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timidity 2.14.0-8
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.TH timidity 1 "April 25 2004" "2.13.0"
.SH NAME
TiMidity++ \- MIDI\-to\-WAVE converter and player
.SH SYNOPSIS
.B timidity
[options] filename [...]
.SH DESCRIPTION
\fBTiMidity++\fP is a converter that converts some of MIDI files
(supported formats: Standard MIDI files (*.mid), Recomposer files
(*.rcp, *.r36, *.g18, *.g36) and Module files (*.mod)) into formatted
audio files (e.g. RIFF WAVE).  \fBTiMidity++\fP uses Gravis
Ultrasound\-compatible patch files or Soundfonts (*.sfx, *.sf2) to
generate digital audio data from MIDI files.  The digital audio data
generated by \fBTiMidity++\fP can be stored in a file for processing,
or played in real time through an audio device.
.br
In real time playing, \fBTiMidity++\fP can show the lyrics contained
in KAR or WRD files.
.SH FILENAME
You can use the following expressions as the \fIfilename\fP argument:
.TP
.B \-
Read a MIDI file from standard input.
.TP
.B path/filename
Read a MIDI file from the specified path on a filesystem.
.TP
.B dir:directory
.br
.ns
.TP
.B directory/
Read and play all MIDI files in the specified \fIdirectory\fP.  For
example,
.sp
% timidity some/where/
.sp
plays all files in the directory \fBsome/where/\fP.
.TP
.B Archive File
Extract and play the file(s) in the archive.  If you want to specify a
certain MIDI file in the archive, append \fB#<MIDI\-filename>\fP to
the archive name.  The path after `#' allows the use of the wildcard
expressions (case insensitive).
.br
You can use escape sequence \fB\\xHH\fP, where `HH' is a ASCII number
in hexadecimal integer.
.sp
For example:
.RS
.TP
% timidity file.zip#file.mid
Plays \fBfile.mid\fP in \fBfile.zip\fP
.TP
% timidity file.lzh#*.mid
Plays any files that match the wildcard expression \fB*.mid\fP in
\fBfile.lzh\fP
.TP
% timidity file.tgz#*
This expression is the same as \fBfile.tgz\fP
.LP
Since these mechanism are contained in \fBTiMidity++\fP itself, you
can use this syntax even in the MS Windows environment.
.sp
\fBTiMidity++\fP can handle the following archive formats:
.TP
.B tar (*.tar)
.TP
.B tar+gzip (*.tar.gz, *.tgz)
.TP
.B zip (*.zip)
.TP
.B lzh (*.lzh, *.lha)
(lh0, lh1, lh2, lh3, lh4, lh5, lh6, lz4, lzs and lz5 are available)
.LP
Other archives can be expanded if expander command is specified on the
compile phase.  \fBTiMidity++\fP will pipe that command.
.RE
.TP
.B news://news\-server[:port]/Message\-ID
.br
.ns
.TP
.B news://news\-server[:port]/newsgroup[/first\-last]
Play the MIDI file in the specified article on the news server.  If a
newsgroup is specified \fBTiMidity++\fP plays all MIDI files found in
any article posted to that newsgroup.
.br
\fBTiMidity++\fP parses MIME Multi\-part messages in case of
\fBnews://*\fP scheme, extracts MIDI file that was post to that group,
or in case of normal file, you can explicitly handle MIME documents by
naming that file with *.mime extension, or prefix that file with
\fBmime:\fP
.sp
The following MIME\-types are allowed:
.RS
.TP
.B uu\-encoded file
\fBbegin\fP
.br
is required
.TP
.B base64 encoded
\fBContent\-Transfer\-Encoding: base64\fP
.br
is required
.TP
.B quoted\-string
\fBContent\-Transfer\-Encoding: quoted\-string\fP
.br
is required
.TP
.B Mac BinHex format
only HQX format is available
.RE
.TP
.B http://address
.br
.ns
.TP
.B ftp://address
Play the file specified in the URL.
