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[Sox-commits] sox soxformat.7, 1.50, 1.51 libsox.3, 1.23, 1.24 sox.1, 1.315, 1.316
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From: Pascal G. <evi...@us...> - 2009-10-10 15:20:22
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Update of /cvsroot/sox/sox In directory fdv4jf1.ch3.sourceforge.com:/tmp/cvs-serv17818 Modified Files: soxformat.7 libsox.3 sox.1 Log Message: Plenty of hyphen explicitely converted to minus to make groff happy. Index: libsox.3 =================================================================== RCS file: /cvsroot/sox/sox/libsox.3,v retrieving revision 1.23 retrieving revision 1.24 diff -u -d -r1.23 -r1.24 --- libsox.3 14 Jul 2009 19:09:31 -0000 1.23 +++ libsox.3 10 Oct 2009 15:19:59 -0000 1.24 @@ -358,7 +358,7 @@ link with the correct linker flags. See the libtool manual for details; basically, you use it as: .EX - libtool --mode=link gcc -o prog /path/to/libsox.la + libtool \-\-mode=link gcc \-o prog /path/to/libsox.la .EE .SH BUGS This manual page is both incomplete and out of date. Index: sox.1 =================================================================== RCS file: /cvsroot/sox/sox/sox.1,v retrieving revision 1.315 retrieving revision 1.316 diff -u -d -r1.315 -r1.316 --- sox.1 9 Sep 2009 20:22:39 -0000 1.315 +++ sox.1 10 Oct 2009 15:19:59 -0000 1.316 @@ -97,13 +97,13 @@ .EE translates an audio file in Sun AU format to a Microsoft WAV file, whilst .EX - sox recital.au -b 16 recital.wav channels 1 rate 16k fade 3 norm + sox recital.au \-b 16 recital.wav channels 1 rate 16k fade 3 norm .EE performs the same format translation, but also applies four effects (down-mix to one channel, sample rate change, fade-in, nomalize), and stores the result at a bit-depth of 16. .EX - sox -r 16k -e signed -b 8 -c 1 voice-memo.raw voice-memo.wav + sox \-r 16k \-e signed \-b 8 \-c 1 voice-memo.raw voice-memo.wav .EE converts `raw' (a.k.a. `headerless') audio to a self-describing file format, .EX @@ -115,7 +115,7 @@ .EE concatenates two audio files, and .EX - sox -m music.mp3 voice.wav mixed.flac + sox \-m music.mp3 voice.wav mixed.flac .EE mixes together two audio files. .EX @@ -123,22 +123,22 @@ .EE plays a collection of audio files whilst applying a bass boosting effect, .EX - play -n -c1 synth sin %-12 sin %-9 sin %-5 sin %-2 fade h 0.1 1 0.1 + play \-n \-c1 synth sin %\-12 sin %\-9 sin %\-5 sin %\-2 fade h 0.1 1 0.1 .EE plays a synthesised `A minor seventh' chord with a pipe-organ sound, .EX - rec -c 2 radio.aiff trim 0 30:00 + rec \-c 2 radio.aiff trim 0 30:00 .EE records half an hour of stereo audio, and .EX - play -q take1.aiff & rec -M take1.aiff take1-dub.aiff + play \-q take1.aiff & rec \-M take1.aiff take1-dub.aiff .EE (with POSIX shell and where supported by hardware) records a new track in a multi-track recording. Finally, .EX .ne 3 - rec -r 44100 -b 16 -s -p silence 1 0.50 0.1% 1 10:00 0.1% | \\ - sox -p song.ogg silence 1 0.50 0.1% 1 2.0 0.1% : \\ + rec \-r 44100 \-b 16 \-s \-p silence 1 0.50 0.1% 1 10:00 0.1% | \\ + sox \-p song.ogg silence 1 0.50 0.1% 1 2.0 0.1% : \\ newfile : restart .EE records a stream of audio such as LP/cassette and splits in to multiple @@ -258,11 +258,11 @@ .EE These two commands are functionally equivalent to .EX - sox existing-file.wav -d + sox existing-file.wav \-d .EE and .EX - sox -d new-file.wav + sox \-d new-file.wav .EE Of course, further options and effects (as described below) can be added to the commands in either form. @@ -293,13 +293,13 @@ .EX set AUDIODEV=/dev/dsp2 play ... - sox ... -t oss + sox ... \-t oss .EE or .EX set AUDIODEV=hw:soundwave,1,2 play ... - sox ... -t alsa + sox ... \-t alsa .EE Note that the way of setting environment variables varies from system to system\*mfor some specific examples, see `SOX_OPTS' below. @@ -312,7 +312,7 @@ can be changed if desired, by explicitly specifying the \fBrate\fR effect with a different quality level, e.g. .EX - play ... rate -m + play ... rate \-m .EE or by using the .B \-\-play\-rate\-arg @@ -333,7 +333,7 @@ To help with setting a suitable recording level, SoX includes a peak-level meter which can be invoked (before making the actual recording) as follows: .EX - rec -n + rec \-n .EE The recording level should be adjusted (using the system-provided mixer program, not SoX) so that the meter is \fIat most occasionally\fR full @@ -459,7 +459,7 @@ .B vol effect can be used to prevent clipping, e.g. .EX - sox dull.wav bright.wav gain -6 treble +6 + sox dull.wav bright.wav gain \-6 treble +6 .EE guarantees that the treble boost will not clip. .SP @@ -651,7 +651,7 @@ standard output, then the following command makes a stereo file from two generated signals: .EX - sox -M "|genw --imd -" "|genw --thd -" out.wav + sox \-M "|genw \-\-imd \-" "|genw \-\-thd \-" out.wav .EE For headerless (raw) audio, .B \-t @@ -664,16 +664,16 @@ applied to a group of files. For example, if the current directory contains three `vox' files: file1.vox, file2.vox, and file3.vox, then .EX - play --rate 6k *.vox + play \-\-rate 6k *.vox .EE will be expanded by the `shell' (in most environments) to .EX - play --rate 6k file1.vox file2.vox file3.vox + play \-\-rate 6k file1.vox file2.vox file3.vox .EE which will treat only the first vox file as having a sample rate of 6k; but with .EX - play --rate 6k "*.vox" + play \-\-rate 6k "*.vox" .EE the given sample rate option will be applied to all three vox files. .TP @@ -682,7 +682,7 @@ the SoX command should be used as in input pipe to another SoX command. For example, the command: .EX - play "|sox -n -p synth 2" "|sox -n -p synth 2 tremolo 10" stat + play "|sox \-n \-p synth 2" "|sox \-n \-p synth 2 tremolo 10" stat .EE plays two `files' in succession, each with different effects. .SP @@ -734,7 +734,7 @@ SoX's global options. For example: .EX - SOX_OPTS="--buffer 20000 --play-rate-arg -hs --temp /mnt/temp" + SOX_OPTS="\-\-buffer 20000 \-\-play-rate-arg \-hs \-\-temp /mnt/temp" .EE Note that setting SOX_OPTS can potentially create unwanted changes in the behaviour of scripts or other programs that invoke SoX. So SOX_OPTS @@ -750,24 +750,24 @@ alternative approach is to explicitly invoke SoX with default option values, e.g. .EX - SOX_OPTS="-V --no-clobber" + SOX_OPTS="\-V \-\-no-clobber" ... - sox -V2 --clobber $input $output ... + sox \-V2 \-\-clobber $input $output ... .EE Note that the way of setting environment variables varies from system to system\*mhere are some examples: .SP Unix bash: .EX - export SOX_OPTS="-V --no-clobber" + export SOX_OPTS="\-V \-\-no-clobber" .EE Unix csh: .EX - setenv SOX_OPTS "-V --no-clobber" + setenv SOX_OPTS "\-V \-\-no-clobber" .EE MS-DOS/MS-Windows: .EX - set SOX_OPTS=-V --no-clobber + set SOX_OPTS=\-V \-\-no-clobber .EE MS-Windows GUI: via Control Panel : System : Advanced : Environment Variables @@ -815,11 +815,11 @@ .B gain effect to guard against clipping. E.g. .EX - sox -G infile -b 16 outfile rate 44100 dither -s + sox \-G infile \-b 16 outfile rate 44100 dither \-s .EE is shorthand for .EX - sox infile -b 16 outfile gain -h rate 44100 gain -rh dither -s + sox infile \-b 16 outfile gain \-h rate 44100 gain \-rh dither \-s .EE See also .BR \-V, @@ -895,11 +895,11 @@ .B gain effect to guard against clipping, and to normalise the audio. E.g. .EX - sox --norm infile -b 16 outfile rate 44100 dither -s + sox \-\-norm infile \-b 16 outfile rate 44100 dither \-s .EE is shorthand for .EX - sox infile -b 16 outfile gain -h rate 44100 gain -nh dither -s + sox infile \-b 16 outfile gain \-h rate 44100 gain \-nh dither \-s .EE See also .BR \-V, @@ -926,7 +926,7 @@ SoX will output commands to plot the effect's transfer function, and then exit without actually processing any audio. E.g. .EX - sox --plot octave input-file -n highpass 1320 > highpass.plt + sox \-\-plot octave input-file \-n highpass 1320 > highpass.plt octave highpass.plt .EE .TP @@ -1078,7 +1078,7 @@ SoX of the number of bits per sample in a `raw' (`headerless') audio file. For example .EX - sox -r 16k -e signed -b 8 input.raw output.wav + sox \-r 16k \-e signed \-b 8 input.raw output.wav .EE converts a particular `raw' file to a self-describing `WAV' file. .SP @@ -1089,7 +1089,7 @@ by the output file type) be set to the input encoding size. For example .EX - sox input.cdda -b 24 output.wav + sox input.cdda \-b 24 output.wav .EE converts raw CD digital audio (16-bit, signed-integer) to a 24-bit (signed-integer) `WAV' file. @@ -1110,11 +1110,11 @@ header\*mnote that this is only supported with certain file types. Examples: .EX - sox -r 48k -e float -b 32 -c 2 input.raw output.wav + sox \-r 48k \-e float \-b 32 \-c 2 input.raw output.wav .EE converts a particular `raw' file to a self-describing `WAV' file. .EX - play -c 1 music.wav + play \-c 1 music.wav .EE interprets the file data as belonging to a single channel regardless of what is indicated in the file header. Note that if the file does @@ -1129,8 +1129,8 @@ example, the following two commands are equivalent: .EX .ne 2 - sox input.wav -c 1 output.wav bass -3 - sox input.wav output.wav bass -3 channels 1 + sox input.wav \-c 1 output.wav bass \-3 + sox input.wav output.wav bass \-3 channels 1 .EE though the second form is more flexible as it allows the effects to be ordered arbitrarily. @@ -1143,7 +1143,7 @@ .RS .IP \fBsigned-integer\fR PCM data stored as signed (`two's complement') integers. Commonly used -with a 16 or 24 -bit encoding size. +with a 16 or 24 \-bit encoding size. A value of 0 represents minimum signal power. .IP \fBunsigned-integer\fR PCM data stored as signed (`two's complement') integers. Commonly used @@ -1202,9 +1202,9 @@ .BR \-b ) to set the output encoding type For example .EX - sox input.cdda -e float output1.wav + sox input.cdda \-e float output1.wav - sox input.cdda -b 64 -e float output2.wav + sox input.cdda \-b 64 \-e float output2.wav .EE convert raw CD digital audio (16-bit, signed-integer) to floating-point `WAV' files (single & double precision respectively). @@ -1225,7 +1225,7 @@ performed by SoX on the following filename. For example, if the current directory contains the two files `five-seconds.wav' and `five*.wav', then .EX - play --no-glob "five*.wav" + play \-\-no-glob "five*.wav" .EE can be used to play just the single file `five*.wav'. .TP @@ -1245,7 +1245,7 @@ For example, if audio was recorded with a sample-rate of say 48k from a source that played back a little, say 1\*d5%, too slowly, then .EX - sox -r 48720 input.wav output.wav + sox \-r 48720 input.wav output.wav .EE effectively corrects the speed by changing only the file header (but see also the @@ -1260,8 +1260,8 @@ following two commands are equivalent: .EX .ne 2 - sox input.wav -r 48k output.wav bass -3 - sox input.wav output.wav bass -3 rate 48k + sox input.wav \-r 48k output.wav bass \-3 + sox input.wav output.wav bass \-3 rate 48k .EE though the second form is more flexible as it allows .B rate @@ -1273,9 +1273,9 @@ audio file (e.g. raw, mp3) where the actual/desired type cannot be determined from a given filename extension. For example: .EX - another-command | sox -t mp3 - output.wav + another-command | sox \-t mp3 \- output.wav - sox input.wav -t raw output.bin + sox input.wav \-t raw output.bin .EE It can also be used to override the type implied by an input filename extension, but if overriding with a type that has a header, SoX will @@ -1310,11 +1310,11 @@ bit ordering) of the input file is not automatically used for the output file; so, for example, when the following is run on a little-endian system: .EX - sox -B audio.s16 trimmed.s16 trim 2 + sox \-B audio.s16 trimmed.s16 trim 2 .EE trimmed.s16 will be created as little-endian; .EX - sox -B audio.s16 -B trimmed.s16 trim 2 + sox \-B audio.s16 \-B trimmed.s16 trim 2 .EE must be used to preserve big-endianness in the output file. .SP @@ -1603,8 +1603,8 @@ four different notes in total: .EX .ne 2 - play -n synth 2.5 sin 667 gain 1 \\ - bend .35,180,.25 .15,740,.53 0,-520,.3 + play \-n synth 2.5 sin 667 gain 1 \\ + bend .35,180,.25 .15,740,.53 0,\-520,.3 .EE Note that the clipping that is produced in this example is deliberate; to remove it, use @@ -1634,8 +1634,8 @@ equivalent: .EX .ne 2 - sox input.wav -c 1 output.wav bass -3 - sox input.wav output.wav bass -3 channels 1 + sox input.wav \-c 1 output.wav bass \-3 + sox input.wav output.wav bass \-3 channels 1 .EE though the second form is more flexible as it allows the effects to be ordered arbitrarily. @@ -1761,7 +1761,7 @@ quiet and loud passages suitable for listening to in a noisy environment such as a moving vehicle: .EX - sox asz.wav asz-car.wav compand 0.3,1 6:-70,-60,-20 -5 -90 0.2 + sox asz.wav asz-car.wav compand 0.3,1 6:\-70,\-60,\-20 \-5 \-90 0.2 .EE The transfer function (`6:\-70,...') says that very soft sounds (below \-70dB) will remain unchanged. This will stop the compander from @@ -1780,13 +1780,13 @@ In the next example, compand is being used as a noise-gate for when the noise is at a lower level than the signal: .EX - play infile compand .1,.2 -inf,-50.1,-inf,-50,-50 0 -90 .1 + play infile compand .1,.2 \-inf,\-50.1,\-inf,\-50,\-50 0 \-90 .1 .EE Here is another noise-gate, this time for when the noise is at a higher level than the signal (making it, in some ways, similar to squelch): .EX - play infile compand .1,.1 -45.1,-45,-inf,0,-inf 45 -90 .1 + play infile compand .1,.1 \-45.1,\-45,\-inf,0,\-inf 45 \-90 .1 .EE This effect supports the \fB\-\-plot\fR global option (for the transfer function). .SP @@ -1841,7 +1841,7 @@ filter effect at a frequency of say 10Hz, as illustrated in the following example: .EX - sox -n dc.wav synth 5 sin %0 50 + sox \-n dc.wav synth 5 sin %0 50 sox dc.wav fixed.wav highpass 10 .EE .TP @@ -1896,15 +1896,15 @@ The following (one long) command plays a chime sound: .EX .ne 3 - play -n synth -j 3 sin %3 sin %-2 sin %-5 sin %-9 \\ - sin %-14 sin %-21 fade h .01 2 1.5 delay \\ - 1.3 1 .76 .54 .27 remix - fade h 0 2.7 2.5 norm -1 + play \-n synth \-j 3 sin %3 sin %\-2 sin %\-5 sin %\-9 \\ + sin %\-14 sin %\-21 fade h .01 2 1.5 delay \\ + 1.3 1 .76 .54 .27 remix \- fade h 0 2.7 2.5 norm \-1 .EE and this plays a guitar chord: .EX .ne 2 - play -n synth pl G2 pl B2 pl D3 pl G3 pl D4 pl G4 \\ - delay 0 .05 .1 .15 .2 .25 remix - fade 0 4 .1 norm -1 + play \-n synth pl G2 pl B2 pl D3 pl G3 pl D4 pl G4 \\ + delay 0 .05 .1 .15 .2 .25 remix \- fade 0 4 .1 norm \-1 .EE .TP \fBdither\fR [\fB\-a\fR] [\fB\-S\fR\^|\^\fB\-s\fR\^|\^\fB\-f \fIfilter\fR] @@ -2100,7 +2100,7 @@ otherwise, coefficients may be given on the command line. Examples: .EX - sox infile outfile fir 0.0195 -0.082 0.234 0.891 -0.145 0.043 + sox infile outfile fir 0.0195 \-0.082 0.234 0.891 \-0.145 0.043 .EE .EX sox infile outfile fir coefs.txt @@ -2110,9 +2110,9 @@ # HP filter # freq=10000 1.2311233052619888e-01 - -4.4777096106211783e-01 + \-4.4777096106211783e-01 5.1031563346705155e-01 - -6.6502926320995331e-02 + \-6.6502926320995331e-02 ... .EE .TP @@ -2223,11 +2223,11 @@ to the effect that the audio is normalised to a given level below 0dB. For example, .EX - sox infile outfile gain -n + sox infile outfile gain \-n .EE normalises to 0dB, and .EX - sox infile outfile gain -n -3 + sox infile outfile gain \-n \-3 .EE normalises to \-3dB. .SP @@ -2235,7 +2235,7 @@ .B \-l option invokes a simple limiter, e.g. .EX - sox infile outfile gain -l 6 + sox infile outfile gain \-l 6 .EE will apply 6dB of gain but never clip. Note that limiting more than a few dBs more than occasionally (in a piece of audio) is not recommended @@ -2249,7 +2249,7 @@ option is used to apply gain to provide head-room for subsequent processing. For example, with .EX - sox infile outfile gain -h bass +6 + sox infile outfile gain \-h bass +6 .EE 6dB of attenuation will be applied prior to the bass boosting effect thus ensuring that it will not clip. Of course, with bass, it is @@ -2257,9 +2257,9 @@ rate, dither) it is not always as clear. Another advantage of