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 au‐
19 dio 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/member/mo/dist/midi/im‐
113 promptu.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 (de‐
302 fault).
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) (de‐
324 fault).
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 in‐
334 terval from 0 (min) to 4 (max). Default value is
335 4. In case of 16-bit linear encoding, valid val‐
336 ues of n are in the interval from 0 to 4. Accord‐
337 ing to the value, it works as following. Default
338 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 begin1-end1[,begin2-end2,...](m)
386 --segment=begin1-end1[,begin2-end2,...](m)
387 Play just sub-segment(s) specified by comma separated time seg‐
388 ments.
389 Each time segment defined by dash separated time values of: be‐
390 gin-end - defaulted to 0-infinity. Playing from begin to end.
391 Time format: [<minutes>:]<seconds>[.<milliseconds>]
393 To put `m' character along with the option treats it as measure
395 and beat instead of seconds.
396 Time format: <measure>[.<beat>] (measure and beat are one-ori‐
398 gin)
399 For example:
401 -G12-1:00.500
403 Skip 12 seconds and stop at 1 minute and half a second.
404 -G-5,2:00-
406 Play the initial 5 seconds, then skip to 2 minutes from
407 start and play till end.
408 -G11.4-20m -G4:00-
410 Play from the 4th beat in the 11th measure to the 20th
411 measure, then skip to 4 minutes from start and play till
412 end.
413 -g sec, --spectrogram=sec
415 Open the Sound-Spectrogram window. This option is activated if
416 the system has support for the X Window System.
417 -H n, --force-keysig=n
419 Specify the number of key signature. MIDI file is performed
420 with transposition to the key of the number of sharp (when n is
421 positive) or flat (when n is negative). Valid values of n are
422 in the interval from -7 to 7. For example, if n is 1, MIDI file
423 with any tonality will be performed transposing to 1 flat (i.e.,
424 F major or D minor). Therefore, it is convenient to use for the
425 accompaniment when practicing a musical instrument by the tonal‐
426 ity which is easy to perform.
427 -h, --help
429 Show the help message.
430 -i mode, --interface=mode
432 --realtime-priority=n
433 --sequencer-ports=n
434 Selects the user interfaces from the compiled-in alternatives.
435 mode must be begun with one of the supported interface identi‐
436 fiers. Run TiMidity++ with the -h option to see a list.
437 For ALSA sequencer interface, optionally to use --realtime-pri‐
438 ority, set the realtime priority by n, and to use --se‐
439 quencer-ports, set the number of opened sequencer ports. De‐
440 fault value is 4.
441 The following identifiers may be available:
442 -id dumb interface
444 -in ncurses interface
446 -is S-Lang interface
448 -ia X Athena Widget interface
450 -ik Tcl/Tk interface
452 -im Motif interface
454 -iT vt100 interface
456 -ie Emacs interface
458 (use ``M-x timidity'' in Emacs)
459 -ii skin interface
461 Environment variable TIMIDITY_SKIN must be set to the
462 path of the skin data (compressed data are also sup‐
463 ported).
464 -ig GTK+ interface
466 -ir Launch TiMidity++ as MIDI server.
468 -iA Launch TiMidity++ as ALSA sequencer client.
470 -iW Windows synthesizer interface
472 -iw Windows GUI interface
474 -iP PortMIDI synthesizer interface
476 -ip UMP interface
478 Interface options
480 Option characters may be added immediately after the in‐
481 terface identifier. The following options are recog‐
482 nized:
483 v, --verbose=n
485 Increases verbosity level. This option is cumula‐
486 tive.
487 q, --quiet=n
489 Decreases verbosity level. This option is cumula‐
490 tive.
491 t, --[no-]trace
493 Toggles trace mode. In trace mode, TiMidity++ at‐
494 tempts to display its current state in real time.
495 For the Linux sound driver, this is accomplished
496 through the use of short DMA buffer fragments,
497 which can be tuned via the -B option.
