ref: 9404875aa5445a570c2edff8718986becce3ced2
parent: 183f80e9072ea46f54b0b234d5f681864fdaf43e
author: rrt <rrt>
date: Tue Jan 23 14:11:48 EST 2007
Put non-breaking space before Hz and kHz
--- 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