ref: 97e822b0ed6cb60982573d5523f5e024d57e03da
parent: 5b077c843078d0fa09931d6310de9f35a4f9e7ee
author: robs <robs>
date: Tue Apr 21 03:06:25 EDT 2009
consitent indenting; prefer wav to au as generic suffix
--- a/sox.1
+++ b/sox.1
@@ -35,15 +35,15 @@
.SH SYNOPSIS
.nf
\fBsox\fR [\fIglobal-options\fR] [\fIformat-options\fR] \fIinfile1\fR
- [[\fIformat-options\fR] \fIinfile2\fR] ... [\fIformat-options\fR] \fIoutfile\fR
- [\fIeffect\fR [\fIeffect-options\fR]] ...
+ [[\fIformat-options\fR] \fIinfile2\fR] ... [\fIformat-options\fR] \fIoutfile\fR
+ [\fIeffect\fR [\fIeffect-options\fR]] ...
.SP
\fBplay\fR [\fIglobal-options\fR] [\fIformat-options\fR] \fIinfile1\fR
- [[\fIformat-options\fR] \fIinfile2\fR] ... [\fIformat-options\fR]
- [\fIeffect\fR [\fIeffect-options\fR]] ...
+ [[\fIformat-options\fR] \fIinfile2\fR] ... [\fIformat-options\fR]
+ [\fIeffect\fR [\fIeffect-options\fR]] ...
.SP
\fBrec\fR [\fIglobal-options\fR] [\fIformat-options\fR] \fIoutfile\fR
- [\fIeffect\fR [\fIeffect-options\fR]] ...
+ [\fIeffect\fR [\fIeffect-options\fR]] ...
.fi
.SH DESCRIPTION
.SS Introduction
@@ -86,54 +86,55 @@
.TE
.DT
.SP
-To show how this works in practice, here is a selection of examples of
+To show how this works in practice, there follows a selection of examples of
how SoX might be used. The simple
.EX
- sox recital.au recital.wav
+ sox recital.au recital.wav
.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 down-mixes to mono,
changes the sampling rate, applies a fade-in, nomalizes the signal,
and store 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
- sox slow.aiff fixed.aiff speed 1.027
+ sox slow.aiff fixed.aiff speed 1.027
.EE
adjusts audio speed,
.EX
- sox short.au long.au longer.au
+ sox short.wav long.wav longer.wav
.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
- play \(dqThe Moonbeams/Greatest/*.ogg\(dq bass +3
+ play \(dqThe Moonbeams/Greatest/*.ogg\(dq bass +3
.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
- rec -M take1.aiff take1-dub.aiff
+ rec -M take1.aiff take1-dub.aiff
.EE
records a new track in a multi-track recording.
.EX
- 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
+.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% : \\
+ newfile : restart
.EE
records a stream of audio such as LP/cassette and splits in to multiple
audio files at points with 2 seconds of silence. Also does not start
@@ -254,8 +255,8 @@
environment variable can be used to override the default. For example
(on many systems):
.EX
- set AUDIODRIVER=oss
- play ...
+ set AUDIODRIVER=oss
+ play ...
.EE
For
.BR rec ,
@@ -267,15 +268,15 @@
environment variable can be used to override the default audio device;
e.g.
.EX
- set AUDIODEV=/dev/dsp2
- play ...
- sox ... -t oss
+ set AUDIODEV=/dev/dsp2
+ play ...
+ sox ... -t oss
.EE
or
.EX
- set AUDIODEV=hw:0
- play ...
- sox ... -t alsa
+ set AUDIODEV=hw:0
+ play ...
+ sox ... -t alsa
.EE
(Note that the syntax of the
.B set
@@ -289,7 +290,7 @@
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
@@ -310,7 +311,7 @@
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
@@ -343,7 +344,7 @@
manipulating a file that is stored in a lossy format can cause further
losses in audio fidelity. E.g. with
.EX
- sox long.mp3 short.mp3 trim 10
+ sox long.mp3 short.mp3 trim 10
.EE
SoX first decompresses the input MP3 file, then applies the
.B trim
@@ -401,7 +402,7 @@
.B vol
effect can be used to prevent clipping, e.g.
