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Model HR-ADC1 Analog to Digital Audio Converter
HALF-RACK SERIES Model HR-ADC1 Analog to Digital Audio Converter • Broadcast Quality Analog to Digital Audio Conversion • Peak Metering with Selectable Hold or Peak Store Modes • Inputs: Balanced and Unbalanced Stereo Audio • Operation Up to 24 bits, 192 kHz • Output: AES/EBU, Coaxial S/PDIF, AES-3ID • Selectable Internally Generated Sample Rate and Bit Depth • External Sync Inputs: AES/EBU, Coaxial S/PDIF, AES-3ID • Front-Panel External Sync Enable Selector and Indicator • Adjustable Audio Input Gain Trim • Sample Rate, Bit Depth, External Sync Lock Indicators • Peak or Average Ballistic Metering with Selectable 0 dB Reference • Transformer Isolated AES/EBU Output The HR-ADC1 is an RDL HALF-RACK product, featuring an all metal chassis and the advanced circuitry for which RDL products are known. HALF-RACKs may be operated free-standing using the included feet or may be conveniently rack mounted using available rack-mount adapters. APPLICATION: The HR-ADC1 is a broadcast quality A/D converter that provides exceptional audio accuracy and clarity with any audio source or style. Superior analog performance fine tuned through audiophile listening practices produces very low distortion (0.0006%), exceedingly low noise (-135 dB) and remarkably flat frequency response (+/- 0.05 dB). This performance is coupled with unparalleled metering flexibility and programmability with average mastering level monitoring and peak value storage. With external sync capability plus front-panel settings up to 24 bits and up to 192 kHz sample rate, the HR-ADC1 is the single instrument needed for A/D conversion in demanding applications. The HR-ADC1 accepts balanced +4 dBu or unbalanced -10 dBV stereo audio through rear-panel XLR or RCA jacks or through a detachable terminal block. -
Audio Engineering Society Convention Paper
Audio Engineering Society Convention Paper Presented at the 128th Convention 2010 May 22–25 London, UK The papers at this Convention have been selected on the basis of a submitted abstract and extended precis that have been peer reviewed by at least two qualified anonymous reviewers. This convention paper has been reproduced from the author's advance manuscript, without editing, corrections, or consideration by the Review Board. The AES takes no responsibility for the contents. Additional papers may be obtained by sending request and remittance to Audio Engineering Society, 60 East 42nd Street, New York, New York 10165-2520, USA; also see www.aes.org. All rights reserved. Reproduction of this paper, or any portion thereof, is not permitted without direct permission from the Journal of the Audio Engineering Society. Loudness Normalization In The Age Of Portable Media Players Martin Wolters1, Harald Mundt1, and Jeffrey Riedmiller2 1 Dolby Germany GmbH, Nuremberg, Germany [email protected], [email protected] 2 Dolby Laboratories Inc., San Francisco, CA, USA [email protected] ABSTRACT In recent years, the increasing popularity of portable media devices among consumers has created new and unique audio challenges for content creators, distributors as well as device manufacturers. Many of the latest devices are capable of supporting a broad range of content types and media formats including those often associated with high quality (wider dynamic-range) experiences such as HDTV, Blu-ray or DVD. However, portable media devices are generally challenged in terms of maintaining consistent loudness and intelligibility across varying media and content types on either their internal speaker(s) and/or headphone outputs. -
Command-Line Sound Editing Wednesday, December 7, 2016
21m.380 Music and Technology Recording Techniques & Audio Production Workshop: Command-line sound editing Wednesday, December 7, 2016 1 Student presentation (pa1) • 2 Subject evaluation 3 Group picture 4 Why edit sound on the command line? Figure 1. Graphical representation of sound • We are used to editing sound graphically. • But for many operations, we do not actually need to see the waveform! 4.1 Potential applications • • • • • • • • • • • • • • • • 1 of 11 21m.380 · Workshop: Command-line sound editing · Wed, 12/7/2016 4.2 Advantages • No visual belief system (what you hear is what you hear) • Faster (no need to load guis or waveforms) • Efficient batch-processing (applying editing sequence to multiple files) • Self-documenting (simply save an editing sequence to a script) • Imaginative (might give you different ideas of what’s possible) • Way cooler (let’s face it) © 4.3 Software packages On Debian-based gnu/Linux systems (e.g., Ubuntu), install any of the below packages via apt, e.g., sudo apt-get install mplayer. Program .deb package Function mplayer mplayer Play any media file Table 1. Command-line programs for sndfile-info sndfile-programs playing, converting, and editing me- Metadata retrieval dia files sndfile-convert sndfile-programs Bit depth conversion sndfile-resample samplerate-programs Resampling lame lame Mp3 encoder flac flac Flac encoder oggenc vorbis-tools Ogg Vorbis encoder ffmpeg ffmpeg Media conversion tool mencoder mencoder Media conversion tool sox sox Sound editor ecasound ecasound Sound editor 4.4 Real-world -
