diff options
author | Solomon Peachy <pizza@shaftnet.org> | 2021-04-09 15:42:11 -0400 |
---|---|---|
committer | Solomon Peachy <pizza@shaftnet.org> | 2021-04-09 15:54:04 -0400 |
commit | cd64aa2b10e81f17b0e62f90c7c473af9f95aee8 (patch) | |
tree | bbf18bb3564521e79f1e4215274b02425b8712fb | |
parent | 10facef17b1983360944a771f15c58dee04a9523 (diff) | |
download | rockbox-cd64aa2b10e81f17b0e62f90c7c473af9f95aee8.tar.gz rockbox-cd64aa2b10e81f17b0e62f90c7c473af9f95aee8.zip |
xduoox3: Global volume_limit now applies to the line output as well
The X3's line out is a bit hot, at ~4.3Vpp, so allow it to be backed off.
(On my X3, backing it off to -6dB brings Vpp down to ~3.4V)
Change-Id: Iea38ef1c6a1b183d0f8fb4eaf2bf9ed6b350a532
-rw-r--r-- | firmware/target/mips/ingenic_jz47xx/codec-jz4760.c | 9 | ||||
-rw-r--r-- | manual/configure_rockbox/sound_settings.tex | 75 |
2 files changed, 44 insertions, 40 deletions
diff --git a/firmware/target/mips/ingenic_jz47xx/codec-jz4760.c b/firmware/target/mips/ingenic_jz47xx/codec-jz4760.c index 5adc4232af..85a189e6a0 100644 --- a/firmware/target/mips/ingenic_jz47xx/codec-jz4760.c +++ b/firmware/target/mips/ingenic_jz47xx/codec-jz4760.c | |||
@@ -27,6 +27,7 @@ | |||
27 | #include "cs4398.h" | 27 | #include "cs4398.h" |
28 | #include "kernel.h" | 28 | #include "kernel.h" |
29 | #include "button.h" | 29 | #include "button.h" |
30 | #include "settings.h" | ||
30 | 31 | ||
31 | #define PIN_CS_RST (32*1+10) | 32 | #define PIN_CS_RST (32*1+10) |
32 | #define PIN_CODEC_PWRON (32*1+13) | 33 | #define PIN_CODEC_PWRON (32*1+13) |
@@ -73,6 +74,7 @@ static void audiohw_mute(bool mute) | |||
73 | cs4398_write_reg(CS4398_REG_MUTE, cs4398_read_reg(CS4398_REG_MUTE) & ~(CS4398_MUTE_A | CS4398_MUTE_B)); | 74 | cs4398_write_reg(CS4398_REG_MUTE, cs4398_read_reg(CS4398_REG_MUTE) & ~(CS4398_MUTE_A | CS4398_MUTE_B)); |
74 | } | 75 | } |
75 | 76 | ||
77 | /* TODO: Note this is X3-specific! */ | ||
76 | void audiohw_preinit(void) | 78 | void audiohw_preinit(void) |
77 | { | 79 | { |
78 | cs4398_write_reg(CS4398_REG_MISC, CS4398_CPEN | CS4398_PDN); | 80 | cs4398_write_reg(CS4398_REG_MISC, CS4398_CPEN | CS4398_PDN); |
@@ -155,6 +157,8 @@ static void jz4760_set_vol(int vol_l, int vol_r) | |||
155 | cs4398_write_reg(CS4398_REG_MISC, val); | 157 | cs4398_write_reg(CS4398_REG_MISC, val); |
156 | } | 158 | } |
157 | 159 | ||
160 | /* The xDuoo X3's line out is a bit on the hot side, with about 4.3Vpp | ||
161 | so allow the level to be backed off by using the global volume_limit */ | ||
158 | void audiohw_set_volume(int vol_l, int vol_r) | 162 | void audiohw_set_volume(int vol_l, int vol_r) |
159 | { | 163 | { |
160 | #ifdef HAVE_LINEOUT_DETECTION | 164 | #ifdef HAVE_LINEOUT_DETECTION |
@@ -162,8 +166,7 @@ void audiohw_set_volume(int vol_l, int vol_r) | |||
162 | real_vol_r = vol_r; | 166 | real_vol_r = vol_r; |
163 | 167 | ||
164 | if (lineout_inserted()) { | 168 | if (lineout_inserted()) { |
165 | vol_l = 0; | 169 | vol_l = vol_r = global_settings.volume_limit; |
166 | vol_r = 0; | ||
167 | } | 170 | } |
168 | #endif | 171 | #endif |
169 | jz4760_set_vol(vol_l, vol_r); | 172 | jz4760_set_vol(vol_l, vol_r); |
@@ -176,7 +179,7 @@ void audiohw_set_lineout_volume(int vol_l, int vol_r) | |||
176 | 179 | ||
177 | #ifdef HAVE_LINEOUT_DETECTION | 180 | #ifdef HAVE_LINEOUT_DETECTION |
178 | if (lineout_inserted()) { | 181 | if (lineout_inserted()) { |
179 | jz4760_set_vol(0, 0); | 182 | jz4760_set_vol(global_settings.volume_limit, global_settings.volume_limit); |
180 | } else { | 183 | } else { |
181 | jz4760_set_vol(real_vol_l, real_vol_r); | 184 | jz4760_set_vol(real_vol_l, real_vol_r); |
182 | } | 185 | } |
diff --git a/manual/configure_rockbox/sound_settings.tex b/manual/configure_rockbox/sound_settings.tex index 63a5770c41..73885c27aa 100644 --- a/manual/configure_rockbox/sound_settings.tex +++ b/manual/configure_rockbox/sound_settings.tex | |||
