diff options
Diffstat (limited to 'manual/configure_rockbox/sound_settings.tex')
-rw-r--r-- | manual/configure_rockbox/sound_settings.tex | 25 |
1 files changed, 12 insertions, 13 deletions
diff --git a/manual/configure_rockbox/sound_settings.tex b/manual/configure_rockbox/sound_settings.tex index e8e4f8aeee..6a7d423113 100644 --- a/manual/configure_rockbox/sound_settings.tex +++ b/manual/configure_rockbox/sound_settings.tex | |||
@@ -11,7 +11,7 @@ change to customise your listening experience. | |||
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,x5,m5,ipodnano,ipodvideo, | 13 | \opt{player,recorder,recorderv2fm,ondio,x5,m5,ipodnano,ipodvideo, |
14 | ipodcolor,ipod1g2g,h10,h10_5gb,sansa,sansaAMS}{ | 14 | ipodcolor,ipod1g2g,h10,h10_5gb,sansa,sansaAMS,gigabeats,gigabeatf}{ |
15 | 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 |
16 | volume more than would otherwise be possible. These volume levels will | 16 | volume more than would otherwise be possible. These volume levels will |
17 | 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 |
@@ -25,6 +25,8 @@ change to customise your listening experience. | |||
25 | \opt{ipodvideo}{minimum of -57 dB to a maximum of +6 dB.}% | 25 | \opt{ipodvideo}{minimum of -57 dB to a maximum of +6 dB.}% |
26 | \opt{ipodcolor,ipod1g2g,h10,h10_5gb,sansa,sansaAMS}{minimum of -74 dB to a maximum | 26 | \opt{ipodcolor,ipod1g2g,h10,h10_5gb,sansa,sansaAMS}{minimum of -74 dB to a maximum |
27 | of +6 db.}% | 27 | of +6 db.}% |
28 | \opt{gigabeats}{minimum of -90 dB to a maximum of +6 dB.}% | ||
29 | \opt{gigabeatf}{minimum of -74 dB to a maximum of +6 dB.}% | ||
28 | 30 | ||
29 | \section{Bass} | 31 | \section{Bass} |
30 | This setting emphasises | 32 | This setting emphasises |
@@ -211,7 +213,7 @@ change to customise your listening experience. | |||
211 | headphones more similar to listening to music with stereo speakers. When you | 213 | headphones more similar to listening to music with stereo speakers. When you |
212 | listen to music through speakers, each ear will hear sound originating from | 214 | listen to music through speakers, each ear will hear sound originating from |
213 | both speakers. However, the sound from the left speaker reaches your right | 215 | both speakers. However, the sound from the left speaker reaches your right |
214 | ear slightly later than it does your left ear, and vice versa. | 216 | ear slightly later than it does your left ear, and vice versa.\\ |
215 | 217 | ||
216 | The human ear and brain together are very good at interpreting the time | 218 | The human ear and brain together are very good at interpreting the time |
217 | differences between direct sounds and reflected sounds and using that | 219 | differences between direct sounds and reflected sounds and using that |
@@ -220,7 +222,7 @@ change to customise your listening experience. | |||
220 | channel corresponding to it. The left ear hears only the left channel and | 222 | channel corresponding to it. The left ear hears only the left channel and |
221 | the right ear hears only the right channel. The result is that sound from | 223 | the right ear hears only the right channel. The result is that sound from |
222 | headphones does not provide the same spatial cues to your ear and brain as | 224 | headphones does not provide the same spatial cues to your ear and brain as |
223 | speakers, and might for that reason sound unnatural to some listeners. | 225 | speakers, and might for that reason sound unnatural to some listeners.\\ |
224 | 226 | ||
225 | The crossfeed function uses an algorithm to feed a delayed and filtered | 227 | The crossfeed function uses an algorithm to feed a delayed and filtered |
226 | portion of the signal from the right channel into the left channel and vice | 228 | portion of the signal from the right channel into the left channel and vice |
@@ -229,7 +231,7 @@ change to customise your listening experience. | |||
229 | result is a more natural stereo image that can be especially appreciated in | 231 | result is a more natural stereo image that can be especially appreciated in |
230 | older rock and jazz records, where one instrument is often hard-panned to | 232 | older rock and jazz records, where one instrument is often hard-panned to |
231 | just one of the speakers. Many people will find such records tiring to listen | 233 | just one of the speakers. Many people will find such records tiring to listen |
232 | to using earphones and no crossfeed effect. | 234 | to using earphones and no crossfeed effect.\\ |
233 | 235 | ||
234 | Crossfeed has the following settings: | 236 | Crossfeed has the following settings: |
235 | \begin{description} | 237 | \begin{description} |
@@ -256,7 +258,6 @@ change to customise your listening experience. | |||
256 | virtual speaker placement suited to ones preference. | 258 | virtual speaker placement suited to ones preference. |
257 | % TODO: adapt the guidelines for crossfeed settings found here? | 259 | % TODO: adapt the guidelines for crossfeed settings found here? |
258 | % http://www.ohl.to/interests-in-audio/crossfeed-and-eq-for-headphones/ | 260 | % http://www.ohl.to/interests-in-audio/crossfeed-and-eq-for-headphones/ |
259 | |||
260 | Beware that the crossfeed function is capable of making the audio distort | 261 | Beware that the crossfeed function is capable of making the audio distort |
261 | if you choose settings which result in a too high output level. | 262 | if you choose settings which result in a too high output level. |
262 | } | 263 | } |
@@ -268,7 +269,7 @@ change to customise your listening experience. | |||
268 | parametric EQ lets you control several different parameters for each | 269 | parametric EQ lets you control several different parameters for each |
269 | band of the EQ. In some ways the EQ is similar to the \setting{Bass} | 270 | band of the EQ. In some ways the EQ is similar to the \setting{Bass} |
270 | and \setting{Treble} settings described earlier, but the EQ allows you to | 271 | and \setting{Treble} settings described earlier, but the EQ allows you to |
271 | control the sound much more carefully. | 272 | control the sound much more carefully.\\ |
272 | 273 | ||
273 | Rockbox's parametric EQ is composed of five different bands: | 274 | Rockbox's parametric EQ is composed of five different bands: |
274 | \begin{description} | 275 | \begin{description} |
@@ -436,10 +437,8 @@ source, and a third order noise shaper. | |||
436 | 437 | ||
437 | \opt{swcodec}{ | 438 | \opt{swcodec}{ |
438 | \section{Timestretch} | 439 | \section{Timestretch} |
439 | Enabling \setting{Timestretch} allows you to change the playback speed without it | 440 | Enabling \setting{Timestretch} allows you to change the playback speed without |
440 | affecting the pitch of the recording. | 441 | it affecting the pitch of the recording. After enabling this feature and |
441 | 442 | rebooting, you can access this via the \setting{Pitch Screen}. This function is | |
442 | After enabling this feature and rebooting, you can access this via the \setting{Pitch Screen}. | 443 | intended for speech playback and may significantly dilute your listening |
443 | This function is intended for speech playback and may significantly dilute your listening | 444 | experience with more complex audio.} |
444 | experience with more complex audio. | ||
445 | } | ||