runaway feedback.

Keep Audition open for the note is The Lesson04 folder includes a file called Period vs. For example, if the response is set to be brighter than normal, each echo will be brighter than the previous one. E Tip: To set both 2 Compared to the previous delay effects, Echo has yet another way of setting the channels to the same echo mix; each channel has an Echo Level control that dials in the echo amount.

Delay Time, enable Lock Left and Right. The Dry signal is fixed. That makes it easier to hear the difference moving a single slider has on the sound.

Now the echoes are brighter. The echoes are now bassy. Filter and eQ effects Equalization is an extremely important effect for adjusting tonality. Adobe Audition has four different equalizer effects, each used for different purposes, that can adjust tonality and solve frequency-response related problems: Parametric Equalizer, Graphic Equalizer, FFT Fast Fourier Transform Filter, and Notch Filter. Parametric equalizer The Parametric Equalizer offers nine stages of equalization.

Each parametric equalization stage has three parameters. The Parametric Equalizer is capable of high amounts of gain at the selected frequencies. Start playback. Each represents a controllable parametric stage. Click one of them e. Drag left to affect lower frequencies or right to affect higher frequencies. Listen to how this changes the sound. The L and H squares control a low shelf and high shelf response, respectively.

This starts boosting or cutting at the selected frequency, but the boost or cut extends outward toward the extremes of the audio spectrum. Note how this increases the treble. Similarly, click on the L box to hear how this affects the low frequencies. There are two additional stages, Highpass and Lowpass, which you enable by clicking on the HP and LP buttons, respectively.

Click those buttons now. A Highpass filter is helpful for removing subsonic very low-frequency energy. Click on the HP box and drag it to the right to hear how it affects low frequencies. Note how this creates a gradual curve. Keep this project open for the next lesson.

The screen shot shows a steep along the bottom of Highpass slope, a slight parametric boost with stage 2, a narrow parametric cut the screen has three additional options. Constant Q, where Q is a ratio compared to frequency, is most common, whereas Constant Width means the Q is the same regardless of frequency.

The Ultra-Quiet option reduces noise and artifacts but requires much more processing power and can usually be left off. Range sets the maximum amount of boost or cut to 30dB or 96dB. The more common option is 30dB. Caution: In the following lesson, keep monitor levels down as you make adjustments. The Graphic Equalizer can produce high amounts of gain at specific frequencies.

Move the various sliders up and down to hear how each affects the timbre through varying the level within their respective frequency bands. In musical terms, each slider is an octave apart. Keep Audition open in preparation for the next lesson. P Note: The strip along the bottom of the Graphic Equalizer screen has three additional parameters. Range sets the maximum available amount of boost or cut up to dB which is a lot!

Accuracy affects low-frequency processing. Otherwise, leave it at the default of points to reduce CPU loading. Master gain compensates for Output level changes caused by using the EQ. Turn it down if you added lots of boosting; turn it up if you used lots of cutting.

To hear how it works, follow the same basic procedure as the lesson for the 10 Bands version. The default settings are a practical point of departure. FFT is a highly efficient algorithm commonly used for frequency analysis. You can then drag this point up, down, or sideways. You are not limited to the number of points you can add, which allows you to make very complex—and even truly bizarre—EQ curves and shapes. The screen shot on the left shows Spline Curves deselected and the original placement of points, whereas the screen shot on the right shows Spline Curves selected.

P Note: As for other FFT Filter parameters, for Scale choose Logarithmic when working primarily with low frequencies because this produces the best resolution for drawing in nodes. Linear has the same advantage at high frequencies. For the Advanced options, for the best accuracy with steep, precise filters, choose higher values like to Lower values produce fewer transients with percussive sounds.

For Window, Hamming and Blackman are the best overall choices. The choices listed first narrow the shape of the response curve with subsequent choices progressively widening the shape. Note the huge amount of hum in the file. Turn off notches 3, 4, 5, and 6. Turn off notches 1 and 2. Experiment with the Gain parameters for notches 1 and 2. These tend to produce very specific sounds, and the presets included with Adobe Audition are a good place to start.

But there will also be some analysis of which parameters are most important for editing. The Chorus effect is optimized for stereo signals, so convert mono signals to stereo for best results. Then click OK. Play the file to hear what it sounds like. Select Highest Quality; most modern computers can provide the additional processing power this option needs.

If the audio crackles or breaks up, deselect this option. Notice how the sound becomes more animated. To make this more obvious, increase the Modulation Rate to 2. Return Modulation Depth to 0. Because this adds a lot more audio, you may need to bring down the Output control in the Effects Rack panel to avoid distortion.

Set it to around 40ms for now. Set it to around ms. Stereo Field makes the output narrower or wider. If you like the sound better, leave them selected. Note that some of the more bizarre sounds combine lots of modulation, feedback, or long delay times. Alter the Feedback setting; more feedback produces a more resonant sound. Stereo Phasing changes the phase relationship of the modulation; when set to 0, the modulation is the same in both channels.

Increase the Phasing amount to offset the modulation in the two channels, which creates more of a stereo effect. Vary the Modulation Rate to change the modulation speed. Experiment with these options. Selecting Inverted changes the tone. The effect varies depending on the other parameter settings. Many of the more radical patches use either high Modulation Rates, large amounts of Feedback, longer Initial or Final Delay Times, or a combination of these.

Speed provides the same function as Modulation Rate. Phaser The Phaser effect is similar to Flanging but has a different, and often more subtle, character because it uses a specific type of filtering called an allpass filter to accom- plish its effect instead of delays. Play the file. Change the Upper Freq to around Hz. The farther you move the Phase Difference away from the center 0 position, the greater the stereo effect. Leave it at for now. Leave it at 0. Note how at faster settings the effect is almost like vibrato.

Return it to 0. This complements the Upper Frequency parameter, which is the highest frequency that Modulation attains. Moving the value toward 0 increases the proportion of dry signal to wet signal, whereas moving the value toward increases the proportion of wet signal to dry signal. Experiment with these parameters to hear how they affect the sound. These include the ability to remove noise, delete pops and clicks, minimize the sound caused by scratches in vinyl records, reduce tape hiss, and more.

