diff options
author | Nils Wallménius <nils@rockbox.org> | 2007-01-29 17:03:56 +0000 |
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committer | Nils Wallménius <nils@rockbox.org> | 2007-01-29 17:03:56 +0000 |
commit | 5fab9fc85f700a9407dd2bd2f163ef3c14553a50 (patch) | |
tree | 4e92042a8ba15a51a34c936e56c244a474e56179 /manual | |
parent | f90542b5923db87fb08e7017ed20d89e8e6db81c (diff) | |
download | rockbox-5fab9fc85f700a9407dd2bd2f163ef3c14553a50.tar.gz rockbox-5fab9fc85f700a9407dd2bd2f163ef3c14553a50.zip |
Fix a small typo, add FIXME's for sansa and h10 and clean some whitespace
git-svn-id: svn://svn.rockbox.org/rockbox/trunk@12147 a1c6a512-1295-4272-9138-f99709370657
Diffstat (limited to 'manual')
-rw-r--r-- | manual/configure_rockbox/sound_settings.tex | 185 |
1 files changed, 93 insertions, 92 deletions
diff --git a/manual/configure_rockbox/sound_settings.tex b/manual/configure_rockbox/sound_settings.tex index 9c6c47dd19..a55c601b62 100644 --- a/manual/configure_rockbox/sound_settings.tex +++ b/manual/configure_rockbox/sound_settings.tex | |||
@@ -5,12 +5,13 @@ The Sound Settings menu offers a selection of sound properties you may | |||
5 | change to customise your listening experience. | 5 | change to customise your listening experience. |
6 | 6 | ||
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 | 11 | can produce without possible distortion (clipping). All values lower than |
12 | this 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, x5, h10, |
14 | h10_5gb, sansa}{ | ||
14 | Values higher than 0 dB are available and can be used to raise the | 15 | 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 | 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 | ordinarily lead to distorted sound, but might work nicely for music that has |
@@ -24,23 +25,23 @@ change to customise your listening experience. | |||
24 | \opt{x5}{minimum of -73 dB to a maximum of +6 dB.} | 25 | \opt{x5}{minimum of -73 dB to a maximum of +6 dB.} |
25 | \opt{ipodcolor}{minimum of -\fixme{??} dB to a maximum of +\fixme{??} dB.} | 26 | \opt{ipodcolor}{minimum of -\fixme{??} dB to a maximum of +\fixme{??} dB.} |
26 | \opt{h10,h10_5gb,sansa}{minimum of -74 dB to a maximum of +6 db.} | 27 | \opt{h10,h10_5gb,sansa}{minimum of -74 dB to a maximum of +6 db.} |
27 | 28 | ||
28 | \section{Bass} | 29 | \section{Bass} |
29 | \opt{player,recorder,recorderv2fm,ondio}{This emphasises or suppresses the | 30 | \opt{player,recorder,recorderv2fm,ondio}{This emphasises or suppresses the |
30 | lower (bass) sounds in the track. 0 means that bass sounds are unaltered | 31 | lower (bass) sounds in the track. 0 means that bass sounds are unaltered |
31 | (flat response).} | 32 | (flat response).} |
32 | \opt{h1xx,h300}{The bass setting can be used to increase (but not decrease) | 33 | \opt{h1xx,h300}{The bass setting can be used to increase (but not decrease) |
33 | frequencies below 300Hz. Bass boost can be set from 0 to 24 dB in | 34 | frequencies below 300Hz. Bass boost can be set from 0 to 24 dB in |
34 | increments of 2 dB. A setting of 0 means that low frequencies are unaltered | 35 | increments of 2 dB. A setting of 0 means that low frequencies are unaltered |
35 | (flat response).} | 36 | (flat response).} |
36 | \opt{ipodnano,ipodcolor,ipodvideo}{This emphasises or suppresses the | 37 | \opt{ipodnano,ipodcolor,ipodvideo}{This emphasises or suppresses the |
37 | lower (bass) sounds in the track. 0dB means that bass in unaltered | 38 | lower (bass) sounds in the track. 0dB means that bass in unaltered |
38 | (flat response). The minimum setting is -6dB and the maximum is 9dB.} | 39 | (flat response). The minimum setting is -6dB and the maximum is 9dB.} |
39 | \opt{x5,sansa}{\fixme{add platform specific information here}} | 40 | \opt{x5,sansa,h10,h10_5gb}{\fixme{add platform specific information here}} |
40 | 41 | ||
41 | \section{Treble} | 42 | \section{Treble} |
42 | \opt{player,recorder,recorderv2fm,ondio}{This emphasises or suppresses the | 43 | \opt{player,recorder,recorderv2fm,ondio}{This emphasises or suppresses the |
43 | higher (treble) sounds in the track. 0 means that treble sounds are | 44 | higher (treble) sounds in the track. 0 means that treble sounds are |
44 | unaltered (flat response).} | 45 | unaltered (flat response).} |
45 | \opt{h1xx,h300}{The Treble setting can be used to increase (but not decrease) | 46 | \opt{h1xx,h300}{The Treble setting can be used to increase (but not decrease) |
