In Recording Audio What Is the Term for Playing Back a Lead Up Cue Before Recording Again

Gradual change in level of sound bespeak

In audio engineering, a fade is a gradual increase or subtract in the level of an audio signal.^[1] The term tin as well be used for picture cinematography or theatre lighting in much the aforementioned way (come across fade (filmmaking) and fade (lighting)).

A recorded song may be gradually reduced to silence at its end (fade-out), or may gradually increase from silence at the beginning (fade-in). Fading-out can serve every bit a recording solution for pieces of music that comprise no obvious ending. Both fades and cross-fades are very valuable since they permit the engineer to quickly and easily make certain that the beginning and the cease of any audio is smooth, without whatsoever prominent glitches.^[ii] It is necessary that there is a clear department of silence prior to the audio.^[2] Fade-ins and -outs tin can besides be used to alter the characteristics of a sound, such equally to soften the assault in vocals where very plosive ('b', 'd', and 'p') sounds occur.^[two] It can also be used to soften up the assail of the drum and/or percussion instruments.^[2] A cross-fade can be manipulated through its rates and coefficients in order to create different styles of fading.^[3] Almost every fade is unlike; this means that the fade parameters must be adjusted co-ordinate to the individual needs of the mix.^[4]

Professional turntablists and DJs in hip hop music employ faders on a DJ mixer, notably the horizontal crossfader, in a rapid fashion while simultaneously manipulating two or more than record players (or other audio sources) to create "scratching" and develop beats. Club DJs in business firm music and techno utilize DJ mixers, two or more sound sources (two record players, ii iPods, etc.) forth with a skill called beatmatching (aligning the beats and tempos of two records) to make seamless dance mixes for dancers at raves, nightclubs and dance parties.

Though relatively rare, songs can fade out then fade back in. Some examples of this are "Helter Skelter" and "Strawberry Fields Forever" by The Beatles,^[v] "Suspicious Minds" past Elvis Presley,^[6] "Polish On Brightly" past Procol Harum, "Sunday Bloody Lord's day" past John Lennon and Yoko Ono, "That Joke Isn't Funny Anymore" by The Smiths,^[7] "Thank You" by Led Zeppelin,^[5] "It'southward Only Coin, Pt. two" past Silver, "The Great Annihilator" by Swans, "(Reprise) Sandblasted Peel" by Pantera, "Illumination Theory" and "At Wit's Stop" by Dream Theater, "Future" by Paramore, "Doomsday" by MF Doom, "Outro" by M83, "Cold Desert" by Kings of Leon, and "The Edge Of The Globe" by DragonForce.

History [edit]

Origins and early on examples [edit]

Possibly the earliest example of a fade-out catastrophe can be heard in Joseph Haydn'south Symphony No. 45, nicknamed the "Good day" Symphony on business relationship of the fade-out ending. The symphony which was written in 1772 used this device every bit a mode of courteously asking Haydn's patron Prince Nikolaus Esterházy, to whom the symphony was defended, to let the musicians to return home after a longer than expected stay. This was expressed by the players extinguishing their stand candles and leaving the phase i by i during the final adagio movement of the symphony, leaving simply two muted violins playing. Esterhazy appears to have understood the message, allowing the musicians to leave.^[8]

Gustav Holst'due south "Neptune, the mystic", office of the orchestral suite The Planets written betwixt 1914 and 1916, is another early example of music to have a fade-out catastrophe during performance.^[nine] Holst stipulates that the women'due south 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 airtight", and that the concluding bar (scored for choruses alone) is "to be repeated until the sound is lost in the distance".^[10] Although commonplace today, the event bewitched audiences in the era before widespread recorded sound—later on the initial 1918 run-through, Holst'due south daughter Imogen (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".^[xi]

The technique of ending a spoken or musical recording past 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 book at which the performer/s were singing, playing or speaking. With the appearance of electrical recording, smooth and controllable fadeout effects could be hands achieved past simply reducing the input book from the microphones using the fader on the mixing desk-bound. The starting time experimental study on the effect of a fade-out showed that a version of a musical slice with fade-out in comparing to the same piece with a common cold terminate prolonged the perceived elapsing by two.4 seconds. This is called the "Pulse Continuity Phenomenon" and was measured by a tapping-along task to measure participants' perception of pulsation.^[12]

