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HTTPS allows some level of security(*) and we've actually
supported it on 80x24.org for many months, now. So, point new
readers to it.
Moving away from hostname-based homepages will allow us to save
on subjectAltName space (and bandwith) when negotiating an HTTPS
connection. We'll also have an .onion mirror for Tor users,
soon, too; in case we can't afford to pay ICANN in the future.
(assuming TLS libraries don't have any more Heartblead-level
bugs in them, CAs aren't compromised, MITM HTTPS stripping
proxies don't get in your way, and your certificate bundle isn't
compromised).
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No reason to generate the command in a different place than
fade_out.
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Using the 'update-copyright' script from gnulib[1]:
git ls-files | UPDATE_COPYRIGHT_HOLDER='all contributors' \
UPDATE_COPYRIGHT_USE_INTERVALS=2 \
xargs /path/to/gnulib/build-aux/update-copyright
[1] git://git.savannah.gnu.org/gnulib.git
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This only affected splitfx when it used the command option,
and only when calling dtas-splitfx (not when playing splitfx
files through the player).
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While we're in the area, make a wording change from "GPLv3 or later"
to "GPL-3.0+", as the latter is favored by SPDX.org
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Oops!
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This allows splitfx YAML files to operate more seamlessly with
external commands such as play(1) especially when combined with
the -t/--trim option.
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No point in executing echo and wasting CPU cycles. We'll only waste
cycles now during dry-runs
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We no longer use it since
commit 7b47191aa4c88b3daa4c980013f0047cb7ae7f6d
("splitfx: avoid double-truncation with user command")
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Since writing nested shell commands inside YAML is subject to all
sorts of strange quoting rules, encourage users to rely on external
scripts which the YAML file refers to instead. These scripts can be
written in any reasonable scripting language capable of executing
other commands.
This allows transparently monitoring things such as `my-script.rb'
in the below example when playing my-splitfx.yml via dtas-player:
--------------------- my-splitfx.yml -----------------------
infile: input.flac
command: $INDIR/my-script.rb "$INFILE"
...
--------------------- my-script.rb --------------------------
#!/usr/bin/ruby
require 'shellwords'
infile = ARGV.shift
ch = %W(sox #{infile} -p).concat((ENV['TRIMFX'] || '').shellsplit)
fx = %W(highpass 25 gain 9)
l = ch.dup.concat(%W(remix 1v1)).concat(fx).concat(%w(contrast 30))
r = ch.dup.concat(%W(remix 2v1)).concat(fx).concat(%w(contrast 0))
cmd = %W(sox -M |#{l.shelljoin} |#{r.shelljoin})
cmd.concat((ENV['SOXFMT'] || '-p').shellsplit)
cmd.concat(%w(- stats))
warn cmd.inspect
exec *cmd
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It's probably harmless as the sub (second) command is usually
innocuous as fars a modifying dynamic range, but it makes the
command-line output confusing.
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Lossy file encoding has too many tunable variables and it is not a
good fit for an audio production tool such as dtas-splitfx. This
was becoming a maintenance burden for me and is a sign of
featuritis.
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Oops...
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It can often be useful to expose only part of a track for quick
inspection. This lets us do that.
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Regression appeared in the previous commit, oops.
commit ab63c7bb1b69423f8c39a60dd00230c560eecfc4
(splitfx: fix lossy output with player command is in use)
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We must ensure lossy encodings do not get lossily-encoded twice,
only once at the final stage. There is no effect for lossless
outputs as lossless is the common case for splitfx users.
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generic targets (e.g. "wav") is useful for quickly checking if
clipping is introduced by dither and resampling, so we'll support
changing the sample rate and bits-per-sample from the command-line
so users don't need to setup their own targets or wait on FLAC
encoding.
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This can be useful for speeding up splitfx during development,
as sox defaults to maximum compression with FLAC and that is
extremely slow.
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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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We do not need to dither unless we output to 16-bit or less.
This bug caused us to unnecessarily apply dither on 24-bit
output files. Oops!
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We already convert xs arg to be an Array, so avoid bloating
our code with redundancy.
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We may expand them, so ensure they're properly escaped, first
for use in shell snippets.
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Hopefully this makes the code less daunting to newcomers
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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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This makes debugging, grepping, and following code confusing
at times and also unexpected breaks usage of the global "spawn"
method.
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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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We already assigned fmt before entering the case statement,
so make the case statement smaller.
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This was unnecessary since we already iterate through the overrides
hash and merge "manually" based on command-line arguments
(which allows us to represent nested hashes).
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If somebody is using dtas-player to help edit a file for
dtas-splitfx, it is likely they will want to use it when
generating the final files (regardless of "target" format).
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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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This allows splitfx users to test CUE breakpoints and run
file-specific effects without interrupting their normal flow.
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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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This reduces duplication for sox-based components, which our audio
editing components will rely on. We only use avconv/ffmpeg for odd
formats which sox does not play natively, and editing audio in
strange/lossy formats is undesirable anyways.
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Some users may not use nor care about $OUTFMT at all, so
just start them out with a default one based on the original
to get started.
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This is an internal class, and we don't have a public Ruby API
anyways.
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sox(1) may gain the ability to natively encode to Opus one day
without using opusenc(1), so make it more explicit we are relying
on opusenc(1).
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We do not explicitly resample/dither/downmix without users
permission.
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This allows skipping periods of silence/noise in between music tracks.
This should be useful if the recorder is left running during
intermission or during equipment swaps.
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These are common output targets, at least for my workflow.
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We have no public Ruby API, only socket protocols and data formats.
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This is a more accurate depiction of what happens,
and we'll implement "next" and "previous" commands in the future.
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Minor bugfixes, this allows users to setup targets easily
without introducing them to the ":" Rubyism for symbols.
Also, use "track_start" instead of "track_first" to match
the existing published examples for numbering the first
track.
While we're at it, detect the decoded sample precision
correctly for dither use.
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This seems to be working out nicely. Having a basic integration
test should be enough to get us started for now.
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Rounding should be more accurate, even though my original awk
snippet truncated the output.
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This is lacking tests and documentation, but it works from
a old trivial sample I had from a recording I previously
split using plain POSIX shell
splitfx is like make(1) for splitting and minor audio
editing. It also allows any number of effects.
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