46 | frequencies above 1.5kHz. Treble boost can be set from 0 to 6 dB in | 47 | frequencies above 1.5kHz. Treble boost can be set from 0 to 6 dB in |
@@ -49,17 +50,17 @@ change to customise your listening experience. | |||
49 | \opt{ipodnano,ipodcolor,ipodvideo}{This setting emphasises or suppresses | 50 | \opt{ipodnano,ipodcolor,ipodvideo}{This setting emphasises or suppresses |
50 | the higher (treble) sounds in the track. 0dB means that treble is unaltered | 51 | the higher (treble) sounds in the track. 0dB means that treble is unaltered |
51 | (flat response). The minimum setting -6dB and the maximum is 9dB.} | 52 | (flat response). The minimum setting -6dB and the maximum is 9dB.} |
52 | \opt{x5,sansa}{\fixme{add platform specific information here}} | 53 | \opt{x5,sansa,h10,h10_5gb}{\fixme{add platform specific information here}} |
53 | 54 | ||
54 | \section{Balance} | 55 | \section{Balance} |
55 | This setting controls the balance between the left and right channels. The | 56 | This setting controls the balance between the left and right channels. The |
56 | default, 0, means that the left and right outputs are equal in volume. | 57 | default, 0, means that the left and right outputs are equal in volume. |
57 | Negative numbers increase the volume of the left channel relative to the | 58 | Negative numbers increase the volume of the left channel relative to the |
58 | right, positive numbers increase the volume of the right channel relative | 59 | right, positive numbers increase the volume of the right channel relative |
59 | to the left. | 60 | to the left. |
60 | 61 | ||
61 | \section{Channels} | 62 | \section{Channels} |
62 | A stereo audio signal consists of two channels, left and right. The | 63 | A stereo audio signal consists of two channels, left and right. The |
63 | \setting{Channels} setting controls if these channels are to be combined in | 64 | \setting{Channels} setting controls if these channels are to be combined in |
64 | any way, and if so, in what manner they will be combined. | 65 | any way, and if so, in what manner they will be combined. |
65 | Available options are: | 66 | Available options are: |
@@ -95,22 +96,22 @@ change to customise your listening experience. | |||
95 | \end{tabularx} | 96 | \end{tabularx} |
96 | \end{center} | 97 | \end{center} |
97 | \end{table} | 98 | \end{table} |
98 | 99 | ||
99 | \section{Stereo Width} | 100 | \section{Stereo Width} |
100 | Stereo width allows you to manually specify the effect that is applied | 101 | Stereo width allows you to manually specify the effect that is applied |
101 | when the \setting{Channels} setting is set to \setting{Custom}. | 102 | when the \setting{Channels} setting is set to \setting{Custom}. |
102 | All values below 100\% will progressively mix the contents of one channel | 103 | All values below 100\% will progressively mix the contents of one channel |
103 | into the other. This has the effect of gradually centering the stereo image, | 104 | into the other. This has the effect of gradually centering the stereo image, |
104 | until you have monophonic sound at 0\%. Values above 100\% will progressively | 105 | until you have monophonic sound at 0\%. Values above 100\% will progressively |
105 | remove components in one channel that is also present in the other. This has | 106 | remove components in one channel that is also present in the other. This has |
106 | the effect of widening the stereo field. A value of 100\% will leave the | 107 | the effect of widening the stereo field. A value of 100\% will leave the |
107 | stereo field unaltered. | 108 | stereo field unaltered. |
108 | 109 | ||
109 | \opt{recorder,recorderv2fm}{ | 110 | \opt{recorder,recorderv2fm}{ |
110 | \section{Loudness} | 111 | \section{Loudness} |
111 | Loudness is an effect which emphasises bass and treble. This makes the | 112 | Loudness is an effect which emphasises bass and treble. This makes the |
112 | track seem louder by amplifying the frequencies that the human ear finds | 113 | track seem louder by amplifying the frequencies that the human ear finds |
113 | hard to hear. Frequencies in the vocal range are unaffected, since the human | 114 | hard to hear. Frequencies in the vocal range are unaffected, since the human |
114 | ear picks these up very easily. | 115 | ear picks these up very easily. |
115 | } | 116 | } |
116 | 117 | ||
@@ -118,7 +119,7 @@ change to customise your listening experience. | |||
