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|f|G)[,level], --reverb=(d|n|g|f|G)[,level]
289 d, 0 Disable MIDI reverb effect control.
291 n, 1 Enable MIDI reverb effect control. This
293 effect is only available in stereo.
294 g, 2 Global reverb effect.
296 f, 3 Freeverb MIDI reverb effect control
298 (default).
299 G, 4 Global freeverb effect.
301 The optional parameter level specifies the reverb
303 level 0 to 127.
304 vlpf=(d|c|m), --voice-lpf=(d|c|m)
306 d, 0 Disable LPF effect.
308 c, 1 Chamberlin resonant LPF (12dB/oct)
310 (default).
311 m, 2 Moog resonant low-pass VCF (24dB/oct)
313 ns=n, --noise-shaping=n
315 Enable the n th degree noiseshaping filter. The
316 distortion at decay stage is improved, but the
317 noise on human auditory feeling increases because
318 it shifts to a high frequency. In case of 8-bit
319 linear encoding, valid values of n are in the
320 interval from 0 (min) to 4 (max). Default value
321 is 4. In case of 16-bit linear encoding, valid
322 values of n are in the interval from 0 to 4.
323 According to the value, it works as following.
324 Default value is 4.
325 0 No noise shaping.
327 1 Traditional noise shaping.
329 2 Overdrive-like soft-clipping + new noise
331 shaping.
332 3 Tube-amplifier-like soft-clipping + new
334 noise shaping.
335 4 New noise shaping.
337 resamp=(d|l|c|L|n|g), --resample=(d|l|c|L|n|g)
339 d, 0 No interpolation.
341 l, 1 Linear interpolation.
343 c, 2 Cubic spline interpolation.
345 L, 3 Lagrange method.
347 n, 4 Newton polynomial interpolation.
349 g, 5 Modified Gauss effect (default).
351 This option affects the behavior of -N option.
353 -e, --evil
355 Make TiMidity++ evil. For the Win32 version, this increases the
356 task priority by one. It can give better playback when you
357 switch tasks at the expense of slowing all other tasks down.
358 -F, --[no-]fast-panning
360 Turns on fast panning to accommodate MIDI pieces that expect
361 panning adjustments to affect notes that are already playing.
362 Some files that don't expect this have a habit of flipping bal‐
363 ance rapidly between left and right, which can cause severe pop‐
364 ping when the -F flag is used.
365 In the current version of TiMidity++ this option is a toggle.
366 -f, --[no-]fast-decay
368 Toggles fast envelopes. This option makes TiMidity++ faster but
369 the release time of the notes are shortened.
370 -g sec, --spectrogram=sec
372 Open the Sound-Spectrogram window. This option is activated if
373 the system has support for the X Window System.
374 -H n, --force-keysig=n
376 Specify the number of key signature. MIDI file is performed
377 with transposition to the key of the number of sharp (when n is
378 positive) or flat (when n is negative). Valid values of n are
379 in the interval from -7 to 7. For example, if n is 1, MIDI file
380 with any tonality will be performed transposing to 1 flat (i.e.,
381 F major or D minor). Therefore, it is convenient to use for the
382 accompaniment when practicing a musical instrument by the tonal‐
383 ity which is easy to perform.
384 -h, --help
386 Show the help message.
387 -i mode, --interface=mode
389 --realtime-priority=n
390 --sequencer-ports=n
391 Selects the user interfaces from the compiled-in alternatives.
392 mode must be begun with one of the supported interface identi‐
393 fiers. Run TiMidity++ with the -h option to see a list.
394 For ALSA sequencer interface, optionally to use --realtime-pri‐
395 ority, set the realtime priority by n, and to use
396 --sequencer-ports, set the number of opened sequencer ports.
397 Default value is 4.
398 The following identifiers may be available:
399 -id dumb interface
401 -in ncurses interface
403 -is S-Lang interface
405 -ia X Athena Widget interface
407 -ik Tcl/Tk interface
409 -im Motif interface
411 -iT vt100 interface
413 -ie Emacs interface
415 (use ``M-x timidity'' in Emacs)
416 -ii skin interface
418 Environment variable TIMIDITY_SKIN must be set to the
419 path of the skin data (compressed data are also sup‐
420 ported).
