Resuming work on removing 'you's. Adding a screenshot to the fade shapes.

include/create-region-fades-and-crossfades.html

@@ -1,39 +1,39 @@
 <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
+  end of the region. By adjusting the regions fade length, a more
   gradual transition can be accomplished.
 </p>
 
 <h2>Region Fades</h2>
 <p>
-  <dfn>Region fades</dfn>  are possible at the beginning and end of
+  <dfn>Region fades</dfn> are possible at the beginning and end of
   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. Clicking and dragging the grip left or right in the timeline adjusts the
-  adjust the length of the fade.
+  length of the fade.
 </p>
 
 <h2>Crossfades</h2>
 
 <p>
-  <dfn>Crossfades</dfn> refer to the behavior when you want to make
+  <dfn>Crossfades</dfn> refer to the behavior of two audio regions transitionning
-  a smooth transition (mix) from one audio region to another on the same
+  smoothly (mixing) from one to another on the same
-  track. Historically, this was done by splicing 2 pieces of analog
+  track. Historically, this was done by splicing two pieces of analog
   tape together, and this concept was carried forward into digital
   editing. Each track is a sequence of sound files (regions). If
   two regions are butted against each other, there needs to be a method
   to splice them smoothly together. The crossfade allows one region
-  to fade smoothly out, while the next region fades smoothly in, like 2
+  to fade smoothly out, while the next region fades smoothly in, like two
   pieces of tape that have been cut at and angle, and overlapped.
 </p>
 <p>
   But Ardour uses a more refined "layered" editing model, and
   therefore it is possible for multiple regions to be stacked on a single
   location with arbitrary overlaps between different layers. For
-  this reason, crossfades must be implemented differently. We can't
+  this reason, crossfades must be implemented differently. It can't be
-  assume that a crossfade is an entitry that exists between 2 regions;
+  assumed that a crossfade is an entitry that exists between two regions;
   instead each region must have its own associated crossfades at each
   end, and the topmost region must always crossfade down to the
   underlying region(s), if any.
@@ -46,29 +46,34 @@
   the region(s) beneath it.
 </p>
 <p>
-  It is important to understand that region fades <em>are</em> crossfades. When one region has
+  It is important to understand that region fades <em>are</em> crossfades.
-  another region or multiple regions beneath its fade area, then you will
+  When one region has another region or multiple regions beneath its fade area,
-  hear the topmost region fade-out be mirrored as a fade-in on the
+  then what will be heard is the topmost region fade-out mirrored as a fade-in
-  underlying region(s). The grip for the topmost region will allow
+  on the underlying region(s). The grip for the topmost region will allow
   changing the length and type of the crossfade into the underlying
-  region(s). In this way you can create a complicated series of
+  region(s). In this way complicated series of crossfades can be created, and
-  crossfades, and then layer another region atop the others, and fade
+  then another region layered atop the others, and faded into a complicated
-  into a complicated series.
+  series.
 </p>
 <p>
   If a region doesn't have any region(s) under it, then the region is
-  crossfaded to silence; for convenience we call this a "fade"
+  crossfaded to silence; for convenience this is called a "fade"
   rather than a crossfade.
 </p>
 
