1GT(1) General Commands Manual GT(1)
2
6 gt - version of TiMidity MIDI to WAVE converter and player
7
9 gt [-options] [directoryname | filenames ...] [-options]
10
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 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 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 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 Here is what is shown on the ncurses display:
45 line 1 Program title.
47 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 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 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 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 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 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 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 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 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 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 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 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 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 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
183 The following command line options are accepted by version 0.1 of gt:
184 -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 -v Copyright statement from Tuukko Toivonen.
193 -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 -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 -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 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 8 8-bit sample width
219 1 16-bit sample width
221 l Linear encoding
223 U uLaw (8-bit) encoding
225 M Monophonic
227 S Stereo
229 q Quadraphonic
231 s Signed output
233 u Unsigned output
235 x Byte-swapped output
237 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 -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 -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 -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 -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 -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 -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 -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 -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 -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 -p voices
291 Sets polyphony (maximum number of simultaneous voices) to
292 voices.
293 -A amplification
295 Multiplies the master volume by amplification%.
296 -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 -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 -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 -# 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 -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 -c file
326 Reads an extra configuration file.
327 -I number
329 Uses the program number as the default instrument. Any Program
330 Change events in MIDI files will override this option.
331 -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 -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 -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 -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 -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 -in The ncurses full-screen interface with interactive con‐
359 trols.
360 Interface options
362 Option characters may be added immediately after the
363 interface identifier. The following options are recog‐
364 nized:
365 v Increases verbosity. This option is cumulative.
367 q Decreases verbosity. This option is cumulative.
369 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 -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
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 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 -p voices
406 Sets polyphony (maximum number of simultaneous voices) to
407 voices.
408 -A amplification
410 Multiplies the master volume by amplification%.
411 -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 -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 -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 -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 -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 -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 -O mode
446 Same as corresponding commandline option.
447 dir directory
449 Adds directory to the search path in the same manner as
450 the -L command line option.
451 source file
453 Reads another configuration file, then continues process‐
454 ing the current one.
455 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 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 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 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 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 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 sfx Selects the XG non-rhythm SFX bank to modify. Patch map‐
501 pings that follow will affect this tone bank.
502 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 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 mu100number
517 Selects an XG MU100 model specific bank, where number is
518 a multiple of 8.
519 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 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 amp=amplification
531 Amplifies the instrument's volume by amplification
532 percent.
533 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 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 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 cutoff=Hz
559 Sets the initial cutoff frequency for the low pass
560 filter used in filter interpolation.
561 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 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 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 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 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 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
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
614 8-bit and low-rate output sounds worse than it should.
615 Eats more CPU time than a small CPU-time-eating animal.
617
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 8 Sep 1995 GT(1)