The amount of time I spend adjusting automation in transitions and have to go so far as stemming and applying automations to those as well for something that I can do with a mixer using crossfading real-time is concerning and quite a learning curve.
You basically have to mimic the effects of a crossfader in every audio channel that passes through a transition sometimes having to stem the drums to keep them under the ceiling while also maintaining their dominance with independent compression.
This is where DJ Studio could advance & redefine crossfading, but more on that later.
It only needs to be in the transition so:
(a) a toggle button could be used to enable/disable the crossfader functionality within the transition;
(b) another toggle button could be used to switch the transition view to display an automation representing left-right position of the crossfader as well as assignment of each channel to the L & R sides of the crossfader, those not assigned are not routed through the crossfader and thus bypass the crossfader and join with the output of the crossfader.
CONCEPTUAL LAYOUT FOR (XFADE) CROSSFADER WITHIN TRANSITION
The programmatic logic within the crossfader is rather simple:
They are generally based on a mathematical formula (eg:)
LEFT = COS (pi/2 * crossfader position%)
RIGHT = SIN(pi/2 * crossfader position%)
For every position across the crossfader (either 101 or 256 quantifiable positions in mixer products) there are (at least) two parameters that control how much the inputs assigned to each side are trimmed.
In programming terms, this is a variable array of 101 or 256 rows and at least 2 columns containing single or double precision values representing the trim values for applying to the input channels assigned to the left and right sides of the crossfader for each position along the crossfader.
Optional additional columns could that deal with trim levels for the input channels assigned (which may make it simpler to create the profiles).
This allows the left and right channels to focus on presence while the crossfader focuses on fine-tuning trim levels to keep amplitude under the ceiling and minimize compressor/limiter triggering. An example is shown in the manual for the Xone 96 on page 12.
Further, optional columns that represent imposing trim on each EQ band are already featured in some mixers.
CROSSFADE ON STEMS PROFILE!!! YEAHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!
It would be a world first to apply trimming from a crossfader to STEMS where heavy trimming to drums & bass to keep the mix under the ceiling while also lightly trim mids and highs to maintain crisp clarity across the transition.
In the above I’ve manipulating gain on the drum stems of both tracks for maximum presence under the ceiling as well as the melody intro (the synth) of blue monday.
New Order Blue Monday 1983 Original 12”: Drums: starting at -4.2 db rising to 0db while also starting high eq at +1.7 db and hovering at +0.8db then returning to 0db
Lonnie Gorden - Happenin’ all over Again Original 1990 12” Drums Stem:
Volume Reduction from 0dB to -5.6dB, High 0.8db constant across the track
Where the volume reduction is full, you have the drums of new order jack-hammering along with the stutter effect of lonnie’s vocals “b-b-b-b-b-b-believe me” looped and singling along in harmony with the blue monday synth intro as it rises, resulting in a killer transition of a highly nostalgic pair of early-mid 90s dancefloor fillers.
Getting the audible presence relative between both while keeping the drums of lonnie down to keep the combination of both sets of drums from pushing above the audible ceiling is crucial. This is with zero compression on the decks and without limiter enabled on the master output - keeping all under the audible ceiling.
Remember Live performance DJ mixers don’t usually have compressors and limiters (limiters more-so to protect the very expensive and not usually quickly replaceable amps and speakers in venues) and unless you’ve got loud audio monitors to simulate live performance SPL levels, headphones aren’t going to make it obvious the mix is being over compressed & limited to the extent it sounds like crap. This will allow minor limiting to attack any rogue transition peaks back under the ceiling..
Video of the Transition without compression, limiting or ceiling adjustment.
LUFS before compression, limiting and ceiling adjustment
SPREADSHEET EXAMPLE
Each value can be calculated from general formulas above in a spreadsheet to create the csv file for a profile and imported into DJ studio, meaning users could create their own custom profiles and may go so far as to publish them on github to share as their own creations with others to use.