Rockbox User Manual
The Rockbox Manual for Sansa Fuze+ rockbox.org October 1, 2013 2 Rockbox http://www.rockbox.org/ Open Source Jukebox Firmware Rockbox and this manual is the collaborative effort of the Rockbox team and its contributors. See the appendix for a complete list of contributors. c 2003-2013 The Rockbox Team and its contributors, c 2004 Christi Alice Scarborough, c 2003 José Maria Garcia-Valdecasas Bernal & Peter Schlenker. Version unknown-131001. Built using pdfLATEX. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sec- tions, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled “GNU Free Documentation License”. The Rockbox manual (version unknown-131001) Sansa Fuze+ Contents 3 Contents 1. Introduction 11 1.1. Welcome..................................... 11 1.2. Getting more help............................... 11 1.3. Naming conventions and marks........................ 12 2. Installation 13 2.1. Before Starting................................. 13 2.2. Installing Rockbox............................... 13 2.2.1. Automated Installation........................ 14 2.2.2. Manual Installation.......................... 15 2.2.3. Bootloader installation from Windows................ 16 2.2.4. Bootloader installation from Mac OS X and Linux......... 17 2.2.5. Finishing the install.......................... 17 2.2.6. Enabling Speech Support (optional)................. 17 2.3. Running Rockbox................................ 18 2.4. Updating Rockbox............................... 18 2.5. Uninstalling Rockbox............................. 18 2.5.1. Automatic Uninstallation....................... 18 2.5.2. Manual Uninstallation......................... 18 2.6. Troubleshooting................................. 18 3. Quick Start 20 3.1. -
Le Décibel ( Db ) Est Un Sous-Multiple Du Bel, Correspondant À 1 Dixième De Bel
Emploi du Décibel, unité relative ou unité absolue Le décibel ( dB ) est un sous-multiple du bel, correspondant à 1 dixième de bel. Nommé en l’honneur de l'inventeur Alexandre Graham Bell, le bel est unité de mesure logarithmique du rapport entre deux puissances, connue pour exprimer la puissance du son. Grandeur sans dimension en dehors du système international, le bel n'est pas l'unité la plus fréquente. Le décibel est plus couramment employé. Équivalent à 1/10 de bel, le décibel comme le bel, peut être utilisé dans les domaines de l’acoustique, de la physique, de l’électronique et est largement répandue dans l’ensemble des champs de l’ingénierie (fiabilité, inférence bayésienne, etc.). Cette unité est particulièrement pertinente dans les domaines où la perception humaine est mise en jeu, car la loi de Weber-Fechner stipule que la sensation ressentie varie comme le logarithme de l’excitation. où S est la sensation perçue, I l'intensité de la stimulation et k une constante. Histoire des bels et décibels Le bel (symbole B) est utilisé dans les télécommunications, l’électronique, l’acoustique ainsi que les mathématiques. Inventé par des ingénieurs des Laboratoires Bell pour mesurer l’atténuation du signal audio sur une distance d’un mile (1,6 km), longueur standard d’un câble de téléphone, il était appelé unité de « transmission » à l’origine, ou TU (Transmission unit ), mais fut renommé en 1923 ou 1924 en l’honneur du fondateur du laboratoire et pionnier des télécoms, Alexander Graham Bell . Définition, usage en unité relative Si on appelle X le rapport de deux puissances P1 et P0, la valeur de X en bel (B) s’écrit : On peut également exprimer X dans un sous multiple du bel, le décibel (dB) un décibel étant égal à un dixième de bel.: Si le rapport entre les deux puissances est de : 102 = 100, cela correspond à 2 bels ou 20 dB. -
Sound-HOWTO.Pdf
The Linux Sound HOWTO Jeff Tranter [email protected] v1.22, 16 July 2001 Revision History Revision 1.22 2001−07−16 Revised by: jjt Relicensed under the GFDL. Revision 1.21 2001−05−11 Revised by: jjt This document describes sound support for Linux. It lists the supported sound hardware, describes how to configure the kernel drivers, and answers frequently asked questions. The intent is to bring new users up to speed more quickly and reduce the amount of traffic in the Usenet news groups and mailing lists. The Linux Sound HOWTO Table of Contents 1. Introduction.....................................................................................................................................................1 1.1. Acknowledgments.............................................................................................................................1 1.2. New versions of this document.........................................................................................................1 1.3. Feedback...........................................................................................................................................2 1.4. Distribution Policy............................................................................................................................2 2. Sound Card Technology.................................................................................................................................3 3. Supported Hardware......................................................................................................................................4 -