498 l, --[no-]loop
500 Loop playing (some interfaces ignore this option)
501 r, --[no-]random
503 Randomize file list arguments before playing
504 s, --[no-]sort
506 Sort file list arguments before playing
507 D, --[no-]background
509 Daemonize TiMidity++ in background (for alsaseq
510 only)
511 -j, --[no-]realtime-load
513 Enable the loading of patch files during play.
514 -K n, --adjust-key=n
516 Adjusts key (i.e., transposes the song) by n half tones. Ranges
517 from -24 to 24.
518 -k msec, --voice-queue=msec
520 Specify audio queue time limit to reduce voices. If the remain‐
521 ing audio buffer is less than msec milliseconds, TiMidity++
522 tries to kill some voices. This feature makes it possible to
523 play complicated MIDI files on slow CPUs. Setting msec to zero
524 tells TiMidity++ to never remove any voices.
525 -L path, --patch-path=path
527 Adds path to the library path. Patch, configuration, and MIDI
528 files are searched along this path. Directories added last will
529 be searched first. Note that the current directory is always
530 searched first before the library path.
531 -M name, --pcm-file=name
533 TiMidity++ can play a PCM file instead of a MIDI file. If
534 ``auto'' is specified, TiMidity++ tries to open foo.mid.wav or
535 foo.mid.aiff when playing foo.mid. If ``none'' is specified,
536 this feature is disabled. Otherwise just plays name.
537 -m msec, --decay-time=msec
539 Modify envelope volume decay time. msec is the minimum number
540 of milliseconds to sustain a sustained note.
541 -m0 Disable sustain ramping, causes constant volume sustains
543 (default).
544 -m1 Effectively behaves as if all sustains are ignored, vol‐
546 ume ramping is the same as normal stage 3.
547 -m3000 A note at full volume will decay for 3 seconds once it
549 begins to be sustained (assuming the regular stage 3 rate
550 would not cause it to decay even longer). Softer notes
551 will of course die sooner.
552 -N n, --interpolation=n
554 Sets interpolation parameter. This option depends on the -EFre‐
555 samp option's value.
556 cspline, lagrange
558 Toggles 4-point linear interpolation (default is on).
559 newton n point interpolation using Newton polynomials. n must
561 be an odd number from 1 to 57.
562 gauss n+1 point modified Gauss interpolation. Ranges 0 (dis‐
564 able) to 34 (max), default to 25.
565 In either way, linear interpolation is used if audio queue <
567 99%.
568 -O mode, --output-mode=mode
570 --flac-verify
571 --flac-padding=n
572 --flac-complevel=n
573 --oggflac
574 --speex-quality=n
575 --speex-vbr
576 --speex-abr=n
577 --speex-vad
578 --speex-dtx
579 --speex-complexity=n
580 --speex-nframes=n
581 Selects the output mode from the compiled-in alternatives. mode
582 must begin with one of the supported output mode identifiers.
583 Run TiMidity++ with the -h option to see the list.
584 Special in Ogg FLAC output mode, verifying generated data (will
585 be a bit slower), the size of header padding (default is 4096),
586 the compression level (0 to 8) (default is 5), and enabling Og‐
587 gFLAC stream can be specified by --flac-verify, --flac-padding,
588 --flac-complevel and --oggflac options respectively.
589 Special in Ogg Speex output mode, the compression quality (0 to
590 10) (default is 8), Enabling VBR output, enabling ABR output and
591 setting the ratio to n, enabling VAD (voice activity detection),
592 enabling DTX (discontinuous transmission), the encoding complex‐
593 ity (0 to 10) (default is 3), and frames in a single Ogg packet
594 (0 to 10) (default is 1) can be specified by --speex-quality,
595 --speex-vbr, --speex-abr, --speex-vad, --speex-dtx, --speex-com‐
596 plexity and --speex-nframes options respectively.
