From ccf7c765401594f9e1934ca0d46c57aad0aad619 Mon Sep 17 00:00:00 2001
From: Michael Giacomelli <giac2000@hotmail.com>
Date: Fri, 20 Jun 2014 20:41:15 +0200
Subject: Fix bad path.

Change-Id: Ife28277787ddab1d41ce0221ef82d18965cf85d4
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-% $Id$ %
-\screenshot{configure_rockbox/images/ss-sound-settings}{The sound settings screen}{}
-
-The sound settings menu offers a selection of sound settings you may 
-change to customise your listening experience.
-
-\section{\label{ref:volume}Volume}
-  This setting adjusts the volume of your music. Like most professional
-  audio gear and many consumer audio products, Rockbox uses a decibel scale
-  where 0~dB is a reference that indicates the maximum volume that the \dap{}
-  can produce without possible distortion (clipping). All values lower than
-  this reference will be negative and yield a progressively softer volume.
-  \nopt{iriverh100,iriverh300,ondavx777}{%
-      Values higher than 0~dB are available and can be used to raise the
-      volume more than would otherwise be possible. These volume levels will
-      ordinarily lead to distorted sound, but might work nicely for music that has
-      an otherwise low volume level.
-  }
-  The volume can be adjusted from a
-  \opt{player}{minimum of -78~dB to a maximum of +18~dB.}%
-  \opt{recorder,recorderv2fm,ondio}{minimum of -100~dB to a maximum of +12~dB.}%
-  \opt{iriverh100,iriverh300}{minimum of -84~dB to a maximum of 0~dB.}%
-  \opt{iaudiom3,iaudiom5,iaudiox5,ipod3g,ipod4g,gigabeatf,mrobe100,mpiohd200}{%
-      minimum of -73~dB to a maximum of +6~dB.}%
-  \opt{ipodnano}{minimum of -72~dB to a maximum of +6~dB.}%
-  \opt{ipodvideo,cowond2}{minimum of -89~dB to a maximum of +6~dB.}%
-  \opt{ipodnano2g,ipodcolor,ipod1g2g,iriverh10,iriverh10_5gb,sansa,sansaAMS}{minimum of 
-      -74~dB to a maximum of +6~dB.}%
-  \opt{gigabeats}{minimum of -90~dB to a maximum of +6~dB.}%
-  \opt{gigabeatf,vibe500}{minimum of -74~dB to a maximum of +6~dB.}%
-  \opt{fuzeplus}{minimum of -100~dB to a maximum of +6~dB.}
-  \opt{ipodvideo}{\\Remark: Lowering the volume below -57~dB will also affect the line-out 
-  and the recording gain.}
-  \opt{cowond2}{\\Remark: Lowering the volume below -57~dB will also affect the line-out.}
-
-\nopt{gigabeats}{  
-\section{Bass}
-  This setting emphasises
-  \nopt{iriverh100,iriverh300}{or suppresses}
-  the lower (bass) frequencies in the sound. A value of 0~dB means that bass
-  sounds are unaltered (flat response).
-  \opt{masd}{The minimum setting is -15~dB and the maximum is 15~dB.}%
-  \opt{masf}{The minimum setting is -12~dB and the maximum is 12~dB.}%
-  \opt{iriverh100,iriverh300}{The minimum setting is 0~dB and the maximum is 24~dB.}%
-  \opt{ipodnano,ipodnano2g,ipodcolor,mpiohd200}{%
-      The minimum setting is -6~dB and the maximum is 9~dB.}%
-  \opt{ipodvideo}{The minimum setting is -12~dB and the maximum is 12~dB.}%
-  \opt{iaudiom3,iaudiom5,iaudiox5,sansa,sansaAMS,iriverh10,iriverh10_5gb,vibe500,fuzeplus}{%
-      The minimum setting is -24~dB and the maximum is 24~dB.}
-
-\section{\label{ref:volume_limit}Volume Limit}
-  This setting adjusts the maximum volume of your music. The setting is by
-  default set to the maximum volume which equals to no limit. To set a volume
-  limit, select a volume from the list and the maximum volume will be limited to
-  the selected value all over the system.
-
-\opt{ipodvideo}{
-\section{Bass Cutoff}
-  This setting controls the frequency below which the bass adjustment applies.