A 449 MHZ MODULAR WIND PROFILER RADAR SYSTEM by BRADLEY JAMES LINDSETH B.S., Washington University in St
A 449 MHZ MODULAR WIND PROFILER RADAR SYSTEM by BRADLEY JAMES LINDSETH B.S., Washington University in St. Louis, 2002 M.S., Washington University in St. Louis, 2005 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Electrical, Computer, and Energy Engineering 2012 This thesis entitled: A 449 MHz Modular Wind Profiler Radar System written by Bradley James Lindseth has been approved for the Department of Electrical, Computer, and Energy Engineering Prof. Zoya Popović Dr. William O.J. Brown Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Lindseth, Bradley James (Ph.D., Electrical Engineering) A 449 MHz Modular Wind Profiler Radar System Thesis directed by Professor Zoya Popović and Dr. William O.J. Brown This thesis presents the design of a 449 MHz radar for wind profiling, with a focus on modularity, antenna sidelobe reduction, and solid-state transmitter design. It is one of the first wind profiler radars to use low-cost LDMOS power amplifiers combined with spaced antennas. The system is portable and designed for 2-3 month deployments. The transmitter power amplifier consists of multiple 1-kW peak power modules which feed 54 antenna elements arranged in a hexagonal array, scalable directly to 126 elements. The power amplifier is operated in pulsed mode with a 10% duty cycle at 63% drain efficiency. -
EMEP/MSC-W Model Unofficial User's Guide
EMEP/MSC-W Model Unofficial User’s Guide Release rv4_36 https://github.com/metno/emep-ctm Sep 09, 2021 Contents: 1 Welcome to EMEP 1 1.1 Licenses and Caveats...........................................1 1.2 Computer Information..........................................2 1.3 Getting Started..............................................2 1.4 Model code................................................3 2 Input files 5 2.1 NetCDF files...............................................7 2.2 ASCII files................................................ 12 3 Output files 17 3.1 Output parameters NetCDF files..................................... 18 3.2 Emission outputs............................................. 20 3.3 Add your own fields........................................... 20 3.4 ASCII outputs: sites and sondes..................................... 21 4 Setting the input parameters 23 4.1 config_emep.nml .......................................... 23 4.2 Base run................................................. 24 4.3 Source Receptor (SR) Runs....................................... 25 4.4 Separate hourly outputs......................................... 26 4.5 Using and combining gridded emissions................................. 26 4.6 Nesting.................................................. 27 4.7 config: Europe or Global?........................................ 31 4.8 New emission format........................................... 32 4.9 Masks................................................... 34 4.10 Other less used options......................................... -
RFP Response to Region 10 ESC
An NEC Solution for Region 10 ESC Building and School Security Products and Services RFP #EQ-111519-04 January 17, 2020 Submitted By: Submitted To: Lainey Gordon Ms. Sue Hayes Vertical Practice – State and Local Chief Financial Officer Government Region 10 ESC Enterprise Technology Services (ETS) 400 East Spring Valley Rd. NEC Corporation of America Richardson, TX 75081 Cell: 469-315-3258 Office: 214-262-3711 Email: [email protected] www.necam.com 1 DISCLAIMER NEC Corporation of America (“NEC”) appreciates the opportunity to provide our response to Education Service Center, Region 10 (“Region 10 ESC”) for Building and School Security Products and Services. While NEC realizes that, under certain circumstances, the information contained within our response may be subject to disclosure, NEC respectfully requests that all customer contact information and sales numbers provided herein be considered proprietary and confidential, and as such, not be released for public review. Please notify Lainey Gordon at 214-262-3711 promptly upon your organization’s intent to do otherwise. NEC requests the opportunity to negotiate the final terms and conditions of sale should NEC be selected as a vendor for this engagement. NEC Corporation of America 3929 W John Carpenter Freeway Irving, TX 75063 http://www.necam.com Copyright 2020 NEC is a registered trademark of NEC Corporation of America, Inc. 2 Table of Contents EXECUTIVE SUMMARY ................................................................................................................................... -
MT-230 One Technology Way • P
