text:
sox infile outfile
sox [ general options ] [ format options ] infile
[ format options ] outfile
[ effect [ effect options ] ... ]
soxmix infile1 infile2 outfile
soxmix [ general options ] [ format options ] infile1
[ format options ] infile2
[ format options ] outfile
[ effect [ effect options ] ... ]
General options:
[ -h ] [ -p ] [ -v volume ] [ -V ]
Format options:
[ -t filetype ] [ -r rate ] [ -s/-u/-U/-A/-a/-i/-g/-f
[ -b/-w/-l/-d ]
[ -c channels ] [ -x ] [ -e ]
avg [ -l | -r | -f | -b | n,n,...,n ]
band [ -n ] center [ width ]
bandpass frequency bandwidth
bandreject frequency bandwidth
chorus gain-in gain out delay decay speed depth
-s | -t [ delay decay speed depth -s | -t ]
compand attack1,decay1[,attack2,decay2...]
[ gain [ initial-volume [ delay ] ] ]
dcshift shift [ limitergain ]
echo gain-in gain-out delay decay [ delay decay ... ]
echos gain-in gain-out delay decay [ delay decay ... ]
fade [ type ] fade-in-length
[ stop-time [ fade-out-length ] ]
filter [ low ]-[ high ] [ window-len [ beta ]]
flanger gain-in gain-out delay decay speed < -s | -t >
highp frequency
highpass frequency
lowp frequency
lowpass frequency
pan direction
phaser gain-in gain-out delay decay speed < -s | -t >
stat [ -s n ] [ -rms ] [ -v ] [ -d ]
stretch [ factor [ window fade shift fading ]
swap [ 1 2 | 1 2 3 4 ]
synth [ length ] type mix [ freq [ -freq2 ]
[ off ] [ ph ] [ p1 ] [ p2 ] [ p3 ]
trim start [ length ]
vibro speed [ depth ]
vol gain [ type [ limitergain ] ]
SoX is a command line program that can convert most popu
lar audio files to most other popular audio file formats.
It can optionally change the audio sample data type and
apply one or more sound effects to the file during this
soxmix is functionally the same as the command line pro
gram sox expect that it takes two files as input and mixes
the audio together to produce a single file as output. It
has a restriction that both input files must be of the
same data type and sample rates.
There are two types of audio files formats that SoX can
work with. The first are self-describing file formats.
These contain a header that completely describe the char
acteristics of the audio data that follows.
The second type are header-less data, or sometimes called
raw data. A user must pass enough information to SoX on
the command line so that it knows what type of data it
Audio data can usually be totally described by four char
rate The sample rate is in samples per second. For
example, CD sample rates are at 44100.
data size The precision the data is stored in. Most popu
lar are 8-bit bytes or 16-bit words.
data encoding
What encoding the data type uses. Examples are
u-law, ADPCM, or signed linear data.
channels How many channels are contained in the audio
data. Mono and Stereo are the two most common.
Please refer to the soxexam(1) manual page for a long
description with examples on how to use SoX with various
types of file formats.
The following will mix two sound files together to to pro
duce a single sound file.
soxmix music.wav voice.wav mixed.wav
Format options:
Format options effect the audio samples that they immedi
ately precede. If they are placed before the input file
name then they effect the input data. If they are placed
before the output file name then they will effect the out
put data. By taking advantage of this, you can override a
input file's corrupted header or produce an output file
that is totally different style then the input file. It
is also how SoX is informed about the format of raw input
-t filetype
gives the type of the sound sample file. Useful
when file extension is not standard or for spec
ifying the .auto file type.
-r rate Gives the sample rate in Hertz of the file. To
cause the output file to have a different sample
rate than the input file, include this option as
a part of the output options.
If the input and output files have different
rates then a sample rate change effect must be
ran. If a sample rate changing effect is not
specified then a default one will internally be
ran by SoX using its default parameters.
The sample data encoding is signed linear (2's
complement), unsigned linear, u-law (logarith
mic), A-law (logarithmic), ADPCM, IMA_ADPCM,
GSM, or Floating-point.
U-law (actually shorthand for mu-law) and A-law
are the U.S. and international standards for
logarithmic telephone sound compression. When
uncompressed u-law has roughly the precision of
14-byte PCM audio and A-law has roughly the pre
cision of 13-bit PCM audio.
A-law and u-law data is sometimes encoded using
a reversed bit-ordering (ie. MSB becomes LSB).
Internally, SoX understands how to work with
this encoding but there is currently no command
line option to specify it. If you need this
support then you can use the psuedo file types
of ".la" and ".lu" to inform sox of the encod
ing. See supported file types for more informa
Microsoft's flavor of ADPCM. IMA ADPCM is also
called DVI ADPCM.
GSM is a standard used for telephone sound com
pression in European countries and its gaining
popularity because of its quality. It usually
is CPU intensive to work with GSM audio data.
The sample data size is in bytes, 16-bit words,
32-bit long words, or 64-bit double long (long
long) words.
-x The sample data is in XINU format; that is, it
comes from a machine with the opposite word
order than yours and must be swapped according
to the word-size given above. Only 16-bit and
32-bit integer data may be swapped. Machine-
format floating-point data is not portable.
-c channels
The number of sound channels in the data file.
This may be 1, 2, or 4; for mono, stereo, or
quad sound data. To cause the output file to
have a different number of channels than the
input file, include this option with the output
file options. If the input and output file have
a different number of channels then the avg
effect must be used. If the avg effect is not
specified on the command line it will be invoked
internally with default parameters.
-e When used after the input filename (so that it
applies to the output file) it allows you to
avoid giving an output filename and will not
produce an output file. It will apply any spec
ified effects to the input file. This is mainly
useful with the stat effect but can be used with
General options:
-h Print version number and usage information.
-p Run in preview mode and run fast. This will
somewhat speed up SoX when the output format has
a different number of channels and a different
rate than the input file. Currently, this
defaults to using the rate effect instead of the
resample effect for sample rate changes.
-v volume Change amplitude (floating point); less than 1.0
decreases, greater than 1.0 increases. May use
SoX attempts to determine the file type of input files
automatically by looking at the header of the audio file.
When it is unable to detect the file type or if its an
output file then it uses the file extension of the file to
determine what type of file format handler to use. This
can be overridden by specifying the "-t" option on the
command line.
The input and output files may be read from standard in
and out. This is done by specifying '-' as the filename.
File formats which have headers are checked, if that
header doesn't seem right, the program exits with an
appropriate message.
The following file formats are supported:
.8svx Amiga 8SVX musical instrument description for
.aiff AIFF files used on Apple IIc/IIgs and SGI.
Note: the AIFF format supports only one SSND
chunk. It does not support multiple sound
chunks, or the 8SVX musical instrument descrip
tion format. AIFF files are multimedia archives
and can have multiple audio and picture chunks.
You may need a separate archiver to work with
.au SUN Microsystems AU files. There are apparently
many types of .au files; DEC has invented its
own with a different magic number and word
order. The .au handler can read these files but
will not write them. Some .au files have valid
AU headers and some do not. The latter are
probably original SUN u-law 8000 hz samples.
These can be dealt with using the .ul format
(see below).
.avr Audio Visual Research
The AVR format is produced by a number of com
mercial packages on the Mac.
.cdr CD-R
CD-R files are used in mastering music on Com
pact Disks. The audio data on a CD-R disk is a
raw audio file with a format of stereo 16-bit
signed samples at a 44khz sample rate. There is
a special blocking/padding oddity at the end of
the audio file and is why it needs its own han
files for external programs such as FFT analyz
ers or graph routines. SoX can also convert a
file in this format back into one of the other
file formats.
.gsm GSM 06.10 Lossy Speech Compression
A standard for compressing speech which is used
in the Global Standard for Mobil telecommunica
tions (GSM). Its good for its purpose, shrink
ing audio data size, but it will introduce lots
of noise when a given sound sample is encoded
and decoded multiple times. This format is used
by some voice mail applications. It is rather
CPU intensive.
GSM in SoX is optional and requires access to an
external GSM library. To see if there is sup
port for gsm run sox -h and look for it under
the list of supported file formats.
.hcom Macintosh HCOM files. These are (apparently)
Mac FSSD files with some variant of Huffman com
pression. The Macintosh has wacky file formats
and this format handler apparently doesn't han
dle all the ones it should. Mac users will need
your usual arsenal of file converters to deal
with an HCOM file under Unix or DOS.
.maud An Amiga format
An IFF-conform sound file type, registered by MS
MacroSystem Computer GmbH, published along with
the "Toccata" sound-card on the Amiga. Allows
8bit linear, 16bit linear, A-Law, u-law in mono
and stereo.
.mp3 MP3 Compressed Audio
MP3 audio files come from the MPEG standards for
audio and video compression. They are a lossy
compression format that achieves good compres
sion rates with a minimum amount of quality
loss. Also see Ogg Vorbis for a similar format.
MP3 support in SoX is optional and requires
access to either or both the external libmad and
libmp3lame libraries. To see if there is sup
port for Mp3 run sox -h and look for it under
the list of supported file formats as "mp3".
.nul Null file handler. This is a fake file hander
that act as if its reading a stream of 0's from
a while or fake writing output to a file. This
is not a very useful file handler in most cases.
It might be useful in some scripts were you do
if there is support for Ogg Vorbis run sox -h
and look for it under the list of supported file
formats as "vorbis".
ossdsp OSS /dev/dsp device driver
This is a pseudo-file type and can be optionally
compiled into SoX. Run sox -h to see if you
have support for this file type. When this
driver is used it allows you to open up the OSS
/dev/dsp file and configure it to use the same
data format as passed in to SoX. It works for
both playing and recording sound samples. When
playing sound files it attempts to set up the
OSS driver to use the same format as the input
file. It is suggested to always override the
output values to use the highest quality samples
your sound card can handle. Example: -t ossdsp
-w -s /dev/dsp
.prc Psion record.app
Used in some Psion devices for System alarms.
This format is newer then the .wve format that
is used in some Psion devices.
.sf IRCAM Sound Files.
Sound Files are used by academic music software
such as the CSound package, and the MixView
sound sample editor.
SPHERE (SPeech HEader Resources) is a file for
mat defined by NIST (National Institute of Stan
