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author | Martin Arver <martin.arver@gmail.com> | 2006-10-17 09:31:18 +0000 |
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committer | Martin Arver <martin.arver@gmail.com> | 2006-10-17 09:31:18 +0000 |
commit | b109969fcd955da2b0b98f302adf9365aaf91186 (patch) | |
tree | 5438b4a5217a6073f52fe1efef91bdab09e735ab | |
parent | d77ae1d5558ab20e4d8917d91618fad1743f22fa (diff) | |
download | rockbox-b109969fcd955da2b0b98f302adf9365aaf91186.tar.gz rockbox-b109969fcd955da2b0b98f302adf9365aaf91186.zip |
Clean up, remove tab characters
git-svn-id: svn://svn.rockbox.org/rockbox/trunk@11242 a1c6a512-1295-4272-9138-f99709370657
-rwxr-xr-x | manual/configure_rockbox/sound_settings.tex | 166 |
1 files changed, 84 insertions, 82 deletions
diff --git a/manual/configure_rockbox/sound_settings.tex b/manual/configure_rockbox/sound_settings.tex index 31f3ce5adf..8d3a1ac464 100755 --- a/manual/configure_rockbox/sound_settings.tex +++ b/manual/configure_rockbox/sound_settings.tex | |||
@@ -7,9 +7,9 @@ change to customize your listening experience. | |||
7 | \section{Volume} | 7 | \section{Volume} |
8 | This setting adjusts the volume of your music. Like most professional | 8 | This setting adjusts the volume of your music. Like most professional |
9 | audio gear and many consumer audio products, Rockbox uses a decibel scale | 9 | audio gear and many consumer audio products, Rockbox uses a decibel scale |
10 | where 0 dB is a reference that indicates the maximum volume that the \dap\ | 10 | where 0 dB is a reference that indicates the maximum volume that the \dap{} |
11 | can produce without possible distortion (clipping). All values lower than this | 11 | can produce without possible distortion (clipping). All values lower than |
12 | reference will be negative and yield a progressively softer volume. | 12 | this reference will be negative and yield a progressively softer volume. |
13 | \opt{player, recorder, recorderv2fm, ondio, ipodnano, ipodvideo}{ | 13 | \opt{player, recorder, recorderv2fm, ondio, ipodnano, ipodvideo}{ |
14 | Values higher than 0 dB are available and can be used to raise the | 14 | Values higher than 0 dB are available and can be used to raise the |
15 | volume more than would otherwise be possible. These volume levels will | 15 | volume more than would otherwise be possible. These volume levels will |
@@ -86,9 +86,9 @@ change to customize your listening experience. | |||
86 | Karaoke | 86 | Karaoke |
87 | & Removes all sound that is the same in both channels. Since most | 87 | & Removes all sound that is the same in both channels. Since most |
88 | music is recorded with vocals being equally present in both channels | 88 | music is recorded with vocals being equally present in both channels |
89 | to make the singer sound centrally placed, this often (but not always) | 89 | to make the singer sound centrally placed, this often (but not |
90 | has the effect of removing the voice track from a song. This setting | 90 | always) has the effect of removing the voice track from a song. This |
91 | also very often has other undesirable effects on the sound. \\ | 91 | setting also very often has other undesirable effects on the sound. \\ |
92 | \bottomrule | 92 | \bottomrule |
93 | \end{tabularx} | 93 | \end{tabularx} |
94 | \end{center} | 94 | \end{center} |
@@ -97,12 +97,12 @@ change to customize your listening experience. | |||
97 | \section{Stereo Width} | 97 | \section{Stereo Width} |
98 | Stereo width allows you to manually specify the effect that is applied | 98 | Stereo width allows you to manually specify the effect that is applied |
99 | when the \setting{Channels} setting is set to \setting{Custom}. | 99 | when the \setting{Channels} setting is set to \setting{Custom}. |
100 | All values below 100\% will progressively mix the contents of one channel into | 100 | All values below 100\% will progressively mix the contents of one channel |
101 | the other. This has the effect of gradually centering the stereo image, until | 101 | into the other. This has the effect of gradually centering the stereo image, |
102 | you have monophonic sound at 0\%. Values above 100\% will progressively remove | 102 | until you have monophonic sound at 0\%. Values above 100\% will progressively |
103 | components in one channel that is also present in the other. This has the | 103 | remove components in one channel that is also present in the other. This has |
104 | effect of widening the stereo field. A value of 100\% will leave the stereo | 104 | the effect of widening the stereo field. A value of 100\% will leave the |