-  The setting has a range from 1 to 4, where a bigger number affects a bigger
-  range of bass frequencies. The actual cutoff frequency used for each setting
-  value will vary with sample rate.
-}
-
-\section{Treble}
-  This setting emphasises
-  \nopt{iriverh100,iriverh300}{or suppresses}
-  the higher (treble) frequencies in the sound. A value of 0~dB means that
-  treble sounds are unaltered (flat response).
-  \opt{masd}{The minimum setting is -15~dB and the maximum is 15~dB.}%
-  \opt{masf}{The minimum setting is -12~dB and the maximum is 12~dB.}%
-  \opt{iriverh100,iriverh300}{The minimum setting is 0~dB and the maximum is 6~dB.}%
-  \opt{ipodnano,ipodnano2g,ipodcolor,mpiohd200}{%
-      The minimum setting is -6~dB and the maximum is 9~dB.}%
-  \opt{ipodvideo}{The minimum setting is -12~dB and the maximum is 12~dB.}%
-  \opt{iaudiom3,iaudiom5,iaudiox5,sansa,sansaAMS,iriverh10,iriverh10_5gb,vibe500,fuzeplus}{%
-      The minimum setting is -24~dB and the maximum is 24~dB.}
-
-\opt{ipodvideo}{
-\section{Treble Cutoff}
-  This setting controls the frequency above which the treble adjustment applies.
-  The setting has a range from 1 to 4, where a bigger number affects a smaller
-  range of treble frequencies. The actual cutoff frequency used for each setting
-  value will vary with sample rate.
-}
-}
-
-\opt{gigabeats}{
-\section{Tone Controls}
-  There is a five-band equalizer built into your \dap{} that allows you to
-  control various different parameters for each band.  This equalizer is
-  implemented in hardware, and therefore does not tax the processor when in use.
-  Rockbox also features a more advanced five-band equalizer (see
-  \reference{ref:EQ}) that is implemented in software and allows more fine
-  grained control, but also requires more processor time. 
-
-  \begin{description}
-  \item[Band 1 Gain.]
-        This band acts as a low shelf filter that boosts or lowers all
-        frequencies below a certain frequency limit, much as a ``bass''
-        control found on ordinary stereo systems does. The ``gain'' parameter
-        controls how much the loudness of the band is adjusted. Positive
-        numbers make the EQ band louder, while negative numbers make that EQ
-        band quieter.
-  \item[Bands 2-4 Gain.]
-        These bands act as peaking filters that boost or lower a frequency
-        range centered at a certain frequency. Graphic equalizers in home
-        stereos are usually peaking filters. The ``gain'' parameter controls
-        how much each band is adjusted as with the the low shelf filter.
-  \item[Band 5 Gain.]
-        Band 5 acts as a high shelf filter, boosting or lowering all
-        frequencies above a certain frequency limit, much like a ``treble''
-        control found on ordinary stereo systems does. As with the other bands,
-        ``gain'' controls how much each band is adjusted.
-  \item[Advanced Tone Control Settings.]
-        This submenu allows you to change advanced parameters for each band.
-  \end{description}
-  
-  As a general guide, EQ band 1 should be used for low frequencies, EQ bands 2
-  to 4 should be used for mids, and EQ band 5 should be used for highs.\\*
-
-  \subsection{Advanced Tone Control Settings}
-    As in the previous menu, the ``gain'' setting controls how much the
-    loudness of the band is adjusted.  In addition the following parameters
-    can be adjusted:  
-
-  \begin{description}
-    \item[Band 1 Frequency.]
-        The ``frequency'' parameter sets where the shelving starts to take
-        effect. For example, a cutoff frequency of 80~Hz will adjust only very
-        low frequencies. A cutoff frequency of 175~Hz, on the other hand, will
-        adjust a much wider range of bass frequencies.
-  \item[Bands 2-4 Frequency.]
-        The ``frequency'' parameter for these bands sets the centre frequency of
-        the range that is affected by the gain set.
-  \item[Bands 2-4 Width.]
-        This parameter sets the width of the range around the centre frequency
-        that is affected by the tone control. The possible settings are
-        ``wide'' or ``narrow''.
-  \item[Band 5 Frequency.]
