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
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.</dd>
- <dt><kbd class="menu">Constant Power</kbd></dt><dd>The constant power curve starts fading
+a smooth transition.</td></tr>
+ <tr><th><kbd class="menu">Constant Power</kbd></th><td>The constant power curve starts fading
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
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.</dd>
- <dt><kbd class="menu">Symmetric</kbd></dt><dd>The Symmetric fade starts slowly, then
+use when you want to splice audio in the general ( uncorrelated ) case.</td></tr>
+ <tr><th><kbd class="menu">Symmetric</kbd></th><td>The Symmetric fade starts slowly, then
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
curves, but it provides a slower fade-out at low volumes. This is
sometimes useful when editing 2 entire music works together so that the
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
curves, but it provides a slower fade-out at low volumes. This is
sometimes useful when editing 2 entire music works together so that the
-transition is more gradual.</dd>
- <dt><kbd class="menu">Fast</kbd></dt><dd>The Fast curve is a linear decibel fade; It sounds
+transition is more gradual.</td></tr>
+ <tr><th><kbd class="menu">Fast</kbd></th><td>The Fast curve is a linear decibel fade; It sounds
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
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.</dd>
- <dt><kbd class="menu">Slow</kbd></dt><dd>The Slow curve is a modified linear decibel fade.
+user finds it appropriate.</td></tr>
+ <tr><th><kbd class="menu">Slow</kbd></th><td>The Slow curve is a modified linear decibel fade.
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
a general-purpose fade-out. 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
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
a general-purpose fade-out. 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