Two common reverb processes are convolution reverb and algorithmic reverb. Audition includes both. Convolution Reverb is generally the more realistic sounding of the two. It loads an impulse, which is an audio signal typically WAV file format that embodies the characteristics of a particular, fixed acoustic space. The effect then performs convolution, a mathematical operation that operates on two functions the impulse and the audio to create a third function that combines the impulse and the audio, thus impressing the qualities of the acoustic space onto the audio.

The trade-off for realism is a lack of flexibility. Algorithmic Reverb creates an algorithm mathematical model of a space with variables that allow for changing the nature of that space. All Audition reverbs other than the Convolution Reverb use algorithmic reverb technology.

Each type of reverb is useful. However, it is a CPU-intensive process. Note how each impulse produces a different reverb character. Move the Damping E Tip: You can use LF slider to the left to simulate the effect of a room with lots of sound-absorbing Convolution Reverb to load most WAV files material, which absorbs high frequencies more readily than low frequencies.

Online sources offer free impulses that work with 8 Pre-Delay sets the time before a sound first occurs and when it reflects off a standard convolution surface. Also, you can load phrases, loops, slider to the left to narrow the image.

These can be valuable for sound design and Studio reverb special effects. Many of the Full Reverb and Reverb parameters cannot be adjusted during playback, because they are very CPU-intensive. Drag the minimum, can add a Decay slider all the way to the left, and then vary the Early Reflections slider.

Increasing early reflections creates an effect somewhat like a small acoustic This can make narration space with hard surfaces. Adjust the Width control to set the stereo imaging, from narrow 0 to wide Move the slider more to the left to reduce the high frequencies for a darker sound or more to the right for a brighter sound. The difference between damping and High Frequency Cut is that damping applies progressively more high-frequency attenuation the longer a sound decays, whereas the high frequency cut is constant.

Experiment with damping. In general, high-diffusion settings are common with percussive sounds; low-diffusion settings are used with sustaining sounds e. Also, you cannot adjust the reverb characteristics in real time—only when playback is stopped.

You can edit the dry and wet levels at any time. Leave Audition open. Full reverb Full Reverb is a convolution-based reverb and is the most sophisticated of the various reverbs but also the most impractical to use because of the heavy CPU loading.

No parameters other than the level controls for dry, reverb, and early reflections levels can be adjusted during playback, and even then, the level control settings take several seconds to take effect however, if you stop playback and adjust them, the change occurs immediately on playback.

Also, if you change any of the non-level reverb parameters while stopped, it can take several seconds before playback begins. However, the Early Reflections options are more sophisticated than any of the other reverbs. With playback stopped, turn the Dry and Reverberation Output Level controls to 0 and Early Reflections to so you can easily hear the results of changing the related parameters.

Bigger room sizes create longer reverbs. Dimension sets the ratio of width to depth; values below 0. This sets the time before the coloration EQ takes effect. Set it to 0 as you experiment with the parametric parameters so you can hear the results as quickly as possible. Load various presets to get a sense of the sounds this effect can create, and then return to the Default preset.

Click at the intersection of the two levels on the X and Y axes. Dragging the node to the left also increases distortion by allowing lower levels to distort.

Continue adding and P Note: Regarding moving nodes to hear how this affects the sound. When there are multiple the other Distortion parameters, dB Range nodes, you can smooth the curve that incorporates them by increasing the changes the range Curve Smoothing parameter value. With the graphs unlinked, bring the upper-right square for one of Linear scale changes the calibration; the graphs down to dB.

Leave changes, particularly at lower frequencies. Processing a bass with a hint of when editing. Because guitar is a percussive instrument, many guitar players use compression to even out the dynamic range and produce more sustain.

Fifteen types are available, including a cabinet for bass guitar. E Tip: Many guitar 3 Call up the preset Big and Dumb, which makes a great start for a classic rock sounds use distortion. However, you want to avoid unintentional 4 Vary the Compressor Amount slider.

The sound will be more percussive to the distortion caused by left and more sustained with a slight volume drop to the right. Set the Amount overloading within Audition and use to 70 before proceeding. Try the three different distortion types from the Distortion processor. Guitar Type drop-down menu, and vary the Amount slider. Garage Fuzz is more processors can cause punk, Smooth Overdrive more rock, and Straight Fuzz emulates the sound of a wide level swings, so pay close attention to distortion effect box rather than an amp.

Input and Output controls to make sure 6 That sound seems a little harsh, but you can make it smoother with the filter. Also note that there are six non-amp and special FX sounds. Bypassing the Amplifier emphasizes just how much speakers and cabinets influence the tone. Deselect the Filter bypass check box. Therefore, reducing signal levels due to filtering will result in less distortion. Often, this is the sound you want, but if you feel the overall level is too low, move the Distortion Amount slider to the right to compensate.

For a big, metal sound, set Freq to around Hz and Resonance to 20 to produce a little response peak at that frequency. Turn up Resonance if you really want to go overboard. With Resonance at 0, move the Freq slider across its range.

The peak level will be around 1kHz; moving the Freq slider to either side reduces the level somewhat and also changes the timbre. Load the Big And Dumb preset. Its parameters work similarly to the same parameters in the Parametric Equalizer effect. The Equalizer also includes a real-time graph in the background that shows the current frequency response spectrum. Adds ambience if needed.

Allows for widening or narrowing the stereo image. Is a dynamics processor that increases the average level for a louder sound without exceeding the available headroom. Can be adjusted to control the effect output and therefore compensate for any level changes due to adding various processes. You'll use the Mastering Suite to give greater clarity to a piece of music. Select Low Shelf Enable; a small X appears toward the left, which you click on and drag to change the shelf characteristics.

Resume playback. Then drag down to about A little bit of Exciter effect goes a long way. Drag its slider to the right, and the sound will become way too bright. Because the song is already fairly bright, disable the Exciter effect by dragging its slider all the way to the left.

Note that the sonic difference among the three characters of Retro, Tape, and Tube becomes most noticeable with dull material and high Exciter amounts. However, as with the Exciter, you can have too much of a good widest possible stereo thing. Excessive maximization can lead to ear fatigue, as well as make the music image to create a more dramatic sound. Verified Purchase. This was my first Classroom in a Book, so it was a surprise to realize it will only walk you through a group of projects, but there isn't a lot of WHY and explaining that You would use this tool vs.