-        This works just as for band 1 frequency, except that it affects the
-        high frequency end of the spectrum instead of the low.
-  \end{description}
-
-}
-
-\section{Balance}
-  This setting controls the balance between the left and right channels. The
-  default, 0, means that the left and right outputs are equal in volume.
-  Negative numbers increase the volume of the left channel relative to the
-  right, positive numbers increase the volume of the right channel relative
-  to the left.
-
-\section{Channels}
-  A stereo audio signal consists of two channels, left and right. The
-  \setting{Channels} setting determines if these channels are to be combined in
-  any way, and if so, in what manner they will be combined.
-  Available options are:
-  %
-  \begin{description}
-      \item[Stereo.]
-          Leave the audio signal unmodified.
-      \item[Mono.]
-          Combine both channels and send the resulting signal to both stereo
-          channels, resulting in a monophonic output.
-      \item[Custom.]
-          Allows you to manually specify a stereo width with the
-          \setting{Stereo Width} setting described later in this chapter.
-      \item[Mono Left.]
-          Plays the left channel in both stereo channels.
-      \item[Mono Right.]
-          Plays the right channel in both stereo channels.
-      \item[Karaoke.]
-          Removes all sound that is common to both channels. Since most
-          music is recorded with vocals being equally present in both channels
-          to make the singer sound centrally placed, this often (but not 
-          always) has the effect of removing the voice track from a song. This 
-          setting also very often has other undesirable effects on the sound.
-  \end{description}
-
-\section{Stereo Width}
-  Stereo width allows you to manually specify the effect that is applied
-  when the \setting{Channels} setting is set to ``custom''.
-  All values below 100\% will progressively mix the contents of one channel
-  into the other. This has the effect of gradually centering the stereo image,
-  until you have monophonic sound at 0\%. Values above 100\% will progressively
-  remove components in one channel that is also present in the other. This has
-  the effect of widening the stereo field. A value of 100\% will leave the
-  stereo field unaltered.
-
-\opt{masf}{
-  \section{Loudness}
-  When listening at low volumes, the ear will tend to make bass and treble
-  frequencies sound quieter than they really are. To compensate for this, 
-  \setting{Loudness} is an effect which emphasises bass and treble in a fashion
-  suited to the human ear. Frequencies in the vocal range are unaffected, since
-  the human ear picks these up very easily at any sound level.
-  It is of course also possible to use this effect at higher volumes for 
-  enhanced bass and treble.
-}
-  
-\opt{masf}{
-\section{Auto Volume}
-  Auto volume is a feature that automatically lowers the volume on loud parts,
-  and then slowly restores the volume to the previous level over a time
-  interval. This setting allows this time interval to be configured. Short
-  values like 20~ms are useful for ensuring a constant volume for in-car use and
-  other applications where background noise makes a constant loudness desirable.
-  A longer timeout means that the change in volume back to the previous level
-  will be smoother, so there will be fewer sharp changes in volume level.
-}
-
-\opt{masf}{
-\section{Super Bass}
-  This setting changes the threshold at which bass frequencies are affected by
-  the \setting{Loudness} setting, making the sound of drums and bass guitar
-  louder in comparison to the rest of the sound.  This setting only has an
-  effect if \setting{Loudness} is set to a value larger than 0~dB.
-}
-
-\opt{masf}{
-\section{MDB {}-- Micronas Dynamic Bass}
-  The rest of the parameters in this menu relate to the Micronas Dynamic
-  Bass (MDB) function. MDB is designed to enable the user to hear bass
-  notes that the headphones and/or speakers are not capable of reproducing.
-  Every tone has a fundamental frequency (the ``main tone'') and also several
-  harmonics, which are related to that tone. The human brain has a mechanism
-  whereby it can actually infer the presence of bass notes from the higher
-  harmonics that they would generate.
-
-  The practical upshot of this is that MDB produces a more authentic sounding
-  bass by tricking the brain into believing it is hearing tones that the 
-  headphones or speakers are not capable of reproducing.
-
-  The MDB parameters are as follows:
-  %
-  \begin{description}
-  \item[MDB enable.]
-    This turns the MDB feature on or off. For many users this will be the
-    only setting they need, since Rockbox picks sensible defaults for the
-    other parameters. MDB is turned off by default.