dards and Technology) and is used with speech
audio. SoX can read these files when they con
tain u-law and PCM data. It will ignore any
header information that says the data is com
pressed using shorten compression and will treat
the data as either u-law or PCM. This will
allow SoX and the command line shorten program
to be ran together using pipes to uncompress the
data and then pass the result to SoX for pro
.smp Turtle Beach SampleVision files.
SMP files are for use with the PC-DOS package
SampleVision by Turtle Beach Softworks. This
package is for communication to several MIDI
samplers. All sample rates are supported by the
package, although not all are supported by the
samplers themselves. Currently loop points are
data type as passed in to SoX. It works for
both playing and recording sound samples. When
playing sound files it attempts to set up the
audio driver to use the same format as the input
file. It is suggested to always override the
output values to use the highest quality samples
your hardware can handle. Example: -t sunau -w
-s /dev/audio or -t sunau -U -c 1 /dev/audio for
older sun equipment.
.txw Yamaha TX-16W sampler.
A file format from a Yamaha sampling keyboard
which wrote IBM-PC format 3.5" floppies. Han
dles reading of files which do not have the sam
ple rate field set to one of the expected by
looking at some other bytes in the attack/loop
length fields, and defaulting to 33kHz if the
sample rate is still unknown.
.vms More info to come.
Used to compress speech audio for applications
such as voice mail.
.voc Sound Blaster VOC files.
VOC files are multi-part and contain silence
parts, looping, and different sample rates for
different chunks. On input, the silence parts
are filled out, loops are rejected, and sample
data with a new sample rate is rejected.
Silence with a different sample rate is gener
ated appropriately. On output, silence is not
detected, nor are impossible sample rates.
Note, this version now supports playing VOC
files with multiple blocks and supports playing
files containing u-law and A-law samples.
vorbis See .ogg format.
.wav Microsoft .WAV RIFF files.
These appear to be very similar to IFF files,
but not the same. They are the native sound
file format of Windows. (Obviously, Windows was
of such incredible importance to the computer
industry that it just had to have its own sound
file format.) Normally .wav files have all for
matting information in their headers, and so do
not need any format options specified for an
input file. If any are, they will override the
file header, and you will be warned to this
effect. You had better know what you are doing!
Output format options will cause a format con
version, and the .wav will written appropri
.ub, .sb, .uw, .sw, .ul, .al, .lu, .la, .sl
These are several suffices which serve as a
shorthand for raw files with a given size and
encoding. Thus, ub, sb, uw, sw, ul, al, lu, la
and sl correspond to "unsigned byte", "signed
byte", "unsigned word", "signed word", "u-law"
(byte), "A-law" (byte), inverse bit order "u-
law", inverse bit order "A-law", and "signed
long". The sample rate defaults to 8000 hz if
not explicitly set, and the number of channels
defaults to 1. There are lots of Sparc samples
floating around in u-law format with no header
and fixed at a sample rate of 8000 hz. (Certain
sound management software cheerfully ignores the
headers.) Similarly, most Mac sound files are
in unsigned byte format with a sample rate of
11025 or 22050 hz.
.auto This is a ``meta-type'': specifying this type
for an input file triggers some code that tries
to guess the real type by looking for magic
words in the header. If the type can't be
guessed, the program exits with an error mes
sage. The input must be a plain file, not a
pipe. This type can't be used for output files.
Multiple effects may be applied to the audio data by spec
ifying them one after another at the end of the command
avg [ -l | -r | -f | -b | n,n,...,n ]
Reduce the number of channels by averaging the
samples, or duplicate channels to increase the
number of channels. This effect is automati
cally used when the number of input channels
differ from the number of output channels. When
reducing the number of channels it is possible
to manually specify the avg effect and use the
-l, -r, -f, or -b options to select only the
left, right, front, or back channel(s) for the
output instead of averaging the channels. The
-f and -b options maintain left/right stereo
separation; use the avg effect twice to select a
single channel.
The avg effect can also be invoked with up to 16
double-precision numbers, which specify the pro
portion of each input channel that is to be
mixed into each output channel. In two-channel
mode, 4 numbers are given: l->l, l->r, r->l, and
Apply a band-pass filter. The frequency
response drops logarithmically around the center
frequency. The width gives the slope of the
drop. The frequencies at center + width and
center - width will be half of their original
amplitudes. Band defaults to a mode oriented to
pitched signals, i.e. voice, singing, or instru
mental music. The -n (for noise) option uses
the alternate mode for un-pitched signals.
Warning: -n introduces a power-gain of about
11dB in the filter, so beware of output clip
ping. Band introduces noise in the shape of the
filter, i.e. peaking at the center frequency and
settling around it. See filter for a bandpass
effect with steeper shoulders.
bandpass frequency bandwidth
Butterworth bandpass filter. Description coming
bandreject frequency bandwidth
Butterworth bandreject filter. Description com
ing soon!
chorus gain-in gain-out delay decay speed depth
-s | -t [ delay decay speed depth -s | -t ... ]
Add a chorus to a sound sample. Each quadtuple
delay/decay/speed/depth gives the delay in mil
liseconds and the decay (relative to gain-in)
with a modulation speed in Hz using depth in
milliseconds. The modulation is either sinu
soidal (-s) or triangular (-t). Gain-out is the
volume of the output.
compand attack1,decay1[,attack2,decay2...]
[gain [initial-volume [delay ] ] ]
Compand (compress or expand) the dynamic range
of a sample. The attack and decay time specify
the integration time over which the absolute
value of the input signal is integrated to
determine its volume; attacks refer to increases
in volume and decays refer to decreases. Where
more than one pair of attack/decay parameters
are specified, each channel is treated sepa
rately and the number of pairs must agree with
the number of input channels. The second param
eter is a list of points on the compander's
transfer function specified in dB relative to
This permits the user to supply a nominal level
initially, so that, for example, a very large
gain is not applied to initial signal levels
before the companding action has begun to oper
ate: it is quite probable that in such an event,
the output would be severely clipped while the
compander gain properly adjusts itself.
The fifth (optional) parameter is a delay in
seconds. The input signal is analyzed immedi
ately to control the compander, but it is
delayed before being fed to the volume adjuster.
Specifying a delay approximately equal to the
attack/decay times allows the compander to
effectively operate in a "predictive" rather
than a reactive mode.
copy Copy the input file to the output file. This is
the default effect if both files have the same
sampling rate.
dcshift shift [ limitergain ]
DC Shift the audio data, with basic linear
amplitude formula. This is most useful if your
audio data tends to not be centered around a
value of 0. Shifting it back will allow you to
get the most volume adjustments without clipping
audio data.
The first option is the dcshift value. It is a
floating point number that indicates the amount
to shift.
An option limtergain value can be specified as
well. It should have a value much less then 1.0
and is used only on peaks to prevent clipping.
deemph Apply a treble attenuation shelving filter to
samples in audio cd format. The frequency
response of pre-emphasized recordings is recti
fied. The filtering is defined in the standard
document ISO 908.
earwax Makes sound easier to listen to on headphones.
Adds audio-cues to samples in audio cd format so
that when listened to on headphones the stereo
image is moved from inside your head (standard
for headphones) to outside and in front of the
listener (standard for speakers). See
www.geocities.com/beinges for a full explana
echo gain-in gain-out delay decay [ delay decay ... ]
Add echoing to a sound sample. Each delay/decay
of the audio data.
For fade-ins, this starts from the first sample
and ramps the volume of the audio from 0 to full
volume over fade-in-length seconds. Specify 0
seconds if no fade-in is wanted.
For fade-outs, the audio data will be truncated
at the stop-time and the volume will be ramped
from full volume down to 0 starting at fade-out-
length seconds before the stop-time. No fade-
out is performed if these options are not speci
All times can be specified in either periods of
time or sample counts. To specify time periods
use the format hh:mm:ss.frac format. To specify
using sample counts, specify the number of sam
ples and append the letter 's' to the sample
count (for example 8000s).
An optional type can be specified to change the
type of envelope. Choices are q for quarter of
a sinewave, h for half a sinewave, t for linear
slope, l for logarithmic, and p for inverted
parabola. The default is a linear slope.
filter [ low ]-[ high ] [ window-len [ beta ] ]
Apply a Sinc-windowed lowpass, highpass, or
bandpass filter of given window length to the
signal. low refers to the frequency of the
lower 6dB corner of the filter. high refers to
the frequency of the upper 6dB corner of the
A lowpass filter is obtained by leaving low
unspecified, or 0. A highpass filter is
obtained by leaving high unspecified, or 0, or
greater than or equal to the Nyquist frequency.
The window-len, if unspecified, defaults to 128.
Longer windows give a sharper cutoff, smaller
windows a more gradual cutoff.
The beta, if unspecified, defaults to 16. This
selects a Kaiser window. You can select a Nut
tall window by specifying anything <= 2.0 here.
For more discussion of beta, look under the
resample effect.
flanger gain-in gain-out delay decay speed < -s | -t >
Add a flanger to a sound sample. Each triple
delay/decay/speed gives the delay in millisec
lowp frequency
Apply a single pole recursive low-pass filter.
The frequency response drops logarithmically
with frequency in the middle of the drop. The
slope of the filter is quite gentle. See filter
for a lowpass effect with sharper cutoff.
lowpass frequency
Butterworth lowpass filter. Description coming
map Display a list of loops in a sample, and miscel
laneous loop info.
mask Add "masking noise" to signal. This effect
deliberately adds white noise to a sound in
order to mask quantization effects, created by
the process of playing a sound digitally. It
tends to mask buzzing voices, for example. It
adds 1/2 bit of noise to the sound file at the
output bit depth.
pan direction
Pan the sound of an audio file from one channel
to another. This is done by changing the volume
of the input channels so that it fades out on
one channel and fades-in on another. If the
number of input channels is different then the
number of output channels then this effect tries
to intelligently handle this. For instance, if
the input contains 1 channel and the output con
tains 2 channels, then it will create the miss