.EX
- sox dull.au bright.au gain -6 treble +6
+ sox dull.wav bright.wav gain -6 treble +6
.EE
guarantees that the treble boost will not clip.
.SP
@@ -529,7 +530,7 @@
The following is an example of splitting the first 60 seconds of an input
file in to two 30 second files and ignoring the rest.
.EX
- sox song.wav ringtone%1n.wav trim 0 30 : newfile : trim 0 30
+ sox song.wav ringtone%1n.wav trim 0 30 : newfile : trim 0 30
.SS Stopping SoX
Usually SoX will complete its processing and exit automatically once
it has read all available audio data from the input files.
@@ -585,9 +586,9 @@
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,
+For headerless (raw) audio,
.B \-t
(and perhaps other format options) will need to be given, preceding the input
command.
@@ -598,16 +599,16 @@
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
@@ -616,7 +617,7 @@
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
@@ -668,7 +669,7 @@
SoX's global options.
For example:
.EX
- set SOX_OPTS="--buffer 20000 --play-rate-arg -v"
+ set SOX_OPTS="--buffer 20000 --play-rate-arg -v"
.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
@@ -684,9 +685,9 @@
alternative approach would be to explicitly invoke SoX with default
option values, e.g.
.EX
- SOX_OPTS="... --no-clobber ..."
- ...
- sox --clobber $input $output ...
+ SOX_OPTS="... --no-clobber ..."
+ ...
+ sox --clobber $input $output ...
.EE
.TP
\fB\-\-buffer\fR \fBBYTES\fR, \fB\-\-input\-buffer\fR \fBBYTES\fR
@@ -719,7 +720,7 @@
.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
See also
.BR \-V,
@@ -780,11 +781,11 @@
Unintentionally overwriting a file is easier than you might think, for
example, if you accidentally enter
.EX
- sox file1 file2 effect1 effect2 ...
+ sox file1 file2 effect1 effect2 ...
.EE
when what you really meant was
.EX
- play file1 file2 effect1 effect2 ...
+ play file1 file2 effect1 effect2 ...
.EE
then, without this option, file2 will be overwritten. Hence, using
this option is strongly recommended; SOX_OPTS (above), a `shell'
@@ -796,7 +797,7 @@
.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
See also
.BR \-V,
@@ -823,8 +824,8 @@
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
- octave highpass.plt
+ sox --plot octave input-file -n highpass 1320 > highpass.plt
+ octave highpass.plt
.EE
.TP
\fB\-q\fR, \fB\-\-no\-show\-progress\fR
@@ -900,7 +901,7 @@
\fB\-\-single-threaded\fR
On some hyper-threading/multi-core architectures,
SoX has support for parallel effects channel processing.
-This option can be given to disable parallel processing.
+This option can be given to disable parallel processing.
.IP \fB\-V\fB[\fIlevel\fB]\fP
Set verbosity\*mthis is particularly useful for seeing how any automatic
effects have been invoked by SoX.
@@ -957,7 +958,7 @@
negative number is given, then in addition to the volume adjustment,
the audio signal will be inverted.
.SP
-See also the
+See also the
.BR norm ,
.BR vol ,
and
@@ -1010,8 +1011,8 @@
example, the following two commands are equivalent:
.EX
.ne 2
- sox input.au -c 1 output.au bass -3
- sox input.au output.au 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.
@@ -1093,7 +1094,7 @@
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
@@ -1114,8 +1115,8 @@
following two commands are equivalent:
.EX
.ne 2
- sox input.au -r 48k output.au bass -3
- sox input.au output.au 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
@@ -1159,11 +1160,11 @@
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
@@ -1249,7 +1250,7 @@
as the first effect in the chain. This is because any samples
that are buffered by effects to the left of the terminating effect
will be discarded. The amount of samples discarded is related to the
-.B --buffer
+.B \-\-buffer
option and it should be keep small, relative to the sample rate, if
the terminating effect can not be first. Further information on
stopping effects can be found in the
@@ -1274,7 +1275,8 @@
.B Output Files
section.