105 | field unaltered. | 105 | stereo field unaltered. |
106 | 106 | ||
107 | \opt{recorder,recorderv2fm}{ | 107 | \opt{recorder,recorderv2fm}{ |
108 | \section{Loudness} | 108 | \section{Loudness} |
@@ -214,9 +214,9 @@ change to customize your listening experience. | |||
214 | versa in order to simulate the spatial cues that the ear and brain receive | 214 | versa in order to simulate the spatial cues that the ear and brain receive |
215 | when listening to a set of loudspeakers placed in front of the listener. The | 215 | when listening to a set of loudspeakers placed in front of the listener. The |
216 | result is a more natural stereo image that can be especially appreciated in | 216 | result is a more natural stereo image that can be especially appreciated in |
217 | older rock and jazz records, where one instrument is often hard-panned to just | 217 | older rock and jazz records, where one instrument is often hard-panned to |
218 | one of the speakers. Many people will find such records tiring to listen to | 218 | just one of the speakers. Many people will find such records tiring to listen |
219 | using earphones and no crossfeed effect. | 219 | to using earphones and no crossfeed effect. |
220 | 220 | ||
221 | Crossfeed has the following settings. | 221 | Crossfeed has the following settings. |
222 | \begin{description} | 222 | \begin{description} |
@@ -234,7 +234,8 @@ change to customize your listening experience. | |||
234 | of both this setting and the \setting{Cross Gain} setting. | 234 | of both this setting and the \setting{Cross Gain} setting. |
235 | \item[High-Frequency Cutoff] | 235 | \item[High-Frequency Cutoff] |
236 | Decides at which frequency the cross path audio will start to be cut | 236 | Decides at which frequency the cross path audio will start to be cut |
237 | by the amount described by the \setting{High-Frequency Attenuation} setting. | 237 | by the amount described by the \setting{High-Frequency Attenuation} |
238 | setting. | ||
238 | \end{description} | 239 | \end{description} |
239 | 240 | ||
240 | Most users will find the default settings to yield satisfactory results, but | 241 | Most users will find the default settings to yield satisfactory results, but |
@@ -260,39 +261,39 @@ change to customize your listening experience. | |||
260 | \textbf{EQ Band(s)} & \textbf{Description} \\\midrule | 261 | \textbf{EQ Band(s)} & \textbf{Description} \\\midrule |
261 | Band 0: Low shelf filter | 262 | Band 0: Low shelf filter |
262 | & A low shelf filter boosts or lowers all frequencies below the | 263 | & A low shelf filter boosts or lowers all frequencies below the |
263 | designated cutoff point. The ``bass''control on most home or car | 264 | designated cutoff point. The ``bass''control on most home or car |
264 | stereos is an example of a low shelf filter. The low shelf | 265 | stereos is an example of a low shelf filter. The low shelf |
265 | filter in Rockbox is more flexible than a simple ``bass'' | 266 | filter in Rockbox is more flexible than a simple ``bass'' |
266 | control, because a simple bass control only lets you adjust | 267 | control, because a simple bass control only lets you adjust |
267 | the amount of gain that is applied. Rockbox lets you control | 268 | the amount of gain that is applied. Rockbox lets you control |
268 | the amount of gain that is applied (i.e., the amount that the | 269 | the amount of gain that is applied (i.e., the amount that the |
269 | bass is boosted or cut) too, but Rockbox also allows you to | 270 | bass is boosted or cut) too, but Rockbox also allows you to |
270 | adjust the ``cutoff'' frequency where the shelving starts to take | 271 | adjust the ``cutoff'' frequency where the shelving starts to take |
271 | effect. For example, a cutoff frequency of 50 Hz will adjust only very | 272 | effect. For example, a cutoff frequency of 50 Hz will adjust only very |
272 | low frequencies. A cutoff frequency of 200 Hz, on the other hand, will | 273 | low frequencies. A cutoff frequency of 200 Hz, on the other hand, will |
273 | adjust a much wider range of bass frequencies.. \\ | 274 | adjust a much wider range of bass frequencies.. \\ |
274 | % | 275 | % |
275 | Bands 1-3: Peaking filters | 276 | Bands 1-3: Peaking filters |
276 | & Peaking EQ filters boost or low a center frequency that you select, | 277 | & Peaking EQ filters boost or low a center frequency that you select, |
277 | as well as the frequencies within a certain distance of that | 278 | as well as the frequencies within a certain distance of that |
