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author | Michael Giacomelli <giac2000@hotmail.com> | 2014-06-20 20:41:15 +0200 |
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committer | Michael Giacomelli <giac2000@hotmail.com> | 2014-06-20 20:41:15 +0200 |
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download | rockbox-ccf7c765401594f9e1934ca0d46c57aad0aad619.tar.gz rockbox-ccf7c765401594f9e1934ca0d46c57aad0aad619.zip |
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1 | % $Id$ % | ||
2 | \screenshot{configure_rockbox/images/ss-sound-settings}{The sound settings screen}{} | ||
3 | |||
4 | The sound settings menu offers a selection of sound settings you may | ||
5 | change to customise your listening experience. | ||
6 | |||
7 | \section{\label{ref:volume}Volume} | ||
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 | ||
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 | ||
12 | this reference will be negative and yield a progressively softer volume. | ||
13 | \nopt{iriverh100,iriverh300,ondavx777}{% | ||
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 | ||
16 | ordinarily lead to distorted sound, but might work nicely for music that has | ||
17 | an otherwise low volume level. | ||
18 | } | ||
19 | The volume can be adjusted from a | ||
20 | \opt{player}{minimum of -78~dB to a maximum of +18~dB.}% | ||
21 | \opt{recorder,recorderv2fm,ondio}{minimum of -100~dB to a maximum of +12~dB.}% | ||
22 | \opt{iriverh100,iriverh300}{minimum of -84~dB to a maximum of 0~dB.}% | ||
23 | \opt{iaudiom3,iaudiom5,iaudiox5,ipod3g,ipod4g,gigabeatf,mrobe100,mpiohd200}{% | ||
24 | minimum of -73~dB to a maximum of +6~dB.}% | ||
25 | \opt{ipodnano}{minimum of -72~dB to a maximum of +6~dB.}% | ||
26 | \opt{ipodvideo,cowond2}{minimum of -89~dB to a maximum of +6~dB.}% | ||
27 | \opt{ipodnano2g,ipodcolor,ipod1g2g,iriverh10,iriverh10_5gb,sansa,sansaAMS}{minimum of | ||
28 | -74~dB to a maximum of +6~dB.}% | ||
29 | \opt{gigabeats}{minimum of -90~dB to a maximum of +6~dB.}% | ||
30 | \opt{gigabeatf,vibe500}{minimum of -74~dB to a maximum of +6~dB.}% | ||
31 | \opt{fuzeplus}{minimum of -100~dB to a maximum of +6~dB.} | ||
32 | \opt{ipodvideo}{\\Remark: Lowering the volume below -57~dB will also affect the line-out | ||
33 | and the recording gain.} | ||
34 | \opt{cowond2}{\\Remark: Lowering the volume below -57~dB will also affect the line-out.} | ||
35 | |||
36 | \nopt{gigabeats}{ | ||
37 | \section{Bass} | ||
38 | This setting emphasises | ||
39 | \nopt{iriverh100,iriverh300}{or suppresses} | ||
40 | the lower (bass) frequencies in the sound. A value of 0~dB means that bass | ||
41 | sounds are unaltered (flat response). | ||
42 | \opt{masd}{The minimum setting is -15~dB and the maximum is 15~dB.}% | ||
43 | \opt{masf}{The minimum setting is -12~dB and the maximum is 12~dB.}% | ||
44 | \opt{iriverh100,iriverh300}{The minimum setting is 0~dB and the maximum is 24~dB.}% | ||
45 | \opt{ipodnano,ipodnano2g,ipodcolor,mpiohd200}{% | ||
46 | The minimum setting is -6~dB and the maximum is 9~dB.}% | ||
47 | \opt{ipodvideo}{The minimum setting is -12~dB and the maximum is 12~dB.}% | ||
48 | \opt{iaudiom3,iaudiom5,iaudiox5,sansa,sansaAMS,iriverh10,iriverh10_5gb,vibe500,fuzeplus}{% | ||
49 | The minimum setting is -24~dB and the maximum is 24~dB.} | ||
50 | |||
51 | \section{\label{ref:volume_limit}Volume Limit} | ||
52 | This setting adjusts the maximum volume of your music. The setting is by | ||
53 | default set to the maximum volume which equals to no limit. To set a volume | ||
54 | limit, select a volume from the list and the maximum volume will be limited to | ||
55 | the selected value all over the system. | ||
56 | |||
57 | \opt{ipodvideo}{ | ||
58 | \section{Bass Cutoff} | ||
59 | This setting controls the frequency below which the bass adjustment applies. | ||
60 | The setting has a range from 1 to 4, where a bigger number affects a bigger | ||
61 | range of bass frequencies. The actual cutoff frequency used for each setting | ||
62 | value will vary with sample rate. | ||
63 | } | ||
64 | |||
65 | \section{Treble} | ||
66 | This setting emphasises | ||
67 | \nopt{iriverh100,iriverh300}{or suppresses} | ||
68 | the higher (treble) frequencies in the sound. A value of 0~dB means that | ||
69 | treble sounds are unaltered (flat response). | ||
70 | \opt{masd}{The minimum setting is -15~dB and the maximum is 15~dB.}% | ||
71 | \opt{masf}{The minimum setting is -12~dB and the maximum is 12~dB.}% | ||
