- Crossfades refer to the behavior of two audio regions transitionning + 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 @@ -26,14 +26,14 @@ 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 and angle, and overlapped. + 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. It can't be - assumed that a crossfade is an entitry that exists between two regions; + 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. @@ -70,11 +70,11 @@
To activate/deactivate or change the shape of a region's fadein or - fade-out, the cursor has to be hovered over the regionfade grip until the + 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 regionfade. Activate/Deactivate enables and - disables the regionfade. + 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 @@ -86,20 +86,20 @@
| Linear | 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 + 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 + |
| 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 symetrically attenuated, + 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 Equal Power or Linear curves, + 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. |