597 The following identifiers are available in all versions:
598 -Od Outputs via OSS dsp device (default)
600 -Os Output to ALSA
602 -Or Generate raw waveform data. All format options are sup‐
604 ported. Common formats include:
605 -OrU u-Law
607 -Or1sl 16-bit signed linear PCM
609 -Or8ul 8-bit unsigned linear PCM
611 -Ou Generate Sun Audio (au) data
613 -Oa Generate AIFF data
615 -Ow Generate RIFF WAVE format output. If output is directed
617 to a non-seekable file, or if TiMidity++ is interrupted
618 before closing the file, the file header will contain
619 0xffffffff in the RIFF and data block length fields. The
620 popular sound conversion utility sox is able to read such
621 malformed files, so you can pipe data directly to sox for
622 on-the-fly conversion to other formats.
623 -Ol List MIDI events
625 -OM MOD -> MIDI conversion
627 -Oe EsounD
629 -Op PortAudio
631 -Oj JACK
633 -OR aRts
635 -OA Alib
637 -Ov Ogg Vorbis
639 -OF Ogg FLAC
641 -OS Ogg Speex
643 -OO libao
645 Format options
647 Option characters may be added immediately after the mode
648 identifier to change the output format. The following
649 options are recognized:
650 S, --output-stereo
652 Stereo
653 M, --output-mono
655 Monophonic
656 s, --output-signed
658 Signed output
659 u, --output-unsigned
661 Unsigned output
662 1, --output-16bit
664 16-bit sample width
665 2, --output-24bit
667 24-bit sample width
668 8, --output-8bit
670 8-bit sample width
671 l, --output-linear
673 Linear encoding
674 U, --output-ulaw
676 u-Law (8-bit) encoding
677 A, --output-alaw
679 A-Law encoding
680 x, --[no-]output-swab
682 Byte-swapped output
683 Note that some options have no effect on some modes. For
685 example, you cannot generate a byte-swapped RIFF WAVE
686 file, or force uLaw output on a Linux PCM device.
687 -o file, --output-file=file
689 Place output on file, which may be a file, device, or HP-UX au‐
690 dio server, depending on the output mode selected with the -O
691 option. The special filename `-' causes output to be placed on
692 stdout.
693 -P file, --patch-file=file
695 Use patch file for all programs.
696 -p [n](a)
698 --polyphony=n
699 --[no-]polyphony-reduction
700 Sets polyphony (maximum number of simultaneous voices) to n.
701 Optionally to put `a' character along with -p option, or to use
702 --polyphony-reduction, instructs TiMidity++ to enable automatic
703 polyphony reduction algorithm.
704 -Q n[,...](t)
706 --mute=n[,...]
707 --temper-mute=n[,...]
708 Cause channel n to be quiet. n can carry out package specifica‐
709 tion by `,'. If n is 0, all channels are turned off. Continu‐
710 ously, specifying -n, channel n is turned back on.
711 On the other hand, to put `t' character after -Q option or to
712 use --temper-mute describes temperament mute. This mutes chan‐
713 nels of specific temperament type n. For preset temperament, n
714 can range 0 to 3. For user-defined temperament, n can range 4
715 to 7.
716 -q sec/n, --audio-buffer=sec/n
718 Specify audio buffer in seconds. sec maximum size of buffer, n
719 percentage filled at the beginning (default is 5.0/100) (size of
720 100% equals the whole device buffer size).
721 -R msec
723 Enables Pseudo Reverb Mode. It sets every instrument's release
724 to msec ms. If msec is 0, msec is set to 800 (default).
725 -S n, --cache-size=n
727 Sets the re-sample cache size to n bytes. If n equals 0 any
728 sample caches are disabled. The default value of n is 2097152
729 (2MB).
730 -s freq, --sampling-freq=freq
732 Sets the resampling frequency (Hz or kHz). Not all sound de‐
733 vices are capable of all frequencies -- an approximate frequency
734 may be selected, depending on the implementation.
735 -T n, --adjust-tempo=n
737 Adjust tempo to n%; 120 play MOD files with an NTSC Amiga's tim‐
738 ing.
739 -t code, --output-charset=code
741 Sets output coding of Japanese text. Possible values of code
742 are:
743 auto determined by the LANG environment variable.
745 ascii Translates non-ASCII code to period.
747 nocnv No conversion.