 <h2>Fade Shapes</h2>
 
+<figure class=right>
+  <img src="/images/crossfade_menu.png">
+  <figcaption class=center>The fade shape context menu.</figcaption>
+</figure>
+
 <p>
   To activate/deactivate or change the shape of a region's fadein or
-  fade-out, hover the cursor over the regionfade grip till the cursor tip
+  fade-out, the cursor has to be hovered over the regionfade grip until the
-  indicates region fade editing and context-click to bring up a context
+  cursor tip indicates region fade editing, then <kbd class="mouse">right</kbd>
-  menu. In the context menu there is a list of options for the
+  clicked to bring up a context menu. In the context menu is a list of options
-  regionfade. <kbd class="menu">Activate/Deactivate</kbd> enables and
+  for the regionfade. <kbd class="menu">Activate/Deactivate</kbd> enables and
   disables the regionfade.
 </p>
 <p>
@@ -80,44 +85,42 @@
   The different types of fades are:
 </p>
 <table class="dl">
-  <tr><th><kbd class="menu">Linear</kbd></th><td>A simple linear coefficient decrease, and its
+  <tr><th><kbd class="menu">Linear</kbd></th><td>A simple linear coefficient
-mathematical inverse. A Linear fade starts attentuating quickly
+    decrease, and its mathematical inverse. A Linear fade starts attentuating
-and then cuts off even more abruptly at lower levels. When used
+    quickly and then cuts off even more abruptly at lower levels. When used as a
-as a crossfade, the signals are each -6dB attenuated at the midpoint.
+    crossfade, the signals are each -6dB attenuated at the midpoint. This is the
-This is the correct crossfade to use with highly-correlated signals for
+    correct crossfade to use with highly-correlated signals for a smooth
-a smooth transition.</td></tr>
+    transition.</td></tr>
-  <tr><th><kbd class="menu">Constant Power</kbd></th><td>The constant power curve starts fading
+  <tr><th><kbd class="menu">Constant power</kbd></th><td>The constant power
-slowly and then cuts off abruptly. When used as a crossfade
+    curve starts fading slowly and then cuts off abruptly. When used as a
-between 2 audio regions, the signals are symetrically attenuated, and
+    crossfade between 2 audio regions, the signals are symetrically attenuated,
-they each reach -3dB at the midpoint. This is the correct crossfade to
+    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.</td></tr>
+    use when splicing audio in the general ( uncorrelated ) case.</td></tr>
-  <tr><th><kbd class="menu">Symmetric</kbd></th><td>The Symmetric fade starts slowly, then
+  <tr><th><kbd class="menu">Symmetric</kbd></th><td>The Symmetric fade starts
-attenuates significantly before transitioning to a slower fade-out near
+    slowly, then attenuates significantly before transitioning to a slower
-the end of the fade. When used as a crossfade, the Symmetric
+    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
+    curve is not mathematically correct like the Equal Power or Linear curves,
-curves, but it provides a slower fade-out at low volumes. This is
+    but it provides a slower fade-out at low volumes. This is sometimes useful
-sometimes useful when editing 2 entire music works together so that the
+    when editing 2 entire music works together so that the transition is more
-transition is more gradual.</td></tr>
+    gradual.</td></tr>
-  <tr><th><kbd class="menu">Fast</kbd></th><td>The Fast curve is a linear decibel fade; It sounds
+  <tr><th><kbd class="menu">Slow</kbd></th><td>The Slow curve is a modified
-like a perfectly smooth fader or knob moved to silence. This shape is
+    linear decibel fade. The initial curve starts more gradually so that it has
-excellent as a general-purpose fade-in. When used as a
+    a less abrupt transition near unity. After that, it sounds like a perfectly
-crossfade, the inverse fade curve maintains constant power but is
+    smooth fader or knob moved to silence. This shape is excellent as a
-therefore non-symmetric; so its use is limited to those cases where the
+    general-purpose fade-out. When used as a crossfade, the inverse fade curve
-user finds it appropriate.</td></tr>
+    maintains constant power but is therefore non-symmetric; so its use is
-  <tr><th><kbd class="menu">Slow</kbd></th><td>The Slow curve is a modified linear decibel fade.
+    limited to those cases where the user finds it appropriate.</td></tr>
-The initial curve starts more gradually so that it has a less
+  <tr><th><kbd class="menu">Fast</kbd></th><td>The Fast curve is a linear
-abrupt transition near unity. After that, it sounds like a
+    decibel fade; It sounds like a perfectly smooth fader or knob moved to
-perfectly smooth fader or knob moved to silence. This shape is excellent as
+    silence. This shape is excellent as a general-purpose fade-in. When used as
-a general-purpose fade-out. When used as a crossfade, the
+    a crossfade, the inverse fade curve maintains constant power but is
-inverse fade curve maintains constant power but is therefore
+    therefore non-symmetric; so its use is limited to those cases where the
-non-symmetric; so its use is limited to those cases where the user
+    user finds it appropriate.</td></tr>
-finds it appropriate.</td></tr>
 </table>
 
 <p>
-  Although these fade shapes serve specific purposes, you might find that
+  Although these fade shapes serve specific purposes, any of the shapes is
-  any of the shapes is usable in your situation. The final decision
+  usable in any situation, so the final decision is mostly an artistic choice.
-  is mostly an artistic choice.
 </p>
 
 <p>
@@ -131,4 +134,3 @@ finds it appropriate.</td></tr>
   amount of effort to shorten the fade is much easier than messing with a
   crossfade editor dialog.
 </p>
-

include/gain-envelopes.html

@@ -1,7 +1,7 @@
 
 <figure class=right>
 <img src="/images/gain-envelope1.png" alt="Default gain envelope">
-<figcaption class=center>A typical gain envelope (green line).</figcaption>
+<figcaption>A gain envelope (in green).</figcaption>
 </figure>
 
 <p>
@@ -26,21 +26,20 @@
 <p>
   The default gain curve, by itself, is not very useful; in order to have more
   control over the shape of the gain envelope it is necessary to add extra
-  control points. To add a control point to the envelope, click anywhere in the
+  control points. Clicking anywhere in the region where there are no existing
-  region where there are no existing control points; it will appear <em>on the
+  control points adds a control point to the envelope; it will appear <em>on the
   line</em> at the X-axis of the mouse's current position in the region.
 </p>
 
