+ 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.
+ 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. +
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.
+
+ 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. Clicking and dragging the grip left or right in the timeline adjusts the + length of the fade.
+ 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.
+
+
+ Crossfades refer to the behavior of two audio regions transitioning + smoothly (mixing) from one to another on the same + track. Historically, this was done by splicing two 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 two + pieces of tape that have been cut at an angle, and overlapped.
-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.
+
+ 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. It can't be + assumed that a crossfade is an entity that exists between two 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.
-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.
+
+ 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.
-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. An image here would
-probably help.
+
+ It is important to understand that region fades are crossfades. + When one region has another region or multiple regions beneath its fade area, + then what will be heard is the topmost region fade-out 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 complicated series of crossfades can be created, and + then another region layered atop the others, and faded into a complicated + series.
-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.
+
+ If a region doesn't have any region(s) under it, then the region is + crossfaded to silence; for convenience this is called a "fade" + rather than a crossfade.
-To activate/deactivate or change the shape of a region's fadein or
-fade-out, hover the cursor over the regionfade 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
-regionfade. Activate/Deactivate enables and
-disables the regionfade.
+
+
+ + To activate/deactivate or change the shape of a region's fadein or + fade-out, the cursor has to be hovered over the region fade grip until the + cursor tip indicates region fade editing, then right + clicked to bring up a context menu. In the context menu is a list of options + for the region fade. Activate/Deactivate enables and + disables the region fade. +
++ 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.
-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.
+
+ The different types of fades are:
-The different types of fades are:
+
| Linear | A simple linear coefficient + decrease, and its mathematical inverse. A Linear fade starts attenuating + 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. |
|---|---|
| Constant Power | The constant power + curve starts fading slowly and then cuts off abruptly. When used as a + crossfade between 2 audio regions, the signals are symmetrically attenuated, + and they each reach -3dB at the midpoint. This is the correct crossfade to + use when splicing audio in the general (uncorrelated) case. |
| Symmetric | 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 Constant 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. |
| Slow | 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. |
| Fast | 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. |
+ Although these fade shapes serve specific purposes, any of the shapes is + usable in any situation, so the final decision is mostly an artistic choice.
-Although these fade shapes serve specific purposes, you might find that
-any of the shapes is usable in your situation. The final decision
-is an artistic choice rather than a
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; and the
-amount of effort to shorten the fade is much easier than messing with a
-crossfade editor dialog.
+ 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 artefact-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; and the + amount of effort to shorten the fade is much easier than messing with a + crossfade editor dialog. +