manual/configure_rockbox/recording_settings.tex

   1 % $Id:$ %
   2 \screenshot{main_menu/images/ss-recording-settings}{The recording settings screen}{}
   3
   4 \note{To change the location where recordings are stored open the
   5       \setting{Context Menu} (see \reference{ref:Contextmenu}) on the directory
   6       where you want to store them in the \setting{File Browser} and select
   7       \setting{Set As Recording Directory}.}
   8
   9 \opt{masf}{
  10   \section{Quality}
  11     Choose the quality here (0 to 7). Default is 5, best quality is 7,
  12     smallest file size is 0. This setting effects how much your sound
  13     sample will be compressed. Higher quality settings result in larger
  14     MP3 files.
  15
  16     The quality setting is just a way of selecting an average bit rate,
  17     or number of  bits per second, for a recording.  When  this setting
  18     is lowered, recordings are compressed more (meaning worse sound quality),
  19     and the average bitrate changes as follows.
  20
  21   \begin{table}[h!]
  22       \begin{rbtabular}{0.75\textwidth}{lX}%
  23         {\emph{Frequency} & \emph{Bitrate} (Kbit/s) -- quality 0$\rightarrow$7}{}{}
  24         44100~Hz stereo   & 75, 80, 90, 100, 120, 140, 160, 170 \\
  25         22050~Hz stereo   & 39, 41, 45, 50,  60,  80,  110, 130 \\
  26         44100~Hz mono     & 65, 68, 73, 80,  90,  105, 125, 140 \\
  27         22050~Hz mono     & 35, 38, 40, 45,  50,  60,  75,  90 \\
  28       \end{rbtabular}
  29   \end{table}
  30 }
  31
  32 \opt{swcodec}{
  33   \section{Format}
  34     Choose which format to save your recording in. The available choices are
  35     the two uncompressed formats \setting{PCM Wave} and \setting{AIFF}, the
  36     losslessly compressed \setting{WavPack} and the lossy
  37     \setting{MPEG Layer 3}.
  38
  39   \section{Encoder Settings}
  40     This sets the bitrate when using the \setting{MPEG Layer 3} format. And has
  41     no settings for the other formats.
  42 }
  43
  44   \section{Frequency}
  45    \nopt{sansa,ipodnano,ipodcolor,ipod4g}{
  46     Choose the recording frequency (sample rate).
  47     \opt{h100,h300}
  48         {44.1~kHz, 22.05~kHz and 11.025~kHz}
  49     \opt{x5,vibe500,ipodnano2g}
  50         {88.2~kHz, 44.1~kHz, 22.05~kHz and 11.025~kHz}
  51     \opt{masf}
  52         {48~kHz, 44.1~kHz, 32~kHz, 24~kHz, 22.05~kHz and 16~kHz}
  53     \opt{gigabeats,ipodvideo}
  54         {48~kHz, 44.1~kHz, 32~kHz, 24~kHz, 22.05~kHz, 16~kHz, 12~kHz, %
  55         11.025~kHz and 8~kHz}
  56     \opt{sansaAMS}
  57         {96~kHz, 88.2~kHz, 64~kHz, 48~kHz, 44.1~kHz, 32~kHz, 24~kHz, %
  58         22.05~kHz, 16~kHz, 12~kHz, 11.025~kHz and 8~kHz}
  59     are available. Higher sample rates use up more disk space, but give better
  60     sound quality.
  61     \opt{swcodec}{\note{The 11.025~kHz setting is not available when using %
  62       \setting{MPEG Layer 3} format.}
  63     }%
  64     \opt{masf}{
  65       The frequency setting also determines which version of the MPEG standard
  66       the sound is recorded using:\\
  67       MPEG v1 for 48~kHz, 44.1~kHz and 32~kHz.\\
  68       MPEG v2 for 24~kHz, 22.05~kHz and 16~kHz.\\
  69     }
  70     \opt{recorder,recorderv2fm,h100}
  71       {\note{You cannot change the sample rate for digital recordings.}
  72     }
  73    } % nopt sansa
  74    \opt{sansa}{
  75       Recordings can only be made at a 22.05~kHz frequency (sample rate)
  76       on this \dap.
  77    } % opt sansa
  78    \opt{ipodnano,ipodcolor,ipod4g}{
  79       Recordings can only be made at a 44.1~kHz frequency (sample rate)
  80       on this \dap.