-  \item[MDB strength.]
-    How loud the harmonics generated by MDB will be.
-  \item[MDB Harmonics.]
-    The percentage of the low notes that is converted into harmonics.
-    If low notes are causing speaker distortion, this can be set to 100\%
-    to eliminate the fundamental completely and only produce harmonics in the
-    signal. If set to 0\% this is the same as turning the MDB feature off.
-  \item[MDB Centre Frequency.]
-    The cutoff frequency of your headphones or speakers. This is usually
-    given in the specification for the headphones/speakers.
-  \item[MDB shape.]
-    It is recommended that this parameter be set to 1.5 times the centre frequency.
-
-    This is the frequency up to which harmonics are generated. Some of the
-    lower fundamentals near the cut{}-off range will have their lower
-    harmonics cut, since they will be below the range of the speakers.
-    Fundamentals between the cut{}-off frequency and the lower frequency
-    will have their harmonics proportionally boosted to compensate and restore
-    the `loudness' of these notes.
-
-    For most users, the defaults should provide an improvement in sound
-    quality and can be safely left as they are. For reference, the defaults
-    Rockbox uses are:
-    %
-    \begin{table}[h!]
-       \begin{rbtabular}{0.5\textwidth}{Xc}{Setting & Value}{}{}
-          MDB Strength & 50~dB \\
-          MDB Harmonics & 48\% \\
-          MDB Centre Frequency & 60~Hz \\
-          MDB Shape & 90~Hz \\
-       \end{rbtabular}
-    \end{table}
-      
-  \end{description}
-}
-
-\opt{swcodec}{
-\section{Crossfeed}
-  Crossfeed attempts to make the experience of listening to music on
-  headphones more similar to listening to music with stereo speakers. When you
-  listen to music through speakers, each ear will hear sound originating from
-  both speakers. However, the sound from the left speaker reaches your right
-  ear slightly later than it does your left ear, and vice versa.\\
-
-  The human ear and brain together are very good at interpreting the time
-  differences between direct sounds and reflected sounds and using that
-  information to identify the direction that the sound is coming from. On the
-  other hand, when listening to headphones, each ear hears only the stereo
-  channel corresponding to it. The left ear hears only the left channel and
-  the right ear hears only the right channel. The result is that sound from
-  headphones does not provide the same spatial cues to your ear and brain as
-  speakers, and might for that reason sound unnatural to some listeners.\\
-    
-  The crossfeed function uses an algorithm to feed a delayed and filtered
-  portion of the signal from the right channel into the left channel and vice
-  versa in order to simulate the spatial cues that the ear and brain receive
-  when listening to a set of loudspeakers placed in front of the listener. The
-  result is a more natural stereo image that can be especially appreciated in
-  older rock and jazz records, where one instrument is often hard-panned to
-  just one of the speakers. Many people will find such records tiring to listen
-  to using earphones and no crossfeed effect.\\
-
-  Crossfeed has the following settings:
-  \begin{description}
-  \item[Crossfeed.]
-    Selects whether the crossfeed effect is to be enabled or not.
-  \item[Direct Gain.]
-    How much the level of the audio that travels the direct path from a speaker
-    to the corresponding ear is supposed to be decreased.
-  \item[Cross Gain.]
-    How much the level of the audio that travels the cross path from a speaker
-    to the opposite ear is to be decreased.
-  \item[High-Frequency Attenuation.]
-    How much the upper frequencies of the cross path audio will be dampened.
-    Note that the total level of the higher frequencies will be a combination
-    of both this setting and the \setting{Cross Gain} setting.
-  \item[High-Frequency Cutoff.]
-    Decides at which frequency the cross path audio will start to be cut
-    by the amount described by the \setting{High-Frequency Attenuation} 
-    setting.
-  \end{description}
-
-  Most users will find the default settings to yield satisfactory results, but
-  for the more adventurous user the settings can be fine-tuned to provide a
-  virtual speaker placement suited to ones preference.
-  % TODO: adapt the guidelines for crossfeed settings found here?
-  % http://www.ohl.to/interests-in-audio/crossfeed-and-eq-for-headphones/ 
-  Beware that the crossfeed function is capable of making the audio distort
-  if you choose settings which result in a too high output level.
