X-Git-Url: https://git.sesse.net/?a=blobdiff_plain;ds=sidebyside;f=audio.rst;h=61bcf2d200e02ca4c6b11ce87293d12d39d50937;hb=c968d8319a8f77ed3777094d824690904cd0f43b;hp=1266397466f3127f9ccc05471697fccaab70bac0;hpb=362f0a7e5b36ebea6f37d4ba33e62fb4ae4b4395;p=nageru-docs

diff --git a/audio.rst b/audio.rst
index 1266397..61bcf2d 100644
--- a/audio.rst
+++ b/audio.rst
@@ -136,7 +136,7 @@ of taste (and also depends on the speaker), but the main point
 is that it gets rid of low-frequency hum and a lot of the background
 noise that is not related to the speaker's voice. (If you were
 producing music, you'd probably want it there to make room for
-music *under* it, but the you'd want it higher than the default 120 Hz.)
+music *under* it, but then you'd want it higher than the default 120 Hz.)
 
 Next comes a chain of no less than four compressors. They are
 based on the same basic structure, but have very different settings,
@@ -319,7 +319,7 @@ a skilled audio engineer will know how to adjust these to each speaker's
 antics—some speak at a pretty even volume and thus can get a bit of
 headroom, while some are much more variable and need tighter settings.
 
-Finally (or, well, first), there's the EQ section. The **lo-cut** is again
+Nearly at the top (and nearly first in the chain), there's the EQ section. The **lo-cut** is again
 well-known from the simple audio mode (the filter is separate for each
 bus, the cutoff **frequency** is the same across all buses),
 but there's now also a simple **three-band EQ** per bus. Simply ask the speaker
@@ -329,6 +329,21 @@ and if you have a reasonable ear, you can use the EQ to your advantage to
 make them sound a little more even on the stream. Either that, or just
 put it in neutral, and the entire EQ code will be bypassed.
 
+Finally (or, well, first), since 1.7.3, there's the **stereo width** knob.
+At the default, 100%, it makes no change to the signal, but if you turn it
+to 0% (at the middle), the signal becomes perfect mono. Between these two,
+there's a range where the channels leak partially over into each other.
+This can be useful if you have a very hard-panned signal (say, two microphones
+that point in diametrically opposite directions), which can sound odd when
+the listener is using headphones. Going further to the left, at -100%, the
+left and right channels are exactly swapped and between -100% and 0% is again
+a reversion with partial leaking. The range between -100% and 0%
+is for convenience only, as you could achieve the same effect by swapping the
+two channels in the input mapping. Note that the entire control is grayed out
+if the signal is provably mono (ie., the same input channel is mapped to both
+left and right).
+
+
 .. _midi-control:
 
 MIDI controllers