Date | Commit message (Collapse) |
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Followup-to commit 403ed90e2e7bed3e017938d76e17037b0d5059b6
(replaygain uses the "gain" effect instead of "vol")
The `gain' effect seems superior as it can "see" across the effects
chain to take into account extra/lost headroom.
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It is useful to force output to a writable directory if the YAML
file is on a read-only mount point or to force the output to a
large tmpfs mount point to avoid SSD/HDD wear.
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While the Ruby Hash class is ordered in 1.9+, the YAML
specifications do not specify hashes as ordered by default.
Thus we must explicitly declare ordering via !omap for
interopability with non-Ruby tools.
This makes the YAML output of dtas-sourcedit and dtas-sinkedit
slightly more verbose
Users of dtas-splitfx are also encouraged to declare !omap
when creating their YAML files for interoperability.
Ordering env is important because any implementation of
built-in variable expansion is dependent on it.
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The documentation part is managed by the new
Documentation/update-copyright script. For the future, the rest may
be managed by the update-copyright tool in gnulib
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These are the raw sample counts for the "trim" effect
and may be useful for arithmetic in the shell.
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This rounds out the documentation a bit and hopefully
introduces/encourages some commonality between the playback
and processing/production components of dtas.
Clarify some splitfx-related environment variables while
we're at it.
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These are intended to act like `$(@D)' and `$(@F)' in GNU make(1)
and to ease managing temporary files for some effects
(e.g. noiseprof + noisered in sox) for splitfx users.
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While we're at it, document the splitfx manpage and
make the example suitable for tests.
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I'm still normal, and still trolling, but 80x24.org will be epic :)
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splitfx is incapable of knowing in 100% of cases whether dithering
should be used (as it has no visibility into sox internals), so
support disabling it completely via command-line.
This is like the identical sox option, and passed to sox(1), too.
This feature is useful for splitting already-mastered 16-bit
recordings.
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We should document it so we remember how to use it.
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