Example:
LEFT =COS((22/7)/2 * (C1))
RIGHT =SIN((22/7)/2 * (C1))
Column C (Starting at C1) holds the % for the position of the cross-fader, so C5 is the crossfader position for that row in the table.
0% is far left, 100% is far right.
XFADE
LEFT
RIGHT
0%
1
0
1%
0.999877
0.015714
2%
0.999506
0.031423
3%
0.998889
0.047125
4%
0.998025
0.062816
5%
0.996915
0.078491
6%
0.995558
0.094146
7%
0.993956
0.109778
8%
0.992108
0.125383
9%
0.990016
0.140958
10%
0.987678
0.156497
11%
0.985097
0.171998
12%
0.982273
0.187456
13%
0.979206
0.202868
14%
0.975897
0.21823
15%
0.972348
0.233538
16%
0.968558
0.248788
17%
0.964529
0.263977
18%
0.960262
0.2791
19%
0.955758
0.294155
20%
0.951017
0.309137
21%
0.946042
0.324043
22%
0.940834
0.338869
23%
0.935393
0.353611
24%
0.929721
0.368266
25%
0.923819
0.382829
26%
0.917689
0.397299
27%
0.911333
0.41167
28%
0.904752
0.425939
29%
0.897947
0.440104
30%
0.89092
0.454159
31%
0.883674
0.468103
32%
0.876209
0.481931
33%
0.868528
0.49564
34%
0.860633
0.509226
35%
0.852525
0.522687
36%
0.844206
0.536019
37%
0.835679
0.549218
38%
0.826946
0.562282
39%
0.818008
0.575207
40%
0.808868
0.58799
41%
0.799529
0.600627
42%
0.789992
0.613117
43%
0.78026
0.625455
44%
0.770336
0.637638
45%
0.760221
0.649664
46%
0.749919
0.66153
47%
0.739431
0.673232
48%
0.728761
0.684768
49%
0.717911
0.696135
50%
0.706883
0.70733
51%
0.695681
0.718351
52%
0.684307
0.729194
53%
0.672765
0.739857
54%
0.661056
0.750337
55%
0.649184
0.760632
56%
0.637151
0.770739
57%
0.624961
0.780656
58%
0.612617
0.79038
59%
0.600122
0.799909
60%
0.587478
0.80924
61%
0.57469
0.818371
62%
0.561759
0.827301
63%
0.54869
0.836026
64%
0.535485
0.844545
65%
0.522148
0.852855
66%
0.508682
0.860954
67%
0.495091
0.868841
68%
0.481377
0.876514
69%
0.467544
0.88397
70%
0.453596
0.891207
71%
0.439536
0.898225
72%
0.425367
0.905021
73%
0.411094
0.911593
74%
0.396718
0.91794
75%
0.382245
0.924061
76%
0.367678
0.929953
77%
0.353019
0.935616
78%
0.338274
0.941048
79%
0.323445
0.946247
80%
0.308536
0.951213
81%
0.293551
0.955943
82%
0.278493
0.960438
83%
0.263367
0.964696
84%
0.248175
0.968715
85%
0.232923
0.972495
86%
0.217613
0.976035
87%
0.202249
0.979334
88%
0.186835
0.982391
89%
0.171375
0.985206
90%
0.155872
0.987777
91%
0.140332
0.990105
92%
0.124756
0.992187
93%
0.10915
0.994025
94%
0.093517
0.995618
95%
0.07786
0.996964
96%
0.062185
0.998065
97%
0.046494
0.998919
98%
0.030791
0.999526
99%
0.015081
0.999886
100%
-0.00063
1
Dominic
•
Dec 20, 2023
One thing that would be really useful in this respect is to have a tool that will snap to 1\/4 1\/8 or whatever and easily draw a rectangle the envelope in 1 click instead of 4 fiddly ones as shown.
i think cable guys shaperbox has some good drawing tools like this.
Log in to comment and vote
Comments2
Gavin Staveley
Sep 13, 2025
I totally agree with this.
The amount of time I spend adjusting automation in transitions and have to go so far as stemming and applying automations to those as well for something that I can do with a mixer using crossfading real-time is concerning and quite a learning curve.