An 1894 78 rpm record called "The Spirit of '76" features a narrated musical vignette with martial fife-and-drum that gets louder as information technology 'nears' the listener, and quieter as it 'moves away'. In that location are early examples that announced to bear no obvious relationship to movement. One is "Barkin' Dog" (1919) by the Ted Lewis Jazz Band. Some other contender is "America" (1918), a patriotic piece past the chorus of evangelist Billy Lord's day. Past the early 1930s longer songs were being put on both sides of records, with the slice fading out at the cease of Side 1 and fading back in at the beginning of Side Two. Records at the time held only about 2 to five minutes of music per side. The segue allowed for longer songs (such every bit Count Basie's "Miss Thing"), symphonies and live concert recordings.

Even so, shorter songs continued to use the fade-out for unclear reasons—for case, Fred Astaire's movie theme "Flying Downward 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; picture show language that adult at the aforementioned time equally these early recordings. The term 'fade-out' itself is of cinematic origin, appearing in print around 1918. And jazz, a favorite of early records, was a popular bailiwick of early movies too.^[13] The same could exist said for radio productions. Inside a unmarried programme of a radio production, many different types of fade tin can exist practical. When mixing from voice communication to music, there are a few means that fade can exist used. Here are three examples.

Types [edit]

• Straight: the introduction has get a musical link between the music/speech that follows, additionally the first notes of the intro can exist emphasized to make it 'pop' out more than.^[4]
• Cut the introduction: Since the first word of the vocals has to follow promptly after the cue light, it could be used to move the recording onward.^[4]
• Introduction under speech: The music is placed at the specified time on the cue, the level must be low in order for the vocals to exist aural.^[four] Here the fade-up mostly occurs just before the final words in club for the cue to be given.^[four] In phase productions the endmost music is played from a predetermined time and fades up at the endmost words in order to fit in exactly with the remaining program time.^[four]

Contemporary [edit]

No modern recording can exist reliably identified as "the first" to use the technique. In 2003, on the (now-defunct) website Stupid Question, John Ruch listed the following recordings as possible contenders:

Bill Haley'due south cover version of "Rocket 88" (1951) fades out to indicate the titular car driving away. There are claims that The Beatles' "Eight Days a Calendar week" (recorded 1964) was the first song to employ the contrary result—a fade-in. In fact, The Supremes had used this effect on their single "Come up See About Me", issued a little over a calendar month before "Eight Days a Week".

More than recently: "At the meta-song level, the prevalence of pre-taped sequences (for shops, pubs, parties, concert intervals, aircraft headsets) emphasizes the importance of flow. The effect on radio pop programme form [is] a stress on continuity achieved through the use of fades, phonation-over links, twin-turntable mixing and connecting jingles."^[14]

Fade [edit]

A fade can be constructed and so that the movement of the control (linear or rotary) from its first to end points affects the level of the signal in a unlike style at unlike points in its travel. If at that place are no overlapping regions on the same track, regular fade (pre-fade / post-fade) should be used.^[2] A smooth fade is ane that changes according to the logarithmic scale, as faders are logarithmic over much of their working range of thirty-xl dB.^[4] If the engineer requires one region to gradually fade into another on the same track, a cross-fade would be more than suitable.^[2] If still the two regions are on different tracks, fade-ins and fade-outs will be practical.^[ii] A fade-out can be accomplished without letting the sound's distance increase,^[xv] still this is also something information technology tin can do. The perceived distance increase can be attributed to a diminishing level of timbral detail, not the result of a decreasing dynamic level.^[15] A listener's involvement can exist withdrawn from a sound that is faded at the lower finish since the ear accepts a more than prompt rounding off.^[4] The fade-in can exist used as a device that separates the listener from the scene.^[iv] An instance of a mini fade out, of most a second or ii, is a sustained bass note left to dice downward.^[16]

Shapes [edit]