.EX
- sox infile.wav output.wav trim 0 30 : newfile : restart
+ sox infile.wav output.wav trim 0 30 : newfile : restart
+.EE
.SS Common Notation And Parameters
In the descriptions that follow,
brackets [ ] are used to denote parameters that are optional, braces
@@ -1322,6 +1324,8 @@
.B sox \-h
and look for its name under the list: `EFFECTS'.
.SS Supported Effects
+Note: a categorised list of the effects can be found in the
+accompanying `README' file.
.TP
\fBallpass\fR \fIfrequency\fR[\fBk\fR]\fI width\fR[\fBh\fR\^|\^\fBk\fR\^|\^\fBo\fR\^|\^\fBq\fR]
Apply a two-pole all-pass filter with central frequency (in Hz)
@@ -1447,8 +1451,9 @@
For example, an initial tone is generated, then bent three times, yielding
four different notes in total:
.EX
- play -n synth 2.5 sin 667 gain 1 \\
- bend .35,180,.25 .15,740,.53 0,-520,.3
+.ne 2
+ 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
@@ -1478,8 +1483,8 @@
equivalent:
.EX
.ne 2
- sox input.au -c 1 output.au bass -3
- sox input.au output.au 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.
@@ -1486,7 +1491,7 @@
.SP
See also
.B remix
-for an effect that allows channels to be mixed arbitrarily.
+for an effect that allows channels to be mixed/selected arbitrarily.
.TP
\fBchorus \fIgain-in gain-out\fR <\fIdelay decay speed depth \fB\-s\fR\^|\^\fB\-t\fR>
Add a chorus effect to the audio. This can make a single vocal sound
@@ -1512,17 +1517,19 @@
near 0\*d25Hz and the modulation depth around 2ms.
For example, a single delay:
.EX
- play guitar1.wav chorus 0.7 0.9 55 0.4 0.25 2 \-t
+ play guitar1.wav chorus 0.7 0.9 55 0.4 0.25 2 \-t
.EE
Two delays of the original samples:
.EX
- play guitar1.wav chorus 0.6 0.9 50 0.4 0.25 2 \-t \\
- 60 0.32 0.4 1.3 \-s
+.ne 2
+ play guitar1.wav chorus 0.6 0.9 50 0.4 0.25 2 \-t \\
+ 60 0.32 0.4 1.3 \-s
.EE
A fuller sounding chorus (with three additional delays):
.EX
- play guitar1.wav chorus 0.5 0.9 50 0.4 0.25 2 \-t \\
- 60 0.32 0.4 2.3 \-t 40 0.3 0.3 1.3 \-s
+.ne 2
+ play guitar1.wav chorus 0.5 0.9 50 0.4 0.25 2 \-t \\
+ 60 0.32 0.4 2.3 \-t 40 0.3 0.3 1.3 \-s
.EE
.TP
\fBcompand \fIattack1\fB,\fIdecay1\fR{\fB,\fIattack2\fB,\fIdecay2\fR}@@ -1603,7 +1610,7 @@
quiet and loud passages suitable for listening to in a noisy environment
such as a moving vehicle:
.EX
- sox asz.au asz-car.au 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
@@ -1622,13 +1629,13 @@
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
@@ -1671,7 +1678,7 @@
filter effect at a frequency of say 10Hz, as illustrated in the following
example:
.EX
- sox -n out.au synth 5 sin %0 50 highpass 10
+ sox -n output.wav synth 5 sin %0 50 highpass 10
.EE
.SP
See also the
@@ -1699,15 +1706,15 @@
CD player), or simply play the correctly de-emphasised audio files on the
PC. For example:
.EX
- sox track1.wav track1-deemph.wav deemph
+ sox track1.wav track1-deemph.wav deemph
.EE
and then burn track1-deemph.wav to CD, or
.EX
- play track1-deemph.wav
+ play track1-deemph.wav
.EE
or simply
.EX
- play track1.wav deemph
+ play track1.wav deemph
.EE
The de-emphasis filter is implemented as a biquad; its maximum deviation
from the ideal response is only 0\*d06dB (up to 20kHz).
