1timidity(1) General Commands Manual timidity(1)
2
6 TiMidity++ - MIDI-to-WAVE converter and player
7
9 timidity [options] filename [...]
10
12 TiMidity++ is a converter that converts some of MIDI files (supported
13 formats: Standard MIDI files (*.mid), Recomposer files (*.rcp, *.r36,
14 *.g18, *.g36) and Module files (*.mod)) into formatted audio files
15 (e.g. RIFF WAVE). TiMidity++ uses Gravis Ultrasound-compatible patch
16 files or Soundfonts (*.sfx, *.sf2) to generate digital audio data from
17 MIDI files. The digital audio data generated by TiMidity++ can be
18 stored in a file for processing, or played in real time through an
19 audio device.
20 In real time playing, TiMidity++ can show the lyrics contained in KAR
21 or WRD files.
22
24 You can use the following expressions as the filename argument:
25 - Read a MIDI file from standard input.
27 path/filename
29 Read a MIDI file from the specified path on a filesystem.
30 dir:directory
32 directory/
33 Read and play all MIDI files in the specified directory. For
34 example,
35 % timidity some/where/
37 plays all files in the directory some/where/.
39 Archive File
41 Extract and play the file(s) in the archive. If you want to
42 specify a certain MIDI file in the archive, append #<MIDI-file‐
43 name> to the archive name. The path after `#' allows the use of
44 the wildcard expressions (case insensitive).
45 You can use escape sequence \xHH, where `HH' is a ASCII number
46 in hexadecimal integer.
47 For example:
49 % timidity file.zip#file.mid
51 Plays file.mid in file.zip
52 % timidity file.lzh#*.mid
54 Plays any files that match the wildcard expression *.mid
55 in file.lzh
56 % timidity file.tgz#*
58 This expression is the same as file.tgz
59 Since these mechanism are contained in TiMidity++ itself, you
61 can use this syntax even in the MS Windows environment.
62 TiMidity++ can handle the following archive formats:
64 tar (*.tar)
66 tar+gzip (*.tar.gz, *.tgz)
68 zip (*.zip)
70 lzh (*.lzh, *.lha)
72 (lh0, lh1, lh2, lh3, lh4, lh5, lh6, lz4, lzs and lz5 are
73 available)
74 Other archives can be expanded if expander command is specified
76 on the compile phase. TiMidity++ will pipe that command.
77 news://news-server[:port]/Message-ID
79 news://news-server[:port]/newsgroup[/first-last]
80 Play the MIDI file in the specified article on the news server.
81 If a newsgroup is specified TiMidity++ plays all MIDI files
82 found in any article posted to that newsgroup.
83 TiMidity++ parses MIME Multi-part messages in case of news://*
84 scheme, extracts MIDI file that was post to that group, or in
85 case of normal file, you can explicitly handle MIME documents by
86 naming that file with *.mime extension, or prefix that file with
87 mime:
88 The following MIME-types are allowed:
90 uu-encoded file
92 begin
93 is required
94 base64 encoded
96 Content-Transfer-Encoding: base64
97 is required
98 quoted-string
100 Content-Transfer-Encoding: quoted-string
101 is required
102 Mac BinHex format
104 only HQX format is available
105 http://address
107 ftp://address
108 Play the file specified in the URL.
109 For example:
111 % timidity http://www.goice.co.jp/mem‐
113 ber/mo/dist/midi/impromptu.mid
114 plays the specified MIDI-file directly from the network.
115 If these expression are used in the *.cfg files, you can even
117 use patch-files (and others) from remote machines.