using \fBgain \-h\fR rather than an explicit attenuation, is that if the headroom is not used by subsequent effects, it can be reclaimed with -\fBgain -r\fR, for example: +\fBgain \-r\fR, for example: .EX - sox infile outfile gain -h bass +6 rate 44100 gain -r + sox infile outfile gain \-h bass +6 rate 44100 gain \-r .EE The above effects chain guarantees never to clip nor amplify; it attenuates if necessary to prevent clipping, but by only as @@ -2268,7 +2268,7 @@ Output formatting (dithering and bit-depth reduction) also requires headroom (which cannot be `reclaimed'), e.g. .EX - sox infile outfile gain -h bass +6 rate 44100 gain -rh dither + sox infile outfile gain \-h bass +6 rate 44100 gain \-rh dither .EE Here, the second .B gain @@ -2277,7 +2277,7 @@ subsequent processing. The SoX global option .B \-G -can be given to automatically invoke \fBgain \-h\fR and \fBgain -r\fR. +can be given to automatically invoke \fBgain \-h\fR and \fBgain \-r\fR. .SP See also the .B norm @@ -2354,14 +2354,14 @@ companding is typically used in FM radio: .EX .ne 8 - play track1.wav gain -3 sinc 8000- 29 100 mcompand \\ - \(dq0.005,0.1 -47,-40,-34,-34,-17,-33\(dq 100 \\ - \(dq0.003,0.05 -47,-40,-34,-34,-17,-33\(dq 400 \\ - \(dq0.000625,0.0125 -47,-40,-34,-34,-15,-33\(dq 1600 \\ - \(dq0.0001,0.025 -47,-40,-34,-34,-31,-31,-0,-30\(dq 6400 \\ - \(dq0,0.025 -38,-31,-28,-28,-0,-25\(dq \\ - gain 15 highpass 22 highpass 22 sinc -n 255 -b 16 -17500 \\ - gain 9 lowpass -1 17801 + play track1.wav gain \-3 sinc 8000\- 29 100 mcompand \\ + \(dq0.005,0.1 \-47,\-40,\-34,\-34,\-17,\-33\(dq 100 \\ + \(dq0.003,0.05 \-47,\-40,\-34,\-34,\-17,\-33\(dq 400 \\ + \(dq0.000625,0.0125 \-47,\-40,\-34,\-34,\-15,\-33\(dq 1600 \\ + \(dq0.0001,0.025 \-47,\-40,\-34,\-34,\-31,\-31,\-0,\-30\(dq 6400 \\ + \(dq0,0.025 \-38,\-31,\-28,\-28,\-0,\-25\(dq \\ + gain 15 highpass 22 highpass 22 sinc \-n 255 \-b 16 \-17500 \\ + gain 9 lowpass \-1 17801 .EE The audio file is played with a simulated FM radio sound (or broadcast signal condition if the lowpass filter at the end is skipped). @@ -2441,7 +2441,7 @@ profile to \fIprofile-file\fR, or to stdout if no \fIprofile-file\fR or if `\-' is given. E.g. .EX - sox speech.wav -n trim 0 1.5 noiseprof speech.noise-profile + sox speech.wav \-n trim 0 1.5 noiseprof speech.noise-profile .EE To actually remove the noise, run SoX again, this time with the \fBnoisered\fR effect; @@ -2468,7 +2468,7 @@ On most systems, the two stages\*mprofiling and reduction\*mcan be combined using a pipe, e.g. .EX - sox noisy.wav -n trim 0 1 noiseprof | play noisy.wav noisered + sox noisy.wav \-n trim 0 1 noiseprof | play noisy.wav noisered .EE .TP \fBnorm\fR [\fIdB-level\fR] @@ -2542,19 +2542,19 @@ .SP For example: .EX - play snare.flac phaser 0.8 0.74 3 0.4 0.5 -t + play snare.flac phaser 0.8 0.74 3 0.4 0.5 \-t .EE Gentler: .EX - play snare.flac phaser 0.9 0.85 4 0.23 1.3 -s + play snare.flac phaser 0.9 0.85 4 0.23 1.3 \-s .EE A popular sound: .EX - play snare.flac phaser 0.89 0.85 1 0.24 2 -t + play snare.flac phaser 0.89 0.85 1 0.24 2 \-t .EE More severe: .EX - play snare.flac phaser 0.6 0.66 3 0.6 2 -t + play snare.flac phaser 0.6 0.66 3 0.6 2 \-t .EE .TP \fBpitch \fR[\fB\-q\fR] \fIshift\fR [\fIsegment\fR [\fIsearch\fR [\fIoverlap\fR]]] @@ -2641,8 +2641,8 @@ equivalent: .EX .ne 2 - sox input.wav -r 48k output.wav bass -3 - sox input.wav output.wav bass -3 rate 48k + sox input.wav \-r 48k output.wav bass \-3 + sox input.wav output.wav bass \-3 rate 48k .EE though the second command is more flexible as it allows .B rate @@ -2742,13 +2742,13 @@ .SP Examples: .EX - sox input.wav -b 16 output.wav rate -s -a 44100 dither -s + sox input.wav \-b 16 output.wav rate \-s \-a 44100 dither \-s .EE default (high) quality resampling; overrides: steep filter, allow aliasing; to 44\*d1kHz sample rate; noise-shaped dither to 16-bit WAV file. .EX - sox input.wav -b 24 output.aiff rate -v -I -b 90 48k + sox input.wav \-b 24 output.aiff rate \-v \-I \-b 90 48k .EE very high