  81    } % opt ipodnano1g
  82
  83 \section{Source}
  84   Choose the source of the recording. The options are:
  85   \opt{recorder,recorderv2fm,h100}{\setting{SPDIF (digital)}, }%
  86   \nopt{ipodnano,ipodvideo}{\setting{Mic}\nopt{radio}
  87     {\nopt{recorder,m5,ipod4g,ipodcolor,vibe500}{,} and }}%
  88   \nopt{sansa,sansaAMS}{\nopt{ipodnano,ipodvideo,recorder,m5,ipod4g,ipodcolor,vibe500}%
  89     {, }\setting{Line In}}%
  90   \nopt{radio}{.}
  91   \opt{radio}{and {\setting{FM Radio}}. For more information on recording from the radio
  92     see \reference{ref:FMradio}.}
  93
  94 \section{Channels}
  95   This allows you to select mono or stereo recording. Please note that
  96   for mono recording, only the left channel is recorded. Mono recordings
  97   are usually somewhat smaller than stereo.
  98
  99 \opt{swcodec}{
 100   \section{Mono Mode}
 101     When configured to record to mono and the source is a stereo signal, use this
 102     setting to configure how the mono signal is created. Options are L, R and L+R.
 103 }
 104
 105 \opt{masf}{
 106   \section{Independent Frames}
 107     The independent frames option tells the \dap{} to encode with the bit
 108     reservoir disabled, so the frames are independent of each other. This
 109     makes a file easier to edit.
 110 }
 111
 112 \section{File Split Options}
 113   This sub menu contains options for file splitting, which can be used to split
 114   up long recordings into manageable pieces. The splits are seamless (frame
 115   accurate), no audio is lost at the split point. The break between recordings
 116   is only the time required to stop and restart the recording, on the order of
 117   2 -- 4 seconds.
 118   \begin{description}
 119     \item[Split Measure.]
 120       This option controls wether to split the recording when the
 121       \setting{Split Filesize} is reached or when the
 122       \setting{Split Time} has elapsed.
 123
 124     \item[What to do when Splitting.]
 125       This controls what will happend when the splitting condition is
 126       fullfilled the two available options here are
 127       \setting{Start a new file} or \setting{Stop recording}.
 128
 129     \item[Split Time.]
 130       Set the time to record between each split, if time is used as
 131       \setting{Split Measure}.\\
 132       Options (hours:minutes between splits): Off, 00:05, 00:10, 00:15, 00:30,
 133       1:00, 1:14 (74 minute CD), 1:20 (80 minute CD), 2:00, 4:00, 8:00, 10:00,
 134       12:00, 18:00, 24:00.
 135
 136     \item[Split Filesize.]
 137       Set the filesize to record between each split, if filesize is used as
 138       \setting{Split Measure}.
 139
 140   \end{description}
 141
 142 \section{Prerecord Time}
 143     This setting buffers a small amount of audio so that when the record button
 144     is pressed, the recording will begin from that number of seconds earlier.
 145     This is useful for ensuring that a recording begins before a cue that is
 146     being waited for.
 147
 148 \section{Clear Recording Directory}
 149     Resets the location where the recorded files are saved to the root of your
 150     \daps{} drive.
 151
 152 \nopt{ondio}{
 153   \section{Clipping Light}
 154     Causes the backlight to flash on when clipping has been detected.\\
 155     Options: \setting{Off}, \setting{Main unit only},
 156     \setting{Main and remote unit}, \setting{Remote unit only}.
 157 }
 158 \section{Trigger}
 159   When you record a source you often are only interested in the sound and not
 160   the silence in between. The recording trigger provides you with a
 161   tool to automatically distinguish between sound and silence and record the
 162   sound only.  Unfortunately it is not very easy to make this distinction between
 163   silence and sound because you hardly ever encounter real silence. There always
 164   are background noises. What is considered as background noise depends on the
 165   situation. For example during a lecture the very low noise of rustling paper
 166   might be considered as background noise. During a rock concert the murmur of
 167   the audience might be concidered background noise which is much louder compared
 168   to rustling paper. Also the duration of the signal matters. When you record
 169   speech you want to record every syllable. When you record live music you may
 170   not be interested in that chord the guitarist strokes for two minutes before
 171   the show to verify his amp is turned on. The trigger features numerous
 172   parameters to adapt its behaviour to the desired situation.
 173   \begin{description}
 174   \item[Trigger.]
 175     This parameter specifies the trigger mode.  When set to \setting{Off}
 176     the recording must be started manually and apart from the Prerecord time no
 177     other parameter has any effect.  \setting{Once} will have the trigger start
 178     one recording only; after the recording has finished the input signal will
 179     not start another recording. \setting{Repeat} will have the trigger start
 180     multiple recordings.
 181
 182   \item[Trigtype.]
