297 lines
13 KiB
TeX
297 lines
13 KiB
TeX
% $Id:$ %
|
|
\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 affects 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 (MP3 only)}
|
|
This sets the bitrate when using the \setting{MPEG Layer~3} format.
|
|
}
|
|
|
|
\section{Frequency}
|
|
\nopt{ipodnano,ipodcolor,ipod4g}{
|
|
Choose the recording frequency (sample rate).
|
|
\opt{c200,e200}
|
|
{24~kHz, 22.05~kHz and 16~kHz}
|
|
\opt{iriverh100,iriverh300}
|
|
{44.1~kHz, 22.05~kHz and 11.025~kHz}
|
|
\opt{iaudiom3,iaudiom5,iaudiox5,vibe500}
|
|
{88.2~kHz, 44.1~kHz, 22.05~kHz and 11.025~kHz}
|
|
\opt{masf}
|
|
{48~kHz, 44.1~kHz, 32~kHz, 24~kHz, 22.05~kHz and 16~kHz}
|
|
\opt{iriverh10}
|
|
{96~kHz, 88.2~kHz, 48~kHz, 44.1~kHz, 32~kHz and 8~kHz}
|
|
\opt{samsungyh}
|
|
{48~kHz, 44.1~kHz, 32~kHz, 24~kHz, 22.05~kHz, 16~kHz, %
|
|
11.025~kHz and 8~kHz}
|
|
\opt{gigabeats,ipodvideo}
|
|
{48~kHz, 44.1~kHz, 32~kHz, 24~kHz, 22.05~kHz, 16~kHz, 12~kHz, %
|
|
11.025~kHz and 8~kHz}
|
|
\opt{sansaAMS,ipodnano2g,fuzeplus}
|
|
{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}
|
|
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~1 for 48~kHz, 44.1~kHz and 32~kHz.\\
|
|
MPEG~2 for 24~kHz, 22.05~kHz and 16~kHz.\\
|
|
}
|
|
\opt{recording_digital}
|
|
{\note{You cannot change the sample rate for digital recordings.}
|
|
}
|
|
} % nopt ipodnano,ipodcolor,ipod4g
|
|
\opt{sansa}{
|
|
\nopt{sansaAMS,c200,e200,fuzeplus}
|
|
Recordings can only be made at a 22.05~kHz frequency (sample rate)
|
|
on this \dap.
|
|
} % prepared for all sansas not handled above, e.g. sansaview
|
|
\opt{ipodnano,ipodcolor,ipod4g}{
|
|
Recordings can only be made at a 44.1~kHz frequency (sample rate)
|
|
on this \dap.
|
|
} % opt ipodnano1g
|
|
|
|
\section{Source}
|
|
Choose the source of the recording. The options are:
|
|
\opt{recording_digital}{\setting{Digital} (SPDIF), }%
|
|
\opt{recording_mic}{\setting{Microphone}}%
|
|
\opt{recording_hwcodec}{ and \setting{Line~In}.}%
|
|
\opt{recording_swcodec}{%
|
|
\nopt{radio}{\opt{recording_linein}{ and \setting{Line~In}.}}%
|
|
\opt{radio}{%
|
|
\opt{recording_linein}{%
|
|
\opt{recording_mic}{, }%
|
|
\setting{Line~In} and %
|
|
}%
|
|
\nopt{recording_linein}{%
|
|
\opt{recording_mic}{ 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 whether 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 happen when the splitting condition is
|
|
fulfilled 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 considered 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 plays 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) negligible 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 separate tracks whenever the trigger start
|
|
condition is met.
|
|
|
|
\end{description}
|
|
|
|
More information can be found at \wikilink{VolumeTriggeredRecording}.
|
|
|
|
\opt{agc}{%
|
|
\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.
|
|
}%
|
|
|
|
|