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author | Marc Guay <marcguay@rockbox.org> | 2008-06-21 19:29:53 +0000 |
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committer | Marc Guay <marcguay@rockbox.org> | 2008-06-21 19:29:53 +0000 |
commit | e095185b7d6a76876a9818dbe67b9fbbd70859ce (patch) | |
tree | 2f9a1620eb78b0243fcac1bd758a71097d0de849 | |
parent | e028cff95bd166305aa75ddd9593a37cbac982db (diff) | |
download | rockbox-e095185b7d6a76876a9818dbe67b9fbbd70859ce.tar.gz rockbox-e095185b7d6a76876a9818dbe67b9fbbd70859ce.zip |
Add Trigger section to the recording settings chapter of the manual. FS#8539
git-svn-id: svn://svn.rockbox.org/rockbox/trunk@17748 a1c6a512-1295-4272-9138-f99709370657
-rw-r--r-- | manual/configure_rockbox/recording_settings.tex | 97 |
1 files changed, 93 insertions, 4 deletions
diff --git a/manual/configure_rockbox/recording_settings.tex b/manual/configure_rockbox/recording_settings.tex index ed2c234e77..113508b2e5 100644 --- a/manual/configure_rockbox/recording_settings.tex +++ b/manual/configure_rockbox/recording_settings.tex | |||
@@ -36,7 +36,7 @@ | |||
36 | Choose which format to save your recording in. The available choices are | 36 | Choose which format to save your recording in. The available choices are |
37 | the two uncompressed formats \setting{PCM Wave} and \setting{AIFF}, the | 37 | the two uncompressed formats \setting{PCM Wave} and \setting{AIFF}, the |
38 | losslessly compressed \setting{WavPack} and the lossy | 38 | losslessly compressed \setting{WavPack} and the lossy |
39 | \setting{MPEG Layer 3}. | 39 | \setting{MPEG Layer 3}. |
40 | 40 | ||
41 | \section{Encoder Settings} | 41 | \section{Encoder Settings} |
42 | This sets the bitrate when using the \setting{MPEG Layer 3} format. And has | 42 | This sets the bitrate when using the \setting{MPEG Layer 3} format. And has |
@@ -133,9 +133,96 @@ | |||
133 | Options: \setting{Off}, \setting{Main unit only}, | 133 | Options: \setting{Off}, \setting{Main unit only}, |
134 | \setting{Main and remote unit}, \setting{Remote unit only}. | 134 | \setting{Main and remote unit}, \setting{Remote unit only}. |
135 | } | 135 | } |
136 | \section{Trigger} | 136 | \section{Trigger} |
137 | \fixme{Add description of triggered recording.} | 137 | When you record a source you often are only interested in the sound and not |
138 | 138 | the silence in between. The recording trigger provides you with a | |
139 | tool to automatically distinguish between sound and silence and record the | ||
140 | sound only. Unfortunately it is not very easy to make this distinction between | ||
141 | silence and sound because you hardly ever encounter real silence. There always | ||
142 | are background noises. What is considered as background noise depends on the | ||
143 | situation. For example during a lecture the very low noise of rustling paper | ||
144 | might be considered as background noise. During a rock concert the murmur of | ||
145 | the audience might be concidered background noise which is much louder compared | ||
146 | to rustling paper. Also the duration of the signal matters. When you record | ||
147 | speech you want to record every syllable. When you record live music you may | ||
148 | not be interested in that chord the guitarist strokes for two minutes before | ||
149 | the show to verify his amp is turned on. The trigger features numerous | ||
150 | parameters to adapt its behaviour to the desired situation. | ||
151 | \begin{description} | ||
152 | \item[Trigger] | ||
153 | This parameter specifies the trigger mode. When set to \setting{Off} | ||
154 | the recording must be started manually and apart from the Prerecord time no | ||
155 | other parameter has any effect. \setting{Once} will have the trigger start | ||
156 | one recording only; after the recording has finished the input signal will | ||
157 | not start another recording. \setting{Repeat} will have the trigger start | ||
158 | multiple recordings. | ||
159 | |||
160 | \item[Trigtype] | ||
161 | \fixme{Add description of Trigtype} | ||
162 | Options: \setting{Stop}, \setting{Pause}, \setting{New File}. | ||
163 | |||
164 | \item[Prerecord Time] | ||
165 | This specifies the time that is included into the recording before the | ||
166 | trigger event occurs. This is very useful if you record a signal that fades | ||
167 | in. Usually you want to set the prerecord time >= start duration. That | ||