 183     \fixme{Add description of Trigtype}
 184     Options: \setting{Stop}, \setting{Pause}, \setting{New File}.
 185
 186   \item[Prerecord Time.]
 187     This specifies the time that is included into the recording before the
 188     trigger event occurs. This is very useful if you record a signal that
 189     fades in. Usually you want to set the prerecord time greater than or
 190     equal to the start duration. That ensures that you record the entire
 191     sound. Strictly speaking the prerecord time is not a special parameter
 192     of the trigger. It is available during normal recordings too.
 193
 194   \item[Start Above.]
 195     The start threshold defines the minimal volume a sound must have to start the
 196     recording. It is displayed numerically in the line ``Start Above''. Note that
 197     the unit of the threshold depends on the settings of the peak meter. (i.e.
 198     When the peak meter displays dB you can adjust the level in dB and when the
 199     peak meter is set to linear the threshold is displayed as percentage.) In the
 200     peak meter at the bottom of the screen the start threshold is displayed
 201     graphically by a little triangle pointing to the right. There are two special
 202     values. The value \setting{Off} turns the start condition off.  With this
 203     setting you have to start the recording manually and the trigger only stops
 204     the recording according to the stop condition. The setting \setting{-inf}
 205     sets the trigger to the absolute minimum. This setting only makes sense when
 206     you record via a digital input as even the noise of the device itself would
 207     exceed this threshold immediately.
 208
 209   \item[for at least.]
 210     The start duration defines the minimal duration that a signal must exceed the
 211     start threshold to start the recording. Depending on your situation you may
 212     want to set this setting to 0 (e.g. when copying a song from a commercial
 213     medium) or to quite big values. Because sound is not continuous by nature
 214     (think of percussion) neglectable dropouts are tolerated during this start
 215     duration.
 216
 217   \item[Stop Below.]
 218     When the sound level drops below the stop threshold the recording is stopped.
 219     It is displayed numerically in the line ``Stop Below''. Just like the start
 220     threshold the unit of the stop threshold depends on the settings of the peak
 221     meter. There's also a small triangular marker in the peak meter at the bottom
 222     of the screen. In contrast to the start threshold marker it points to the
 223     left. The value \setting{Off} turns the stop condition off. With this setting you
 224     have to stop the recording manually.
 225
 226   \item[for at least.]
 227     This time specifies the duration the signal must drop below the stop
 228     threshold to stop the recording. By selecting high values you can ensure
 229     that, for example, trailing fade-outs are recorded entirely.
 230
 231   \item[Presplit Gap.]
 232     When the signal drops below the stop threshold for the time specified by the
 233     presplit gap a new recording may be started when the signal raises above the
 234     start threshold. Thus the value of the presplit gap should be smaller than
 235     the stop hold time. Otherwise the recording would stop anyway and the
 236     presplit gap has no effect. For most uses I recommend to set this parameter
 237     equal to the stop hold time. Sometimes you may encounter a sound source (e.g.
 238     a CD) where the songs have fade outs and hardly any gaps between the tracks.
 239     Here you can set the stop hold time to long values to ensure that all fade
 240     outs are recorded completely. By specifying a short presplit gap you still
 241     can split the recording into seperate tracks whenever the trigger start
 242     condition is met.
 243
 244   \end{description}
 245
 246 More information can be found at \wikilink{VolumeTriggeredRecording}.
 247
 248 \opt{h100,h300}{%
 249   \section{Automatic Gain Control}
 250     The \setting{Automatic Gain Control} has five different presets for
 251     automatically controlling the gain while recording.
 252     \begin{description}
 253       \item[Safety (clip).]
 254         This preset will lower the gain when the levels get too high (-1~dB)
 255         and will never increase gain.
 256
 257       \item[Live (slow).]
 258         This preset is designed to be used for recording of live shows and has
 259         quite large headroom for loud parts. It heads for a nominal target peak
 260         level of -9~dB and will slowly increase or decrease gain to reach it.
 261
 262       \item[DJ-Set (slow).]
 263         This preset heads for a nominal target peak level of -5~dB and will
 264         slowly increase or decrease gain to reach it.
 265
 266       \item[Medium.]
 267         This preset heads for a nominal target peak level of -6~dB and will
 268         increase or decrease gain to reach it.
 269
 270       \item[Voice (fast).]
 271         This preset is designed to be used for voice recording and heads for a
 272         nominal target peak level of -7~dB and will quickly increase or
 273         decrease gain to reach it.
 274     \end{description}
 275
 276   \section{AGC clip time}
 277     This setting controls how long the level is too loud or soft before the
 278     \setting{Automatic Gain Control} kicks in.
 279 }%
 280
 281