X-Git-Url: http://shamusworld.gotdns.org/cgi-bin/gitweb.cgi?a=blobdiff_plain;ds=sidebyside;f=_manual%2F15_editing-and-arranging%2F09_create-region-fades-and-crossfades.html;fp=_manual%2F15_editing-and-arranging%2F09_create-region-fades-and-crossfades.html;h=0000000000000000000000000000000000000000;hb=8e3b4c710683de8f44cc46d5f00d9e19c0855527;hp=77df958dd70636f1c773cc45134c0f4f5b7caafb;hpb=33c301104caebd44a7aa6fd09d563fc8f622764d;p=ardour-manual-diverged diff --git a/_manual/15_editing-and-arranging/09_create-region-fades-and-crossfades.html b/_manual/15_editing-and-arranging/09_create-region-fades-and-crossfades.html deleted file mode 100644 index 77df958..0000000 --- a/_manual/15_editing-and-arranging/09_create-region-fades-and-crossfades.html +++ /dev/null @@ -1,122 +0,0 @@ ---- -layout: default -title: Create Region Fades and Crossfades ---- - -

Add images--an image is worth more than 1,000 words

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- 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 - gradual transition can be accomplished. -

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Region Fades

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- Region fades are possible at the beginning and end of - 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 - tip. Click and drag the grip left or right in the timeline to - adjust the length of the fade. -

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Crossfades

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- Crossfades refer to the behavior when you want to make - a smooth transition (mix) from one audio region to another on the same - track. Historically, this was done by splicing 2 pieces of analog - tape together, and this concept was carried forward into digital - editing. Each track is a sequence of sound files (regions). If - two regions are butted against each other, there needs to be a method - to splice them smoothly together. The crossfade allows one region - to fade smoothly out, while the next region fades smoothly in, like 2 - pieces of tape that have been cut at and angle, and overlapped. -

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- But Ardour uses a more refined "layered" editing model, and - therefore it is possible for multiple regions to be stacked on a single - location with arbitrary overlaps between different layers. For - this reason, crossfades must be implemented differently. We can't - assume that a crossfade is an entitry that exists between 2 regions; - instead each region must have its own associated crossfades at each - end, and the topmost region must always crossfade down to the - underlying region(s), if any. -

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- Ardour solves this problem by putting a crossfade at the beginning - and end of every region. The fades of the bottom-most region are - first rendered, and then each region is rendered on top of the one - below it, with fades at the end of each region providing a crossfade to - the region(s) beneath it. -

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- It is important to understand that region fades are crossfades. When one region has - another region or multiple regions beneath its fade area, then you will - hear the topmost region fade-out be mirrored as a fade-in on the - underlying region(s). The grip for the topmost region will allow - changing the length and type of the crossfade into the underlying - region(s). In this way you can create a complicated series of - crossfades, and then layer another region atop the others, and fade - into that complicated series. -

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An image here would probably help.

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- If a region doesn't have any region(s) under it, then the region is - crossfaded to silence; for convenience we call this a "fade" - rather than a crossfade. -

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Fade Shapes

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- To activate/deactivate or change the shape of a region's fade-in or - fade-out, hover the cursor over the region fade grip till the cursor tip - indicates region fade editing and context-click to bring up a context - menu. In the context menu there is a list of options for the - region fade. Activate/Deactivate enables and - disables the region fade. -

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- Because each fade is also a crossfade, it has an inverse fade shape - for the audio beneath the fade. It is important to know how the - shapes differ, and which are most suitable for various editing tasks. -

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- The different types of fades are: -

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Linear
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A simple linear coefficient decrease, and its 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.
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Constant Power
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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 use when you want to splice audio in the general (uncorrelated) case.
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Symmetric
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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 two entire works of music together so that the transition is more gradual.
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Fast
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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 user finds it appropriate.
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Slow
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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 finds it appropriate.
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- Although these fade shapes serve specific purposes, any of the shapes is usable in certain situations. The final decision is an artistic choice rather than a rigidly prescribed one. -

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- These fade curves are developed to provide a range of common uses, and - are developed with the least possible amount of changes in the "slope" - of the line. This provides artifact-free crossfades. Some - DAWs provide complicated fade editors with parametric "spline" controls - of the fade curves. While it might be interesting to develop a - fade curve with a faster cutoff, the mathematical difference between - this and simply shortening the fade is vanishingly small; the - amount of effort to shorten the fade is much easier than fooling around with a - crossfade editor dialog. -

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