.sp
For example:
.RS
.TP
% timidity http://www.goice.co.jp/member/mo/dist/midi/impromptu.mid
plays the specified MIDI\-file directly from the network.
.LP
If these expression are used in the *.cfg files, you can even use
patch\-files (and others) from remote machines.
.RE
.SH INPUT FILE
\fBTiMidity++\fP can handle the following file formats:
.TP
.B .mid, .rmi (Format 0, 1, 2)
Standard MIDI File
.TP
.B .rcp, .r36, .g18, .g36 (Recomposer formats)
Recomposer format which is product for COME ON MUSIC co.
.TP
.B .mfi (MFi Version 3 \- Melody Format for i\-Mode)
i\-Mode is Japanese local mobile phone
.TP
.B .kar (Karaoke format)
Displays the lyrics as a Lyric Meta Event message.
.TP
.B .mod, mod.* (Module file)
.TP
.B .wrd (WRD format)
.SH OPTIONS
The following command line options are accepted by \fBTiMidity++\fP:
.TP
.BI "\-A " [n][,m](a)
.br
.ns
.TP
.BI \-\-amplification= n
.br
.ns
.TP
.BI \-\-drumpower= m
.br
.ns
.TP
.B \-\-[no\-]volume\-compensation
Multiplies the master volume by \fIn\fP%.  Default value is 70%.
Higher amplification makes louder sounds.  You can specify the drum
power, ratio of drum volume from the other channels.  The allowed
values of amplification range from \fB0\fP (no sound) to \fB800\fP.
.br
Optionally to put `a' character along with \fB\-a\fP option, or to use
\fB\-\-volume\-compensation\fP, instructs \fBTiMidity++\fP to
regularize the volume.  You can easily gain dynamic range.
.sp
For example:
.RS
.TP
.B \-A90
volume 90%, drum power 100%, compensation is off
.TP
.B \-A,120
volume 70%, drum power 120%, compensation is off
.TP
.B \-A90,120
volume 90%, drum power 120%, compensation is off
.TP
.B \-Aa
volume 70%, drum power 100%, compensation is on
.TP
.B \-A90a
volume 90%, drum power 100%, compensation is on
.TP
.B \-A,120a
volume 70%, drum power 120%, compensation is on
.TP
.B \-A90,120a
volume 90%, drum power 120%, compensation is on
.RE
.TP
.B \-a, \-\-[no\-]anti\-alias
Turns on anti-aliasing.  Samples are run through a lowpass filter
before playing, which reduces aliasing noise at low resampling
frequencies.
.TP
.BI "\-B " n,m ", \-\-buffer\-fragments=" n,m
For the Linux/FreeBSD/OSS/ALSA/Windows sound driver, selects the
number of buffer fragments in interactive mode.  Increasing the number
of fragments may reduce choppiness when many processes are running.
It will make \fBTiMidity++\fP seem to respond sluggishly to fast
forward, rewind, and volume controls, and it will throw the status
display off sync.  Specify a fragments number of 0 to use the maximum
number of fragments available.
.TP
.BI "\-C " n ", \-\-control\-ratio=" n
Sets the ratio of sampling and control frequencies.  This determines
how often envelopes are recalculated \-\- small ratios yield better
quality but use more CPU time.
.TP
.BI "\-c " file ", \-\-config\-file=" file
Reads an extra configuration file.
.TP
.BI "\-D " n ", \-\-drum\-channel=" n
Marks channel as a drum channel.  If channel is negative, channel
\-\fIn\fP is marked as an instrumental channel.  If \fIn\fP is
\fB0\fP, all channels are marked as instrumental.
.TP
.BI "\-d " dir ", \-\-interface\-path=" dir
Specifies the directory containing installed dynamic\-link interface
modules.
.TP
.BI "\-E " mode ", \-\-ext=" mode
Set \fBTiMidity++\fP extend modes.  The following modes are available
(capitalized switch means disable this feature):
.RS
.TP
.B w/W, \-\-[no\-]mod\-wheel
Enable/disable modulation controlling.
