-<p>Every Region has a fade-in and fade-out. By default, the region fade
-is very short, and serves to de-click the transitions at the start and
-end of the region. By adjusting the regions fade length, a more
+<p>Every Region has a fade-in and fade-out. By default, the region fade
+is very short, and serves to de-click the transitions at the start and
+end of the region. By adjusting the regions fade length, a more
all audio regions. In object mode, a grip appears at the top left and
top right of an audio region when the cursor hovers over it. Placing
the cursor over the top of the grip displays the region fade cursor
all audio regions. In object mode, a grip appears at the top left and
top right of an audio region when the cursor hovers over it. Placing
the cursor over the top of the grip displays the region fade cursor
mathematical inverse. A Linear fade starts attentuating quickly
and then cuts off even more abruptly at lower levels. When used
as a crossfade, the signals are each -6dB attenuated at the midpoint.
This is the correct crossfade to use with highly-correlated signals for
a smooth transition.<br>
</li>
mathematical inverse. A Linear fade starts attentuating quickly
and then cuts off even more abruptly at lower levels. When used
as a crossfade, the signals are each -6dB attenuated at the midpoint.
This is the correct crossfade to use with highly-correlated signals for
a smooth transition.<br>
</li>
slowly and then cuts off abruptly. When used as a crossfade
between 2 audio regions, the signals are symetrically attenuated, and
they each reach -3dB at the midpoint. This is the correct crossfade to
use when you want to splice audio in the general ( uncorrelated ) case.<br>
</li>
slowly and then cuts off abruptly. When used as a crossfade
between 2 audio regions, the signals are symetrically attenuated, and
they each reach -3dB at the midpoint. This is the correct crossfade to
use when you want to splice audio in the general ( uncorrelated ) case.<br>
</li>
attenuates significantly before transitioning to a slower fade-out near
the end of the fade. When used as a crossfade, the Symmetric
curve is not mathematically correct like the Equal Power or Linear
attenuates significantly before transitioning to a slower fade-out near
the end of the fade. When used as a crossfade, the Symmetric
curve is not mathematically correct like the Equal Power or Linear
sometimes useful when editing 2 entire music works together so that the
transition is more gradual.<br>
</li>
sometimes useful when editing 2 entire music works together so that the
transition is more gradual.<br>
</li>
like a perfectly smooth fader or knob moved to silence. This shape is
excellent as a general-purpose fade-in. When used as a
crossfade, the inverse fade curve maintains constant power but is
therefore non-symmetric; so its use is limited to those cases where the
user finds it appropriate.</li>
like a perfectly smooth fader or knob moved to silence. This shape is
excellent as a general-purpose fade-in. When used as a
crossfade, the inverse fade curve maintains constant power but is
therefore non-symmetric; so its use is limited to those cases where the
user finds it appropriate.</li>
The initial curve starts more gradually so that it has a less
abrupt transition near unity. After that, it sounds like a
perfectly smooth fader or knob moved to silence. This shape is excellent as
The initial curve starts more gradually so that it has a less
abrupt transition near unity. After that, it sounds like a
perfectly smooth fader or knob moved to silence. This shape is excellent as