118
120 TiMidity++ can handle the following file formats:
121 .mid, .rmi (Format 0, 1, 2)
123 Standard MIDI File
124 .rcp, .r36, .g18, .g36 (Recomposer formats)
126 Recomposer format which is product for COME ON MUSIC co.
127 .mfi (MFi Version 3 - Melody Format for i-Mode)
129 i-Mode is Japanese local mobile phone
130 .kar (Karaoke format)
132 Displays the lyrics as a Lyric Meta Event message.
133 .mod, mod.* (Module file)
135 .wrd (WRD format)
137
139 The following command line options are accepted by TiMidity++:
140 -A [n][,m](a)
142 --amplification=n
143 --drumpower=m
144 --[no-]volume-compensation
145 Multiplies the master volume by n%. Default value is 70%.
146 Higher amplification makes louder sounds. You can specify the
147 drum power, ratio of drum volume from the other channels. The
148 allowed values of amplification range from 0 (no sound) to 800.
149 Optionally to put `a' character along with -a option, or to use
150 --volume-compensation, instructs TiMidity++ to regularize the
151 volume. You can easily gain dynamic range.
152 For example:
154 -A90 volume 90%, drum power 100%, compensation is off
156 -A,120 volume 70%, drum power 120%, compensation is off
158 -A90,120
160 volume 90%, drum power 120%, compensation is off
161 -Aa volume 70%, drum power 100%, compensation is on
163 -A90a volume 90%, drum power 100%, compensation is on
165 -A,120a
167 volume 70%, drum power 120%, compensation is on
168 -A90,120a
170 volume 90%, drum power 120%, compensation is on
171 -a, --[no-]anti-alias
173 Turns on anti-aliasing. Samples are run through a lowpass fil‐
174 ter before playing, which reduces aliasing noise at low resam‐
175 pling frequencies.
176 -B n,m, --buffer-fragments=n,m
178 For the Linux/FreeBSD/OSS/ALSA/Windows sound driver, selects the
179 number of buffer fragments in interactive mode. Increasing the
180 number of fragments may reduce choppiness when many processes
181 are running. It will make TiMidity++ seem to respond sluggishly
182 to fast forward, rewind, and volume controls, and it will throw
183 the status display off sync. Specify a fragments number of 0 to
184 use the maximum number of fragments available.
185 -C n, --control-ratio=n
187 Sets the ratio of sampling and control frequencies. This deter‐
188 mines how often envelopes are recalculated -- small ratios yield
189 better quality but use more CPU time.
190 -c file, --config-file=file
192 Reads an extra configuration file.
193 -D n, --drum-channel=n
195 Marks channel as a drum channel. If channel is negative, chan‐
196 nel -n is marked as an instrumental channel. If n is 0, all
197 channels are marked as instrumental.
198 -d dir, --interface-path=dir
200 Specifies the directory containing installed dynamic-link inter‐
201 face modules.
202 -E mode, --ext=mode
204 Set TiMidity++ extend modes. The following modes are available
205 (capitalized switch means disable this feature):
206 w/W, --[no-]mod-wheel
208 Enable/disable modulation controlling.
209 p/P, --[no-]portamento
211 Enable/disable portamento controlling.
212 v/V, --[no-]vibrato
214 Enable/disable NRPM vibration.
215 s/S, --[no-]ch-pressure
217 Enable/disable channel pressure controlling.
218 e/E, --[no-]mod-envelope
220 Enable/disable modulation envelope controlling.
221 t/T, --[no-]trace-text-meta
223 Enable/disable tracing all Text Meta Events.
224 o/O, --[no-]overlap-voice
226 Accept/reject pronouncing multiple same notes.
227 z/Z, --[no-]temper-control
229 Enable/disable MIDI Tuning Standard temperament control‐
230 ling.
231 mHH, --default-mid=HH
233 Sets the manufacturer ID to HH (where HH are two hex-dig‐
234 its).
235 HH values of GS/gs, XG/xg or GM/gm are understood as 41,
236 43 and 7e respectively.
237 MHH, --system-mid=HH
239 Sets the system manufacturer ID to HH (where HH are two
240 hex-digits).
