ref: 4994039647dd014c6e69604df9971e986e6468cc
parent: 8ea7e74252350769f54c4308c821eff68702c6e4
author: robs <robs>
date: Sat Jul 26 09:36:27 EDT 2008
documentation fixes
--- a/ChangeLog
+++ b/ChangeLog
@@ -76,7 +76,7 @@
Effects:
o New `splice' effect; splice together audio sections. (robs)
- o New `remix' effect; complements the mixer effect. (robs)
+ o New `remix' effect; mixes any number of channels. (robs)
o New `norm' (normalise) effect. (robs)
o New `delay' effect; delay one or more channels. (robs)
o New `contrast' enhancement effect [FR 708923]. (robs)
--- a/README
+++ b/README
@@ -103,7 +103,6 @@
o bandreject RBJ band-reject biquad IIR filter
o band SPKit resonator band-pass IIR filter
o bass Tone control: RBJ shelving biquad IIR filter
- o deemph ISO 908 CD de-emphasis (shelving) IIR filter
o equalizer RBJ peaking equalisation biquad IIR filter
o filter JOS low/high/band pass FIR filter with many taps
o highpass High-pass filter: Single pole or RBJ biquad IIR
@@ -154,6 +153,7 @@
o rate Change audio sampling rate
o Specialised filters/mixers
+ o deemph ISO 908 CD de-emphasis (shelving) IIR filter
o earwax Process CD audio to best effect for headphone use
o noisered Filter out noise from the audio
o oops Out Of Phase Stereo (or `Karaoke') effect
--- a/libsox.3
+++ b/libsox.3
@@ -29,7 +29,7 @@
.SP
.fi
..
-.TH SoX 3 "July 1, 2008"
+.TH SoX 3 "July 27, 2008" "libsox" "Sound eXchange"
.SH NAME
libsox \- SoX, an audio file-format and effect library
.SH SYNOPSIS
@@ -301,6 +301,8 @@
.BR sox (1),
.BR soxformat (7),
.BR soxeffect (7)
+.SP
+example*.c in the SoX source distribution.
.SH LICENSE
Copyright 1991 Lance Norskog and Sundry Contributors.
Copyright 1998\-2007 by Chris Bagwell and SoX Contributors.
--- a/sox.1
+++ b/sox.1
@@ -29,7 +29,7 @@
.SP
.fi
..
-.TH SoX 1 "July 1, 2008" "sox" "Sound eXchange"
+.TH SoX 1 "July 27, 2008" "sox" "Sound eXchange"
.SH NAME
SoX \- Sound eXchange, the Swiss Army knife of audio manipulation
.SH SYNOPSIS
@@ -56,7 +56,7 @@
\fBplay\fR the output file is automatically set to be the default sound
device and if invoked as \fBrec\fR the default sound device is used as an
input source.
-The
+Additionally, the
.BR soxi (1)
command provides a convenient way to just query audio file header information.
.SP
@@ -120,8 +120,8 @@
.SP
Detailed explanations of how to use each SoX parameter, file format, and
effect can be found below in this manual, and in
-.BR soxformat (7),
-&
+.BR soxformat (7)
+and
.BR soxeffect (7)
respectively.
.SS File Formats
@@ -138,7 +138,9 @@
sample rate
The sample rate in samples per second (`Hertz' or `Hz'). For
example, digital telephony traditionally uses a sample rate of 8000\ Hz
-(8\ kHz); audio Compact Discs use 44100\ Hz (44\*d1\ kHz).
+(8\ kHz); audio Compact Discs use 44100\ Hz (44\*d1\ kHz); Digital Audio
+Tape and many computer systems use 48\ kHz; professional audio systems
+typically use 96 or 192 kHz.
.TP
sample size
The number of bits used to store each sample. The most popular is 16-bit
@@ -159,6 +161,7 @@
channels
The number of audio channels contained in the file. One (`mono') and two
(`stereo') are widely used.
+`Surround sound' audio typically contains six or more channels.
.PP
The term `bit-rate' is sometimes used as an overall measure of an audio
format and may incorporate elements of all of the above.
@@ -281,9 +284,9 @@
.EX
rec -n
.EE
-The recording level should be adjusted (using the system mixer program) so
-that the meter is \fIat most occasionally\fR full scale, and never `in the
-red' (an exclamation mark is shown).
