For fading in, I’ll sometimes use the “cross-fade in”, sometimes a linear fade, and sometimes a repeated linear fade.

The choice depends on context (the type of material and where in the material the fade is being applied.

A bit of background to fade effects:

A fade is created by scaling the audio by a ramp function, so for a linear fade in,

The start is scaled (multiplied) by a factor of 0 (producing silence),

25% of the way through the selection the audio is scaled by 25%

50% of the way through the selection the audio is scaled by 50%

75% of the way through the selection the audio is scaled by75%

The end of the fade is scaled by 1 (no change).

The “Cross-fade in” effect provides non-linear scaling.

The formula for the cross-fade in effect is the “square root of a linear fade”. In other words, the audio is scaled by a ramp function to the power of 1/2.

If a linear fade in is applied twice, that is performing scaling equivalent to a ramp function to the power of 2.

If a linear fade in is applied three times, that is performing scaling equivalent to a ramp function to the power of 3.

You probably see a pattern here.

So perhaps a “Pro Fade In” could be a “Power Fade”, in which there is a “power” control.

At a “power” setting of 0.5, a fade the same shape as “Cross-Fade In” would be produced.

At a power setting of 1 a linear fade would be produced.

At a power setting of 2 the fade would be the same as applying a linear fade twice.

etc.

The extreme setting of “power = 0”, there is no fade, the audio is unaffected.

So the greater the “power” of the fade, the more the faded audio is attenuated (which seems logical even without considering the mathematical basis).

power-fade-in.ny (836 Bytes)

The obvious question here is, what about a “power fade out”?

I still think that we need a “partial fade” effect.

(I certainly need one and so does whbjr)