sox/git/sox.1

39 	[\fIeffect\fR [\fIeffect-options\fR]] ...
43 	[\fIeffect\fR [\fIeffect-options\fR]] ...
46 	[\fIeffect\fR [\fIeffect-options\fR]] ...
124 plays a collection of audio files whilst applying a bass boosting effect,
309 audio output device, SoX will automatically invoke the \fBrate\fR effect
314 effect with a different quality level, e.g.
369 effect, and finally creates the output MP3 file by re-compressing the
398 an effect has increased effective bit-depth within the internal
417 effect.
455 effect can be used to prevent clipping, e.g.
462 SoX will display a warning message to that effect.
516 effect.
529 volume adjustment effect) after the audio has been combined. However, it
557 effect on the mix is another alternative.
563 effect.
576 This behaviour can be changed by specifying the pseudo-effect `newfile'
591 Multiple output mode is not very useful unless an effect that will
613 Another option to stop processing early is to use an effect that
615 point. The trim effect is an example of this.  Once all
625 effect-name will not work since SoX will treat it as an effect
628 filenames have a filename `extension', whilst effect-names do not.
712 with an effect that specifies a finite time length
731 before the first effect name.
818 effect for how to determine the actual bit depth of the audio within a
825 marker to separate effect chains.  For convenience, such markers at the
834 effect to guard against clipping. E.g.
847 effect.
852 \fB\-\-help\-effect \fINAME\fR
853 Show usage information on the specified effect.  The name
905 effect to guard against clipping and to normalise the audio. E.g.
924 effect.
927 Selects a quality option to be used when the `rate' effect is automatically
940 For the first given effect that supports the selected plotting program,
941 SoX will output commands to plot the effect's transfer function, and
1140 effect should be invoked in order to change (if necessary) the number
1259 effect for the more usual solution to this problem).
1264 effect should be invoked in order to change (if necessary) the sample
1387 instrument or `voice'.  To facilitate this, the \fBremix\fR effect and
1393 is reached or an effect in the chain requests to terminate the chain.
1403 (colon) after an effect.  Any following effects are a part of a new effects chain.
1405 It is important to place the effect that will stop the chain
1406 as the first effect in the chain.  This is because any samples
1407 that are buffered by effects to the left of the terminating effect
1411 the terminating effect cannot be first.  Further information on
1423 must be specified as the first effect in a chain and as the only
1424 effect in a chain (they must have a
1464 the effect accepts multiple position arguments (\fB+\fR).  The audio length
1467 \fB=\fR, \fB+\fR, \fB\-\fR is the default depends on the effect and is shown
1477 methods to specify the width are available (though not all for every effect).
1493 For each effect that uses this parameter, the default method (i.e. if no
1495 the effect's description.
1503 \fBsilence\fR effect for an exception).
1517 To see if SoX has support for an optional effect, enter
1531 This effect supports the \fB\-\-plot\fR global option.
1565 This effect supports the \fB\-\-plot\fR global option.
1587 See the description of the \fBbandpass\fR effect for details.
1624 See also \fBequalizer\fR for a peaking equalisation effect.
1666 This effect supports the \fB\-\-plot\fR global option.
1677 effect is invoked automatically if SoX's \fB\-c\fR option specifies a
1679 Alternatively, if this effect is given explicitly, then SoX's
1693 for an effect that allows channels to be mixed/selected arbitrarily.
1696 Add a chorus effect to the audio.  This can make a single vocal sound
1699 Chorus resembles an echo effect with a short delay, but
1706 See [3] for more discussion of the chorus effect.
1825 with near silence, and the delay of 0\*d2 (seconds) has the effect of causing
1839 This effect supports the \fB\-\-plot\fR global option (for the transfer function).
1843 for a multiple-band companding effect.
1846 Comparable with compression, this effect modifies an audio signal to
1863 from the audio.  The effect of a DC offset is reduced headroom and
1869 effect can be used to determine if a signal has a DC offset.
1889 filter effect at a frequency of say 10Hz, as illustrated in the following
1911 effect, it is possible to apply the necessary de-emphasis to audio that
1931 This effect supports the \fB\-\-plot\fR global option.
1962 sample size is less than 24 bits.  With no options, this effect will
2009 This effect should not be followed by any other effect that
2022 For a general resampling effect with anti-aliasing, see \fBrate\fR.  See
2076 Like the echo effect, echos stand for `ECHO in Sequel', that is the first echos
2080 has the same effect as a single echo.
2109 In order to produce complex equalisation curves, this effect
2114 This effect supports the \fB\-\-plot\fR global option.
2119 Apply a fade effect to the beginning, end, or both of the audio.
2153 effect.
2181 This effect supports the \fB\-\-plot\fR global option.
2184 Apply a flanging effect to the audio.
2287 to the effect that the audio is normalised to a given level below 0dB.
