1GT(1)                       General Commands Manual                      GT(1)
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NAME

6       gt - version of TiMidity MIDI to WAVE converter and player
7

SYNOPSIS

9       gt [-options] [directoryname | filenames ...] [-options]
10

DESCRIPTION

12       Gt is a MIDI to WAVE converter using Gravis Ultrasound-compatible patch
13       files, extended GUS patch files, or AWE-compatible SoundFonts to gener‐
14       ate digital audio data from General MIDI files.
15
16       The data can be stored in a file for processing, or played in real time
17       through an audio device.  Gt will generate 6 and 4 channel sound output
18       on  systems with capable Alsa drivers and soundcards.  Currently, there
19       is only a single output driver, for Alsa.
20
21       It's not necessary to give any filenames on the command line; if  there
22       are  midi  files  in  the current directory, gt will find them and play
23       them.  You can also give a single directory name, and gt will  look  in
24       that  directory  for  midi files.  (This automatic construction of play
25       lists will not work for compressed files.)
26
27       The default display interface uses the  ncurses  library  to  show  the
28       notes  being  played  and  give other information.  The alternatives to
29       this interface are  described  below  under  the  -i option  (they  are
30       -int for  ncurses  in  non-tracing  mode,  and -id or -idt for the dumb
31       interface).  As songs are playing, a moderate amount of control can  be
32       exerted  with  keys  and the mouse (if the mouse works for your display
33       window).  Key q or end or F10 exits.  Key V or up-arrow and v or  down-
34       arrow adjust the volume.  The space bar pauses playing or resumes play‐
35       ing when paused.  Key n or page-down or F9 goes to the next midi  song.
36       Key  p  or  page-up  goes  to  the  previous  midi song.  Key r or home
37       restarts the current midi song at the beginning.  Key f or  right-arrow
38       skips  forward in the current song.  Key b or left-arrow skips backward
39       in the current song.  Shifted kays left-arrow  and  right-arrow  adjust
40       the voices ceiling.  Kays F2, F3, and F4 change the interpolation algo‐
41       rithm.  Kays F5, F6, F7, and F8 change the patch set.  Key F11  toggles
42       between wet and dry mode.
43
44       Here is what is shown on the ncurses display:
45
46       line 1 Program title.
47
48       line 2 Current patchset, interpolation method, loading mode.  A differ‐
49              ent patchset can be chosen with function keys  F5-F8,  as  indi‐
50              cated on the bottom line of the display.  A different interpola‐
51              tion method  can be chosen with function keys F2-F4 --  also  as
52              indicated on the bottom line of the display.  An "[F]" after the
53              interpolation method means that the low  pass  filter  is  being
54              used.   Loading mode is either fast or full.  With fast loading,
55              only the first  velocity  layer  is  loaded  from  extended  GUS
56              patches (for ordinary GUS patches, loading mode makes no differ‐
57              ence).  You can toggle the loading mode with the shifted F key.
58
59       line 3 Program status messages and karaoke lyrics or  other  midi  text
60              messages.   Fatal  error  messages  are red if your display does
61              color, otherwise they are shown in bold.  (And  all  the  colors
62              mentioned  below  come out in bold face on a non-color display.)
63              Loading progress for patch files required for the next  song  is
64              shown  in  cyan.  If there is a limit on the amount of memory to
65              use for patches (see the -r option), the loading  line  displays
66              the proportion of available memory that has been used.  (Patches
67              used for previous songs are purged from memory when  necessary.)
68              Lyrics and other midi text messages are in yellow.
69
70       line 4 Midi  file  being  played or about to be played.  Just after the
71              file name, [GM], [GS], or [XG] may be shown, which is  the  syn‐
72              thesizer  type,  if  that was specified in the midi file.  After
73              that, as screen space permits, a title,  copyright,  and  author
74              may be shown.
75
76       line 5 Elapsed  time  for  the  current song and the total time it will
77              take to play it.  You can fast forward or rewind with the  right
78              or  left  arrow  keys.  Key signature, time signature, and tempo
79              are shown in the middle of the line.  At the right is the master
80              volume,  which  will  be adjusted by some midi songs, or you can
81              adjust it yourself with the up and down arrow keys.  You can use
82              the  clipping rate as a guide to how far you want to turn up the
83              volume.
84
85       line 7 The Ch means midi channel number and is a label for the 16  num‐
86              bers  below it, referring to the 16 midi channels.  To the right
87              is a voices bar indicating how many simultaneous notes are being
88              played,  i.e., the current polyphony.  The very left part of the
89              voices bar is shown with yellow + marks and indicates  how  full
90              the  Alsa  output  buffer is.  (If the buffer gets too low, that
91              means gt can't produce output fast enough, and you  may  antici‐
92              pate dropouts.)  Sometimes the bar will have a green middle part
93              -- this shows the number of notes  that  were  actually  in  the
94              music.   The  blue  part  of  the  bar indicates notes added for