72 | \opt{iriverh100,iriverh300}{The minimum setting is 0~dB and the maximum is 6~dB.}% | ||
73 | \opt{ipodnano,ipodnano2g,ipodcolor,mpiohd200}{% | ||
74 | The minimum setting is -6~dB and the maximum is 9~dB.}% | ||
75 | \opt{ipodvideo}{The minimum setting is -12~dB and the maximum is 12~dB.}% | ||
76 | \opt{iaudiom3,iaudiom5,iaudiox5,sansa,sansaAMS,iriverh10,iriverh10_5gb,vibe500,fuzeplus}{% | ||
77 | The minimum setting is -24~dB and the maximum is 24~dB.} | ||
78 | |||
79 | \opt{ipodvideo}{ | ||
80 | \section{Treble Cutoff} | ||
81 | This setting controls the frequency above which the treble adjustment applies. | ||
82 | The setting has a range from 1 to 4, where a bigger number affects a smaller | ||
83 | range of treble frequencies. The actual cutoff frequency used for each setting | ||
84 | value will vary with sample rate. | ||
85 | } | ||
86 | } | ||
87 | |||
88 | \opt{gigabeats}{ | ||
89 | \section{Tone Controls} | ||
90 | There is a five-band equalizer built into your \dap{} that allows you to | ||
91 | control various different parameters for each band. This equalizer is | ||
92 | implemented in hardware, and therefore does not tax the processor when in use. | ||
93 | Rockbox also features a more advanced five-band equalizer (see | ||
94 | \reference{ref:EQ}) that is implemented in software and allows more fine | ||
95 | grained control, but also requires more processor time. | ||
96 | |||
97 | \begin{description} | ||
98 | \item[Band 1 Gain.] | ||
99 | This band acts as a low shelf filter that boosts or lowers all | ||
100 | frequencies below a certain frequency limit, much as a ``bass'' | ||
101 | control found on ordinary stereo systems does. The ``gain'' parameter | ||
102 | controls how much the loudness of the band is adjusted. Positive | ||
103 | numbers make the EQ band louder, while negative numbers make that EQ | ||
104 | band quieter. | ||
105 | \item[Bands 2-4 Gain.] | ||
106 | These bands act as peaking filters that boost or lower a frequency | ||
107 | range centered at a certain frequency. Graphic equalizers in home | ||
108 | stereos are usually peaking filters. The ``gain'' parameter controls | ||
109 | how much each band is adjusted as with the the low shelf filter. | ||
110 | \item[Band 5 Gain.] | ||
111 | Band 5 acts as a high shelf filter, boosting or lowering all | ||
112 | frequencies above a certain frequency limit, much like a ``treble'' | ||
113 | control found on ordinary stereo systems does. As with the other bands, | ||
114 | ``gain'' controls how much each band is adjusted. | ||
115 | \item[Advanced Tone Control Settings.] | ||
116 | This submenu allows you to change advanced parameters for each band. | ||
117 | \end{description} | ||
118 | |||
119 | As a general guide, EQ band 1 should be used for low frequencies, EQ bands 2 | ||
120 | to 4 should be used for mids, and EQ band 5 should be used for highs.\\* | ||
121 | |||
122 | \subsection{Advanced Tone Control Settings} | ||
123 | As in the previous menu, the ``gain'' setting controls how much the | ||
124 | loudness of the band is adjusted. In addition the following parameters | ||
125 | can be adjusted: | ||
126 | |||
127 | \begin{description} | ||
128 | \item[Band 1 Frequency.] | ||
129 | The ``frequency'' parameter sets where the shelving starts to take | ||
130 | effect. For example, a cutoff frequency of 80~Hz will adjust only very | ||
131 | low frequencies. A cutoff frequency of 175~Hz, on the other hand, will | ||
132 | adjust a much wider range of bass frequencies. | ||
133 | \item[Bands 2-4 Frequency.] | ||
134 | The ``frequency'' parameter for these bands sets the centre frequency of | ||
135 | the range that is affected by the gain set. | ||
136 | \item[Bands 2-4 Width.] | ||
137 | This parameter sets the width of the range around the centre frequency | ||
138 | that is affected by the tone control. The possible settings are | ||
139 | ``wide'' or ``narrow''. | ||
140 | \item[Band 5 Frequency.] | ||
141 | This works just as for band 1 frequency, except that it affects the | ||
142 | high frequency end of the spectrum instead of the low. | ||
143 | \end{description} | ||
144 | |||
145 | } | ||
146 | |||
147 | \section{Balance} | ||
148 | This setting controls the balance between the left and right channels. The | ||
149 | default, 0, means that the left and right outputs are equal in volume. | ||
150 | Negative numbers increase the volume of the left channel relative to the | ||
