Replaced -n with --; it's much better visually, -n was all too easily lost in a sea of other parameters.

robs committed 19 years ago

Commit e4b349b1 parent 7cefbde6 files · +84 −65Browse files

Unified · Split

6 files

ChangeLog +1 −1
scripts/audiogen +3 −3
sox.1 +58 −42
src/sox.c +19 −17
src/st_i.h +1 −0
src/tests.sh +2 −2

@@ -60,7 +60,7 @@ sox-12.18.3 · 59 unmodified lines
60	for backwards compatibility by "resample".	60	for backwards compatibility by "resample".
61	o Preview mode now removed, as all it did was use rate rather than	61	o Preview mode now removed, as all it did was use rate rather than
62	resample, and rate has been removed.	62	resample, and rate has been removed.
63	o Improved synth usage (by introducing -n option) and improved synth	63	o Improved synth usage (by introducing --) and improved the synth
64	entry in the man-page. (robs)	64	entry in the man-page. (robs)
65	o Documented the butterworth filter effects. (robs)	65	o Documented the butterworth filter effects. (robs)
66	o Added command line options for specifying the output file	66	o Added command line options for specifying the output file

scripts/audiogen+3−3

@@ -2,8 +2,8 @@ · 1 unmodified line
2	#	2	#
3	# usage:audiogen <rate> <channels> <filename> <length> <audio generator options>	3	# usage:audiogen <rate> <channels> <filename> <length> <audio generator options>
4	#	4	#
5	# Example of using the "nul" file handler along with "synth" effect	5	# Example of using the "null" file handler along with "synth" effect
6	# to generate audio data. Nul file handler pipes a stream of null	6	# to generate audio data. Null file handler pipes a stream of null
7	# data non-stop. Synth effect overrides it with its own data and	7	# data non-stop. Synth effect overrides it with its own data and
8	# stops based on length parameter.	8	# stops based on length parameter.
9		9
@@ -21,4 +21,4 @@ shift · 11 unmodified lines
21	filename=$1	21	filename=$1
22	shift	22	shift
23		23
24	sox -s -w -t nul -r $rate -c $channels /dev/null $filename synth $*	24	sox -s -w -r $rate -c $channels -- $filename synth $*