quality resampling; overrides: intermediate phase, band-width 90%; to 48k sample rate; store output to 24-bit AIFF file. @@ -2811,7 +2811,7 @@ right of the hyphen are optional and default to 1 and to the number of input channels respectively. Thus .EX - sox input.wav output.wav remix - + sox input.wav output.wav remix \- .EE performs a mix-down of all input channels to mono. .SP @@ -2853,13 +2853,13 @@ .EE results in channel level multipliers of 0\*d5,0\*d5 1,0\*d8, whereas .EX - sox input.wav output.wav remix -a 1,2 3,4v0.8 + sox input.wav output.wav remix \-a 1,2 3,4v0.8 .EE results in channel level multipliers of 0\*d5,0\*d5 0\*d5,0\*d8. .SP The \-m (manual) option disables all automatic volume adjustments, so .EX - sox input.wav output.wav remix -m 1,2 3,4v0.8 + sox input.wav output.wav remix \-m 1,2 3,4v0.8 .EE results in channel level multipliers of 1,1 1,0\*d8. .SP @@ -2896,12 +2896,12 @@ script) is useful: .EX #!/bin/sh -chans=\`soxi -c "$1"\` -while [ $chans -ge 1 ]; do +chans=\`soxi \-c "$1"\` +while [ $chans \-ge 1 ]; do chans0=\`printf %02i $chans\` # 2 digits hence up to 99 chans out=\`echo "$1"|sed "s/\\(.*\\)\\.\\(.*\\)/\\1-$chans0.\\2/"\` sox "$1" "$out" remix $chans - chans=\`expr $chans - 1\` + chans=\`expr $chans \- 1\` done .EE If a file @@ -2940,14 +2940,14 @@ increases both the volume and the length of the audio, so to prevent clipping in these domains, a typical invocation might be: .EX - play dry.wav gain -3 pad 0 3 reverb + play dry.wav gain \-3 pad 0 3 reverb .EE The .B \-w option can be given to select only the `wet' signal, thus allowing it to be processed further, independently of the `dry' signal. E.g. .EX - play -m voice.wav "|sox voice.wav -p reverse reverb -w reverse" + play \-m voice.wav "|sox voice.wav \-p reverse reverb \-w reverse" .EE for a reverse reverb effect. .TP @@ -3094,13 +3094,13 @@ .SP For example, if `my.wav' is a stereo file, then with .EX - sox my.wav -n spectrogram + sox my.wav \-n spectrogram .EE a spectrogram of the entire file will be created in the file `spectrogram.png'. More often though, analysis of a smaller portion of the audio is required; e.g. with .EX - sox my.wav -n remix 2 trim 20 30 spectrogram + sox my.wav \-n remix 2 trim 20 30 spectrogram .EE the spectrogram shows information only from the second (right) channel, and of thirty seconds of audio starting from twenty seconds @@ -3108,13 +3108,13 @@ .B rate effect may be used, e.g. .EX - sox my.wav -n rate 6k spectrogram + sox my.wav \-n rate 6k spectrogram .EE allows detailed analysis of frequencies up to 3kHz (half the sampling rate) i.e. where the human auditory system is most sensitive. With .EX - sox my.wav -n trim 0 10 spectrogram -x 600 -y 200 -z 100 + sox my.wav \-n trim 0 10 spectrogram \-x 600 \-y 200 \-z 100 .EE the given options control the size of the spectrogram's X, Y & Z axes (in this case, the spectrogram area of the produced image will be 600 @@ -3122,7 +3122,7 @@ the produced image includes axes legends etc. and so will be a little larger than the specified spectrogram size. In this example: .EX - sox -n -n synth 6 tri 10k:14k spectrogram -z 100 -w kaiser + sox \-n \-n synth 6 tri 10k:14k spectrogram \-z 100 \-w kaiser .EE an analysis `window' with high dynamic range is selected to best display the spectrogram of a swept triangular wave. For a smilar @@ -3131,12 +3131,12 @@ .B delay effect (above): .EX - rate 2k spectrogram -X 200 -Z -10 -w kaiser + rate 2k spectrogram \-X 200 \-Z \-10 \-w kaiser .EE Options are also avaliable to control the appearance (colour-set, brightness, contrast, etc.) and filename of the spectrogram; e.g. with .EX - sox my.wav -n spectrogram -m -l -o print.png + sox my.wav \-n spectrogram \-m \-l \-o print.png .EE a spectrogram is created suitable for printing on a `black and white' printer. @@ -3269,7 +3269,7 @@ ([[HH:]MM:]SS) fits the selected (or default) X-axis width. For example, .EX - sox input.mp3 output.wav -n spectrogram -d 1:00 stats + sox input.mp3 