151 | right, positive numbers increase the volume of the right channel relative | ||
152 | to the left. | ||
153 | |||
154 | \section{Channels} | ||
155 | A stereo audio signal consists of two channels, left and right. The | ||
156 | \setting{Channels} setting determines if these channels are to be combined in | ||
157 | any way, and if so, in what manner they will be combined. | ||
158 | Available options are: | ||
159 | % | ||
160 | \begin{description} | ||
161 | \item[Stereo.] | ||
162 | Leave the audio signal unmodified. | ||
163 | \item[Mono.] | ||
164 | Combine both channels and send the resulting signal to both stereo | ||
165 | channels, resulting in a monophonic output. | ||
166 | \item[Custom.] | ||
167 | Allows you to manually specify a stereo width with the | ||
168 | \setting{Stereo Width} setting described later in this chapter. | ||
169 | \item[Mono Left.] | ||
170 | Plays the left channel in both stereo channels. | ||
171 | \item[Mono Right.] | ||
172 | Plays the right channel in both stereo channels. | ||
173 | \item[Karaoke.] | ||
174 | Removes all sound that is common to both channels. Since most | ||
175 | music is recorded with vocals being equally present in both channels | ||
176 | to make the singer sound centrally placed, this often (but not | ||
177 | always) has the effect of removing the voice track from a song. This | ||
178 | setting also very often has other undesirable effects on the sound. | ||
179 | \end{description} | ||
180 | |||
181 | \section{Stereo Width} | ||
182 | Stereo width allows you to manually specify the effect that is applied | ||
183 | when the \setting{Channels} setting is set to ``custom''. | ||
184 | All values below 100\% will progressively mix the contents of one channel | ||
185 | into the other. This has the effect of gradually centering the stereo image, | ||
186 | until you have monophonic sound at 0\%. Values above 100\% will progressively | ||
187 | remove components in one channel that is also present in the other. This has | ||
188 | the effect of widening the stereo field. A value of 100\% will leave the | ||
189 | stereo field unaltered. | ||
190 | |||
191 | \opt{masf}{ | ||
192 | \section{Loudness} | ||
193 | When listening at low volumes, the ear will tend to make bass and treble | ||
194 | frequencies sound quieter than they really are. To compensate for this, | ||
195 | \setting{Loudness} is an effect which emphasises bass and treble in a fashion | ||
196 | suited to the human ear. Frequencies in the vocal range are unaffected, since | ||
197 | the human ear picks these up very easily at any sound level. | ||
198 | It is of course also possible to use this effect at higher volumes for | ||
199 | enhanced bass and treble. | ||
200 | } | ||
201 | |||
202 | \opt{masf}{ | ||
203 | \section{Auto Volume} | ||
204 | Auto volume is a feature that automatically lowers the volume on loud parts, | ||
205 | and then slowly restores the volume to the previous level over a time | ||
206 | interval. This setting allows this time interval to be configured. Short | ||
207 | values like 20~ms are useful for ensuring a constant volume for in-car use and | ||
208 | other applications where background noise makes a constant loudness desirable. | ||
209 | A longer timeout means that the change in volume back to the previous level | ||
210 | will be smoother, so there will be fewer sharp changes in volume level. | ||
211 | } | ||
212 | |||
213 | \opt{masf}{ | ||
214 | \section{Super Bass} | ||
215 | This setting changes the threshold at which bass frequencies are affected by | ||
216 | the \setting{Loudness} setting, making the sound of drums and bass guitar | ||
217 | louder in comparison to the rest of the sound. This setting only has an | ||
218 | effect if \setting{Loudness} is set to a value larger than 0~dB. | ||
219 | } | ||
220 | |||
221 | \opt{masf}{ | ||
222 | \section{MDB {}-- Micronas Dynamic Bass} | ||
223 | The rest of the parameters in this menu relate to the Micronas Dynamic | ||
224 | Bass (MDB) function. MDB is designed to enable the user to hear bass | ||
225 | notes that the headphones and/or speakers are not capable of reproducing. | ||
226 | Every tone has a fundamental frequency (the ``main tone'') and also several | ||
227 | harmonics, which are related to that tone. The human brain has a mechanism | ||
228 | whereby it can actually infer the presence of bass notes from the higher | ||
229 | harmonics that they would generate. | ||
