Fade (audio engineering) | EPFL Graph Search

In audio engineering, a fade is a gradual increase or decrease in the level of an audio signal. The term can also be used for film cinematography or theatre lighting in much the same way (see 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 as a recording solution for pieces of music that contain no obvious ending. Both fades and crossfades are very valuable since they allow the engineer to quickly and easily make sure that the beginning and the end of any audio is smooth, without any prominent glitches. It is necessary that there is a clear section of silence prior to the audio. Fade-ins and -outs can also be used to change the characteristics of a sound, such as to soften the attack in vocals where very plosive (‘b’, ‘d’, and ‘p’) sounds occur. It can also be used to soften up the attack of the drum and/or percussion instruments. A crossfade can be manipulated through its rates and coefficients in order to create different styles of fading. Almost every fade is different; this means that the fade parameters must be adjusted according to the individual needs of the mix. Professional turntablists and DJs in hip hop music use faders on a DJ mixer, notably the horizontal crossfader, in a rapid fashion while simultaneously manipulating two or more record players (or other sound sources) to create "scratching" and develop beats. Club DJs in house music and techno use DJ mixers, two or more sound sources (two record players, two iPods, etc.) along 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, "Suspicious Minds" by Elvis Presley, "Shine On Brightly" by Procol Harum, "Sunday Bloody Sunday" by John Lennon and Yoko Ono, "That Joke Isn't Funny Anymore" by The Smiths, "Thank You" by Led Zeppelin, "In Every Dream Home A Heartache" by Roxy Music, "It's Only Money, Pt.

Ultrabroadband sound control with deep-subwavelength plasmacoustic metalayers

Romain Christophe Rémy Fleury, Hervé Lissek, Stanislav Sergeev

Controlling audible sound requires inherently broadband and subwavelength acoustic solutions, which are to date, crucially missing. This includes current noise absorption methods, such as porous materials or acoustic resonators, which are typically ineffic ...

2023

Rise time reduction of thermal actuators operated in air and water through optimized pre-shaped open-loop driving

Georg Fantner, Nahid Hosseini, Tom Larsen

Electrothermal actuators have many advantages compared to other actuators used in micro-electro-mechanical systems (MEMS). They are simple to design, easy to fabricate and provide large displacements at low voltages. Low voltages enable less stringent pass ...

2017

Design and Modeling of Serial Data Transceiver Architecture by Employing Multi-Tone Single-Sideband Signaling Scheme

Yusuf Leblebici, Gain Kim, Kiarash Gharibdoust, Chen Cao, Thierry Barailler

This paper presents the design and analysis of a serial link transceiver (TRX) architecture employing analog multi-tone (AMT) signaling for chip-to-chip communication. Multi-tone single-sideband (SSB) signaling scheme is proposed in TRX architecture in ord ...

Ieee-Inst Electrical Electronics Engineers Inc2017