95              reverberation, and the magenta part shows notes added for  vari‐
96              ous other effects (chorus, stereo, or tutti).
97
98              A  <  mark  on the voices bar shows where the voices ceiling has
99              been set.  The ceiling is the target  maximum  polyphony,  i.e.,
100              number of simultaneously sounding notes, that gt tries to remain
101              below.  The number can be adjusted up or down with  the  shifted
102              right  and left arrow keys.  Higher polyphony gives better sound
103              quality but means more work for the cpu.  The default ceiling is
104              128, and the default absolute maximum is 256.
105
106              To the right of the voices bar are labels for the columns below.
107              The labels are Bnk for midi bank number ('0' is not shown;  per‐
108              cussion  banks are shown below in yellow, XG variation bank num‐
109              bers in cyan, and the XG sfx bank in magenta), Prg for midi pro‐
110              gram  number,  Vol for  the  midi volume controller, Exp for the
111              expression  controller,  Pan for  the  left-right  panning  con‐
112              troller,   S for  the  sustain  pedal  (also  shows  portamento,
113              sostenuto, legato, and soft pedal), B for pitch bend (also shows
114              modulation  wheel  with  *).  b for brightness, R for reverbera‐
115              tion, C for chorus depth, c for celeste effect, and  X for  mis‐
116              cellaneous controllers (some not implemented).
117
118              Though they are displayed, the legato and soft pedal controllers
119              are not yet implemented.  You can click with the mouse on the R,
120              C,  or  c  labels  to  toggle  reverberation,  chorus effect, or
121              celeste effect on or off.  (For  XG  songs,  celeste  effect  is
122              actually  variation  send,  and  the  c column is shown with a V
123              instead.)
124
125       lines 9-24
126              These 16 lines show  events  on  the  16  basic  midi  channels.
127              Gt can  play on up to 64 channels, for midi files that have port
128              commands to play on several synthesizers, but there is only room
129              to  show the first 16 in full on the display.  Notes from higher
130              channels do show up, though, and are shown in cyan.   After  the
131              number  of the midi channel is the name of the patch chosen with
132              the midi program command.  The name given here is the  name  for
133              the  patch  given  in the configuration file, for non-percussion
134              channels.  For a percussion channel, it's the drumset name.   If
135              there is no name, that means there was no program command given,
136              and the default Grand  Piano  program  is  being  used,  or  the
137              default drumset 0, for a percussion channel.  Or, for a drumset,
138              the absence of any name may be because no name for  the  drumset
139              was  given  in  the  configuration file.  Drum kits are shown in
140              yellow, and XG rhythm sfx kits are shown in magenta.
141
142              In the middle area of the midi channel  display  the  notes  are
143              shown.   Lower  notes  are  to the left and higher to the right.
144              There isn't room to show very high or very low notes,  so  these
145              are  clipped.  A digit from 1-9 indicates the note velocity.  At
146              the onset of the note, if it's  playing  a  stereo  patch,  it's
147              shown in magenta, otherwise it's shown in red for a melodic note
148              and yellow for a percussion note.  The decay and release  phases
149              of a note are shown in green, and the sustain phase in blue.
150
151              After  that  is the midi bank number in use on the channel, from
152              000 to 127, which for percussion channels is  shown  in  yellow.
153              The  000  for  melodic bank 0 is left implicit.  Numbers in cyan
154              are for XG variation banks.  The XG sfx bank is shown as magenta
155              sfx  (if your configuration does not supply an sfx bank, but you
156              do have a bank 120, bank 120 is used for the sfx bank).  Numbers
157              shown  in blue are XG model exclusive or VL patches.  After this
158              come the midi program number and current values  for  some  midi
159              controllers.
160
161       bottom line
162              Shown  here are labels for the function keys.  Function keys F2,
163              F3, and F4 are toggles to  switch  interpolation  and  filtering
164              mode.   The choices are not independent.  F3 switches between c-
165              spline and Lagrange interpolation methods, but either choice  is
166              non-linear   (key   F2),  and  choosing  Lagrange  interpolation
167              switches the low pass filter off (key F4) (because a  filter  is
168              not yet implemented for Lagrange interpolation).
169
170              The  Help and Mixer keys bring up subwindows.  In the Mixer win‐
171              dow, you can adjust speaker balance  by  mouse-clicking  to  the
172              left  or  right  of  the  speaker letters.  Small letter l and r
173              stand for the left and right rear speakers.
174
175       lines 26 on
176              If there is room in the display window, below the  midi  channel
177              display,  the current play list of midi files is shown.  You can
178              select a new song to play by clicking in the list.  To the right
179              of the playlist there may be some tracing messages concerning XG
180              effects if verbose mode was requested with -inv or -invv.
181