The shape of a regular fade and a cantankerous-fade can exist shaped by an audio engineer.^[2] Shape implies that you lot tin alter the rate at which the level change occurs over the length of the fade.^[ii] Different types of preset fades shapes include linear, logarithmic, exponential and S-curve.^[2]

Linear [edit]

The simplest of fade curves is the linear curve and it is ordinarily the default fade. It takes a straight line and introduces a curve.^[ii] This curve represents an equal degree by which the gain increases or decreases during the length of the fade.^[ii] A linear fade-in curve makes it sound as though the volume increases sharply at the start, and more gradually towards the end. The same principle applies on a fade-out where a gradual drib in volume tin can be perceived in the showtime, and the fade gets more precipitous 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 driblet in perceived volume.^[2] When practical information technology shortens the ambience. Also if the music requires an accelerating effect, this linear bend can also be applied.^[two] This type of fade is not very natural sounding.^[2] The principle of a linear cross-fade is: at the beginning of the fade the perceived book drops more chop-chop, ane can see at the halfway signal (in the middle of the crossfade) that the perceived volume drops below fifty%.^[2] This is a very noticeable drib in book. Besides if the control can move from position 0 to 100, and the percentage of the signal that is immune to laissez passer equals the position of the control (i.east. 25% of the signal is allowed to pass when the command is 25% of the concrete distance from the 0 point to the 100 point). At the midpoint of the fade the consequence of a linear cross-fade is that both the sounds are beneath half of their maximum perceived volume; and as a result the sum of the two fades volition be below the maximum level of either.^[2] This is non applicable when the two sounds are on different levels and the cross-fade time is long enough.^[2] In plow if the crossfade is brusque (for example on a single notation) the dip of the volume in the heart of the cross-fade can be quite noticeable.^[2]

Logarithmic [edit]

Another type of bend is called the logarithmic ratio (besides known as "audio taper",^[17] or an inverse-logarithmic ratio.^[18] the log/audio-taper more closely matches man hearing, with finer control at lower levels, increasing dramatically past the l% betoken. Importantly, the perceived volume of a audio has a logarithmic relationship with its level in decibels.^[ii] A fade that works on a logarithmic scale would thus counteract the curve of a linear fade.^[2] In fade-ins the shape of the perceived book curve looks like the level in decibels pulled towards the middle function of the line to the bottom right corner.^[2] The fade-out in turn looks like information technology has been pulled toward the bottom-left corner.^[2] A logarithmic fade takes a line that has already been curved and straightens it out [15]. The logarithmic fade sounds consequent and smoothen since the perceived volume is increased over the whole duration of the fade.^[2] This makes this curve very handy for fading standard pieces of music. Information technology is best used on a long fade-out since the fade has a perceived linear nature.^[two] Also a fade-out sounds very neutral when incorporated to parts of music with natural ambience.^[2] In cantankerous-fades this blazon of bend sounds very natural. When this curve is applied the perceived volume of the fade's midpoint is at about fifty% of the maximum – when the two sections are summed the output book is fairly abiding.^[two]

Exponential [edit]

The exponential curve shape is in many ways the precise reverse of the logarithmic curves.^[two] The fade-in works every bit follows: it increases in volume slowly and then it shoots up very rapidly at the stop of the fade.^[2] The fade-out drops very chop-chop (from the maximum book) and and so declines slowly again over the duration of the fade.^[2] Merely stated a linear fade could thus exist seen as an exaggerated version of an exponential fade in terms of the apparent volume.^[2] Thus the impression that would be gathered from an exponential bend'south fade would sound as though the sound was rapidly accelerating towards the listener.^[ii] Natural ambient can also be repressed by using an exponential fade-out.^[two] A cross-fade, in the exponential shape, volition take a perceivable dip in the middle, which is very undesirable in music and vocals.^[ii] This depends largely on the length of the cross-fade, a long cross-fade on ambient sounds tin can audio perfectly satisfactory (the dip can add a little jiff to the music).^[ii] Exponential crossfades (or a curve with a similar shape) have a smaller drib in the middle of the fade.

