diff options
Diffstat (limited to 'manual')
-rwxr-xr-x | manual/configure_rockbox/sound_settings.tex | 68 |
1 files changed, 33 insertions, 35 deletions
diff --git a/manual/configure_rockbox/sound_settings.tex b/manual/configure_rockbox/sound_settings.tex index e9b3e2f121..9410787883 100755 --- a/manual/configure_rockbox/sound_settings.tex +++ b/manual/configure_rockbox/sound_settings.tex | |||
@@ -5,13 +5,17 @@ The Sound Settings menu offers a selection of sound properties you may | |||
5 | change to customize your listening experience. | 5 | change to customize your listening experience. |
6 | 6 | ||
7 | \section{Volume} | 7 | \section{Volume} |
8 | This control 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 distortion (clipping). Because the volume control | 11 | can produce without possible distortion (clipping). All values lower than this |
12 | is basically a comparison of the volume level you set to a reference | 12 | reference will be negative and yield a progressively softer volume. |
13 | maximum volume of 0 dB, the usable range of the volume setting is shown | 13 | \opt{player, recorder, recorderv2fm, ondio, ipodnano, ipodvideo}{ |
14 | as a negative number. Volume can be adjusted from a | 14 | 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 | ordinarily lead to distorted sound, but might work nicely for music that has | ||
17 | an otherwise low volume level.} | ||
18 | The volume can be adjusted from a | ||
15 | \opt{player}{minimum of -78 dB to a maximum of +18 dB.} | 19 | \opt{player}{minimum of -78 dB to a maximum of +18 dB.} |
16 | \opt{recorder,recorderv2fm,ondio}{minimum of -100 dB to a maximum of +12 dB.} | 20 | \opt{recorder,recorderv2fm,ondio}{minimum of -100 dB to a maximum of +12 dB.} |
17 | \opt{h1xx,h300}{minimum of -84 dB to a maximum of 0 dB.} | 21 | \opt{h1xx,h300}{minimum of -84 dB to a maximum of 0 dB.} |
@@ -53,11 +57,9 @@ as a negative number. Volume can be adjusted from a | |||
53 | to the left. | 57 | to the left. |
54 | 58 | ||
55 | \section{Channels} | 59 | \section{Channels} |
56 | A stereo audio signal consists of two channels, left and right. The channels | 60 | A stereo audio signal consists of two channels, left and right. The |
57 | function controls how much of the left channel signal is mixed into the | 61 | \setting{Channels} setting controls if these channels are to be combined in |
58 | right channel signal, and vice versa. | 62 | any way, and if so, in what manner they will be combined. |
59 | \opt{MASCODEC}{This option controls the on{}-board mixing facilities of the \dap.} | ||
60 | \opt{SWCODEC}{This option controls the mixing facilities of the \dap.} | ||
61 | Available options are: | 63 | Available options are: |
62 | % | 64 | % |
63 | \begin{table} | 65 | \begin{table} |
@@ -65,11 +67,11 @@ as a negative number. Volume can be adjusted from a | |||
65 | \begin{tabularx}{\textwidth}{lX}\toprule | 67 | \begin{tabularx}{\textwidth}{lX}\toprule |
66 | \textbf{Setting} & \textbf{Description} \\\midrule | 68 | \textbf{Setting} & \textbf{Description} \\\midrule |
67 | Stereo | 69 | Stereo |
68 | & Do not mix the signal. \\ | 70 | & Leave the audio signal unmodified. \\ |
69 | % | 71 | % |
70 | Mono | 72 | Mono |
71 | & Mix both channels down to mono and send the mixed signal back to | 73 | & Combine both channels and send the resulting signal to both stereo |
72 | both. \\ | 74 | channels, resulting in a monophonic output. \\ |
73 | % | 75 | % |
74 | Custom | 76 | Custom |
75 | & Allows you to manually specify a stereo width with the | 77 | & Allows you to manually specify a stereo width with the |
@@ -83,21 +85,21 @@ as a negative number. Volume can be adjusted from a | |||
83 | % | 85 | % |
84 | Karaoke | 86 | Karaoke |
85 | & Removes all sound that is the same in both channels. Since most | 87 | & Removes all sound that is the same in both channels. Since most |
86 | vocals are recorded in this way to make the artist sound central, | 88 | music is recorded with vocals being equally present in both channels |
87 | this often (but not always) has the effect of removing the voice | 89 | to make the singer sound centrally placed, this often (but not always) |
88 | track from a song. This setting also very often has other undesirable | 90 | has the effect of removing the voice track from a song. This setting |
