524:
volume increases sharply at the beginning, and more gradually towards the end. The same principle applies on a fade-out where a gradual drop in volume can be perceived in the beginning, and the fade gets more abrupt towards the end. If in your audio there is a natural ambience or reverb present that one would like to reduce, the linear shape would be ideal because of the initial drop in perceived volume. When applied it shortens the ambience. Also if the music requires an accelerating effect, this linear curve can also be applied. This type of fade is not very natural sounding. The principle of a linear crossfade is: at the beginning of the fade the perceived volume drops more quickly, one can see at the halfway point (in the middle of the crossfade) that the perceived volume drops below 50%. This is a very noticeable drop in volume. Also if the control can move from position 0 to 100, and the percentage of the signal that is allowed to pass equals the position of the control (i.e. 25% of the signal is allowed to pass when the control is 25% of the physical distance from the 0 point to the 100 point). At the midpoint of the fade the effect of a linear crossfade is that both the sounds are below half of their maximum perceived volume; and as a result the sum of the two fades will be below the maximum level of either. This is not applicable when the two sounds are on different levels and the crossfade time is long enough. In turn if the crossfade is short (for example on a single note) the dip of the volume in the middle of the crossfade can be quite noticeable.
678:
pitch), one could simply use a crossfade between the two pieces, make a few minor adjustments. This is because the two sounds are different from one another. In the case of a crossfade between two sounds, that are similar, phase-cancellation can become an issue. The two sounds that are crossfaded should be brought into comparison with one another. If both sounds are moving upward they will have a cumulative effect - when added together, this is what one wants. What is not desirable is when both sounds are moving in a different direction, since this can lead to cancelations. This leads to no sound on areas where the amplitudes cancel out one another; there will thus be silence in the middle of the crossfade. This occurrence is rare though since the parameters have to be the same. Commonly a crossfade will result in a gradual reduction in the amount of the sample whose pitch is lower, and an increase will be found on the pitch that is higher. The longer a crossfade, the more likely a problem will occur. One also does not want the effect of the crossfade to be very prominent in the middle of the notes, since if different notes are between the edit point there will be a time when both of the sounds can be heard simultaneously. This overlapping is not expected from a normal singing voice, no reference to
538:), or an inverse-logarithmic ratio. The log/audio-taper more closely matches human hearing, with finer control at lower levels, increasing dramatically past the 50% point. Importantly, the perceived volume of a sound has a logarithmic relationship with its level in decibels. A fade that works on a logarithmic scale would thus counteract the curve of a linear fade. In fade-ins the shape of the perceived volume curve looks like the level in decibels pulled towards the middle part of the line to the bottom right corner. The fade-out in turn looks like it has been pulled toward the bottom-left corner. A logarithmic fade takes a line that has already been curved and straightens it out . The logarithmic fade sounds consistent and smooth since the perceived volume is increased over the whole duration of the fade. This makes this curve very handy for fading standard pieces of music. It is best used on a long fade-out since the fade has a perceived linear nature. Also a fade-out sounds very neutral when incorporated to parts of music with natural ambience. In crossfades this type of curve sounds very natural. When this curve is applied the perceived volume of the fade's midpoint is at about 50% of the maximum – when the two sections are summed the output volume is fairly constant.
506:) from its start to end points affects the level of the signal in a different manner at different points in its travel. If there are no overlapping regions on the same track, regular fade (pre-fade / post-fade) should be used. A smooth fade is one that changes according to the logarithmic scale, as faders are logarithmic over much of their working range of 30-40 dB. If the engineer requires one region to gradually fade into another on the same track, a crossfade would be more suitable. If however the two regions are on different tracks, fade-ins and fade-outs will be applied. A fade-out can be accomplished without letting the sound's distance increase, however this is also something it can do. The perceived distance increase can be attributed to a diminishing level of timbral detail, not the result of a decreasing dynamic level. A listener's interest can be withdrawn from a sound that is faded at the lower end since the ear accepts a more prompt rounding off. The fade-in can be used as a device that separates the listener from the scene. An example of a mini fade out, of about a second or two, is a sustained bass note left to die down.
560:
toward 50% quickly (with the incoming sound rising just as fast to 50%). This acceleration of sound slows and both sounds will appear as if they are at the same level for most of the crossfade (in the middle) before the changeover happens. DAW's gives one the ability to change the shape of logarithmic, exponential, and S-curve fades and crossfades. Changing the shape of a logarithmic fade will change how soon the sound will rise above 50%, and then how long it takes for the end of the fade-out to drop below 50% once again. With exponential fades the shape change will affect the shape in reverse, to the shape of the logarithmic fade. In the S-curve's traditional form the shape determines how quickly the change can occur and in the type 2 curve the change can determine the time it takes for both the sounds to get to a nearly equal level.
547:
over the duration of the fade. Simply stated a linear fade could thus be seen as an exaggerated version of an exponential fade in terms of the apparent volume. Thus the impression that would be gathered from an exponential curve's fade would sound as though the sound was rapidly accelerating towards the listener. Natural ambience can also be repressed by using an exponential fade-out. A crossfade, in the exponential shape, will have a perceivable dip in the middle, which is very undesirable in music and vocals. This depends largely on the length of the crossfade, a long crossfade on ambient sounds can sound perfectly satisfactory (the dip can add a little breath to the music). Exponential crossfades (or a curve with a similar shape) have a smaller drop in the middle of the fade.