421 -ig GTK+ interface
423 -ir Launch TiMidity++ as MIDI server.
425 -iA Launch TiMidity++ as ALSA sequencer client.
427 -iW Windows synthesizer interface
429 -iw Windows GUI interface
431 -iP PortMIDI synthesizer interface
433 -ip UMP interface
435 Interface options
437 Option characters may be added immediately after the
438 interface identifier. The following options are recog‐
439 nized:
440 v, --verbose=n
442 Increases verbosity level. This option is cumula‐
443 tive.
444 q, --quiet=n
446 Decreases verbosity level. This option is cumula‐
447 tive.
448 t, --[no-]trace
450 Toggles trace mode. In trace mode, TiMidity++
451 attempts to display its current state in real
452 time. For the Linux sound driver, this is accom‐
453 plished through the use of short DMA buffer frag‐
454 ments, which can be tuned via the -B option.
455 l, --[no-]loop
457 Loop playing (some interfaces ignore this option)
458 r, --[no-]random
460 Randomize file list arguments before playing
461 s, --[no-]sort
463 Sort file list arguments before playing
464 D, --[no-]background
466 Daemonize TiMidity++ in background (for alsaseq
467 only)
468 -j, --[no-]realtime-load
470 Enable the loading of patch files during play.
471 -K n, --adjust-key=n
473 Adjusts key (i.e., transposes the song) by n half tones. Ranges
474 from -24 to 24.
475 -k msec, --voice-queue=msec
477 Specify audio queue time limit to reduce voices. If the remain‐
478 ing audio buffer is less than msec milliseconds, TiMidity++
479 tries to kill some voices. This feature makes it possible to
480 play complicated MIDI files on slow CPUs. Setting msec to zero
481 tells TiMidity++ to never remove any voices.
482 -L path, --patch-path=path
484 Adds path to the library path. Patch, configuration, and MIDI
485 files are searched along this path. Directories added last will
486 be searched first. Note that the current directory is always
487 searched first before the library path.
488 -M name, --pcm-file=name
490 TiMidity++ can play a PCM file instead of a MIDI file. If
491 ``auto'' is specified, TiMidity++ tries to open foo.mid.wav or
492 foo.mid.aiff when playing foo.mid. If ``none'' is specified,
493 this feature is disabled. Otherwise just plays name.
494 -m msec, --decay-time=msec
496 Modify envelope volume decay time. msec is the minimum number
497 of milliseconds to sustain a sustained note.
498 -m0 Disable sustain ramping, causes constant volume sustains
500 (default).
501 -m1 Effectively behaves as if all sustains are ignored, vol‐
503 ume ramping is the same as normal stage 3.
504 -m3000 A note at full volume will decay for 3 seconds once it
506 begins to be sustained (assuming the regular stage 3 rate
507 would not cause it to decay even longer). Softer notes
508 will of course die sooner.
509 -N n, --interpolation=n
511 Sets interpolation parameter. This option depends on the -EFre‐
512 samp option's value.
513 cspline, lagrange
515 Toggles 4-point linear interpolation (default is on).
516 newton n point interpolation using Newton polynomials. n must
518 be an odd number from 1 to 57.
519 gauss n+1 point modified Gauss interpolation. Ranges 0 (dis‐
521 able) to 34 (max), default to 25.
522 In either way, linear interpolation is used if audio queue <
524 99%.
525 -O mode, --output-mode=mode
527 --flac-verify
528 --flac-padding=n
529 --flac-complevel=n
530 --oggflac
531 --speex-quality=n
532 --speex-vbr
533 --speex-abr=n
534 --speex-vad
535 --speex-dtx
536 --speex-complexity=n
537 --speex-nframes=n
538 Selects the output mode from the compiled-in alternatives. mode
539 must begin with one of the supported output mode identifiers.
540 Run TiMidity++ with the -h option to see the list.
541 Special in Ogg FLAC output mode, verifying generated data (will
542 be a bit slower), the size of header padding (default is 4096),
543 the compression level (0 to 8) (default is 5), and enabling
544 OggFLAC stream can be specified by --flac-verify, --flac-pad‐
545 ding, --flac-complevel and --oggflac options respectively.
