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,
in the reverse order; USB cards don't carry any kind of serial number
or other forms of unique identification.
+.. _audio-views:
The audio views
'''''''''''''''
.. image:: images/audio-view-selector.png
-Once multichannel mode is active, a little selector shows up to the right,
-just below the level meters. The arrows (or equivalently, the PgUp/PgDown
-keys on the keyboard) allow you to select between two views:
+Once multichannel mode is active, the audio view selector (up to the right,
+just below the level meters) gains a third option. The arrows (or equivalently, the PgUp/PgDown
+keys on the keyboard) allow you to select between those three views:
* In the **compact audio view** (which is the default), each bus is
represented only by its label, its peak meter (see below) and its
from the full audio view are still in effect, but you cannot see or
interact with them.
- * The **full audio view** contains a lot more controls, but leaves no
+ * The **video grid display** does not have any audio controls,
+ but tries to use as much screen estate as possible on the video channels
+ only. In particular, it can put the channels in multiple rows if that
+ facilitates larger previews, which can be useful if you have many channels.
+
+ * The **full audio view** (only available in multichannel mode) contains a lot more controls, but leaves no
room for the video channels. These are useful when you are doing initial
setup of your mix, or if you want to go back and tune something.
The full audio view will be described in detail in the following section;
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
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
projects / nageru-docs / blobdiff