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rockbox/manual/configure_rockbox/recording_settings.tex
Szymon Dziok a09152b128 Packard Bell Vibe 500: Add a part of the manual (no plugin keymaps yet). 
git-svn-id: svn://svn.rockbox.org/rockbox/trunk@25652 a1c6a512-1295-4272-9138-f99709370657
2010-04-15 18:35:41 +00:00

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% $Id:$ %
\screenshot{main_menu/images/ss-recording-settings}{The recording settings screen}{}
\note{To change the location where recordings are stored open the
\setting{Context Menu} (see \reference{ref:Contextmenu}) on the directory
where you want to store them in the \setting{File Browser} and select
\setting{Set As Recording Directory}.}
\opt{masf}{
\section{Quality}
Choose the quality here (0 to 7). Default is 5, best quality is 7,
smallest file size is 0. This setting effects how much your sound
sample will be compressed. Higher quality settings result in larger
MP3 files.
The quality setting is just a way of selecting an average bit rate,
or number of bits per second, for a recording. When this setting
is lowered, recordings are compressed more (meaning worse sound quality),
and the average bitrate changes as follows.
\begin{table}[h!]
\begin{rbtabular}{0.75\textwidth}{lX}%
{\emph{Frequency} & \emph{Bitrate} (Kbit/s) -- quality 0$\rightarrow$7}{}{}
44100~Hz stereo & 75, 80, 90, 100, 120, 140, 160, 170 \\
22050~Hz stereo & 39, 41, 45, 50, 60, 80, 110, 130 \\
44100~Hz mono & 65, 68, 73, 80, 90, 105, 125, 140 \\
22050~Hz mono & 35, 38, 40, 45, 50, 60, 75, 90 \\
\end{rbtabular}
\end{table}
}
\opt{swcodec}{
\section{Format}
Choose which format to save your recording in. The available choices are
the two uncompressed formats \setting{PCM Wave} and \setting{AIFF}, the
losslessly compressed \setting{WavPack} and the lossy
\setting{MPEG Layer 3}.
\section{Encoder Settings}
This sets the bitrate when using the \setting{MPEG Layer 3} format. And has
no settings for the other formats.
}
\section{Frequency}
\nopt{sansa}{
Choose the recording frequency (sample rate).
\opt{masf}{48~kHz, 44.1~kHz, 32~kHz, 24~kHz, 22.05~kHz, 16~kHz}
\opt{h100,h300}{44.1~kHz, 22.05~kHz and 11.025~kHz}
\opt{x5,vibe500}{88.2~kHz, 44.1~kHz, 22.05~kHz and 11.025~kHz}
\opt{sansaAMS}{96~kHz, 88.2~kHz, 64~kHz, 48~kHz, 44.1~kHz, 32~kHz, 24~kHz, %
22.05~kHz, 16~kHz, 12~kHz, 11.025~kHz and 8~kHz}
\opt{gigabeats}{48~kHz, 44.1~kHz, 32~kHz, 24~kHz, 22.05~kHz, 16~kHz, 12~kHz, %
11.025~kHz and 8~kHz}
are available. Higher sample rates use up more disk space, but give better
sound quality.
\opt{swcodec}{\note{The 11.025~kHz setting is not available when using %
\setting{MPEG Layer 3} format.}
}%
\opt{masf}{
The frequency setting also determines which version of the MPEG standard
the sound is recorded using:\\
MPEG v1 for 48~kHz, 44.1~kHz and 32~kHz.\\
MPEG v2 for 24~kHz, 22.05~kHz and 16~kHz.\\
}
\opt{recorder,recorderv2fm,h100}
{\note{You cannot change the sample rate for digital recordings.}
}
} % nopt sansa
\opt{sansa}{
Recordings can only be made at a 22.05~kHz frequency (sample rate)
on this \dap.