546 Special in Ogg Speex output mode, the compression quality (0 to
547 10) (default is 8), Enabling VBR output, enabling ABR output and
548 setting the ratio to n, enabling VAD (voice activity detection),
549 enabling DTX (discontinuous transmission), the encoding complex‐
550 ity (0 to 10) (default is 3), and frames in a single Ogg packet
551 (0 to 10) (default is 1) can be specified by --speex-quality,
552 --speex-vbr, --speex-abr, --speex-vad, --speex-dtx, --speex-com‐
553 plexity and --speex-nframes options respectively.
554 The following identifiers are available in all versions:
555 -Od Outputs via audio device (default)
557 -Os Output to ALSA
559 -Or Generate raw waveform data. All format options are sup‐
561 ported. Common formats include:
562 -OrU u-Law
564 -Or1sl 16-bit signed linear PCM
566 -Or8ul 8-bit unsigned linear PCM
568 -Ou Generate Sun Audio (au) data
570 -Oa Generate AIFF data
572 -Ow Generate RIFF WAVE format output. If output is directed
574 to a non-seekable file, or if TiMidity++ is interrupted
575 before closing the file, the file header will contain
576 0xffffffff in the RIFF and data block length fields. The
577 popular sound conversion utility sox is able to read such
578 malformed files, so you can pipe data directly to sox for
579 on-the-fly conversion to other formats.
580 -Ol List MIDI events
582 -OM MOD -> MIDI conversion
584 -Oe EsounD
586 -Op PortAudio
588 -Oj JACK
590 -OR aRts
592 -OA Alib
594 -Ov Ogg Vorbis
596 -OF Ogg FLAC
598 -OS Ogg Speex
600 -OO libdao
602 Format options
604 Option characters may be added immediately after the mode
605 identifier to change the output format. The following
606 options are recognized:
607 S, --output-stereo
609 Stereo
610 M, --output-mono
612 Monophonic
613 s, --output-signed
615 Signed output
616 u, --output-unsigned
618 Unsigned output
619 1, --output-16bit
621 16-bit sample width
622 2, --output-24bit
624 24-bit sample width
625 8, --output-8bit
627 8-bit sample width
628 l, --output-linear
630 Linear encoding
631 U, --output-ulaw
633 u-Law (8-bit) encoding
634 A, --output-alaw
636 A-Law encoding
637 x, --[no-]output-swab
639 Byte-swapped output
640 Note that some options have no effect on some modes. For
642 example, you cannot generate a byte-swapped RIFF WAVE
643 file, or force uLaw output on a Linux PCM device.
644 -o file, --output-file=file
646 Place output on file, which may be a file, device, or HP-UX
647 audio server, depending on the output mode selected with the -O
648 option. The special filename `-' causes output to be placed on
649 stdout.
650 -P file, --patch-file=file
652 Use patch file for all programs.
653 -p [n](a)
655 --polyphony=n
656 --[no-]polyphony-reduction
657 Sets polyphony (maximum number of simultaneous voices) to n.
658 Optionally to put `a' character along with -p option, or to use
659 --polyphony-reduction, instructs TiMidity++ to enable automatic
660 polyphony reduction algorithm.
661 -Q n[,...](t)
663 --mute=n[,...]
664 --temper-mute=n[,...]
665 Cause channel n to be quiet. n can carry out package specifica‐
666 tion by `,'. If n is 0, all channels are turned off. Continu‐
667 ously, specifying -n, channel n is turned back on.
668 On the other hand, to put `t' character after -Q option or to
669 use --temper-mute describes temperament mute. This mutes chan‐
670 nels of specific temperament type n. For preset temperament, n
671 can range 0 to 3. For user-defined temperament, n can range 4
672 to 7.
673 -q sec/n, --audio-buffer=sec/n
675 Specify audio buffer in seconds. sec maximum size of buffer, n
676 percentage filled at the beginning (default is 5.0/100) (size of
677 100% equals the whole device buffer size).
678 -R msec
680 Enables Pseudo Reverb Mode. It sets every instrument's release
681 to msec ms. If msec is 0, msec is set to 800 (default).
682 -S n, --cache-size=n
684 Sets the re-sample cache size to n bytes. If n equals 0 any
685 sample caches are disabled. The default value of n is 2097152
686 (2MB).
687 -s freq, --sampling-freq=freq
689 Sets the resampling frequency (Hz or kHz). Not all sound
690 devices are capable of all frequencies -- an approximate fre‐
691 quency may be selected, depending on the implementation.