278 | center. Graphic equalizers in home stereos are usually peaking | 279 | center. Graphic equalizers in home stereos are usually peaking |
279 | filters. The peaking EQs on Rockbox's parametric equalizer let | 280 | filters. The peaking EQs on Rockbox's parametric equalizer let |
280 | you adjust three different parameters for each EQ band 1 | 281 | you adjust three different parameters for each EQ band 1 |
281 | through 3. The ``center'' parameter controls the center | 282 | through 3. The ``center'' parameter controls the center |
282 | frequency that is adjusted by that EQ band. The ``gain'' | 283 | frequency that is adjusted by that EQ band. The ``gain'' |
283 | parameter controls how much each band is adjusted. Positive | 284 | parameter controls how much each band is adjusted. Positive |
284 | numbers make the EQ band louder, while negative numbers make | 285 | numbers make the EQ band louder, while negative numbers make |
285 | that EQ band quieter. Finally, the ``Q'' parameter controls how wide | 286 | that EQ band quieter. Finally, the ``Q'' parameter controls how wide |
286 | or narrow each EQ band is. Higher Q values will affect a | 287 | or narrow each EQ band is. Higher Q values will affect a |
287 | narrow band of frequencies, while lower EQ values will affect | 288 | narrow band of frequencies, while lower EQ values will affect |
288 | a wider band of frequencies. \\ | 289 | a wider band of frequencies. \\ |
289 | % | 290 | % |
290 | Band 4: Hi shelf filter | 291 | Band 4: Hi shelf filter |
291 | & A high shelf filter boosts or lowers all frequencies above a | 292 | & A high shelf filter boosts or lowers all frequencies above a |
292 | designated cutoff point. The ``treble'' control on most home or car | 293 | designated cutoff point. The ``treble'' control on most home or car |
293 | stereos is an example of a high shelf filter. The high shelf filter is | 294 | stereos is an example of a high shelf filter. The high shelf filter is |
294 | adjusted the same way as the low shelf filter, except that it works on | 295 | adjusted the same way as the low shelf filter, except that it works on |
295 | the high end of the frequency spectrum rather than the low end.\\ | 296 | the high end of the frequency spectrum rather than the low end.\\ |
296 | \bottomrule | 297 | \bottomrule |
297 | \end{tabularx} | 298 | \end{tabularx} |
298 | \end{center} | 299 | \end{center} |
@@ -306,9 +307,9 @@ change to customize your listening experience. | |||
306 | This option controls whether the EQ is on or off. | 307 | This option controls whether the EQ is on or off. |
307 | 308 | ||
308 | \item[Graphical EQ:] | 309 | \item[Graphical EQ:] |
309 | This option brings up a graphic EQ screen, which allows adjustment of each of | 310 | This option brings up a graphic EQ screen, which allows adjustment of each of |
310 | the three parameters described above (gain, center frequency, and Q) for each | 311 | the three parameters described above (gain, center frequency, and Q) for each |
311 | of the five EQ bands. | 312 | of the five EQ bands. |
312 | 313 | ||
313 | \begin{table} | 314 | \begin{table} |
314 | \begin{btnmap}{}{} | 315 | \begin{btnmap}{}{} |
@@ -327,58 +328,59 @@ change to customize your listening experience. | |||
327 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,IAUDIO_X5_PAD}{\ButtonRight} | 328 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,IAUDIO_X5_PAD}{\ButtonRight} |
328 | \opt{IPOD_4G_PAD,IPOD_3G_PAD,IPOD_VIDEO_PAD}{\ButtonRight} | 329 | \opt{IPOD_4G_PAD,IPOD_3G_PAD,IPOD_VIDEO_PAD}{\ButtonRight} |
329 | & Moves to the next EQ band. \\ | 330 | & Moves to the next EQ band. \\ |
330 | % | 331 | % |
331 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD}{\ButtonSelect} | 332 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD}{\ButtonSelect} |
332 | \opt{IAUDIO_X5_PAD,IPOD_4G_PAD,IPOD_3G_PAD,IPOD_VIDEO_PAD}{\ButtonSelect} | 333 | \opt{IAUDIO_X5_PAD,IPOD_4G_PAD,IPOD_3G_PAD,IPOD_VIDEO_PAD}{\ButtonSelect} |
333 | & Toggles the cursor among the three parameters (gain, center frequency, | 334 | & Toggles the cursor among the three parameters (gain, center frequency, |
334 | Q) for the selected EQ band.\\ | 335 | Q) for the selected EQ band.\\ |
335 | % | 336 | % |
336 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD}{\ButtonMode} | 337 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD}{\ButtonMode} |
337 | \opt{IPOD_4G_PAD,IPOD_3G_PAD,IPOD_VIDEO_PAD}{\ButtonMenu} | 338 | \opt{IPOD_4G_PAD,IPOD_3G_PAD,IPOD_VIDEO_PAD}{\ButtonMenu} |