118 | \section{Auto Volume} | 119 | \section{Auto Volume} |
119 | Auto volume is a feature that automatically lowers the volume on loud parts, | 120 | Auto volume is a feature that automatically lowers the volume on loud parts, |
120 | and then slowly restores the volume to the previous level over a time | 121 | and then slowly restores the volume to the previous level over a time |
121 | interval. That time interval is configurable here. Short values like 20ms | 122 | interval. That time interval is configurable here. Short values like 20ms |
122 | are useful for ensuring a constant volume for in car use and other | 123 | are useful for ensuring a constant volume for in car use and other |
123 | applications where background noise makes a constant loudness desirable. | 124 | applications where background noise makes a constant loudness desirable. |
124 | A longer timeout means that the change in volume back to the previous level | 125 | A longer timeout means that the change in volume back to the previous level |
@@ -128,57 +129,57 @@ change to customise your listening experience. | |||
128 | \opt{recorder,recorderv2fm}{ | 129 | \opt{recorder,recorderv2fm}{ |
129 | \section{Super Bass} | 130 | \section{Super Bass} |
130 | This setting changes the threshold at which bass frequencies are affected by | 131 | This setting changes the threshold at which bass frequencies are affected by |
131 | the \setting{Loudness} setting, making the sound of drums and bass guitar | 132 | the \setting{Loudness} setting, making the sound of drums and bass guitar |
132 | louder in comparison to the rest of the track. This setting only has an | 133 | louder in comparison to the rest of the track. This setting only has an |
133 | effect if \setting{Loudness} is set to a value larger than 0dB. | 134 | effect if \setting{Loudness} is set to a value larger than 0dB. |
134 | } | 135 | } |
135 | 136 | ||
136 | \opt{recorder,recorderv2fm}{ | 137 | \opt{recorder,recorderv2fm}{ |
137 | \section{MDB {}- Micronas Dynamic Bass} | 138 | \section{MDB {}- Micronas Dynamic Bass} |
138 | The rest of the parameters on this menu relate to the Micronas Dynamic | 139 | The rest of the parameters on this menu relate to the Micronas Dynamic |
139 | Bass (MDB) function. This is designed to enable the user to hear bass | 140 | Bass (MDB) function. This is designed to enable the user to hear bass |
140 | notes that the headphones and/or speakers are not capable of reproducing. | 141 | notes that the headphones and/or speakers are not capable of reproducing. |
141 | Every tone has a fundamental frequency (the ``main tone'') and also several | 142 | Every tone has a fundamental frequency (the ``main tone'') and also several |
142 | harmonics, which are related to that tone. The human brain has a mechanism | 143 | harmonics, which are related to that tone. The human brain has a mechanism |
143 | whereby it can actually infer the presence of bass notes from the higher | 144 | whereby it can actually infer the presence of bass notes from the higher |
144 | harmonics that they would generate. | 145 | harmonics that they would generate. |
145 | 146 | ||
146 | The practical upshot of this is that MDB produces a more authentic sounding | 147 | The practical upshot of this is that MDB produces a more authentic sounding |
147 | bass by tricking the brain in believing it's hearing tones that the | 148 | bass by tricking the brain in believing it's hearing tones that the |
148 | headphones or speakers aren't capable of reproducing. Try it and see | 149 | headphones or speakers aren't capable of reproducing. Try it and see |
149 | what you think. | 150 | what you think. |
150 | 151 | ||
151 | The MDB parameters are as follows. | 152 | The MDB parameters are as follows. |
152 | % | 153 | % |
153 | \begin{description} | 154 | \begin{description} |
154 | \item[MDB enable:] | 155 | \item[MDB enable:] |
155 | This turns the MDB feature on or off. For many users this will be the | 156 | This turns the MDB feature on or off. For many users this will be the |
156 | only setting they need, since Rockbox picks sensible defaults for the | 157 | only setting they need, since Rockbox picks sensible defaults for the |
157 | other parameters. MDB is turned off by default. | 158 | other parameters. MDB is turned off by default. |
158 | \item[MDB strength:] | 159 | \item[MDB strength:] |