692 -T n, --adjust-tempo=n
694 Adjust tempo to n%; 120 play MOD files with an NTSC Amiga's tim‐
695 ing.
696 -t code, --output-charset=code
698 Sets output coding of Japanese text. Possible values of code
699 are:
700 auto determined by the LANG environment variable.
702 ascii Translates non-ASCII code to period.
704 nocnv No conversion.
706 1251 Convert from windows-1251 to koi8-r.
708 euc Outputs EUC (Japan) coding.
710 jis Outputs JIS coding.
712 sjis Outputs SJIS coding.
714 -U, --[no-]unload-instruments
716 Unload all instruments from memory between MIDI files. This can
717 reduce memory requirements when playing many files in succes‐
718 sion.
719 -V power, --volume-curve=power
721 Set the power of volume curve. The total amplification becomes
722 volume^power. 0 (default) uses the regular tables. Any
723 non-zero value causes all midi to use the new user defined
724 velocity/volume/expression curve (linear: 1, ideal: ~1.661, GS:
725 ~2).
726 -v, --version
728 Show the version string
729 -W mode, --wrd=mode
731 Play WRD file.
732 Allowed values of mode are:
734 x X Window System mode
736 w Windows console mode
738 t TTY mode
740 d Dumb mode (outputs WRD events directory)
742 - do not trace WRD
744 R[opts]
746 Sets WRD options:
747 a1=b1,a2=b2,...
749 Sets the WRD options. an is the name of option
750 and bn is the value.
751 d=n Emulates timing (@WAIT, @WMODE) bugs of the origi‐
753 nal MIMPI player. The emulation levels are:
754 -WRd=0 do not emulate any bugs of MIMPI
756 -WRd=1 only emulate some bugs (default)
758 -WRd=2 emulate all known bugs
760 F=file Use file as WRD file only no file matching *.wrd
762 is found.
763 f=file Uses file as WRD file.
765 WRD mode must also use trace mode (option -i?t) or the timing of
767 the WRD events will be terrible.
768 -w mode, --rcpcv-dll=mode
770 Extended mode for MS Windows. The following options are avail‐
771 able:
772 -w r Use rcpcv.dll to play RCP/R36 files.
774 -w R Do not use rcpcv.dll (default).
776 -x str, --config-string=str
778 Configure TiMidity++ with str. The format of str is the same as
779 timidity.cfg.
780 For example:
782 -x'bank 0\n0 violin.pat'
783 Sets the instrument number 0 to violin.
784 Character `\' (Ascii 0x5c) in the str is treated as escape char‐
785 acter like in C literals. For example \n is treated as carriage
786 return.
787 -Z file, --freq-table=file
789 Cause the table of frequencies to be read from file. This is
790 useful to define a tuning different from 12-equal temperament.
791 If ``pure'' is specified, TiMidity++ plays in trial pure intona‐
792 tion.
793 -Zpure[n(m)], --pure-intonation=[n(m)]
795 Play in trial pure intonation by Key Signature meta-event
796 in the MIDI file. You can specify the initial keysig by
797 hand, in case the MIDI file does not contains the
798 meta-event. Optionally, n is the number of key signa‐
799 ture. In case of sharp, n is positive. In case of flat,
800 n is negative. Valid values of n are in the interval
801 from -7 to 7. In case of minor mode, you should put `m'
802 character along with -Zpure option.
803 --module=n
805 Simulate behavior of specific synthesizer module as much as pos‐
806 sible. For the moment, the value of n defined is as follows:
807 0 TiMidity++ Default
809 1 Roland SC-55
811 2 Roland SC-88
813 3 Roland SC-88Pro
815 4 Roland SC-8850
817 5-15 Reserved for GS family
819 16 YAMAHA MU-50
821 17 YAMAHA MU-80
823 18 YAMAHA MU-90
825 19 YAMAHA MU-100
827 20-31 Reserved for XG family
829 32 SoundBlaster Live!