230 | |||
231 | The practical upshot of this is that MDB produces a more authentic sounding | ||
232 | bass by tricking the brain into believing it is hearing tones that the | ||
233 | headphones or speakers are not capable of reproducing. | ||
234 | |||
235 | The MDB parameters are as follows: | ||
236 | % | ||
237 | \begin{description} | ||
238 | \item[MDB enable.] | ||
239 | This turns the MDB feature on or off. For many users this will be the | ||
240 | only setting they need, since Rockbox picks sensible defaults for the | ||
241 | other parameters. MDB is turned off by default. | ||
242 | \item[MDB strength.] | ||
243 | How loud the harmonics generated by MDB will be. | ||
244 | \item[MDB Harmonics.] | ||
245 | The percentage of the low notes that is converted into harmonics. | ||
246 | If low notes are causing speaker distortion, this can be set to 100\% | ||
247 | to eliminate the fundamental completely and only produce harmonics in the | ||
248 | signal. If set to 0\% this is the same as turning the MDB feature off. | ||
249 | \item[MDB Centre Frequency.] | ||
250 | The cutoff frequency of your headphones or speakers. This is usually | ||
251 | given in the specification for the headphones/speakers. | ||
252 | \item[MDB shape.] | ||
253 | It is recommended that this parameter be set to 1.5 times the centre frequency. | ||
254 | |||
255 | This is the frequency up to which harmonics are generated. Some of the | ||
256 | lower fundamentals near the cut{}-off range will have their lower | ||
257 | harmonics cut, since they will be below the range of the speakers. | ||
258 | Fundamentals between the cut{}-off frequency and the lower frequency | ||
259 | will have their harmonics proportionally boosted to compensate and restore | ||
260 | the `loudness' of these notes. | ||
261 | |||
262 | For most users, the defaults should provide an improvement in sound | ||
263 | quality and can be safely left as they are. For reference, the defaults | ||
264 | Rockbox uses are: | ||
265 | % | ||
266 | \begin{table}[h!] | ||
267 | \begin{rbtabular}{0.5\textwidth}{Xc}{Setting & Value}{}{} | ||
268 | MDB Strength & 50~dB \\ | ||
269 | MDB Harmonics & 48\% \\ | ||
270 | MDB Centre Frequency & 60~Hz \\ | ||
271 | MDB Shape & 90~Hz \\ | ||
272 | \end{rbtabular} | ||
273 | \end{table} | ||
274 | |||
275 | \end{description} | ||
276 | } | ||
277 | |||
278 | \opt{swcodec}{ | ||
279 | \section{Crossfeed} | ||
280 | Crossfeed attempts to make the experience of listening to music on | ||
281 | headphones more similar to listening to music with stereo speakers. When you | ||
282 | listen to music through speakers, each ear will hear sound originating from | ||
283 | both speakers. However, the sound from the left speaker reaches your right | ||
284 | ear slightly later than it does your left ear, and vice versa.\\ | ||
285 | |||
286 | The human ear and brain together are very good at interpreting the time | ||
287 | differences between direct sounds and reflected sounds and using that | ||
288 | information to identify the direction that the sound is coming from. On the | ||
289 | other hand, when listening to headphones, each ear hears only the stereo | ||
290 | channel corresponding to it. The left ear hears only the left channel and | ||
291 | the right ear hears only the right channel. The result is that sound from | ||
292 | headphones does not provide the same spatial cues to your ear and brain as | ||
293 | speakers, and might for that reason sound unnatural to some listeners.\\ | ||
294 | |||
295 | The crossfeed function uses an algorithm to feed a delayed and filtered | ||
296 | portion of the signal from the right channel into the left channel and vice | ||
297 | versa in order to simulate the spatial cues that the ear and brain receive | ||
298 | when listening to a set of loudspeakers placed in front of the listener. The | ||
299 | result is a more natural stereo image that can be especially appreciated in | ||
300 | older rock and jazz records, where one instrument is often hard-panned to | ||
301 | just one of the speakers. Many people will find such records tiring to listen | ||
302 | to using earphones and no crossfeed effect.\\ | ||
303 | |||
304 | Crossfeed has the following settings: | ||
305 | \begin{description} | ||
306 | \item[Crossfeed.] | ||
307 | Selects whether the crossfeed effect is to be enabled or not. | ||
308 | \item[Direct Gain.] | ||