sox.1+58−42

@@ -1,7 +1,7 @@
1	'\" t	1	'\" t
2	'\" The line above instructs most `man' programs to invoke tbl	2	'\" The line above instructs most `man' programs to invoke tbl
3	'\"	3	'\"
4	'\" Separate paragraphs; not the same as .PP which resets indent level.	4	'\" Separate paragraphs; not the same as PP which resets indent level.
5	.de SP	5	.de SP
6	.if t .sp .5	6	.if t .sp .5
7	.if n .sp	7	.if n .sp
@@ -271,10 +271,9 @@ More examples can found thoughout this manual and in the · 263 unmodified lines
271	separate	271	separate
272	.BR soxexam (1)	272	.BR soxexam (1)
273	manual.	273	manual.
274	.SH OPTIONS	274	.SH FILE-NAMES
275	.SS Special File-name Options	275	The following may be used in certain circumstances in place of a normal
276	Each of these options is used in certain circumstances in place of a normal	276	file-name on the command line:
277	file-name on the command line.
278	.TP	277	.TP
279	\fB\-\fR	278	\fB\-\fR
280	SoX can be used in pipeline operations by using the special	279	SoX can be used in pipeline operations by using the special
@@ -288,16 +287,24 @@ Note that when using this option, the file-type (see · 7 unmodified lines
288	.B \-t	287	.B \-t
289	below) must also be given.	288	below) must also be given.
290	.TP	289	.TP
291	\fB\-n\fR	290	\fB\-\-\fR
292	This can be used in place of an input or output file-name	291	This can be used in place of an input or output file-name
293	to specify that the `null' file type should be used. See	292	to specify that a `null' file is to be used. See
294	.B null	293	.B null
295	below for further information.	294	below for further information.
296	.TP	295	.TP
297	\fB\-e\fR	296	\fB\-e\fR
298	This is an alias of	297	This is an alias of
299	.B \-n	298	.B \-\-
300	and is retained for backwards compatibility only.	299	and is retained for backwards compatibility only.
		300	.PP
		301	.B N.B.
		302	Giving SoX an input or output file-name that is the same as a SoX
		303	effect-name will not work since SoX will treat it as an effect
		304	specification. The only work-around to this is to avoid such
		305	file-names; however, this is generally not difficult since most audio
		306	file-names have a file-name `extension', whilst effect-names do not.
		307	.SH OPTIONS
301	.SS Global Options	308	.SS Global Options
302	These options can be specified on the command line at any point	309	These options can be specified on the command line at any point
303	before the first effect name.	310	before the first effect name.
@@ -340,11 +347,11 @@ the left and right channels of the stereo file. · 36 unmodified lines
340	Run in a mode that can be used, in conjunction with the GNU	347	Run in a mode that can be used, in conjunction with the GNU
341	Octave program, to assist with the selection and configuration	348	Octave program, to assist with the selection and configuration
342	of many of the filtering effects. For the first given effect	349	of many of the filtering effects. For the first given effect
343	that supports the \fB\-o\fR option, SoX will output Octave	350	that supports the \fB\-\-octave\fR option, SoX will output Octave
344	commands to plot the effect's transfer function, and then exit	351	commands to plot the effect's transfer function, and then exit
345	without actually processing any audio. E.g.	352	without actually processing any audio. E.g.
346	.SP	353	.SP
347	sox \-o input-file \-n highpass 1320 > plot.m	354	sox \-\-octave input-file \-\- highpass 1320 > plot.m
348	.br	355	.br
349	octave plot.m	356	octave plot.m
350	.TP	357	.TP
@@ -766,7 +773,7 @@ This is a special file type that can be used when normal · 415 unmodified lines
766	file reading or writing is not needed to use a particular effect.	773	file reading or writing is not needed to use a particular effect.
767	It is selected by using the	774	It is selected by using the
768	special file-name	775	special file-name
769	.B \-n	776	.B \-\-
770	in place of an input or output file-name.	777	in place of an input or output file-name.
771	.SP	778	.SP
772	Using this file type to input audio is equivalent to	779	Using this file type to input audio is equivalent to
@@ -788,7 +795,7 @@ with · 15 unmodified lines
788	.B \-V	795	.B \-V
