Do you use crossfades when you edit? Do you know what they’re used for? This video should help.


Leave a comment below and let us know how you use crossfades. Also, if you want more in-depth editing training, check this out.

2 Responses to “Intro to Crossfades [Video]”

  1. Joshua Jacoby

    One of the pleasant surprises I found when I started using Reaper is that it auto-crossfades by default when you overlap sections of a track. I use this feature all the time for punching in parts–it only really gets sticky if they rhythms are pretty different between the two parts in the transition. At that point, the best solution is to punch earlier, at a better transition point.

    • Frank Adrian

      This autofade mechanism is also present in Sonar (which I used for a few years before switching to Reaper). This UI mechanism seems a bit less clunky than what is available in ProTools (On the other hand, what isn’t clunky in ProTools?).
      Another thing to note is that if you’re careful to make sure that edits occur at zero-level audio crossings, you won’t have a click either. However, it’s hard to grab those points exactly, which is why a lot of DAWs have a “Make cuts at zero-crossings” option in their preferences. You should almost always have this option enabled.Anyone editing for any length of time has figured out the usefulness of crossfades. Usually, short fades are better than long ones. Longer fades have appreciable areas in the middle of them where both tracks might be audible (and perceived as two separate instruments) and that’s usually not what you want. If you are using a long cross fade, it’s essential to align percussive attacks on the faded tracks to minimize this effect.Given this disadvantage, why would you ever use a long crossfade? If you’re fading takes where you have slightly different tonalities on each side of the fade (e.g., guitars recorded in separate sessions, in separate rooms, say), a short fade might emphasize the tonality change and be too jarring, while a longer fade might make that tonality change a bit less noticeable. I’ve also used long fades on long-running pad tracks in ambient pieces (e.g., fading from a major 6’th into its relative minor’s 9’th across 8 bars).In any case, crossfades are indeed a necessary weapon in the mixer’s arsenal and one should learn to use them appropriately.


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