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10  Recording Settings


PIC

Figure 10.1.: The recording settings screen

Note: To change the location where recordings are stored open the Context Menu (see section 4.1.2) on the directory where you want to store them in the File Browser and select Set As Recording Directory.

10.1 Format
10.2 Encoder Settings (MP3 only)
10.3 Frequency
10.4 Source
10.5 Channels
10.6 Mono Mode
10.7 File Split Options
10.8 Prerecord Time
10.9 Clear Recording Directory
10.10 Clipping Light
10.11 Trigger

10.1  Format

Choose which format to save your recording in. The available choices are the two uncompressed formats PCM Wave and AIFF, the losslessly compressed WavPack and the lossy MPEG Layer 3.

10.2  Encoder Settings (MP3 only)

This sets the bitrate when using the MPEG Layer 3 format.

10.3  Frequency

Choose the recording frequency (sample rate). 24 kHz, 22.05 kHz and 16 kHz are available. Higher sample rates use up more disk space, but give better sound quality.

Note: The 11.025 kHz setting is not available when using MPEG Layer 3 format.

ecordings can only be made at a 22.05 kHz frequency (sample rate) on this player.

10.4  Source

Choose the source of the recording. The options are: Microphone and FM Radio. For more information on recording from the radio see section 5.9.

10.5  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.

10.6  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.

10.7  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.

Split Measure.
This option controls whether to split the recording when the Split Filesize is reached or when the Split Time has elapsed.
What to do when Splitting.
This controls what will happen when the splitting condition is fulfilled the two available options here are Start a new file or Stop recording.
Split Time.
Set the time to record between each split, if time is used as 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.
Split Filesize.
Set the filesize to record between each split, if filesize is used as Split Measure.

10.8  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.

10.9  Clear Recording Directory

Resets the location where the recorded files are saved to the root of your player’s drive.

10.10  Clipping Light

Causes the backlight to flash on when clipping has been detected.
Options: Off, Main unit only, Main and remote unit, Remote unit only.

10.11  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.

Trigger.
This parameter specifies the trigger mode. When set to Off the recording must be started manually and apart from the Prerecord time no other parameter has any effect. Once will have the trigger start one recording only; after the recording has finished the input signal will not start another recording. Repeat will have the trigger start multiple recordings.
Trigtype.
Add description of Trigtype Options: Stop, Pause, New File.
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.
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 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 -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.
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.
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 Off turns the stop condition off. With this setting you have to stop the recording manually.
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.
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.

More information can be found at VolumeTriggeredRecording.