168 | ensures that you record the entire sound. Strictly speaking the prerecord | ||
169 | time is not a special parameter of the trigger. It is available during normal | ||
170 | recordings too. | ||
171 | |||
172 | \item[Start Above] | ||
173 | The start threshold defines the minimal volume a sound must have to start the | ||
174 | recording. It is displayed numerically in the line "Start Above". Note that | ||
175 | the unit of the threshold depends on the settings of the peakmeter. (i.e. | ||
176 | When the peakmeter displays db you can adjust the level in db and when the | ||
177 | peakmeter is set to linear the threshold is displayed as percentage.) In the | ||
178 | peakmeter at the bottom of the screen the start threshold is displayed | ||
179 | graphically by a little triangle pointing to the right. There are two special | ||
180 | values. The value \setting{Off} turns the start condition off. With this | ||
181 | setting you have to start the recording manually and the trigger only stops | ||
182 | the recording according to the stop condition. The setting \setting{-inf} | ||
183 | sets the trigger to the absolute minimum. This setting only makes sense when | ||
184 | you record via a digital input as even the noise of the device itself would | ||
185 | exceed this threshold immediately. | ||
186 | |||
187 | \item[for at least] | ||
188 | The start duration defines the minimal duration that a signal must exceed the | ||
189 | start threshold to start the recording. Depending on your situation you may | ||
190 | want to set this setting to 0 (e.g. when copying a song from a commercial | ||
191 | medium) or to quite big values. Because sound is not continuous by nature | ||
192 | (think of percussion) neglectable dropouts are tolerated during this start | ||
193 | duration. | ||
194 | |||
195 | \item[Stop Below] | ||
196 | When the sound level drops below the stop threshold the recording is stopped. | ||
197 | It is displayed numerically in the line "Stop Below". Just like the start | ||
198 | threshold the unit of the stop threshold depends on the settings of the peak | ||
199 | meter. There's also a small triangular marker in the peak meter at the bottom | ||
200 | of the screen. In contrast to the start threshold marker it points to the | ||
201 | left. The value \setting{Off} turns the stop condition off. With this setting you | ||
202 | have to stop the recording manually. | ||
203 | |||
204 | \item[for at least] | ||
205 | This time specifies the duration the signal must drop below the stop | ||
206 | threshold to stop the recording. By selecting high values you can ensure | ||
207 | that, for example, trailing fade-outs are recorded entirely. | ||
208 | |||
209 | \item[Presplit Gap] | ||
210 | When the signal drops below the stop threshold for the time specified by the | ||
211 | presplit gap a new recording may be started when the signal raises above the | ||
212 | start threshold. Thus the value of the presplit gap should be smaller than | ||
213 | the stop hold time. Otherwise the recording would stop anyway and the | ||
214 | presplit gap has no effect. For most uses I recommend to set this parameter | ||
215 | equal to the stop hold time. Sometimes you may encounter a sound source (e.g. | ||
216 | a CD) where the songs have fade outs and hardly any gaps between the tracks. | ||
217 | Here you can set the stop hold time to long values to ensure that all fade | ||
218 | outs are recorded completely. By specifying a short presplit gap you still | ||
219 | can split the recording into seperate tracks whenever the trigger start | ||
220 | condition is met. | ||
221 | |||
222 | \end{description} | ||
223 | |||
224 | More information can be found at \wikilink{VolumeTriggeredRecording}. | ||
225 | |||
139 | \opt{h1xx,h300}{% | 226 | \opt{h1xx,h300}{% |
140 | \section{Automatic Gain Control} | 227 | \section{Automatic Gain Control} |
141 | The \setting{Automatic Gain Control} has five different presets for | 228 | The \setting{Automatic Gain Control} has five different presets for |
@@ -168,3 +255,5 @@ | |||
168 | This setting controls how long the level is too loud or soft before the | 255 | This setting controls how long the level is too loud or soft before the |
169 | \setting{Automatic Gain Control} kicks in. | 256 | \setting{Automatic Gain Control} kicks in. |
170 | }% | 257 | }% |
258 | |||
259 | |||