159 | How loud the harmonics generated by the MDB will be. | 160 | How loud the harmonics generated by the MDB will be. |
160 | \item[MDB Harmonics:] | 161 | \item[MDB Harmonics:] |
161 | The percentage of the low notes that is converted into harmonics. | 162 | The percentage of the low notes that is converted into harmonics. |
162 | If low notes are causing speaker distortion, this can be set to 100\% | 163 | If low notes are causing speaker distortion, this can be set to 100\% |
163 | to eliminate the fundamental completely and only produce harmonics in the | 164 | to eliminate the fundamental completely and only produce harmonics in the |
164 | signal. If set to 0\% this is the same as turning the MDB feature off. | 165 | signal. If set to 0\% this is the same as turning the MDB feature off. |
165 | \item[MDB Centre Frequency:] | 166 | \item[MDB Centre Frequency:] |
166 | The cutoff frequency of your headphones or speakers. This is usually | 167 | The cutoff frequency of your headphones or speakers. This is usually |
167 | given in the specification for the headphones/speakers. | 168 | given in the specification for the headphones/speakers. |
168 | \item[MDB shape:] | 169 | \item[MDB shape:] |
169 | It is recommended that this parameter be set to 1.5 times the centre frequency. | 170 | It is recommended that this parameter be set to 1.5 times the centre frequency. |
170 | 171 | ||
171 | This is the frequency up to which harmonics are generated. Some of the | 172 | This is the frequency up to which harmonics are generated. Some of the |
172 | lower fundamentals near the cut{}-off range will have their lower | 173 | lower fundamentals near the cut{}-off range will have their lower |
173 | harmonics cut off, since they will be below the range of the speakers. | 174 | harmonics cut off, since they will be below the range of the speakers. |
174 | Fundamentals between the cut{}-off frequency and the lower frequency | 175 | Fundamentals between the cut{}-off frequency and the lower frequency |
175 | will have their harmonics proportionally boosted to compensate and restore | 176 | will have their harmonics proportionally boosted to compensate and restore |
176 | the `loudness' of these notes. | 177 | the `loudness' of these notes. |
177 | 178 | ||
178 | For most users, the defaults should provide an improvement in sound | 179 | For most users, the defaults should provide an improvement in sound |
179 | quality and can be safely left as they are. For reference, the defaults | 180 | quality and can be safely left as they are. For reference, the defaults |
180 | Rockbox uses are: | 181 | Rockbox uses are: |
181 | % | 182 | % |
182 | \begin{table}[h!] | 183 | \begin{table}[h!] |
183 | \begin{center} | 184 | \begin{center} |
184 | \begin{tabular}{@{}lc@{}}\toprule | 185 | \begin{tabular}{@{}lc@{}}\toprule |
@@ -199,14 +200,14 @@ change to customise your listening experience. | |||
199 | Crossfeed attempts to make the experience of listening to music on | 200 | Crossfeed attempts to make the experience of listening to music on |
200 | headphones more similar to listening to music with stereo speakers. When you | 201 | headphones more similar to listening to music with stereo speakers. When you |
201 | listen to music through speakers, each ear will hear sound originating from | 202 | listen to music through speakers, each ear will hear sound originating from |
202 | both speakers. However, the sound from the left speaker reaches your right | 203 | both speakers. However, the sound from the left speaker reaches your right |
203 | ear slightly later than it does your left ear, and vice versa. | 204 | ear slightly later than it does your left ear, and vice versa. |
204 | 205 | ||
205 | The human ear and brain together are very good at interpreting the timing | 206 | The human ear and brain together are very good at interpreting the timing |
206 | differences between direct sounds and reflected sounds and using that | 207 | differences between direct sounds and reflected sounds and using that |
207 | information to identify the direction that the sound is coming from. On the | 208 | information to identify the direction that the sound is coming from. On the |
208 | other hand, when listening to headphones, each ear hears only the stereo | 209 | other hand, when listening to headphones, each ear hears only the stereo |
209 | channel corresponding to it. The left ear hears only the left channel and | 210 | channel corresponding to it. The left ear hears only the left channel and |