+The recording level should be adjusted (using the system-provided mixer
+program, not SoX) so that the meter is \fIat most occasionally\fR full
+scale, and never `in the red' (an exclamation mark is shown).
.SS Accuracy
Many file formats that compress audio discard some of the audio signal
information whilst doing so; converting to such a format then converting
@@ -331,7 +334,7 @@
Clipping is distortion that occurs when an audio signal
level (or `volume') exceeds the range of the chosen representation.
It is nearly always undesirable and so should usually be corrected by
-adjusting the volume prior to the point at which clipping occurs.
+adjusting the level prior to the point at which clipping occurs.
.SP
In SoX, clipping could occur, as you might expect, when using the
.B vol
@@ -361,7 +364,7 @@
.SP
If clipping occurs at any point during processing, then
SoX will display a warning message to that effect.
-.SS Input File Combining
+.SS Input File Combining
SoX's input combiner can be configured (see OPTIONS below) to
combine multiple files using any of the
following methods: `concatenate', `sequence', `mix', `mix-power', or `merge'.
@@ -386,9 +389,9 @@
It is similar to `concatenate' in that the audio from each input file is
sent serially to the output file, however here the output file may be
closed and reopened at the corresponding transition between input
-files\*mthis may be just what is needed when sending audio to an output
-device, but is not generally useful when the output file is a normal
-file.
+files\*mthis may be just what is needed when sending different types of
+audio to an output device, but is not generally useful when the output is a
+normal file.
.SP
If either the `mix' or `mix-power' combining method is selected, then two or
more input files must be given and will be mixed together to form the
@@ -404,7 +407,7 @@
same. A merged audio file comprises all of the channels from all of the
input files; un-merging is possible using multiple
invocations of SoX with the
-.B mixer
+.B remix
effect.
For example, two mono files could be merged to form one stereo file; the
first and second mono files would become the left and right channels of
@@ -450,7 +453,7 @@
.SP
With the `mix-power' combine method, the
mixed volume is appropriately equal to that of one of the input signals.
-This is achieved by balancing using a factor of
+This is achieved by balancing using a factor of
\(S1/\s-2\(srn\s+2 instead of \(S1/\s-2n\s+2.
Note that this balancing factor does not guarantee that no clipping will occur,
however, in many cases, the number of clips will be low and the resultant
@@ -573,7 +576,7 @@
.B \-m
selects `mix',
.B \-M
-selects `merge',
+selects `merge'.
.SP
See \fBInput File Combining\fR above for a description of the different
combining methods.
@@ -617,13 +620,12 @@
otherwise.
.TP
\fB\-S\fR, \fB\-\-show\-progress\fR
-Display input file format/header information and input file(s)
-processing progress in terms of elapsed/remaining time and percentage
-complete.
-Also displays the number of samples written to the output file, a VU meter,
-and an indication if clipping has occurred.
-The VU meter shows up to two channels and is calibrated for digital
-audio as follows:
+Display input file format/header information, and processing progress as
+input file(s) percentage complete, elapsed time, and remaining time (if known;
+shown in brackets), and the number of samples written to the output file.
+Also shown is a VU meter, and an indication if clipping has occurred. The
+VU meter shows up to two channels and is calibrated for digital audio as
+follows:
.TS
center box;
cI lI lI
@@ -647,6 +649,7 @@
\-3 ======
\-1 =====! `In the red'
.TE
+.DT
.SP
A three-second peak-held value of headroom in dBs will be shown to the right
of the meter if this is below 6dB.
@@ -655,39 +658,39 @@
SoX to play or record audio.
.TP
\fB\-\-version\fR
-Show version number and exit.
+Show SoX's version number and exit.
.IP \fB\-V\fB[\fIlevel\fB]\fP
Set verbosity.
-SoX prints messages to the console (stderr) according to the following
+SoX displays messages on the console (stderr) according to the following
verbosity levels:
.IP
.RS
.IP 0
-No messages are printed at all; use the exit status to determine
+No messages are shown at all; use the exit status to determine
if an error has occurred.