Thank goodness for the various kind people who post tutorials on YouTube ShootYourFriends is a great channel. So, this book does walk you through some pretty involved projects step by step, and if you analyze what you are doing, you can learn the concepts.

But the book assumes you have some glancing familiarity with Adobe products already. HOW do you zoom in to see your picture better on the screen? I found one way, but I know someone said there's a short-cut. The book tells you up-front that it's not the definitive guide. I'd like to know what is, though; Adobe's Help files aren't. Still a good product and a lot of good learning. I'm upgrading my review to 4 stars. It does have a lot of good knowledge densely packed in the book.

And by the end of the lessons I feel pretty darn comfortable moving around in AE. Now I just need to put in the playing around time to see what all I can get it to do for me! I know I'll be going back to the book again and again for how it walked us through various effects and I can create from there. A tutorial driven book whereas the student completes 11 lessons total with the end goal of creating an 18 second movie playable for either television or web.

Note: This book is compatible with either the "Macintosh" or Windows" version. These lessons are presented in a procedure-like fashion so ultimately the student learns this program with his or her "hands" rather than by verbal instruction or explanation. Each lesson is thorough and complete in teaching the student how to import various formats, manipulate them, animate, transform and composite them into a coherent animation. Also covered are lens flare effects, text effects, and adjusting live action footage.

Ultimately, this book is quite competent in teaching all of the above in a step-by-step manner. Each lesson takes about a half-hour to an hour to do so if you are motivated you can burn through this entire book in a fast weekend. This was not the case since "After Effects" is quite rich in content and complexity and it requires lots of practice and detail driven tutorials to really grasp this program.

Subsequently, this book provided me with the understanding and tutorials I needed to really learn this program. I am generally a big fan of Adobe's Classroom in a Book series.

These books are usually a good way to get up to speed quickly on Adobe products. With that said, I am rather disappointed in this book, and I abandoned it about one quarter of the way through, in favor of a different book.

It doesn't do Adobe's usual good job of introducing basic tasks and using them to build up to more complex jobs. Instead, the book tries to introduce a lot of program features at once, and it has left me feeling somewhat confused and frustrated. If you already know motion graphics, and are simply learning After Effects, this book may offer an effective means of getting into the swing of things quickly. But I can't recommend it for people like myself, who are learning motion graphics.

Too many details are glossed over, nearly always with the comment that if you want more information, you should consult the After Effects help. Well, if I was going to simply wade through the After Effects help, I wouldn't really need this book, would I? I'd recommend skipping this entry in the series in favor something more comprehensive. Hopefully, Adobe will address the problems with this book in a future edition.

This book series is the way to go! You can seriously be pretty comfortable in After Effects after going through just a few chapters. The only catch is you still have to go through the chapters and put in the work to benefit from the book. Like any Adobe software, learning comes from continuous work in the program and compounds over years as overall experience. This book probably won't make you the world's greatest SFX artist, but it sure is a solid foundation that will give you a strong basic understanding of the software.

I have also tried the books for InDesign, Illustrator, and Photoshop and can say that they are all fantastic. I highly reccomend them, even if you may know other Adobe programs already. Love it. This book is an incredibly weak companion to the sophisticated software it purports to teach.

Each lesson is nothing more than a series of "press this this, type this, click that" instructions with very little explanation of what you're actually doing and why you're doing it. Another puzzling approach is that the steps usually involve the typing of positional and rotational coordinates as opposed to the more intuitive use of visual motion paths to plot the movement of objects. It's like telling you to type in the latitudinal and longitudinal coordinates of Dallas and Houston on a map instead of just connecting them by dragging a line from one to the other.

Press-type-and-click instructions can be very useful to show you how to actually execute the features of an application such as After Effects, but, without some explanation of the "whys," you're learning almost nothing. Rodolfo Reyna. Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Download Free PDF.

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This was not the case since "After Effects" is quite rich in content and complexity and it requires lots of practice and detail driven tutorials to really grasp this program. Subsequently, this book provided me with the understanding and tutorials I needed to really learn this program. I am generally a big fan of Adobe's Classroom in a Book series.

These books are usually a good way to get up to speed quickly on Adobe products. With that said, I am rather disappointed in this book, and I abandoned it about one quarter of the way through, in favor of a different book.

It doesn't do Adobe's usual good job of introducing basic tasks and using them to build up to more complex jobs. Instead, the book tries to introduce a lot of program features at once, and it has left me feeling somewhat confused and frustrated. If you already know motion graphics, and are simply learning After Effects, this book may offer an effective means of getting into the swing of things quickly.

But I can't recommend it for people like myself, who are learning motion graphics. Too many details are glossed over, nearly always with the comment that if you want more information, you should consult the After Effects help. Well, if I was going to simply wade through the After Effects help, I wouldn't really need this book, would I? I'd recommend skipping this entry in the series in favor something more comprehensive.

Hopefully, Adobe will address the problems with this book in a future edition. This book series is the way to go! You can seriously be pretty comfortable in After Effects after going through just a few chapters. The only catch is you still have to go through the chapters and put in the work to benefit from the book.

Like any Adobe software, learning comes from continuous work in the program and compounds over years as overall experience. This book probably won't make you the world's greatest SFX artist, but it sure is a solid foundation that will give you a strong basic understanding of the software.

I have also tried the books for InDesign, Illustrator, and Photoshop and can say that they are all fantastic. I highly reccomend them, even if you may know other Adobe programs already. Love it. This book is an incredibly weak companion to the sophisticated software it purports to teach. Each lesson is nothing more than a series of "press this this, type this, click that" instructions with very little explanation of what you're actually doing and why you're doing it.

Another puzzling approach is that the steps usually involve the typing of positional and rotational coordinates as opposed to the more intuitive use of visual motion paths to plot the movement of objects.

It's like telling you to type in the latitudinal and longitudinal coordinates of Dallas and Houston on a map instead of just connecting them by dragging a line from one to the other. Press-type-and-click instructions can be very useful to show you how to actually execute the features of an application such as After Effects, but, without some explanation of the "whys," you're learning almost nothing.