265:
volume at which the performer(s) were singing, playing or speaking. With the advent of electrical recording, smooth and controllable fadeout effects could be easily achieved by simply reducing the input volume from the microphones using the fader on the mixing desk. The first experimental study on the effect of a fade-out showed that a version of a musical piece with fade-out in comparison to the same piece with a cold end prolonged the perceived duration by 2.4 seconds. This is called the "Pulse
Continuity Phenomenon" and was measured by a tapping-along task to measure participants’ perception of pulsation.
556:
the exponential curve can be seen at the beginning; at the midpoint to the end it is more logarithmic in nature. A traditional S-curve fade-out: is logarithmic from the beginning up to the midpoint, then its attributes are based on the exponential curve from the midpoint to the end. This is true for the situation in reverse as well (for both fade-in and fade-out). Crossfading S-curves works as follows; it diminishes the amount of time that both sounds are playing simultaneously. This ensures that the edits sound like a direct cut when the two edits meet - this adds an extra smoothness to the edited regions.
817:
side it is infinite. A. Nisbett explains the fader law as follows in his book called The Sound studio:"The ‘law’ of the fader is near-logarithmic over much of its range, which means that a scale of decibels can be made linear (or close to it) over a working range of perhaps 60 dB. If the resistance were to increase according to the same law beyond this, it would be twice as long before reaching a point where the signal is negligible. But the range below -50 dB is of little practical use, so here the rate of fade increases rapidly to the final cut-off".
801:
569:
everything is gentle as it gives the fade time to blend in and be less abrupt. To clear up plosive sounds created through vocals a fade-in can be used, but now it has to have a very short time of around 10ms. The fade time can always be adjusted by the engineer in order to locate the best time. It is important that the fade does not change the intelligibility or character of the sound too much. When the crossfade is longer than 10ms the standard linear fades are not always the best choice for music editing.
949:
110:
669:
finished; one wants the overlapping parts to be as short as possible. If edit regions are not trimmed to a zero-crossing point one will get unwelcome pops in the middle. A sound at the lowest velocity can fade into a sound of a higher velocity, in the order of: first the first sound then the second. All possible without fading out the sounds that are already present. This in turn is a form of
244:, to whom the symphony was dedicated, to allow the musicians to return home after a longer than expected stay. This was expressed by the players extinguishing their stand candles and leaving the stage one by one during the final adagio movement of the symphony, leaving only two muted violins playing. Esterházy appears to have understood the message, allowing the musicians to leave.
319:: The music is placed at the specified time on the cue, the level must be low in order for the vocals to be audible. Here the fade-up generally occurs just before the final words in order for the cue to be given. In stage productions the closing music is played from a predetermined time and fades up at the closing words in order to fit in exactly with the remaining program time.
51:
976:
level. PFL takes place just before the fader and has a joint channel and monitoring function. PFL sends the channel's signal path to the pre-fade bus. The bus is picked up in the monitor module and made accessible as a substitute signal that is sent to the mixer output. Automatic PFL has been made available, almost universally, and no longer needs to be selected beforehand.
295:'s movie theme "Flying Down to Rio" (1933). Even using fade-out as a segue device does not seem obvious, though we certainly take it for granted today. It is possible that movies were an influence here. Fade-ins and fade-outs are often used as cinematic devices that begin and end scenes; film language that developed at the same time as these early recordings. The term
578:
653:-software for the recording of audio-CDs. Also many DAW's (Pro Tools, Logic exc.) have this function. Crossfade is normally found on samplers and usually based on velocity. The purpose of a cross-fade it to utilize a smooth changeover between two cut pieces of audio. Velocity crossfading can be incorporated through a
559:
The second type of S-curve is more apt for longer crossfades, since they are smooth and have the ability to have both of the crossfades in the overall level; so that they are audible for as long as possible. There is a short period at the start of each of the crossfades where the outgoing sound drops
299:
itself is of cinematic origin, appearing in print around 1918. And jazz, a favorite of early records, was a popular subject of early movies too. The same could be said for radio productions. Within a single programme of a radio production, many different types of fade can be applied. When mixing from
816:
along a track or slot. It is principally a variable resistance or potentiometer also called a ‘pot’. A contact can move from one end to another. As this movement takes place the resistance of the circuit can either increase or decrease. At one end the resistance of the scale is at 0 and at the other
710:
principles, particularly the fact that the power of an audio signal is proportional to the square of the amplitude. Many equal power shapes have the property that the midpoint of the mix provides an amplitude multiplier of 0.707 (square root of one half) for both signals. A variety of equal power
979:
Pre-fade listen can also be incorporated in radio stations and serves as a vital tool. This function allows the radio presenter to listen to the source before it is faded on air; allowing the presenter to check the source's incoming level and make sure it is accurate. It is also valuable since live
887:
The console's computer will update the console's controls on playback. This will be done from memory at the same speed. The advantage of working with mix automation is that only one engineer can perform the job with minimal effort; it can be set up or recorded beforehand to make it even simpler. An
883:
is presented to the equipment, the fader will move according to a previously performed path. Also called an automated fader, as it recalls the movement of the channel faders in time. A full-function automation system will continuously scan the console, many times per second, in order to incorporate
677:
A crossfade can either be used between two unrelated pieces of music or between two sounds that are similar; in both of these cases, one would like the sound to be one continuous sound without any bumps. When applying a crossfade between two very different pieces of music (relating to both tone and
546:
The exponential curve shape is in many ways the precise opposite of the logarithmic curves. The fade-in works as follows: it increases in volume slowly and then it shoots up very quickly at the end of the fade. The fade-out drops very quickly (from the maximum volume) and then declines slowly again
256:
written between 1914 and 1916, is another early example of music having a fade-out ending during performance. Holst stipulates that the women's choruses are "to be placed in an adjoining room, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently
975:
Pre-fade listen can also be used for talkback as well as to listen to channels before they have been faded. After-fade listen only gets its information later. The choice of listen or level will depend on the user's interest: either with the quality and/or content of the signal or with the signal's
784:
Equal power shapes typically have the sum of their curves (in the middle of the mix range) exceeding the nominal maximum amplitude (1.0), which may produce clipping in some contexts. If that is a concern, then "equal gain" (or "constant gain") shapes should be used (which may be linear or curved)
694:
break in the music. However the earliest commercial documented example was designed by
Richard Wadman, one of the founders of the British company Citronic. It was called the model SMP101, made about 1977, and had a crossfader that doubled as a L/R balance control or a crossfade between two inputs.
