shithub: sox

--- a/sox.1

+++ b/sox.1

@@ -1239,7 +1239,7 @@

 .I duration

 the length of time over which the pitch will be bent.

.SP

-The pitch-bending algorithm utilises the Discrete Fourier Transform (DTF)

+The pitch-bending algorithm utilises the Discrete Fourier Transform (DFT)

 at a particular frame rate and over-sampling rate.

The

 .B \-f

@@ -1493,7 +1493,7 @@

.TP

 \fBdither\fR [\fIdepth\fR]

 Apply dithering to the audio.

-Dithering deliberately adds digital white noise to the signal

+Dithering deliberately adds TPDF white noise to the signal

 in order to mask audible quantization effects that

 can occur if the output sample size is less than 24 bits.

 By default, the amount of noise added is \(12 bit;

@@ -2090,6 +2090,8 @@

.TE

.DT

.SP

+Warning: technically detailed discussion follows.

+.SP

 The simple quality selection described above provides settings that

 satisfy the needs of the vast majority of resampling tasks.

 Occasionally, however, it may be desirable to fine-tune the resampler's

@@ -2117,8 +2119,13 @@

 `ringing') artefacts with transient signals such as those that occur

 with `finger snaps' or other highly percussive sounds.  Such artefacts are

 much more noticable to the human ear if they occur before the transient

-(`pre-echo') than if they occur after it (`post-echo').  The phase

-response setting controls the distribution of any transient echo between

+(`pre-echo') than if they occur after it (`post-echo').  Note that

+frequency of any such artefacts is related to the smaller of the

+original and new sampling rates but that if this is at least 44\*d1kHz,

+then the artefacts will lie outside the range of human hearing.

+.SP

+A phase response setting may be used to control the distribution of any

+transient echo between

 `pre' and `post': with minimum phase, there is no pre-echo but the

 longest post-echo; with linear phase, pre and post echo are in equal

 amounts (in signal terms, but not audibility terms); the intermediate

@@ -2188,7 +2195,7 @@

.DT

.SP

The

-.BR key ,

+.BR pitch ,

 .B speed

and

 .B tempo

@@ -2238,8 +2245,9 @@

.EX

 	sox input.au output.au remix 1-3,7 3

.EE

-creates a stereo output file where the left channel is a mix-down of input

-channels 1, 2, 3, and 7, and the right channel is a copy of input channel 3.

+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

+a copy of input channel 3.

.SP

 Where a range of channels is specified, the channel numbers to the left and

 right of the hyphen are optional and default to 1 and to the number of input

@@ -2321,7 +2329,7 @@

.TE

.DT

.SP

-One typical use of the

+One use of the

 .B remix

 effect is to split an audio file into a set of files, each containing

 one of the constituent channels (in order to perform subsequent

@@ -2699,6 +2707,15 @@

.EE

 In the above Bourne shell script,

 two splices are used to `copy and paste' audio.

+.SP

+The SoX command

+.EX

+  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 appending \fBsplice 1\fR to the

+command. (Clicks at the beginning and end of the audio can be removed by

+\fIpreceding\fR the splice effect with \fBfade q .01 2 .01\fR).

.TS

 center;

 c8 c8 c.