You basically have to mimic the effects of a crossfader in every audio channel that passes through a transition sometimes having to stem the drums to keep them under the ceiling while also maintaining their dominance with independent compression.
This is where DJ Studio could advance & redefine crossfading, but more on that later.
It only needs to be in the transition so:
(a) a toggle button could be used to enable/disable the crossfader functionality within the transition;
(b) another toggle button could be used to switch the transition view to display an automation representing left-right position of the crossfader as well as assignment of each channel to the L & R sides of the crossfader, those not assigned are not routed through the crossfader and thus bypass the crossfader and join with the output of the crossfader.
CONCEPTUAL LAYOUT FOR (XFADE) CROSSFADER WITHIN TRANSITION
The programmatic logic within the crossfader is rather simple:
They are generally based on a mathematical formula (eg:)
LEFT = COS (pi/2 * crossfader position%)
RIGHT = SIN(pi/2 * crossfader position%)
For every position across the crossfader (either 101 or 256 quantifiable positions in mixer products) there are (at least) two parameters that control how much the inputs assigned to each side are trimmed.
In programming terms, this is a variable array of 101 or 256 rows and at least 2 columns containing single or double precision values representing the trim values for applying to the input channels assigned to the left and right sides of the crossfader for each position along the crossfader.
Optional additional columns could that deal with trim levels for the input channels assigned (which may make it simpler to create the profiles).
This allows the left and right channels to focus on presence while the crossfader focuses on fine-tuning trim levels to keep amplitude under the ceiling and minimize compressor/limiter triggering. An example is shown in the manual for the Xone 96 on page 12.
https://www.veranstaltungstechnikmueller.de/pdf/Allen_Heath_Xone96_Bedienungsanleitung.pdf
Further, optional columns that represent imposing trim on each EQ band are already featured in some mixers.
CROSSFADE ON STEMS PROFILE!!! YEAHHHHHH!!!!!!!!!!!!!!!!!!!!!!!!!!!!
It would be a world first to apply trimming from a crossfader to STEMS where heavy trimming to drums & bass to keep the mix under the ceiling while also lightly trim mids and highs to maintain crisp clarity across the transition.
In the above I’ve manipulating gain on the drum stems of both tracks for maximum presence under the ceiling as well as the melody intro (the synth) of blue monday.
New Order Blue Monday 1983 Original 12”: Drums: starting at -4.2 db rising to 0db while also starting high eq at +1.7 db and hovering at +0.8db then returning to 0db
Lonnie Gorden - Happenin’ all over Again Original 1990 12” Drums Stem:
Volume Reduction from 0dB to -5.6dB, High 0.8db constant across the track
Where the volume reduction is full, you have the drums of new order jack-hammering along with the stutter effect of lonnie’s vocals “b-b-b-b-b-b-believe me” looped and singling along in harmony with the blue monday synth intro as it rises, resulting in a killer transition of a highly nostalgic pair of early-mid 90s dancefloor fillers.
Getting the audible presence relative between both while keeping the drums of lonnie down to keep the combination of both sets of drums from pushing above the audible ceiling is crucial. This is with zero compression on the decks and without limiter enabled on the master output - keeping all under the audible ceiling.
Remember Live performance DJ mixers don’t usually have compressors and limiters (limiters more-so to protect the very expensive and not usually quickly replaceable amps and speakers in venues) and unless you’ve got loud audio monitors to simulate live performance SPL levels, headphones aren’t going to make it obvious the mix is being over compressed & limited to the extent it sounds like crap. This will allow minor limiting to attack any rogue transition peaks back under the ceiling..
Video of the Transition without compression, limiting or ceiling adjustment.
Video uploaded in accordance with fair use provisions for the purposes of research and learning. Research or Study - ACC - INFO053
LUFS before compression, limiting and ceiling adjustment
SPREADSHEET EXAMPLE
Each value can be calculated from general formulas above in a spreadsheet to create the csv file for a profile and imported into DJ studio, meaning users could create their own custom profiles and may go so far as to publish them on github to share as their own creations with others to use.