} % opt sansa
\section{Source}
Choose the source of the recording. The options are:
\opt{recorder,recorderv2fm,h100}{\setting{SPDIF (digital)}, }%
\nopt{ipodnano,ipodvideo}{\setting{Mic}\nopt{radio}
{\nopt{recorder,m5,ipod4g,ipodcolor,vibe500}{,} and }}%
\nopt{sansa,sansaAMS}{\nopt{ipodnano,ipodvideo,recorder,m5,ipod4g,ipodcolor,vibe500}%
{, }\setting{Line In}}%
\nopt{radio}{.}
\opt{radio}{and {\setting{FM Radio}}. For more information on recording from the radio
see \reference{ref:FMradio}.}
\section{Channels}
This allows you to select mono or stereo recording. Please note that
for mono recording, only the left channel is recorded. Mono recordings
are usually somewhat smaller than stereo.
\opt{swcodec}{
\section{Mono Mode}
When configured to record to mono and the source is a stereo signal, use this
setting to configure how the mono signal is created. Options are L, R and L+R.
}
\opt{masf}{
\section{Independent Frames}
The independent frames option tells the \dap{} to encode with the bit
reservoir disabled, so the frames are independent of each other. This
makes a file easier to edit.
}
\section{File Split Options}
This sub menu contains options for file splitting, which can be used to split
up long recordings into manageable pieces. The splits are seamless (frame
accurate), no audio is lost at the split point. The break between recordings
is only the time required to stop and restart the recording, on the order of
2 -- 4 seconds.
\begin{description}
\item[Split Measure.]
This option controls wether to split the recording when the
\setting{Split Filesize} is reached or when the
\setting{Split Time} has elapsed.
\item[What to do when Splitting.]
This controls what will happend when the splitting condition is
fullfilled the two available options here are
\setting{Start a new file} or \setting{Stop recording}.
\item[Split Time.]
Set the time to record between each split, if time is used as
\setting{Split Measure}.\\
Options (hours:minutes between splits): Off, 00:05, 00:10, 00:15, 00:30,
1:00, 1:14 (74 minute CD), 1:20 (80 minute CD), 2:00, 4:00, 8:00, 10:00,
12:00, 18:00, 24:00.
\item[Split Filesize.]
Set the filesize to record between each split, if filesize is used as
\setting{Split Measure}.
\end{description}
\section{Prerecord Time}
This setting buffers a small amount of audio so that when the record button
is pressed, the recording will begin from that number of seconds earlier.
This is useful for ensuring that a recording begins before a cue that is
being waited for.
\section{Clear Recording Directory}
Resets the location where the recorded files are saved to the root of your
\daps{} drive.
\nopt{ondio}{
\section{Clipping Light}
Causes the backlight to flash on when clipping has been detected.\\
Options: \setting{Off}, \setting{Main unit only},
\setting{Main and remote unit}, \setting{Remote unit only}.
}
\section{Trigger}
When you record a source you often are only interested in the sound and not
the silence in between. The recording trigger provides you with a
tool to automatically distinguish between sound and silence and record the
sound only. Unfortunately it is not very easy to make this distinction between
silence and sound because you hardly ever encounter real silence. There always
are background noises. What is considered as background noise depends on the
situation. For example during a lecture the very low noise of rustling paper
might be considered as background noise. During a rock concert the murmur of
the audience might be concidered background noise which is much louder compared
to rustling paper. Also the duration of the signal matters. When you record
speech you want to record every syllable. When you record live music you may
not be interested in that chord the guitarist strokes for two minutes before
the show to verify his amp is turned on. The trigger features numerous
parameters to adapt its behaviour to the desired situation.
\begin{description}
\item[Trigger.]
This parameter specifies the trigger mode. When set to \setting{Off}
the recording must be started manually and apart from the Prerecord time no
other parameter has any effect. \setting{Once} will have the trigger start
one recording only; after the recording has finished the input signal will
not start another recording. \setting{Repeat} will have the trigger start
multiple recordings.
\item[Trigtype.]