555:
The S-curve shape is interesting since it has qualities that correlate with the previously mentioned curves. The level of the sound is 50% at the midpoint, but before and after the midpoint the shape is not linear. There are also two types of S-curves. Traditional S-curve fade-in has attributes of
693:
is often credited with the invention of the first crossfader by sourcing parts from a junkyard in the Bronx. It was initially an on/off toggle switch from an old microphone that he transformed into a left/right switch which allowed him to switch from one turntable to another, thereby avoiding a
668:
Crossfading usually involves the sounding of a combination of one or two sounds at the same time. Crossfades can either be applied to a piece of music in real time, or can be pre-calculated. While crossfading one does not want the second part of the fade to start playing before the first part is
641:
of a vocal or instrumental part and create a final version which is a composite of the best passages of these takes by crossfading between each track. In the perfect case, the crossfade would keep a constant output level, an important quality for a club DJ who is creating a seamless mix of dance
264:
The technique of ending a spoken or musical recording by fading out the sound goes back to the earliest days of recording. In the era of mechanical (pre-electrical) recording, this could only be achieved by either moving the sound source away from the recording horn, or by gradually reducing the
673:
that can be used in the mix. The same effect (as was created with velocity) can be applied to a controller. This allows continued monitored control; the crossfading function can also be controlled on some instruments by the keyboard position. These sounds on the MIDI keyboard can be programmed.
523:
The simplest of fade curves is the linear curve and it is normally the default fade. It takes a straight line and introduces a curve. This curve represents an equal degree by which the gain increases or decreases during the length of the fade. A linear fade-in curve makes it sound as though the
568:
It is also possible to apply different fade times to the out and in portions; which a standard crossfade would not allow you to apply. Appropriate fade-in time for a linear fade can be around 500ms; for the fade-out 500ms would also be affective. By having this longer fade it makes sure that
284:. By the early 1930s, longer songs were being put on both sides of records, with the piece fading out at the end of side one and fading back in at the beginning of side two. Records at the time held only about two to five minutes of music per side. The segue allowed for longer songs (such as
963:
On an analogue mixing console, the PFL (pre-fader listen) switch routes the incoming signal of a channel to a PFL bus. This bus is sent to the monitor mix and/or the headphones mix, allowing to monitor an incoming signal before it is send to the main output. When the mixer is equipped with
706:), such as linear, exponential, S-curve, etc. When the goal is to have the perceived loudness of the combined mix signal stay fairly constant across the full range of the mix, special shapes must be used, called "equal power" (or "constant power") shapes. Equal power shapes are based on
888:
example of this is when Ken Hamman installed linear faders that made it possible for him to alter several channels with one hand while mixing, thus he assumed an interactive role in the process of recording. This type of fader level adjustment is also called ‘riding’ the fader.
514:
The shape of a regular fade and a crossfade can be shaped by an audio engineer. Shape implies that you can change the rate at which the level change occurs over the length of the fade. Different types of preset fades shapes include linear, logarithmic, exponential and S-curve.
257:
closed", and that the final bar (scored for choruses alone) is "to be repeated until the sound is lost in the distance". Although commonplace today, the effect bewitched audiences in the era before widespread recorded sound—after the initial 1918 run-through, Holst's daughter
261:(in addition to watching the charwomen dancing in the aisles during "Jupiter") remarked that the ending was "unforgettable, with its hidden chorus of women's voices growing fainter and fainter ... until the imagination knew no difference between sound and silence".
609:
can slide the fader from the extreme left (this provides 100% of sound source A) to the extreme right (this provides 100% of sound source B), move the fader to the middle (this is a 50/50 mix of sources A and B), or adjust the fader to any point in between. It allows a
884:
new settings. While this scan is in progress, the stored representation of the previous scan will be compared to that of the fader's current position. If the fader's position has changed, the new position will be identified, thus resulting in a spurt of data.
582:
579:
900:", beatmixing, and cut mixing. High-priced mixers often have crossfade curve switches allowing the DJ to select the type of crossfade necessary. Experienced DJs are also able to crossfade between tracks using the channel faders.
581:
928:-fader allows the amount of audio sent to the aux bus to remain unaffected by the individual track fader, thus not disturbing the stability of the feed that is being sent to the musicians. If a send mix is configured
971:
This pre-fade listen is valuable since it allows one to listen through headphones in order to hear what the pre-faded part sounds like, while the studio loudspeaker is being used to monitor the rest of the program.