241 In this option, the manufacture ID is set unchangeable.
242 Manufacture ID from the input file would be ignored.
243 bn, --default-bank=n
245 Use tone bank n as the default.
246 Bn, --force-bank=n
248 Sets the bank number of all channels to n.
249 in[/m], --default-program=n[/m]
251 Use the program number as the default instrument. Any
252 Program Change events in MIDI files will override this
253 option.
254 If n is followed by /m the default program number of the
255 channel m is specified by n.
256 In[/m], --force-program=n[/m]
258 Similar to -Ei but this ignores all program changes.
259 F args For effects. See below. In args option, you can specify
261 following effect options:
262 delay=(d|l|r|b)[,msec], --delay=(d|l|r|b)[,msec]
264 Sets delay type.
265 d, 0 Disabled delay effect.
267 l, 1 Left delay.
269 r, 2 Right delay.
271 b, 3 Swap left & right.
273 Optional msec is the delay time.
275 chorus=(d|n|s)[,level], --chorus=(d|n|s)[,level]
277 d, 0 Disable this effect.
279 n, 1 Enable MIDI chorus effect control.
281 s, 2 Surround sound, chorus detuned to a lesser
283 degree (default).
284 The optional parameter level specifies the chorus
286 level 0 to 127.
287 reverb=(d|n|g)[,level], --reverb=(d|n|g)[,level]
289 reverb=(f|G)[,level,scaleroom,offsetroom,predelay]
291 --reverb=(f|G)[,level,scaleroom,offsetroom,predelay]
293 d, 0 Disable MIDI reverb effect control.
295 n, 1 Enable MIDI reverb effect control. This
297 effect is only available in stereo.
298 g, 2 Global reverb effect.
300 f, 3 Freeverb MIDI reverb effect control
302 (default).
303 G, 4 Global Freeverb effect.
305 The optional parameter level specifies the reverb
307 level 0 to 127.
308 For Freeverb effect, additional parameters scale‐
309 room, offsetroom and predelay can be specified.
310 scaleroom and offsetroom specify variables for the
311 room size calculated as
312 roomsize = C * scaleroom + offsetroom
313 where C is the reverberation character. predelay
314 specifies the factor for pre-delay time of rever‐
315 beration in percent. Any of the optional parame‐
316 ters can be omitted. Default values are 0.28, 0.7
317 and 100 respectively.
318 vlpf=(d|c|m), --voice-lpf=(d|c|m)
320 d, 0 Disable LPF effect.
322 c, 1 Chamberlin resonant LPF (12dB/oct)
324 (default).
325 m, 2 Moog resonant low-pass VCF (24dB/oct)
327 ns=n, --noise-shaping=n
329 Enable the n th degree noiseshaping filter. The
330 distortion at decay stage is improved, but the
331 noise on human auditory feeling increases because
332 it shifts to a high frequency. In case of 8-bit
333 linear encoding, valid values of n are in the
334 interval from 0 (min) to 4 (max). Default value
335 is 4. In case of 16-bit linear encoding, valid
336 values of n are in the interval from 0 to 4.
337 According to the value, it works as following.
338 Default value is 4.
339 0 No noise shaping.
341 1 Traditional noise shaping.
343 2 Overdrive-like soft-clipping + new noise
345 shaping.
346 3 Tube-amplifier-like soft-clipping + new
348 noise shaping.
349 4 New noise shaping.
351 resamp=(d|l|c|L|n|g), --resample=(d|l|c|L|n|g)
353 d, 0 No interpolation.
355 l, 1 Linear interpolation.
357 c, 2 Cubic spline interpolation.
359 L, 3 Lagrange method.
361 n, 4 Newton polynomial interpolation.
363 g, 5 Modified Gauss effect (default).
365 This option affects the behavior of -N option.
367 -e, --evil
369 Make TiMidity++ evil. For the Win32 version, this increases the
370 task priority by one. It can give better playback when you
371 switch tasks at the expense of slowing all other tasks down.