.IP 1
-Only error messages are printed. These are generated if
+Only error messages are shown. These are generated if
SoX cannot complete the requested commands.
.IP 2
-Warning messages are also printed. These are generated if
+Warning messages are also shown. These are generated if
SoX can complete the requested commands,
but not exactly according to the requested command parameters,
or if clipping occurs.
.IP 3
Descriptions of
-SoX's processing phases are also printed.
+SoX's processing phases are also shown.
Useful for seeing exactly how
-SoX is mangling your audio.
+SoX is processing your audio.
.IP "4 and above"
Messages to help with debugging
-SoX are also printed.
+SoX are also shown.
.RE
.IP
-By default, the verbosity level is set to 2. Each occurrence of the \fB\-V\fR
+By default, the verbosity level is set to 2; each occurrence of the \fB\-V\fR
option increases the verbosity level by 1. Alternatively, the verbosity
level can be set to an absolute number by specifying it immediately after
the
-.B \-V
+.BR \-V ;
e.g.
.B \-V0
sets it to 0.
@@ -715,16 +718,24 @@
for the output file that is different to that of the input file.
.TP
\fB\-c\fR, \fB\-\-channels\fR \fICHANNELS\fR
-The number of audio channels in the audio file.
-This may be 1, 2, or 4; for mono, stereo, or quad audio. To cause
-the output file to have a different number of channels than the input
-file, include this option with the output file options.
-If the input and output file have a different number of channels then the
+The number of audio channels in the audio file; this can be any number
+greater than zero. To cause the output file to have a different number of
+channels than the input file, include this option with the output file
+options. If the input and output file have a different number of channels
+then the
.B mixer
effect must be used. If the
.B mixer
effect is not specified on the
command line it will be invoked internally with default parameters.
+.SP
+Alternatively, some effects (e.g.
+.BR synth ,
+.BR remix )
+determine what will be the number of output channels; in this case, neither
+this option nor the
+.B mixer
+effect is necessary.
.TP
\fB\-r, \fB\-\-rate\fR \fIRATE\fR[\fBk\fR]
Gives the sample rate in Hz (or kHz if appended with `k') of the file.
@@ -858,7 +869,7 @@
SoX will provide a default comment if this option (or
.BR \-\-comment\-file )
is not given; to specify that no comment should be stored in the output file,
-use
+use
.B "\-\-comment \(dq\(dq" .
.TP
\fB\-\-comment\-file \fIFILENAME\fR
@@ -893,7 +904,8 @@
SoX scripting examples at http://sox.sourceforge.net/Docs/Scripts
.SH LICENSE
Copyright 1991 Lance Norskog and Sundry Contributors.
-Copyright 1998\-2008 by Chris Bagwell and SoX Contributors.
+.br
+Copyright 1998\-2008 Chris Bagwell and SoX Contributors.
.SP
This program is free software; you can redistribute it and/or modify
it under the terms of the GNU General Public License as published by
--- a/soxeffect.7
+++ b/soxeffect.7
@@ -29,10 +29,13 @@
.SP
.fi
..
-.TH SoX 7 "July 1, 2008" "soxeffect" "Sound eXchange"
+.TH SoX 7 "July 27, 2008" "soxeffect" "Sound eXchange"
.SH NAME
SoX \- Sound eXchange, the Swiss Army knife of audio manipulation
.SH DESCRIPTION
+This manual describes SoX audio effects; the SoX manual set starts with
+.BR sox (1).
+.SP
In addition to converting and playing audio files, SoX can be used to
invoke a number of audio `effects'. Multiple effects may be applied
by specifying them one after another at the end of the SoX command line.
@@ -42,10 +45,10 @@
.SP
Some of the SoX effects are primarily intended to be applied to a single
instrument or `voice'. To facilitate this, the \fBremix\fR effect and
-the global SoX option \fB-M\fR can be used to isolate then recombine
+the global SoX option \fB\-M\fR can be used to isolate then recombine
tracks from a multi-track recording.
.SP
-In the descriptions that follow,
+In the descriptions that follow,
brackets [ ] are used to denote parameters that are optional, braces
{ } to denote those that are both optional and repeatable,and angle brackets < > to denote those that are repeatable but not
@@ -86,6 +89,10 @@
For each effect that uses this parameter, the default method (i.e. if no
character is appended) is the one that it listed first in the effect's
first line of description.