660:
These types of crossfades (those that are based on note velocity) allow two (even more) samples to be assigned to one note or range of notes. This requires both a loud and soft sample; the reason for this is
159:). Fading-out can serve as a recording solution for pieces of music that contain no obvious ending. Quick fade-ins and -outs can also be used to change the characteristics of a sound, such as to soften the
642:
tracks for dancers or a radio DJ seeking to avoid "dead air" (silence) between songs, an error that can cause listeners to change channels. However, there is no standard on how this should be achieved.
711:
shapes are available, and the optimal shape will generally depend on the amount of correlation between the two signals. An example pair of curves that keep power equal across the mix are
240:, nicknamed the "Farewell" Symphony on account of the fade-out ending. The symphony which was written in 1772 used this device as a way of courteously asking Haydn's patron Prince
879:
actuators attached; such faders can be multi-use and will jump to the correct position for a selected function or saved setting. Flying faders can be automated, so that when a
352:
775:
920:-fader, then changes to the main channel strip fader does not affect the send mix. In live sound reinforcement, this is useful for stage monitor mixes where changes in the
739:
486:
More recently: "At the meta-song level, the prevalence of pre-taped sequences (for shops, pubs, parties, concert intervals, aircraft headsets) emphasizes the importance of
307:: the introduction has become a musical link between the music/speech that follows, additionally the first notes of the intro can be emphasized to make it pop out more.
580:
490:. The effect on radio pop programme form a stress on continuity achieved through the use of fades, voice-over links, twin-turntable mixing and connecting jingles."
824:
is usually not considered a fader, although it is electrically and functionally equivalent. Some small mixers use knobs rather than faders, as do a small number of
1456:
940:
effects. An example of this is when an engineer would like to add some delay to the vocals – the fader can thus be used to adjust the amount of delay added.
1096:
657:
transformation device and where more than one note can be assigned to a given pad (note) on the MIDI keyboard; velocity crossfading may be available.
605:
essentially functions like two faders connected side-by-side, but in opposite directions. A crossfader is typically mounted horizontally, so that the
1543:
Pressing, J. 1992. Synthesizer
Performance and Real-Time Techniques. United States of America: Oxford University Press. pp. 61, 69, 246-249, 386.
1481:
980:
radio broadcasts can fall apart without it as they will not be able to monitor the sound. After-fader listen is not as useful in live programs.
1651:
HackLab: An
Introduction to Computer Programming and Digital Signal Processing in MATLAB, Eric Tarr, 2018, Taylor & Francis, pp 112-122
1219:
689:
had used basic faders to transition between two records as far back as the late 1960s, they typically had separate faders for each channel.
268:
An 1894 78 rpm record called "The Spirit of '76" features a narrated musical vignette with martial fife-and-drum that gets louder as it
665:
change. This type of crossfade is quite subtle depending on the proportion of the received note velocity value of the loud and soft sample.
1661:
1685:
Roads, A. 1996. The
Computer Music Tutorial. United States of America: Library of Congress Cataloging-in-Publication Data. pp. 378-379.
478:" (recorded 1964) was the first song to use the reverse effect—a fade-in. In fact, The Supremes had used this effect on their single "
1292:
1269:
1144:
1061:
94:
61:
1642:
The Art of
Digital Audio Recording A Practical Guide for Home and Studio, Steve Savage, 2011, Oxford University Press, pp 127-130
702:
When crossfading two signals that are being combined (mixed), the two fade curves can employ any of the shapes listed above (see
364:
144:
380:
313:: Since the first word of the vocals has to follow promptly after the cue light, it could be used to move the recording onward.
618:
two sources of audio (or more, where channels can be mapped to one of the two sides of the crossfader individually) such as
593:(Video with close-up photography at the DJ mixer, though without sound). From 1:36, heavy use of the crossfader can be seen.
1590:
856:, which has the same effect on the sound as any other fader, but the audio signal does not pass through the fader itself.
455:
No modern recording can be reliably identified as "the first" to use the technique. In 2003, on the (now-defunct) website
372:
404:
1716:
Talbot-Smith, M. 1994. Audio
Engineer’s Reference Book. Oxford: Reed Educational and Professional Publishing Ltd, 1999.
1599:
And all you had was a switch to cut between the two? No. It was a knob, a fader. It was a fader, so you could do mixes.
276:. There are early examples that appear to bear no obvious relationship to movement. One is "Barkin' Dog" (1919) by the
1611:
1460:
76:
1764:
896:
Many DJ equipment manufacturers offer different mixers for different purposes, with different fader styles, e.g., "
72:
1127:
932:-fader, then the level sent to the send mix follows changes to the main channel strip fader. This is useful for
872:
789:
328:
800:
792:
realm, the term "power curve" is often used to designate crossfade shapes, particularly for equal power shapes.
1769:
849:
1085:"The Great Composers and Their Music", Vol. 50, Marshall Cavendish Ltd., London, 1985. I.H. as quoted on p1218
1038:
853:
237:
1625:
1499:
650:
388:
924:
channel levels would distract the musicians. In recording and post production, configuring a send to be
207:
use DJ mixers, two or more sound sources (two record players, two iPods, etc.) along with a skill called
1759:
833:
463:
396:
324:
31:
1694:
Braun, H. J. Music and
Technology in the Twentieth Century. London: The Johns Hopkins University Press.
241:
614:
to fade one source out while fading another source in at the same time. This is extremely useful when
1662:
https://math.stackexchange.com/questions/4621/simple-formula-for-curve-of-dj-crossfader-volume-dipped
837:
744:
277:
1579:
Rumsey, F. & McCormick, T. 1992. Sound and
Recording. Burlington: Focal Press. pp. 241, 282-284.