@@ -1728,14 +1735,16 @@
present) un-delayed.
The following (one long) command plays a chime sound:
.EX
- play -n synth 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
+.ne 3
+ play -n synth 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
- play -n synth pl %-26 pl %-22 pl %-19 pl %-14 pl %-7 pl \\
- %-2 delay 0 .05 .1 .15 .2 .25 remix - fade 0 4 .1 norm -1
+.ne 2
+ play -n synth pl %-26 pl %-22 pl %-19 pl %-14 pl %-7 pl \\
+ %-2 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]
@@ -1817,20 +1826,20 @@
This will make it sound as if there are twice as many instruments as are
actually playing:
.EX
- play lead.aiff 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 lead.aiff 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 lead.aiff 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 lead.aiff 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>
@@ -1849,15 +1858,15 @@
.SP
The sample will be bounced twice in symmetric echos:
.EX
- play lead.aiff 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 lead.aiff 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 lead.aiff 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
@@ -1929,20 +1938,20 @@
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
+ sox infile outfile fir coefs.txt
.EE
with coefs.txt containing
.EX
- # HP filter
- # freq=10000
- 1.2311233052619888e-01
- -4.4777096106211783e-01
- 5.1031563346705155e-01
- -6.6502926320995331e-02
- ...
+ # HP filter
+ # freq=10000
+ 1.2311233052619888e-01
+ -4.4777096106211783e-01
+ 5.1031563346705155e-01
+ -6.6502926320995331e-02
+ ...
.EE
.TP
\fBflanger\fR [\fIdelay depth regen width speed shape phase interp\fR]
@@ -2051,11 +2060,11 @@
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
@@ -2063,7 +2072,7 @@
.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
@@ -2077,7 +2086,7 @@
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
@@ -2087,7 +2096,7 @@
headroom is not used by subsequent effects, it can be reclaimed with
\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
@@ -2096,7 +2105,7 @@
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
@@ -2181,7 +2190,8 @@
For example, the following (one long) command shows how multi-band
companding is typically used in FM radio:
.EX
- play track1.wav gain -3 filter 8000- 32 100 mcompand \\
+.ne 8
+ 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 \\
@@ -2209,7 +2219,7 @@
.I files
are mix-combined before entering the effects chain).
.SP
-When reducing the number of channels it is possible to
+When reducing the number of channels it is possible to
use the \fB\-l\fR, \fB\-r\fR, \fB\-f\fR, \fB\-b\fR,
\fB\-1\fR, \fB\-2\fR, \fB\-3\fR, \fB\-4\fR, options to select only
the left, right, front, back channel(s) or specific channel
@@ -2267,7 +2277,7 @@
profile to \fIprofile-file\fR, or to stdout if no \fIprofile-file\fR or
if `\-' is given. E.g.
.EX
- sox speech.au -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;
@@ -2278,7 +2288,7 @@
.IR profile-file ,
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
+ sox speech.wav cleaned.wav noisered speech.noise-profile 0.3
.EE
How much noise should be removed is specified by
.IR amount \*ma
@@ -2294,7 +2304,7 @@
On most systems, the two stages\*mprofiling and reduction\*mcan be combined
using a pipe, e.g.
.EX
- sox noisy.au -n trim 0 1 noiseprof | play noisy.au noisered
+ sox noisy.wav -n trim 0 1 noiseprof | play noisy.wav noisered
.EE
.TP
\fBnorm\fR [\fIdB-level\fR]
@@ -2363,19 +2373,19 @@
.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]]]
@@ -2461,8 +2471,8 @@
equivalent:
.EX
.ne 2
- sox input.au -r 48k output.au bass -3
- sox input.au output.au 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
@@ -2561,15 +2571,15 @@
.SP
Examples:
.EX
- sox input.wav -b 16 output.wav rate -s -a 44100 dither
+ 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; dither output to 16-bit WAV
+aliasing; to 44\*d1kHz sample rate; noise-shaped dither to 16-bit WAV
file.
