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Sample Editing
Published in Sam McGuire, Roy Pritts, Audio Sampling, 2013
Another feature of DAWs is the fade. A fade is a decrease or increase in level to or from a zero level. Fades (Figure 5.6) can be used at the beginning and end of audio files to change the attack and release or as a cross-fade when combining two or more sounds together to smooth and camouflage the edit points. As an extension of the earlier discussion of pops at the beginning of audio files, a fade can be used to smooth such problems out. Trim a portion of the beginning of the file, and then use a fade to give the file a new attack. You can match the original attack with a fade, or you can use a com- pletely different attack. Fades come in a variety of styles, and you have to test them out to find the appropriate choice. The basic fades are linear, exponential, and s-curve. Linear fades use a steady rate of change, while the exponential and s-curve fades use a non-linear curve. When cross-fading, or fading two audio files together, you can use an equal power (two non-linear fades) or equal gain (two linear fades). The non-linear curves usually provide a less sterile fade with more organic results. No matter which fade type you use, you have to make adjustments until the fade is a transparent transition. For a complete breakdown of fades with audio/ visual examples, see the website.
Tribological Properties and Mechanism of Rice Husk Carbon Reinforced Non-Asbestos Organic Braking Composite Material
Published in Tribology Transactions, 2023
Xu Tang, Jian Zhuang, Tianjian Tong, Lining Wang, Wei Hu, Daxin Liu, Chunsheng Yu, Jin Tong, Shengwang Yuan, Yunhai Ma
The conditions during friction works are very complex, and Rfade and Rrecovery reflect the high-temperature reliability of braking materials. The results of Rfade and Rrecovery are shown in Fig. 6d. At the fade stage and the recovery stage, the addition of RHC significantly affected the fade rate of samples. As the RHC content rose, the anti-fade ability was weakened. The recovery rate was slightly improved only at the RHC content of 2wt%. Based on JIS-D4411, both Rfade and Rrecovery of samples are qualified. The Rfade ranks as RHC8 > RHC6 > RHC4 > RHC2 > RHC0. The fade rate after the addition of 2wt%RHC increased by 9.94%. As the RHC content rose, the fade rate gradually increased, and rapidly rose to 35.46% when the RHC content was 8wt%, indicating RHC can weaken the anti-fade ability. The Rrecovery ranks as RHC2 > RHC0 > RHC4 > RHC8 > RHC6. As the RHC content increased, the recovery rate of samples fluctuated, and maximized when the RHC content was 2wt%, with an increase of 8.13% relative to EG0. The recovery rate of the sample containing 4wt% RHC declined by 2.85%. These results suggest the addition of 2wt% RHC can improve the recovery rate of samples. Moreover, RHC can weaken the high-temperature reliability of braking materials. This is mainly because the addition of RHC destroys the bonding force to some extent, which is due to the aggravated structural collapse after the pyrolysis of organic components (37).
Effects of Animated Screen Transition in In-Vehicle Infotainment Systems: Perceived Duration, Delay Time, and Satisfaction
Published in International Journal of Human–Computer Interaction, 2023
Gui Young Kim, Su Ryeon Kim, Meen Jong Kim, Jae Moon Shim, Yong Gu Ji
Based on the transition type, slide (NS), slide-slide (Split-R), and slide-fade (Split-M) for the Slide group and fade (NS), fade-fade (Split-R), and fade-slide (Split-M) for the Fade group were performed. The easing type refers to an easing function that controls the speed of the animation for a given duration. Thus, rather than having objects move at a fixed rate across the timeline, more frames can be dedicated to the beginning or end of the animation (Chang & Ungar, 1993; Thomas et al., 1995). Two easing functions (Cubic-Bezier values) were adapted from the Google’s material design: Ease-Out (Cubic-Bezier: 0, 0, 0.2, 1) and Ease-In (Cubic-Bezier: 0.4, 0, 1, 1) (see Figure 2). Ease-Out is a velocity that is fast at the beginning and slow at the end. Ease-in is a velocity that is slow at the beginning and fast at the end. The interval time is the millisecond level of the delay time that occurs between the first and second screens (Figure 1). Five levels of interval times with increments of 150 ms were manipulated from 0 to 600 ms. Participants evaluated the perceived duration (i.e., 0–1000 ms) to measure the perceived duration and perceived delay time (i.e., from 1 “no delay” to 7 “long delay”) to measure how the delay time was perceived and the satisfaction (i.e., from 1 “very unsatisfied” to 7 “very satisfied”) (Branaghan & Sanchez, 2009; Li & Chen, 2019; Myers, 1985; Zhao et al., 2017).
Extending a Theory of Slow Technology for Design through Artifact Analysis
Published in Human–Computer Interaction, 2022
William Odom, Erik Stolterman, Amy Yo Sue Chen
When Olo Radio is turned on, it begins playing the song queried from the slider’s current position. If left untouched Olo Radio will continuously play music, slowly moving forward in the timeframe mode. If the slider is moved, the current song will fade out and the song at the new location ‘in time’ it arrives at will fade in. If the timeframe mode is changed while a song is playing, it will continue to play as the actuated slider moves to the position in time where that instance is located in the new mode. In effect, the playing song remains unchanged, but the sequence of all listening instances surrounding it have been reorganized based on the newly selected mode. Olo Radio offers direct control to the user to change the timeframe modes and the position ‘in time’ that the slider represents whenever desired. This design decision creates an opportunity for the user to explore a range of possible connections across different songs listened to at different points in time in their past. Yet, Olo Radio’s design is intentionally minimal. It takes time to understand, recognize, and interpret memories bound up in one’s personal history.