\fixme{Add description of Trigtype}
Options: \setting{Stop}, \setting{Pause}, \setting{New File}.
\item[Prerecord Time.]
This specifies the time that is included into the recording before the
trigger event occurs. This is very useful if you record a signal that
fades in. Usually you want to set the prerecord time greater than or
equal to the start duration. That ensures that you record the entire
sound. Strictly speaking the prerecord time is not a special parameter
of the trigger. It is available during normal recordings too.
\item[Start Above.]
The start threshold defines the minimal volume a sound must have to start the
recording. It is displayed numerically in the line "Start Above". Note that
the unit of the threshold depends on the settings of the peak meter. (i.e.
When the peak meter displays db you can adjust the level in db and when the
peak meter is set to linear the threshold is displayed as percentage.) In the
peak meter at the bottom of the screen the start threshold is displayed
graphically by a little triangle pointing to the right. There are two special
values. The value \setting{Off} turns the start condition off. With this
setting you have to start the recording manually and the trigger only stops
the recording according to the stop condition. The setting \setting{-inf}
sets the trigger to the absolute minimum. This setting only makes sense when
you record via a digital input as even the noise of the device itself would
exceed this threshold immediately.
\item[for at least.]
The start duration defines the minimal duration that a signal must exceed the
start threshold to start the recording. Depending on your situation you may
want to set this setting to 0 (e.g. when copying a song from a commercial
medium) or to quite big values. Because sound is not continuous by nature
(think of percussion) neglectable dropouts are tolerated during this start
duration.
\item[Stop Below.]
When the sound level drops below the stop threshold the recording is stopped.
It is displayed numerically in the line "Stop Below". Just like the start
threshold the unit of the stop threshold depends on the settings of the peak
meter. There's also a small triangular marker in the peak meter at the bottom
of the screen. In contrast to the start threshold marker it points to the
left. The value \setting{Off} turns the stop condition off. With this setting you
have to stop the recording manually.
\item[for at least.]
This time specifies the duration the signal must drop below the stop
threshold to stop the recording. By selecting high values you can ensure
that, for example, trailing fade-outs are recorded entirely.
\item[Presplit Gap.]
When the signal drops below the stop threshold for the time specified by the
presplit gap a new recording may be started when the signal raises above the
start threshold. Thus the value of the presplit gap should be smaller than
the stop hold time. Otherwise the recording would stop anyway and the
presplit gap has no effect. For most uses I recommend to set this parameter
equal to the stop hold time. Sometimes you may encounter a sound source (e.g.
a CD) where the songs have fade outs and hardly any gaps between the tracks.
Here you can set the stop hold time to long values to ensure that all fade
outs are recorded completely. By specifying a short presplit gap you still
can split the recording into seperate tracks whenever the trigger start
condition is met.
\end{description}
More information can be found at \wikilink{VolumeTriggeredRecording}.
\opt{h100,h300}{%
\section{Automatic Gain Control}
The \setting{Automatic Gain Control} has five different presets for
automatically controlling the gain while recording.
\begin{description}
\item[Safety (clip).]
This preset will lower the gain when the levels get too high (-1~dB)
and will never increase gain.
\item[Live (slow).]
This preset is designed to be used for recording of live shows and has
quite large headroom for loud parts. It heads for a nominal target peak
level of -9~dB and will slowly increase or decrease gain to reach it.
\item[DJ-Set (slow).]
This preset heads for a nominal target peak level of -5~dB and will
slowly increase or decrease gain to reach it.
\item[Medium.]
This preset heads for a nominal target peak level of -6~dB and will
increase or decrease gain to reach it.
\item[Voice (fast).]
This preset is designed to be used for voice recording and heads for a
nominal target peak level of -7~dB and will quickly increase or
decrease gain to reach it.
\end{description}
\section{AGC clip time}
This setting controls how long the level is too loud or soft before the
\setting{Automatic Gain Control} kicks in.
}%
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