It's like trying to learn to play piano by being told which keys to press or learning to paint by using a paint-by-the-numbers canvas.

It's amazing to me how Adobe could give its blessings to such an inferior book about such a superior product. They need a better book. It is helpful for Digital Media 2 like 3D but it is certainly hard when learning. See all reviews. Top reviews from other countries.

After Effects is a great programme with a steep learning curve. Strangely, by default some of the controls -- such as corner handles -- do not work the same as in other Adobe programmes and, for instance,when you re-size something by dragging along an edge it re-sizes in both directions from the centre, which is somewhat counter-intuitive.

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Worth every penny. One person found this helpful. Easy to follow. Excellent content. Would have given this 5 stars, but for the fact that the CD that comes with it was slightly warped and therefore completely useless. Lesson Files were available to download from an external source so this wasn't an issue in the end. Report abuse. I really do enjoy these books - they are great for those just starting out and maybe intermediates who use but don't always understand why they are doing things - AE can be confusing!

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Adobe photoshop cs3 tutorials for beginners pdf download windows 8 Adobe photoshop cs6 extended crack only portable mac cs5 for windows free. Phaser The Phaser effect is similar to Flanging but has a different, and often more subtle, character because it uses a specific type of filtering called an allpass filter to accom- plish its effect instead of delays.

Play the file. Change the Upper Freq to around Hz. The farther you move the Phase Difference away from the center 0 position, the greater the stereo effect.

Leave it at for now. Leave it at 0. Note how at faster settings the effect is almost like vibrato. Return it to 0. This complements the Upper Frequency parameter, which is the highest frequency that Modulation attains. Moving the value toward 0 increases the proportion of dry signal to wet signal, whereas moving the value toward increases the proportion of wet signal to dry signal. Experiment with these parameters to hear how they affect the sound.

These include the ability to remove noise, delete pops and clicks, minimize the sound caused by scratches in vinyl records, reduce tape hiss, and more. Two common reverb processes are convolution reverb and algorithmic reverb. Audition includes both. Convolution Reverb is generally the more realistic sounding of the two. It loads an impulse, which is an audio signal typically WAV file format that embodies the characteristics of a particular, fixed acoustic space.

The effect then performs convolution, a mathematical operation that operates on two functions the impulse and the audio to create a third function that combines the impulse and the audio, thus impressing the qualities of the acoustic space onto the audio. The trade-off for realism is a lack of flexibility.

Algorithmic Reverb creates an algorithm mathematical model of a space with variables that allow for changing the nature of that space. All Audition reverbs other than the Convolution Reverb use algorithmic reverb technology. Each type of reverb is useful. However, it is a CPU-intensive process. Note how each impulse produces a different reverb character.

Move the Damping E Tip: You can use LF slider to the left to simulate the effect of a room with lots of sound-absorbing Convolution Reverb to load most WAV files material, which absorbs high frequencies more readily than low frequencies.

Online sources offer free impulses that work with 8 Pre-Delay sets the time before a sound first occurs and when it reflects off a standard convolution surface. Also, you can load phrases, loops, slider to the left to narrow the image. These can be valuable for sound design and Studio reverb special effects.

Many of the Full Reverb and Reverb parameters cannot be adjusted during playback, because they are very CPU-intensive. Drag the minimum, can add a Decay slider all the way to the left, and then vary the Early Reflections slider. Increasing early reflections creates an effect somewhat like a small acoustic This can make narration space with hard surfaces. Adjust the Width control to set the stereo imaging, from narrow 0 to wide Move the slider more to the left to reduce the high frequencies for a darker sound or more to the right for a brighter sound.

The difference between damping and High Frequency Cut is that damping applies progressively more high-frequency attenuation the longer a sound decays, whereas the high frequency cut is constant. Experiment with damping. In general, high-diffusion settings are common with percussive sounds; low-diffusion settings are used with sustaining sounds e.

Also, you cannot adjust the reverb characteristics in real time—only when playback is stopped. You can edit the dry and wet levels at any time. Leave Audition open. Full reverb Full Reverb is a convolution-based reverb and is the most sophisticated of the various reverbs but also the most impractical to use because of the heavy CPU loading. No parameters other than the level controls for dry, reverb, and early reflections levels can be adjusted during playback, and even then, the level control settings take several seconds to take effect however, if you stop playback and adjust them, the change occurs immediately on playback.

Also, if you change any of the non-level reverb parameters while stopped, it can take several seconds before playback begins. However, the Early Reflections options are more sophisticated than any of the other reverbs. With playback stopped, turn the Dry and Reverberation Output Level controls to 0 and Early Reflections to so you can easily hear the results of changing the related parameters.

Bigger room sizes create longer reverbs. Dimension sets the ratio of width to depth; values below 0. This sets the time before the coloration EQ takes effect.

Set it to 0 as you experiment with the parametric parameters so you can hear the results as quickly as possible. Load various presets to get a sense of the sounds this effect can create, and then return to the Default preset. Click at the intersection of the two levels on the X and Y axes. Dragging the node to the left also increases distortion by allowing lower levels to distort. Continue adding and P Note: Regarding moving nodes to hear how this affects the sound.

When there are multiple the other Distortion parameters, dB Range nodes, you can smooth the curve that incorporates them by increasing the changes the range Curve Smoothing parameter value. With the graphs unlinked, bring the upper-right square for one of Linear scale changes the calibration; the graphs down to dB. Leave changes, particularly at lower frequencies.

Processing a bass with a hint of when editing. Because guitar is a percussive instrument, many guitar players use compression to even out the dynamic range and produce more sustain. Fifteen types are available, including a cabinet for bass guitar. E Tip: Many guitar 3 Call up the preset Big and Dumb, which makes a great start for a classic rock sounds use distortion.

However, you want to avoid unintentional 4 Vary the Compressor Amount slider. The sound will be more percussive to the distortion caused by left and more sustained with a slight volume drop to the right.

Set the Amount overloading within Audition and use to 70 before proceeding. Try the three different distortion types from the Distortion processor. Guitar Type drop-down menu, and vary the Amount slider. Garage Fuzz is more processors can cause punk, Smooth Overdrive more rock, and Straight Fuzz emulates the sound of a wide level swings, so pay close attention to distortion effect box rather than an amp. Input and Output controls to make sure 6 That sound seems a little harsh, but you can make it smoother with the filter.