210 | the right ear hears only the right channel. The result is that sound from | 211 | the right ear hears only the right channel. The result is that sound from |
211 | headphones does not provide the same spatial cues to your ear and brain as | 212 | headphones does not provide the same spatial cues to your ear and brain as |
212 | speakers, and might for that reason sound unnatural to some listeners. | 213 | speakers, and might for that reason sound unnatural to some listeners. |
@@ -216,7 +217,7 @@ change to customise your listening experience. | |||
216 | versa in order to simulate the spatial cues that the ear and brain receive | 217 | versa in order to simulate the spatial cues that the ear and brain receive |
217 | when listening to a set of loudspeakers placed in front of the listener. The | 218 | when listening to a set of loudspeakers placed in front of the listener. The |
218 | result is a more natural stereo image that can be especially appreciated in | 219 | result is a more natural stereo image that can be especially appreciated in |
219 | older rock and jazz records, where one instrument is often hard-panned to | 220 | older rock and jazz records, where one instrument is often hard-panned to |
220 | just one of the speakers. Many people will find such records tiring to listen | 221 | just one of the speakers. Many people will find such records tiring to listen |
221 | to using earphones and no crossfeed effect. | 222 | to using earphones and no crossfeed effect. |
222 | 223 | ||
@@ -239,7 +240,7 @@ change to customise your listening experience. | |||
239 | by the amount described by the \setting{High-Frequency Attenuation} | 240 | by the amount described by the \setting{High-Frequency Attenuation} |
240 | setting. | 241 | setting. |
241 | \end{description} | 242 | \end{description} |
242 | 243 | ||
243 | Most users will find the default settings to yield satisfactory results, but | 244 | Most users will find the default settings to yield satisfactory results, but |
244 | for the more adventurous user the settings can be fine-tuned to provide a | 245 | for the more adventurous user the settings can be fine-tuned to provide a |
245 | virtual speaker placement suited to ones preference. | 246 | virtual speaker placement suited to ones preference. |
@@ -256,58 +257,58 @@ change to customise your listening experience. | |||
256 | Rockbox features a parametric equalizer. As the name suggests, a parametric | 257 | Rockbox features a parametric equalizer. As the name suggests, a parametric |
257 | equalizer lets you control several different parameters for each band of the | 258 | equalizer lets you control several different parameters for each band of the |
258 | equalizer. Rockbox's parametric EQ is composed of five different EQ bands: | 259 | equalizer. Rockbox's parametric EQ is composed of five different EQ bands: |
259 | 260 | ||
260 | \begin{table} | 261 | \begin{table} |
261 | \begin{center} | 262 | \begin{center} |
262 | \begin{tabularx}{\textwidth}{lX}\toprule | 263 | \begin{tabularx}{\textwidth}{lX}\toprule |
263 | \textbf{EQ Band(s)} & \textbf{Description} \\\midrule | 264 | \textbf{EQ Band(s)} & \textbf{Description} \\\midrule |
264 | Band 0: Low shelf filter | 265 | Band 0: Low shelf filter |
265 | & A low shelf filter boosts or lowers all frequencies below the | 266 | & A low shelf filter boosts or lowers all frequencies below the |
266 | designated cutoff point. The ``bass''control on most home or car | 267 | designated cutoff point. The ``bass''control on most home or car |
267 | stereos is an example of a low shelf filter. The low shelf | 268 | stereos is an example of a low shelf filter. The low shelf |
268 | filter in Rockbox is more flexible than a simple ``bass'' | 269 | filter in Rockbox is more flexible than a simple ``bass'' |
269 | control, because a simple bass control only lets you adjust | 270 | control, because a simple bass control only lets you adjust |
270 | the amount of gain that is applied. Rockbox lets you control | 271 | the amount of gain that is applied. Rockbox lets you control |
271 | the amount of gain that is applied (i.e., the amount that the | 272 | the amount of gain that is applied (i.e., the amount that the |
272 | bass is boosted or cut) too, but Rockbox also allows you to | 273 | bass is boosted or cut) too, but Rockbox also allows you to |
