FIGURE 11-9: Crossfade transition with ACID XPress in Java

Encode UPCA in Java FIGURE 11-9: Crossfade transition with ACID XPress
FIGURE 11-9: Crossfade transition with ACID XPress
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You could also create a crossfade starting on the one, or even starting before the one and ending after the one, straddling the downbeat. As with the displaced transition, the ear generally prefers to hear the second section early rather than the first section late, but there are exceptions.
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Another transition alternative is the drop-out. Place the second event squarely on the major downbeat where the first event ends, and then simply delete the very end of the first event, either by dragging the right edge of it to the left with the select or draw tool or by erasing it with the erase or paint tool. This creates a brief silence before the next section starts. Although this transition can possibly sound good if the events are on the only track playing, it has even greater potential when layered with other sections on other tracks. It creates a brief drop in density before the transition, which can sometimes sound very good, especially if there is rhythmic material in it. Try erasing an entire measure or perhaps half a measure, as shown in Figure 11-10. Although drop-outs at the beginning of a section are not unheard of, they are not nearly as common.
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FIGURE 11-10: Half-bar drop-out transition
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Instead of erasing the end of your first event, you might want to simply replace it with material from a different section. Perhaps you could replace the final measure of event one with the final measure of some other section that has a really cool drum fill or other transitional snippet that you like. This type of drop-in is shown in Figure 11-11.
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FIGURE 11-11: Drop-in transition with material from elsewhere in the track
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One interesting variation of drop-in is to split off the last bit of the first event (a measure, half a measure, or some other length), and then reverse it by selecting it and typing U. This trick should be used sparingly, but it can be a bit of fun sometimes.
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You could layer a chunk of music on a new track, leaving the first event intact. This is like a drop-in without dropping out the original material. Try this only if the dropped-in segment doesn t duplicate sounds in the material it s being layered with, because doubling identical sounds can produce undesirable effects. Like a drop-in, often a half measure or measure of material works, but let your ears be your guide.
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When material from a component song starts or stops, it is essentially a special type of transition, from silence into a section, or from a section into silence. Many of the techniques for handling beginnings and endings are similar to those of transitions.
On the One
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As with transitions, the simplest thing to do is to start your musical material at the downbeat at the beginning of your section, and to end it on the downbeat at the end of your section. This works great much of the time, especially for beginnings, but endings can sometimes sound abrupt and awkward when music stops immediately before an important downbeat. If at the same time, the density suddenly picks up in another track or a new song is introduced, it might help to soften the discomfort of the transition.
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As with transitions, sometimes dragging the edges a bit to the left or right can make an entry or exit more natural. For example, suppose you have a song ending with an instrumental section that lasts four measures followed by a big power chord. It s almost obvious that you wouldn t simply cut the instrumental track off right before the one. In this case, you d let the music finish. Similarly, if there are a few notes of melody before the downbeat, or a really cool drum fill or musical transition, by all means extend the left edge of the event to include relevant material.
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