789	to display information from the audio file header	796	to display information from the audio file header
790	without having to read any further into the file, e.g.	797	without having to read any further into the file, e.g.
791	.B sox \-V *.wav \-n	798	.B sox \-V *.wav \-\-
792	will display header information for each `WAV' file in the current	799	will display header information for each `WAV' file in the current
793	directory.	800	directory.
794	.TP	801	.TP
@@ -1052,7 +1059,7 @@ i.e. peaking at the · 257 unmodified lines
1052	.I center	1059	.I center
1053	frequency and settling around it.	1060	frequency and settling around it.
1054	.SP	1061	.SP
1055	This effect supports the \fB\-o\fR global option (see above).	1062	This effect supports the \fB\-\-octave\fR global option (see above).
1056	.SP	1063	.SP
1057	See also \fBfilter\fR for a bandpass filter with steeper shoulders.	1064	See also \fBfilter\fR for a bandpass filter with steeper shoulders.
1058	.TP	1065	.TP
@@ -1063,7 +1070,7 @@ and bandwidth (in Hz, and as determined by the 3dB points) · 4 unmodified lines
1063	\fIbandwidth\fR.	1070	\fIbandwidth\fR.
1064	The filter rolls off at 6dB per octave (20dB per decade).	1071	The filter rolls off at 6dB per octave (20dB per decade).
1065	.SP	1072	.SP
1066	These effects support the \fB\-o\fR global option (see above).	1073	These effects support the \fB\-\-octave\fR global option (see above).
1067	.TP	1074	.TP
1068	\fBbandreject \fIfrequency bandwidth\fR	1075	\fBbandreject \fIfrequency bandwidth\fR
1069	Apply a band-reject filter.	1076	Apply a band-reject filter.
@@ -1072,8 +1079,8 @@ See the description of the \fBbandpass\fR effect for details. · 2 unmodified lines
1072	\fBbass\fR\^\|\^\fBtreble \fIgain\fR [\fIfrequency\fR] [\fIslope\fR]	1079	\fBbass\fR\^\|\^\fBtreble \fIgain\fR [\fIfrequency\fR] [\fIslope\fR]
1073	Boost or cut the bass (lower) or treble (upper) frequencies of the audio	1080	Boost or cut the bass (lower) or treble (upper) frequencies of the audio
1074	using a two-pole shelving filter with a response similar to that	1081	using a two-pole shelving filter with a response similar to that
1075	of a standard hi-fi's (Baxandall) tone controls. This is also	1082	of a standard hi-fi's (Baxandall) tone-controls. This is also
1076	known as shelving equalisation or EQ.	1083	known as shelving equalisation (EQ).
1077	.SP	1084	.SP
1078	\fIgain\fR gives the dB gain at 0Hz (for \fBbass\fR), or whichever is	1085	\fIgain\fR gives the dB gain at 0Hz (for \fBbass\fR), or whichever is
1079	the lower of \(ap22kHz and the Nyquist frequency (for \fBtreble\fR). Its	1086	the lower of \(ap22kHz and the Nyquist frequency (for \fBtreble\fR). Its
@@ -1096,7 +1103,7 @@ steep the filter's shelf transition is. Its useful range is · 16 unmodified lines
1096	about 0\*d3 (for a gentle slope) to 1 (for a steep slope). The	1103	about 0\*d3 (for a gentle slope) to 1 (for a steep slope). The
1097	default value is 0\*d5.	1104	default value is 0\*d5.
1098	.SP	1105	.SP
1099	These effects support the \fB\-o\fR global option (see above).	1106	These effects support the \fB\-\-octave\fR global option (see above).
1100	.SP	1107	.SP
1101	See also \fBequalizer\fR for a peaking equalisation effect.	1108	See also \fBequalizer\fR for a peaking equalisation effect.
1102	.TP	1109	.TP
@@ -1169,7 +1176,7 @@ audio-CD format. The frequency response of pre-emphasized · 66 unmodified lines
1169	recordings is rectified. The filtering is defined in the	1176	recordings is rectified. The filtering is defined in the
1170	standard document ISO 908.	1177	standard document ISO 908.
1171	.SP	1178	.SP
1172	This effect supports the \fB\-o\fR global option (see above).	1179	This effect supports the \fB\-\-octave\fR global option (see above).
1173	.SP	1180	.SP
1174	.TP	1181	.TP
1175	\fBdither\fR [\fIdepth\fR]	1182	\fBdither\fR [\fIdepth\fR]
@@ -1210,16 +1217,16 @@ pair gives the delay in milliseconds · 34 unmodified lines
1210	and the decay (relative to gain-in) of that echo.	1217	and the decay (relative to gain-in) of that echo.
1211	Gain-out is the volume of the output.	1218	Gain-out is the volume of the output.
1212	.TP	1219	.TP
1213	\fBequalizer \fIcentral-frequency Q gain\fR	1220	\fBequalizer \fIfrequency Q gain\fR