309 | How much the level of the audio that travels the direct path from a speaker | ||
310 | to the corresponding ear is supposed to be decreased. | ||
311 | \item[Cross Gain.] | ||
312 | How much the level of the audio that travels the cross path from a speaker | ||
313 | to the opposite ear is to be decreased. | ||
314 | \item[High-Frequency Attenuation.] | ||
315 | How much the upper frequencies of the cross path audio will be dampened. | ||
316 | Note that the total level of the higher frequencies will be a combination | ||
317 | of both this setting and the \setting{Cross Gain} setting. | ||
318 | \item[High-Frequency Cutoff.] | ||
319 | Decides at which frequency the cross path audio will start to be cut | ||
320 | by the amount described by the \setting{High-Frequency Attenuation} | ||
321 | setting. | ||
322 | \end{description} | ||
323 | |||
324 | Most users will find the default settings to yield satisfactory results, but | ||
325 | for the more adventurous user the settings can be fine-tuned to provide a | ||
326 | virtual speaker placement suited to ones preference. | ||
327 | % TODO: adapt the guidelines for crossfeed settings found here? | ||
328 | % http://www.ohl.to/interests-in-audio/crossfeed-and-eq-for-headphones/ | ||
329 | Beware that the crossfeed function is capable of making the audio distort | ||
330 | if you choose settings which result in a too high output level. | ||
331 | } | ||
332 | |||
333 | \opt{swcodec}{ | ||
334 | \section{\label{ref:EQ}Equalizer} | ||
335 | \screenshot{configure_rockbox/images/ss-equalizer}{The graphical equalizer}{} | ||
336 | Rockbox features a parametric equalizer (EQ). As the name suggests, a | ||
337 | parametric EQ lets you control several different parameters for each | ||
338 | band of the EQ. \nopt{gigabeats}{In some ways the EQ is similar to the | ||
339 | \setting{Bass} and \setting{Treble} settings described earlier, but the EQ | ||
340 | allows you to control the sound much more carefully. Note that the parameteric | ||
341 | EQ bands will be applied in addition to any bass or treble tone controls. | ||
342 | } \opt{gigabeats}{The EQ is similar to the \setting{Tone Controls} described | ||
343 | above, but allows more delicate control.}\\ | ||
344 | |||
345 | \note{A maximum of 10 EQ bands are possible on most devices, but using more | ||
346 | than are required will waste battery and introduce additional rounding | ||
347 | noise. For best results, use the fewest number of bands required.} | ||
348 | |||
349 | Rockbox's parametric EQ is composed of five different bands: | ||
350 | \begin{description} | ||
351 | \item[Band 0: Low shelf filter.] | ||
352 | The low shelf filter boosts or lowers all frequencies below a certain | ||
353 | frequency limit, much as the ``bass'' control found on ordinary | ||
354 | stereo systems does. | ||
355 | Adjust the ``cutoff'' frequency parameter to decide where the shelving | ||
356 | starts to take effect. For example, a cutoff frequency of 50~Hz will | ||
357 | adjust only very low frequencies. A cutoff frequency of 200~Hz, on the | ||
358 | other hand, will adjust a much wider range of bass frequencies. | ||
359 | The ``gain'' parameter controls how much the loudness of the band is | ||
360 | adjusted. Positive numbers make the EQ band louder, while negative | ||
361 | numbers make that EQ band quieter. | ||
362 | The ``Q'' parameter should always be set to 0.7 for the shelving | ||
363 | filters. Higher values will add a small boost around the cutoff | ||
364 | frequency that is almost always undesirable. | ||
365 | \item[Bands 1-8: Peaking filters.] | ||
366 | Peaking EQ filters boost or lower a frequency range centered at the | ||
367 | centre frequency chosen. | ||
368 | Graphic equalizers in home stereos are usually peaking | ||
369 | filters. The peaking filters in Rockbox's EQ lets you adjust three | ||
370 | different parameters for EQ bands 1 through 8. The ``centre'' parameter | ||
371 | controls the centre frequency of the frequency range that is affected | ||
372 | as described above. | ||
373 | The ``gain'' parameter controls how much each band is adjusted, and | ||
374 | works as for the low shelf filter. | ||
375 | Finally, the ``Q'' parameter controls how wide or narrow the affected | ||
376 | frequency range is. Higher Q values will affect a narrower band of | ||
377 | frequencies, while lower Q values will affect a wider band of | ||
378 | frequencies. | ||
379 | \item[Band 9: High shelf filter.] | ||