ing channel itself. The direction is a value
from -1.0 to 1.0. -1.0 represents far left and
1.0 represents far right. Numbers in between
will start the pan effect without totally muting
the opposite channel.
phaser gain-in gain-out delay decay speed < -s | -t >
Add a phaser to a sound sample. Each triple
delay/decay/speed gives the delay in millisec
onds and the decay (relative to gain-in) with a
modulation speed in Hz. The modulation is
either sinodial (-s) or triangular (-t). The
decay should be less than 0.5 to avoid feedback.
Gain-out is the volume of the output.
pick [ -1 | -2 | -3 | -4 | -l | -r ]
Select the left or right channel of a stereo
sample, or one of four channels in a quadra
be "cubic" or "linear". Default is "cubic". The
fade option, can be "cos", "hamming", "linear"
or "trapezoid". Default is "cos".
polyphase [ -w < nut / ham > ]
[ -width < long / short / # > ]
[ -cutoff # ]
Translate input sampling rate to output sampling
rate via polyphase interpolation, a DSP algo
rithm. This method is slow and uses lots of
RAM, but gives much better results than rate.
-w < nut / ham > : select either a Nuttal (~90
dB stopband) or Hamming (~43 dB stopband) win
dow. Default is nut.
-width long / short / # : specify the (approxi
mate) width of the filter. long is 1024 sam
ples; short is 128 samples. Alternatively, an
exact number can be used. Default is long. The
short option is not recommended, as it produces
poor quality results.
-cutoff # : specify the filter cutoff frequency
in terms of fraction of frequency bandwidth,
also know as the Nyquist frequency. Please see
the resample effect for further information on
Nyquist frequency. If upsampling, then this is
the fraction of the original signal that should
go through. If downsampling, this is the frac
tion of the signal left after downsampling.
Default is 0.95. Remember that this is a float.
rate Translate input sampling rate to output sampling
rate via linear interpolation to the Least Com
mon Multiple of the two sampling rates. This is
the default effect if the two files have differ
ent sampling rates and the preview options was
specified. This is fast but noisy: the spectrum
of the original sound will be shifted upwards
and duplicated faintly when up-translating by a
Lerp-ing is acceptable for cheap 8-bit sound
hardware, but for CD-quality sound you should
instead use either resample or polyphase. If
you are wondering which rate changing effects to
use, you will want to read a detailed analysis
of all of them at http://eakaw2.et.tu-dres
The -q* options will change the default values
for rolloff and beta as well as use quadratic
interpolation of filter coefficients, resulting
in about 24 bits precision. The -qs, -q, or -ql
options specify increased accuracy at the cost
of lower execution speed. It is optional to
specify rolloff and beta parameters when using
the -q* options.
Following is a table of the reasonable defaults
which are built-in to SoX:
Option Window rolloff beta interpolation
------ ------ ------- ---- -------------
(none) 45 0.80 16 linear
-qs 45 0.80 16 quadratic
-q 75 0.875 16 quadratic
-ql 149 0.94 16 quadratic
------ ------ ------- ---- -------------
-qs, -q, or -ql use window lengths of 45, 75, or
149 samples, respectively, at the lower sample-
rate of the two files. This means progressively
sharper stop-band rejection, at proportionally
slower execution times.
rolloff refers to the cut-off frequency of the
low pass filter and is given in terms of the
Nyquist frequency for the lower sample rate.
rolloff therefore should be something between
0.0 and 1.0, in practice 0.8-0.95. The defaults
are indicated above.
The Nyquist frequency is equal to (sample rate /
2). Logically, this is because the A/D con
verter needs at least 2 samples to detect 1
cycle at the Nyquist frequency. Frequencies
higher then the Nyquist will actually appear as
lower frequencies to the A/D converter and is
called aliasing. Normally, A/D converts run the
signal through a highpass filter first to avoid
these problems.
Similar problems will happen in software when
reducing the sample rate of an audio file (fre
quencies above the new Nyquist frequency can be
aliased to lower frequencies). Therefore, a
good resample effect will remove all frequency
information above the new Nyquist frequency.
The rolloff refers to how close to the Nyquist
beta for a Kaiser window. Beta <= 2.0 selects a
Nuttall window. If unspecified, the default is
a Kaiser window with beta 16.
In the case of Kaiser window (beta > 2.0), lower
betas produce a somewhat faster transition from
passband to stopband, at the cost of noticeable
artifacts. A beta of 16 is the default, beta
less than 10 is not recommended. If you want a
sharper cutoff, don't use low beta's, use a
longer sample window. A Nuttall window is
selected by specifying any 'beta' <= 2, and the
Nuttall window has somewhat steeper cutoff than
the default Kaiser window. You will probably
not need to use the beta parameter at all,
unless you are just curious about comparing the
effects of Nuttall vs. Kaiser windows.
This is the default effect if the two files have
different sampling rates. Default parameters
are, as indicated above, Kaiser window of length
45, rolloff 0.80, beta 16, linear interpolation.
NOTE: -qs is only slightly slower, but more
accurate for 16-bit or higher precision.
NOTE: In many cases of up-sampling, no interpo
lation is needed, as exact filter coefficients
can be computed in a reasonable amount of space.
To be precise, this is done when
input_rate < output_rate
output_rate/gcd(input_rate,output_rate) <= 511
reverb gain-out delay [ delay ... ]
Add reverberation to a sound sample. Each delay
is given in milliseconds and its feedback is
depending on the reverb-time in milliseconds.
Each delay should be in the range of half to
quarter of reverb-time to get a realistic rever
beration. Gain-out is the volume of the output.
reverse Reverse the sound sample completely. Included
for finding Satanic subliminals.
silence above_periods [ duration threshold[ d | % ]
[ below_periods duration
threshold[ d | % ]]
Removes silence from the beginning or end of a
periods that occur below the threshold may also
be specified. If this options are not specified
then data is not trimmed from the end of the
audio file.
Duration counts may be in the format of time,
hh:mm:ss.frac, or in the exact count of samples.
Threshold may be suffixed with d, or % to indi
cated the value is in decibels or a percentage
of max value of the sample value. A value of
'0%' will look for total silence.
speed [ -c ] factor
Speed up or down the sound, as a magnetic tape
with a speed control. It affects both pitch and
time. A factor of 1.0 means no change, and is
the default. 2.0 doubles speed, thus time
length is cut by a half and pitch is one octave
higher. 0.5 halves speed thus time length dou
bles and pitch is one octave lower. If the
optional -c parameter is used then the factor is
specified in "cents".
split Turn a mono sample into a stereo sample by copy
ing the input channel to the left and right
stat [ -s n ] [-rms ] [ -v ] [ -d ]
Do a statistical check on the input file, and
print results on the standard error file. Audio
data is passed unmodified from input to output
file unless used along with the -e option.
The "Volume Adjustment:" field in the statistics
gives you the argument to the -v number which
will make the sample as loud as possible without
The option -v will print out the "Volume Adjust
ment:" field's value only and return. This
could be of use in scripts to auto convert the
The -s n option is used to scale the input data
by a given factor. The default value of n is
the max value of a signed long variable
(0x7fffffff). Internal effects always work with
signed long PCM data and so the value should
relate to this fact.
The -rms option will convert all output average
values to root mean square format.
[0.0 1.0]. Default depends on stretch factor.
1.0 to shorten, 0.8 to lengthen. The fading
ratio, in [0.0 0.5]. The amount of a fade's
default depends on factor and shift.
swap [ 1 2 | 1 2 3 4 ]
Swap channels in multi-channel sound files.
Optionally, you may specify the channel order
you would like the output in. This defaults to
output channel 2 and then 1 for stereo and 2, 1,
4, 3 for quad-channels. An interesting feature
is that you may duplicate a given channel by
overwriting another. This is done by repeating
an output channel on the command line. For
example, swap 2 2 will overwrite channel 1 with
channel 2's data; creating a stereo file with
both channels containing the same audio data.
synth [ length ] type mix [ freq [ -freq2 ]
[ off ] [ ph ] [ p1 ] [ p2 ] [ p3 ]
The synth effect will generate various types of
audio data. Although this effect is used to
generate audio data, an input file must be spec
ified. The length of the input audio file
determines the length of the output audio file.
<length> length in sec or hh:mm:ss.frac,
0=inputlength, default=0
<type> is sine, square, triangle, sawtooth,
trapetz, exp, whitenoise, pinknoise, brownnoise,
<mix> is create, mix, amod, default=create
<freq> frequency at beginning in Hz, not used
for noise..
<freq2> frequency at end in Hz, not used for
noise.. <freq/2> can be given as %%n, where 'n'
is the number of half notes in respect to A
<off> Bias (DC-offset) of signal in percent,
<ph> phase shift 0..100 shift phase 0..2*Pi, not
used for noise..
<p1> square: Ton/Toff, triangle+trapetz: rising
slope time (0..100)
<p2> trapetz: ON time (0..100)
<p3> trapetz: falling slope position (0..100)
trim start [ length ]
Trim can trim off unwanted audio data from the
beginning and end of the audio file. Audio sam
ples are not sent to the output stream until the
start location is reached.
starting to process audio data.
vibro speed [ depth ]
Add the world-famous Fender Vibro-Champ sound
effect to a sound sample by using a sine wave as
the volume knob. Speed gives the Hertz value of
the wave. This must be under 30. Depth gives
the amount the volume is cut into by the sine
wave, ranging 0.0 to 1.0 and defaulting to 0.5.
vol gain [ type [ limitergain ] ]
The vol effect is much like the command line
option -v. It allows you to adjust the volume
of an input file and allows you to specify the
adjustment in relation to amplitude, power, or
dB. If type is not specified then it defaults
to amplitude.
When type is amplitude then a linear change of
the amplitude is performed based on the gain.
Therefore, a value of 1.0 will keep the volume
the same, 0.0 to < 1.0 will cause the volume to
decrease and values of > 1.0 will cause the vol
ume to increase. Beware of clipping audio data
when the gain is greater then 1.0. A negative
value performs the same adjustment while also
changing the phase.
When type is power then a value of 1.0 also
means no change in volume.
When type is dB the amplitude is changed loga
rithmically. 0.0 is constant while +6 doubles
the amplitude.
An optional limitergain value can be specified
and should be a value much less then 1.0 (ie
0.05 or 0.02) and is used only on peaks to pre
vent clipping. Not specifying this parameter
will cause no limiter to be used. In verbose
mode, this effect will display the percentage of
audio data that needed to be limited.
The syntax is horrific. Thats the breaks when trying to
handle all things from the command line.
Please report any bugs found in this version of SoX to
Chris Bagwell (email@example.com)
play(1), rec(1), soxexam(1)
The version of SoX that accompanies this manual page is


