| % $Id:$ % |
| \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. |
| }% |
| |
| |