@@ -1,7 +1,7 @@ | |||
1 | % $Id$ % | 1 | % $Id$ % |
2 | \screenshot{configure_rockbox/images/ss-sound-settings}{The sound settings screen}{} | 2 | \screenshot{configure_rockbox/images/ss-sound-settings}{The sound settings screen}{} |
3 | 3 | ||
4 | The sound settings menu offers a selection of sound settings you may | 4 | The sound settings menu offers a selection of sound settings you may |
5 | change to customise your listening experience. | 5 | change to customise your listening experience. |
6 | 6 | ||
7 | \section{\label{ref:volume}Volume} | 7 | \section{\label{ref:volume}Volume} |
@@ -22,17 +22,17 @@ change to customise your listening experience. | |||
22 | minimum of -73~dB to a maximum of +6~dB.}% | 22 | minimum of -73~dB to a maximum of +6~dB.}% |
23 | \opt{ipodnano}{minimum of -72~dB to a maximum of +6~dB.}% | 23 | \opt{ipodnano}{minimum of -72~dB to a maximum of +6~dB.}% |
24 | \opt{ipodvideo,cowond2}{minimum of -89~dB to a maximum of +6~dB.}% | 24 | \opt{ipodvideo,cowond2}{minimum of -89~dB to a maximum of +6~dB.}% |
25 | \opt{ipodnano2g,ipodcolor,ipod1g2g,iriverh10,iriverh10_5gb,sansa,sansaAMS}{minimum of | 25 | \opt{ipodnano2g,ipodcolor,ipod1g2g,iriverh10,iriverh10_5gb,sansa,sansaAMS}{minimum of |
26 | -74~dB to a maximum of +6~dB.}% | 26 | -74~dB to a maximum of +6~dB.}% |
27 | \opt{gigabeats}{minimum of -90~dB to a maximum of +6~dB.}% | 27 | \opt{gigabeats}{minimum of -90~dB to a maximum of +6~dB.}% |
28 | \opt{gigabeatf,vibe500}{minimum of -74~dB to a maximum of +6~dB.}% | 28 | \opt{gigabeatf,vibe500}{minimum of -74~dB to a maximum of +6~dB.}% |
29 | \opt{fuzeplus}{minimum of -100~dB to a maximum of +6~dB.} | 29 | \opt{fuzeplus}{minimum of -100~dB to a maximum of +6~dB.} |
30 | \opt{samsungyh}{minimum of -128~dB to a maximum of 0~dB.} | 30 | \opt{samsungyh}{minimum of -128~dB to a maximum of 0~dB.} |
31 | \opt{ipodvideo}{\\Remark: Lowering the volume below -57~dB will also affect the line-out | 31 | \opt{ipodvideo}{\\Remark: Lowering the volume below -57~dB will also affect the line-out |
32 | and the recording gain.} | 32 | and the recording gain.} |
33 | \opt{cowond2}{\\Remark: Lowering the volume below -57~dB will also affect the line-out.} | 33 | \opt{cowond2}{\\Remark: Lowering the volume below -57~dB will also affect the line-out.} |
34 | 34 | ||
35 | \nopt{gigabeats}{ | 35 | \nopt{gigabeats}{ |
36 | \section{Bass} | 36 | \section{Bass} |
37 | This setting emphasises | 37 | This setting emphasises |
38 | \nopt{iriverh100,iriverh300}{or suppresses} | 38 | \nopt{iriverh100,iriverh300}{or suppresses} |
@@ -50,6 +50,7 @@ change to customise your listening experience. | |||
50 | default set to the maximum volume which equals to no limit. To set a volume | 50 | default set to the maximum volume which equals to no limit. To set a volume |
51 | limit, select a volume from the list and the maximum volume will be limited to | 51 | limit, select a volume from the list and the maximum volume will be limited to |
52 | the selected value all over the system. | 52 | the selected value all over the system. |
53 | \opt{xduoox3}{This setting also applies to the Line Out of the \dap{}, as at full scale the \dap{} overdrives the signal.} | ||
53 | 54 | ||
54 | \opt{ipodvideo}{ | 55 | \opt{ipodvideo}{ |
55 | \section{Bass Cutoff} | 56 | \section{Bass Cutoff} |
@@ -87,7 +88,7 @@ change to customise your listening experience. | |||
87 | implemented in hardware, and therefore does not tax the processor when in use. | 88 | implemented in hardware, and therefore does not tax the processor when in use. |
88 | Rockbox also features a more advanced five-band equalizer (see | 89 | Rockbox also features a more advanced five-band equalizer (see |
89 | \reference{ref:EQ}) that is implemented in software and allows more fine | 90 | \reference{ref:EQ}) that is implemented in software and allows more fine |