text:
I must admit ... I been busier than a beaver getting ready for winter! I'm very excited to share I JUST FINISHED WRITING GYPSY SPIRIT! I'm so excited how the story unfolded and ended . . . I will wait one more week - read it through and made changes, then send it off to my reader . . . before sending it on to my great publisher, Books We Love! I'm so in love with my cover ... this is book one of the Tango of Death Series; book two is Partisan Heart, (which I'll start in October - I can hardly wait... I'm so excited.) and book three is Jewish Soul.
Okay ... okay .... I'll move on. My apologies for not blogging Monday and Tuesday ... I was finishing GYPSY SPIRIT ... smile!! Okay ... okay....
I follow Jason M. Gracia's (Author, Shifting the Balance) Founder, www.Motivation123.com - as I've mentioned a time or two. Below is his article I felt necessary to share. :) Hope you like it as much as I do.
The Spanish have a proverb: Tomorrow is often the busiest day of the week. Clever wordsmiths, those Spaniards.
We all procrastinate. We dawdle and delay, dally and defer. My office floor is still home to a pile of papers that needed filing two months ago; I'm waiting for them to stop dallying and file themselves.
Whatever the task, whatever the excuse, the tips below will help you do today what most people put off to next month.
1. Ask yourself, What's the holdup? People procrastinate for many reasons. Some fear failure. Some avoid boring jobs. Others shy away from getting tangled in a complicated mess (i.e., my pile of papers). Knowing the cause of the problem may open your eyes to an obvious solution.
2. Do you need to do it? Simple question, but it's a good one. Sometimes we put something off because it's not important. If you don't really need to do it, free yourself of the mental burden and drop the task from your to-do list.
3. Ask for help. I have an ancient window mechanism that takes the effort of a drawbridge operator to open. Last month, unsurprisingly, it broke. Someone had to fix it, but I was hoping that someone wasn't me. So I put it off.
After weeks of gazing at the window without actually doing anything, I asked a friend to help. It wasn't only because I have the mechanical skills of an uncoordinated squid; I knew it would get me moving.
4. Commit just five minutes. That's it--just 300 seconds. Telling yourself you only have to do something for a sliver of time does two things. It transforms a big job into a tiny matter: Five minutes? I can do that. And because getting started is the hardest part, once your five minutes is up you'll often drive right
on through to the finish.
5. Focus on the end. Thinking about how you'll feel when you've done whatever needs to be done may motivate you to make it happen.
I don't much like to organize, but I love to be organized. This is what I focus on--the feeling of having everything in its place, clean and tidy--when I need to declutter a space. Although my pile of papers proves that I have some work to do.
6. Just do it. Quit stalling. Quit rationalizing. Stand up, walk to the danger zone, and get to work.