372 -F, --[no-]fast-panning
374 Turns on fast panning to accommodate MIDI pieces that expect
375 panning adjustments to affect notes that are already playing.
376 Some files that don't expect this have a habit of flipping bal‐
377 ance rapidly between left and right, which can cause severe pop‐
378 ping when the -F flag is used.
379 In the current version of TiMidity++ this option is a toggle.
380 -f, --[no-]fast-decay
382 Toggles fast envelopes. This option makes TiMidity++ faster but
383 the release time of the notes are shortened.
384 -g sec, --spectrogram=sec
386 Open the Sound-Spectrogram window. This option is activated if
387 the system has support for the X Window System.
388 -H n, --force-keysig=n
390 Specify the number of key signature. MIDI file is performed
391 with transposition to the key of the number of sharp (when n is
392 positive) or flat (when n is negative). Valid values of n are
393 in the interval from -7 to 7. For example, if n is 1, MIDI file
394 with any tonality will be performed transposing to 1 flat (i.e.,
395 F major or D minor). Therefore, it is convenient to use for the
396 accompaniment when practicing a musical instrument by the tonal‐
397 ity which is easy to perform.
398 -h, --help
400 Show the help message.
401 -i mode, --interface=mode
403 --realtime-priority=n
404 --sequencer-ports=n
405 Selects the user interfaces from the compiled-in alternatives.
406 mode must be begun with one of the supported interface identi‐
407 fiers. Run TiMidity++ with the -h option to see a list.
408 For ALSA sequencer interface, optionally to use --realtime-pri‐
409 ority, set the realtime priority by n, and to use
410 --sequencer-ports, set the number of opened sequencer ports.
411 Default value is 4.
412 The following identifiers may be available:
413 -id dumb interface
415 -in ncurses interface
417 -is S-Lang interface
419 -ia X Athena Widget interface
421 -ik Tcl/Tk interface
423 -im Motif interface
425 -iT vt100 interface
427 -ie Emacs interface
429 (use ``M-x timidity'' in Emacs)
430 -ii skin interface
432 Environment variable TIMIDITY_SKIN must be set to the
433 path of the skin data (compressed data are also sup‐
434 ported).
435 -ig GTK+ interface
437 -ir Launch TiMidity++ as MIDI server.
439 -iA Launch TiMidity++ as ALSA sequencer client.
441 -iW Windows synthesizer interface
443 -iw Windows GUI interface
445 -iP PortMIDI synthesizer interface
447 -ip UMP interface
449 Interface options
451 Option characters may be added immediately after the
452 interface identifier. The following options are recog‐
453 nized:
454 v, --verbose=n
456 Increases verbosity level. This option is cumula‐
457 tive.
458 q, --quiet=n
460 Decreases verbosity level. This option is cumula‐
461 tive.
462 t, --[no-]trace
464 Toggles trace mode. In trace mode, TiMidity++
465 attempts to display its current state in real
466 time. For the Linux sound driver, this is accom‐
467 plished through the use of short DMA buffer frag‐
468 ments, which can be tuned via the -B option.
469 l, --[no-]loop
471 Loop playing (some interfaces ignore this option)
472 r, --[no-]random
474 Randomize file list arguments before playing
475 s, --[no-]sort
477 Sort file list arguments before playing
478 D, --[no-]background
480 Daemonize TiMidity++ in background (for alsaseq
481 only)
482 -j, --[no-]realtime-load
484 Enable the loading of patch files during play.
485 -K n, --adjust-key=n
487 Adjusts key (i.e., transposes the song) by n half tones. Ranges
488 from -24 to 24.
489 -k msec, --voice-queue=msec
491 Specify audio queue time limit to reduce voices. If the remain‐
492 ing audio buffer is less than msec milliseconds, TiMidity++
493 tries to kill some voices. This feature makes it possible to
494 play complicated MIDI files on slow CPUs. Setting msec to zero
495 tells TiMidity++ to never remove any voices.