+.PP
+To see if SoX has support for an optional effect, enter
+.B sox \-h
+and look for its name under the list: `EFFECTS'.
.SS SOX EFFECTS
.TP
\fBallpass\fR \fIfrequency\fR[\fBk\fR]\fI width\fR[\fBh\fR\^|\^\fBk\fR\^|\^\fBo\fR\^|\^\fBq\fR]
@@ -175,10 +182,10 @@
cut. The default value is 100\ Hz (for \fBbass\fR) or 3\ kHz (for
\fBtreble\fR).
.SP
-\fIwidth\fR
+\fIwidth\fR
determines how
steep is the filter's shelf transition. In addition to the common
-width specification methods described above,
+width specification methods described above,
`slope' (the default, or if appended with `\fBs\fR') may be used.
The useful range of `slope' is
about 0\*d3, for a gentle slope, to 1 (the maximum), for a steep slope; the
@@ -268,7 +275,7 @@
If the list is preceded by a
.I soft-knee-dB
value, then the points at where adjacent line segments on the
-transfer function meet will be rounded by the amount given.
+transfer function meet will be rounded by the amount given.
Typical values for the transfer function are
.BR 6:\-70,\-60,\-20 .
.SP
@@ -301,7 +308,7 @@
quiet and loud passages suitable for listening to in a noisy environment
such as a moving vehicle:
.EX
- sox asz.flac asz-car.flac compand 0.3,1 6:-70,-60,-20 -5 -90 0.2
+ sox asz.au asz-car.au 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
@@ -322,7 +329,7 @@
for a multiple-band companding effect.
.TP
\fBcontrast [\fIenhancement-amount (75)\fR]
-Comparable with compression, this effect modifies an audio signal to
+Comparable with compression, this effect modifies an audio signal to
make it sound louder.
.I enhancement-amount
controls the amount of the enhancement and is a number in the range 0\-100.
@@ -399,7 +406,7 @@
.TP
\fBearwax\fR
Makes audio easier to listen to on headphones.
-Adds `cues' to 44.1kHz stereo (i.e. audio CD format) audio so that
+Adds `cues' to 44\*d1kHz stereo (i.e. audio CD format) audio so that
when listened to on headphones the stereo image is
moved from inside
your head (standard for headphones) to outside and in front of the
@@ -426,20 +433,20 @@
This will make it sound as if there are twice as many instruments as are
actually playing:
.EX
- play file.xxx echo 0.8 0.88 60 0.4
+ play lead.aiff echo 0.8 0.88 60 0.4
.EE
If the delay is very short, then it sound like a (metallic) robot playing
music:
.EX
- play file.xxx echo 0.8 0.88 6 0.4
+ play lead.aiff echo 0.8 0.88 6 0.4
.EE
A longer delay will sound like an open air concert in the mountains:
.EX
- play file.xxx echo 0.8 0.9 1000 0.3
+ play lead.aiff echo 0.8 0.9 1000 0.3
.EE
One mountain more, and:
.EX
- play file.xxx echo 0.8 0.9 1000 0.3 1800 0.25
+ play lead.aiff echo 0.8 0.9 1000 0.3 1800 0.25
.EE
.TP
\fBechos \fIgain-in gain-out\fR <\fIdelay decay\fR>
@@ -458,15 +465,15 @@
.SP
The sample will be bounced twice in symmetric echos:
.EX
- play file.xxx echos 0.8 0.7 700 0.25 700 0.3
+ play lead.aiff echos 0.8 0.7 700 0.25 700 0.3
.EE
The sample will be bounced twice in asymmetric echos:
.EX
- play file.xxx echos 0.8 0.7 700 0.25 900 0.3
+ play lead.aiff echos 0.8 0.7 700 0.25 900 0.3
.EE
The sample will sound as if played in a garage:
.EX
- play file.xxx echos 0.8 0.7 40 0.25 63 0.3
+ play lead.aiff echos 0.8 0.7 40 0.25 63 0.3
.EE
.TP
\fBequalizer \fIfrequency\fR[\fBk\fR]\fI width\fR[\fBq\fR\^|\^\fBo\fR\^|\^\fBh\fR\^|\^\fBk\fR] \fIgain\fR
@@ -649,7 +656,7 @@
For example, the following (one long) command shows how multi-band
companding is typically used in FM radio:
.EX
- play file.xxx gain -3 filter 8000- 32 100 mcompand \\
+ play track1.wav gain -3 filter 8000- 32 100 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 \\
@@ -671,7 +678,7 @@
or increase the number of channels by duplicating channels.