Mini Tutorial MT-230 One Technology Way • P. O. Box 9106 • Norwood, MA 02062-9106, U.S.A. • Tel: 781.329.4700 • Fax: 781.461.3113 • www.analog.com Because this headroom of the converter is continuously being Noise Considerations in High constrained, maintaining a very low noise spectral density of Speed Converter Signal Chains −150 dBFS/Hz and lower is challenging with each new design. This is why it is paramount that the designer recognize the by Rob Reeder Analog Devices, Inc. importance of the surrounding noise contributions within the entire signal chain solution. Admittedly, there are many noise principles. This tutorial IN THIS MINI TUTORIAL addresses two of these principles: noise bandwidth and the The most common outside noise sources and how they addition of noise sources. influence the total dynamic system performance of a high NOISE BANDWIDTH speed signal chain are described as well as some analog and Noise bandwidth is not the same as the typical −3 dB band- digital tricks that can be employed to further increase the width of an amplifier or filter cutoff point. The shape for noise signal-to-noise ratio (SNR) in your next design. takes on a different form (rectangular) which specifies the total integration of the bandwidth. This means making a slight INTRODUCTION adjustment in the noise calculation when considering the noise Designing in high speed analog signal chains can be challenging bandwidth contribution. with so many noise sources to consider. Whether the frequen- For a first-order system, for example a first-order low-pass cies are high speed (>10 MHz) or low speed, the converter filter, the noise bandwidth is 57% larger. -
Name Synopsis Description Options
SoXI(1) Sound eXchange SoXI(1) NAME SoXI − Sound eXchange Information, display sound file metadata SYNOPSIS soxi [−V[level]] [−T][−t|−r|−c|−s|−d|−D|−b|−B|−p|−e|−a] infile1 ... DESCRIPTION Displays information from the header of a givenaudio file or files. Supported audio file types are listed and described in soxformat(7). Note however, that soxi is intended for use only with audio files with a self- describing header. By default, as much information as is available is shown. An option may be giventoselect just a single piece of information (perhaps for use in a script or batch-file). OPTIONS −V Set verbosity.See sox(1) for details. −T Used with multiple files; changes the behaviour of −s, −d and −D to display the total across all givenfiles. Note that when used with −s with files with different sampling rates, this is of ques- tionable value. −t Showdetected file-type. −r Showsample-rate. −c Shownumber of channels. −s Shownumber of samples (0 if unavailable). −d Showduration in hours, minutes and seconds (0 if unavailable). Equivalent to number of samples divided by the sample-rate. −D Showduration in seconds (0 if unavailable). −b Shownumber of bits per sample (0 if not applicable). −B Showthe bitrate averaged overthe whole file (0 if unavailable). −p Showestimated sample precision in bits. −e Showthe name of the audio encoding. −a Showfile comments (annotations) if available. BUGS Please report anybugs found in this version of SoX to the mailing list ([email protected]). SEE ALSO sox(1), soxformat(7), libsox(3) The SoX web site at http://sox.sourceforge.net LICENSE Copyright 2008−2013 by Chris Bagwell and SoX Contributors. -
ADOBE AUDITION Iv Contents
Adobe® Audition® CC Help Legal notices Legal notices For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html. Last updated 11/30/2015 iii Contents Chapter 1: What's New New features summary . .1 Chapter 2: Digital audio fundamentals Understanding sound . .4 Digitizing audio . .6 What is Audition? . .8 Chapter 3: Workspace and setup Viewing, zooming, and navigating audio . .9 Customizing workspaces . 12 Connecting to audio hardware . 19 Customizing and saving application settings . 20 Default keyboard shortcuts . 21 Finding and customizing shortcuts . 23 Chapter 4: Importing, recording, and playing Creating and opening files . 24 Importing with the Files panel . 27 Supported import formats . 28 Extracting audio from CDs . 29 Navigating time and playing audio . 30 Recording audio . 33 Monitoring recording and playback levels . 36 Chapter 5: Editing audio files Generating text-to-speech . 38 Matching loudness across multiple audio files . 41 Displaying audio in the Waveform Editor . 43 Selecting audio . 46 Copying, cutting, pasting, and deleting audio . 50 Visually fading and changing amplitude . 52 Working with markers . 54 Inverting, reversing, and silencing audio . 56 Automating common tasks . 57 Analyzing phase, frequency, and amplitude . 59 Frequency Band Splitter . 62 Undo, redo, and history . 63 Converting sample types . 64 Waveform editing enhancements . 67 Chapter 6: Applying effects Enabling CEP extensions . 68 Effects controls . 68 Last updated 11/30/2015 ADOBE AUDITION iv Contents Applying effects in the Waveform Editor . 72 Applying effects in the Multitrack Editor . 73 Adding third-party plug-ins . 74 Notch Filter effect . 75 Fade and Gain Envelope effects (Waveform Editor only) . 76 Manual Pitch Correction effect (Waveform Editor only) .