496 -L path, --patch-path=path
498 Adds path to the library path. Patch, configuration, and MIDI
499 files are searched along this path. Directories added last will
500 be searched first. Note that the current directory is always
501 searched first before the library path.
502 -M name, --pcm-file=name
504 TiMidity++ can play a PCM file instead of a MIDI file. If
505 ``auto'' is specified, TiMidity++ tries to open foo.mid.wav or
506 foo.mid.aiff when playing foo.mid. If ``none'' is specified,
507 this feature is disabled. Otherwise just plays name.
508 -m msec, --decay-time=msec
510 Modify envelope volume decay time. msec is the minimum number
511 of milliseconds to sustain a sustained note.
512 -m0 Disable sustain ramping, causes constant volume sustains
514 (default).
515 -m1 Effectively behaves as if all sustains are ignored, vol‐
517 ume ramping is the same as normal stage 3.
518 -m3000 A note at full volume will decay for 3 seconds once it
520 begins to be sustained (assuming the regular stage 3 rate
521 would not cause it to decay even longer). Softer notes
522 will of course die sooner.
523 -N n, --interpolation=n
525 Sets interpolation parameter. This option depends on the -EFre‐
526 samp option's value.
527 cspline, lagrange
529 Toggles 4-point linear interpolation (default is on).
530 newton n point interpolation using Newton polynomials. n must
532 be an odd number from 1 to 57.
533 gauss n+1 point modified Gauss interpolation. Ranges 0 (dis‐
535 able) to 34 (max), default to 25.
536 In either way, linear interpolation is used if audio queue <
538 99%.
539 -O mode, --output-mode=mode
541 --flac-verify
542 --flac-padding=n
543 --flac-complevel=n
544 --oggflac
545 --speex-quality=n
546 --speex-vbr
547 --speex-abr=n
548 --speex-vad
549 --speex-dtx
550 --speex-complexity=n
551 --speex-nframes=n
552 Selects the output mode from the compiled-in alternatives. mode
553 must begin with one of the supported output mode identifiers.
554 Run TiMidity++ with the -h option to see the list.
555 Special in Ogg FLAC output mode, verifying generated data (will
556 be a bit slower), the size of header padding (default is 4096),
557 the compression level (0 to 8) (default is 5), and enabling
558 OggFLAC stream can be specified by --flac-verify, --flac-pad‐
559 ding, --flac-complevel and --oggflac options respectively.
560 Special in Ogg Speex output mode, the compression quality (0 to
561 10) (default is 8), Enabling VBR output, enabling ABR output and
562 setting the ratio to n, enabling VAD (voice activity detection),
563 enabling DTX (discontinuous transmission), the encoding complex‐
564 ity (0 to 10) (default is 3), and frames in a single Ogg packet
565 (0 to 10) (default is 1) can be specified by --speex-quality,
566 --speex-vbr, --speex-abr, --speex-vad, --speex-dtx, --speex-com‐
567 plexity and --speex-nframes options respectively.
568 The following identifiers are available in all versions:
569 -Od Outputs via audio device (default)
571 -Os Output to ALSA
573 -Or Generate raw waveform data. All format options are sup‐
575 ported. Common formats include:
576 -OrU u-Law
578 -Or1sl 16-bit signed linear PCM
580 -Or8ul 8-bit unsigned linear PCM
582 -Ou Generate Sun Audio (au) data
584 -Oa Generate AIFF data
586 -Ow Generate RIFF WAVE format output. If output is directed
588 to a non-seekable file, or if TiMidity++ is interrupted
589 before closing the file, the file header will contain
590 0xffffffff in the RIFF and data block length fields. The
591 popular sound conversion utility sox is able to read such
592 malformed files, so you can pipe data directly to sox for
593 on-the-fly conversion to other formats.