OPTIONS

183       The following command line options are accepted by version 0.1 of gt:
184
185       -h     Help.  This shows  a  one-page  summary  of  the  options  being
186              described here.  The path name of the current default configura‐
187              tion file is also shown, and, if you have set up alternate patch
188              sets with if statements in your configuration file, the names of
189              these alternate patch sets are also shown (they  can  be  chosen
190              with the command line option -#number).
191
192       -v     Copyright statement from Tuukko Toivonen.
193
194       -o filename
195              Place  output  on  filename.   Assumes  output  mode  ``w''  was
196              selected with the -Ow option. The special filename ``-''  causes
197              output to be placed on stdout.
198
199       -O mode
200              Selects the output mode from the compiled-in alternatives.  mode
201              must begin with one of the supported  output  mode  identifiers.
202              Run  gt with the -h option to see a list.  The following identi‐
203              fier should be available in all versions:
204
205              -Ow    Generate RIFF WAVE format output.  If output is  directed
206                     to  a  non-seekable  file, or if gt is interrupted before
207                     closing the file, the file header will contain 0xFFFFFFFF
208                     in  the  RIFF  and data block length fields.  The popular
209                     sound conversion utility sox is able to  read  such  mal‐
210                     formed  files,  so  you can pipe data directly to sox for
211                     on-the-fly conversion to other formats.
212
213              Format options
214                     Option characters may be added immediately after the mode
215                     identifier  to  change  the output format.  The following
216                     options are recognized:
217
218                     8      8-bit sample width
219
220                     1      16-bit sample width
221
222                     l      Linear encoding
223
224                     U      uLaw (8-bit) encoding
225
226                     M      Monophonic
227
228                     S      Stereo
229
230                     q      Quadraphonic
231
232                     s      Signed output
233
234                     u      Unsigned output
235
236                     x      Byte-swapped output
237
238              Note that some options have no effect on some modes.  For  exam‐
239              ple, you cannot generate a byte-swapped RIFF WAVE file, or force
240              uLaw output on a Linux PCM device.
241
242       -s frequency
243              Sets the resampling frequency.  Not all sound devices are  capa‐
244              ble  of  all  frequencies  --  an  approximate  frequency may be
245              selected, depending on the implementation.
246
247       -a     Turns on antialiasing. Samples are run through a lowpass  filter
248              before  playing,  which reduces aliasing noise at low resampling
249              frequencies.  (With the sampling rate set to the standard 44,100
250              samples per second, there's no point to using this.)
251
252       -k  number
253              Select  interpolation  algorithm  for  resampling:  0 for linear
254              interpolation, 1  for  cspline  interpolation,  2  for  LaGrange
255              interpolation, 3 for cspline with filter.
256
257       -b  number
258              Substitute  bank number instruments for bank 0 instruments, pro‐
259              vided that the substitute instruments exist.   I  use  this  for
260              auditioning  new patches.  The number argument is the raw index,
261              which will reference sfx, vl, or mu100 banks if  the  number  is
262              greater than 127.
263
264       -r  number
265              Set  maximum  of ram in megabytes to use up keeping patches from
266              previously played midi files.  This should  presumably  be  less
267              than  your  total  ram  plus disk cache size.  The default is 60
268              megabytes.  It probably doesn't matter unless you're  using  big
269              sf2 soundfont patchsets.
270
271       -F     Toggles  fast  loading  mode.  With fast loading, only the first
272              velocity layer is loaded in extended  GUS  patches.   It's  lots
273              faster -- quality suffers.
274
275       -f     Toggles  fast envelopes. Some MIDI files sound better when notes
276              decay slower  --  it  gives  the  impression  of  reverb,  which
277              gt doesn't currently fully support.
278
279       -d     Sets  "dry" mode.  After notes are released, their decay is gov‐
280              erned by the patch data rather than the volume  envelope.   This
281              is  economical of polyphony, but for some instruments, typically
282              vibraphone, ocarina, and mandolin, notes may be  terminated  too
283              suddenly.  Non-dry, or "wet" mode is the default.
284
285       -S separation
286              Tunes surround sound separation.  Lower values give more separa‐
287              tion.  For 5.1 surround, the default is 64.  For  4.0  surround,