.EX
- sox input.wav -b 24 output.aiff rate -v -L -b 90 48k
+ sox input.wav -b 24 output.aiff rate -v -I -b 90 48k
.EE
-very high quality resampling; overrides: linear phase, band-width 90%;
+very high quality resampling; overrides: intermediate phase, band-width 90%;
to 48k sample rate; store output to 24-bit AIFF file.
.TS
center;
@@ -2614,13 +2624,13 @@
.B 0
may be given to create a silent output channel. For example,
.EX
- sox input.au output.au remix 6 7 8 0
+ sox input.wav output.wav remix 6 7 8 0
.EE
creates an output file with four channels, where channels 1, 2, and 3 are
copies of channels 6, 7, and 8 in the input file, and channel 4 is silent.
Whereas
.EX
- sox input.au output.au remix 1-3,7 3
+ sox input.wav output.wav remix 1-3,7 3
.EE
creates a (somewhat bizarre) stereo output file where the left channel
is a mix-down of input channels 1, 2, 3, and 7, and the right channel is
@@ -2630,7 +2640,7 @@
right of the hyphen are optional and default to 1 and to the number of input
channels respectively. Thus
.EX
- sox input.au output.au remix -
+ sox input.wav output.wav remix -
.EE
performs a mix-down of all input channels to mono.
.SP
@@ -2668,17 +2678,17 @@
option however, can be given to retain the automatic scaling in this
case. For example,
.EX
- sox input.au output.au remix 1,2 3,4v0.8
+ sox input.wav output.wav remix 1,2 3,4v0.8
.EE
results in channel level multipliers of 0\*d5,0\*d5 1,0\*d8, whereas
.EX
- sox input.au output.au 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.au output.au 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
@@ -2687,10 +2697,10 @@
with
.BR i .
For example, if
-.I input.au
+.I input.wav
is stereo, then
.EX
- sox input.au output.au remix 1,2i
+ sox input.wav output.wav remix 1,2i
.EE
is a mono equivalent of the
.B oops
@@ -2717,19 +2727,19 @@
#!/bin/sh
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\`
+ 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\`
done
.EE
If a file
-.I input.au
+.I input.wav
containing six audio channels were given, the script would produce six
output files:
-.IR input-01.au ,
-\fIinput-02.au\fR, ...,
-.IR input-06.au .
+.IR input-01.wav ,
+\fIinput-02.wav\fR, ...,
+.IR input-06.wav .
.SP
See also
.B mixer
@@ -2759,7 +2769,7 @@
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.au gain -3 pad 0 3 reverb
+ play dry.wav gain -3 pad 0 3 reverb
.EE
The
.B \-w
@@ -2766,7 +2776,7 @@
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.au "|sox voice.au -p reverse reverb -w reverse"
+ play -m voice.wav "|sox voice.wav -p reverse reverb -w reverse"
.EE
for a reverse reverb effect.
.TP
@@ -2860,7 +2870,7 @@
that does not contain the delay at the start which usually occurs between
`pressing the record button' and the start of the performance:
.EX
- rec \fIparameters filename other-effects\fR silence 1 5 2%
+ rec \fIparameters filename other-effects\fR silence 1 5 2%
.EE
.TP
\fBsinc\fR [\fB\-a\fI att\fR\^|\^\fB\-b\fI beta\fR] [\fB\-p\fI phase\fR\^|\^\fB\-M\fR\^|\^\fB\-I\fR\^|\^\fB\-L\fR] [\fB\-t\fI tbw\fR\^|\^\fB\-n\fI taps\fR] [\fIfreqHP\fR][\fB\-\fIfreqLP\fR [\fB\-t\fR tbw\^|\^\fB\-n\fR taps]]
@@ -2932,7 +2942,7 @@
effect as either
.B remix \-
to obtain a spectrogram on the mix-down,
-or
+or
.B remix
.I n
to select a particular channel; be aware though, that both of
@@ -2959,7 +2969,7 @@
.B trim
effect; e.g.
.EX
- sox audio.ogg -n trim 1:00 spectrogram
+ sox audio.ogg -n trim 1:00 spectrogram
.EE
starts the spectrogram at 1 minute through the audio.
