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author | Thom Johansen <thomj@rockbox.org> | 2007-12-14 00:10:41 +0000 |
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committer | Thom Johansen <thomj@rockbox.org> | 2007-12-14 00:10:41 +0000 |
commit | c8ea4cc3cee93e87dfbe15555350d2442183c799 (patch) | |
tree | b80dd3985953fdf1bdce312f67b0819036bfb868 /manual | |
parent | eb947cdde1a34588de767ea75762269253af487a (diff) | |
download | rockbox-c8ea4cc3cee93e87dfbe15555350d2442183c799.tar.gz rockbox-c8ea4cc3cee93e87dfbe15555350d2442183c799.zip |
Correct some errors, do some nitpicking and rewrite some stuff for the sound settings menu manual section.
git-svn-id: svn://svn.rockbox.org/rockbox/trunk@15921 a1c6a512-1295-4272-9138-f99709370657
Diffstat (limited to 'manual')
-rw-r--r-- | manual/configure_rockbox/sound_settings.tex | 57 |
1 files changed, 30 insertions, 27 deletions
diff --git a/manual/configure_rockbox/sound_settings.tex b/manual/configure_rockbox/sound_settings.tex index 623361666c..dd5d0a2a47 100644 --- a/manual/configure_rockbox/sound_settings.tex +++ b/manual/configure_rockbox/sound_settings.tex | |||
@@ -27,7 +27,7 @@ change to customise your listening experience. | |||
27 | 27 | ||
28 | \section{Bass} | 28 | \section{Bass} |
29 | \opt{player,recorder,recorderv2fm,ondio}{This emphasises or suppresses the | 29 | \opt{player,recorder,recorderv2fm,ondio}{This emphasises or suppresses the |
30 | lower (bass) sounds in the track. 0 means that bass sounds are unaltered | 30 | lower (bass) frequencies in the track. 0 means that bass sounds are unaltered |
31 | (flat response).} | 31 | (flat response).} |
32 | \opt{h1xx,h300}{The bass setting can be used to increase (but not decrease) | 32 | \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 | 33 | frequencies below 300Hz. Bass boost can be set from 0 to 24 dB in |
@@ -45,10 +45,10 @@ change to customise your listening experience. | |||
45 | 45 | ||
46 | \opt{ipodvideo}{ | 46 | \opt{ipodvideo}{ |
47 | \section{Bass Cutoff} | 47 | \section{Bass Cutoff} |
48 | This setting controls the frequency below which the bass gain | 48 | This setting controls the frequency below which the bass adjustment applies. |
49 | applies. The minimum setting is 1 and the maximum setting is 4 where a value | 49 | The setting has a range from 1 to 4, where a bigger number affects a bigger |
50 | of 1 indicates the lowest possible cutoff and a value of 4 indicates the highest | 50 | range of bass frequencies. The actual cutoff frequency used for each setting |
51 | possible cutoff. The actual cutoff frequency values will vary with sample rate. | 51 | value will vary with sample rate. |
52 | } | 52 | } |
53 | 53 | ||
54 | 54 | ||
@@ -72,10 +72,10 @@ change to customise your listening experience. | |||
72 | 72 | ||
73 | \opt{ipodvideo}{ | 73 | \opt{ipodvideo}{ |
74 | \section{Treble Cutoff} | 74 | \section{Treble Cutoff} |
75 | This setting controls the frequency above which the treble gain | 75 | This setting controls the frequency above which the treble adjustment applies. |
76 | applies. The minimum setting is 1 and the maximum setting is 4 where a value | 76 | The setting has a range from 1 to 4, where a bigger number affects a smaller |
77 | of 1 indicates the lowest possible cutoff and a value of 4 indicates the highest | 77 | range of treble frequencies. The actual cutoff frequency used for each setting |
78 | possible cutoff. The actual cutoff frequency values will vary with sample rate. | 78 | value will vary with sample rate. |
79 | } | 79 | } |
80 | 80 | ||
81 | \section{Balance} | 81 | \section{Balance} |
@@ -113,7 +113,7 @@ change to customise your listening experience. | |||
113 | & Plays the right channel in both stereo channels. \\ | 113 | & Plays the right channel in both stereo channels. \\ |
114 | % | 114 | % |
115 | Karaoke | 115 | Karaoke |
116 | & Removes all sound that is the same in both channels. Since most | 116 | & Removes all sound that is common to both channels. Since most |
117 | music is recorded with vocals being equally present in both channels | 117 | music is recorded with vocals being equally present in both channels |
118 | to make the singer sound centrally placed, this often (but not | 118 | to make the singer sound centrally placed, this often (but not |
119 | always) has the effect of removing the voice track from a song. This | 119 | always) has the effect of removing the voice track from a song. This |
@@ -135,19 +135,22 @@ change to customise your listening experience. | |||
135 | 135 | ||
136 | \opt{recorder,recorderv2fm}{ | 136 | \opt{recorder,recorderv2fm}{ |
137 | \section{Loudness} | 137 | \section{Loudness} |
138 | Loudness is an effect which emphasises bass and treble. This makes the | 138 | When listening at low volumes, the ear will tend to make bass and treble |