subset: commoncrawl


text:
Middle class
I've doing more thought/discussion/research into the whole taxes thing.
I stand by my belief that taxes are the axis of government. In the end everything spins around taxes. Inflation, by the way, is a very special form of tax. With inflation the government has its money at the value it decides, but your money buys less. I once read that inflation is the natural policy of a society that likes government programs but dislikes taxes. Its probable true.
If you read up on taxes you start to run into something interesting: class divisions. You can't talk about tax reform without talking classes. The problem is real, and I don't know what the solution is, if there is one. See being poor costs money, being middle class doesn't, and it pays to be rich. Sound odd? Its true.
See, if you're poor, you can't afford to save money. If you don't have savings, then emergencies that must be funded become debt. How far you are up and down the chain of lower class decides how much the interest rate is. If you buy your car insurance by the month you will pay a penalty for not buying it 6 months at a time. You probably can't afford a good car, and you are buying more gas because of it. Most likely you don't have health insurance and you must pay in cash (which you don't have). Alternately if you qualify for medicare you can be in spot where a $500 a year raise (a $0.25/hr raise) can cost you all of your Medicare coverage. Replacing Medicare with insurance of the same quality is going to run a family of 4 around $6000 a year. So its totally possible to be in a spot where making an extra $500 will COST you $6000. Like I said, being poor costs money. (By the way, that actually happened to a good friend of mine.)
If you are rich than all sort of deals are open to you which are not open to any else. House payments are tax deductible so a person living in a $500,000 home need only pay the taxes of a person living in a $100,000 home. If you can afford to pay a personal tax accountant then, ironically, you get a larger portion of your taxes back. If one has $1000 in checking, than one pays certain fees. If one has $10,000 in checking than the bank pays interest to YOU. (That would be nice, wouldn't it.)
And middle class? Well, they are in the (not surprisingly) middle.
If you look at what the take home pay actually does for the person spending it, I put forward the following guidelines.
If when all is said and done every dollar you spend costs you more dollar to spend, you are lower class.
If when you every dollar you spend spends without hidden costs dollar for a dollar, you are middle class.
If each dollar you have can get you more than a dollar (interest bearing) you are upper class.
I pretty much accept what is above as an immutable law of the universe. If I am making a decision about taxes I don't try to fix the above, I just try decide things as fairly as possible. But SOME people think that a system is only fair if the taxes give every person, regardless of income the EXACT same purchasing power. That's why we have progressive income tax, and why the FairTax proposal probably won't gain ground even though it is a pretty sharp idea.
1 Comment »
We may have talked about this all afternoon, but I just want to say again, I think you are right. When we were living in K.C., we lost $94 a year because we couldn't pay our insurance premium in full. We couldn't overhaul the Metro so we got worse gas mileage. We certainly didn't have a savings account. You received, what a fifty cent an hour raise when you left crappy restruarant for crappy government office, and we lost all health care for you and I? And now, we can afford to pay our premiums in full. We can afford to keep the car in good repair (well, if we cared to we could but that piece of crap has lost all rights to be treated with respect). We can put money in savings. We have passed from lower class to middle class and your definitions are right on.
You rock and I think you are sweet.
Comment by Becky | March 24, 2007 |
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- English
Waste electrical and electronic equipment (WEEE) is receiving increasing attention worldwide and policies such as the European RoHS and WEEE Directives have been introduced in response to the problems associated with the treatment of this waste stream. The current study investigates how relevant information on substances in products can be generated and provided to actors involved in the end-of-life treatment of WEEE. The rationale is that improved knowledge on the material composition of the items to be treated (including both hazardous substances and valuable materials) can make recycling and waste management operations safer and more effective. This requires that the information is available on a suitable format, tailored to the specific needs and circumstances of each actor.
1. Purpose
Electronic products are complex and the number of materials used in a single item can be very large. Modern electronics can contain more than 60 different elements of the periodic system and the total number of substances used in these products is of course much larger [1]. Some of the materials commonly used in electronics are valuable resources – such as gold, copper and silver, while others – such as lead, antimony and beryllium – are hazardous. This combination of valuable resources and hazardous substances is a challenge for the recycling process.
A number of earlier studies have found that the recycling industry for electronic products lacks information on the composition of the items they are treating [2-5]. It is expected that by improving the information exchange between producers and recyclers, the recycling operations could become safer and more effective. The current project therefore analyses how information on substances contained in electronic products is generated, transmitted and used by actors at various stages of the product life-cycles. More specifically, the project analyses the information exchange between the up-stream part of the life-cycle, including manufacturers of consumer products and their supply chains, and the down-stream part, including recyclers and waste managers. By analysing the current information management system and exploring the need for information at various life-cycle stages the project hopes to be able to give recommendations on how systems for improved information exchange can be designed and implemented. The project also aims to identify what additional measures (legal, administrative, logistical etc.) would be needed in order to make such information systems fully effective.
This paper reports the results of the first year's research of a three-year project which started in the summer of 2008. So far, the project has analysed in-depth the current situation on recycling and information exchange in Japan and carried out preliminary investigations on Korea and China. In addition, the current situations in the EU and the United States have been surveyed. The empirical research in Japan consists of document analysis and face-to-face interviews with representatives of the recycling industry, electronics manufacturers and industry associations, and other experts. These investigations concentrate mainly on the following tasks: (1) Mapping in detail the recycling chains and identifying the actors involved, (2) Clarifying the current situation concerning availability and needs for information on the composition of the products at different stages of the recycling chain, (3) Analyzing the effects of existing systems for product information management, and (4) Exploring what additional measures would be needed in order for information systems to actually contribute to safer and more effective recycling operations.
The project covers information related with both hazardous substances and valuable materials. The starting hypothesis is that the flow of information on these two groups of substances is currently insufficient and it is assumed that an improved information exchange could have environmental as well as overall economic benefits. More specifically, the project assumes that a system which provides information on the composition of electronic products to the post-consumer stages could ideally have the following benefits:
- Safer recycling and waste treatment operations. Improved information on hazardous substances, including which components contain such substances and how these components should be handled, could lead to safer treatment of the end-of-life products and better protection of workers' health and the environment.
- Higher overall recycling ratio. With the availability of precise information on the composition of products (amounts and location of each material/substance) it is assumed that a larger number of materials could be recycled and that the recycling ratio for some materials could be increased.
- Higher use value of recycle materials. With better knowledge on what substances are used in the products, it is assumed that the recycling operations can produce secondary materials which are less contaminated. Such materials would have a higher value than current secondary materials since they could be used for a wider range of applications. Even in cases where the quality of the recycled materials cannot be improved, it might be beneficial if the recyclers are able to better specify the exact quality level of these materials. With better knowledge on the quality of recycled materials, parts manufacturers could more easily decide for what applications these materials are suitable.
2. Results
The research carried out in the first year of the project confirmed that the recycling industry needs more information on the products they are treating. Especially among the SMEs, there is a need for additional information on hazardous substances and how to prevent risks when handling products and components containing such substances. The whole recycling industry reports a need for increased availability of information on recyclable materials, especially rare metals. This section presents the main findings of the investigations carried out in the target countries.
2.1 Japan
Japan has recycling legislations based on Extended Producer Responsibility (EPR) which cover PCs and large home appliances used by private consumers. These laws require the producers to take back and recycle the end-of-life products. To meet this requirement the producers have formed two consortia which handle the administration and logistics. One of the consortia has chosen to contract existing recycling companies, while the other has built its own recycling facilities. The laws do not require producers to provide any specific information to the recyclers. However, there are several initiatives aiming at improving recycling through improved access to product information.
A number of labelling systems for information sharing with recyclers have been introduced in the last few years for large household appliances. These systems have been developed by an industrial association for electronics manufacturers (AEHA) in consultation with some recyclers. The use of the systems is voluntary, but the initiative has a strong backing from the major manufacturers, and the systems currently seem to be widely used. The following systems are related with the composition of products:
(1) Marking of plastic components, indicating polymer, filling materials, plasticizers, flame retardants, and the use of recycled polymer.
(2) J-MOSS orange mark and green mark, indicating the presence or absence of certain hazardous substances (the green mark indicates that the product complies with the EU RoHS Directive).
(3) Marking indicating where compressor refrigerant can be removed.
(4) Label indicating the presence of absence of certain substances (mainly metals) in printed circuit boards, and the composition of solder.
(5) Label on equipment with built-in rechargeable batteries.
Since these systems have recently been introduced, recyclers still have no experience in dealing with labelled products. It is therefore difficult to evaluate how useful they would be in practice. What can be done currently is thus just to discuss in general terms how these labels could influence the recycling operations.
It is clear that some of these systems, such as (3) and (5) above, can be used directly at the dismantling stage, which is the first step in the recycling chain. There they can save time and reduce the risk that batteries continue to the next step of recycling, which usually involves shredding or grinding the dismantled components into small fragments. Label (2) could be used in the same way – to avoid that products containing hazardous substances are shredded – but it is harder to see exactly how the recyclers would handle these products. Since there is no information on where in the product the hazardous substances are located, or how those parts can be removed, the recycler would need to have a separate treatment route for these items in order to avoid contamination of the shredded materials and possible exposure of operators to hazardous dust.
Marking (1) could be used at the dismantling stage to sort different kinds of plastics. Mixed plastics have low use value and would in the case of Japan usually be incinerated. This marking system could therefore lead to a higher recycling rate if the sorted fractions can also be handled separately at the later stages in the recycling chain. In order to be effective, this would probably require some logistical changes.
How marking (4) is going to be used is less clear. Printed circuit boards are normally treated in integrated smelters. These facilities are capable to treat complex mixes of metals and more than a dozen elements can be recovered at high rates. The presence of hazardous metals, such as lead or mercury, is normally not a problem for these processes. However, before entering the smelting and refining processes the circuit boards have to be shredded into small pieces. At that stage hazardous substances could be emitted. However, it is not likely that recyclers will have two parallel treatment routes – one for boards containing certain hazardous substances and another for other boards – so it is hard to see how this information would be used in practice and what benefits it would have.
In addition to these formalised systems for information provision, it should be noted that many Japanese electronics manufacturers have close links to recycling companies. At least one of the major manufacturers regularly holds meetings with recycling companies where product design and recycling practices/technologies are discussed.
A Japanese industry consortium (JAMP) has recently developed an information system which facilitates the information management for chemicals in the up-stream part of products' life-cycles. This system is a response to the REACH regulation and it aims to help companies meet their obligations under REACH. Nevertheless, the information provided by the system seems to be a potential input source for the further development of information system targeting end-of-life treatment. However, since the development of this system is driven by the chemicals regulation, it only contains data on certain hazardous substances and provides no information on rare and/or valuable metals.
2.2. The European Union
In the EU, the WEEE Directive entered into force in 2003. This Directive, which is based on the principle of EPR, sets targets for collection and treatment of a large number of electronic products and makes producers or importers responsible for carrying the costs for recycling. It also requires producers to make information needed for recycling available to the recycling industry. It states that: "producers [shall] provide reuse and treatment information for each type of new EEE put on the market... This information shall identify, ..., the different EEE components and materials, as well as the location of dangerous substances and preparations in EEE." [6]
Although the EU legislation requires information sharing with recyclers, it has so far not been a priority for the public authorities of the EU countries to specify how this information disclosure should be carried out and what information should be included. The regulators seem to assume that there is a demand for information from the recycling industry and that requests from the recycling companies will determine what information is made available and in what format.
Manufacturers have taken different approaches to fulfilling the information requirement. Some of them have developed datasheets with recycling information and made these sheets available on their websites. In some cases these sheets also include details on the recommended disassembly process, supported by photos. In a few cases, the recyclers need to submit a registration form in order to get a user ID and a Password to access the information. There are also manufacturers that request recyclers who want information to contact them by email.
Four industrial associations have issued a joint guidance document on what efforts they find reasonable to require of producers. It recommends that:
• "Each producer creates an access point [on the internet] for recyclers to post questions in relation to his products, …"
• "A producer, upon request from a recycler …, provides information on 'positive presence' of [hazardous] materials and components …, at product level or product family level. Other questions will be handled on a 'reasonable effort' mode. The common dialogue language is English."
In addition, the joint guidance document contains an annex listing hazardous materials and components which should be included in the information provided to recyclers. It is also stated that producers "may look at the possibility to organise dialogue between producers and treatment operators…".
Also some consultants have developed information sharing tools which are related with the requirements in the WEEE Directive. Such tools include the "Recycling Passport," which is currently used mainly by some small or medium-sized European companies. The Recycling Passport is a flexible format which can contain more or less information. A typical application is a PDF-document of 3-5 A4 pages containing a list of the major materials used in the product, the amount of each material, the location of any components containing hazardous substances, and some photos or drawings helping to identify these components. There is also a related German standard, a so-called technical rule, called PAS 1049 "Transmission of recycling relevant product information between producers and recyclers - The recycling passport". However, this standard seems not to be widely used.
Compared with the Japanese marking systems for home appliances, the European systems in general contain less information. In particular, detailed information on plastic components (additives and the use of recycled polymers) and on hazardous metals in circuit boards is lacking.
2.3 The United States
In the US there is no federal law mandating recycling of electronics or to make the producers responsible for the end-of-life treatment of their products. More than a dozen individual states have recently introduced recycling regulations, but these regulations differ by state and the producers are facing a patchwork of requirements. None of these state regulations require producers to provide recyclers with product information.
In the US, the eco-labelling scheme EPEAT, which currently covers only computers, includes criteria related with information disclosure for safe end-of-life treatment. This scheme is quite widely used, not at least for public procurement, and it therefore has significant influence on the industry. Likewise, a couple of certification systems for recyclers are currently under development. To comply, it is expected that recyclers will have to increase their efforts to keep informed on the changes in composition of products and to develop appropriate and safe treatment methods.
So far, the project has not investigated how US producers convey information to recyclers or the nature of that information.
3. Discussion
It is clear that increased availability of product information from manufacturers will have only a limited effect unless efforts are made also to increase the demand for such information. In this respect, the development and effective dissemination of information on safe technologies and practices among the recyclers is needed. In addition, environmental and health regulations for the recycling industry may also need to be strengthened. In this context, SMEs may have special needs for capacity building. In order to improve recycling it is important to increase the awareness among the recyclers on hazards to human health and the environment, and on the significance of rare metals recycling, to stimulate their demand for product information, and to increase their knowledge on how to act on such information.
The information sharing tools identified in this study focus mainly on hazardous substances. This is in contrast with the results of an interview survey of Japanese recyclers which indicates a demand for information on rare and valuable metals. There are several possible explanations behind the lack of information on these materials. For example, producers of consumer products do not always have complete information on the exact material composition of all parts and components. This information is only available from their suppliers or from other companies further up the supply-chains. In addition, information such as the use of rare metals in electronic components can be sensitive for commercial reasons.
It is interesting to observe that Japan, the EU and the US have taken different approaches to information sharing with e-waste recyclers. While the EU has chosen to mandate information disclosure through legislation, the US relies on market-based initiatives handled by non-governmental organisations, but often supported by the federal EPA. In Japan, there are no such formal mechanisms in place, so that information exchange between producers and recyclers happens on a voluntary basis.
There are some crucial differences between the producers of electronics and the recycling companies. Many producers are very large and have considerable resources for generating and managing information, while the recyclers, many of which are SMEs, have relatively limited capacity in this respect. The producers, especially the big global companies, are more exposed to market demands for environmental improvements and are therefore more active in analysing and reducing their environmental impacts, often from a life-cycle perspective. Recycling companies operate in a different market environment and therefore feel less pressure for environmental improvements. Many recyclers seem to assume that the environmental and health risks are negligible as long as they comply with the laws and governmental regulations. In contrast, many producers feel a need to be more proactive and go beyond the existing legislation. This underscores the need to also stimulate the demand for product information among recyclers.
Different stages of the recycling chain have different needs for information. For example, the information needed for safe and efficient disassembly is not same as the information needed for the recovery of precious and rare metals from printed circuit boards. Furthermore, information provided by the producers may only be accessible at the disassembly stage; after a product has been disassembled it is usually not possible to identify from which type of product and from which brand the different parts come. For this reason, it may be needed to develop information sharing systems consisting of two separate components: one for information from the producers to the disassembling companies and another for information from the disassembly stage to the following stages of the recycling chain. The design of these two systems and the information contained may need to be different.
In addition to providing relevant information to the recyclers, it is also important to improve product design. Design changes can make recycling easier, safer and more effective. However, in order to be able to make the right changes electronics designers need to know more about how recycling is done and what problems the recyclers are facing when treating the existing products. Feed-back from the recyclers to the manufacturers is therefore another key element towards greener electronics. However, this aspect of the information exchange is not covered in the present study.
Another topic which has not been dealt with in the first year of the project, but which may be addressed in later stages, is the information needs for reuse of electronic components. When an electronic device reaches end-of-life it still contains many components that are fully functional, some of which could be beneficially reused. This happens to some extent in developing countries, but on any significant scale in the industrialised world.
Finally, it should be pointed out that from a global perspective the really severe problems associated with e-waste are caused by inappropriate recycling carried out in developing countries. These unregulated, and in some cases illegal, activities are causing serious pollution and threatening the health of large numbers of people. Although the availability of information on hazardous substances in electronics is a basis for developing safe treatment methods, to develop solutions on how to address these dangerous activities is a task which goes beyond the scope of the current paper.
[1] Hagelüken, C. and Meskers, C. 2008. Mining Our Computers – Opportunities and Challenges to Recover Scarce and Valuable Metals from End-of-Life Devices. In: Proceedings of the Electronics Goes Green 2008+ Conference, Berlin, 7-10 September.
[2] Hume A., Grimes, S. and Boyce, J. 2002a. Environmental product attributes in end-of-life
management in the UK. Part I: an end-of-life eco-declaration for waste IT and office
equipment. International Journal of Environment and Pollution 18(2) 2002.
[3] Hume A., Grimes, S. and Boyce, J. 2002b. Environmental product attributes in end-of-life
management in the UK. Part II: problems encountered with informational systems for the management of end-of-life IT and office equipment. International Journal of Environment and Pollution 18(2) 2002.
[4] Bains, N., Geraghty, K., Goosey, M. and Lightfoot, L. 2006. An Integrated Approach to Electronic Waste (WEEE) Recycling: Sectoral WEEE – Waste Composition and Trends. Work Package Report. Commissioned Study under the DEFRA Waste and Resources Research Programme, Reference WRT208. Rohm and Haas Electronic Materials Ltd.
[5] Riefer, W., Brody-Heine, P., Peters, A. And Linnell, J. 2009. Closing the Loop: Electronics Design to Enhance Reuse/Recycling Value. Final Report. Green Electronics Council, National Center for Electronics Recycling, and Resource Recycling, Inc.
[6] Directive 2002/96/EC on Waste Electrical and Electronic Equipment (WEEE). Brussels: European Commission.
- English