594 -Ol List MIDI events
596 -OM MOD -> MIDI conversion
598 -Oe EsounD
600 -Op PortAudio
602 -Oj JACK
604 -OR aRts
606 -OA Alib
608 -Ov Ogg Vorbis
610 -OF Ogg FLAC
612 -OS Ogg Speex
614 -OO libdao
616 Format options
618 Option characters may be added immediately after the mode
619 identifier to change the output format. The following
620 options are recognized:
621 S, --output-stereo
623 Stereo
624 M, --output-mono
626 Monophonic
627 s, --output-signed
629 Signed output
630 u, --output-unsigned
632 Unsigned output
633 1, --output-16bit
635 16-bit sample width
636 2, --output-24bit
638 24-bit sample width
639 8, --output-8bit
641 8-bit sample width
642 l, --output-linear
644 Linear encoding
645 U, --output-ulaw
647 u-Law (8-bit) encoding
648 A, --output-alaw
650 A-Law encoding
651 x, --[no-]output-swab
653 Byte-swapped output
654 Note that some options have no effect on some modes. For
656 example, you cannot generate a byte-swapped RIFF WAVE
657 file, or force uLaw output on a Linux PCM device.
658 -o file, --output-file=file
660 Place output on file, which may be a file, device, or HP-UX
661 audio server, depending on the output mode selected with the -O
662 option. The special filename `-' causes output to be placed on
663 stdout.
664 -P file, --patch-file=file
666 Use patch file for all programs.
667 -p [n](a)
669 --polyphony=n
670 --[no-]polyphony-reduction
671 Sets polyphony (maximum number of simultaneous voices) to n.
672 Optionally to put `a' character along with -p option, or to use
673 --polyphony-reduction, instructs TiMidity++ to enable automatic
674 polyphony reduction algorithm.
675 -Q n[,...](t)
677 --mute=n[,...]
678 --temper-mute=n[,...]
679 Cause channel n to be quiet. n can carry out package specifica‐
680 tion by `,'. If n is 0, all channels are turned off. Continu‐
681 ously, specifying -n, channel n is turned back on.
682 On the other hand, to put `t' character after -Q option or to
683 use --temper-mute describes temperament mute. This mutes chan‐
684 nels of specific temperament type n. For preset temperament, n
685 can range 0 to 3. For user-defined temperament, n can range 4
686 to 7.
687 -q sec/n, --audio-buffer=sec/n
689 Specify audio buffer in seconds. sec maximum size of buffer, n
690 percentage filled at the beginning (default is 5.0/100) (size of
691 100% equals the whole device buffer size).
692 -R msec
694 Enables Pseudo Reverb Mode. It sets every instrument's release
695 to msec ms. If msec is 0, msec is set to 800 (default).
696 -S n, --cache-size=n
698 Sets the re-sample cache size to n bytes. If n equals 0 any
699 sample caches are disabled. The default value of n is 2097152
700 (2MB).
701 -s freq, --sampling-freq=freq
703 Sets the resampling frequency (Hz or kHz). Not all sound
704 devices are capable of all frequencies -- an approximate fre‐
705 quency may be selected, depending on the implementation.
706 -T n, --adjust-tempo=n
708 Adjust tempo to n%; 120 play MOD files with an NTSC Amiga's tim‐
709 ing.
710 -t code, --output-charset=code
712 Sets output coding of Japanese text. Possible values of code
713 are:
714 auto determined by the LANG environment variable.
716 ascii Translates non-ASCII code to period.
718 nocnv No conversion.
720 1251 Convert from windows-1251 to koi8-r.
722 euc Outputs EUC (Japan) coding.
724 jis Outputs JIS coding.
726 sjis Outputs SJIS coding.
728 -U, --[no-]unload-instruments
730 Unload all instruments from memory between MIDI files. This can
731 reduce memory requirements when playing many files in succes‐
732 sion.
