converting abused <dl>s into <table>s

[ardour-manual] / include / create-region-fades-and-crossfades.html

diff --git a/include/create-region-fades-and-crossfades.html b/include/create-region-fades-and-crossfades.html
index 5019806bd975cee49faddf0b576a71a04ee70ae7..2db6229ec5b1af6fa4bef125bce276664fd0a4a3 100644 (file)
--- a/include/create-region-fades-and-crossfades.html
+++ b/include/create-region-fades-and-crossfades.html
@@ -79,40 +79,40 @@
 <p>
   The different types of fades are:
 </p>
-<dl>
-  <dt><kbd class="menu">Linear</kbd></dt><dd>A simple linear coefficient decrease, and its
+<table class="dl">
+  <tr><th><kbd class="menu">Linear</kbd></th><td>A simple linear coefficient decrease, and its
 mathematical inverse. A Linear fade starts attentuating quickly
 and then cuts off even more abruptly at lower levels. When used
 as a crossfade, the signals are each -6dB attenuated at the midpoint.
 This is the correct crossfade to use with highly-correlated signals for
-a smooth transition.</dd>
-  <dt><kbd class="menu">Constant Power</kbd></dt><dd>The constant power curve starts fading
+a smooth transition.</td></tr>
+  <tr><th><kbd class="menu">Constant Power</kbd></th><td>The constant power curve starts fading
 slowly and then cuts off abruptly. When used as a crossfade
 between 2 audio regions, the signals are symetrically attenuated, and
 they each reach -3dB at the midpoint. This is the correct crossfade to
-use when you want to splice audio in the general ( uncorrelated ) case.</dd>
-  <dt><kbd class="menu">Symmetric</kbd></dt><dd>The Symmetric fade starts slowly, then
+use when you want to splice audio in the general ( uncorrelated ) case.</td></tr>
+  <tr><th><kbd class="menu">Symmetric</kbd></th><td>The Symmetric fade starts slowly, then
 attenuates significantly before transitioning to a slower fade-out near
 the end of the fade. When used as a crossfade, the Symmetric
 curve is not mathematically correct like the Equal Power or Linear
 curves, but it provides a slower fade-out at low volumes. This is
 sometimes useful when editing 2 entire music works together so that the
-transition is more gradual.</dd>
-  <dt><kbd class="menu">Fast</kbd></dt><dd>The Fast curve is a linear decibel fade; It sounds
+transition is more gradual.</td></tr>
+  <tr><th><kbd class="menu">Fast</kbd></th><td>The Fast curve is a linear decibel fade; It sounds
 like a perfectly smooth fader or knob moved to silence. This shape is
 excellent as a general-purpose fade-in. When used as a
 crossfade, the inverse fade curve maintains constant power but is
 therefore non-symmetric; so its use is limited to those cases where the
-user finds it appropriate.</dd>
-  <dt><kbd class="menu">Slow</kbd></dt><dd>The Slow curve is a modified linear decibel fade.
+user finds it appropriate.</td></tr>
+  <tr><th><kbd class="menu">Slow</kbd></th><td>The Slow curve is a modified linear decibel fade.
 The initial curve starts more gradually so that it has a less
 abrupt transition near unity. After that, it sounds like a
 perfectly smooth fader or knob moved to silence. This shape is excellent as
 a general-purpose fade-out. When used as a crossfade, the
 inverse fade curve maintains constant power but is therefore
 non-symmetric; so its use is limited to those cases where the user
-finds it appropriate.</dd>
-</dl>
+finds it appropriate.</td></tr>
+</table>
 
 <p>
   Although these fade shapes serve specific purposes, you might find that