.IP \fB\-y\ \fInum\fR
@@ -2981,7 +2991,7 @@
.BR spectrogram ;
e.g.
.EX
- sox audio.ogg -n rate 4k spectrogram
+ sox audio.ogg -n rate 4k spectrogram
.EE
allows detailed analysis of frequencies up to 2kHz (half the sampling
rate).
@@ -3057,13 +3067,13 @@
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
+ sox -n -n synth 6 tri 10k:14k spectrogram -z 100 -w k
.EE
Append the following to the `chime' example in the
.B delay
effect to see its spectrogram:
.EX
- rate 2k spectrogram -x 200 -Z -15 -w k
+ rate 2k spectrogram -x 200 -Z -15 -w k
.EE
For the ability to perform off-line processing of spectral data, see the
.B stat
@@ -3119,19 +3129,19 @@
(\fIstart\fR) effect) at times 0:30\*d125 and 1:03\*d432.
The following commands cut out the first verse:
.EX
- sox too-long.au part1.au trim 0 30.130
+ sox too-long.wav part1.wav trim 0 30.130
.EE
(5 ms excess, after the first verse starts)
.EX
- sox long.au part2.au trim 1:03.422
+ sox long.wav part2.wav trim 1:03.422
.EE
(5 ms excess plus 5 ms leeway, before the second verse starts)
.EX
- sox part1.au part2.au just-right.au splice 30.130
+ sox part1.wav part2.wav just-right.wav splice 30.130
.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
@@ -3151,13 +3161,13 @@
rate=\`soxi -r "$1"\`
e=\`expr $rate '*' 5 / 1000\` # Using default excess
l=$e # and leeway.
-sox "$1" piece.au trim \`expr $2 - $e - $l\`s \\
- \`expr $3 - $2 + $e + $l + $e\`s
-sox "$1" part1.au trim 0 \`expr $4 + $e\`s
-sox "$1" part2.au trim \`expr $4 + $3 - $2 - $e - $l\`s
-sox part1.au piece.au part2.au "$5" splice \\
- \`expr $4 + $e\`s \\
- \`expr $4 + $e + $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 part1.wav piece.wav part2.wav "$5" splice \\
+ \`expr $4 + $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.
@@ -3177,13 +3187,13 @@
.I leeway
should be zero (which is the default if
.B \-q
-is given). For example, if f1.au and f2.au are audio files
+is given). For example, if f1.wav and f2.wav are audio files
to be cross-faded, then
.EX
- sox f1.au f2.au out.au splice -q $(soxi -D f1.au),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.au, i.e. the total length of the cross-fade is
+before the end of f1.wav, i.e. the total length of the cross-fade is
2 x 3 = 6 seconds (Note: the $(...) notation is POSIX shell).
.TP
\fBstat\fR [\fB\-s \fIscale\fR] [\fB\-rms\fR] [\fB\-freq\fR] [\fB\-v\fR] [\fB\-d\fR]
@@ -3467,11 +3477,11 @@
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
+ sox -n output.wav synth 3 sine 300-3300
.EE
and this produces an 8\ kHz version:
.EX
- sox -r 8000 -n output.au 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;
@@ -3478,24 +3488,26 @@
the following puts the swept tone in the left channel and adds `brown'
noise in the right:
.EX
- sox -n output.au 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
- sox -n output.au synth 0\*d5 sine 200-500 \(rs
- synth 0\*d5 sine fmod 700-100
+.ne 2
+ sox -n output.wav synth 0.5 sine 200-500 \\
+ synth 0.5 sine fmod 700-100
.EE
Frequencies can also be given as a number of musical semitones relative
to `middle A' (440\ Hz) by prefixing a `%' character; 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
- for s in -29 -24 -19 -14 -10 -5; do \\
- play -n synth 4 pluck %$s repeat 2; done
+.ne 2
+ for s in -29 -24 -19 -14 -10 -5; do \\
+ play -n synth 4 pluck %$s repeat 2; done
.EE
.B N.B.
This effect generates audio at maximum volume (0dBFS), which means that there