-}
-  
-\opt{swcodec}{
-\section{\label{ref:EQ}Equalizer}
-  \screenshot{configure_rockbox/images/ss-equalizer}{The graphical equalizer}{}
-  Rockbox features a parametric equalizer (EQ). As the name suggests, a
-  parametric EQ lets you control several different parameters for each
-  band of the EQ. \nopt{gigabeats}{In some ways the EQ is similar to the
-  \setting{Bass} and \setting{Treble} settings described earlier, but the EQ
-  allows you to control the sound much more carefully.  Note that the parameteric
-  EQ bands will be applied in addition to any bass or treble tone controls. 
-  } \opt{gigabeats}{The EQ  is similar to the \setting{Tone Controls} described 
-  above, but allows more   delicate control.}\\
-  
-  \note{A maximum of 10 EQ bands are possible on most devices, but using more
-        than are required will waste battery and introduce additional rounding
-        noise.  For best results, use the fewest number of bands required.}
-
-  Rockbox's parametric EQ is composed of five different bands:
-  \begin{description}
-  \item[Band 0: Low shelf filter.]
-        The low shelf filter boosts or lowers all frequencies below a certain
-        frequency limit, much as the ``bass'' control found on ordinary
-        stereo systems does.
-        Adjust the ``cutoff'' frequency parameter to decide where the shelving
-        starts to take effect. For example, a cutoff frequency of 50~Hz will
-        adjust only very low frequencies. A cutoff frequency of 200~Hz, on the
-        other hand, will adjust a much wider range of bass frequencies.
-        The ``gain'' parameter controls how much the loudness of the band is
-        adjusted. Positive numbers make the EQ band louder, while negative
-        numbers make that EQ band quieter.
-        The ``Q'' parameter should always be set to 0.7 for the shelving
-        filters. Higher values will add a small boost around the cutoff
-        frequency that is almost always undesirable.
-  \item[Bands 1-8: Peaking filters.]
-        Peaking EQ filters boost or lower a frequency range centered at the
-        centre frequency chosen.
-        Graphic equalizers in home stereos are usually peaking
-        filters. The peaking filters in Rockbox's EQ lets you adjust three
-        different parameters for EQ bands 1 through 8. The ``centre'' parameter
-        controls the centre frequency of the frequency range that is affected
-        as described above.
-        The ``gain'' parameter controls how much each band is adjusted, and
-        works as for the low shelf filter.
-        Finally, the ``Q'' parameter controls how wide or narrow the affected
-        frequency range is. Higher Q values will affect a narrower band of
-        frequencies, while lower Q values will affect a wider band of
-        frequencies.
-  \item[Band 9: High shelf filter.]
-        A high shelf filter boosts or lowers all frequencies above a certain
-        frequency limit, much as the ``treble'' control found on ordinary
-        stereo systems does.
-        The high shelf filter is adjusted the same way as the low shelf filter,
-        except that it works on the high end of the frequency spectrum rather
-        than the low end.
-  \end{description}
-  As a general guide, EQ band 0 should be used for low frequencies, EQ bands 1
-  through 8 should be used for mids, and EQ band 9 should be used for highs.
-
-\begin {description}
-  \item[Enable EQ.]
-  This option controls whether the EQ is on or off.
-
-  \item[Graphical EQ.]
-  This option brings up a graphic EQ screen, which allows adjustment of each of
-  the three parameters described above (gain, centre frequency, and Q) for each
-  of the five EQ bands.
-  
-    \begin{btnmap}
-      \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,IAUDIO_X5_PAD,GIGABEAT_PAD%
-          ,GIGABEAT_S_PAD,SANSA_C200_PAD,IAUDIO_M3_PAD,MROBE100_PAD%
-          ,SANSA_CLIP_PAD,SANSA_FUZEPLUS_PAD}{\ButtonRight}
-      \opt{SANSA_E200_PAD,SANSA_FUZE_PAD,IPOD_4G_PAD,IPOD_3G_PAD}{\ButtonScrollFwd}
-      \opt{IRIVER_H10_PAD}{\ButtonScrollUp}
-      \opt{PBELL_VIBE500_PAD}{\ButtonUp}
-      \opt{MPIO_HD200_PAD}{\ButtonVolUp}
-      \opt{MPIO_HD300_PAD}{\ButtonScrollUp}
-      \opt{touchscreen}{\TouchMidRight}
-          &
-      \opt{HAVEREMOTEKEYMAP}{
-          \opt{GIGABEAT_RC_PAD}{\ButtonRCFF}
-          \opt{IAUDIO_RC_PAD}{\ButtonRCRight}
-          &}
-      Raises the highlighted parameter.