2309 effect for a more capable limiter.
2318 6dB of attenuation will be applied prior to the bass boosting effect
2382 This effect supports the \fB\-\-plot\fR global option.
2413 effect, but provides equalisation for the human auditory system.  See
2428 effect.
2432 See the description of the \fBhighpass\fR effect for details.
2442 \fBcompand\fR effect for the definition of its parameters.  Compand
2466 for a single-band companding effect.
2470 description of the \fBnoisered\fR effect for details.
2474 effect is moderately effective at removing consistent background noise
2476 effect on a section of audio that ideally would contain silence but in
2485 effect;
2517 effect for details.
2520 Out Of Phase Stereo effect.
2523 This is sometimes known as the `karaoke' effect as it often has the effect
2555 for an effect that can add silence at the beginning of
2559 Add a phasing effect to the audio.
2567 (\fB\-t\fR) \*mgives single instruments a sharper phasing effect.
2595 effect for a description of the other parameters.
2664 effect is invoked automatically if SoX's \fB\-r\fR option specifies a
2666 this effect is given explicitly, then SoX's
2796 effect at their core.
2810 Note that this effect operates on the audio
2905 effect.
2919 effect is to split an audio file into a set of files, each containing
2942 See also the \fBswap\fR effect.
2957 reverberation effect is sometimes desirable for concert halls that are too
2963 Note that this effect
2976 for a reverse reverb effect.
2986 This effect supports the \fB\-\-plot\fR global option.
3035 to use the \fBsilence\fR effect in combination with the \fBreverse\fR effect.
3043 effect should restart processing as specified by the
3066 The following example shows how this effect can be used to start a recording
3112 options control the filter's phase response; see the \fBrate\fR effect
3115 This effect supports the \fB\-\-plot\fR global option.
3119 through the SoX processing chain.  This effect is optional\*mtype
3145 effect may be used, e.g.
3168 effect (above):
3199 is in effect).
3239 values.  A small number (e.g. 4) will give a `poster'-like effect making
3308 effect is used), the following options may be used.
3322 effect is applied to the entire audio signal.
3340 effect.
3351 Technically, the speed effect only changes the sample rate information,
3352 leaving the samples themselves untouched.  The \fBrate\fR effect is invoked
3355 resampling, in addition to the \fBspeed\fR effect, specify
3356 the \fBrate\fR effect with the desired quality option.
3364 Splice together audio sections.  This effect provides two things over
3389 effect to select the audio sections to be joined together.  As when
3403 effect given with the position at which to perform the splice\*mthis is
3407 operation.  The effect simulates the diagonal cuts and joins the two pieces:
3432 (\fIstart\fR) effect) at times 0:30\*d125 and 1:03\*d432.
3453 \fIpreceding\fR the splice effect with \fBfade q .01 2 .01\fR).
3482 It is also possible to use this effect to perform general cross-fades,
3536 effect).
3550 effect which would make the audio as loud as possible without clipping.
3595 effect.
3712 effect.
3721 for an effect that allows arbitrary channel selection and ordering
3726 This effect is broadly equivalent to the
3728 effect with (\fIfactor\fR inverted and)
3752 effect.
3757 This effect can be used to generate fixed or swept frequency audio tones
3767 Though this effect is used to generate audio, an input file must still
3773 effect that has an associated length).
3812 effect (above) and the reference to `SoX scripting examples' (below)
3818 This effect generates audio at maximum volume (0dBFS), which means that there
3820 in many cases, you will want to follow this effect with the \fBgain\fR
3821 effect to prevent this from happening. (See also
3826 effect incorporates the functionality of \fBgain \-h\fR (see the
3828 effect for details);
3898 Change the audio playback speed but not its pitch. This effect uses the
3907 parameter is given, tree searches are used instead. This makes the effect
3969 for an effect that changes tempo and pitch together,
3973 for an effect that changes tempo using a different algorithm.
3976 Apply a treble tone-control effect.
3977 See the description of the \fBbass\fR effect for details.
3980 Apply a tremolo (low frequency amplitude modulation) effect to the audio.
3990 is reached.  The effect then alternates between copying and discarding
4015 \fBvol \fIfactor\fR after any further processing.  The upsample effect is
4018 For a general resampling effect with anti-imaging, see \fBrate\fR.  See
4026 fooled by other things, especially music.  The effect can trim only
4029 effect must also be used.  E.g.
4043 effect is recommended, but remember that neither
4113 effect.
4122 is an effect like any other so can be applied anywhere, and several times
4173 mode, this effect will display the percentage of the audio that needed to be
4178 for a volume-changing effect with different capabilities, and
4180 for a dynamic-range compression/expansion/limiting effect.