749 1251 Convert from windows-1251 to koi8-r.
751 euc Outputs EUC (Japan) coding.
753 jis Outputs JIS coding.
755 sjis Outputs SJIS coding.
757 -U, --[no-]unload-instruments
759 Unload all instruments from memory between MIDI files. This can
760 reduce memory requirements when playing many files in succes‐
761 sion.
762 -V power, --volume-curve=power
764 Set the power of volume curve. The total amplification becomes
765 volume^power. 0 (default) uses the regular tables. Any
766 non-zero value causes all midi to use the new user defined ve‐
767 locity/volume/expression curve (linear: 1, ideal: ~1.661, GS:
768 ~2).
769 -v, --version
771 Show the version string
772 -W mode, --wrd=mode
774 Play WRD file.
775 Allowed values of mode are:
777 x X Window System mode
779 w Windows console mode
781 t TTY mode
783 d Dumb mode (outputs WRD events directory)
785 - do not trace WRD
787 R[opts]
789 Sets WRD options:
790 a1=b1,a2=b2,...
792 Sets the WRD options. an is the name of option
793 and bn is the value.
794 d=n Emulates timing (@WAIT, @WMODE) bugs of the origi‐
796 nal MIMPI player. The emulation levels are:
797 -WRd=0 do not emulate any bugs of MIMPI
799 -WRd=1 only emulate some bugs (default)
801 -WRd=2 emulate all known bugs
803 F=file Use file as WRD file only no file matching *.wrd
805 is found.
806 f=file Uses file as WRD file.
808 WRD mode must also use trace mode (option -i?t) or the timing of
810 the WRD events will be terrible.
811 -w mode, --rcpcv-dll=mode
813 Extended mode for MS Windows. The following options are avail‐
814 able:
815 -w r Use rcpcv.dll to play RCP/R36 files.
817 -w R Do not use rcpcv.dll (default).
819 -x str, --config-string=str
821 Configure TiMidity++ with str. The format of str is the same as
822 timidity.cfg.
823 For example:
825 -x'bank 0\n0 violin.pat'
826 Sets the instrument number 0 to violin.
827 Character `\' (Ascii 0x5c) in the str is treated as escape char‐
828 acter like in C literals. For example \n is treated as carriage
829 return.
830 -Z file, --freq-table=file
832 Cause the table of frequencies to be read from file. This is
833 useful to define a tuning different from 12-equal temperament.
834 If ``pure'' is specified, TiMidity++ plays in trial pure intona‐
835 tion.
836 -Zpure[n(m)], --pure-intonation=[n(m)]
838 Play in trial pure intonation by Key Signature meta-event
839 in the MIDI file. You can specify the initial keysig by
840 hand, in case the MIDI file does not contains the
841 meta-event. Optionally, n is the number of key signa‐
842 ture. In case of sharp, n is positive. In case of flat,
843 n is negative. Valid values of n are in the interval
844 from -7 to 7. In case of minor mode, you should put `m'
845 character along with -Zpure option.
846 --module=n
848 Simulate behavior of specific synthesizer module as much as pos‐
849 sible. For the moment, the value of n defined is as follows:
850 0 TiMidity++ Default
852 1 Roland SC-55
854 2 Roland SC-88
856 3 Roland SC-88Pro
858 4 Roland SC-8850
860 5-15 Reserved for GS family
862 16 YAMAHA MU-50
864 17 YAMAHA MU-80
866 18 YAMAHA MU-90
868 19 YAMAHA MU-100
870 20-31 Reserved for XG family
872 32 SoundBlaster Live!
874 33 SoundBlaster Audigy
876 34-111 Reserved for other synthesizer modules
878 112 TiMidity++ Special 1
880 113-126
882 Reserved for TiMidity++ specification purposes
883 127 TiMidity++ Debug
885
887 sf2text(1), timidity.cfg(5)
888
890 Copyright (C) 1999-2004 Masanao Izumo <iz@onicos.co.jp>
891 Copyright (C) 1995 Tuukka Toivonen <tt@cgs.fi>
892 The original version was developed by Tuukka Toivonen <tt@cgs.fi> until
894 the release of TiMidity-0.2i. His development was discontinued because
895 of his being busy with work.