1214	Apply a two-pole peaking equalisation (EQ) filter.	1221	Apply a two-pole peaking equalisation (EQ) filter.
1215	This allows modification (\fIgain\fR) of the signal level at and	1222	With this filter, the signal-level at and around a selected frequency
1216	around (\fIQ\fR) a central frequency (\fIcentral-frequency\fR),	1223	can be increased or decreased, whilst (unlike band-pass and band-reject
1217	leaving all other frequencies untouched (unlike	1224	filters) that at all other frequencies is unchanged.
1218	bandpass/bandreject filters).	1225	.SP
1219	.SP	1226	\fIfrequency\fR gives the filter's central frequency in Hz, \fIQ\fR its
1220	\fIcentral-frequency\fR is the filter's central frequency in Hz, \fIQ\fR	1227	band-width specified as a `Q-factor' (see
1221	its `Q-factor' (see http://en.wikipedia.org/wiki/Q_factor), and	1228	http://en.wikipedia.org/wiki/Q_factor), and \fIgain\fR the required gain
1222	\fIgain\fR is the gain or attenuation in dB.	1229	or attenuation in dB.
1223	Beware of	1230	Beware of
1224	.B Clipping	1231	.B Clipping
1225	when using a positive \fIgain\fR.	1232	when using a positive \fIgain\fR.
@@ -1227,7 +1234,7 @@ when using a positive \fIgain\fR. · 1 unmodified line
1227	In order to produce complex equalisation curves, this effect	1234	In order to produce complex equalisation curves, this effect
1228	can be given several times, each with a different central frequency.	1235	can be given several times, each with a different central frequency.
1229	.SP	1236	.SP
1230	This effect supports the \fB\-o\fR global option (see above).	1237	This effect supports the \fB\-\-octave\fR global option (see above).
1231	.SP	1238	.SP
1232	See also \fBbass\fR and \fBtreble\fR for shelving equalisation effects.	1239	See also \fBbass\fR and \fBtreble\fR for shelving equalisation effects.
1233	.TP	1240	.TP
@@ -1310,7 +1317,7 @@ Apply a single-pole recursive high-pass or low-pass filter with · 76 unmodified lines
1310	3dB point \fIfrequency\fR.	1317	3dB point \fIfrequency\fR.
1311	The filters roll off at 6dB per octave (20dB per decade).	1318	The filters roll off at 6dB per octave (20dB per decade).
1312	.SP	1319	.SP
1313	These effects support the \fB\-o\fR global option (see above).	1320	These effects support the \fB\-\-octave\fR global option (see above).
1314	.SP	1321	.SP
1315	See also \fBfilter\fR for filters with a sharper cutoff.	1322	See also \fBfilter\fR for filters with a sharper cutoff.
1316	.TP	1323	.TP
@@ -1319,7 +1326,7 @@ Apply a two-pole Butterworth high-pass or low-pass filter with · 2 unmodified lines
1319	3dB point \fIfrequency\fR.	1326	3dB point \fIfrequency\fR.
1320	The filters roll off at 12dB per octave (40dB per decade).	1327	The filters roll off at 12dB per octave (40dB per decade).
1321	.SP	1328	.SP
1322	These effects support the \fB\-o\fR global option (see above).	1329	These effects support the \fB\-\-octave\fR global option (see above).
1323	.TP	1330	.TP
1324	\fBlowp \fIfrequency\fR	1331	\fBlowp \fIfrequency\fR
1325	Apply a low-pass filter.	1332	Apply a low-pass filter.
@@ -1771,45 +1778,49 @@ still be specified. This can be used to set the synthesised audio · 445 unmodified lines
1771	length, the number of channels, and the sampling rate, however since the	1778	length, the number of channels, and the sampling rate, however since the
1772	input file's audio is not needed, the	1779	input file's audio is not needed, the
1773	.B null	1780	.B null
1774	file `\fB\-n\fR' is usually used instead (and the length specified	1781	file `\fB\-\-\fR' is usually used instead (and the length specified
1775	as a parameter to \fBsynth\fR).	1782	as a parameter to \fBsynth\fR or by another given effect that can has an
		1783	associated length).
1776	.SP	1784	.SP
1777	For example, the following produces a 3 second, 44\*d1kHz,	1785	For example, the following produces a 3 second, 44\*d1kHz,
1778	stereo audio file containing a sine-wave swept from 300 to 3300Hz.	1786	stereo audio file containing a sine-wave swept from 300 to 3300Hz.
1779	.SP	1787	.SP
1780	sox \-n output.au synth 3 sine 300\-3300	1788	sox \-\- output.au synth 3 sine 300\-3300
1781	.SP	1789	.SP
1782	This produces an 8kHz mono version:	1790	This produces an 8kHz mono version:
1783	.SP	1791	.SP
1784	sox \-r 8000 \-c 1 \-n output.au synth 3 sine 300\-3300	1792	sox \-r 8000 \-c 1 \-\- output.au synth 3 sine 300\-3300
1785	.SP	1793	.SP
1786	Multiple channels can be synthesised by specifying the set of	1794	Multiple channels can be synthesised by specifying the set of
1787	parameters shown between braces multiple times;	1795	parameters shown between braces multiple times;
1788	the following puts the swept tone in the left channel and adds `brown'	1796	the following puts the swept tone in the left channel and adds `brown'
1789	noise in the right:	1797	noise in the right:
1790	.SP	1798	.SP
1791	sox \-n output.au synth 3 sine 300\-3300 brownnoise	1799	sox \-\- output.au synth 3 sine 300\-3300 brownnoise
1792	.SP	1800	.SP
1793	The following example shows how two synth effects can be cascaded	1801	The following example shows how two synth effects can be cascaded
1794	to create a more complex waveform:	1802	to create a more complex waveform:
1795	.SP	1803	.SP
1796	sox \-n output.au synth 0\d5 sine 200\-500 synth 0\d5 sine fmod 700\-100	1804	sox \-\- output.au synth 0\d5 sine 200\-500 synth 0\d5 sine fmod 700\-100
1797	.SP	1805	.SP
1798	Frequencies can also specified in terms of musical semitones relative to	1806	Frequencies can also specified in terms of musical semitones relative to
1799	`middle A' (440Hz); the following could be used to help tune	1807	`middle A' (440Hz); the following could be used to help tune
1800	a guitar's `low E' string (on a system that supports	1808	a guitar's `low E' string (on a system that supports
1801	\fBalsa\fR):	1809	\fBalsa\fR):
1802	.SP	1810	.SP
1803	sox \-n \-t alsa default synth sine %\-5	1811	sox \-\- \-t alsa default synth sine %\-5
1804	.SP	1812	.SP
1805	The following produces a chord with a pipe-organ sound:	1813	The following produces a chord with a pipe-organ sound:
1806	.SP	1814	.SP
1807	sox \-c4 \-n \-c1 Am7.au synth sin %0 sin %3 sin %7 sin %10 avg fade q 0\d1 1 0\d1	1815	sox \-c4 \-\- \-c1 Am7.au synth sin %0 sin %3 sin %7 sin %10 avg fade q 0\d1 1 0\d1
1808	.SP	1816	.SP
1809	N.B. This effect generates audio at maximum volume, which means that there	1817	.B N.B.
		1818	This effect generates audio at maximum volume, which means that there
1810	is a high chance of clipping when using the audio subsequently, so	1819	is a high chance of clipping when using the audio subsequently, so
1811	in most cases, you will want to follow this effect with the \fBvol\fR	1820	in most cases, you will want to follow this effect with the \fBvol\fR
1812	effect to select a suitable attenuation.	1821	effect to prevent this from happening. (See also
		1822	.B Clipping
		1823	above.)
1813	.SP	1824	.SP
1814	A detailed description of each	1825	A detailed description of each
1815	.B synth	1826	.B synth
@@ -1831,7 +1842,12 @@ for specifying sample counts is the number of samples with the letter · 15 unmodified lines
1831	.SP	1842	.SP
1832	\fIfreq\fR/\fIfreq2\fR are the frequencies at the beginning/end of	1843	\fIfreq\fR/\fIfreq2\fR are the frequencies at the beginning/end of
1833	synthesis in Hz or, if preceded with `%', semitones relative to A	1844	synthesis in Hz or, if preceded with `%', semitones relative to A
1834	(440Hz); for both, default=%0. Not used for noise.	1845	(440Hz); for both, default=%0. If
		1846	.I freq2
		1847	is given, then
		1848	.I len
		1849	must also have been given.
		1850	Not used for noise.
1835	.SP	1851	.SP
1836	\fIoff\fR is the bias (DC-offset) of the signal in percent; default=0.	1852	\fIoff\fR is the bias (DC-offset) of the signal in percent; default=0.
1837	.SP	1853	.SP
@@ -1849,7 +1865,7 @@ begins; default=50. exp: the amplitude in percent; default=100. · 11 unmodified lines
1849	ends; default=60.	1865	ends; default=60.
1850	.TP	1866	.TP
1851	\fBtreble \fIgain\fR [\fIfrequency\fR] [\fIslope\fR]	1867	\fBtreble \fIgain\fR [\fIfrequency\fR] [\fIslope\fR]
1852	Apply a treble tone control effect.	1868	Apply a treble tone-control effect.
1853	See the description of the \fBbass\fR effect for details.	1869	See the description of the \fBbass\fR effect for details.
1854	.TP	1870	.TP
1855	\fBtrim \fIstart\fR [\fIlength\fR]	1871	\fBtrim \fIstart\fR [\fIlength\fR]