1260:
Goddard, Simon (2009). Mozipedia: The
Encyclopedia of Morrissey and The Smiths. London: Ebury Press.
1097:"When the pulse of the song goes on: Fade-out in popular music and the pulse continuity phenomenon"
968:, the PFL allows to visually monitor an audio source without hearing it and adjust its input gain.
714:
424:
132:. The term can also be used for film cinematography or theatre lighting in much the same way (see
1119:
953:
852:(DSP). Analogue faders are found on mixing consoles. A fader can also be used as a control for a
280:
Jazz Band. Another contender is "America" (1918), a patriotic piece by the chorus of evangelist
1288:
1236:
1215:
1209:
1057:
1051:
690:
479:
475:
344:
133:
121:
1111:
999:
960:
Pre-fader listen and After-fader listen are functions found on a primary monitor function.
937:
679:
432:
416:
336:
160:
211:(aligning the beats and tempos of two records) to make seamless dance mixes for dancers at
1004:
948:
137:
1148:
323:
Though relatively rare, songs can fade out then fade back in. Some examples of this are "
17:
1195:
Nisbett, A. 1962. The Technique of the Sound Studio. London & New York: Focal Press.
633:
is also used in audio engineering as a mixing technique, particularly with instrumental
1774:
1729:
921:
876:
686:
828:
designed for club DJs who are creating seamless mixes of songs. A fader can be either
300:
speech to music, there are a few ways that fade can be used. Here are three examples.
291:
However, shorter songs continued to use the fade-out for unclear reasons—for example,
1753:
1594:
1123:
933:
841:
829:
623:
440:
412:
392:
340:
178:
989:
864:
845:
634:
615:
503:
470:" (1951) fades out to indicate the titular car driving away. There are claims that
400:
376:
348:
292:
281:
258:
247:
233:
208:
129:
1457:"Difference in Audio & Linear Potentiometers | Tech Channel - RadioShack"
109:
1446:
Langford, S. 2011. The Remix Manual. Burlington: Focal Press. pp. 54-55, 202-205.
707:
611:
534:
471:
444:
356:
332:
285:
252:
200:
170:
113:
994:
897:
619:
590:
436:
384:
368:
195:
190:
39:
1432:
Moylan, W. 2002. The Art of Recording. United States of America: Focal Press.
1420:
Langford, S. 2014. Digital Audio Editing. Burlington: Focal Press. pp. 47-57.
1115:
1076:"The Planets" (full orchestral score): Goodwin & Tabb, Ltd., London, 1921
1482:"Potentiometer - Why should I use a logarithmic pot for audio applications?"
875:. Modern high end digital mixers often feature "flying faders", faders with
467:
216:
35:
1211:
The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes"
812:
is any device used for fading, especially when it is a knob or button that
1287:(Reprint ed.). Philadelphia: Open University Press. pp. 95–96.
965:
880:
825:
670:
646:
602:
586:
420:
360:
182:
1095:
Kopiez, Reinhard; Platz, Friedrich; Müller, Silvia; Wolf, Anna (2015).
428:
408:
164:
662:
532:
Another type of curve is called the logarithmic ratio (also known as
204:
908:
On a mixer with auxiliary send mixes, the send mixes are configured
459:, John Ruch listed the following recordings as possible contenders:
79:. Statements consisting only of original research should be removed.
1629:
1507:
232:
Possibly the earliest example of a fade-out ending can be heard in
189:, in a rapid fashion while simultaneously manipulating two or more
947:
799:
576:
108:
1559:
Rumsey, F. 1994. MIDI Systems & Control. Oxford: Focal Press.
1575:
1573:
1571:
1569:
1567:
1565:
804:
3 faders used as graphic equalizer in a personal cassette player
654:
638:
212:
148:
1539:
1537:
1535:
1533:
1531:
1529:
1527:
1525:
1416:
1414:
1412:
1410:
1408:
1406:
1404:
1402:
1400:
1398:
1396:
1394:
1392:
1390:
1388:
1386:
1384:
1382:
1380:
1378:
1376:
1374:
1372:
1370:
1368:
1366:
1364:
1362:
1360:
1358:
1356:
1354:
1352:
1350:
1348:
1346:
1344:
1342:
1340:
1338:
1336:
1334:
1332:
1330:
1328:
1326:
1324:
1442:
1440:
1438:
1322:
1320:
1318:
1316:
1314:
1312:
1310:
1308:
1306:
1304:
44:
1681:
1679:
1677:
1675:
1673:
1671:
1669:
498:
A fade can be constructed so that the motion of the control (
649:
applications that feature virtual crossfades, for instance,
155:), or may gradually increase from silence at the beginning (
1053:
Sweet Anticipation: Music and the Psychology of Expectation
606:
482:", issued a little over a month before "Eight Days a Week".
174:
288:'s "Miss Thing"), symphonies and live concert recordings.
1660:
For examples of some commonly used crossfade shapes, see
1712:
1710:
1708:
1706:
1704:
1702:
1700:
250:'s "Neptune, the mystic", part of the orchestral suite
68:
785:
that are designed so the two curves always sum to 1.
747:
717:
128:
is a gradual increase or decrease in the level of an
871:
faders, since they can be viewed on the screen of a
1612:"Awesome Men Throughout History: Grandmaster Flash"
1191:
1189:
1187:
1185:
956:mixing console, next to the fader of each channel.