Southward-curve [edit]

The Due south-curve shape is interesting since it has qualities that correlate with the previously mentioned curves.^[2] The level of the audio is 50% at the midpoint, just before and after the midpoint the shape is not linear. There are as well 2 types of S-curves. Traditional S-curve fade-in has attributes of the exponential curve can exist seen at the beginning; at the midpoint to the end it is more logarithmic in nature.^[2] A traditional Due south-bend fade-out: is logarithmic from the beginning up to the midpoint, and so its attributes are based on the exponential bend from the midpoint to the cease.^[2] This is truthful for the state of affairs in opposite likewise (for both fade-in and fade-out).^[2] Cross-fading Southward-curves works every bit follows; it diminishes the amount of time that both sounds are playing simultaneously.^[2] This ensures that the edits sound like a directly cutting when the two edits encounter - this adds an actress smoothness to the edited regions.^[2]

The second type of S-curve is more apt for longer cantankerous-fades, since they are polish and have the ability to accept both of the crossfades in the overall level; so that they are audible for as long as possible.^[two] In that location is a short period at the start of each of the cross-fades where the outgoing sound drops toward 50% quickly (with the incoming audio rising just as fast to 50%).^[ii] This acceleration of audio slows and both sounds volition appear as if they are at the aforementioned level for about of the cross-fade (in the middle) earlier the changeover happens.^[2] DAW's gives ane the ability to change the shape of logarithmic, exponential, and S-curve fades and cross-fades. Changing the shape of a logarithmic fade will alter how soon the sound will rise higher up 50%, and then how long information technology takes for the end of the fade-out to drop beneath fifty% once over again.^[2] With exponential fades the shape change will bear on the shape in reverse, to the shape of the logarithmic fade.^[2] In the Due south-bend's traditional form the shape determines how apace the change tin can occur and in the type 2 bend the change can decide the fourth dimension information technology takes for both the sounds to become to a nearly equal level.^[2]

Fade times [edit]

It is also possible to apply different fade times to the out and in portions; which a standard cross-fade would not allow you to use.^[2] Appropriate fade-in time for a linear fade tin can exist effectually 500ms; for the fade-out 500ms would also exist affective.^[ii] Past having this longer fade it makes sure that everything is gentle^[two] as information technology gives the fade fourth dimension to blend in and exist less abrupt. To clear upwardly plosive sounds created through vocals a fade-in can be used, but now it has to accept a very brusk fourth dimension of around 10ms.^[2] The fade time tin can e'er be adjusted past the engineer in guild to locate the best time. It is important that the fade does not alter the intelligibility or graphic symbol of the audio too much.^[two] When the crossfade is longer than 10ms the standard linear fades are not always the all-time choice for music editing.^[2]

Crossfading [edit]

DJ Qbert in Rainbow Warehouse in Birmingham (Video with close-upwards photography at the DJ mixer, though without sound). From 1:36, heavy utilise of the crossfader tin exist seen.

A crossfader on a DJ mixer essentially functions like 2 faders continued side-past-side, only in opposite directions. A crossfader is typically mounted horizontally, so that the DJ tin can slide the fader from the extreme left (this provides 100% of sound source A) to the extreme correct (this provides 100% of sound source B), move the fader to the centre (this is a 50/50 mix of sources A and B), or adjust the fader to any betoken in between. It allows a DJ to fade one source out while fading another source in at the aforementioned time.^[19] This is extremely useful when beatmatching two sources of audio (or more, where channels can be mapped to 1 of the two sides of the crossfader individually) such equally phonograph records, compact discs or digital sources. The technique of cross-fading is likewise used in audio engineering as a mixing technique, particularly with instrumental solos. A mix engineer will often record two or more takes of a vocal or instrumental office and create a final version which is a blended of the best passages of these takes by cross-fading between each track. In the perfect case, the cross-fade would go on a abiding output level, an of import quality for a club DJ who is creating a seamless mix of dance 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, at that place is no standard on how this should be accomplished.^[19]