-          \\
-      %
-      \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,IAUDIO_X5_PAD,GIGABEAT_PAD%
-          ,GIGABEAT_S_PAD,SANSA_C200_PAD,IAUDIO_M3_PAD,MROBE100_PAD%
-          ,SANSA_CLIP_PAD,SANSA_FUZEPLUS_PAD}{\ButtonLeft}
-      \opt{SANSA_E200_PAD,SANSA_FUZE_PAD,IPOD_4G_PAD,IPOD_3G_PAD}{\ButtonScrollBack}
-      \opt{IRIVER_H10_PAD}{\ButtonScrollDown}
-      \opt{PBELL_VIBE500_PAD}{\ButtonDown}
-      \opt{MPIO_HD200_PAD}{\ButtonVolDown}
-      \opt{MPIO_HD300_PAD}{\ButtonScrollDown}
-      \opt{touchscreen}{\TouchMidLeft}
-          &
-      \opt{HAVEREMOTEKEYMAP}{
-          \opt{GIGABEAT_RC_PAD}{\ButtonRCRew}
-          \opt{IAUDIO_RC_PAD}{\ButtonRCLeft}
-          &}
-      Lowers the highlighted parameter.
-          \\
-      %
-      \opt{IPOD_4G_PAD,IPOD_3G_PAD,PBELL_VIBE500_PAD}{\ButtonLeft}
-      \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,IAUDIO_X5_PAD,SANSA_E200_PAD,SANSA_C200_PAD%
-          ,SANSA_FUZE_PAD,GIGABEAT_PAD,GIGABEAT_S_PAD,IAUDIO_M3_PAD,MROBE100_PAD%
-          ,SANSA_CLIP_PAD,SANSA_FUZEPLUS_PAD}{\ButtonUp}
-      \opt{IRIVER_H10_PAD,MPIO_HD200_PAD,MPIO_HD300_PAD}{\ButtonRew}
-      \opt{touchscreen}{\ActionStdPrev}
-          &
-      \opt{HAVEREMOTEKEYMAP}{
-          \opt{IRIVER_RC_H100_PAD}{\ButtonRCRew}
-          \opt{GIGABEAT_RC_PAD}{\ButtonRCVolUp}
-          \opt{IAUDIO_RC_PAD}{\ButtonRCUp}
-          &}
-      Moves to the previous EQ band.
-          \\
-      %
-      \opt{IPOD_4G_PAD,IPOD_3G_PAD,PBELL_VIBE500_PAD}{\ButtonRight}
-      \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,IAUDIO_X5_PAD,SANSA_E200_PAD,SANSA_C200_PAD%
-          ,SANSA_FUZE_PAD,GIGABEAT_PAD,GIGABEAT_S_PAD,IAUDIO_M3_PAD,MROBE100_PAD%
-          ,SANSA_CLIP_PAD,SANSA_FUZEPLUS_PAD}{\ButtonDown}
-      \opt{IRIVER_H10_PAD,MPIO_HD200_PAD,MPIO_HD300_PAD}{\ButtonFF}
-      \opt{touchscreen}{\ActionStdNext}
-          &
-      \opt{HAVEREMOTEKEYMAP}{
-          \opt{IRIVER_RC_H100_PAD}{\ButtonRCFF}
-          \opt{GIGABEAT_RC_PAD}{\ButtonRCVolDown}
-          \opt{IAUDIO_RC_PAD}{\ButtonRCDown}
-          &}
-      Moves to the next EQ band.