769:
733:
1555:
1553:
1551:
1549:
1428:
1426:
1183:
1181:
1179:
1177:
1175:
1173:
1171:
1169:
1167:
1165:
944:Pre-fader listen (PFL), after-fader listen (AFL)
151:may be gradually reduced to silence at its end (
637:. A mix engineer will often record two or more
461:
411:, "Illumination Theory" and "At Wit's End" by
1237:"'Suspicious Minds': Elvis' Greatest Single?"
8:
1493:
1491:
1203:
1201:
748:
746:
718:
716:
95:Learn how and when to remove this message
1214:. Oxford University Press. p. 171.
1016:
27:Gradual change in level of audio signal
1724:
1722:
952:Pre-fader listen (PFL) switches on a
7:
916:-fader. If a send mix is configured
193:(or other sound sources) to create
25:
1589:Frank Broughton (February 1999).
1235:Patterson, Nigel; Piers Beagley.
1026:The Technique of the sound studio
443:, and "The Edge Of The World" by
1626:"Evolution of the DJ Crossfader"
1500:"Evolution of the DJ crossfader"
272:the listener, and quieter as it
186:
145:sound recording and reproduction
49:
867:faders are also referred to as
770:{\displaystyle {\sqrt {1-mix}}}
381:In Every Dream Home A Heartache
199:and develop beats. Club DJs in
1:
1730:"Pre-Fade Listen (PFL) – IPS"
734:{\displaystyle {\sqrt {mix}}}
365:That Joke Isn't Funny Anymore
1593:. DJ History. Archived from
854:voltage controlled amplifier
848:, numerically controlling a
34:. For the musical term, see
1506:. Rane Corp. Archived from
1283:Middleton, Richard (1990).
832:, directly controlling the
703:
75:the claims made and adding
1791:
1591:"Francis Grasso Interview"
1056:. MIT Press. p. 318.
685:While DJ pioneers such as
499:
405:(Reprise) Sandblasted Skin
29:
1241:Elvis Information Network
1145:"Stupid Question Archive"
873:digital audio workstation
790:digital signal processing
329:Strawberry Fields Forever
317:Introduction under speech
185:, notably the horizontal
171:Professional turntablists
18:Fader (audio engineering)
1208:Everett, Walter (2008).
1116:10.1177/0305735613511505
850:digital signal processor
589:in Rainbow Warehouse in
311:Cutting the introduction
167:and percussion sounds.
1039:Symphony No. 45 (Haydn)
116:faders in a London pub.
1285:Studying popular music
1024:Nisbett, Alec (1966).
957:
840:to the source (e.g. a
805:
771:
735:
594:
484:
389:It's Only Money, Pt. 2
117:
1050:Huron, David (2006).
951:
904:Pre-fader, post-fader
803:
781:ranges from 0 to 1).
772:
736:
626:or digital sources.
585:
466:'s cover version of "
397:The Great Annihilator
112:
32:Fade (disambiguation)
1498:Jeffs, Rick (1999).
745:
715:
353:Sunday Bloody Sunday
228:Origins and examples
30:For other uses, see
1510:on 28 November 2010
1104:Psychology of Music
439:, "Cold Desert" by
219:and dance parties.
958:
806:
767:
731:
595:
242:Nikolaus Esterházy
118:
60:possibly contains
1765:Audio engineering
1614:. 14 August 2012.
1597:on 29 July 2012.
1221:978-0-19-531023-8
765:
729:
691:Grandmaster Flash
629:The technique of
583:
480:Come See About Me
476:Eight Days a Week
345:Shine On Brightly
134:fade (filmmaking)
122:audio engineering
105:
104:
97:
62:original research
16:(Redirected from
1782:
1744:
1743:
1741:
1740:
1726:
1717:
1714:
1695:
1692:
1686:
1683:
1664:
1658:
1652:
1649:
1643:
1640:
1634:
1633:
1628:. Archived from
1622:
1616:
1615:
1608:
1602:
1601:
1586:
1580:
1577:
1560:
1557:
1544:
1541:
1520:
1519:
1517:
1515:
1495:
1486:
1485:
1478:
1472:
1471:
1469:
1468:
1459:. Archived from
1453:
1447:
1444:
1433:
1430:
1421:
1418:
1299:
1298:
1280:
1274:
1267:
1261:
1258:
1252:
1251:
1249:
1247:
1232:
1226:
1225:
1205:
1196:
1193:
1160:
1159:
1157:
1156:
1147:. Archived from
1141:
1135:
1134:
1132:
1126:. Archived from
1101:
1092:
1086:
1083:
1077:
1074:
1068:
1067:
1047:
1041:
1036:
1030:
1029:
1021:
1000:Gapless playback
938:signal processor
776:
774:
773:
768:
766:
749:
740:
738:
737:
732:
730:
719:
698:Crossfade shapes
680:Overtone singing
584:
337:Suspicious Minds
181:use faders on a
100:
93:
89:
86:
80:
77:inline citations
53:
52:
45:
21:
1790:
1789:
1785:
1784:
1783:
1781:
1780:
1779:
1770:Sound recording
1750:
1749:
1748:
1747:
1738:
1736:
1728:
1727:
1720:
1715:
1698:
1693:
1689:
1684:
1667:
1659:
1655:
1650:
1646:
1641:
1637:
1624:
1623:
1619:
1610:
1609:
1605:
1588:
1587:
1583:
1578:
1563:
1558:
1547:
1542:
1523:
1513:
1511:
1497:
1496:
1489:
1480:
1479:
1475:
1466:
1464:
1455:
1454:
1450:
1445:
1436:
1431:
1424:
1419:
1302:
1295:
1282:
1281:
1277:
1271:Stupid Question
1268:
1264:
1259:
1255:
1245:
1243:
1234:
1233:
1229:
1222:
1207:
1206:
1199:
1194:
1163:
1154:
1152:
1143:
1142:
1138:
1130:
1099:
1094:
1093:
1089:
1084:
1080:
1075:
1071:
1064:
1049:
1048:
1044:
1037:
1033:
1023:
1022:
1018:
1013:
1005:Harmonic mixing
986:
946:
906:
894:
862:
798:
743:
742:
713:
712:
700:
645:There are many
577:
575:
566:
553:
544:
530:
521:
512:
496:
457:Stupid Question
453:
238:Symphony No. 45
230:
225:
138:fade (lighting)
101:
90:
84:
81:
66:
54:
50:
43:
28:
23:
22:
15:
12:
11:
5:
1788:
1786:
1778:
1777:
1772:
1767:
1762:
1752:
1751:
1746:
1745:
1718:
1696:
1687:
1665:
1653:
1644:
1635:
1632:on 2002-08-03.
