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Chapter 29: Fades and Crossfades 599

Fades Dialog

When choosing the Edit > Fades command you

can use the Fades dialog to select, view, and pre-

view fades and crossfades, and to edit the curves

used to perform fades and crossfades. A fade-in

shows the In Shape settings, but not the Out

Shape settings, and likewise a fade-out shows

the Out Shape settings, but not the In Shape set-

tings.

The controls in the Fades dialog include:

Audition

Click this button to audition fades. Pro Tools

supports fade auditioning directly from your au-

dio interface outputs.

View First Track (Crossfades Only)

If you are cross-fading between more than one

track, this button allows you to view and pre-

view the audio of the first in a pair of adjacent

tracks.

View Second Track (Crossfades Only)

If you are cross-fading between more than one

track this button allows you to view and preview

the audio of the second in a pair of adjacent

tracks.

View Both Tracks (Crossfades Only)

Click this button to display the waveforms of

the first two adjacent tracks in a multitrack

crossfade.

Fades dialog, fade-out

Fades dialog, crossfade

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Pro Tools Reference Guide

600

Fade Curves Only

Click this button to display the specified fade

curves without showing the actual audio wave-

forms. This is the default view when you open

the Fades dialog.

Fade Curves and Separate Waveforms

Click this button to display the specified fade

curves along with separate views of the fade-in

and fade-out waveforms.

Fade Curves and Superimposed Waveforms

Click this button to display the specified fade

curves along with superimposed views of the

fade-in and fade-out waveforms.

Fade Curves and Summed Waveform

Click this button to display the specified fade

curves along with a single waveform represent-

ing the summation of the any crossfaded audio.

Zoom In

Click this button to scale the view of the wave-

form’s amplitude upwards. Control-click (Win-

dows) or Command-click (Mac) for the default

view scale.

Zoom Out

Click this button to scale the view of the wave-

form’s amplitude downwards. Control-click

(Windows) or Command-click (Mac) for the de-

fault view scale.

Fade-Out Shape Settings

The Out Shape setting lets you define the shape

of the fade-out from a region for a fade, or from

region 1 for a crossfade.

Standard Selects a single continuous fade curve.

This creates a general-purpose fade that can be

edited by dragging the curve itself.

S-Curve Selects an S-shaped curve, which inverts

its beginning and end characteristics. This

makes it possible to fade out faster at the curve’s

start and slower at its end, for example. S-shaped

curves can be useful with material that is diffi-

cult to crossfade effectively. S-curves can be ed-

ited by dragging the curve in the curve editor.

Fade-in Shape

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Chapter 29: Fades and Crossfades 601

Preset Curves Seven commonly used preset

curves are provided for fast crossfade creation.

These can be edited by dragging the end points

of the curve in the curve editor portion of this

dialog. The seven presets are as follows:

Preset Curve 1 stays at full volume throughout

the fade, then immediately drops the volume at

the end of the fade.

Preset Curve 2 fades out relatively slowly,

keeping the volume fairly high throughout the

duration of the fade.

Preset Curve 3 fades out slightly faster, keep-

ing the volume slightly lower during the fade.

Preset Curve 4 fades out with a linear fade.

This is the default curve.

Preset Curve 5 fades out quickly at the begin-

ning of the crossfade.

Preset Curve 6 drops the volume even more

quickly at the beginning of the fade.

Preset Curve 7 silences any audio at the begin-

ning of the fade.

Link Settings

(Crossfades Only)

The Link setting links the selected fade-out and

fade-in curves of a crossfade. If you adjust one

curve, the corresponding curve is also adjusted.

This ensures that the resulting crossfade is an

equal power or equal gain crossfade, depending

on which one you select.

Preset Curve 1

Preset Curve 2

Preset Curve 3

Preset Curve 4

Preset Curve 5

Preset Curve 6

Preset Curve 7

Fade Link

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Pro Tools Reference Guide

602

Equal Power Recommended for material that is

not phase coherent, as in the case of a crossfade

between two completely different types of mate-

rial. Use this option to avoid the volume drop

that can occur with an Equal Gain crossfade.

With this fade, you can Alt-click (Windows) or

Option-click (Mac) the fade curve to reset it to

its default shape.