Also note that there are six non-amp and special FX sounds. Bypassing the Amplifier emphasizes just how much speakers and cabinets influence the tone. Deselect the Filter bypass check box. Therefore, reducing signal levels due to filtering will result in less distortion.

Often, this is the sound you want, but if you feel the overall level is too low, move the Distortion Amount slider to the right to compensate.

For a big, metal sound, set Freq to around Hz and Resonance to 20 to produce a little response peak at that frequency. Turn up Resonance if you really want to go overboard. With Resonance at 0, move the Freq slider across its range.

The peak level will be around 1kHz; moving the Freq slider to either side reduces the level somewhat and also changes the timbre. Load the Big And Dumb preset. Its parameters work similarly to the same parameters in the Parametric Equalizer effect. The Equalizer also includes a real-time graph in the background that shows the current frequency response spectrum.

Adds ambience if needed. Allows for widening or narrowing the stereo image. Is a dynamics processor that increases the average level for a louder sound without exceeding the available headroom.

Can be adjusted to control the effect output and therefore compensate for any level changes due to adding various processes. You'll use the Mastering Suite to give greater clarity to a piece of music. Select Low Shelf Enable; a small X appears toward the left, which you click on and drag to change the shelf characteristics.

Resume playback. Then drag down to about A little bit of Exciter effect goes a long way. Drag its slider to the right, and the sound will become way too bright.

Because the song is already fairly bright, disable the Exciter effect by dragging its slider all the way to the left. Note that the sonic difference among the three characters of Retro, Tape, and Tube becomes most noticeable with dull material and high Exciter amounts.

However, as with the Exciter, you can have too much of a good widest possible stereo thing. Excessive maximization can lead to ear fatigue, as well as make the music image to create a more dramatic sound. For this song, set it to 30 to provide a However, emphasizing useful boost without adding a distorted or unnatural sound. For further infor- mation on either effect, refer to the Help files.

Reversing the phase of one channel cancels out any material panned to center while leaving signals panned left and right alone. This is commonly used for karaoke to remove the vocal.

Pull the Side Channel Levels control down all the way to isolate the bass. Start playback around 32 seconds. Bring up the Center Channel Level to hear the vocals. Choose the highest possible Crossover Bleed settings and the lowest possible Phase Discrimination, Amplitude Discrimination, and Amplitude Bandwidth settings that are consistent with sound quality and effectiveness. Increasing the Spectral Decay Rate will often improve sound quality as well. These illustrate the range of music you can create The sole effect under the Time and Pitch effect, Automatic Pitch Correction, from commercially is designed for vocals and corrects the pitch of notes so that they are in tune.

This effect analyzes the vocal to extract the pitch, calculates how far off a note is from the cor- rect pitch, and then corrects the note by raising or lowering the pitch to compensate. Observe the vocal has vibrato, correction meter on the right: The red band indicates how far off the pitch is the pitch will go somewhat sharp and from the ideal. When the meter moves up, the pitch is sharp. When the meter flat periodically. This moves down see screen shot , the pitch is flat.

A centered meter indicates that is normal and usually the vocal is on pitch. If you do not know the Scale and Key choose Chromatic from the Scale drop-down menu, which simply corrects to the nearest semitone. The vocal is in D but uses a flatted 7th note that is not part of the major scale.

So, choose Chromatic P Note: As for the instead. In most cases, Chromatic will do the job. At lower Threshold settings, parameters, Reference Channel is useful notes that are off-pitch by more than the pitch threshold will be unaffected. Listen for a few the pitch profile iterations of the loop, and then enable the effect. FFT size trades off 7 Note how all the notes are on pitch. To compare, either bypass the effect or more accuracy larger move the Sensitivity Fader to 0.

This produces the fastest response, so the numbers. Calculation Automatic Pitch Correction will attempt to pitch-correct the vibrato. In the United States pitch naturally. A setting of 2 to 4 is a good compromise between correcting is the standard, but this pitch rapidly on sustained notes but not affecting vibrato. However, very few plug-ins are On either platform, plug-ins are installed in specific hard drive folders.

You need bit only; almost to let Audition know where to find these plug-ins. The information in the following all are available in bit versions that sections applies to both Windows and Macs unless otherwise specified.

These your computer. Most plug-ins install to default folders, and Audition scans programmers to plug- ins that are every bit as these folders first. However, some plug-ins may install into a different folder, or good—and sometimes you might want to create more than one folder of plug-ins. Audition must inspect your hard drive, so this can take a while. However, if needed, also complete the following steps.

If Audition encounters a plug-in it cannot load, the scanning process stops. Audition will enter the incompatible plug-in in the list of plug-ins, but it will be disabled. Unlike with the Effects Rack, you can apply only one effect at a time. This section covers effects that are available only from the Effects menu. You can use the Undo command to undo the effects. Clicking Apply applies the effect to the selected audio.

Loop repeats the selected portion of the audio when you click Play. Reverse flips an audio selection so that the beginning occurs at the end and the end at the beginning. Silence replaces the selected audio with silence. Note that the positive and negative sections are flipped, so the positive peaks are now negative and vice versa.

Normalize All Channels Equally treats the peaks for both channels similarly, and DC Bias Adjust ensures that a level of 0 is truly a value of 0. A line that indicates amplitude appears superimposed on the selection. The curve now adapts to fit within the selection. Regardless of the size of the selection, the curve adapts proportionally to fit. You can adjust the gain curve shape by clicking on the line to create new nodes, and as with the fade, a thumbnail in the Gain Envelope dialog box shows the shape.

If desired, select the Spline Curves check box to round the fade line. As with the Fade Envelope, the curve adapts to fit within the selection. Diagnostic effects Diagnostic effects will be covered in Lesson 5 along with the real-time, nondestruc- tive noise reduction and restoration tools. The Diagnostic effects produce the same sonic results but are destructive, DSP-based processes.

Like all of the Doppler Shifter presets, this effect is particularly dramatic on headphones. You may need to stop and restart Play between presets. Take a few moments to do this now.