.TP
.B p/P, \-\-[no\-]portamento
Enable/disable portamento controlling.
.TP
.B v/V, \-\-[no\-]vibrato
Enable/disable NRPM vibration.
.TP
.B s/S, \-\-[no\-]ch\-pressure
Enable/disable channel pressure controlling.
.TP
.B e/E, \-\-[no\-]mod\-envelope
Enable/disable modulation envelope controlling.
.TP
.B t/T, \-\-[no\-]trace\-text\-meta
Enable/disable tracing all Text Meta Events.
.TP
.B o/O, \-\-[no\-]overlap\-voice
Accept/reject pronouncing multiple same notes.
.TP
.B z/Z, \-\-[no\-]temper\-control
Enable/disable MIDI Tuning Standard temperament controlling.
.TP
.BI m HH ", \-\-default\-mid=" HH
Sets the manufacturer ID to \fIHH\fP (where \fIHH\fP are two
hex\-digits).
.br
\fIHH\fP values of \fBGS/gs\fP, \fBXG/xg\fP or \fBGM/gm\fP are
understood as \fB41\fP, \fB43\fP and \fB7e\fP respectively.
.TP
.BI M HH ", \-\-system\-mid=" HH
Sets the system manufacturer ID to \fIHH\fP (where \fIHH\fP are two
hex\-digits).
.br
In this option, the manufacture ID is set unchangeable. Manufacture
ID from the input file would be ignored.
.TP
.BI b n ", \-\-default\-bank=" n
Use tone bank \fIn\fP as the default.
.TP
.BI B n ", \-\-force\-bank=" n
Sets the bank number of all channels to \fIn\fP.
.TP
.BI i n[/m] ", \-\-default\-program=" n[/m]
Use the program number as the default instrument.  Any Program Change
events in MIDI files will override this option.
.br
If \fIn\fP is followed by \fI/m\fP the default program number of the
channel \fIm\fP is specified by \fIn\fP.
.TP
.BI I n[/m] ", \-\-force\-program=" n[/m]
Similar to \fB\-Ei\fP but this ignores all program changes.
.TP
.BI "F " args
For effects.  See below.  In \fIargs\fP option, you can specify
following effect options:
.RS
.TP
.BI delay= (d|l|r|b)[,msec] ", \-\-delay=" (d|l|r|b)[,msec]
Sets delay type.
.RS
.TP
.B d, 0
Disabled delay effect.
.TP
.B l, 1
Left delay.
.TP
.B r, 2
Right delay.
.TP
.B b, 3
Swap left & right.
.LP
Optional \fImsec\fP is the delay time.
.RE
.TP
.BI chorus= (d|n|s)[,level] ", \-\-chorus=" (d|n|s)[,level]
.RS
.TP
.B d, 0
Disable this effect.
.TP
.B n, 1
Enable MIDI chorus effect control.
.TP
.B s, 2
Surround sound, chorus detuned to a lesser degree (default).
.LP
The optional parameter \fIlevel\fP specifies the chorus level \fB0\fP
to \fB127\fP.
.RE
.TP
.BI reverb= (d|n|g)[,level] ", \-\-reverb=" (d|n|g)[,level]
.TP
.BI reverb= (f|G)[,level,scaleroom,offsetroom,predelay]
.TP
.BI "\-\-reverb=" (f|G)[,level,scaleroom,offsetroom,predelay]
.RS
.TP
.B d, 0
Disable MIDI reverb effect control.
.TP
.B n, 1
Enable MIDI reverb effect control.  This effect is only available in
stereo.
.TP
.B g, 2
Global reverb effect.
.TP
.B f, 3
Freeverb MIDI reverb effect control (default).
.TP
.B G, 4
Global Freeverb effect.
.LP
The optional parameter \fIlevel\fP specifies the reverb level \fB0\fP
to \fB127\fP.
.br
For Freeverb effect, additional parameters \fIscaleroom\fP,
\fIoffsetroom\fP and \fIpredelay\fP can be specified.