380 | A high shelf filter boosts or lowers all frequencies above a certain | ||
381 | frequency limit, much as the ``treble'' control found on ordinary | ||
382 | stereo systems does. | ||
383 | The high shelf filter is adjusted the same way as the low shelf filter, | ||
384 | except that it works on the high end of the frequency spectrum rather | ||
385 | than the low end. | ||
386 | \end{description} | ||
387 | As a general guide, EQ band 0 should be used for low frequencies, EQ bands 1 | ||
388 | through 8 should be used for mids, and EQ band 9 should be used for highs. | ||
389 | |||
390 | \begin {description} | ||
391 | \item[Enable EQ.] | ||
392 | This option controls whether the EQ is on or off. | ||
393 | |||
394 | \item[Graphical EQ.] | ||
395 | This option brings up a graphic EQ screen, which allows adjustment of each of | ||
396 | the three parameters described above (gain, centre frequency, and Q) for each | ||
397 | of the five EQ bands. | ||
398 | |||
399 | \begin{btnmap} | ||
400 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,IAUDIO_X5_PAD,GIGABEAT_PAD% | ||
401 | ,GIGABEAT_S_PAD,SANSA_C200_PAD,IAUDIO_M3_PAD,MROBE100_PAD% | ||
402 | ,SANSA_CLIP_PAD,SANSA_FUZEPLUS_PAD}{\ButtonRight} | ||
403 | \opt{SANSA_E200_PAD,SANSA_FUZE_PAD,IPOD_4G_PAD,IPOD_3G_PAD}{\ButtonScrollFwd} | ||
404 | \opt{IRIVER_H10_PAD}{\ButtonScrollUp} | ||
405 | \opt{PBELL_VIBE500_PAD}{\ButtonUp} | ||
406 | \opt{MPIO_HD200_PAD}{\ButtonVolUp} | ||
407 | \opt{MPIO_HD300_PAD}{\ButtonScrollUp} | ||
408 | \opt{touchscreen}{\TouchMidRight} | ||
409 | & | ||
410 | \opt{HAVEREMOTEKEYMAP}{ | ||
411 | \opt{GIGABEAT_RC_PAD}{\ButtonRCFF} | ||
412 | \opt{IAUDIO_RC_PAD}{\ButtonRCRight} | ||
413 | &} | ||
414 | Raises the highlighted parameter. | ||
415 | \\ | ||
416 | % | ||
417 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,IAUDIO_X5_PAD,GIGABEAT_PAD% | ||
418 | ,GIGABEAT_S_PAD,SANSA_C200_PAD,IAUDIO_M3_PAD,MROBE100_PAD% | ||
419 | ,SANSA_CLIP_PAD,SANSA_FUZEPLUS_PAD}{\ButtonLeft} | ||
420 | \opt{SANSA_E200_PAD,SANSA_FUZE_PAD,IPOD_4G_PAD,IPOD_3G_PAD}{\ButtonScrollBack} | ||
421 | \opt{IRIVER_H10_PAD}{\ButtonScrollDown} | ||
422 | \opt{PBELL_VIBE500_PAD}{\ButtonDown} | ||
423 | \opt{MPIO_HD200_PAD}{\ButtonVolDown} | ||
424 | \opt{MPIO_HD300_PAD}{\ButtonScrollDown} | ||
425 | \opt{touchscreen}{\TouchMidLeft} | ||
426 | & | ||
427 | \opt{HAVEREMOTEKEYMAP}{ | ||
428 | \opt{GIGABEAT_RC_PAD}{\ButtonRCRew} | ||
429 | \opt{IAUDIO_RC_PAD}{\ButtonRCLeft} | ||
430 | &} | ||
431 | Lowers the highlighted parameter. | ||
432 | \\ | ||
433 | % | ||
434 | \opt{IPOD_4G_PAD,IPOD_3G_PAD,PBELL_VIBE500_PAD}{\ButtonLeft} | ||
435 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,IAUDIO_X5_PAD,SANSA_E200_PAD,SANSA_C200_PAD% | ||
436 | ,SANSA_FUZE_PAD,GIGABEAT_PAD,GIGABEAT_S_PAD,IAUDIO_M3_PAD,MROBE100_PAD% | ||
437 | ,SANSA_CLIP_PAD,SANSA_FUZEPLUS_PAD}{\ButtonUp} | ||
438 | \opt{IRIVER_H10_PAD,MPIO_HD200_PAD,MPIO_HD300_PAD}{\ButtonRew} | ||
439 | \opt{touchscreen}{\ActionStdPrev} | ||
440 | & | ||
441 | \opt{HAVEREMOTEKEYMAP}{ | ||
442 | \opt{IRIVER_RC_H100_PAD}{\ButtonRCRew} | ||
443 | \opt{GIGABEAT_RC_PAD}{\ButtonRCVolUp} | ||
444 | \opt{IAUDIO_RC_PAD}{\ButtonRCUp} | ||
445 | &} | ||
446 | Moves to the previous EQ band. | ||
447 | \\ | ||
448 | % | ||
449 | \opt{IPOD_4G_PAD,IPOD_3G_PAD,PBELL_VIBE500_PAD}{\ButtonRight} | ||
450 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,IAUDIO_X5_PAD,SANSA_E200_PAD,SANSA_C200_PAD% | ||
451 | ,SANSA_FUZE_PAD,GIGABEAT_PAD,GIGABEAT_S_PAD,IAUDIO_M3_PAD,MROBE100_PAD% | ||
452 | ,SANSA_CLIP_PAD,SANSA_FUZEPLUS_PAD}{\ButtonDown} | ||
453 | \opt{IRIVER_H10_PAD,MPIO_HD200_PAD,MPIO_HD300_PAD}{\ButtonFF} | ||
454 | \opt{touchscreen}{\ActionStdNext} | ||
455 | & | ||
456 | \opt{HAVEREMOTEKEYMAP}{ | ||
457 | \opt{IRIVER_RC_H100_PAD}{\ButtonRCFF} | ||
458 | \opt{GIGABEAT_RC_PAD}{\ButtonRCVolDown} | ||
459 | \opt{IAUDIO_RC_PAD}{\ButtonRCDown} | ||
460 | &} | ||
461 | Moves to the next EQ band. | ||
462 | \\ | ||
463 | % | ||
464 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,GIGABEAT_PAD,GIGABEAT_S_PAD,IAUDIO_X5_PAD% | ||
465 | ,SANSA_C200_PAD,IPOD_4G_PAD,IPOD_3G_PAD,IPOD_VIDEO_PAD,SANSA_E200_PAD% | ||
466 | ,SANSA_FUZE_PAD,MROBE100_PAD,SANSA_CLIP_PAD,SANSA_FUZEPLUS_PAD}{\ButtonSelect} | ||
467 | \opt{MPIO_HD200_PAD}{\ButtonFunc} | ||
468 | \opt{MPIO_HD300_PAD}{\ButtonEnter} | ||
469 | \opt{PBELL_VIBE500_PAD}{\ButtonOK} | ||
470 | \opt{IRIVER_H10_PAD}{\ButtonRight} | ||
471 | \opt{IAUDIO_M3_PAD}{\ButtonPlay} | ||