338 | & Exits the graphic EQ screen.\\ | 339 | & Exits the graphic EQ screen.\\ |
339 | \end{btnmap} | 340 | \end{btnmap} |
340 | \end{table} | 341 | \end{table} |
341 | 342 | ||
342 | \item[Pre-cut:] | 343 | \item[Pre-cut:] |
343 | If too much gain is added through the graphical EQ, your music may distort. | 344 | If too much gain is added through the graphical EQ, your music may distort. |
344 | The \setting{Precut} setting allows you to adjust the overall gain of the EQ. | 345 | The \setting{Precut} setting allows you to adjust the overall gain of the EQ. |
346 | |||
345 | If your music distorts when using the EQ, trying changing this setting to a | 347 | If your music distorts when using the EQ, trying changing this setting to a |
346 | negative value. | 348 | negative value. |
347 | 349 | ||
348 | \item[Simple EQ:] | 350 | \item[Simple EQ:] |
349 | This option provides an easier alternative for those who are daunted by all of | 351 | This option provides an easier alternative for those who are daunted by all of |
350 | the parameters that can be adjusted using the graphical EQ. With the | 352 | the parameters that can be adjusted using the graphical EQ. With the |
351 | \setting{Simple EQ}, the only parameter that can be adjusted is the gain. | 353 | \setting{Simple EQ}, the only parameter that can be adjusted is the gain. |
354 | |||
355 | \item[Advanced EQ:] | ||
356 | This submenu provides options for adjusting the same parameters as the | ||
357 | \setting{Graphical EQ}. The only difference is that the parameters are | ||
358 | adjusted through textual menus rather than through a graphic interface. | ||
359 | |||
360 | \item[Save EQ Preset:] | ||
361 | This option saves the current EQ configuration in a \fname{.cfg} file. | ||
362 | |||
363 | \item[Browse EQ Presets:] | ||
364 | This menu displays a list EQ presets, as well as any EQ configurations saved | ||
365 | using the \setting{Save EQ Preset} option. Users unfamiliar with the | ||
366 | operation of a parametric EQ may wish to use the presets instead of trying to | ||
367 | configure the EQ, or use the presets for designing their own custom EQ | ||
368 | settings. | ||
352 | 369 | ||
353 | \item[Advanced EQ:] | ||
354 | This submenu provides options for adjusting the same parameters as the | ||
355 | \setting{Graphical EQ}. The only difference is that the parameters are | ||
356 | adjusted through textual menus rather than through a graphic interface. | ||
357 | |||
358 | \item[Save EQ Preset:] | ||
359 | This option saves the current EQ configuration in a \fname{.cfg} file. | ||
360 | |||
361 | \item[Browse EQ Presets:] | ||
362 | This menu displays a list EQ presets, as well as any EQ configurations saved | ||
363 | using the \setting{Save EQ Preset} option. Users unfamiliar with the | ||
364 | operation of a parametric EQ may wish to use the presets instead of trying to | ||
365 | configure the EQ, or use the presets for designing their own custom EQ | ||
366 | settings. | ||
367 | |||
368 | \end{description} | 370 | \end{description} |
369 | } | 371 | } |
370 | 372 | ||
371 | \opt{ipodvideo}{ | 373 | \opt{ipodvideo}{ |
372 | \section{Hardware EQ} | 374 | \section{Hardware EQ} |
373 | 375 | ||
374 | This function controls the EQ that is built into the hardware of your | 376 | This function controls the EQ that is built into the hardware of your |
375 | \playerman{}. The hardware EQ functions similarly to the Graphical EQ in that | 377 | \playerman{}. The hardware EQ functions similarly to the Graphical EQ in that |
376 | it allows adjustmnet of several parameters. However, unlike the Graphical EQ, | 378 | it allows adjustmnet of several parameters. However, unlike the Graphical EQ, |
377 | the Hardware EQ allows the user to choose from a limited number of settings | 379 | the Hardware EQ allows the user to choose from a limited number of settings |
378 | for ``Center Frequency'' and ``Bandwidth'' (``Bandwidth'' in the Hardware EQ | 380 | for ``Center Frequency'' and ``Bandwidth'' (``Bandwidth'' in the Hardware EQ |
379 | is similar to ``Q'' in the Graphical EQ). | 381 | is similar to ``Q'' in the Graphical EQ). |
380 | 382 | ||
381 | \note{While the \setting{Hardware EQ} menu shows Low Shelf, three peaking | 383 | \note{While the \setting{Hardware EQ} menu shows Low Shelf, three peaking |
382 | filters, and High Shelf, the peaking filters are not currently operational.} | 384 | filters, and High Shelf, the peaking filters are not currently operational.} |
383 | 385 | ||
384 | } | 386 | } |