You can get some really wild effects with this processor; note that you may need to stop and restart Play with major edits. Play the file as a reference. Click on this control and drag down to lower pitch; drag up to raise pitch. For now, drag down to cents 2 semitones. A yellow line superimposed on the Waveform overview shows the amount of pitch change.

Click on the yellow line to Curve Resolution create a node, which you can drag up or down to further change pitch. As with parameter trades off better accuracy higher other Audition envelopes, you can insert multiple nodes and make complex numbers for faster curves, as well as round them off by selecting the Spline curves check box. For the Reference Channel, try both options and use whichever produces the highest-quality sound. Leave Audition open for the next lesson.

It offers high-quality time and pitch stretching. The file will now play at half speed. The file now plays at double- speed. You can shorten this time by selecting a level of Precision other than the default setting of High. This links the two parameters so that if, for example, you shift pitch up an octave, the speed doubles; shifting pitch down an octave halves the speed.

Click Play, and then slowly move the Stretch slider to the right. For example, the current file is 4. Suppose it needs to be 5. Click Play; now the loop is exactly 5. The Audition without saving the file. Audition algorithm is less CPU-intensive, but 8 The Advanced parameters are mostly important when manipulating voice; make the Radius algorithm sure the Solo Instrument or Voice and Preserve Speech Characteristics check has much better fidelity, and most modern boxes are selected, and adjust the Pitch Coherence slider for the best sound computers will have no quality this will be subtle.

The preset header is similar for both individual effects and the Effects Rack. A Save Effect Preset dialog box appears. The preset name will then appear in the list of presets. Delete a preset To delete a preset, select it, and then click the Trash Can button to the right of the Save Settings as a Preset button.

Many effects let you alter the proportion of the two types of audio. But you can also remove undesired artifacts by defining sections to be removed based on amplitude, time, and frequency.

Audition has multiple tools for solving these problems, including specialized signal processors and graphic wave- form editing options.

However, audio restoration involves trade-offs. For example, removing the crack- les from vinyl recordings may remove part of the sound that occurs during the crackles. Reducing hiss Hiss is a natural by-product of electronic circuits, particularly high-gain circuits. Analog tape recordings always had some inherent hiss, but so do mic preamps and other signal sources.

Click the Transport Stop button. However, frequencies. Move the Reduce by slider to the left and the hiss will return. Move re-tweaking each slider it right to dB, and although there will be no hiss, the transients will lose can optimize the sound some high frequencies. Also note that selecting Output Noise 9 Move the Reduce by slider to find a compromise setting between noise Only will play back only reduction and high-frequency response.

For now, leave it at 10dB. This can 10 The Noise Floor slider tells Audition where to draw the line between the noise help determine whether floor and the signal. As with the Reduce by slider, moving the slider farther any desirable audio is being removed along to the left increases noise and farther to the right reduces noise and high- with the hiss.

Leave it set to 10dB for now. Stop playback. Now vary the Noise Floor slider for the best compromise between hiss reduction and high-frequency response; -2dB is a good choice. Reducing clicks Clicks can consist of the little ticks and pops you hear with vinyl recordings, occa- sional digital clocking errors in digital audio signals, a bad physical audio connec- tion, and so on. Conversely, a setting of lets through too many clicks. Choose a setting of 20 to reduce most clicks while minimally affecting the audio.

Higher settings allow Audition to recognize more complex clicks but requires more computation and may degrade the audio somewhat. This is not a real-time control, so you need to adjust it, play the audio, adjust, play, and so on.

For now, click the Transport Stop button, and then move the slider to Because this is a computation-intensive process, during real-time playback Audition may not be able to process a click prior to playing it back.

Note that this closes the Automatic Click Remover processor. Move the complexity slider to 35, and click Apply again. Click the variations. If these sounds are relatively constant, Audition can reduce or remove them using the Noise Reduction process.

This process can also reduce hiss and allow for more detailed editing compared to the Hiss Reduction option. As with reducing hiss, Audition will take a noise print of the hum and subtract only this objectionable noise from the file. The hum will be gone during silent sections.

A setting between 10 and 20dB is a good compromise between affecting the audio and reducing the noise. Set this slider to 15dB for now. Click the Advanced disclosure triangle for more options. Close Audition without saving anything click No to All in preparation for the next lesson. Removing artifacts Sometimes particular sounds will need to be removed, like a cough in the middle of a live performance. Audition can do this using the Spectral Frequency Display, which allows for editing based on not just amplitude and time as with the standard Waveform Editor , but also frequency.

This exercise shows you how to remove a cough in a perfor- mance by classical harpsichordist Kathleen McIntosh. A circular cursor that looks somewhat like a bandage icon appears. Adjust the size so that the circular will vary depending on the Spectral Frequency cursor is as wide as the cough. Be careful to drag over only the cough. The healing process takes audio on either side of the deleted audio, can try multiple times, and through a complex process of copying and crossfading, fills in the gap or even use this process caused by removing the artifact.

Alternate click removal You can use the Spectral Frequency Display to remove clicks. Although this is a manual process that is more time-consuming than using the Automatic Click Remover effect, the removal process will be more accurate and have less impact on the audio quality.

This selects the noise in both channels. The file sounds as if the clicks had never been there. This lesson takes a drum loop and uses the Spectral Frequency Display to remove four drum hits. Move both Gain sliders full left, and click Apply. With both Gain sliders full left, click Apply.

Most of the sound from the hits is gone, but you can still hear a little bit of noise on the second and fourth hits. The drum loop is the same as the original but without the four hits. P Note: The technique of drawing a lasso around artifacts can remove sounds like finger squeaks on guitar strings, clicks or pops, breathing while a person plays an instrument, and many other artifacts.

However, with sufficient practice, this type of restoration is extremely effective. Name two ways other than restoration where these tools can be useful. Review answers 1 Automatic click removal is faster, but manual click removal can be more effective. Subtracting this from the audio file removes the noise. As the final link in the music production chain, mastering can make or break a project. As a result, people often hand off projects to veteran mastering engineers, not just for their technical expertise, but to enlist a fresh, objective set of ears.

However, if your goal with mastering is simply to make a good mix better, Audition provides the tools required for professional-level mastering.