output.wav \-n spectrogram \-d 1:00 stats .EE creates a spectrogram showing the first minute of the audio, whilst .EE @@ -3284,7 +3284,7 @@ Start the spectrogram at the given point in the audio stream. For example .EX - sox input.aiff output.wav spectrogram -S 1:00 + sox input.aiff output.wav spectrogram \-S 1:00 .EE creates a spectrogram showing all but the first minute of the audio (the output file however, receives the entire audio stream). @@ -3377,7 +3377,7 @@ .EE For another example, the SoX command .EX - play "|sox -n -p synth 1 sin %1" "|sox -n -p synth 1 sin %3" + play "|sox \-n \-p synth 1 sin %1" "|sox \-n \-p synth 1 sin %3" .EE generates and plays two notes, but there is a nasty click at the transition; the click can be removed by splicing instead of @@ -3394,16 +3394,16 @@ # Audio Copy and Paste Over # acpo infile copy-start copy-stop paste-over-start outfile # All times measured in samples. -rate=\`soxi -r "$1"\` +rate=\`soxi \-r "$1"\` e=\`expr $rate '*' 5 / 1000\` # Using default excess l=$e # and leeway. -sox "$1" piece.wav trim \`expr $2 - $e - $l\`s \\ - \`expr $3 - $2 + $e + $l + $e\`s +sox "$1" piece.wav trim \`expr $2 \- $e \- $l\`s \\ + \`expr $3 \- $2 + $e + $l + $e\`s sox "$1" part1.wav trim 0 \`expr $4 + $e\`s -sox "$1" part2.wav trim \`expr $4 + $3 - $2 - $e - $l\`s +sox "$1" part2.wav trim \`expr $4 + $3 \- $2 \- $e \- $l\`s sox part1.wav piece.wav part2.wav "$5" splice \\ \`expr $4 + $e\`s \\ - \`expr $4 + $e + $3 - $2 + $e + $l + $e\`s + \`expr $4 + $e + $3 \- $2 + $e + $l + $e\`s .EE In the above Bourne shell script, two splices are used to `copy and paste' audio. @@ -3426,7 +3426,7 @@ is given). For example, if f1.wav and f2.wav are audio files to be cross-faded, then .EX - sox f1.wav f2.wav out.wav splice -q $(soxi -D f1.wav),3 + sox f1.wav f2.wav out.wav splice \-q $(soxi \-D f1.wav),3 .EE cross-fades the files where the point of equal loudness is 3 seconds before the end of f1.wav, i.e. the total length of the cross-fade is @@ -3541,14 +3541,14 @@ l. .ft CW Overall Left Right -DC offset 0.000803 -0.000391 0.000803 -Min level -0.750977 -0.750977 -0.653412 +DC offset 0.000803 \-0.000391 0.000803 +Min level \-0.750977 \-0.750977 \-0.653412 Max level 0.708801 0.708801 0.653534 -Pk lev dB -2.49 -2.49 -3.69 -RMS lev dB -19.41 -19.13 -19.71 -RMS Pk dB -13.82 -13.82 -14.38 -RMS Tr dB -85.25 -85.25 -82.66 -Crest factor - 6.79 6.32 +Pk lev dB \-2.49 \-2.49 \-3.69 +RMS lev dB \-19.41 \-19.13 \-19.71 +RMS Pk dB \-13.82 \-13.82 \-14.38 +RMS Tr dB \-85.25 \-85.25 \-82.66 +Crest factor \- 6.79 6.32 Flat factor 0.00 0.00 0.00 Pk count 2 2 2 Bit-depth 16/16 16/16 16/16 @@ -3707,37 +3707,37 @@ For example, the following produces a 3 second, 48kHz, audio file containing a sine-wave swept from 300 to 3300\ Hz: .EX - sox -n output.wav synth 3 sine 300-3300 + sox \-n output.wav synth 3 sine 300-3300 .EE and this produces an 8\ kHz version: .EX - sox -r 8000 -n output.wav synth 3 sine 300-3300 + sox \-r 8000 \-n output.wav synth 3 sine 300-3300 .EE Multiple channels can be synthesised by specifying the set of parameters shown between braces multiple times; the following puts the swept tone in the left channel and adds `brown' noise in the right: .EX - sox -n output.wav synth 3 sine 300-3300 brownnoise + sox \-n output.wav synth 3 sine 300-3300 brownnoise .EE The following example shows how two synth effects can be cascaded to create a more complex waveform: .EX .ne 2 - play -n synth 0.5 sine 200-500 synth 0.5 sine fmod 700-100 + play \-n synth 0.5 sine 200-500 synth 0.5 sine fmod 700-100 .EE Frequencies can also be given in `scientific' note notation, or, by prefixing a `%' character, as a number of semitones relative to `middle A' (440\ Hz). For example, the following could be used to help tune a guitar's low `E' string: .EX - play -n synth 4 pluck %-29 + play \-n synth 4 pluck %-29 .EE or with a (Bourne shell) loop, the whole guitar: .EX .ne 2 for n in E2 A2 D3 G3 B3 E4; do - play -n synth 4 pluck $n repeat 