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OK guys let's start on your spectrum.

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This is the effect we're going to work on in this lecture and the next lecture I'll place before I download

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your assets is just in the previous lecture.

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It's important otherwise you will not be able to follow along with me.

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Now it's very important that you come and play with the effects that we study or we go through in every

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lecture.

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It's very important that you deepen your understanding and get excited about it.

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It is not every effect that you are going to use just tomorrow but it's important that you set your

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skills.

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You work hard to understand the effect.

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One day you will start asking yourself what havoc I'm going to use here and it would just pop up in

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your mind.

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If you have followed along with me than your practice activities and you know really played with the

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effect itself.

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So let's start with the spectrum or create a new composition we'll call spectrum and eternity by Twenty

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25 will do.

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Ten seconds is ok.

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Make it black.

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Good.

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Now to apply the audio spectrum you will need a layer you can use a sound layer that's OK or you can

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use a video.

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But in our case here we are going to use a first solid layer which is obvious.

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I'm sure he knew that I would create a solid lead use solid.

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Give it a background color here.

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Somehow greyish because I want to show something later on and less quality audio spectrum.

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So this is the layer that will contain the spectrum or will generate the spectrum.

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If you take audio spectrum and drop it on the solid layer immediately there is a transformation of the

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story there and you have just a simple bar that you don't understand what's happening at all.

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Goodguys if you play there is nothing that's happening.

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So now we need it to get in the habit of not seeing what happened here.

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Actually in this case nothing happened except that the effect controls audio spectrum has opened.

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And if you look at the controls a bit.

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The first one that you see is or Juliar there obviously for the audio spectrum to work or start giving

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us an effect.

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It needs a delay.

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Now in your project file here you have to audio and a video.

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Let's take the funky.

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These orders are from Ben sound dot com.

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It's a beautiful site.

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You can go there download for free or give them credit or pay for their subscription is pretty nice.

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By the way it has very many nice and B-3.

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I would take the bend a sound funky element and drop it inside the composition.

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Now we come back to audio spectrum and we go to the control and we can replace audio layer instead of

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the same layer of the solid.

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We take the Benson sound.

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Now this is pretty cool guys.

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You have already established that the audio spectrum will work on Bentson but leaving the band sound

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here as a player an MP 3 player.

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It is not very professional.

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It's not even good.

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Why.

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Because you might already know that the ethics are composed the deep meaning one after the other.

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In our case here if we leave this theory just as a player any effect we will give to the sound that

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he had will not carry on the audio spectrum.

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What kind of architecture you can give here.

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First of all you have the time you can enable time remapping mapping you can't reverse the sound you

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can stretch.

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And there are many many others including when you come to the window and you have the ordeal is over

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here for me.

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You will notice that if you change you make it higher volume lower volume you play with the audio here.

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It will not be carried on the spectrum so it is very important that you compose if right click and simply

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compose and say three sound now what is happening exactly.

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After you play composed that any actual put within the MP 3 sound composition on the sound layer or

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the air will be carried over in the spectrum because it's already have been composed and that is very

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important that you do.

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I know I've seen all the videos on YouTube and so on.

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Nobody mentioned this to you but if you want to become an expert in visual effects please always pre

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compose so other ethics can be also composed if you'd like.

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Cool let's go back to the audio spectrum and you notice here.

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It has already changed to 3 sound.

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The composition or the composition.

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That's much better.

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Let's look exactly what's happening here.

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We have a line that has appeared with certain dots.

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It has a starting point and an end point.

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So you can actually move the start and end point the way you would like and position them on the screen.

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But be careful.

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It's always a line so you need to add other things such as mascon sound to make it a curve or a circle

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or rectangle anything you want.

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I will do the last one then.

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The path here and use Burrard path.

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I will leave them for later because giving you an example now would just mess up things for you.

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I prefer to go to start frequency and frequency.

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Now that the frequency is the frequency of the sound.

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Where do you want to start.

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All the sounds you hit on the arms of the bass and so on they are the start frequency the end frequencies

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or the higher frequencies are the higher pitch such as the treble the highs and sings like this.

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It depends of course on your layer itself.

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So how do we work with this.

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If I start moving on the timeline there is only something small happening here.

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Actually this is the start of frequency.

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If you increase the start frequency for example to 100 now you are paying between one hundred and two

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thousand.

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So it's really a very big gap that you need to play with.

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But now you can keep on increasing this shrine.

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Then you will be using only the highs or the very high frequencies.

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What's better is the end frequency to lower output.

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For example to 300.

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So now exactly you are playing between the frequencies of 100 and 300 and you notice things start appearing

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for you.

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OK so this is 100 for example but this is the start frequency.

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And here is the end frequency.

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If this gap between the start frequency and the frequency you have 200 is too big then or so the gap

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between the start frequency over these lines and these lines will also be very big and then you will

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get kind of deformation.

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Here is very big and here is very small.

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So let's put this to 400.

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And I know this truck.

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I want to work from 200 to 400.

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Of course you need to know your truck and you need to understand your track.

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How do you do that.

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Let's go back to P3 and if we press l you will notice that we will be able to see the waves.

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These are the waves and how they are going to appear.

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Of course you need to zoom in so you can see them better.

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And this is exactly our sound.

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Not this here.

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I don't have to start from the beginning.

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I can just stick my head and move it in and it will start from this point.

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So this is around 30 seconds.

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My spectrum is 10 seconds so its OK.

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So I'm starting from here.

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Now these lines are too small.

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It will be interesting to make them a bit higher or a bit bigger for this you come to the maximum height

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notice at the start and end the frequency will be affected by the maximum height.

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Let's hide this one and things are starting to get even more and here are now if you play or you mention

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you know the sounds of waves being what we are seeing is between 200 and 400.

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I need you to understand and play a lot with the start and end the frequency depending on the track

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that you are using depending on the audience.

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I would take it to 100.

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Here you are.

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You notice how now with this kind of height the 100 frequencies are very many.

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I look at the 400.

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There are two little.

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Let's take the frequency and it a bit.

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Is what's happening now you have lots of 100.

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Until you get to the 3400.

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I hope you're understanding the concept here.

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It's the 100.

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And here is the 3400 in this case.

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So actually there is a lot of difference.

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You don't want to do that.

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You want to balance it with your sound.

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So I would take it to 400 that school I would put it to 200.

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Well I'm working from 200 to 400.

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That's not bad.

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My maximum height is too high.

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Maybe I'll take it down a shift.

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Good.

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I'm happy with that fine.

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So now you know what is a start frequency and the frequency and how maximum height is affecting these

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frequencies.

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So please don't start using from 1 till 400 you'll have some order at the end over here and this one

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it works is black that I really tried to choose.

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I'll put it back at 200 and have them a bit you know working in a similar way and they're not too big.

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Guys.

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I hope all this was very clear and if you have any questions please post them in Q Any section of the

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course.

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I would be very happy to answer them.

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I'll see you in the next next year where we will explore more of the controls.

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CNN.