\fIscaleroom\fP and \fIoffsetroom\fP specify variables for the room
size calculated as
.br
roomsize = C * \fIscaleroom\fP + \fIoffsetroom\fP
.br
where C is the reverberation character.
\fIpredelay\fP specifies the factor for pre-delay time of
reverberation in percent.
Any of the optional parameters can be omitted.
Default values are \fB0.28\fP, \fB0.7\fP and \fB100\fP respectively.
.RE
.TP
.BI vlpf= (d|c|m) ", \-\-voice\-lpf=" (d|c|m)
.RS
.TP
.B d, 0
Disable LPF effect.
.TP
.B c, 1
Chamberlin resonant LPF (12dB/oct) (default).
.TP
.B m, 2
Moog resonant low\-pass VCF (24dB/oct)
.RE
.TP
.BI ns= n ", \-\-noise\-shaping=" n
Enable the \fIn\fP th degree noiseshaping filter.  The distortion at
decay stage is improved, but the noise on human auditory feeling
increases because it shifts to a high frequency.  In case of 8\-bit
linear encoding, valid values of \fIn\fP are in the interval from
\fB0\fP (min) to \fB4\fP (max).  Default value is \fB4\fP.  In case of
16\-bit linear encoding, valid values of n are in the interval from
\fB0\fP to \fB4\fP.  According to the value, it works as following.
Default value is \fB4\fP.
.RS
.TP
.B 0
No noise shaping.
.TP
.B 1
Traditional noise shaping.
.TP
.B 2
Overdrive-like soft-clipping + new noise shaping.
.TP
.B 3
Tube-amplifier-like soft-clipping + new noise shaping.
.TP
.B 4
New noise shaping.
.RE
.TP
.BI resamp= (d|l|c|L|n|g) ", \-\-resample=" (d|l|c|L|n|g)
.RS
.TP
.B d, 0
No interpolation.
.TP
.B l, 1
Linear interpolation.
.TP
.B c, 2
Cubic spline interpolation.
.TP
.B L, 3
Lagrange method.
.TP
.B n, 4
Newton polynomial interpolation.
.TP
.B g, 5
Modified Gauss effect (default).
.LP
This option affects the behavior of \fB\-N\fP option.
.RE
.RE
.RE
.TP
.B \-e, \-\-evil
Make \fBTiMidity++\fP evil.  For the Win32 version, this increases the
task priority by one.  It can give better playback when you switch
tasks at the expense of slowing all other tasks down.
.TP
.B \-F, \-\-[no\-]fast\-panning
Turns on fast panning to accommodate MIDI pieces that expect panning
adjustments to affect notes that are already playing.  Some files that
don't expect this have a habit of flipping balance rapidly between
left and right, which can cause severe popping when the \fB\-F\fP flag
is used.
.br
In the current version of \fBTiMidity++\fP this option is a toggle.
.TP
.B \-f, \-\-[no\-]fast\-decay
Toggles fast envelopes.  This option makes \fBTiMidity++\fP faster but
the release time of the notes are shortened.
.TP
.BI "\-g " sec ", \-\-spectrogram=" sec
Open the Sound\-Spectrogram window.  This option is activated if the
system has support for the X Window System.
.TP
.BI "\-H " n ", \-\-force\-keysig=" n
Specify the number of key signature.  MIDI file is performed with
transposition to the key of the number of sharp (when \fIn\fP is
positive) or flat (when \fIn\fP is negative).  Valid values of \fIn\fP
are in the interval from \fB\-7\fP to \fB7\fP.  For example, if \fIn\fP
is \fB1\fP, MIDI file with any tonality will be performed transposing
to \fB1\fP flat (i.e., F major or D minor).  Therefore, it is
convenient to use for the accompaniment when practicing a musical
instrument by the tonality which is easy to perform.
.TP
.B \-h, \-\-help
Show the help message.