831 33 SoundBlaster Audigy
833 34-111 Reserved for other synthesizer modules
835 112 TiMidity++ Special 1
837 113-126
839 Reserved for TiMidity++ specification purposes
840 127 TiMidity++ Debug
842
844 sf2text(1), timidity.cfg(5)
845
847 Copyright (C) 1999-2004 Masanao Izumo <iz@onicos.co.jp>
848 Copyright (C) 1995 Tuukka Toivonen <tt@cgs.fi>
849 The original version was developed by Tuukka Toivonen <tt@cgs.fi> until
851 the release of TiMidity-0.2i. His development was discontinued because
852 of his being busy with work.
853 This program is free software; you can redistribute it and/or modify it
855 under the terms of the GNU General Public License as published by the
856 Free Software Foundation; either version 2 of the License, or (at your
857 option) any later version.
858 This program is distributed in the hope that it will be useful, but
860 WITHOUT ANY WARRANTY; without even the implied warranty of MER‐
861 CHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General
862 Public License for more details.
863 You should have received a copy of the GNU General Public License along
865 with this program; if not, write to the Free Software Foundation, Inc.,
866 59 Temple Place, Suite 330, Boston, MA 02111-1307 USA
867
869 The latest release is available on the TiMidity++ Page,
870 URL http://www.timidity.jp/
872
874 Eats more CPU time than a small CPU-time-eating animal.
875 This man page was translated from Japanese to English by me with poor
877 English skill :-)
878
880 Version 0.2i and earlier:
881 Tuukka Toivonen <tt@cgs.fi>
882 Vincent Pagel <pagel@loria.fr>
883 Takashi Iwai <tiwai@suse.de>
884 Davide Moretti <dave@rimini.com>
885 Chi Ming HUNG <cmhung@insti.physics.sunysb.edu>
886 Riccardo Facchetti <riccardo@cdc8g5.cdc.polimi.it>
887 TiMidity++:
889 IZUMO Masanao <iz@onicos.co.jp>
890 HARADA Tomokazu <harada@prince.pe.u-tokyo.ac.jp>
891 YAMATE Keiichirou <keiich-y@is.aist-nara.ac.jp>
892 KIRYU Masaki <mkiryu@usa.net>
893 AOKI Daisuke <dai@y7.net>
894 MATSUMOTO Shoji <shom@i.h.kyoto-u.ac.jp>
895 KOYANAGI Masaaki <koyanagi@okilab.oki.co.jp>
896 IMAI Kunihiko <imai@leo.ec.t.kanazawa-u.ac.jp>
897 NOGAMI Takaya <t-nogami@happy.email.ne.jp>
898 WATANABE Takanori <takawata@shidahara1.planet.kobe-u.ac.jp>
899 TAKEKAWA Hiroshi <sian@big.or.jp>
900 NAGANO Daisuke <breeze.nagano@nifty.ne.jp>
901 KINOSHITA kosuke <kino@krhm.jvc-victor.co.jp>
902 SHIGEMURA Norikatsu <nork@ninth-nine.com>
903 YAMAHATA Isaku <yamahata@kusm.kyoto-u.ac.jp>
904 ARAI Yoshishige <ryo2@on.rim.or.jp>
905 Glenn Trigg <ggt@netspace.net.au>
906 Tim Allen <thristian@usa.net>
907 Michael Haardt <michael@moria.de>
908 Eric A. Welsh <ewelsh@ccb.wustl.edu>
909 Paolo Bonzini <bonzini@gnu.org>
910 KIMOTO Masahiko <kimoto@ohnolab.org>
911 IWAI Takashi <tiwai@suse.de>
912 Saito <saito2@digitalme.com>
913 SATO Kentaro <kentaro@ps.catv.ne.jp>
914 TAMUKI Shoichi <tamuki@linet.gr.jp>
915 URABE Shohei <root@mput.dip.jp>
916 SUENAGA Keishi <s_keishi@mutt.freemail.ne.jp>
917 SUZUKI Koji <k@kekyo.net>
918 (titles omitted and an order different)
920 and other many people sends information and bug-fix codes.
922 The English version of this man page was written by NAGANO Daisuke
924 <breeze.nagano@nifty.ne.jp>.
925 Now, TAMUKI Shoichi <tamuki@linet.gr.jp> and URABE Shohei
927 <root@mput.dip.jp> are maintaining the man page.
928 If you have any comments or suggestions or complaints :) about this man
929 page, please tell us it.
9302.13.0 April 25 2004 timidity(1)