At that place are many software applications that feature virtual cantankerous-fades, for instance, called-for-software for the recording of sound-CDs. Too many DAW's (Pro Tools, Logic exc.) have this function. Cross-fade is usually found on samplers and ordinarily based on velocity.^[20] The purpose of a cross-fade it to apply a shine changeover betwixt two cut pieces of sound.^[2] Velocity cross-fading can be incorporated through a MIDI transformation device and where more than 1 note tin can be assigned to a given pad (notation) on the MIDI keyboard; velocity cross-fading may exist bachelor.^[20]

These types of cross-fades (those that are based on notation velocity) allow ii (even more) samples to be assigned to one notation or range of notes.^[21] This requires both a loud and soft sample; the reason for this is Timbre modify.^[21] This type of cantankerous-fade is quite subtle depending on the proportion of the received notation velocity value of the loud and soft sample.^[21]

Cantankerous-fading usually involves the sounding of a combination of one or 2 sounds at the same time.^[20] While cross-fading one does not desire the 2nd part of the fade to start playing before the first part is finished; one wants the overlapping parts to be as short as possible. If edit regions are not trimmed to a nix-crossing point one volition get unwelcome pops in the middle.^[2] A sound at the everyman velocity can fade into a sound of a college velocity, in the order of: first the first sound then the 2nd.^[20] All possible without fading out the sounds that are already nowadays.^[20] This in plough is a class of Layering that tin be used in the mix.^[20] The same upshot (as was created with velocity) tin can be applied to a controller.^[20] This allows connected monitored control; the cross-fading function tin can also be controlled on some instruments by the keyboard position.^[20] These sounds on the MIDI keyboard can be programmed.

A cross-fade can either exist used betwixt two unrelated pieces of music or betwixt two sounds that are like; in both of these cases, i would like the sound to exist one continuous sound^[two] without whatever bumps. When applying a cross-fade between two very different pieces of music (relating to both tone and pitch), one could merely utilise a cross-fade betwixt the two pieces, make a few minor adjustments.^[two] This is considering the two sounds are different from one another. In the case of a cross-fade between two sounds, that are like, phase-counterfoil can become an issue.^[two] The two sounds that are cross-faded should be brought into comparison with ane another. If both sounds are moving upward they volition accept a cumulative consequence - when added together, this is what one wants.^[2] What is not desirable is when both sounds are moving in a dissimilar management, since this tin can lead to cancelations.^[2] This leads to no sound on areas where the amplitudes cancel out one some other; there will thus exist silence in the center of the cross-fade. This occurrence is rare though since the parameters accept to exist the same. Normally a cross-fade volition 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.^[21] The longer a cantankerous-fade, the more probable a trouble volition occur. One likewise does not want the effect of the cross-fade to be very prominent in the middle of the notes, since if different notes are between the edit indicate there volition be a fourth dimension when both of the sounds can exist heard simultaneously.^[two] This overlapping is non expected from a normal singing voice, no reference to Overtone singing.

Cantankerous-fades can either be applied to a piece of music in real time, or information technology can be pre-calculated.^[3] Grandmaster Wink has been credited with the invention of the first cross-fade by sourcing parts from a junkyard in the Bronx.^[22] It was initially an on/off toggle switch from an quondam microphone that he transformed into a left/right switch which allowed him to switch from i turntable to some other, thereby fugitive a suspension in the music. However the earliest commercial documented case was designed by Richard Wadman, one of the founders of the British company Citronic. Information technology was called the model SMP101, fabricated about 1977, and had a crossfader that doubled as a L/R balance control or a crossfade between two inputs.^[23]

Fader [edit]

3 faders used as graphic equalizer in a personal cassette actor

A fader is any device used for fading, peculiarly when it is a knob or push that slides forth a track or slot. It is principally a variable resistance or potentiometer also called a 'pot'.^[4] A contact can move from one terminate to another. As this movement takes identify the resistance of the circuit tin either increase or subtract.^[4] At one finish the resistance of the scale is at 0 and at the other side it is infinite.^[4] 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 calibration of decibels tin exist made linear (or close to it) over a working range of perhaps 60 dB. If the resistance were to increment according to the same constabulary beyond this, it would be twice as long before reaching a point where the signal is negligible. Only the range below -50 dB is of little practical use, then here the charge per unit of fade increases rapidly to the final cutting-off".