896 This program is free software; you can redistribute it and/or modify it
898 under the terms of the GNU General Public License as published by the
899 Free Software Foundation; either version 2 of the License, or (at your
900 option) any later version.
901 This program is distributed in the hope that it will be useful, but
903 WITHOUT ANY WARRANTY; without even the implied warranty of MER‐
904 CHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General
905 Public License for more details.
906 You should have received a copy of the GNU General Public License along
908 with this program; if not, write to the Free Software Foundation, Inc.,
909 59 Temple Place, Suite 330, Boston, MA 02111-1307 USA
910
912 The latest release is available on the TiMidity++ Page,
913 URL https://sourceforge.net/projects/timidity/
915
917 Eats more CPU time than a small CPU-time-eating animal.
918 This man page was translated from Japanese to English by me with poor
920 English skill :-)
921
923 Version 0.2i and earlier:
924 Tuukka Toivonen <tt@cgs.fi>
925 Vincent Pagel <pagel@loria.fr>
926 Takashi Iwai <tiwai@suse.de>
927 Davide Moretti <dave@rimini.com>
928 Chi Ming HUNG <cmhung@insti.physics.sunysb.edu>
929 Riccardo Facchetti <riccardo@cdc8g5.cdc.polimi.it>
930 TiMidity++:
932 IZUMO Masanao <iz@onicos.co.jp>
933 HARADA Tomokazu <harada@prince.pe.u-tokyo.ac.jp>
934 YAMATE Keiichirou <keiich-y@is.aist-nara.ac.jp>
935 KIRYU Masaki <mkiryu@usa.net>
936 AOKI Daisuke <dai@y7.net>
937 MATSUMOTO Shoji <shom@i.h.kyoto-u.ac.jp>
938 KOYANAGI Masaaki <koyanagi@okilab.oki.co.jp>
939 IMAI Kunihiko <imai@leo.ec.t.kanazawa-u.ac.jp>
940 NOGAMI Takaya <t-nogami@happy.email.ne.jp>
941 WATANABE Takanori <takawata@shidahara1.planet.kobe-u.ac.jp>
942 TAKEKAWA Hiroshi <sian@big.or.jp>
943 NAGANO Daisuke <breeze.nagano@nifty.ne.jp>
944 KINOSHITA kosuke <kino@krhm.jvc-victor.co.jp>
945 SHIGEMURA Norikatsu <nork@ninth-nine.com>
946 YAMAHATA Isaku <yamahata@kusm.kyoto-u.ac.jp>
947 ARAI Yoshishige <ryo2@on.rim.or.jp>
948 Glenn Trigg <ggt@netspace.net.au>
949 Tim Allen <thristian@usa.net>
950 Michael Haardt <michael@moria.de>
951 Eric A. Welsh <ewelsh@ccb.wustl.edu>
952 Paolo Bonzini <bonzini@gnu.org>
953 KIMOTO Masahiko <kimoto@ohnolab.org>
954 IWAI Takashi <tiwai@suse.de>
955 Saito <saito2@digitalme.com>
956 SATO Kentaro <kentaro@ps.catv.ne.jp>
957 TAMUKI Shoichi <tamuki@linet.gr.jp>
958 URABE Shohei <root@mput.dip.jp>
959 SUENAGA Keishi <s_keishi@mutt.freemail.ne.jp>
960 SUZUKI Koji <k@kekyo.net>
961 (titles omitted and an order different)
963 and other many people sends information and bug-fix codes.
965 The English version of this man page was written by NAGANO Daisuke
967 <breeze.nagano@nifty.ne.jp>.
968 Now, TAMUKI Shoichi <tamuki@linet.gr.jp> and URABE Shohei
970 <root@mput.dip.jp> are maintaining the man page.
971 If you have any comments or suggestions or complaints :) about this man
972 page, please tell us it.
9732.13.0 April 25 2004 timidity(1)