Example:
LEFT =COS((22/7)/2 * (C1))
RIGHT =SIN((22/7)/2 * (C1))
Column C (Starting at C1) holds the % for the position of the cross-fader, so C5 is the crossfader position for that row in the table.
0% is far left, 100% is far right.
XFADE
LEFT
RIGHT
0%
1
0
1%
0.999877
0.015714
2%
0.999506
0.031423
3%
0.998889
0.047125
4%
0.998025
0.062816
5%
0.996915
0.078491
6%
0.995558
0.094146
7%
0.993956
0.109778
8%
0.992108
0.125383
9%
0.990016
0.140958
10%
0.987678
0.156497
11%
0.985097
0.171998
12%
0.982273
0.187456
13%
0.979206
0.202868
14%
0.975897
0.21823
15%
0.972348
0.233538
16%
0.968558
0.248788
17%
0.964529
0.263977
18%
0.960262
0.2791
19%
0.955758
0.294155
20%
0.951017
0.309137
21%
0.946042
0.324043
22%
0.940834
0.338869
23%
0.935393
0.353611
24%
0.929721
0.368266
25%
0.923819
0.382829
26%
0.917689
0.397299
27%
0.911333
0.41167
28%
0.904752
0.425939
29%
0.897947
0.440104
30%
0.89092
0.454159
31%
0.883674
0.468103
32%
0.876209
0.481931
33%
0.868528
0.49564
34%
0.860633
0.509226
35%
0.852525
0.522687
36%
0.844206
0.536019
37%
0.835679
0.549218
38%
0.826946
0.562282
39%
0.818008
0.575207
40%
0.808868
0.58799
41%
0.799529
0.600627
42%
0.789992
0.613117
43%
0.78026
0.625455
44%
0.770336
0.637638
45%
0.760221
0.649664
46%
0.749919
0.66153
47%
0.739431
0.673232
48%
0.728761
0.684768
49%
0.717911
0.696135
50%
0.706883
0.70733
51%
0.695681
0.718351
52%
0.684307
0.729194
53%
0.672765
0.739857
54%
0.661056
0.750337
55%
0.649184
0.760632
56%
0.637151
0.770739
57%
0.624961
0.780656
58%
0.612617
0.79038
59%
0.600122
0.799909
60%
0.587478
0.80924
61%
0.57469
0.818371
62%
0.561759
0.827301
63%
0.54869
0.836026
64%
0.535485
0.844545
65%
0.522148
0.852855
66%
0.508682
0.860954
67%
0.495091
0.868841
68%
0.481377
0.876514
69%
0.467544
0.88397
70%
0.453596
0.891207
71%
0.439536
0.898225
72%
0.425367
0.905021
73%
0.411094
0.911593
74%
0.396718
0.91794
75%
0.382245
0.924061
76%
0.367678
0.929953
77%
0.353019
0.935616
78%
0.338274
0.941048
79%
0.323445
0.946247
80%
0.308536
0.951213
81%
0.293551
0.955943
82%
0.278493
0.960438
83%
0.263367
0.964696
84%
0.248175
0.968715
85%
0.232923
0.972495
86%
0.217613
0.976035
87%
0.202249
0.979334
88%
0.186835
0.982391
89%
0.171375
0.985206
90%
0.155872
0.987777
91%
0.140332
0.990105
92%
0.124756
0.992187
93%
0.10915
0.994025
94%
0.093517
0.995618
95%
0.07786
0.996964
96%
0.062185
0.998065
97%
0.046494
0.998919
98%
0.030791
0.999526
99%
0.015081
0.999886
100%
-0.00063
1
Dominic
Dec 20, 2023
One thing that would be really useful in this respect is to have a tool that will snap to 1\/4 1\/8 or whatever and easily draw a rectangle the envelope in 1 click instead of 4 fiddly ones as shown.
i think cable guys shaperbox has some good drawing tools like this.