.TP
.BI "\-i " mode ", \-\-interface=" mode
.br
.ns
.TP
.BI \-\-realtime\-priority= n
.br
.ns
.TP
.BI \-\-sequencer\-ports= n
Selects the user interfaces from the compiled\-in alternatives.
\fImode\fP must be begun with one of the supported interface
identifiers.  Run \fBTiMidity++\fP with the \fB\-h\fP option to see a
list.
.br
For ALSA sequencer interface, optionally to use
\fB\-\-realtime\-priority\fP, set the realtime priority by \fIn\fP,
and to use \fB\-\-sequencer\-ports\fP, set the number of opened
sequencer ports.  Default value is \fB4\fP.
.br
The following identifiers may be available:
.RS
.TP
.B \-id
dumb interface
.TP
.B \-in
ncurses interface
.TP
.B \-is
S\-Lang interface
.TP
.B \-ia
X Athena Widget interface
.TP
.B \-ik
Tcl/Tk interface
.TP
.B \-im
Motif interface
.TP
.B \-iT
vt100 interface
.TP
.B \-ie
Emacs interface
.br
(use ``M\-x timidity'' in Emacs)
.TP
.B \-ii
skin interface
.br
Environment variable \fBTIMIDITY_SKIN\fP must be set to the path of
the skin data (compressed data are also supported).
.TP
.B \-ig
GTK+ interface
.TP
.B \-ir
Launch \fBTiMidity++\fP as MIDI server.
.TP
.B \-iA
Launch \fBTiMidity++\fP as ALSA sequencer client.
.TP
.B \-iW
Windows synthesizer interface
.TP
.B \-iw
Windows GUI interface
.TP
.B \-iP
PortMIDI synthesizer interface
.TP
.B \-ip
UMP interface
.TP
.B Interface options
Option characters may be added immediately after the interface
identifier.  The following options are recognized:
.RS
.TP
.BI "v, \-\-verbose=" n
Increases verbosity level.  This option is cumulative.
.TP
.BI "q, \-\-quiet=" n
Decreases verbosity level.  This option is cumulative.
.TP
.B t, \-\-[no\-]trace
Toggles trace mode.  In trace mode, \fBTiMidity++\fP attempts to
display its current state in real time.  For the Linux sound driver,
this is accomplished through the use of short DMA buffer fragments,
which can be tuned via the \fB\-B\fP option.
.TP
.B l, \-\-[no\-]loop
Loop playing (some interfaces ignore this option)
.TP
.B r, \-\-[no\-]random
Randomize file list arguments before playing
.TP
.B s, \-\-[no\-]sort
Sort file list arguments before playing
.TP
.B D, \-\-[no\-]background
Daemonize \fBTiMidity++\fP in background (for alsaseq only)
.RE
.RE
.TP
.B \-j, \-\-[no\-]realtime\-load
Enable the loading of patch files during play.
.TP
.BI "\-K " n ", \-\-adjust\-key=" n
Adjusts key (i.e., transposes the song) by \fIn\fP half tones.  Ranges
from \fB\-24\fP to \fB24\fP.
.TP
.BI "\-k " msec ", \-\-voice\-queue=" msec
Specify audio queue time limit to reduce voices.  If the remaining
audio buffer is less than \fImsec\fP milliseconds, \fBTiMidity++\fP
tries to kill some voices.  This feature makes it possible to play
complicated MIDI files on slow CPUs.  Setting \fImsec\fP to zero tells
\fBTiMidity++\fP to never remove any voices.
.TP
.BI "\-L " path ", \-\-patch\-path=" path
Adds \fIpath\fP to the library path.  Patch, configuration, and MIDI
files are searched along this path.  Directories added last will be
searched first.  Note that the current directory is always searched
first before the library path.
.TP
.BI "\-M " name ", \-\-pcm\-file=" name
\fBTiMidity++\fP can play a PCM file instead of a MIDI file.  If
``auto'' is specified, \fBTiMidity++\fP tries to open foo.mid.wav or
foo.mid.aiff when playing foo.mid.  If ``none'' is specified, this
feature is disabled.  Otherwise just plays \fIname\fP.