733 -V power, --volume-curve=power
735 Set the power of volume curve. The total amplification becomes
736 volume^power. 0 (default) uses the regular tables. Any
737 non-zero value causes all midi to use the new user defined
738 velocity/volume/expression curve (linear: 1, ideal: ~1.661, GS:
739 ~2).
740 -v, --version
742 Show the version string
743 -W mode, --wrd=mode
745 Play WRD file.
746 Allowed values of mode are:
748 x X Window System mode
750 w Windows console mode
752 t TTY mode
754 d Dumb mode (outputs WRD events directory)
756 - do not trace WRD
758 R[opts]
760 Sets WRD options:
761 a1=b1,a2=b2,...
763 Sets the WRD options. an is the name of option
764 and bn is the value.
765 d=n Emulates timing (@WAIT, @WMODE) bugs of the origi‐
767 nal MIMPI player. The emulation levels are:
768 -WRd=0 do not emulate any bugs of MIMPI
770 -WRd=1 only emulate some bugs (default)
772 -WRd=2 emulate all known bugs
774 F=file Use file as WRD file only no file matching *.wrd
776 is found.
777 f=file Uses file as WRD file.
779 WRD mode must also use trace mode (option -i?t) or the timing of
781 the WRD events will be terrible.
782 -w mode, --rcpcv-dll=mode
784 Extended mode for MS Windows. The following options are avail‐
785 able:
786 -w r Use rcpcv.dll to play RCP/R36 files.
788 -w R Do not use rcpcv.dll (default).
790 -x str, --config-string=str
792 Configure TiMidity++ with str. The format of str is the same as
793 timidity.cfg.
794 For example:
796 -x'bank 0\n0 violin.pat'
797 Sets the instrument number 0 to violin.
798 Character `\' (Ascii 0x5c) in the str is treated as escape char‐
799 acter like in C literals. For example \n is treated as carriage
800 return.
801 -Z file, --freq-table=file
803 Cause the table of frequencies to be read from file. This is
804 useful to define a tuning different from 12-equal temperament.
805 If ``pure'' is specified, TiMidity++ plays in trial pure intona‐
806 tion.
807 -Zpure[n(m)], --pure-intonation=[n(m)]
809 Play in trial pure intonation by Key Signature meta-event
810 in the MIDI file. You can specify the initial keysig by
811 hand, in case the MIDI file does not contains the
812 meta-event. Optionally, n is the number of key signa‐
813 ture. In case of sharp, n is positive. In case of flat,
814 n is negative. Valid values of n are in the interval
815 from -7 to 7. In case of minor mode, you should put `m'
816 character along with -Zpure option.
817 --module=n
819 Simulate behavior of specific synthesizer module as much as pos‐
820 sible. For the moment, the value of n defined is as follows:
821 0 TiMidity++ Default
823 1 Roland SC-55
825 2 Roland SC-88
827 3 Roland SC-88Pro
829 4 Roland SC-8850
831 5-15 Reserved for GS family
833 16 YAMAHA MU-50
835 17 YAMAHA MU-80
837 18 YAMAHA MU-90
839 19 YAMAHA MU-100
841 20-31 Reserved for XG family
843 32 SoundBlaster Live!
845 33 SoundBlaster Audigy
847 34-111 Reserved for other synthesizer modules
849 112 TiMidity++ Special 1
851 113-126
853 Reserved for TiMidity++ specification purposes
854 127 TiMidity++ Debug
856
858 lsmidiprog(1), mididump(1), patinfo(1), sf2text(1), wav2pat(1), timid‐
859 ity.cfg(5)
860
862 Copyright (C) 1999-2004 Masanao Izumo <iz@onicos.co.jp>
863 Copyright (C) 1995 Tuukka Toivonen <tt@cgs.fi>
864 The original version was developed by Tuukka Toivonen <tt@cgs.fi> until
866 the release of TiMidity-0.2i. His development was discontinued because
867 of his being busy with work.