89 | effects on the sound. \\ | 91 | also very often has other undesirable effects on the sound. \\ |
90 | \bottomrule | 92 | \bottomrule |
91 | \end{tabularx} | 93 | \end{tabularx} |
92 | \end{center} | 94 | \end{center} |
93 | \end{table} | 95 | \end{table} |
94 | 96 | ||
95 | \section{Stereo Width} | 97 | \section{Stereo Width} |
96 | Stereo width will allow you to manually specify the effect that is applied | 98 | Stereo width allows you to manually specify the effect that is applied |
97 | when the \setting{Channels} setting is set to \setting{Custom}. | 99 | when the \setting{Channels} setting is set to \setting{Custom}. |
98 | All values below 100\% will progressively mix the contents of one channel into | 100 | All values below 100\% will progressively mix the contents of one channel into |
99 | the other. This has the effect of gradually centering the stereo image, until | 101 | the other. This has the effect of gradually centering the stereo image, until |
100 | you have mono sound at 0\%. Values above 100\% will progressively remove | 102 | you have monophonic sound at 0\%. Values above 100\% will progressively remove |
101 | components in one channel that is also present in the other. This has the | 103 | components in one channel that is also present in the other. This has the |
102 | effect of widening the stereo field. A value of 100\% will leave the stereo | 104 | effect of widening the stereo field. A value of 100\% will leave the stereo |
103 | field unaltered. | 105 | field unaltered. |
@@ -193,23 +195,19 @@ as a negative number. Volume can be adjusted from a | |||
193 | \opt{SWCODEC}{ | 195 | \opt{SWCODEC}{ |
194 | \section{Crossfeed} | 196 | \section{Crossfeed} |
195 | Crossfeed attempts to make the experience of listening to music on | 197 | Crossfeed attempts to make the experience of listening to music on |
196 | headphones more similar to listening to stereo speakers. When you listen | 198 | headphones more similar to listening to music with stereo speakers. When you |
197 | to music through speakers, your right ear hears sound from the left speaker | 199 | listen to music through speakers, each ear will hear sound originating from |
198 | and vice versa. However, the sound from the left speaker reaches your left | 200 | both speakers. However, the sound from the left speaker reaches your right |
199 | ear slightly later than the sound from your right ear, and vice versa. | 201 | ear slightly later than it does your left ear, and vice versa. |
200 | Moreover, when listening to speakers, you hear the direct sound from the | ||
201 | speakers, but you also hear reflections of that sound as the sound waves | ||
202 | bounce off of walls, floors, ceilings, etc. These reflections reach your | ||
203 | ears slightly after the direct sound. | ||
204 | 202 | ||
205 | The human ear and brain are very good at interpreting the timing differences | 203 | The human ear and brain together are very good at interpreting the timing |
206 | between direct sounds and reflected sounds and using that information to | 204 | differences between direct sounds and reflected sounds and using that |
207 | identify the direction that the sound is coming from. On the other hand, | 205 | information to identify the direction that the sound is coming from. On the |
208 | when listening to headphones, your ear hears only the direct sounds, and | 206 | other hand, when listening to headphones, each ear hears only the stereo |
209 | not reflections. Moreover, your left ear hears only the left channel and | 207 | 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 | 208 | 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 | 209 | headphones does not provide the same spatial cues to your ear and brain as |
212 | speakers. | 210 | speakers, and might for that reason sound unnatural to some listeners. |
213 | 211 | ||
214 | The crossfeed function uses an algorithm to feed a delayed and filtered | 212 | The crossfeed function uses an algorithm to feed a delayed and filtered |
215 | portion of the signal from the right channel into the left channel and vice | 213 | portion of the signal from the right channel into the left channel and vice |