90 | grained control, but also requires more processor time. | 91 | grained control, but also requires more processor time. |
91 | 92 | ||
92 | \begin{description} | 93 | \begin{description} |
93 | \item[Band 1 Gain.] | 94 | \item[Band 1 Gain.] |
@@ -110,14 +111,14 @@ change to customise your listening experience. | |||
110 | \item[Advanced Tone Control Settings.] | 111 | \item[Advanced Tone Control Settings.] |
111 | This submenu allows you to change advanced parameters for each band. | 112 | This submenu allows you to change advanced parameters for each band. |
112 | \end{description} | 113 | \end{description} |
113 | 114 | ||
114 | As a general guide, EQ band 1 should be used for low frequencies, EQ bands 2 | 115 | As a general guide, EQ band 1 should be used for low frequencies, EQ bands 2 |
115 | to 4 should be used for mids, and EQ band 5 should be used for highs.\\* | 116 | to 4 should be used for mids, and EQ band 5 should be used for highs.\\* |
116 | 117 | ||
117 | \subsection{Advanced Tone Control Settings} | 118 | \subsection{Advanced Tone Control Settings} |
118 | As in the previous menu, the ``gain'' setting controls how much the | 119 | As in the previous menu, the ``gain'' setting controls how much the |
119 | loudness of the band is adjusted. In addition the following parameters | 120 | loudness of the band is adjusted. In addition the following parameters |
120 | can be adjusted: | 121 | can be adjusted: |
121 | 122 | ||
122 | \begin{description} | 123 | \begin{description} |
123 | \item[Band 1 Frequency.] | 124 | \item[Band 1 Frequency.] |
@@ -168,8 +169,8 @@ change to customise your listening experience. | |||
168 | \item[Karaoke.] | 169 | \item[Karaoke.] |
169 | Removes all sound that is common to both channels. Since most | 170 | Removes all sound that is common to both channels. Since most |
170 | music is recorded with vocals being equally present in both channels | 171 | music is recorded with vocals being equally present in both channels |
171 | to make the singer sound centrally placed, this often (but not | 172 | to make the singer sound centrally placed, this often (but not |
172 | always) has the effect of removing the voice track from a song. This | 173 | always) has the effect of removing the voice track from a song. This |
173 | setting also very often has other undesirable effects on the sound. | 174 | setting also very often has other undesirable effects on the sound. |
174 | \end{description} | 175 | \end{description} |
175 | 176 | ||
@@ -212,7 +213,7 @@ change to customise your listening experience. | |||
212 | the right ear hears only the right channel. The result is that sound from | 213 | the right ear hears only the right channel. The result is that sound from |
213 | headphones does not provide the same spatial cues to your ear and brain as | 214 | headphones does not provide the same spatial cues to your ear and brain as |
214 | speakers, and might for that reason sound unnatural to some listeners.\\ | 215 | speakers, and might for that reason sound unnatural to some listeners.\\ |
215 | 216 | ||
216 | The crossfeed function uses an algorithm to feed a delayed and filtered | 217 | The crossfeed function uses an algorithm to feed a delayed and filtered |
217 | portion of the signal from the right channel into the left channel and vice | 218 | portion of the signal from the right channel into the left channel and vice |
218 | versa in order to simulate the spatial cues that the ear and brain receive | 219 | versa in order to simulate the spatial cues that the ear and brain receive |
@@ -238,7 +239,7 @@ change to customise your listening experience. | |||
238 | of both this setting and the \setting{Cross Gain} setting. | 239 | of both this setting and the \setting{Cross Gain} setting. |