-<figure class=center>
+<figure class="center">
 <img src="/images/gain-envelope2.png" alt="Complex gain envelope">
-<figcaption class=center>A more complex gain envelope.</figcaption>
+<figcaption>A more complex gain envelope.</figcaption>
 </figure>
 
 <p>
-  Once added, a control point can be <kbd class=mouse>Left</kbd> clicked and
+  Once added, a control point can be <kbd class="mouse">Left</kbd> clicked and
   dragged to the desired location. Hovering over a control point will show its
-  current level in dB. To remove a control point, <kbd class=mouse>Left</kbd>
+  current level in dB. <kbd class="mouse">Left</kbd> clicking a control point
-  click it and press <kbd>Delete</kbd>, or <kbd class=mod3n></kbd><kbd
+  and pressing <kbd>Delete</kbd>, or <kbd class="mod3 mouse">Right</kbd>
-  class=mouse>Right</kbd>-click on it.
+  clicking a point deletes it.
 </p>
-

include/midi-on-linux.html

@@ -6,13 +6,13 @@
 
 <table class="dl">
   <tr><th>Systems using JACK 1, versions 0.124 or later</th>
-  <td>On these systems, simply start JACK with the <code>-X alsa_midi</code>
+  <td>On these systems, JACK must be started with the <code>-X alsa_midi</code>
   server argument. To support legacy control applications, the <code>-X
   seq</code> argument to the ALSA backend of JACK can also be used to get the
   exact same results.</td></tr>
   <tr><th>All others</th>
-  <td>Use a2jmidid to act as a bridge between ALSA MIDI and JACK. Do not use
+  <td>Using a2jmidid acts as a bridge between ALSA MIDI and JACK. The <code>-X seq</code>
-  the <code>-X seq</code> or <code>-X raw</code> arguments&mdash;the timing and
+  or <code>-X raw</code> arguments should <em>not</em> be used&mdash;the timing and
   performance of these options is unacceptable.</td></tr>
 </table>
 
@@ -26,28 +26,28 @@
 
 <p>
   First it must be ensured that there is no ALSA sequencer support enabled in
-  JACK. To check that, open QJackCtl's <kbd class="menu">Setup</kbd> window.
+  JACK. To check that, one must open QJackCtl's <kbd class="menu">Setup</kbd> window
-  Set <kbd class="menu">Settings &gt; MIDI Driver</kbd> to <kbd
+  and set <kbd class="menu">Settings &gt; MIDI Driver</kbd> to <kbd
-  class="input">none</kbd>. Then uncheck the <kbd class="optoff">Misc &gt;
+  class="input">none</kbd>, then uncheck the <kbd class="optoff">Misc &gt;
-  Enable ALSA Sequencer support</kbd> option. Now restart the jack server
+  Enable ALSA Sequencer support</kbd> option. The jack server must then be restarted
   before going on.
 </p>
 
-<h3>Check for a2jmidid availability</h3>
+<h3>Checking for a2jmidid availability</h3>
 
 <p>
-  Next, check whether a2jmidid is already installed. After starting the JACK
+  Next, it must be checked whether a2jmidid is already installed. This is done
-  server, go to the command line and type:
+  by starting the JACK server, then going to the command line and typing:
 </p>
 
 <kbd class="cmd lin">a2jmidid -e</kbd>
 
 <p>
-  If a2jmidid does not exist, install it with the software manager of the
+  If a2jmidid does not exist, it must be installed with the software manager of the
-  Linux distribution in use and try again.
+  Linux distribution in use until this command responds.
 </p>
 
-<h2>Check available MIDI ports</h2>
+<h2>Checking available MIDI ports</h2>
 
 <p>
   If JACK is correctly configured for MIDI, then the MIDI ports should appear
@@ -62,12 +62,11 @@
 </p>
 
 <ul>
-  <li>If a newer version of JACK 1 is in use, just make sure the <code>-X
+  <li>If a newer version of JACK 1 is in use, by just making sure the <code>-X
   alsa_midi</code> or <code>-X seq</code> options are enabled for whatever
   technique is being used to start JACK.</li>
-  <li>For other versions of JACK, add <code>a2jmidid -e &amp;</code> as an
+  <li>For other versions of JACK, by adding <code>a2jmidid -e &amp;</code> as an
   "after start-up" script in the <kbd class="menu">Setup &gt; Options</kbd> tab
   of QJackCtl, so that it is started automatically whenever JACK is
   started.</li>
 </ul>
-