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The Internet of Things, a network of smart devices that monitors its environment and interacts with humans, is expanding every year. This network captures and processes incomprehensible amounts of data about us and our behavior, giving it the ability to learn about our preferences. This can be very helpful, and one of the biggest groups of products in this category is designed specifically to help with efficiency and safety within the home.
Connected devices such as smart thermostats, energy monitors, and indoor air quality (IAQ) monitors are exploding onto the home automation scene. Major advantages of such products include the ability to be managed remotely via smartphone applications, the ability to learn from user habits, and perhaps most importantly, the fact that they work behind the scenes to optimize energy usage and living conditions within our homes, which also makes our homes more environmentally friendly.
Despite their clear potential, connected devices do have limitations. Where is the line between what they can and cannot do? We cover the basics here.
Connected devices such as the ones described above offer many benefits, including opportunities to make a valuable impact on the environment. However, these technologies are still developing, and it is important to recognize that they are only tools that can help reduce energy use. A proactive effort is still the key for anyone who wants to influence positive change.


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Hi Beautilicious:
Everyone knows how I love Make up Forever. This is a hands down #1 brand I trust and so should you. Make up Forever never let us down when we take pictures. Don't we look flawless? Make up Forever invites you to experience their ground-breaking Ultra HD Liquid Foundation like never before. Come join the brand at their Be Flawless. Be Confident. Be You. Please let us show support by going to the event that takes place at the Menlo Park Mall Edison NJ on Friday April 15, 2016 11AM- 6PM and Saturday April 16, 2016 11AM – 6PM. They will have a pro makeup artists who will provide exclusive shade-matching consultations with the Ultra HD Foundation. After you get the right shade won't you like a picture taken to share on social media and friends? Guess what? you will be able to share this perfect moment. using hashtag #shareyourshade. This will be a chance to be part of their live photo wall. It doesn't stop there, at the adjacent Sephora store, guests will receive a chic limited-edition makeup clutch including a free universally flattering lipstick to finish off their fab new look. For continued fun with MAKE UP FOR EVER, following purchase come back to the live event and have the Ultra HD Foundation personalized by an on-site engraver.
The first 200 guests at Saturday's event on April 16th will have the exclusive opportunity to meet with YouTube star, iluvsarahii!
I hope to see everyone


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Pope Benedict has called for prayers for an end to the conflict in the Gaza Strip and stated that war and hatred are not a solution to problems.[display_podcast] This podcast made available from Vatican Radio
After the Angelus on the first Sunday of 2009, the Pope invited all to pray for an end to the war in Gaza, recalling that hatred and war do not resolve problems.
"Today, in all the churches of the Holy Land, the patriarchs and leaders of the Christian churches of Jerusalem invite the faithful to pray for an end to the conflict in the Gaza Strip and implore justice and peace for their land. I join with them and ask you to do the same, remembering, as they are saying, 'the victims, the wounded, those with broken hearts, who are living in anguish and fear, that God bless them with consolation, patience, and the peace that proceeds from Him".
The Holy Father affirmed that "the dramatic news that we are receiving from the Gaza Strip shows that the refusal to dialogue leads to situations that weigh unspeakably on the populations who are again victim to hatred and war".
War and hatred are not a solution to problems. Most recent history again confirms this. Let us pray, then, that 'the Baby in the manger … inspire the authorities and those responsible on both sides, Israeli and Palestinian, to act immediately to put an end to this tragic situation".VATICAN CITY, 4 JAN 2009 (VIS)


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This is the Buffet-Crampon Paris Prestige Prestige series case for clarinet. This is a rectangular case, featuring a traditional wood construction, covered with high quality leather. The interior is lined in premium velvet. The case does have combination locks. Available in single Bb or as a double case for Bb and A (pictured). We not stock these cases, but they are available as special order. Please contact us for an estimated time frame to order one in.