Equal Gain Recommended for material that is

phase-coherent or nearly phase-coherent, as in

the case of a crossfade between identical re-

gions/instruments (for example, a repeated

drum loop). Use this option to avoid clipping

that can occur when using an Equal Power cross-

fade. With this fade, you can Alt-click (Win-

dows) or Option-click (Mac) the fade curve to re-

set it to its default shape.

None Disables linking between the fade-out and

fade-in curves, and lets you freely adjust them

separately, including start and end points. This

option also allows you to create custom cross-

fade shapes.

When Link is set to Equal Power or Equal Gain, you

can edit only the fade-in portion of the curve, by

pressing Alt (Windows) or Option (Mac) while

dragging. To edit only the fade-out portion of

the curve, press Control (Windows) or Com-

mand (Mac) while dragging.

Slope Settings

(Fade-In or Fade-Out Only)

The Slope settings affect the slope of the fade-in

or fade-out. Select either Equal Power or Equal

Gain. For more information on Equal Power and

Equal Gain fades, see “Link Settings” on

page 601.

Use Dither

The Use Dither option turns on a preset, noise-

shaped dither function that improves audio per-

formance when fading in or fading out of si-

lence, and crossfading between low amplitude

regions. Dithering is usually not necessary when

applying fades to regions with audio at high am-

plitudes. You can disable Dither while editing

fades in the Fades dialog to speed up previews

and fade recalculation, then re-enable Dither to

create the final fade or crossfade.

Adjusting the end point of a fade curve

Fade Link

Dither option for Fades

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Chapter 29: Fades and Crossfades 603

Fade-In Shape Settings

The In Shape setting lets you define the shape of

the fade-in to a region for a fade, or to region 2

for a crossfade.

Standard Selects a single continuous fade curve.

This creates a general-purpose fade that can be

edited by dragging the curve itself.

S-Curve Selects an S-shaped curve, which inverts

its beginning and end characteristics. This

makes it possible to fade in faster at the start of

the curve, and slower at the end. S-shaped

curves are useful with material that is difficult to

fade effectively. S-curves can be edited by drag-

ging the curve in the curve editor.

Preset Curves Seven commonly used preset

curves are provided for fast creation. These can

be edited by dragging the end points of the

curve in the curve editor portion of this dialog.

The seven presets are as follows:

Preset Curve 1 fades in at full volume immedi-

ately at the beginning of the fade and keeps it

there throughout the fade.

Preset Curve 2 fades in quickly in the begin-

ning, reaching full amplitude fairly early in the

fade.

Preset Curve 3 fades in moderately fast.

Preset Curve 4 fades in with a linear fade

curve. This is the default curve.

Preset Curve 5 fades in slowly at the begin-

ning of the fade.

Preset Curve 6 fades in even more slowly than

the previous curve.

Preset Curve 7 silences any audio until the

end of the fade.

Preset Curve 1

Preset Curve 2

Preset Curve 3

Preset Curve 4

Preset Curve 5

Preset Curve 6

Preset Curve 7

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Pro Tools Reference Guide

604

Typical Curve Combinations

Following are the available combinations of

fade-out and fade-in curves.

Linear Crossfade This is a good general purpose

crossfade with a smooth, even transition be-

tween region 1 and region 2.

Equal Power Crossfade This is a good general

purpose crossfade useful in cases where a linear

crossfade seems to create a noticeable drop in

volume across the splice point.

Overlap Fade This combination of curves keeps

both regions at full amplitude throughout the

crossfade: region 2 “jumps in” at the beginning

and region 1 “jumps out” at the end.

Fade and Crossfade Preferences

You can set default fade and crossfade settings.

These settings load as your “base” settings when

you use the Create Fades command, and the

Fade to Start and Fade to End commands.

To set the fade and crossfade preferences:

Choose Setup > Preferences and click the

Editing tab.

Set the Pre-Roll and Post-Roll times for Fade

previews.

Click Fade In and set the default shape for

fade-ins when using the Smart Tool, then click

OK.

Click Fade Out and set the default shape for

fade-outs when using the Smart Tool, then click

OK.

Linear Crossfade

Equal Power Crossfade

1. Out

2. In

1. Out

2. In

Overlap Crossfade

Fade preferences

1. Out

2. In

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Chapter 29: Fades and Crossfades 605

Click Crossfade and set the default shape for

crossfades when using the Smart Tool, then click

OK.

Click OK.