288              the default is 95.
289
290       -p voices
291              Sets  polyphony  (maximum  number  of  simultaneous  voices)  to
292              voices.
293
294       -A amplification
295              Multiplies the master volume by amplification%.
296
297       -X curve
298              With the value 0, the midi  expression  controller  affects  the
299              volume  linearly.   With 1 (the default) or 2, it affects volume
300              exponentially.  Values 3, 4, or 5 use tables specific to GM, GS,
301              and XG.
302
303       -V curve
304              With  the value 0, the midi volume controller affects the volume
305              linearly.  With 1 (the default) or 2, it affects volume exponen‐
306              tially.   Values  3,  4, or 5 use tables specific to GM, GS, and
307              XG.
308
309       -C ratio
310              Sets the ratio of sampling and control frequencies.  This deter‐
311              mines how often envelopes are recalculated -- small ratios yield
312              better quality but use more CPU time.
313
314       -# number
315              Selects patchset when the configuration file  has  been  set  up
316              appropriately.   See  the  FILES section below under if and else
317              for how to do this.
318
319       -L directory
320              Adds directory to the library path.  Patch,  configuration,  and
321              MIDI files are searched along this path.  Directories added last
322              will be searched first.  Note  that  the  current  directory  is
323              always searched first before the library path.
324
325       -c file
326              Reads an extra configuration file.
327
328       -I number
329              Uses  the program number as the default instrument.  Any Program
330              Change events in MIDI files will override this option.
331
332       -D channel
333              Marks channel as a drum channel.  If channel is negative,  chan‐
334              nel  -channel  is marked as an instrumental channel.  If channel
335              is 0, all channels are marked as instrumental.  (Sysex dumps  in
336              GS or XG midi files may mark channels as drums and will override
337              this flag.)
338
339       -Q channel
340              Causes channel to be quiet.  If  channel  is  negative,  channel
341              -channel  is  turned back on.  If channel is 0, all channels are
342              turned on.
343
344       -U     Instructs gt to unload all instruments from memory between  MIDI
345              files.   This  can  reduce memory requirements when playing many
346              files in succession.
347
348       -i interface
349              Selects the user interface from  the  compiled-in  alternatives.
350              interface must begin with one of the supported interface identi‐
351              fiers.  Run gt with the -h option to see a list.  The  following
352              identifiers may be available:
353
354              -id    The  dumb  interface  --  plays files in sequence, prints
355                     messages according to verbosity level.   The  trace  mode
356                     shows the current and total playing time.
357
358              -in    The  ncurses  full-screen interface with interactive con‐
359                     trols.
360
361              Interface options
362                     Option characters may  be  added  immediately  after  the
363                     interface  identifier.   The following options are recog‐
364                     nized:
365
366                     v      Increases verbosity.  This option is cumulative.
367
368                     q      Decreases verbosity.  This option is cumulative.
369
370                     t      Toggles trace mode.  Trace mode is the default for
371                            the  ncurses  interface, so t turns it off.  Trace
372                            mode is not very useful for  the  dumb  interface.
373                            The  ncurses display in trace mode displays events
374                            in midi time.  That is,  midi  events,  like  note
375                            onsets,  are  displayed  approximately at the time
376                            you hear them, though gt is working a second or so
377                            ahead in the song, calculating data to send to the
378                            output driver.  So midi time is  a  little  behind
379                            real  time.   However,  the  status  of  midi con‐
380                            trollers is shown in real time, so in the display,
381                            the  controllers  will  change slightly before you
382                            can hear their effects.
383
384       -B fragments
385              For the Linux sound driver, selects the number of  buffer
386              fragments.  Increasing the number of fragments may reduce
387              choppiness when many processes are  running.   Specify  a
388              fragments  of  0  to  use the maximum number of fragments
389              available.  The maximum number available is the  default,
390              and it's probably not useful to change that.
391