239 | \item[High-Frequency Cutoff.] | 240 | \item[High-Frequency Cutoff.] |
240 | Decides at which frequency the cross path audio will start to be cut | 241 | Decides at which frequency the cross path audio will start to be cut |
241 | by the amount described by the \setting{High-Frequency Attenuation} | 242 | by the amount described by the \setting{High-Frequency Attenuation} |
242 | setting. | 243 | setting. |
243 | \end{description} | 244 | \end{description} |
244 | 245 | ||
@@ -246,31 +247,31 @@ change to customise your listening experience. | |||
246 | for the more adventurous user the settings can be fine-tuned to provide a | 247 | for the more adventurous user the settings can be fine-tuned to provide a |
247 | virtual speaker placement suited to ones preference. | 248 | virtual speaker placement suited to ones preference. |
248 | % TODO: adapt the guidelines for crossfeed settings found here? | 249 | % TODO: adapt the guidelines for crossfeed settings found here? |
249 | % http://www.ohl.to/interests-in-audio/crossfeed-and-eq-for-headphones/ | 250 | % http://www.ohl.to/interests-in-audio/crossfeed-and-eq-for-headphones/ |
250 | Beware that the crossfeed function is capable of making the audio distort | 251 | Beware that the crossfeed function is capable of making the audio distort |
251 | if you choose settings which result in a too high output level. | 252 | if you choose settings which result in a too high output level. |
252 | 253 | ||
253 | \section{\label{ref:EQ}Equalizer} | 254 | \section{\label{ref:EQ}Equalizer} |
254 | \screenshot{configure_rockbox/images/ss-equalizer}{The graphical equalizer}{} | 255 | \screenshot{configure_rockbox/images/ss-equalizer}{The graphical equalizer}{} |
255 | Rockbox features a parametric equalizer (EQ). In contrast to non-parametric | 256 | Rockbox features a parametric equalizer (EQ). In contrast to non-parametric |
256 | equalizers, a parametric EQ enables adjusting the center frequency, gain, and | 257 | equalizers, a parametric EQ enables adjusting the center frequency, gain, and |
257 | width of EQ bands separately. The ability to adjust the frequency and width | 258 | width of EQ bands separately. The ability to adjust the frequency and width |
258 | of bands enables more precise control of the EQ frequency response while | 259 | of bands enables more precise control of the EQ frequency response while |
259 | avoiding the use of a large number of bands (often 12+) needed in a | 260 | avoiding the use of a large number of bands (often 12+) needed in a |
260 | non-parametric EQ. | 261 | non-parametric EQ. |
261 | 262 | ||
262 | The graphic below illustrates how the width of 10kHz band can be adjusted to | 263 | The graphic below illustrates how the width of 10kHz band can be adjusted to |
263 | cover a wider (lower Q) or narrower (higher Q) range of frequencies. | 264 | cover a wider (lower Q) or narrower (higher Q) range of frequencies. |
264 | 265 | ||
265 | \includegraphics[width=14cm]{configure_rockbox/images/Q_factor.png} | 266 | \includegraphics[width=14cm]{configure_rockbox/images/Q_factor.png} |
266 | 267 | ||
267 | \nopt{gigabeats}{In some ways the EQ is similar to the | 268 | \nopt{gigabeats}{In some ways the EQ is similar to the |
268 | \setting{Bass} and \setting{Treble} settings described earlier, but the EQ | 269 | \setting{Bass} and \setting{Treble} settings described earlier, but the EQ |
269 | allows you to control the sound much more carefully. Note that the parameteric | 270 | allows you to control the sound much more carefully. Note that the parameteric |
270 | EQ bands will be applied in addition to any bass or treble tone controls. | 271 | EQ bands will be applied in addition to any bass or treble tone controls. |
271 | } \opt{gigabeats}{The EQ is similar to the \setting{Tone Controls} described | 272 | } \opt{gigabeats}{The EQ is similar to the \setting{Tone Controls} described |