868 This program is free software; you can redistribute it and/or modify it
870 under the terms of the GNU General Public License as published by the
871 Free Software Foundation; either version 2 of the License, or (at your
872 option) any later version.
873 This program is distributed in the hope that it will be useful, but
875 WITHOUT ANY WARRANTY; without even the implied warranty of MER‐
876 CHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General
877 Public License for more details.
878 You should have received a copy of the GNU General Public License along
880 with this program; if not, write to the Free Software Foundation, Inc.,
881 59 Temple Place, Suite 330, Boston, MA 02111-1307 USA
882
884 The latest release is available on the TiMidity++ Page,
885 URL http://www.timidity.jp/
887
889 Eats more CPU time than a small CPU-time-eating animal.
890 This man page was translated from Japanese to English by me with poor
892 English skill :-)
893
895 Version 0.2i and earlier:
896 Tuukka Toivonen <tt@cgs.fi>
897 Vincent Pagel <pagel@loria.fr>
898 Takashi Iwai <tiwai@suse.de>
899 Davide Moretti <dave@rimini.com>
900 Chi Ming HUNG <cmhung@insti.physics.sunysb.edu>
901 Riccardo Facchetti <riccardo@cdc8g5.cdc.polimi.it>
902 TiMidity++:
904 IZUMO Masanao <iz@onicos.co.jp>
905 HARADA Tomokazu <harada@prince.pe.u-tokyo.ac.jp>
906 YAMATE Keiichirou <keiich-y@is.aist-nara.ac.jp>
907 KIRYU Masaki <mkiryu@usa.net>
908 AOKI Daisuke <dai@y7.net>
909 MATSUMOTO Shoji <shom@i.h.kyoto-u.ac.jp>
910 KOYANAGI Masaaki <koyanagi@okilab.oki.co.jp>
911 IMAI Kunihiko <imai@leo.ec.t.kanazawa-u.ac.jp>
912 NOGAMI Takaya <t-nogami@happy.email.ne.jp>
913 WATANABE Takanori <takawata@shidahara1.planet.kobe-u.ac.jp>
914 TAKEKAWA Hiroshi <sian@big.or.jp>
915 NAGANO Daisuke <breeze.nagano@nifty.ne.jp>
916 KINOSHITA kosuke <kino@krhm.jvc-victor.co.jp>
917 SHIGEMURA Norikatsu <nork@ninth-nine.com>
918 YAMAHATA Isaku <yamahata@kusm.kyoto-u.ac.jp>
919 ARAI Yoshishige <ryo2@on.rim.or.jp>
920 Glenn Trigg <ggt@netspace.net.au>
921 Tim Allen <thristian@usa.net>
922 Michael Haardt <michael@moria.de>
923 Eric A. Welsh <ewelsh@ccb.wustl.edu>
924 Paolo Bonzini <bonzini@gnu.org>
925 KIMOTO Masahiko <kimoto@ohnolab.org>
926 IWAI Takashi <tiwai@suse.de>
927 Saito <saito2@digitalme.com>
928 SATO Kentaro <kentaro@ps.catv.ne.jp>
929 TAMUKI Shoichi <tamuki@linet.gr.jp>
930 URABE Shohei <root@mput.dip.jp>
931 SUENAGA Keishi <s_keishi@mutt.freemail.ne.jp>
932 SUZUKI Koji <k@kekyo.net>
933 (titles omitted and an order different)
935 and other many people sends information and bug-fix codes.
937 The English version of this man page was written by NAGANO Daisuke
939 <breeze.nagano@nifty.ne.jp>.
940 Now, TAMUKI Shoichi <tamuki@linet.gr.jp> and URABE Shohei
942 <root@mput.dip.jp> are maintaining the man page.
943 If you have any comments or suggestions or complaints :) about this man
944 page, please tell us it.
9452.13.0 April 25 2004 timidity(1)