FILES

393       gt looks  for  the  configuration  file timidity.cfg at startup,
394       before processing any options.  If it can't be accessed, and the
395       library  path  is  changed with a -L option on the command line,
396       then the default file will be sought again along the new library
397       path  after processing all options, unless another configuration
398       file was specified with the -c option.
399
400       Configuration files define  the  mapping  of  MIDI  programs  to
401       instrument  files.   Multiple files may be specified, but state‐
402       ments in later ones will not override earlier ones.  The follow‐
403       ing statements can be used in a configuration file:
404
405       -p voices
406              Sets polyphony (maximum number of simultaneous voices) to
407              voices.
408
409       -A amplification
410              Multiplies the master volume by amplification%.
411
412       -X curve
413              With the value 0, the midi expression controller  affects
414              the  volume  linearly.   With  1  (the  default) or 2, it
415              affects volume exponentially.
416
417       -V curve
418              With the value 0, the midi volume controller affects  the
419              volume  linearly.   With 1 (the default) or 2, it affects
420              volume exponentially.
421
422       -C ratio
423              Sets the ratio of sampling and control frequencies.  This
424              determines  how often envelopes are recalculated -- small
425              ratios yield better quality but use more CPU time.
426
427       -s frequency
428              Sets the resampling frequency.  Not all sound devices are
429              capable  of  all  frequencies -- an approximate frequency
430              may be selected, depending on the implementation.
431
432       -k  number
433              Select interpolation algorithm for resampling: 0 for lin‐
434              ear  interpolation,  1  for  cspline interpolation, 2 for
435              LaGrange interpolation, 3 for cspline interpolation  with
436              low-pass filtering.
437
438       -r  number
439              Set maximum of ram in megabytes to use up keeping patches
440              from previously played midi files.  This  should  presum‐
441              ably  be  less  than your total ram plus disk cache size.
442              The default is 60 megabytes.  It probably doesn't  matter
443              unless you're using big sf2 soundfont patchsets.
444
445       -O mode
446              Same as corresponding commandline option.
447
448       dir directory
449              Adds  directory  to the search path in the same manner as
450              the -L command line option.
451
452       source file
453              Reads another configuration file, then continues process‐
454              ing the current one.
455
456       soundfont file
457              Loads  a  soundfont.   Unlike  the following sf2 command,
458              this offers no way to modify banks or presets inside  the
459              soundfont.  But it's easy to use.
460
461       sf2 file [option]
462              Reads  the  parameters and waveforms in an AWE-compatible
463              SoundFont file.  Both ".sbk" and ".sf2" SoundFonts can be
464              used.   Preceding  patch  mappings  must list all patches
465              that are to be loaded from the file,  and  the  preceding
466              bank/drumset  keywords  must  be  followed  by sf2 or sbk
467              (which are equivalent).  The options allowed are:
468
469              banknumber
470                     The bank  number  given  in  the  first  preceding
471                     "bank"/"drumset"  statement is to be used in place
472                     of the bank  banknumber  given  in  the  SoundFont
473                     itself.
474
475       if number
476              This  makes  the  next source or soundfont command in the
477              configure file conditional on the number being  the  same
478              as  a number supplied to gt as the patchset number, with,
479              e.g., the "-#n"  command  line  option.   Also,  if  this
480              appears  in  the  main config file timidity.cfg, the name
481              given with the following conditional command becomes  the
482              name of the patchset.
483
484       bank number [option] [[#N ]name]
485              Selects  the  tone  bank  to modify.  Patch mappings that
486              follow will affect this tone bank.  The  options  allowed
487              are  sf2  and  sbk,  which  were  described  above.   The
488              optional name is for the sake of the  display  interface,
489              so  the  bank can be shown with a meaningful name instead
490              of just a number.  The name assigned can be  preceded  by
491              "#N ", for compatibility with Timidity++, which otherwise
492              complains about the extra name argument.
493
494       drumset number [option] [[#N ]name]
495              Selects the drum set to modify.  Patch mappings that fol‐
496              low  will  affect this drum set.  The options allowed are
497              sf2 and sbk, which were described above.  As for the bank
498              statement described above, the name is for display.
499
500       sfx    Selects the XG non-rhythm SFX bank to modify.  Patch map‐