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PCOK Combo
Avail a free email consultation from [email protected]
Ayurvedic Pack for Women Health Support-PCOK Contains:
- PCORID Capsules – 60
- UTONORM Capsule – 60
Ayurvedic Pack for Women Health Support-PCOK is formulated by experienced qualified ayurvedic doctors of Moolika Ayurveda who have 30 years of clinical experience. This formulation has been approved by AYUSH and is being manufactured at GMP certified manufacturing unit. Ayurvedic Pack for Women Health Support-PCOK contains high-quality herbal extracts and the whole process is supervised by qualified ayurvedic doctors. It passes through a statutory quality control process.
Key Ingredients of PCORID Capsules
- Ashoka or Saraca indica
- Lodhra (Symplocos racemosa)
- Yashad Bhasma (Zinc Calx)
- Shilajit (Purified Asphaltum)
- Karavellaka or bitter gourd(Momordica Charantia)
- Haridra (Curcuma Longa)
- Twak (Darusitha) (Cinnamomum zeylanicum)
- Shatavari (Asparagus racemosus)
- Jambu (Eugenia Jambolana)
- Meshashringi (Gymnema Sylvestre)
- Vrikshamla (Garcinia Combogia)
- Guduchi (Tinospora Cordifolia)
- Neem (Azadirachta Indica)
- Kirat Tikta (Swertia chirata)
How to Use
1 capsule twice daily with water after food.
Key Ingredients of UTONORM
- Amla (Emblica officinalis),
- Ashoka (Saraca indica),
- Lodhra (Symplocos racemosa),
- Haritaki (Terminalia chebula),
- Vibhitaki (Terminalia belerica).
- Ushira (vetiveria zizanoids),
- Nagara or ginger (Zingiber officinale),
- Devadaru (Cedrus deodara),
- Shatavari (Asparagas racemosus),
- Ashwagandha (Withania Somnifera)
How to Use
1 capsule twice daily with water after food.
Precautions for PCOK Combo
Store in a dry cool place.
keep away from children's reach.
Self medication is not recommended.
Close medicine cap tightly after every use.
Keep medicine in original package and container
Terms and Conditions
We have assumed that you have consulted a physician before purchasing this medicine and are not self medicating.
Click here for Links to scientific studies of the above mentioned herbs
Additional information
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With the popularity of shows like In The Night Garden Live, Frozen on Ice and a whole host of live CBBC events, the family show has become a major part of the arts industry over the last few years.
Events aimed at families bring in income and help develop a relationship with the audiences of the future early on. They diversify audiences, giving people of all ages the opportunity to enjoy live performances.
Buxton Opera House are signed up the the Family Arts Standards. As part of this they promise to offer, where possible, things like easy access, suitable facilities for families and useful information about events. They also promise to 'Ask families about their experiences and views' and implement changes where possible.
The marketing team sent out a short questionnaire to family bookers, asking them what they liked, what they didn't like and what they'd like to know before visiting Buxton Opera House as a family. It's always a little scary asking your audiences for feedback for fear of a long list of requests that are impossible to achieve, but the team at Buxton were pleasantly surprised by the responses.
Family audiences are different to your normal audiences, but it's not difficult to provide them with the info and service they need. The work Buxton Opera House has done gives an insight into what audiences want to know. Their use of a questionnaire is a speedy, cheap and efficient strategy that is easy to implement and gave the team some immediate answers.
Here's some feedback they received.
Key Learnings from the Buxton Opera House Family Events Survey
People make a place
One of the most popular answers from customers was that they enjoy how friendly the staff are at the theatre, with 23% of respondents citing this as a positive experience. With an experienced Box Office team and a team of loyal volunteers, the staff at Buxton Opera House clearly make visitors feel welcome.
You can't please everyone
While 20% said the programme was an incentive to visit the theatre, 10% said the programme had something missing, such as the type of event or the suitability for very young or teenage audiences. Like a lot of venues, Buxton Opera House programme more than just family events, so there will always be a compromise on the number and type of events available.
Need to know
When they asked their customers what they would like to know before they book a family event, there were three main answers: show timings (35%), what will the audience experience (19%) and what are the available facilities (18%).
These are all very practical and come down to bookers wanting to know what the experience will be like, from the point of booking to when they leave the theatre, and how they can prepare for a great day out with the family. Where people might take more of a risk when booking an event for adults, the cost and logistics of bringing a family to the theatre means bookers need to be well prepared.
Atmosphere is important, but so are toilets!
30% of respondents said they enjoy the atmosphere of the building. Buxton Opera House is a stunning Matcham theatre, which first opened its doors in 1903, with a stunning auditorium that a number of respondents said felt grand and very special.
Because of the age of the building, restructuring is difficult and could ruin that wonderful atmosphere that customers love. However 52% of respondents cited issues like the limited number of toilets, inability to reserve a booster seat, lack of storage facilities for buggies, heavy and awkward doors and stairs as negative aspects of visiting family events at the theatre – things most old buildings suffer from!
So, what can Buxton Opera House do to make visiting with a family easier?
Firstly, the team have divided the feedback into two categories – what they can easily change, and what they can't. They aren't in a position to build new toilets or install a lift, but they can provide more information to bookers and manage visitors' expectations.
Extra information
Family events have been publicised much like other events at Buxton Opera House. However, the feedback the team have received shows bookers want to know more than just the start time, price and an introduction to the event. Bookers also want to know what time the interval is, how long it will be and what time the show will finish. They'd like to know what their children will experience – will it be scary, is it suitable for 4 year olds, will there be any audience participation, will children sat in the circle enjoy it as much as those sat at the front?
Buxton Opera House are in the process of building a new website. The new site will include a dedicated page with family information and extra information relating to specific events. Additional information will help families plan their trip and know what to expect.
Giving the option to pre-book booster seats
The theatre offers booster seats on a first come first serve basis once families arrive at the theatre. Although it's rare to run out, parents would like to reserve booster seats in advance, taking the worry out of their visit. Buxton Opera House are looking into offering these as a supplementary option when booking, so bookers can reserve them at the time of booking.
A new family leaflet and pre-show e-mail
The team have designed a new leaflet which will be sent to all first time family event bookers. This will detail information such as the best place to park, other attractions in the town to help families make a day of their visit and information on child friendly cafes and restaurants.
In addition to the leaflet, all bookers will receive a pre-show email with information relevant to the time of day the event is taking place and timings for the show, and any additional information bookers need in advance, providing a great service to families before they've even walked through the doors.
Extra Staff
The team at the theatre can't build more toilets or change the number of stairs, but they can provide more front of house staff. Although it's not always possible, they will be aiming to provide two extra front of house volunteers for family shows who can help audience members open doors, move buggies around, keep an eye on queues for the bar or toilets and direct people to other facilities in the building.
Follow up campaign
The team at Buxton Opera house have shared the feedback they received with family bookers, highlighting changes they've made. This keeps the conversation opens and reassure family bookers that Buxton Opera House are responsive to feedback and suggestions.
The biggest lesson here is that attending an event as a family is very different to attending with just adults. This doesn't mean your family audiences aren't the same people who book a theatre or comedy show and attend without children. It just means that when booking a family show, the information required to make a quick decision and book tickets is different.
Following on from the feedback Buxton Opera House received they're implementing changes that are cheap, automated (thanks to some great tools in Spektrix) and quick to put in place. The aim is to increase reattendance of family bookers by making their experience more enjoyable, something the team will be closely monitoring over the next year.


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Mugabe trying to tear apart unity pact
HARARE — Zimbabwe's Movement for Democratic Change Wednesday accused President Robert Mugabe of trying to tear apart a unity pact by threatening to replace cabinet ministers chosen by the former opposition.
"It is tantamount to tearing apart the unity government," MDC spokesman Nelson Chamisa told AFP.
The state-run Herald reported Wednesday that Mugabe was pondering replacing MDC ministers who have not attended cabinet meetings since Prime Minister Morgan Tsvangirai cut ties with Mugabe's ZANU-PF after a deadlock over key issues.
"His Excellency may have to consider appointing ministers in an acting capacity to key ministries for the sake of a successful agricultural season and general economic turnaround," Agriculture Minister Joseph Made told the Herald.
"Important Cabinet decisions have to be translated into action expeditiously," he said.
Chamisa slammed Mugabe for acting outside the spirit of the global political agreement (GPA), which has been hampered by a deadlock over key appointments on which Mugabe insists and by a crackdown on MDC supporters.
"That is a laughable proposition. This is precisely the reason why we are deadlocked. They are in a mode of unilateralism and arrogance which has not helped the spirit of the GPA," Chamisa said.
"You cannot appoint an acting minister when there is a substantive minister. It will create a parallel government," he added.
The unity government, created in February a year after disputed polls, is in deep trouble and hopes are pinned on a meeting by the Southern African Development Community (SADC) security organ Thursday to resolve the latest impasse.
"This deadlock will have to be broken. SADC and the AU (African Union) as guarantors will have to break this deadlock. It is in the interest of all of us," said Chamisa.
The MDC has accused Mugabe's ZANU-PF of spurious arrests, and said Tuesday that the party's transport manager Pascal Gwezere had been abducted and arrested hours after a similar attempt on another party member. Source: AFP