The more you work with mastering, the more your skills will improve. In addition, remember that ideally the purpose of mastering is not to salvage a recording, but to enhance an already superb mix. Note how this tightens up the low end. The difference is subtle, but often mastering is about the cumulative effect of multiple subtle changes.

Sweep the Frequency back and forth between 20 and Hz, and note that the kick really stands out around 45Hz. Note that in the screen shot, unused bands have been turned off for clarity. Keep Audition open for the next lesson. This can also help the music overcome background noises found in many different listening environ- ments. This lesson uses the Multiband Compressor to control dynamics. Adding effects afterward could more apparent loudness.

Now drag up to 0. Also note that the Multiband Dynamics has emphasized being applied. After choosing the preset, click the Transport more cohesive feeling.

Play button. Stereo imaging stretches the stereo image so the left channel moves more to the left, and the right channel moves more to the right.

In this lesson, increasing the stereo image helps separate the two guitars in the opposite channels even more. Only the Widener will be used. P Note: The Apply function resets all effects to their default value. P Note: It can take years to become good at the art and science of mastering, especially if the file has problems 2 Play the file to hear the result of boosting these four drum hits.

EQ, dynamics, and some selected other 4 Click Apply. Audition applies the result of all the effects to the file and removes processors. Normally ambience is added during the mixing process but can sometimes improve the sound when added while mastering. Sound design can refer to music, but this lesson emphasizes sound effects and ambience. These types of sounds are also common in sonic logos like the sound you hear to identify Intel Inside or NBC or the sounds layered in movie scenes to create a particular mood.

Occasionally, against this engine sound backdrop, sudden, sharp sounds might appear to indicate a new leak breaking through the engine wall. Sound effects libraries are available from several companies, but a sound designer will often modify these or record sounds using a field recorder.

For example, in the beginning of the movie Raiders of the Lost Ark, a giant boulder rolls toward Indiana Jones. The sound of the rolling boulder was created by taping a microphone to the rear bumper of a Honda and recording the sound of the car backing down a gravel driveway. Subsequent sound design work turned this into a huge, ominous sound. Two files were recorded for the following lessons using a portable digital recorder: water running into a sink from a faucet and a wall fan.

Creating rain sounds With sound design, it helps to start with a sound in the same genre. To create rain, the running water would most likely produce a better end result than the recording of the fan.

Click the Transport Play button to audition the loop. Ensure that Range is 48dB and Master Gain is 0. With the EQ power on, you now have a light spring rain.

You might find the effect more realistic if you bring the 8k slider down to dB. In this case there would be fewer high frequencies due to the house walls and windows blocking the highs. Keep this project open as you move to the next lesson. Set and to 0, to , 1k to , 2k to , and 4k to As the character moves closer to the brook, increase 2k to and 4k to Now the brook sounds closer.

Keep this project open as you move on to the next lesson. This lesson demonstrates how signal processing can turn one sound into something completely different. It will take several seconds for processing to occur.

Click the Transport Play button pitch shifting can add anomalies, like volume to hear the processed sound. If so, make an audio reverb. Stop playback by clicking the Transport Stop button so the first and last two you can select a reverb preset. Extreme shifting may also lower the volume, 8 Click the Transport Play button, and listen to your refined insects at night sound.

The settings should be the same as they were previously, but if not, choose the preset Default from the drop-down menu. Normalize All Channels Equally should also be selected. The Reverb should still have the Great Hall preset selected.

Move the Decay, Width, Diffusion, and Wet sliders all the way to the right. Move the Dry slider all the way to the left. When you click the Transport Play button, you should now hear an ethereal, animated pad.

Select the preset Spooky. Select the preset 10 Voices. Note how extensive pitch stretching coupled with effects from the Studio Reverb, Echo, and Chorus can turn running water into an alien soundscape. Creating sci-fi machine effects Just as you used running water to generate water-based effects, the fan sound makes a good basis for machine and mechanical sounds. This lesson describes how to turn an ordinary wall fan sound into a variety of science-fiction, spaceship sound effects.

Click the Transport Play button to hear what the file sounds like. Click OK; processing will take a few seconds. From the Presets drop-down menu, choose Drum Suite. Click the Transport Play button, and note how the sound becomes more metallic and machine-like.

If the preset Default is not already selected, choose it from the Presets drop-down menu. Pull the H box all the way down and left to around 3kHz.

Click the Band 2 button to enable that parametric stage. Set the Decay, Width, Diffusion, and Wet sliders all the way to the right. Click the Transport Play button.

Leave this project open in preparation for the next lesson. Creating an alien drone flyby In addition to creating static sound effects, Audition includes a Doppler Shifter processor that imparts motion—from left to right, around in circles, tracing an arc, and so on.

Choose the preset Lowest Fidelity from the Presets drop-down menu. Click the Transport Play button to hear the drone fly by from left to right. Using the slider would make it almost impossible to choose this precise a value. This one of these lessons. If necessary, review Lesson 1 to make sure you understand the principles behind interfacing.

This lesson assumes you know how to map inputs and outputs. The input level should never interface will have either a physical meter or dedicated control panel software that go into the red on a level meter. Enter the File Name RecordNarration. However, for this lesson choose Hz—the standard for CD audio—as the sample rate from the drop-down menu.

Sample rates lower than Hz are of very low fidelity and are generally used for speech, dictation, toys, and so on. Most studies show that few people can accurately tell the difference between and or higher sample rates.

Higher sample rates also require more storage space; that is, a one- minute 96kHz file will require twice the space as the same file at 48kHz. For a mic or electric guitar, choose Mono.

For a portable music player or other stereo signal source, choose Stereo. The option 5. Files that are bits take up 50 percent more space than bit files, but given the low cost of hard disk storage, this is an acceptable trade-off. They take up more space, and many programs are not compatible with bit float files. For Windows users, also verify that the Device Class and Device settings are correct. Dock the meters horizontally along the bottom of your workspace for the best meter resolution.

Recording begins immediately. Speak into the mic or play back whatever sound source connects to your interface. Recording will pause, but the meters will still show the incoming signal level. The waveform you recorded will be selected. If you 16 Record for a few seconds, and click Stop. The audio between where you started make a mistake in a particular line, click at and stopped recording will be selected.