A knob which rotates is usually not considered a fader, although it is electrically and functionally equivalent. Some pocket-sized mixers utilise knobs rather than faders, equally exercise a small number of DJ mixers designed for club DJs who are creating seamless mixes of songs. A fader can be either analogue, directly controlling the resistance or impedance to the source (e.chiliad. a potentiometer); or digital, numerically controlling a digital signal processor (DSP). Analogue faders are constitute on mixing consoles. A fader tin also exist used as a control for a voltage controlled amplifier, which has the same effect on the audio every bit any other fader, merely the audio betoken does not pass through the fader itself.

Digital [edit]

Digital faders are also referred to every bit virtual faders, since they can exist viewed on the screen of a digital audio workstation. Modern high terminate digital mixers often feature "flight faders", faders with piezo-electric actuators attached; such faders tin be multi-use and will jump to the correct position for a selected part or saved setting. Flying faders tin can be automatic, so that when a timecode is presented to the equipment, the fader will move according to a previously performed path. Too called an automated fader, as it recalls the movement of the channel faders in time.^[24] A full-function automation organisation volition continuously scan the panel, many times per second, in order to comprise new settings.^[24] While this browse is in progress, the stored representation of the previous scan volition exist compared to that of the fader's electric current position.^[24] If the fader's position has changed, the new position will be identified, thus resulting in a spurt of data.^[24]

The console'south computer will update the console'southward controls on playback.^[24] This will exist done from memory at the same speed.^[24] The reward of working with mix automation is that only i engineer can perform the job with minimal endeavour;^[24] information technology can exist set up or recorded beforehand to get in fifty-fifty simpler.^[16] An case of this is when Ken Hamman installed linear faders that fabricated information technology possible for him to alter several channels with i hand while mixing, thus he causeless an interactive role in the process of recording.^[25] This type of fader level aligning is also called 'riding' the fader.^[16]

Types [edit]

Many DJ equipment manufacturers offer different mixers for different purposes, with different fader styles, eastward.g., "scratching", beatmixing, and cutting 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.

Pre-fader, post-fader [edit]

On a mixer with auxiliary ship mixes, the send mixes are configured pre-fader or post-fader.^[3] If a transport mix is configured pre-fader, so changes to the principal channel strip fader does not affect the send mix.^[three] In alive sound reinforcement, this is useful for stage monitor mixes where changes in the Front of House channel levels would distract the musicians. In recording and post production, configuring a send to be pre-fader allows the amount of sound sent to the aux bus to remain unaffected by the individual track fader, thus not agonizing the stability of the feed that is beingness sent to the musicians.^[iii] If a send mix is configured post-fader, then the level sent to the transport mix follows changes to the master channel strip fader.^[3] This is useful for reverberation and other indicate processor effects. An instance of this is when an engineer would similar to add some delay to the vocals – the fader can thus be used to adjust the amount of delay added.^[3]

Pre-fader listen (PFL), later-fader listen (AFL) [edit]

These functions volition be found on a primary monitor function.^[26] This pre-fade heed is valuable since it allows one to mind 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 plan.^[4]

Pre-fade listen tin too be used for talkback as well every bit to listen to channels before they accept been faded.^[4] After-fade listen merely gets its information later.^[4] The choice of heed or level will depend on the user'due south interest: either with the quality and/or content of the signal or with the bespeak's level. PFL takes place just earlier the fader and has a articulation channel and monitoring part.^[26] PFL sends the channel's signal path to the pre-fade bus.^[26] The jitney is picked upwards in the monitor module and made accessible as a substitute point that is sent to the mixer output.^[26] Automatic PFL has been fabricated available, virtually universally, and no longer needs to be selected beforehand.^[26]

Pre-fade listen can also be incorporated in radio stations and serves every bit 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 authentic.^[26] It is also valuable since alive radio broadcasts can fall autonomously without it as they will not be able to monitor the audio. After-fader mind is not as useful in live programs.^[26]

See likewise [edit]

• Beatmatching
• Beatmixing
• Harmonic mixing

References [edit]