Note: this effect operates on the audio
.I channels
-within the SoX effects processing chain; it should not be confused with the
+within the SoX effects processing chain; it should not be confused with the
.B \-m
global option (where multiple
.I files
@@ -722,7 +729,7 @@
.SP
See also
.B remix
-for a similar effect.
+for a mixing effect that handles any number of channels.
.TP
\fBnoiseprof\fR [\fIprofile-file\fR]
Calculate a profile of the audio for use in noise reduction. See the
@@ -736,7 +743,7 @@
fact contains noise\*msuch sections are typically found at the beginning
or the end of a recording. \fBnoiseprof\fR will write out a noise
profile to \fIprofile-file\fR, or to stdout if no \fIprofile-file\fR or
-if `-' is given. E.g.
+if `\-' is given. E.g.
.EX
sox speech.au -n trim 0 1.5 noiseprof speech.noise-profile
.EE
@@ -747,7 +754,7 @@
.BR noiseprof ),
from
.IR profile-file ,
-or from stdin if no \fIprofile-file\fR or if `-' is given. E.g.
+or from stdin if no \fIprofile-file\fR or if `\-' is given. E.g.
.EX
sox speech.au cleaned.au noisered speech.noise-profile 0.3
.EE
@@ -854,7 +861,7 @@
pan effect without totally muting the opposite channel.
.TP
\fBphaser \fIgain-in gain-out delay decay speed\fR [\fB\-s\fR\^|\^\fB\-t\fR]
-Add a phasing effect to the audio.
+Add a phasing effect to the audio.
See [3] for a detailed description of phasing.
.SP
delay/decay/speed gives the delay in milliseconds
@@ -864,25 +871,23 @@
instruments, or triangular
(\fB\-t\fR) \*mgives single instruments a sharper phasing effect.
The decay should be less than 0\*d5 to avoid
-feedback. Gain-out is the volume of the output.
+feedback, and usually no less than 0\*d1. Gain-out is the volume of the output.
.SP
-A good range is about 0\*d5 to 0\*d1 for the decay.
-.SP
-Examples:
+For example:
.EX
- play file.xxx 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
-Less severe:
+Gentler:
.EX
- play file.xxx 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 file.xxx phaser 0.89 0.85 1 0.24 2 \-t
+ play snare.flac phaser 0.89 0.85 1 0.24 2 -t
.EE
-This sounds as if ten springs are in your ears:
+More severe:
.EX
- play file.xxx 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
\fBrate\fR [\fB\-q\fR\^|\^\fB\-l\fR\^|\^\fB\-m\fR\^|\^\fB\-h\fR\^|\^\fB\-v\fR] [\fIRATE\fR[\fBk\fR]]
@@ -959,7 +964,7 @@
.SP
Note that this effect operates on the audio
.I channels
-within the SoX effects processing chain; it should not be confused with the
+within the SoX effects processing chain; it should not be confused with the
.B \-m
global option (where multiple
.I files
@@ -1013,7 +1018,8 @@
1 = no change, 0\*d5 \(~= 6dB attenuation, 2 \(~= 6dB gain, \-1 = invert
T}
.TE
-
+.DT
+.SP
If an
.I out-spec
includes at least one
@@ -1060,6 +1066,7 @@
c8 c8 c.
* * *
.TE
+.DT
.SP
One typical use of the
.B remix
@@ -1315,7 +1322,7 @@
for higher dynamic-range (but poorer frequency-resolution), select a
Kaiser window. Bartlett and Rectangular windows are also available.
Selecting a window other than Hann will usually require
-a corresponding
+a corresponding
.B \-z
setting.