273 | adjust the ``cutoff'' frequency where the shelving starts to take | 274 | adjust the ``cutoff'' frequency where the shelving starts to take |
274 | effect. For example, a cutoff frequency of 50 Hz will adjust only very | 275 | effect. For example, a cutoff frequency of 50 Hz will adjust only very |
275 | low frequencies. A cutoff frequency of 200 Hz, on the other hand, will | 276 | low frequencies. A cutoff frequency of 200 Hz, on the other hand, will |
276 | adjust a much wider range of bass frequencies.. \\ | 277 | adjust a much wider range of bass frequencies.\\ |
277 | % | 278 | % |
278 | Bands 1-3: Peaking filters | 279 | Bands 1-3: Peaking filters |
279 | & Peaking EQ filters boost or low a center frequency that you select, | 280 | & Peaking EQ filters boost or low a center frequency that you select, |
280 | as well as the frequencies within a certain distance of that | 281 | as well as the frequencies within a certain distance of that |
281 | center. Graphic equalizers in home stereos are usually peaking | 282 | center. Graphic equalizers in home stereos are usually peaking |
282 | filters. The peaking EQs on Rockbox's parametric equalizer let | 283 | filters. The peaking EQs on Rockbox's parametric equalizer let |
283 | you adjust three different parameters for each EQ band 1 | 284 | you adjust three different parameters for each EQ band 1 |
284 | through 3. The ``center'' parameter controls the center | 285 | through 3. The ``center'' parameter controls the center |
285 | frequency that is adjusted by that EQ band. The ``gain'' | 286 | frequency that is adjusted by that EQ band. The ``gain'' |
286 | parameter controls how much each band is adjusted. Positive | 287 | parameter controls how much each band is adjusted. Positive |
287 | numbers make the EQ band louder, while negative numbers make | 288 | numbers make the EQ band louder, while negative numbers make |
288 | that EQ band quieter. Finally, the ``Q'' parameter controls how wide | 289 | that EQ band quieter. Finally, the ``Q'' parameter controls how wide |
289 | or narrow each EQ band is. Higher Q values will affect a | 290 | or narrow each EQ band is. Higher Q values will affect a |
290 | narrow band of frequencies, while lower EQ values will affect | 291 | narrow band of frequencies, while lower Q values will affect |
291 | a wider band of frequencies. \\ | 292 | a wider band of frequencies.\\ |
292 | % | 293 | % |
293 | Band 4: Hi shelf filter | 294 | Band 4: Hi shelf filter |
294 | & A high shelf filter boosts or lowers all frequencies above a | 295 | & A high shelf filter boosts or lowers all frequencies above a |
295 | designated cutoff point. The ``treble'' control on most home or car | 296 | designated cutoff point. The ``treble'' control on most home or car |
296 | stereos is an example of a high shelf filter. The high shelf filter is | 297 | stereos is an example of a high shelf filter. The high shelf filter is |
297 | adjusted the same way as the low shelf filter, except that it works on | 298 | adjusted the same way as the low shelf filter, except that it works on |
298 | the high end of the frequency spectrum rather than the low end.\\ | 299 | the high end of the frequency spectrum rather than the low end.\\ |
299 | \bottomrule | 300 | \bottomrule |
300 | \end{tabularx} | 301 | \end{tabularx} |
301 | \end{center} | 302 | \end{center} |
302 | \end{table} | 303 | \end{table} |
303 | 304 | ||
304 | So, as a general guide, EQ band 0 should be used for lows, EQ bands 1 | 305 | So, as a general guide, EQ band 0 should be used for lows, EQ bands 1 |
305 | through 3 should be used for mids, and EQ band 4 should be used for highs. | 306 | through 3 should be used for mids, and EQ band 4 should be used for highs. |
306 | 307 | ||
307 | \begin {description} | 308 | \begin {description} |
308 | \item[Enable EQ:] | 309 | \item[Enable EQ:] |
309 | This option controls whether the EQ is on or off. | 310 | This option controls whether the EQ is on or off. |
310 | 311 | ||
311 | \item[Graphical EQ:] | 312 | \item[Graphical EQ:] |
312 | This option brings up a graphic EQ screen, which allows adjustment of each of | 313 | This option brings up a graphic EQ screen, which allows adjustment of each of |
313 | the three parameters described above (gain, center frequency, and Q) for each | 314 | the three parameters described above (gain, center frequency, and Q) for each |
@@ -347,32 +348,32 @@ change to customise your listening experience. | |||