272 | above, but allows more delicate control.}\\ | 273 | above, but allows more delicate control.}\\ |
273 | 274 | ||
274 | \note{A maximum of 10 EQ bands are possible on most devices, but using more | 275 | \note{A maximum of 10 EQ bands are possible on most devices, but using more |
275 | than are required will waste battery and introduce additional rounding | 276 | than are required will waste battery and introduce additional rounding |
276 | noise. For best results, use the fewest number of bands required.} | 277 | noise. For best results, use the fewest number of bands required.} |
@@ -324,7 +325,7 @@ change to customise your listening experience. | |||
324 | This option brings up a graphic EQ screen, which allows adjustment of each of | 325 | This option brings up a graphic EQ screen, which allows adjustment of each of |
325 | the three parameters described above (gain, centre frequency, and Q) for each | 326 | the three parameters described above (gain, centre frequency, and Q) for each |
326 | of the five EQ bands. | 327 | of the five EQ bands. |
327 | 328 | ||
328 | \begin{btnmap} | 329 | \begin{btnmap} |
329 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,IAUDIO_X5_PAD,GIGABEAT_PAD% | 330 | \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,IAUDIO_X5_PAD,GIGABEAT_PAD% |
330 | ,GIGABEAT_S_PAD,SANSA_C200_PAD,IAUDIO_M3_PAD,MROBE100_PAD% | 331 | ,GIGABEAT_S_PAD,SANSA_C200_PAD,IAUDIO_M3_PAD,MROBE100_PAD% |
@@ -406,7 +407,7 @@ change to customise your listening experience. | |||
406 | \opt{touchscreen}{\TouchCenter | 407 | \opt{touchscreen}{\TouchCenter |
407 | \opt{COWON_D2_PAD}{/ \ButtonMenu}} | 408 | \opt{COWON_D2_PAD}{/ \ButtonMenu}} |
408 | & | 409 | & |
409 | \opt{HAVEREMOTEKEYMAP}{ | 410 | \opt{HAVEREMOTEKEYMAP}{ |
410 | \opt{IRIVER_RC_H100_PAD}{\ButtonRCSelect} | 411 | \opt{IRIVER_RC_H100_PAD}{\ButtonRCSelect} |
411 | \opt{GIGABEAT_RC_PAD,IAUDIO_RC_PAD}{\ButtonRCPlay} | 412 | \opt{GIGABEAT_RC_PAD,IAUDIO_RC_PAD}{\ButtonRCPlay} |
412 | &} | 413 | &} |
@@ -426,7 +427,7 @@ change to customise your listening experience. | |||
426 | \opt{touchscreen}{\TouchTopLeft | 427 | \opt{touchscreen}{\TouchTopLeft |
427 | \opt{COWON_D2_PAD}{/ \ButtonPower}} | 428 | \opt{COWON_D2_PAD}{/ \ButtonPower}} |
428 | & | 429 | & |
429 | \opt{HAVEREMOTEKEYMAP}{ | 430 | \opt{HAVEREMOTEKEYMAP}{ |
430 | \opt{IRIVER_RC_H100_PAD}{\ButtonRCStop} | 431 | \opt{IRIVER_RC_H100_PAD}{\ButtonRCStop} |
431 | \opt{GIGABEAT_RC_PAD}{\ButtonRCDsp} | 432 | \opt{GIGABEAT_RC_PAD}{\ButtonRCDsp} |
432 | \opt{IAUDIO_RC_PAD}{\ButtonRCRec} | 433 | \opt{IAUDIO_RC_PAD}{\ButtonRCRec} |
@@ -437,16 +438,16 @@ change to customise your listening experience. | |||
437 | \end{btnmap} | 438 | \end{btnmap} |
438 | 439 | ||
439 | \item[Pre-cut.] | 440 | \item[Pre-cut.] |
440 | If too much positive gain is added through the graphical EQ, your music may | 441 | If too much positive gain is added through the graphical EQ, your music may |
441 | distort. The \setting{Precut} setting allows you to apply a global negative | 442 | distort. The \setting{Precut} setting allows you to apply a global negative |
442 | gain to decoded audio, cancelling out positive gain from the EQ. This will | 443 | gain to decoded audio, cancelling out positive gain from the EQ. This will |
443 | prevent distortion when boosting certain frequency ranges, at the expense of | 444 | prevent distortion when boosting certain frequency ranges, at the expense of |
444 | making audio quieter. | 445 | making audio quieter. |
445 | 446 | ||
446 | Alternatively, precut can be used with a flat EQ curve to implement a volume | 447 | Alternatively, precut can be used with a flat EQ curve to implement a volume |
447 | cap. For example, on a player that allows overdriving the headphone output | 448 | cap. For example, on a player that allows overdriving the headphone output |