src/sox.c+19−17

    * found. */
   while (optind < argc && !is_effect_name(argv[optind])) {
     file_info_t fi = make_file_info();
-    struct file_info fi_none;
+    struct file_info fi_none = *fi;
     if (file_count >= MAX_FILES) {
       st_fail("Too many filenames; maximum is %d input files and 1 output file", MAX_INPUT_FILES);
       exit(1);
     }
-    fi_none = *fi;
     if (doopts(fi, argc, argv)) { /* is null file? */
       if (fi->filetype != NULL && strcmp(fi->filetype, "null") != 0)
         st_warn("Ignoring \"-t %s\".", fi->filetype);
   return result;
 }
-static char *getoptstr = "+abc:defghilmnoqr:st:uv:wxABC:DLMNRSUV::X12348";
+static char *getoptstr = "+abc:defghilmoqr:st:uv:wxABC:DLMNRSUV::X12348";
 static struct option long_options[] =
   {
 static bool doopts(file_info_t fi, int argc, char **argv)
 {
-  bool isnull = false;
+  while (true) {
-  int option_index, c;
+    int option_index;
-  while ((c = getopt_long(argc, argv, getoptstr, long_options, &option_index)) != -1) {
     int i;          /* Needed since scanf %u allows negative numbers :( */
     char dummy;     /* To check for extraneous chars in optarg. */
-    switch (c) {
+    if (strcmp(argv[optind], "--") == 0) {
-    case 0:       /* Long options with no short equivalent. */
+      ++optind;
+      return true;  /* I.e. is null file. */
+    }
+    switch (getopt_long(argc, argv, getoptstr, long_options, &option_index)) {
+    case -1:        /* @ one of: file-name, effect name, or end of arg-list. */
+      return false; /* I.e. not null file. */
+    case 0:         /* Long options with no short equivalent. */
       switch (option_index) {
       case 0:
         fi->comment = read_comment_file(optarg);
       repeatable_random = true;
       break;
-    case 'e': case 'n':
+    case 'e': /* Deprecated in favour of -- */
-      isnull = true;            /* Is null file. */
+      return true;  /* I.e. is null file. */
       break;
     case 'h': case '?':
       break;
     }
   }
-  return isnull;
 }
 static int compare_input(ft_t ft1, ft_t ft2)
   printf("Version %s\n\n", st_version());
   if (message)
     fprintf(stderr, "Failed: %s\n\n", message);
-  printf("Usage: [gopts] [fopts] %s outfile [effect [effopts]...]\n\n",
+  printf("Usage summary: [gopts] [fopts] %s outfile [effect [effopts]...]\n\n",
          combine_method == SOX_MIX ? "infile1 [fopts] infile2 [fopts]" : "infile [fopts]");
   printf(
          "Special filenames:\n"
          "\n"
          "-               stdin (infile) or stdout (outfile)\n"
-         "-n, -e          use the null file handler; for use with e.g. synth & stat\n"
+         "--              use the null file handler; for use with e.g. synth & stat\n"
          "\n"
          "Global options (gopts) (can be specified at any point before the first effect):\n"
          "\n"
          "                display usage of specified effect.  use 'all' to display all\n"
          "-m, --mix       mix multiple input files (instead of concatenating)\n"
          "-M, --merge     merge multiple input files (instead of concatenating)\n"
-         "-o              generate Octave commands to plot response of filter effect\n"
+         "--octave        generate Octave commands to plot response of filter effect\n"
          "--play          output to the default sound device; set if SoX run as `play'\n"
          "-q              run in quiet mode; opposite of -S\n"
          "--rec           input from the default sound device; set if SoX run as `rec'\n"
          "-B/-L           force endian type to big/little\n"
          "-s/-u/-U/-A/    sample encoding: signed/unsigned/u-law/A-law\n"
          "  -a/-i/-g/-f   ADPCM/IMA_ADPCM/GSM/floating point\n"
          "-1/-2/-3/-4/-8  sample size in bytes\n"
          "-b/-w/-l/-d     aliases for -1/-2/-4/-8 (byte, word, long, double-long)\n"
          "-v volume       input file volume adjustment factor (real number)\n"