472 | \opt{touchscreen}{\TouchCenter | ||
473 | \opt{COWON_D2_PAD}{/ \ButtonMenu}} | ||
474 | & | ||
475 | \opt{HAVEREMOTEKEYMAP}{ | ||
476 | \opt{IRIVER_RC_H100_PAD}{\ButtonRCSelect} | ||
477 | \opt{GIGABEAT_RC_PAD,IAUDIO_RC_PAD}{\ButtonRCPlay} | ||
478 | &} | ||
479 | Toggles the cursor among the three parameters (gain, centre frequency, | ||
480 | Q) for the selected EQ band | ||
481 | \\ | ||
482 | % | ||
483 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD}{\ButtonMode} | ||
484 | \opt{IPOD_4G_PAD,IPOD_3G_PAD,MPIO_HD300_PAD}{\ButtonMenu} | ||
485 | \opt{IAUDIO_X5_PAD}{\ButtonPower/\ButtonRec} | ||
486 | \opt{IAUDIO_M3_PAD,MPIO_HD200_PAD}{\ButtonRec} | ||
487 | \opt{SANSA_E200_PAD,SANSA_FUZE_PAD,IRIVER_H10_PAD}{\ButtonLeft} | ||
488 | \opt{GIGABEAT_PAD,GIGABEAT_S_PAD,SANSA_C200_PAD,MROBE100_PAD,SANSA_CLIP_PAD}{\ButtonPower} | ||
489 | \opt{PBELL_VIBE500_PAD}{\ButtonCancel} | ||
490 | \opt{SANSA_FUZEPLUS_PAD}{\ButtonBack} | ||
491 | \opt{touchscreen}{\TouchTopLeft | ||
492 | \opt{COWON_D2_PAD}{/ \ButtonPower}} | ||
493 | & | ||
494 | \opt{HAVEREMOTEKEYMAP}{ | ||
495 | \opt{IRIVER_RC_H100_PAD}{\ButtonRCStop} | ||
496 | \opt{GIGABEAT_RC_PAD}{\ButtonRCDsp} | ||
497 | \opt{IAUDIO_RC_PAD}{\ButtonRCRec} | ||
498 | &} | ||
499 | Exits the graphic EQ screen. | ||
500 | \\ | ||
501 | \end{btnmap} | ||
502 | |||
503 | \item[Pre-cut.] | ||
504 | If too much positive gain is added through the graphical EQ, your music may | ||
505 | distort. The \setting{Precut} setting allows you to apply a global negative | ||
506 | gain to decoded audio, cancelling out positive gain from the EQ. This will | ||
507 | prevent distortion when boosting certain frequency ranges, at the expense of | ||
508 | making audio quieter. | ||
509 | |||
510 | Alternatively, precut can be used with a flat EQ curve to implement a volume | ||
511 | cap. For example, on a player that allows overdriving the headphone output | ||
512 | to +6dB, maximum volume can be capped to +0dB by applying 6dB of precut. Note | ||
513 | that precut is not applied if EQ is disabled. | ||
514 | |||
515 | \item[Simple EQ.] | ||
516 | This option provides an easier alternative for those who are daunted by all of | ||
517 | the parameters that can be adjusted using the graphical EQ. With the | ||
518 | \setting{Simple EQ}, the only parameter that can be adjusted is the gain. | ||
519 | |||
520 | \item[Advanced EQ.] | ||
521 | This sub menu provides options for adjusting the same parameters as the | ||
522 | \setting{Graphical EQ}. The only difference is that the parameters are | ||
523 | adjusted through textual menus rather than through a graphic interface. | ||
524 | |||
525 | \item[Save EQ Preset.] | ||
526 | This option saves the current EQ configuration in a \fname{.cfg} file. | ||
527 | |||
528 | \item[Browse EQ Presets.] | ||
529 | This menu displays a list of EQ presets, as well as any EQ configurations saved | ||
530 | using the \setting{Save EQ Preset} option. Users unfamiliar with the | ||
531 | operation of a parametric EQ may wish to use the presets instead of trying to | ||
532 | configure the EQ, or use the presets for designing their own custom EQ | ||
533 | settings. | ||
534 | |||
535 | \end{description} | ||
536 | } | ||
537 | |||
538 | \opt{swcodec}{ | ||
539 | \section{Dithering} | ||
540 | This setting controls the dithering and noise shaping functionality of Rockbox. | ||
541 | |||
542 | Most of Rockbox' audio file decoders work at a higher bit depth than the 16 bits | ||
543 | used for output on the \daps{} audio connectors. The simplest way to | ||
544 | convert from one bit depth to another is simply discarding all the surplus bits. | ||
545 | This is the default behaviour, and adds distortion to the signal that will | ||
546 | vary in character along with the desired sound. | ||
547 | |||
548 | Dithering adds low-level noise to the signal prior to throwing away the surplus | ||
549 | bits, which gives the resulting signal a uniform noise floor which is | ||
550 | independent of the signal. Most people find this noise preferable to the | ||
551 | time-varying noise heard when not performing dithering. | ||
552 | |||
553 | After dithering, noise shaping is performed. This basically just pushes the | ||
554 | dithering noise to the parts of the frequency spectrum humans cannot hear so | ||
555 | easily. In Rockbox' case, some of the noise is pushed up to above 10~kHz. | ||
556 | |||