Creating Fades at the

Beginnings and Ends of

Regions

Pro Tools lets you create fade-ins and fade-outs

at the beginnings and ends of regions.

With Pro Tools HD, you can also use an auto-

matic fade-in/out option, which applies real time

fade-ins/outs to all regions during playback.

These fades are not written to disk, but are auto-

matically applied during playback. For more in-

formation, see “Using AutoFades” on page 608.

Creating Fade-Ins and Fade-Outs

Depending on how you make the selection, you

can position a fade-in or fade-out at the exact

beginning or end of a region, or position it so it

extends into a blank area of the track. The

length of the selection in the region determines

the length of the fade-in or fade-out.

You can also fade to the beginning or end of a

region from an insertion point.

Although fades appear to be discrete regions,

they cannot be separated from the regions in

which they were created.

When changing tempo in a tick-based audio

track, fade-ins and fade-outs remain with their

parent regions. Fades maintain their absolute

duration and are consequently recalculated after

any tempo changes.

To create a fade-in:

Select the beginning of the region that you

want to fade in. The selection must extend to

the exact beginning of the region or a blank area

prior to the region in the track.

Do one of the following:

• Choose Edit > Fades > Create.

– or –

• Press Control+F (Windows) or

Command+F (Mac).

Select the fade-in curve and configure the

other Fade settings.

Click the Audition button to audition the

fade.

Adjust the curve by dragging it or by selecting

a different shape from the In Shape pop-up

menu.

Click OK.

To apply the default fade or crossfade

shape, make an Edit selection and press

Control+Start+F (Windows) or

Command+Control+F (Mac).

Region with a fade-in

Selecting the beginning of a region for a fade-in

To apply a Fade In using the Default Fade

In setting (in the Editing Preferences page),

and without opening the Fades dialog, press

Control+Start+F (Windows) or

Command+Control+F (Mac).

Pro Tools Reference Guide

606

Pro Tools calculates the fade and writes it to

disk. The selected fade curve appears in the re-

gion.

To create a fade-out:

Select the end of the region that you want to

fade out. The selection must extend to the exact

end of the region or a blank area after the region

in the track.

Do one of the following:

• Choose Edit > Fades > Create.

– or –

• Press Control+F (Windows) or

Command+F (Mac).

Select the fade-out curve and configure the

other Fade settings.

Click the Audition button to audition the

fade.

Adjust the curve by dragging it or by selecting

a different shape from the Out Shape pop-up

menu.

Click OK.

Pro Tools calculates the fade and writes it to

disk. The chosen fade curve appears in the re-

gion.

To fade from the insertion point to a region start

point:

Place the cursor at a location in the region.

Do one of the following:

• Choose Edit > Fades > Fade To Start.

– or –

• Press Alt+D (Windows) or

Control+D (Mac).

The fade is applied based on the Fade In prefer-

ences (see “Fade and Crossfade Preferences” on

page 604).

To fade from the insertion point to a region end

point:

Place the cursor at a location in the region.

Do one of the following:

• Choose Edit > Fades > Fade To End.

– or –

• Press Alt+G (Windows) or

Control+G (Mac).

The fade is applied based on the Fade Out pref-

erences (see “Fade and Crossfade Preferences”

on page 604).

Selecting the end of a region for a fade-out

To apply the Fade Out using the Default Fade

Out setting (in the Editing Preferences page),

and without opening the Fades dialog, press

Control+Start+F (Windows) or

Command+Control+F (Mac).

Fade lengths can be resized with any of the

Trimmer tools, including Nudge Trim

commands. See “Using the Trimmer Tools”

on page 542 and “Trimming with Nudge”

on page 588.

Chapter 29: Fades and Crossfades 607

Creating a Crossfade

To create a crossfade between two regions:

With the Selector tool, click at the point where

you want the crossfade to begin in the first re-

gion and drag to where you want it to end in the

second region. Crossfade selections can begin

and end anywhere in their respective regions.

Do one of the following:

• Choose Edit > Fades > Create.

– or –

• Press Control+F (Windows) or

Command+F (Mac).

Use the view buttons to adjust the view of the

crossfade. It may take a few moments to calcu-

late the waveform display for long selections.

Select an Out Shape and an In Shape.

Select a Linking option.

Click the Audition button to audition the

crossfade. For long crossfades, it may take

Pro Tools a few moments to calculate and load

the audio into playback RAM.