src/st_i.h+1−0

@@ -193,6 +193,7 @@ extern const st_format_t *st_flac_format_fn(void); · 192 unmodified lines
193	#endif	193	#endif
194	extern const st_format_t *st_gsm_format_fn(void);	194	extern const st_format_t *st_gsm_format_fn(void);
195	extern const st_format_t *st_hcom_format_fn(void);	195	extern const st_format_t *st_hcom_format_fn(void);
		196	extern const st_format_t *st_ima_format_fn(void);
196	extern const st_format_t *st_maud_format_fn(void);	197	extern const st_format_t *st_maud_format_fn(void);
197	extern const st_format_t *st_mp3_format_fn(void);	198	extern const st_format_t *st_mp3_format_fn(void);
198	extern const st_format_t *st_nul_format_fn(void);	199	extern const st_format_t *st_nul_format_fn(void);

src/tests.sh+2−2

@@ -34,7 +34,7 @@ convertToAndFrom () { · 33 unmodified lines
34	if [ "${format1_skip}x" = "x" -a "${from_skip}x" = "x" ] ; then	34	if [ "${format1_skip}x" = "x" -a "${from_skip}x" = "x" ] ; then
35	getFormat ${format1}; format1Text=$formatText; format1Flags=$formatFlags	35	getFormat ${format1}; format1Text=$formatText; format1Flags=$formatFlags
36	getFormat $1; format2Text=$formatText; format2Flags=$formatFlags	36	getFormat $1; format2Text=$formatText; format2Flags=$formatFlags
37	./sox -c $channels -r $rate -n $format1Flags input.$format1 synth $samples's' sin 300-3300 noise trapezium	37	./sox -c $channels -r $rate -- $format1Flags input.$format1 synth $samples's' sin 300-3300 noise trapezium
38	./sox $verbose -r $rate -c $channels $format1Flags input.$format1 $format2Flags intermediate.$1	38	./sox $verbose -r $rate -c $channels $format1Flags input.$format1 $format2Flags intermediate.$1
39	./sox $verbose -r $rate -c $channels $format2Flags intermediate.$1 $format1Flags output.$format1	39	./sox $verbose -r $rate -c $channels $format2Flags intermediate.$1 $format1Flags output.$format1
40		40
@@ -115,7 +115,7 @@ do_multichannel_formats · 74 unmodified lines
115	do_twochannel_formats	115	do_twochannel_formats
116	do_singlechannel_formats	116	do_singlechannel_formats
117		117
118	./sox -c 1 -n output.ub synth .01 vol .5	118	./sox -c 1 -- output.ub synth .01 vol .5
119	if [ `wc -c <output.ub` = 441 ]; then	119	if [ `wc -c <output.ub` = 441 ]; then
120	echo "ok synth size"	120	echo "ok synth size"
121	else	121	else

Replaced -n with --; it's much better visually, -n was all too easily lost in a sea of other parameters.

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