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KUWAIT CITY, May 24: Some Municipal Council members have reacted to a recent announcement issued by Kuwait Municipality to terminate the services of several adhoc expatriate workers. The members see the step as bigotry and urge the Minister of Municipal Affairs Essa Al- Kanderi to rescind on the decision, especially for Syrians, reports Al-Rai daily.
Vice-Chairman of the council Meshal Al-Juwaisri cautioned the municipality against touching dedicated workers. He asserted that some members of the council do not have secretaries contrary to officials of the municipality some of whom keep retinue of secretaries. He said the decision to terminate the appointment of adhoc expatriate workers is a disaster, and should be revisited and reconsidered so that reform will not be carried out at the expense of the poor.
In his comment, another Municipal Council member Mane' Al-Ajmi expressed personal objection to the step taken by the municipality in that regard, especially as the municipality needs their services. He advised the municipality to maintain the workers and reminded that many of them are privy to confidentiality of the council and municipality. He urged the minister to grant them three months grace period to amend their status.
Meanwhile, an official source at Kuwait Municipality disclosed that Director General of Kuwait Municipality Engineer Ahmad Al-Manfouhi tried his best to stop the decision but the Financial Affairs Department insisted on relieving them. He indicated the step Al-Manfouhi took was indication that a large number of expatriate workers employed at Kuwait Municipality and the Municipal Council happened on wasta (influence). He said Al-Manfouhi mooted an idea to replace unproductive workers because many expatriate workers were employed through certain officials, while some directors wish to replace non performing staff with competent ones among those affected by mass retrenchment, affirming the door of replacement is open. Meanwhile, Municipal Council member and Head of Hawally Governorate Committee Yusuf Al-Ghareeb urged the Kuwait Municipality to reconsider restructuring blocks two and four in Salmiya — whether through valuation or changing them from residential to investment or commercial areas, reports Al-Seyassah daily.
In a press statement, Al-Ghareeb pointed out the two blocs are densely populated, especially the large number of expatriates living in most of the residential and investment blocks; whereas the citizens' houses are a bit lesser than that of expatriates. He explained this happened when some residential blocks were transformed into investment and commercial areas.
He said blocks two and four are surrounded by commercial and investment complexes, in addition to a huge number of expatriate bachelors living in those areas. He also cited the traffic jams most of the time, indicating that majority of the blocks have malls, markets and commercial centers. In the meantime, the latest statistics prepared by the Public Relations Department in Kuwait Municipality revealed the accomplishments of the Food and Meat Sector, which is affiliated to the Foodstuff and Market Control at the Municipality branch in Ahmadi, reports Al-Seyassah daily.
According to the report, the sector has destroyed 55 carcasses or a total of 1,597 kilograms of contaminated meat proven to be unsuitable for human consumption. This quantity of contaminated meat was destroyed in Ahmadi Slaughterhouse within three weeks starting from April 8, 2016. T
he report disclosed that the total number of livestock from Australia slaughtered in Ahmadi Slaughterhouse for meat companies and butcheries reached 939, sheep slaughtered for residents in Ahmadi totaled 351, Arabian sheep slaughtered for companies and butcheries reached 187, and Arabian sheep slaughtered for the residents in Ahmadi totaled 10,239.
The report added that only five goats were slaughtered for companies and butcheries, in addition to 1,923 goats for residents in Ahmadi Governorate, 47 cows and 77 camels for companies and butcheries, and 277 camels for Ahmadi residents.


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GRAND SLAM and ARCHIMEDES where fighting for the overall lead. However, GRAND SLAM was crowned the 2015 J/105 Chilean Champion; Patricio Seguel was at the helm with his son Matias Seguel calling tactics and making the decisions along the windward-leeward course (Matias is also the Chilean J/24 Champion). Father and son were a fast, smart combo, compiling a very steady record, winning four of the eight races for a total of 13 pts net. Vernon Robert, another Chilean J/24 Champion, skippered ARCHIMEDES and found themselves in a battle for the silver with three other boats towards the end of the series. In the end, ARCHIMEDES counted 33 pts total to secure 2nd overall. However, Jorge Gonzalez's PLAN B nearly caught them, closing fast with a 7-4 to finish with 35 pts net and the bronze on the podium. The next two boats that rounded out the top five both had "bomber" racers in the 8th and final race. Miguel Perez's RECLUTA had a 12th to drop them out of contention for the top three and, as a result, finished in 4th with 37 pts. By collecting a BFD in the last race, Miguel Salas' BIG BOOTY also fell out of the fight and took the 5th position with 40 pts.
Formed in 2011, the Chilean J/105 fleet is the fastest growing keelboat class in Chile. Currently there are 32 boats, where 20 of them where imported from the US in the last 5 years. With strict rules in terms of crews, the J/105 class in Chile has succeeded by focusing and protecting family and amateur crews. Also, it promotes a low budget program for the owners, keeps sail purchases down, mandates that all boats have wheels (so kids can steer) and enforces minimum boat weights.
The next event for the Chilean J/105 Class is the Chiloé Regatta (January 23-31st) where 15 to 20 boats are expected to participate, including two top USA sailing teams! The J/105 is by far the largest fleet in the Chiloe Regatta, having eclipsed the Soto 30 and Soto 40 fleets three years ago as the top South American one-design keelboat! Also, the J/70 will be making its Chiloe Regatta debut in the 2016 January edition.


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I first came across this recipe here when I was browsing threw TasteSpotting not to long ago. I knew right off the bat that I wanted to make these. They sounded really good. I, however, don't really favor regular M&M's really at all. I much more prefer Peanut M&M's. Peanut M&M's just taste a hundred times better than just bitting into a piece of candy with chocolate inside it. But, thats just me.
We always have peanut M&M's on hand being that we keep a jar pull of M&M's and Peanut and Raisin's in the kitchen for snacking on. So I already had the main ingredient on hand. I wanted to make these bars a bit festive being that fall has arrived and all. So, I picked out only brown and orange peanut M&M's and I sprinkled the top of these bars with these new Fall Sprinkle I found at Party City. I thought they looked cute. These Cookie Bars came out really good. They were really chewy, which was what I was hoping for. I think I may try other candy with this recipe. Theres a lot you can do with it.
2 3/4 cups flour
2 1/2 tsp. baking powder
1/2 tsp. salt
2/3 cup butter, melted
2 1/4 cup brown sugar
3 large eggs
1 tsp. vanilla
2 cups Peanut M&M's
1. Preheat oven to 350 degrees.
2. In a large bowl, combine flour, baking powder and salt.
3. In another bowl, combine the melted butter and brown sugar together, stirring until evenly distributed. Allow to cool slightly. Add the eggs one at a time, beating well each egg. Mix in vanilla. Stir in flour mixture. Once combined, add Peanut M&M's. Spread into a 13" x 9" baking pan or 10" x 15" jelly roll pan.
4. Bake for 24-27 minutes. Try not to oven bake or they will be dry. Once done, remove from oven and allow to cool completely before cutting.


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Backwards . . . .
I have to admit that at times I find myself reading the end of a book before I read the beginning. By doing so permits me to know which characters live and which don't. When I really know how it all turns out, I am able to take it easy and thoroughly appreciate the story and its characters.
As the trials of today appear more daunting than your strength, allow the Lord to show you the end of the story when you will be in His presence eternally!


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- Lockdown Sceptics - Newsletter
- The government's eco-edict that all new cars be electric in 15 years is doomed to backfire - because old bangers can be greener, says JOHN NAISH
- We've left the EU as a matter of law: now we need to leave it in practice
- New Report - Peterloo200: The path to Proportional Representation
- English Democrats: The Busiest Party in England -Fighting to secure YOUR democratic rights!
Besses Ward election 19.06.18
I am standing in the Council by-election for the English Democrats who nationally want a fair deal for England.
Instead of English taxpayers' paying over £50 Billion per year to Scotland, Wales, and N. Ireland, over £13 Billion to the European Union, and over £12 Billion in foreign aid to the rest of the world, we want English taxpayers' money spent in England. We also want an English Parliament (like the Scottish Parliament) so that English affairs are decided by the people of England.
Locally, I have lived in our ward for 23 years, in Bury South for over 31 years, and am rooted in our local community. I have been a parent Governor of Castlebrook High School, and I have spent over 20 years on the local Homewatch group.
From that you can see I am very concerned about our children's education, and the unacceptable amount of crime in our area. As a local Councillor I would do everything I can to make our schools the best they can be, and reducing local crime an absolute priority.
My other huge concern is to stop Bury Council wasting your money. They make people pay more and more Council Tax each year. I will challenge wasteful public spending wherever people see it and unlike any other Councillor I would campaign for a lower Council Tax.
So please use your vote to support me and so bring onto Bury Council a much needed voice for sensible policies most local people agree with.


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CEE's Construction Team competed in the 2014 Associated Schools of Construction Region 6 & 7 Student Competition earlier this month in Reno, Nevada.
Working 16 hours straight, the Berkeley team did well in the Virtual Design and Construction, Design Build, and Commercial categories. Judges, coaches, and recruiters were impressed by the teams' hard work. The students had the invaluable opportunity to share ideas and knowledge with over 1000 students from schools across the country.
CEE's team is grateful for the support of their architecture master's student coaches and industry coaches from DPR Construction, Swinerton Builders, Turner Construction, and Skanska Construction—most of whom are Berkeley alumni who had competed in this same competition during their time at Berkeley. The team also receive significant financial support from the Construction Employers' Association. (Thank you all!")
"All of this would not have been possible without the support of these coaches," says Ivan Chen, the team's Project Manager.
The team's advisor is Professor Iris Tommelein.
ASC is the professional association for the development of construction education.


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{juform id="3"}
Below is the 2018 Squad Registration Form for the 2018 Stoned Gamer Season. You may be a team captain and register up to two squads, one for each game. However no team captain will be allowed to register two squads for the same game. Each squad may compete twice per game. The eight squads with the top score for each game will advance to the 2018 Stoned Gamer Grand Finale.
If you would like to know more about the 2018 Stoned Gamer Season, click here.
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