557 | This setting will be put to its best use when listening to dynamic music with | ||
558 | frequently occuring quiet parts, classical music being a typical example. It is | ||
559 | worth noting that the effects of dithering and noise shaping are very subtle, | ||
560 | and not easily noticable. | ||
561 | |||
562 | Rockbox uses highpass triangular distribution noise as the dithering noise | ||
563 | source, and a third order noise shaper. | ||
564 | } | ||
565 | |||
566 | \opt{swcodec}{% | ||
567 | \opt{pitchscreen}{% | ||
568 | \section{Timestretch} | ||
569 | Enabling \setting{Timestretch} allows you to change the playback speed without | ||
570 | it affecting the pitch of the recording. After enabling this feature and | ||
571 | rebooting, you can access this via the \setting{Pitch Screen}. This function is | ||
572 | intended for speech playback and may significantly dilute your listening | ||
573 | experience with more complex audio. See \reference{sec:pitchscreen} for more | ||
574 | details about how to use the feature. | ||
575 | } | ||
576 | } | ||
577 | |||
578 | \opt{swcodec}{ | ||
579 | \section{Compressor} | ||
580 | The \setting{Compressor} reduces, or compresses, the dynamic range of the audio | ||
581 | signal. This makes the quieter and louder sections closer to the same volume | ||
582 | level by progressively reducing the gain of louder signals. When subsequently | ||
583 | amplified, this has the effect of making the quieter sections louder while | ||
584 | keeping the louder sections from clipping. This allows listening to the quiet | ||
585 | sections of dynamic material in noisy environments while preventing sudden loud | ||
586 | sections from being overbearing. | ||
587 | |||
588 | There are several settings associated with the compressor. The first, and most | ||
589 | important, is the \setting{Threshold}. The threshold is the audio input level | ||
590 | at which the compressor begins to act. Any level louder than the threshold | ||
591 | will be compressed to some extent. The maximum amount of compression, or the | ||
592 | quietest level at which the compressor will operate, is -24~dB. The default of | ||
593 | Off disables the compressor. | ||
594 | |||
595 | The \setting{Makeup Gain} setting has two options: Off and Auto. Off means | ||
596 | that the compressed audio will not be amplified after compression. The default | ||
597 | of Auto will amplify the signal so that the loudest possible signal after | ||
598 | compression will be just under the clipping limit. This is desirable because | ||
599 | the compressed signal without makeup gain is quieter than the input signal. | ||
600 | Makeup Gain in Auto restores the signal to the maximum possible level and | ||
601 | brings the quieter audio up with it. This is what makes it possible to hear | ||
602 | the quieter audio in noisy environments. | ||
603 | |||
604 | The \setting{Ratio} setting determines how aggressively the compressor reduces | ||
605 | gain above the threshold. For example, the 2:1 setting means that for each | ||
606 | two decibels of input signal above the threshold, the compressor will only | ||
607 | allow the output to appear as one decibel. The higher the ratio, the harder | ||
608 | the signal is compressed. The ratio setting of Limit means essentially a ratio | ||
609 | of infinity to one. In this case, the output signal is not allowed to exceed | ||
610 | the threshold at all. | ||
611 | |||
612 | The \setting{Knee} setting determines how abrupt the transition is from a | ||
613 | non-compressed signal to a compressed signal. Hard Knee means that the | ||
614 | transition occurs precisely at the threshold. The Soft Knee setting smoothes | ||
615 | the transition from plus or minus three decibels around the threshold. | ||
616 | |||
617 | The \setting{Attack Time} setting sets the delay in milliseconds between the | ||
618 | input signal exceeding the activation threshold and acting upon it. | ||
619 | |||
620 | The \setting{Release Time} setting sets the recovery time after the signal is | ||
621 | compressed. Once the compressor determines that compression is necessary, | ||
622 | the input signal is reduced appropriately, but the gain isn't allowed to | ||
623 | immediately return to normal levels. This is necessary to reduce artifacts | ||
624 | such as ``pumping.'' Instead, the gain is allowed to return to normal at the | ||
625 | chosen rate. Release Time is the time for the gain to recover by 10~dB. | ||
626 | } | ||