-          \\
-      %
-      \opt{IRIVER_H100_PAD,IRIVER_H300_PAD,GIGABEAT_PAD,GIGABEAT_S_PAD,IAUDIO_X5_PAD%
-          ,SANSA_C200_PAD,IPOD_4G_PAD,IPOD_3G_PAD,IPOD_VIDEO_PAD,SANSA_E200_PAD%
-          ,SANSA_FUZE_PAD,MROBE100_PAD,SANSA_CLIP_PAD,SANSA_FUZEPLUS_PAD}{\ButtonSelect}
-      \opt{MPIO_HD200_PAD}{\ButtonFunc}
-      \opt{MPIO_HD300_PAD}{\ButtonEnter}
-      \opt{PBELL_VIBE500_PAD}{\ButtonOK}
-      \opt{IRIVER_H10_PAD}{\ButtonRight}
-      \opt{IAUDIO_M3_PAD}{\ButtonPlay}
-      \opt{touchscreen}{\TouchCenter
-          \opt{COWON_D2_PAD}{/ \ButtonMenu}}
-          &
-      \opt{HAVEREMOTEKEYMAP}{     
-          \opt{IRIVER_RC_H100_PAD}{\ButtonRCSelect}
-          \opt{GIGABEAT_RC_PAD,IAUDIO_RC_PAD}{\ButtonRCPlay}
-          &}
-      Toggles the cursor among the three parameters (gain, centre frequency,
-      Q) for the selected EQ band
-          \\
-      %
-      \opt{IRIVER_H100_PAD,IRIVER_H300_PAD}{\ButtonMode}
-      \opt{IPOD_4G_PAD,IPOD_3G_PAD,MPIO_HD300_PAD}{\ButtonMenu}
-      \opt{IAUDIO_X5_PAD}{\ButtonPower/\ButtonRec}
-      \opt{IAUDIO_M3_PAD,MPIO_HD200_PAD}{\ButtonRec}
-      \opt{SANSA_E200_PAD,SANSA_FUZE_PAD,IRIVER_H10_PAD}{\ButtonLeft}
-      \opt{GIGABEAT_PAD,GIGABEAT_S_PAD,SANSA_C200_PAD,MROBE100_PAD,SANSA_CLIP_PAD}{\ButtonPower}
-      \opt{PBELL_VIBE500_PAD}{\ButtonCancel}
-      \opt{SANSA_FUZEPLUS_PAD}{\ButtonBack}
-      \opt{touchscreen}{\TouchTopLeft
-          \opt{COWON_D2_PAD}{/ \ButtonPower}}
-          &
-      \opt{HAVEREMOTEKEYMAP}{ 
-          \opt{IRIVER_RC_H100_PAD}{\ButtonRCStop}
-          \opt{GIGABEAT_RC_PAD}{\ButtonRCDsp}
-          \opt{IAUDIO_RC_PAD}{\ButtonRCRec}
-          &}
-      Exits the graphic EQ screen.
-          \\
-    \end{btnmap}
-
-  \item[Pre-cut.]
-  If too much positive gain is added through the graphical EQ, your music may 
-  distort.  The \setting{Precut} setting allows you to apply a global negative
-  gain to decoded audio, cancelling out positive gain from the EQ.  This will
-  prevent distortion when boosting certain frequency ranges, at the expense of 
-  making audio quieter.
-  
-  Alternatively, precut can be used with a flat EQ curve to implement a volume
-  cap.  For example, on a player that allows overdriving the headphone output
-  to +6dB, maximum volume can be capped to +0dB by applying 6dB of precut. Note
-  that precut is not applied if EQ is disabled.  
-
-\item[Simple EQ.]
-This option provides an easier alternative for those who are daunted by all of
-the parameters that can be adjusted using the graphical EQ. With the
-\setting{Simple EQ}, the only parameter that can be adjusted is the gain.
-
-\item[Advanced EQ.]
-This sub menu provides options for adjusting the same parameters as the
-\setting{Graphical EQ}. The only difference is that the parameters are
-adjusted through textual menus rather than through a graphic interface.
-
-\item[Save EQ Preset.]
-This option saves the current EQ configuration in a \fname{.cfg} file.
-
-\item[Browse EQ Presets.]
-This menu displays a list of EQ presets, as well as any EQ configurations saved
-using the \setting{Save EQ Preset} option. Users unfamiliar with the
-operation of a parametric EQ may wish to use the presets instead of trying to
-configure the EQ, or use the presets for designing their own custom EQ
-settings.