139 | track seem louder by amplifying the frequencies that the human ear finds | 139 | frequencies sound quieter than they really are. To compensate for this, |
140 | hard to hear. Frequencies in the vocal range are unaffected, since the human | 140 | \setting{Loudness} is an effect which emphasises bass and treble in a fashion |
141 | ear picks these up very easily. | 141 | suited to the human ear. Frequencies in the vocal range are unaffected, since |
142 | the human ear picks these up very easily at any sound level. | ||
143 | It is of course also possible to use this effect at higher volumes for | ||
144 | enhanced bass and treble. | ||
142 | } | 145 | } |
143 | 146 | ||
144 | \opt{recorder,recorderv2fm}{ | 147 | \opt{recorder,recorderv2fm}{ |
145 | \section{Auto Volume} | 148 | \section{Auto Volume} |
146 | Auto volume is a feature that automatically lowers the volume on loud parts, | 149 | Auto volume is a feature that automatically lowers the volume on loud parts, |
147 | and then slowly restores the volume to the previous level over a time | 150 | and then slowly restores the volume to the previous level over a time |
148 | interval. That time interval is configurable here. Short values like 20ms | 151 | interval. This setting allows this time interval to be configured. Short |
149 | are useful for ensuring a constant volume for in car use and other | 152 | values like 20ms are useful for ensuring a constant volume for in-car use and |
150 | applications where background noise makes a constant loudness desirable. | 153 | other applications where background noise makes a constant loudness desirable. |
151 | A longer timeout means that the change in volume back to the previous level | 154 | A longer timeout means that the change in volume back to the previous level |
152 | will be smoother, so there will be less sharp changes in volume level. | 155 | will be smoother, so there will be less sharp changes in volume level. |
153 | } | 156 | } |
@@ -162,8 +165,8 @@ change to customise your listening experience. | |||
162 | 165 | ||
163 | \opt{recorder,recorderv2fm}{ | 166 | \opt{recorder,recorderv2fm}{ |
164 | \section{MDB {}- Micronas Dynamic Bass} | 167 | \section{MDB {}- Micronas Dynamic Bass} |
165 | The rest of the parameters on this menu relate to the Micronas Dynamic | 168 | The rest of the parameters in this menu relate to the Micronas Dynamic |
166 | Bass (MDB) function. This is designed to enable the user to hear bass | 169 | Bass (MDB) function. MDB is designed to enable the user to hear bass |
167 | notes that the headphones and/or speakers are not capable of reproducing. | 170 | notes that the headphones and/or speakers are not capable of reproducing. |
168 | Every tone has a fundamental frequency (the ``main tone'') and also several | 171 | Every tone has a fundamental frequency (the ``main tone'') and also several |
169 | harmonics, which are related to that tone. The human brain has a mechanism | 172 | harmonics, which are related to that tone. The human brain has a mechanism |
@@ -175,7 +178,7 @@ change to customise your listening experience. | |||
175 | headphones or speakers aren't capable of reproducing. Try it and see | 178 | headphones or speakers aren't capable of reproducing. Try it and see |
176 | what you think. | 179 | what you think. |
177 | 180 | ||
178 | The MDB parameters are as follows. | 181 | The MDB parameters are as follows: |
179 | % | 182 | % |
180 | \begin{description} | 183 | \begin{description} |
181 | \item[MDB enable:] | 184 | \item[MDB enable:] |
@@ -183,12 +186,12 @@ change to customise your listening experience. | |||
183 | only setting they need, since Rockbox picks sensible defaults for the | 186 | only setting they need, since Rockbox picks sensible defaults for the |
184 | other parameters. MDB is turned off by default. | 187 | other parameters. MDB is turned off by default. |
185 | \item[MDB strength:] | 188 | \item[MDB strength:] |
186 | How loud the harmonics generated by the MDB will be. | 189 | How loud the harmonics generated by MDB will be. |
187 | \item[MDB Harmonics:] | 190 | \item[MDB Harmonics:] |
188 | The percentage of the low notes that is converted into harmonics. | 191 | The percentage of the low notes that is converted into harmonics. |
189 | If low notes are causing speaker distortion, this can be set to 100\% | 192 | If low notes are causing speaker distortion, this can be set to 100\% |
190 | to eliminate the fundamental completely and only produce harmonics in the | 193 | to eliminate the fundamental completely and only produce harmonics in the |
191 | signal. If set to 0\% this is the same as turning the MDB feature off. | 194 | signal. If set to 0\% this is the same as turning the MDB feature off. |
192 | \item[MDB Centre Frequency:] | 195 | \item[MDB Centre Frequency:] |
193 | The cutoff frequency of your headphones or speakers. This is usually | 196 | The cutoff frequency of your headphones or speakers. This is usually |