501              pings that follow will affect this tone bank.
502
503       bankxgnumber
504              Selects XG banks 1-16.  These have to  be  kept  separate
505              from  the  banks  1-16 used for GM/GS midis, because they
506              don't have the same types of instruments.
507
508       drumsfxnumber
509              Selects any of the 128  XG  rhythm  SFX  banks  (numbered
510              0-127) to modify.  Patch mappings that follow will affect
511              these drum banks.  (Older XG  midis  use  only  0  and  1
512              banks,  but now there are also banks 16 (Techno Kit K/S),
513              17 (Techno Kit Hi), 18 (Techno Kit Lo), 32 (Sakura  Kit),
514              and 33 (Small Latin Kit).
515
516       mu100number
517              Selects  an XG MU100 model specific bank, where number is
518              a multiple of 8.
519
520       vlnumber
521              Selects an XG VL bank, where number is 0 or 1.  (This  is
522              not  for  the  VL-XG  banks 112-119, which are treated as
523              ordinary banks.)
524
525       number file [options]
526              Specifies that the the MIDI program number in the current
527              tone  bank  or  drum set should be played using the patch
528              file.  options may be any of the following:
529
530              amp=amplification
531                     Amplifies the instrument's volume by amplification
532                     percent.
533
534              note=note
535                     Specifies  a  fixed  MIDI note to use when playing
536                     the instrument.  If note is 0, the instrument will
537                     be played at whatever note the Note On event trig‐
538                     gering it has. For percussion instruments,  if  no
539                     value  is specified in the configuration file, the
540                     default in the patch file will be used.
541
542              tuning=cents
543                     Changes the pitch of the instrument.  cents  is  a
544                     signed quantity in units of 1/100th of a semitone,
545                     so, e.g., specify "+1200" to go up an octave.  The
546                     number  must  begin with a "+" or a "-".  (Not yet
547                     implemented for soundfonts.)
548
549              pan=panning
550                     Sets the instrument's  default  panning.   panning
551                     may  be left, right, center, or an integer between
552                     -100 and 100, designating full left and full right
553                     respectively.   If  no  value  is  specified,  the
554                     default in the patch file will be used.  Note that
555                     panning  controls in MIDI files will override this
556                     value.
557
558              cutoff=Hz
559                     Sets the initial cutoff frequency for the low pass
560                     filter used in filter interpolation.
561
562              keep={loop|env|sustain}
563                     Strangely  shaped  envelopes are removed automati‐
564                     cally from melodic  instruments  in  GUS  patches.
565                     keep  can be used to prevent stripping envelope or
566                     loop data.  (Stripping  envelopes  was  originally
567                     the default for timidity, but in this version it's
568                     not, except for GUS percussion patches.  So  these
569                     options are seldom useful.)
570
571              strip={loop|env|tail|sustain}
572                     Force removal of loop or envelope information from
573                     all patches in the instrument, or strip the  tail,
574                     i.e.  all  data  after  the loop. Some third-party
575                     instruments have garbage after the loop,  as  evi‐
576                     denced by a clicking noise whenever the instrument
577                     is played, so adding the  strip=tail  option  will
578                     markedly improve sound quality.  The strip=sustain
579                     option  prevents  notes  from  being  held   until
580                     released.
581
582       NOTE:  Whenever any filename ends in one of the compiled-in com‐
583       pression identifiers, such as .gz, or .sht,  gt  will  pipe  the
584       file  through  the  appropriate  decompressor.  MIDI files often
585       compress very well, so the ability to  handle  compressed  files
586       can be useful.
587
588       The  special  filename  ``-'' can be used on the command line to
589       indicate that a MIDI file should be read from stdin.
590
592       Copyright (C) 1995 Tuukka Toivonen.
593       See AUTHORS below for additional copyrights.
594
595       gt/TiMidity is free software; you  can  redistribute  it  and/or
596       modify  it  under the terms of the GNU General Public License as
597       published by the Free Software Foundation; either version  2  of
598       the License, or (at your option) any later version.
599
600       TiMidity  is distributed in the hope that it will be useful, but
601       WITHOUT ANY WARRANTY; without even the implied warranty of  MER‐
602       CHANTABILITY  or  FITNESS FOR A PARTICULAR PURPOSE.  See the GNU
603       General Public License for more details.
604