1. ^ Nisbett, Alec (1966). The Technique of the sound studio. Focal Press.
2. ^ ^{a b c d e f k h i j m 50 thousand n o p q r s t u v westward x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd exist bf bg bh bi} Langford, S. 2014. Digital Audio Editing. Burlington: Focal Printing. pp. 47-57.
3. ^ ^{a b c d east f thousand} Rumsey, F. & McCormick, T. 1992. Sound and Recording. Burlington: Focal Press. pp. 241, 282-284.
4. ^ ^{a b c d e f g h i j k 50 m n o} Nisbett, A. 1962. The Technique of the Sound Studio. London & New York: Focal Press.
5. ^ ^{a b} Everett, Walter (2008). The Foundations of Rock: From "Blueish Suede Shoes" to "Suite: Judy Blue Eyes". Oxford University Press. p. 171. ISBN978-0-19-531023-8.
6. ^ Patterson, Nigel; Piers Beagley. "'Suspicious Minds': Elvis' Greatest Unmarried?". Elvis Information Network . Retrieved September 2, 2010.
7. ^ Goddard, Simon (2009). Mozipedia: The Encyclopedia of Morrissey and The Smiths. London: Ebury Press.
8. ^ Symphony No. 45 (Haydn)
9. ^ Huron, David (2006). Sweetness Anticipation: Music and the Psychology of Expectation. MIT Press. p. 318. ISBN0-262-08345-0.
10. ^ "The Planets" (full orchestral score): Goodwin & Tabb, Ltd., London, 1921
11. ^ "The Great Composers and Their Music", Vol. l, Marshall Cavendish Ltd., London, 1985. I.H. every bit quoted on p1218
12. ^ Kopiez, Reinhard; Platz, Friedrich; Müller, Silvia; Wolf, Anna (2015). "When the pulse of the song goes on: Fade-out in popular music and the pulse continuity miracle" (PDF). Psychology of Music. 43 (iii): 359–374. doi:10.1177/0305735613511505. S2CID 147398735. Archived from the original (PDF) on 2020-02-12.
13. ^ "Stupid Question Archive". Archived from the original on 2007-eleven-thirty. Retrieved 2008-01-11 .
14. ^ Middleton, Richard (1990). Studying pop music (Reprint ed.). Philadelphia: Open Academy Printing. pp. 95–96. ISBN0-335-15275-9.
15. ^ ^{a b} Moylan, W. 2002. The Art of Recording. The states: Focal Press.
16. ^ ^{a b c} Langford, S. 2011. The Remix Transmission. Burlington: Focal Press. pp. 54-55, 202-205.
17. ^ "Archived copy". Archived from the original on 2015-04-08. Retrieved 2015-04-xiv . {{cite web}}: CS1 maint: archived copy equally title (link)
18. ^ "Potentiometer - Why should I use a logarithmic pot for sound applications?".
19. ^ ^{a b} Jeffs, Rick (1999). "Evolution of the DJ crossfader". RaneNote 146. Rane Corp. Retrieved vi July 2013.
20. ^ ^{a b c d east f g h} Pressing, J. 1992. Synthesizer Performance and Real-Time Techniques. United states of america of America: Oxford University Press. pp. 61, 69, 246-249, 386.
21. ^ ^{a b c d} Rumsey, F. 1994. MIDI Systems & Command. Oxford: Focal Press.
22. ^ "Awesome Men Throughout History: Grandmaster Wink". fourteen Baronial 2012.
23. ^ "Evolution of the DJ Crossfader". Archived from the original on 2002-08-03.
24. ^ ^{a b c d e f g} Roads, A. 1996. The Calculator Music Tutorial. U.s.a. of America: Library of Congress Cataloging-in-Publication Information. pp. 378-379.
25. ^ Braun, H. J. Music and Technology in the Twentieth Century. London: The Johns Hopkins University Printing.
26. ^ ^{a b c d e f g} Talbot-Smith, 1000. 1994. Audio Engineer's Reference Book. Oxford: Reed Educational and Professional Publishing Ltd, 1999.

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Source: https://en.wikipedia.org/wiki/Fade_%28audio_engineering%29

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