347 | & Exits the graphic EQ screen.\\ | 348 | & Exits the graphic EQ screen.\\ |
348 | \end{btnmap} | 349 | \end{btnmap} |
349 | \end{table} | 350 | \end{table} |
350 | 351 | ||
351 | \item[Pre-cut:] | 352 | \item[Pre-cut:] |
352 | If too much gain is added through the graphical EQ, your music may distort. | 353 | If too much gain is added through the graphical EQ, your music may distort. |
353 | The \setting{Precut} setting allows you to adjust the overall gain of the EQ. | 354 | The \setting{Precut} setting allows you to adjust the overall gain of the EQ. |
354 | 355 | ||
355 | If your music distorts when using the EQ, trying changing this setting to a | 356 | If your music distorts when using the EQ, trying changing this setting to a |
356 | negative value. | 357 | negative value. |
357 | 358 | ||
358 | \item[Simple EQ:] | 359 | \item[Simple EQ:] |
359 | This option provides an easier alternative for those who are daunted by all of | 360 | This option provides an easier alternative for those who are daunted by all of |
360 | the parameters that can be adjusted using the graphical EQ. With the | 361 | the parameters that can be adjusted using the graphical EQ. With the |
361 | \setting{Simple EQ}, the only parameter that can be adjusted is the gain. | 362 | \setting{Simple EQ}, the only parameter that can be adjusted is the gain. |
362 | 363 | ||
363 | \item[Advanced EQ:] | 364 | \item[Advanced EQ:] |
364 | This sub menu provides options for adjusting the same parameters as the | 365 | This sub menu provides options for adjusting the same parameters as the |
365 | \setting{Graphical EQ}. The only difference is that the parameters are | 366 | \setting{Graphical EQ}. The only difference is that the parameters are |
366 | adjusted through textual menus rather than through a graphic interface. | 367 | adjusted through textual menus rather than through a graphic interface. |
367 | 368 | ||
368 | \item[Save EQ Preset:] | 369 | \item[Save EQ Preset:] |
369 | This option saves the current EQ configuration in a \fname{.cfg} file. | 370 | This option saves the current EQ configuration in a \fname{.cfg} file. |
370 | 371 | ||
371 | \item[Browse EQ Presets:] | 372 | \item[Browse EQ Presets:] |
372 | This menu displays a list EQ presets, as well as any EQ configurations saved | 373 | This menu displays a list EQ presets, as well as any EQ configurations saved |
373 | using the \setting{Save EQ Preset} option. Users unfamiliar with the | 374 | using the \setting{Save EQ Preset} option. Users unfamiliar with the |
374 | operation of a parametric EQ may wish to use the presets instead of trying to | 375 | operation of a parametric EQ may wish to use the presets instead of trying to |
375 | configure the EQ, or use the presets for designing their own custom EQ | 376 | configure the EQ, or use the presets for designing their own custom EQ |
376 | settings. | 377 | settings. |
377 | 378 | ||
378 | \end{description} | 379 | \end{description} |
@@ -382,13 +383,13 @@ settings. | |||
382 | \section{Hardware EQ} | 383 | \section{Hardware EQ} |
383 | 384 | ||
384 | This function controls the EQ that is built into the hardware of your | 385 | This function controls the EQ that is built into the hardware of your |
385 | \playerman{}. The hardware EQ functions similarly to the Graphical EQ in that | 386 | \playerman{}. The hardware EQ functions similarly to the Graphical EQ in that |
386 | it allows adjustment of several parameters. However, unlike the Graphical EQ, | 387 | it allows adjustment of several parameters. However, unlike the Graphical EQ, |
387 | the Hardware EQ allows the user to choose from a limited number of settings | 388 | the Hardware EQ allows the user to choose from a limited number of settings |
388 | for ``Center Frequency'' and ``Bandwidth'' (``Bandwidth'' in the Hardware EQ | 389 | for ``Center Frequency'' and ``Bandwidth'' (``Bandwidth'' in the Hardware EQ |
389 | is similar to ``Q'' in the Graphical EQ). | 390 | is similar to ``Q'' in the Graphical EQ). |
390 | 391 | ||
391 | \note{While the \setting{Hardware EQ} menu shows Low Shelf, three peaking | 392 | \note{While the \setting{Hardware EQ} menu shows Low Shelf, three peaking |
392 | filters, and High Shelf, the peaking filters are not currently operational.} | 393 | filters, and High Shelf, the peaking filters are not currently operational.} |
393 | 394 | ||
394 | } | 395 | } |