AVAILABILITY

606       The latest release of the original version is available  on  the
607       TiMidity  Home  Page,  URL http://www.clinet.fi/~toivonen/timid‐
608       ity/.  (But the original version is no longer  being  maintained
609       -- see URL http://http://www.cgs.fi/~tt/discontinued.html.)  The
610       present    modified    version    is    available     at     URL
611       ftp://ling.lll.hawaii.edu/pub/greg/gt-0.3.tar.gz.
612

BUGS

614       8-bit and low-rate output sounds worse than it should.
615
616       Eats more CPU time than a small CPU-time-eating animal.
617

AUTHORS

619       Tuukka Toivonen <toivonen@clinet.fi>
620       Surround sound, reading extended GUS patches implemented by Greg
621       Lee.
622       HP-UX audio code, X-Motif interface, icons and antialiasing fil‐
623       ter by Vincent Pagel <pagel@loria.fr>
624       Tcl/Tk  interface  and  AWE  SoundFont  support  by Takashi Iwai
625       <iwai@dragon.mm.t.u-tokyo.ac.jp>
626       Windows 95/NT audio code by Davide Moretti <dmoretti@iper.net>
627       DEC audio  code  by  Chi  Ming  HUNG  <cmhung@insti.physics.sun‐
628       ysb.edu>
629       S-Lang    user    interface    by   Riccardo   Facchetti   <ric‐
630       cardo@cdc8g5.cdc.polimi.it>
631       IW patchset support, karaoke, AWE/XG enhancements, much  rework‐
632       ing    of    the    code    by    Greg   Lee   <lee@hawaii.edu>,
633       <greg@ling.lll.hawaii.edu>
634       KDE user interface "KMidi" Copyright  (C)  1997  Bernd  Johannes
635       Wuebben <wuebben@math.cornell.edu>
636       Effects  filter  by  Nicolas Witczak <witczak@geocities.fr>, see
637       URL http://www.geocities.com/SiliconValley/Lab/6307/).
638       Portamento, mod wheel, and other  enhancements  from  TiMidity++
639       Copyright  (C)  1999  Masanao  Izumo  <mo@goice.co.jp>.  See URL
640       http://www.goice.co.jp/member/mo/hack-progs/timidity.html.
641       alsa driver Copyright (C) 1999 Masanao Izumo <mo@goice.co.jp>
642       bsd20 driver  Written  by  Yamate  Keiichiro  <keiich-y@is.aist-
643       nara.ac.jp>
644       esd driver by Avatar <avatar@deva.net>
645       hpux_d driver Copyright 1997 Lawrence T. Hoff
646       nas driver Copyright (C) 1999 Michael Haardt <michael@moria.de>
647       XAW   Interface   from   Tomokazu   Harada  <harada@prince.pe.u-
648       tokyo.ac.jp> and Yoshishige Arai <ryo2@on.rim.or.jp>
649       GTK+ interface by Glenn Trigg 29 Oct 1998
650       The autoconf script is (C)Copyright  1998  by  Hiroshi  Takekawa
651       <t80679@hongo.ecc.u-tokyo.ac.jp>, modified for automake by Isaku
652       Yamahata <yamahata@kusm.kyoto-u.ac.jp>, modified for automake by
653       Masanao Izumo <mo@goice.co.jp> (1998.11).
654       The  m4  autoconf definitions: Configure paths for ESD by Manish
655       Singh 98-9-30, stolen back from Frank Belew, stolen from  Manish
656       Singh, Shamelessly stolen from Owen Taylor.
657       Configure   Paths   for  Alsa  by  Christopher  Lansdown  (lans‐
658       doct@cs.alfred.edu),  29/10/1998,  modified  for  TiMidity++  by
659       Isaku Yamahata(yamahata@kusm.kyoto-u.ac.jp), 16/12/1998.
660
661
662
663                                  8 Sep 1995                             GT(1)
Impressum