-<p>Every Region has a fade-in and fade-out. By default, the region fade
-is very short, and serves to de-click the transitions at the start and
-end of the region. By adjusting the regions fade length, a more
+<p>Every Region has a fade-in and fade-out. By default, the region fade
+is very short, and serves to de-click the transitions at the start and
+end of the region. By adjusting the regions fade length, a more
gradual transition can be accomplished.<br></p>
<h2>Region Fades</h2>
all audio regions. In object mode, a grip appears at the top left and
top right of an audio region when the cursor hovers over it. Placing
the cursor over the top of the grip displays the region fade cursor
-tip. Click and drag the grip left or right in the timeline to
+tip. Click and drag the grip left or right in the timeline to
adjust the length of the fade.<br>
</p>
<h2>Crossfades</h2>
<p>The different types of fades are:<br>
</p>
<ul>
- <li><kbd class="menu">Linear</kbd> : A simple linear coefficient decrease, and its
+ <li><kbd class="menu">Linear</kbd>: 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.<br>
</li>
- <li><kbd class="menu">Constant Power</kbd> : The constant power curve starts fading
+ <li><kbd class="menu">Constant Power</kbd>: 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.<br>
</li>
- <li><kbd class="menu">Symmetric</kbd> : The Symmetric fade starts slowly, then
+ <li><kbd class="menu">Symmetric</kbd>: 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
sometimes useful when editing 2 entire music works together so that the
transition is more gradual.<br>
</li>
- <li><kbd class="menu">Fast</kbd> : The Fast curve is a linear decibel fade; It sounds
+ <li><kbd class="menu">Fast</kbd>: 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.</li>
- <li><kbd class="menu">Slow</kbd> : The Slow curve is a modified linear decibel fade.
+ <li><kbd class="menu">Slow</kbd>: 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