Do one of the following:

• Adjust the curves by selecting different pre-

set shapes with the Out Shape and In Shape

pop-up menus.

– or –

• Drag the Fade-In and Fade-Out curves to a

custom shape. By choosing None as the

Linking option, you can drag the begin-

ning or end points of a fade curve to adjust

its beginning or end point.

Click the Audition button to audition the

crossfade again.

When the crossfade sounds right, click OK.

The fade is calculated and written to disk, but

the audio files and regions remain unchanged.

Crossfades are stored in the Fade Files folder in

the session folder.

To remove a crossfade, do one of the following:

Select the area of the track containing any

crossfades you want to delete and choose Edit >

Fades > Delete.

Select the crossfade with the Time Grabber

tool and press Backspace (Windows) or Delete

(Mac).

Right-click the crossfade with any of the edit

tools and select Delete Fades from the pop-up

menu.

To trim a crossfade:

Select the crossfade with the Time Grabber

tool, or double-click it with the Selector tool.

With any of the Trimmer tools, trim either

side of the crossfade. The crossfade is recalcu-

lated to reflect the newly trimmed length.

Crossfades on Tick-Based Audio

Tracks

Crossfades are re-rendered after changing tempo

in a tick-based audio track. The new crossfade is

the same duration as the crossfade prior to the

tempo change.

To apply a Crossfade using the Default

Crossfade setting (in the Editing Preferences),

and without opening the Fades dialog, press

Control+Start+F (Windows) or

Command+Control+F (Mac).

Crossfade lengths can be resized with any of

the Trimmer tools, including Nudge Trim

commands. See “Using the Trimmer Tools”

on page 542 and “Trimming with Nudge”

on page 588.

Pro Tools Reference Guide

608

If there is not enough audio material to com-

plete the crossfade, or if the new crossfade area

falls outside of valid region boundaries, the

crossfade is removed.

Pre and Post Crossfade

Selections

By making a selection that begins or ends pre-

cisely on the border of two regions, you can cre-

ate “pre” or “post” crossfades. Use the Tab key to

place the insertion point at the exact beginning

or end of a region.

To create a pre- or post-crossfade:

With the Selector tool, click in the track that

contains the regions you want to crossfade.

Do one of the following:

• Press Tab to move forward to the next

region boundary.

– or –

• Press Control+Tab (Windows) or

Option+Tab (Mac) to move back to the

previous region boundary.

Extend the selection as follows:

• Shift-drag to adjust your selection, or press

Shift+Tab to extend the selection forward

to the next region boundary.

– or –

• Press Control+Shift+Tab (Windows) or

Option+Shift+Tab (Mac) to extend the

selection back to the previous region

boundary.

Do one of the following:

• Choose Edit > Fades > Create.

– or –

• Press Control+F (Windows) or

Command+F (Mac).

Select a fade type and click OK.

Using AutoFades

(Pro Tools HD and Pro Tools with Complete

Production Toolkit 2 Only)

Pro Tools HD and Pro Tools with Complete Pro-

duction Toolkit 2 can automatically apply real-

time fade-ins and fade-outs to all region bound-

aries in the session. Specify the duration (0 to

10 ms) for automatic real-time fades with the

Auto Region Fade In/Out Length preference in the

Operation Preferences page). These fade-ins and

fade-outs are performed during playback and do

not appear in the Edit window, and are not writ-

ten to disk.

The automatic fade-in/out option also has an ef-

fect on Voice borrowing in a session. Whenever

a lower-priority virtual track “pops thru” a si-

lence in a higher-priority track on the same

voice, a fade-in and fade-out is applied to the

transition.

This feature is especially useful in post produc-

tion situations such as dialogue tracking. For ex-

ample, you can assign both a dialogue track and

a “room tone” track with matching background

to the same voice. You can then set the AutoFade

option to a moderate length (4 ms or so) so that

whenever a silence occurs in the dialog, play-

back switches smoothly to and from the back-

ground track without clicks or pops.

Using automatic fade-ins/outs saves you the

trouble of editing to zero-crossings or creating

numerous rendered fades in order to eliminate

clicks or pops in playback. However, since these

autofades are not written to disk, those clicks or

pops still exist in the underlying sound file.

Consequently, those anomalies still appear if

the Duplicate AudioSuite plug-in or the Export

AutoFades are not applied to AudioSuite

processing.

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