.TP
.BI "\-m " msec ", \-\-decay\-time=" msec
Modify envelope volume decay time.  \fImsec\fP is the minimum number
of milliseconds to sustain a sustained note.
.RS
.TP
.BI \-m 0
Disable sustain ramping, causes constant volume sustains (default).
.TP
.BI \-m 1
Effectively behaves as if all sustains are ignored, volume ramping is
the same as normal stage 3.
.TP
.BI \-m 3000
A note at full volume will decay for \fB3\fP seconds once it begins to
be sustained (assuming the regular stage 3 rate would not cause it to
decay even longer).  Softer notes will of course die sooner.
.RE
.TP
.BI "\-N " n ", \-\-interpolation=" n
Sets interpolation parameter.  This option depends on the
\fB\-EFresamp\fP option's value.
.RS
.TP
.B cspline, lagrange
Toggles 4\-point linear interpolation (default is on).
.TP
.B newton
\fIn\fP point interpolation using Newton polynomials.  \fIn\fP must be
an odd number from \fB1\fP to \fB57\fP.
.TP
.B gauss
\fIn\fP+1 point modified Gauss interpolation.  Ranges \fB0\fP
(disable) to \fB34\fP (max), default to \fB25\fP.
.LP
In either way, linear interpolation is used if audio queue < 99%.
.RE
.TP
.BI "\-O " mode ", \-\-output\-mode=" mode
.br
.ns
.TP
.B \-\-flac\-verify
.br
.ns
.TP
.BI \-\-flac\-padding= n
.br
.ns
.TP
.BI \-\-flac\-complevel= n
.br
.ns
.TP
.B \-\-oggflac
.br
.ns
.TP
.BI \-\-speex\-quality= n
.br
.ns
.TP
.B \-\-speex\-vbr
.br
.ns
.TP
.BI \-\-speex\-abr= n
.br
.ns
.TP
.B \-\-speex\-vad
.br
.ns
.TP
.B \-\-speex\-dtx
.br
.ns
.TP
.BI \-\-speex\-complexity= n
.br
.ns
.TP
.BI \-\-speex\-nframes= n
Selects the output mode from the compiled\-in alternatives.
\fImode\fP must begin with one of the supported output mode
identifiers.  Run \fBTiMidity++\fP with the \fB\-h\fP option to see
the list.
.br
Special in Ogg FLAC output mode, verifying generated data (will be a
bit slower), the size of header padding (default is 4096), the
compression level (0 to 8) (default is 5), and enabling OggFLAC stream
can be specified by \fB\-\-flac\-verify\fP, \fB\-\-flac\-padding\fP,
\fB\-\-flac\-complevel\fP and \fB\-\-oggflac\fP options respectively.
.br
Special in Ogg Speex output mode, the compression quality (0 to 10)
(default is 8), Enabling VBR output, enabling ABR output and setting
the ratio to n, enabling VAD (voice activity detection), enabling DTX
(discontinuous transmission), the encoding complexity (0 to 10)
(default is 3), and frames in a single Ogg packet (0 to 10) (default
is 1) can be specified by \fB\-\-speex\-quality\fP,
\fB\-\-speex\-vbr\fP, \fB\-\-speex\-abr\fP, \fB\-\-speex\-vad\fP,
\fB\-\-speex\-dtx\fP, \fB\-\-speex\-complexity\fP and
\fB\-\-speex\-nframes\fP options respectively.
