ref: e11ca5c9083abd9f9aa60999d5548f6f345e54fd
parent: 9b1f7f515d0173a16a263f2d16a0b3a541530177
author: evilynux <evilynux>
date: Sat Oct 10 11:19:59 EDT 2009
Plenty of hyphen explicitely converted to minus to make groff happy.
--- a/libsox.3
+++ b/libsox.3
@@ -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This manual page is both incomplete and out of date.
--- a/sox.1
+++ b/sox.1
@@ -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
@@ -750,9 +750,9 @@
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:
@@ -759,15 +759,15 @@
.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
@@ -2940,7 +2940,7 @@
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.wav gain -3 pad 0 3 reverb
+ play dry.wav gain \-3 pad 0 3 reverb
.EE
The
.B \-w
@@ -2947,7 +2947,7 @@
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.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
@@ -3707,11 +3707,11 @@
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.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;
@@ -3718,13 +3718,13 @@
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
@@ -3731,13 +3731,13 @@
`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
--- a/soxformat.7
+++ b/soxformat.7
@@ -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)