This lesson shows you how to record into practice to have a separate, high-speed the Multitrack Editor, explains how to transfer your recording into the Waveform at least rpm Editor for editing, and then describes how to return it to the Multitrack Editor. This separates A dialog box appears with fields for an editable File Name, Folder Location for streaming audio on the audio drive from storing the project, and project Template.

The dialog box also includes Sample program operations on Rate and Bit Depth fields identical to those in the New Audio File dialog box, your main drive. Also, and a Master field that determines whether the output is Mono, Stereo, or a backing up the audio drive backs up all of surround format if supported by your interface. For this tutorial, accept the default folder.

Download file Adobe_After_Effects_Classroom_in_a_Book__replace.me.

She has helped create over thirty books in the Classroom in a Book series over the last two decades including books on Photoshop, After Effects, and Acrobat , going back to her time on-staff at Adobe. She's currently the owner of Darlington Hill Productions which provides production, design, illustration, and writing publishing services. Table of Contents Where are the Lesson Files?

Show More. Related Searches. Each of the 12 lessons View Product. Visual effects and motion graphics pros of all stripes - from broadcast professionals to VFX Visual effects and motion graphics pros of all stripes - from broadcast professionals to VFX supervisors to Web designers who need to produce occasional video segments - will welcome the dramatically accelerated features provided in the brand-new After Effects CS4. Those creative professionals seeking the fastest, easiest, most comprehensive way to learn Adobe After Effects The 14 project-based lessons in this book This is the eBook version of the printed book.

Those creative professionals seeking the fastest, Search Engine. Edit and apply effects for stellar visual and special effectsThis important resource is like having a personal instructor guiding you through each lesson, while you work at your own pace. It includes 10 self-paced lessons that let you discover essential skills and explore the new features and capabilities of Adobe After Effects.

Every lesson is presented in full color with step-by-step instructions. Video tutorials and lesson files on a companion DVD were developed by the same team of professional instructors and After Effects experts who have created many of the official training titles for Adobe Systems.

Combines a full-color, step-by-step instructional book along with lesson files and video training from expert instructors Written for After Effects CS6, a leading motion graphics and visual effects program that allows users to create and deliver compelling motion graphics and visual effects Demonstrates how to quickly get up to speed using After Effects to create and animate text, images, and video for the web, TV, and digital displaysAfter Effects CS6 Digital Classroom takes you from the basics through intermediate-level topics, teaching you this complex software in a clear, approachable manner.

DVD and other supplementary materials are not included as part of the e-book file, but are available for download after purchase. So, as far as books There are a lot of random videos out there, and there's also lynda. First, the good: This book is well-written, and the examples are clear. The tutorials are fun and well-paced, also well-explained.

The basics are The problem came in when I started thinking about how well this would all work for someone who was a REAL beginner rather than a past user who just hadn't picked up the new edition for a few years. Because the truth is, the basics aren't really covered, and here's the proof.

It's pages. The Classroom in a Book is pages. Lots and lots and lots of the essentials have been cut out. Look for a list of keyboard shortcuts-- it's not there. Look for the older, much longer chapters going into detail about fundamental concepts like layers and keyframes and editing-- not there. Look for xyzabc etc etc etc In pages, it CAN'T be there.

So why not just go to a source like lynda. I've had that membership for a long time, and I think I might even renew it again. There is no reference manual. And that's what the Classroom in a Book desperately needed to be.

I do not have a lot of patience for going through videos and spending literally ten or twenty times the amount of time I would spend to look up something in a true reference book.

Sometimes, we need specific pieces of information easily and quickly accessible and put together in an understandable way rather than having to sit through several twenty minute videos to try to figure out something very specific that we want to do. The Adobe help and user forums are absolutely not a solution either, which is too bad.

What really needed to happen is for Trish and Chris Meyer to keep coming out with books, whether in print or online format. But I don't think it's enough. I haven't decided yet if I'll be returning this book, but that might happen, even though it isn't exactly bad PROS: Does have some good info Tutorials are well written Does cover some of what you need to know Online version included with the purchase is very nice.

CONS Does not cover the basics very well Does not contain comprehensive information about the nuts and bolts of AE in the way that the Trish and Chris Meyer books did Not a reference book, which it needed to be Not long enough Emphasis on tutorials rather than constructing the "building blocks" of the basic knowledge you need to use AE as a tool.

WAY too expensive for what it is. Overall, this isn't a bad book to have in your library Even though it doesn't have info on the most recent updates, it comprehensively covers the basics, and the new CiaB does not. I've used a few classroom in a book textbooks for my graphic design courses at Arizona State. This book is just terrible compared to the books for InDesign, Photoshop, and Illustrator. This book is full of typos, small dark pictures, and unclear instruction.

I would not suggest getting this if you're a complete newbie to After Effects. If you've managed to mess around with the program and have a good feel for it, I would suggest this book as a guide at best.

However you would probably be better off saving your money and following along with a tutorial found on Google or Pinterest. I don't think you ever work though a complete project. It's very disorganized and jumps around. Like the author was going "oh, let me show you this. There are 2 authors on this book and one of them is very good. The other, not so much. If you are using Ae or later, I'd look for a more current edition or be prepared to debug the lessons.

It might be worth your while as additional learning, but it was frustrating thinking I was doing something wrong without considering the lesson was flawed. They aren't all bad but lesson 13 in particular is bad. I was using Windows and the instructions I assume are for Mac and they didn't verify the lesson for Windows Additionally there are some variables in the other lessons that aren't always correct. All of that being said it is a nice introduction to basic and and advanced features of Ae.

I wouldn't pay more than 5 bucks for a version since the release of Ae I really wish I had taken the bad reviews to heart. It's extremely frustrating, what with the mistakes in the book combined with very tedious and complicated instruction. It became too much to tolerate, even for a patient person, by the fifth chapter and I have, for now, given up on this book. So we got this book and neither of us can put it down so far lol. We are already pretty good with After Effects so we went ahead and read through the first couple of chapters pretty quickly.

However, nothing beats learning the formality of how it all works and really understanding your tools and exactly how capable this software actually is. This book is great for a beginner and an awesome reference for the experienced. Kindle version: Lots of typos. Long captions unnecessarily describe everything in each screenshot.