1617:
1603:
1581:
1561:
1545:
1521:
1487:
1473:
1448:
1434:
1422:
1300:
1293:
1275:
1262:
1253:
1227:
1220:
1197:
1161:
1136:
1133:on 2020-02-12.
1110:(3): 359–374.
1087:
1078:
1069:
1062:
1042:
1031:
1028:. Focal Press.
1015:
1014:
1012:
1009:
1008:
1007:
1002:
997:
992:
985:
982:
945:
942:
922:Front of House
905:
902:
893:
890:
877:piezo-electric
861:
858:
797:
794:
764:
761:
758:
755:
752:
728:
725:
722:
699:
696:
687:Francis Grasso
574:
571:
565:
562:
552:
549:
543:
540:
529:
526:
520:
517:
511:
508:
495:
492:
452:
449:
325:Helter Skelter
321:
320:
314:
308:
229:
226:
224:
221:
191:record players
103:
102:
57:
55:
48:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1787:
1776:
1773:
1771:
1768:
1766:
1763:
1761:
1758:
1757:
1755:
1735:
1731:
1725:
1723:
1719:
1713:
1711:
1709:
1707:
1705:
1703:
1701:
1697:
1691:
1688:
1682:
1680:
1678:
1676:
1674:
1672:
1670:
1666:
1663:
1657:
1654:
1648:
1645:
1639:
1636:
1631:
1627:
1621:
1618:
1613:
1607:
1604:
1600:
1596:
1592:
1585:
1582:
1576:
1574:
1572:
1570:
1568:
1566:
1562:
1556:
1554:
1552:
1550:
1546:
1540:
1538:
1536:
1534:
1532:
1530:
1528:
1526:
1522:
1509:
1505:
1501:
1494:
1492:
1488:
1483:
1477:
1474:
1463:on 2015-04-08
1462:
1458:
1452:
1449:
1443:
1441:
1439:
1435:
1429:
1427:
1423:
1417:
1415:
1413:
1411:
1409:
1407:
1405:
1403:
1401:
1399:
1397:
1395:
1393:
1391:
1389:
1387:
1385:
1383:
1381:
1379:
1377:
1375:
1373:
1371:
1369:
1367:
1365:
1363:
1361:
1359:
1357:
1355:
1353:
1351:
1349:
1347:
1345:
1343:
1341:
1339:
1337:
1335:
1333:
1331:
1329:
1327:
1325:
1323:
1321:
1319:
1317:
1315:
1313:
1311:
1309:
1307:
1305:
1301:
1296:
1294:0-335-15275-9
1290:
1286:
1279:
1276:
1273:
1272:
1266:
1263:
1257:
1254:
1242:
1238:
1231:
1228:
1223:
1217:
1213:
1212:
1204:
1202:
1198:
1192:
1190:
1188:
1186:
1184:
1182:
1180:
1178:
1176:
1174:
1172:
1170:
1168:
1166:
1162:
1151:on 2007-11-30
1150:
1146:
1140:
1137:
1129:
1125:
1121:
1117:
1113:
1109:
1105:
1098:
1091:
1088:
1082:
1079:
1073:
1070:
1065:
1063:0-262-08345-0
1059:
1055:
1054:
1046:
1043:
1040:
1035:
1032:
1027:
1020:
1017:
1010:
1006:
1003:
1001:
998:
996:
993:
991:
988:
987:
983:
981:
977:
973:
969:
967:
961:
955:
950:
943:
941:
939:
935:
934:reverberation
931:
927:
923:
919:
915:
911:
903:
901:
899:
891:
889:
885:
882:
878:
874:
870:
866:
859:
857:
855:
851:
847:
843:
842:potentiometer
839:
835:
831:
827:
823:
820:A knob which
818:
815:
811:
802:
795:
793:
791:
786:
782:
780:
762:
759:
756:
753:
750:
726:
723:
720:
709:
705:
697:
695:
692:
688:
683:
681:
675:
672:
666:
664:
658:
656:
652:
648:
643:
640:
636:
632:
627:
625:
624:compact discs
621:
617:
613:
608:
604:
600:
592:
588:
572:
570:
563:
561:
557:
550:
548:
541:
539:
537:
536:
527:
525:
518:
516:
509:
507:
505:
501:
493:
491:
489:
483:
481:
477:
473:
469:
465:
460:
458:
450:
448:
446:
442:
441:Kings of Leon
438:
434:
430:
426:
422:
418:
414:
413:Dream Theater
410:
406:
402:
398:
394:
390:
386:
382:
378:
374:
370:
366:
362:
358:
354:
350:
346:
342:
341:Elvis Presley
338:
334:
330:
326:
318:
315:
312:
309:
306:
303:
302:
301:
298:
294:
289:
287:
283:
279:
275:
271:
266:
262:
260:
255:
254:
249:
245:
243:
239:
235:
227:
222:
220:
218:
214:
210:
206:
202:
198:
197:
192:
188:
184:
180:
179:hip hop music
176:
172:
168:
166:
162:
158:
154:
150:
146:
141:
139:
135:
131:
127:
123:
115:
111:
107:
99:
96:
88:
78:
74:
70:
64:
63:
58:This article
56:
47:
46:
41:
37:
33:
19:
1760:Audio mixing
1737:. Retrieved
1733:
1690:
1656:
1647:
1638:
1630:the original
1620:
1606:
1598:
1595:the original
1584:
1512:. Retrieved
1508:the original
1504:RaneNote 146
1503:
1476:
1465:. Retrieved
1461:the original
1451:
1284:
1278:
1270:
1265:
1256:
1246:September 2,
1244:. Retrieved
1240:
1230:
1210:
1153:. Retrieved
1149:the original
1139:
1128:the original
1107:
1103:
1090:
1081:
1072:
1052:
1045:
1034:
1025:
1019:
990:Beatmatching
978:
974:
970:
962:
959:
929:
925:
917:
913:
909:
907:
895:
886:
868:
863:
821:
819:
813:
809:
807:
787:
783:
778:
701:
684:
676:
667:
659:
644:
630:
628:
616:beatmatching
598:
596:
567:
558:
554:
545:
533:
531:
522:
513:
497:
487:
485:
462:
456:
454:
451:Contemporary
377:Led Zeppelin
349:Procol Harum
322:
316:
310:
304:
296:
293:Fred Astaire
290:
282:Billy Sunday
273:
269:
267:
263:
251:
248:Gustav Holst
246:
234:Joseph Haydn
231:
209:beatmatching
194:
169:
156:
152:
142:
130:audio signal
125:
119:
106:
91:
82:
59:
708:audio power
631:crossfading
573:Crossfading
542:Exponential
535:audio taper
528:Logarithmic
472:The Beatles
445:DragonForce
357:John Lennon
333:The Beatles
286:Count Basie
253:The Planets
201:house music
114:Audio mixer
1754:Categories
1739:2024-09-09
1734:ips.org.uk
1467:2015-04-14
1155:2008-01-11
1011:References
995:Beatmixing
936:and other
912:-fader or
898:scratching
834:resistance
620:phonograph
599:crossfader
591:Birmingham
564:Fade times
464:Bill Haley
385:Roxy Music
369:The Smiths
274:moves away
217:nightclubs
196:scratching
187:crossfader
69:improve it
40:Diminuendo
1124:147398735
966:VU meters
838:impedance
826:DJ mixers
754:−
622:records,
468:Rocket 88
373:Thank You
278:Ted Lewis
163:in vocal
73:verifying
36:Crescendo
984:See also
881:timecode
830:analogue
671:Layering
647:software
603:DJ mixer
587:DJ Qbert
425:Doomsday
421:Paramore
361:Yoko Ono
305:Straight
297:fade-out
183:DJ mixer
165:plosives
153:fade-out
85:May 2012
869:virtual
865:Digital
860:Digital
846:digital
822:rotates
788:In the
777:(where
704:#Shapes
651:burning
551:S-curve
429:MF Doom
409:Pantera
327:" and "
223:History
157:fade-in
67:Please
1514:6 July
1291:
1218:
1122:
1060:
954:Yamaha
844:); or
814:slides
663:Timbre
519:Linear
510:Shapes
504:rotary
500:linear
417:Future
393:Argent
259:Imogen
205:techno
161:attack
1775:DJing
1131:(PDF)
1120:S2CID
1100:(PDF)
892:Types
810:fader
796:Fader
741:and
639:takes
635:solos
601:on a
435:" by
433:Outro
427:" by
419:" by
407:" by
401:Swans
399:" by
391:" by
383:" by
375:" by
367:" by
355:" by
347:" by
339:" by
331:" by
270:nears
213:raves
1516:2013
1289:ISBN
1248:2010
1216:ISBN
1058:ISBN
930:post
914:post
655:MIDI
494:Fade
488:flow
403:, "
359:and
203:and
173:and
149:song
136:and
126:fade
124:, a
38:and
1112:doi
926:pre
918:pre
910:pre
836:or
779:mix
502:or
474:' "
437:M83
431:, "
423:, "
415:, "
395:, "
387:, "
379:, "
371:, "
363:, "
351:, "
343:, "
335:, "
236:'s
177:in
175:DJs
143:In
140:).
120:In
71:by
1756::
1732:.
1721:^
1699:^
1668:^
1564:^
1548:^
1524:^
1502:.
1490:^
1437:^
1425:^
1303:^
1239:.
1200:^
1164:^
1118:.
1108:43
1106:.
1102:.
808:A
682:.
612:DJ
607:DJ
597:A
447:.
215:,
147:a
1742:.
1518:.
1484:.
1470:.
1297:.
1250:.
1224:.
1158:.
1114::
1066:.
763:x
760:i
757:m
751:1
727:x
724:i
721:m
98:)
92:(
87:)
83:(
65:.
42:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
