shithub: sox

--- a/sox.1

+++ b/sox.1

@@ -71,8 +71,8 @@

.TP

 sample rate

 The sample rate in samples per second (`Hertz' or `Hz').  For

-example, digital telephony traditionally uses a sample rate of 8000Hz

-(8kHz); audio Compact Discs use 44100Hz (44\*d1kHz).

+example, digital telephony traditionally uses a sample rate of 8000\ Hz

+(8\ kHz); audio Compact Discs use 44100\ Hz (44\*d1\ kHz).

.TP

 sample size

 The number of bits used to store each sample. Most popular are 8-bit

@@ -256,7 +256,7 @@

 	sox recital.au \-r 12000 \-b \-c 1 recital.wav vol 0\*d7 dither

.SP

 performs the same format translation, but also

-changes the sampling rate to 12000Hz,

+changes the sampling rate to 12000\ Hz,

 the sample size to one byte (8 bits),

 the number of channels to one (mono),

 and applies the \fBvol\fR and \fBdither\fR effects

@@ -335,7 +335,7 @@

 audio instead of affecting it (such as \fBnoiseprof\fR or \fBstat\fR).

.SP

 The number of channels and the sampling rate associated with a null file

-are by default 2 and 44\*d1kHz respectively, but these can be overridden

+are by default 2 and 44\*d1\ kHz respectively, but these can be overridden

 if necessary by using appropriate command-line format options.

.SP

 One other use of \fB\-n\fR is to use it in conjunction with

@@ -705,7 +705,7 @@

 and byte order.

 SoX can read these files but will not write them.

 Some .au files are known to have invalid AU headers; these

-are probably original Sun \(*m-law 8000Hz files and

+are probably original Sun \(*m-law 8000\ Hz files and

 can be dealt with using the

 .B .ul

 format (see below).

@@ -730,7 +730,7 @@

 \&\fB.cdda\fR, \fB.cdr\fR

 `Red Book' Compact Disc Digital Audio.

 CDDA has two audio channels formatted as 16-bit

-signed integers at a sample rate of 44\*d1kHz.  The number of (stereo)

+signed integers at a sample rate of 44\*d1\ kHz.  The number of (stereo)

 samples in each CDDA track is always a multiple of 588 which is why it

 needs its own handler.

.TP

@@ -967,7 +967,7 @@

 format 3\*d5\(dq floppies.  Handles reading of files which do not have

 the sample rate field set to one of the expected by looking at some

 other bytes in the attack/loop length fields, and defaulting to

-33kHz if the sample rate is still unknown.

+33\ kHz if the sample rate is still unknown.

.TP

 .B .vms

See

@@ -1031,7 +1031,7 @@

 These filename extensions serve as shorthand for identifying the format

 of headerless audio files.  Thus, \fBub\fR, \fBsb\fR, \fBuw\fR,

 \fBsw\fR, \fBul\fR, \fBal\fR, \fBlu\fR, \fBla\fR and \fBsl\fR indicate a

-file with a single audio channel, sample rate of 8000Hz, and samples

+file with a single audio channel, sample rate of 8000\ Hz, and samples

 encoded as `unsigned byte', `signed byte', `unsigned word', `signed

 word', `\(*m-law' (byte), `A-law' (byte), inverse bit order `\(*m-law',

 inverse bit order `A-law', or `signed long' respectively.  Command-line

@@ -1040,7 +1040,7 @@

.SP

 Headerless audio files on a SPARC computer are likely to be of format

 \fBul\fR;  on a Mac, they're likely to be \fBub\fR but with a

-sample rate of 11025 or 22050Hz.

+sample rate of 11025 or 22050\ Hz.

 .SH EFFECTS

 Multiple effects may be applied to the audio by specifying them

 one after another at the end of the command line.

@@ -1127,8 +1127,8 @@

 of a standard hi-fi's (Baxandall) tone-controls.  This is also

 known as shelving equalisation (EQ).

.SP

-\fIgain\fR gives the dB gain at 0Hz (for \fBbass\fR), or whichever is

-the lower of \(ap22kHz and the Nyquist frequency (for \fBtreble\fR).  Its

+\fIgain\fR gives the dB gain at 0\ Hz (for \fBbass\fR), or whichever is

+the lower of \(ap22\ kHz and the Nyquist frequency (for \fBtreble\fR).  Its

 useful range is about \-20 (for a large cut) to +20 (for a large

 boost).

 Beware of

@@ -1140,7 +1140,7 @@

.SP

 \fIfrequency\fR sets the filter's central frequency and so can be

 used to extend or reduce the frequency range to be boosted or

-cut.  The default value is 100Hz (for \fBbass\fR) or 3kHz (for

+cut.  The default value is 100\ Hz (for \fBbass\fR) or 3\ kHz (for

 \fBtreble\fR).

.SP

 \fIwidth\fR

@@ -1881,12 +1881,12 @@

 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\*d1kHz,

-stereo audio file containing a sine-wave swept from 300 to 3300Hz.

+For example, the following produces a 3 second, 44\*d1\ kHz,

+stereo audio file containing a sine-wave swept from 300 to 3300\ Hz.

.SP

 	sox \-n output.au synth 3 sine 300\-3300

.SP

-This produces an 8kHz mono version:

+This produces an 8\ kHz mono version:

.SP

 	sox \-r 8000 \-c 1 \-n output.au synth 3 sine 300\-3300

.SP

@@ -1903,7 +1903,7 @@

 	sox \-n output.au synth 0\*d5 sine 200\-500 synth 0\*d5 sine fmod 700\-100

.SP

 Frequencies can also be given as a number of musical semitones relative

-to `middle A' (440Hz) by prefixing a `%' character;  for example, the

+to `middle A' (440\ Hz) by prefixing a `%' character;  for example, the

 following could be used to help tune a guitar's `E' strings:

.SP

 	play \-n synth sine %\-17

@@ -1936,7 +1936,7 @@

.SP

 \fIfreq\fR/\fIfreq2\fR are the frequencies at the beginning/end of

 synthesis in Hz or, if preceded with `%', semitones relative to A

-(440Hz); for both, default=%0.  If

+(440\ Hz); for both, default=%0.  If

 .I freq2

 is given, then

 .I len