194 | given in the specification for the headphones/speakers. | 197 | given in the specification for the headphones/speakers. |
@@ -197,7 +200,7 @@ change to customise your listening experience. | |||
197 | 200 | ||
198 | This is the frequency up to which harmonics are generated. Some of the | 201 | This is the frequency up to which harmonics are generated. Some of the |
199 | lower fundamentals near the cut{}-off range will have their lower | 202 | lower fundamentals near the cut{}-off range will have their lower |
200 | harmonics cut off, since they will be below the range of the speakers. | 203 | harmonics cut, since they will be below the range of the speakers. |
201 | Fundamentals between the cut{}-off frequency and the lower frequency | 204 | Fundamentals between the cut{}-off frequency and the lower frequency |
202 | will have their harmonics proportionally boosted to compensate and restore | 205 | will have their harmonics proportionally boosted to compensate and restore |
203 | the `loudness' of these notes. | 206 | the `loudness' of these notes. |
@@ -229,7 +232,7 @@ change to customise your listening experience. | |||
229 | both speakers. However, the sound from the left speaker reaches your right | 232 | both speakers. However, the sound from the left speaker reaches your right |
230 | ear slightly later than it does your left ear, and vice versa. | 233 | ear slightly later than it does your left ear, and vice versa. |
231 | 234 | ||
232 | The human ear and brain together are very good at interpreting the timing | 235 | The human ear and brain together are very good at interpreting the time |
233 | differences between direct sounds and reflected sounds and using that | 236 | differences between direct sounds and reflected sounds and using that |
234 | information to identify the direction that the sound is coming from. On the | 237 | information to identify the direction that the sound is coming from. On the |
235 | other hand, when listening to headphones, each ear hears only the stereo | 238 | other hand, when listening to headphones, each ear hears only the stereo |
@@ -247,7 +250,7 @@ change to customise your listening experience. | |||
247 | just one of the speakers. Many people will find such records tiring to listen | 250 | just one of the speakers. Many people will find such records tiring to listen |
248 | to using earphones and no crossfeed effect. | 251 | to using earphones and no crossfeed effect. |
249 | 252 | ||
250 | Crossfeed has the following settings. | 253 | Crossfeed has the following settings: |
251 | \begin{description} | 254 | \begin{description} |
252 | \item[Crossfeed:] | 255 | \item[Crossfeed:] |
253 | Selects whether the crossfeed effect is to be enabled or not. | 256 | Selects whether the crossfeed effect is to be enabled or not. |
@@ -392,7 +395,7 @@ adjusted through textual menus rather than through a graphic interface. | |||
392 | This option saves the current EQ configuration in a \fname{.cfg} file. | 395 | This option saves the current EQ configuration in a \fname{.cfg} file. |
393 | 396 | ||
394 | \item[Browse EQ Presets:] | 397 | \item[Browse EQ Presets:] |
395 | This menu displays a list EQ presets, as well as any EQ configurations saved | 398 | This menu displays a list of EQ presets, as well as any EQ configurations saved |
396 | using the \setting{Save EQ Preset} option. Users unfamiliar with the | 399 | using the \setting{Save EQ Preset} option. Users unfamiliar with the |
397 | operation of a parametric EQ may wish to use the presets instead of trying to | 400 | operation of a parametric EQ may wish to use the presets instead of trying to |
398 | configure the EQ, or use the presets for designing their own custom EQ | 401 | configure the EQ, or use the presets for designing their own custom EQ |
@@ -406,7 +409,7 @@ settings. | |||
406 | This setting controls the dithering and noise shaping functionality of Rockbox. | 409 | This setting controls the dithering and noise shaping functionality of Rockbox. |
407 | 410 | ||
408 | Most of Rockbox' audio file decoders work at a higher bit depth than the 16 bits | 411 | Most of Rockbox' audio file decoders work at a higher bit depth than the 16 bits |
409 | used for output on the \daps{} audio connectors. The simplest way in which to | 412 | used for output on the \daps{} audio connectors. The simplest way to |
410 | convert from one bit depth to another is simply discarding all the surplus bits. | 413 | convert from one bit depth to another is simply discarding all the surplus bits. |
411 | This is the default behaviour, and adds distortion to the signal that will | 414 | This is the default behaviour, and adds distortion to the signal that will |
412 | vary in character along with the desired sound. | 415 | vary in character along with the desired sound. |