2; done + play \-n synth 4 pluck $n repeat 2; done .EE See the .B delay Index: soxformat.7 =================================================================== RCS file: /cvsroot/sox/sox/soxformat.7,v retrieving revision 1.50 retrieving revision 1.51 diff -u -d -r1.50 -r1.51 --- soxformat.7 17 Sep 2009 17:54:20 -0000 1.50 +++ soxformat.7 10 Oct 2009 15:19:59 -0000 1.51 @@ -145,10 +145,10 @@ recording audio. ALSA is only used in Linux-based operating systems, though these often support OSS (see below) as well. Examples: .EX - sox infile -t alsa - sox infile -t alsa default - sox infile -t alsa plughw:0,0 - sox -2 -t alsa hw:1 outfile + sox infile \-t alsa + sox infile \-t alsa default + sox infile \-t alsa plughw:0,0 + sox \-2 \-t alsa hw:1 outfile .EE See also .BR play (1), @@ -199,9 +199,9 @@ for a given plugin (such as \fBpulse\fR for pulse audio plugin). Examples: .EX - sox infile -t ao - sox infile -t ao default - sox infile -t ao pulse + sox infile \-t ao + sox infile \-t ao default + sox infile \-t ao pulse .EE See also .BR play (1) @@ -248,8 +248,8 @@ Mac OSX CoreAudio device driver: supports both playing and recording audio. Examples: .EX - sox infile -t coreaudio - sox infile -t coreaudio default + sox infile \-t coreaudio + sox infile \-t coreaudio default .EE See also .BR play (1), @@ -271,7 +271,7 @@ be used with any bit-rate. E.g. .EX sox infile outfile.cvu rate 28k - play -r 28k outfile.cvu sinc -3.4k + play \-r 28k outfile.cvu sinc \-3.4k .EE .TP .B .dat @@ -338,7 +338,7 @@ G.723, G.726, G.728, or iLBC encoded audio, SoX supports reading and writing only A-Law and \(*m-law. E.g. .EX - sox music.wav -t gsrt ring.bin + sox music.wav \-t gsrt ring.bin play ring.bin .EE .TP @@ -475,9 +475,9 @@ recording audio. OSS support is available in Unix-like operating systems, sometimes together with alternative sound systems (such as ALSA). Examples: .EX - sox infile -t oss - sox infile -t oss /dev/dsp - sox -2 -t oss /dev/dsp outfile + sox infile \-t oss + sox infile \-t oss /dev/dsp + sox \-2 \-t oss /dev/dsp outfile .EE See also .BR play (1), @@ -501,7 +501,7 @@ and is only partially supported: it's necessary to specify the audio type manually, e.g. .EX - play -t mp3 \(dqhttp://a.server/pls?rn=265&file=filename.pls\(dq + play \-t mp3 \(dqhttp://a.server/pls?rn=265&file=filename.pls\(dq .EE and SoX does not know about alternative servers\*mhit Ctrl-C twice in quick succession to quit. @@ -520,8 +520,8 @@ PulseAudio is a cross platform networked sound server. If a file name is specified with this driver, it is ignored. Examples: .EX - sox infile -t pulseaudio - sox infile -t pulseaudio default + sox infile \-t pulseaudio + sox infile \-t pulseaudio default .EE See also .BR play (1), @@ -576,7 +576,7 @@ \fBsndio\fR (optional) OpenBSD audio device driver; supports both playing and recording audio. .EX - sox infile -t sndio + sox infile \-t sndio .EE See also .BR play (1), @@ -619,11 +619,11 @@ Sun /dev/audio device driver; supports both playing and recording audio. For example: .EX - sox infile -t sunau /dev/audio + sox infile \-t sunau /dev/audio .EE or .EX - sox infile -t sunau -U -c 1 /dev/audio + sox infile \-t sunau \-U \-c 1 /dev/audio .EE for older sun equipment. .SP @@ -704,10 +704,10 @@ \fBwaveaudio\fR (optional) MS-Windows native audio device driver. Examples: .EX - sox infile -t waveaudio - sox infile -t waveaudio default - sox infile -t waveaudio 1 - sox infile -t waveaudio "High Definition Audio Device (" + sox infile \-t waveaudio + sox infile \-t waveaudio default + sox infile \-t waveaudio 1 + sox infile \-t waveaudio "High Definition Audio Device (" .EE If the device name is omitted, \fB-1\fR, or \fBdefault\fR, then you get the `Microsoft Wave Mapper' device. Wave Mapper means `use the @@ -746,7 +746,7 @@ The most common use of this file-type is likely to be along the following lines: .EX - sox infile.any -t wavpcm -s outfile.wav + sox infile.any \-t wavpcm \-s outfile.wav .EE .TP \&\fB.wv\fR (optional) |