448 | to +6dB, maximum volume can be capped to +0dB by applying 6dB of precut. Note | 449 | to +6dB, maximum volume can be capped to +0dB by applying 6dB of precut. Note |
449 | that precut is not applied if EQ is disabled. | 450 | that precut is not applied if EQ is disabled. |
450 | 451 | ||
451 | \item[Simple EQ.] | 452 | \item[Simple EQ.] |
452 | This option provides an easier alternative for those who are daunted by all of | 453 | This option provides an easier alternative for those who are daunted by all of |
@@ -507,15 +508,15 @@ details about how to use the feature. | |||
507 | } | 508 | } |
508 | 509 | ||
509 | \section{Haas Surround} | 510 | \section{Haas Surround} |
510 | This setting implements the Haas effect with adjustable delay time to enhance | 511 | This setting implements the Haas effect with adjustable delay time to enhance |
511 | the stereo effect of the sound. A full range Haas effect creates the impression | 512 | the stereo effect of the sound. A full range Haas effect creates the impression |
512 | that sound starts from one channel and ends in the other. Therefore, four additional | 513 | that sound starts from one channel and ends in the other. Therefore, four additional |
513 | functions are provided to move the stage back to the center: | 514 | functions are provided to move the stage back to the center: |
514 | \setting{Balance} to change the left-right channel output ratio. | 515 | \setting{Balance} to change the left-right channel output ratio. |
515 | A bypass band for frequencies that mostly contain vocals, using \setting{f(x1)}, | 516 | A bypass band for frequencies that mostly contain vocals, using \setting{f(x1)}, |
516 | and \setting{f(x2)} to set frequencies which are not affected. The \setting{SIDE ONLY} | 517 | and \setting{f(x2)} to set frequencies which are not affected. The \setting{SIDE ONLY} |
517 | setting uses mid-side processing to determine and apply effect to the side channel only. | 518 | setting uses mid-side processing to determine and apply effect to the side channel only. |
518 | Finally, the \setting{Dry/Wet Mix} setting adjusts the proportion mixed from the | 519 | Finally, the \setting{Dry/Wet Mix} setting adjusts the proportion mixed from the |
519 | original (dry) and 'effected' (wet) signals. | 520 | original (dry) and 'effected' (wet) signals. |
520 | 521 | ||
521 | \section{Perceptual Bass Enhancement} | 522 | \section{Perceptual Bass Enhancement} |
@@ -523,10 +524,10 @@ This setting implements a group delay correction and an additional biophonic EQ | |||
523 | emphasize to boost bass perception. The \setting{precut} setting provides | 524 | emphasize to boost bass perception. The \setting{precut} setting provides |
524 | negative overall gain to prevent possible audio distortion due to the EQ | 525 | negative overall gain to prevent possible audio distortion due to the EQ |
525 | gain. The defult precut value is set to -2.5 dB and can be adjust from 0 dB to -4.5 dB. | 526 | gain. The defult precut value is set to -2.5 dB and can be adjust from 0 dB to -4.5 dB. |
526 | Note that this effect will stack with any other EQ applied. | 527 | Note that this effect will stack with any other EQ applied. |
527 | 528 | ||
528 | \section{Auditory Fatigue Reduction} | 529 | \section{Auditory Fatigue Reduction} |
529 | Human hearing is more senstive to some frequency bands. This setting applies additional | 530 | Human hearing is more senstive to some frequency bands. This setting applies additional |
530 | equalization and bi-shelf filtering to reduce signals in these bands to minimize | 531 | equalization and bi-shelf filtering to reduce signals in these bands to minimize |
531 | the chance that temporary threshold shift (auditory fatigue) occurs. | 532 | the chance that temporary threshold shift (auditory fatigue) occurs. |
532 | 533 | ||