-
-\end{description}
-}
-
-\opt{swcodec}{
-\section{Dithering}
-This setting controls the dithering and noise shaping functionality of Rockbox.
-
-Most of Rockbox' audio file decoders work at a higher bit depth than the 16 bits
-used for output on the \daps{} audio connectors. The simplest way to
-convert from one bit depth to another is simply discarding all the surplus bits.
-This is the default behaviour, and adds distortion to the signal that will
-vary in character along with the desired sound.
-
-Dithering adds low-level noise to the signal prior to throwing away the surplus
-bits, which gives the resulting signal a uniform noise floor which is
-independent of the signal. Most people find this noise preferable to the
-time-varying noise heard when not performing dithering.
-
-After dithering, noise shaping is performed. This basically just pushes the
-dithering noise to the parts of the frequency spectrum humans cannot hear so
-easily. In Rockbox' case, some of the noise is pushed up to above 10~kHz.
-
-This setting will be put to its best use when listening to dynamic music with
-frequently occuring quiet parts, classical music being a typical example. It is
-worth noting that the effects of dithering and noise shaping are very subtle,
-and not easily noticable.
-
-Rockbox uses highpass triangular distribution noise as the dithering noise
-source, and a third order noise shaper.
-}
-
-\opt{swcodec}{%
-\opt{pitchscreen}{%
-\section{Timestretch}
-Enabling \setting{Timestretch} allows you to change the playback speed without
-it affecting the pitch of the recording. After enabling this feature and
-rebooting, you can access this via the \setting{Pitch Screen}. This function is
-intended for speech playback and may significantly dilute your listening
-experience with more complex audio. See \reference{sec:pitchscreen} for more
-details about how to use the feature.
-}
-}
-
-\opt{swcodec}{
-\section{Compressor}
-The \setting{Compressor} reduces, or compresses, the dynamic range of the audio
-signal.  This makes the quieter and louder sections closer to the same volume
-level by progressively reducing the gain of louder signals.  When subsequently
-amplified, this has the effect of making the quieter sections louder while
-keeping the louder sections from clipping.  This allows listening to the quiet
-sections of dynamic material in noisy environments while preventing sudden loud
-sections from being overbearing.
-
-There are several settings associated with the compressor.  The first, and most
-important, is the \setting{Threshold}.  The threshold is the audio input level
-at which the compressor begins to act.  Any level louder than the threshold
-will be compressed to some extent.  The maximum amount of compression, or the
-quietest level at which the compressor will operate, is -24~dB.  The default of
-Off disables the compressor.
-
-The \setting{Makeup Gain} setting has two options: Off and Auto.  Off means
-that the compressed audio will not be amplified after compression.  The default
-of Auto will amplify the signal so that the loudest possible signal after
-compression will be just under the clipping limit.  This is desirable because
-the compressed signal without makeup gain is quieter than the input signal.
-Makeup Gain in Auto restores the signal to the maximum possible level and
-brings the quieter audio up with it.  This is what makes it possible to hear
-the quieter audio in noisy environments.
-
-The \setting{Ratio} setting determines how aggressively the compressor reduces
-gain above the threshold.  For example, the 2:1 setting means that for each
-two decibels of input signal above the threshold, the compressor will only
-allow the output to appear as one decibel.  The higher the ratio, the harder
-the signal is compressed.  The ratio setting of Limit means essentially a ratio
-of infinity to one.  In this case, the output signal is not allowed to exceed
-the threshold at all.
-
-The \setting{Knee} setting determines how abrupt the transition is from a
-non-compressed signal to a compressed signal.  Hard Knee means that the
-transition occurs precisely at the threshold.  The Soft Knee setting smoothes
-the transition from plus or minus three decibels around the threshold.
-
-The \setting{Attack Time} setting sets the delay in milliseconds between the
-input signal exceeding the activation threshold and acting upon it.
-
-The \setting{Release Time} setting sets the recovery time after the signal is
-compressed.  Once the compressor determines that compression is necessary,
-the input signal is reduced appropriately, but the gain isn't allowed to
-immediately return to normal levels.  This is necessary to reduce artifacts
-such as ``pumping.''  Instead, the gain is allowed to return to normal at the
-chosen rate.  Release Time is the time for the gain to recover by 10~dB.
-}
-- 
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