How to use FL Studio Fade in / out settings without automation

2020 05 21 02x50 18 FL Studio
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How to use FL Studio Fade in / out settings without automation

I'm yosi, the maintainer of Chillout with Beats.

I'm writing a slightly different and larger article, so this time it's a light article.

With other DAWs, it's fairly easy to fade in and out between audio clips, but with FL Studio, I think it's common to use audio clips as shown below.

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This is quite troublesome, isn't it?

So I will explain how to fade in and fade out with this other method.

Fade in / out settings without automation

It's very easy to do.

It's a feature that avoids clicks, but it can also be used as a fade-in / out.

Double-click the audio clip to open the settings screen.

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Change "Declicking mode" to "Smooth" or "Crossfade".

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Only this.

I will explain all the modes for the time being.

-Out only (no bleeding)  – No indeclicking, declicking out is a 10ms (cosine S-shaped) fade-out.

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-Transient (no bleeding)  – Convenient for drum samples as the attack transients are completely preserved (only the first few samples are ramped).Declick out uses a short (10ms) filtering fadeout without bleeding.

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-Transient (bleeding) – Declick out based on a 20ms (cosine S-shaped) fade out with the same attack processing as above.

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-Generic (bleeding)  – 20ms cosine S-shaped fade-in and fade-out.

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・ Smooth (bleeding) – 100ms cosine S-shaped fade-in and fade-out.

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・ Crossfade (bleeding)-200ms attack / release designed to crossfade successive (touch) audio clips.This is not a true crossfade.When clips overlap, fade start and end are designed to work well when you overlay different clips with the same settings.Note: To use this setting, both audio clips must be sliced ​​because the data before and after the slice point is used to create the crossfade.

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How to use FL Studio Summary of fade-in / out settings without automation

It's easy, but it's useful to know.

Especially when slicing a sample, clip noise is likely to occur, so I want to make good use of it.

 

 

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