.IP \fB\-s\fR
@@ -1353,6 +1360,11 @@
.RE
.TP
\
+For example, let's see what the spectrogram of a swept triangular wave looks
+like:
+.EX
+ sox -n -n synth 6 tri 10k:14k spectrogram -z 100 -w k
+.EE
For the ability to perform off-line processing of spectral data, see the
.B stat
effect.
@@ -1426,6 +1438,7 @@
c8 c8 c.
* * *
.TE
+.DT
.SP
It is also possible to use this effect to perform general cross-fades, e.g. to
join two songs.
@@ -1493,6 +1506,10 @@
.B swap 2 2
will overwrite channel 1 with channel 2; creating a stereo
file with both channels containing the same audio.
+.SP
+See also the
+.B remix
+effect.
.TP
\fBsynth\fR [\fIlen\fR] {[\fItype\fR] [\fIcombine\fR] [[\fB%\fR]\fIfreq\fR[\fBk\fR][\fB:\fR\^|\^\fB+\fR\^|\^\fB/\fR\^|\^\fB\-\fR[\fB%\fR]\fIfreq2\fR[\fBk\fR]]] [\fIoff\fR] [\fIph\fR] [\fIp1\fR] [\fIp2\fR] [\fIp3\fR]}This effect can be used to generate fixed or swept frequency audio tones
@@ -1513,7 +1530,7 @@
length specified as a parameter to \fBsynth\fR or by another given
effect that can has an associated length).
.SP
-For example, the following produces a 3 second, 44\*d1\ kHz,
+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.au synth 3 sine 300-3300
@@ -1576,7 +1593,7 @@
.I len
must also have been given and the generated tone will be swept between
the given frequencies. The two given frequencies must be separated by
-one of the characters `:', `+', `/', or `-'. This character is used to
+one of the characters `:', `+', `/', or `\-'. This character is used to
specify the sweep function as follows:
.RS
.IP \fB:\fR
@@ -1759,7 +1776,7 @@
.B key
effect with
.I search
-set to zero, so its results are comparatively poor;
+set to zero, so its results are comparatively poor;
it is retained for backwards compatibility only.
.SP
Change by cross-fading shifted samples.
@@ -1920,7 +1937,7 @@
.B tempo
effect with (\fIfactor\fR inverted and)
.I search
-set to zero, so its results are comparatively poor;
+set to zero, so its results are comparatively poor;
it is retained for backwards compatibility only.
.SP
.I factor
--- a/soxformat.7
+++ b/soxformat.7
@@ -29,13 +29,15 @@
.SP
.fi
..
-.TH SoX 7 "July 1, 2008" "soxformat" "Sound eXchange"
+.TH SoX 7 "July 27, 2008" "soxformat" "Sound eXchange"
.SH NAME
SoX \- Sound eXchange, the Swiss Army knife of audio manipulation
.SH DESCRIPTION
-SoX supported file formats and audio device types.
+This manual describes SoX supported file formats and audio device types;
+the SoX manual set starts with
+.BR sox (1).
.SP
-Format types that can be determined by a filename
+Format types that can SoX can determine by a filename
extension are listed with their names preceded by a dot.
Format types that are optionally built into SoX
are marked `(optional)'.
@@ -51,10 +53,10 @@
format.
.SP
To see if SoX has support for an optional format or device, enter
-.B sox -h
+.B sox \-h
and look for its name under the list:
`AUDIO FILE FORMATS' or `AUDIO DEVICE DRIVERS'.
-.PP
+.SS SOX FORMATS & DEVICE DRIVERS
\&\fB.raw\fR (also with \fB\-t sndfile\fR),
.br
\&\fB.f4\fR, \fB.f8\fR,
@@ -275,7 +277,7 @@
best (but slowest) compression; 0 gives the least (but fastest)
compression. The compression level is selected using the
.B \-C
-option [see
+option [see
.BR sox (1)]
with a whole number from 0 to 8.
.TP
--- a/soxi.1
+++ b/soxi.1
@@ -29,7 +29,7 @@
.SP
.fi
..
-.TH SoXI 1 "July 1, 2008" "soxi" "Sound eXchange"
+.TH SoXI 1 "July 27, 2008" "soxi" "Sound eXchange"
.SH NAME
SoXI \- Sound eXchange Information, display sound file metadata
.SH SYNOPSIS