.br
The following identifiers are available in all versions:
.RS
.TP
.B \-Od
Outputs via audio device (default)
.TP
.B \-Os
Output to ALSA
.TP
.B \-Or
Generate raw waveform data.  All format options are supported.  Common
formats include:
.RS
.TP
.B \-OrU
u\-Law
.TP
.B \-Or1sl
16\-bit signed linear PCM
.TP
.B \-Or8ul
8\-bit unsigned linear PCM
.RE
.TP
.B \-Ou
Generate Sun Audio (au) data
.TP
.B \-Oa
Generate AIFF data
.TP
.B \-Ow
Generate RIFF WAVE format output.  If output is directed to a
non\-seekable file, or if \fBTiMidity++\fP is interrupted before
closing the file, the file header will contain 0xffffffff in the RIFF
and data block length fields.  The popular sound conversion utility
sox is able to read such malformed files, so you can pipe data
directly to sox for on\-the\-fly conversion to other formats.
.TP
.B \-Ol
List MIDI events
.TP
.B \-OM
MOD \-> MIDI conversion
.TP
.B \-Oe
EsounD
.TP
.B \-Op
PortAudio
.TP
.B \-Oj
JACK
.TP
.B \-OR
aRts
.TP
.B \-OA
Alib
.TP
.B \-Ov
Ogg Vorbis
.TP
.B \-OF
Ogg FLAC
.TP
.B \-OS
Ogg Speex
.TP
.B \-OO
libdao
.TP
.B Format options
Option characters may be added immediately after the mode identifier
to change the output format.  The following options are recognized:
.RS
.TP
.B S, \-\-output\-stereo
Stereo
.TP
.B M, \-\-output\-mono
Monophonic
.TP
.B s, \-\-output\-signed
Signed output
.TP
.B u, \-\-output\-unsigned
Unsigned output
.TP
.B 1, \-\-output\-16bit
16\-bit sample width
.TP
.B 2, \-\-output\-24bit
24\-bit sample width
.TP
.B 8, \-\-output\-8bit
8\-bit sample width
.TP
.B l, \-\-output\-linear
Linear encoding
.TP
.B U, \-\-output\-ulaw
u\-Law (8\-bit) encoding
.TP
.B A, \-\-output\-alaw
A\-Law encoding
.TP
.B x, \-\-[no\-]output\-swab
Byte\-swapped output
.LP
Note that some options have no effect on some modes.  For example, you
cannot generate a byte\-swapped RIFF WAVE file, or force uLaw output
on a Linux PCM device.
.RE
.RE
.TP
.BI "\-o " file ", \-\-output\-file=" file
Place output on \fIfile\fP, which may be a file, device, or HP\-UX
audio server, depending on the output mode selected with the \fB\-O\fP
option.  The special filename `\-' causes output to be placed on
stdout.
.TP
.BI "\-P " file ", \-\-patch\-file=" file
Use patch file for all programs.
.TP
.BI "\-p " [n](a)
.br
.ns
.TP
.BI \-\-polyphony= n
.br
.ns
.TP
.B \-\-[no\-]polyphony\-reduction
Sets polyphony (maximum number of simultaneous voices) to \fIn\fP.
.br
Optionally to put `a' character along with \fB\-p\fP option, or to use
\fB\-\-polyphony\-reduction\fP, instructs \fBTiMidity++\fP to enable
automatic polyphony reduction algorithm.
.TP
.BI "\-Q " n[,...](t)
.br
.ns
.TP
.BI \-\-mute= n[,...]
.br
.ns
.TP
.BI \-\-temper\-mute= n[,...]
Cause channel \fIn\fP to be quiet.  \fIn\fP can carry out package
specification by `,'.  If \fIn\fP is \fB0\fP, all channels are turned
off.  Continuously, specifying \-\fIn\fP, channel \fIn\fP is turned
back on.
.br
On the other hand, to put `t' character after \fB\-Q\fP option or to
use \fB\-\-temper\-mute\fP describes temperament mute.  This mutes
channels of specific temperament type \fIn\fP.  For preset
temperament, \fIn\fP can range \fB0\fP to \fB3\fP.  For user\-defined
temperament, \fIn\fP can range \fB4\fP to \fB7\fP.
.TP
.BI "\-q " sec/n ", \-\-audio\-buffer=" sec/n
Specify audio buffer in seconds.  \fIsec\fP maximum size of buffer,
\fIn\fP percentage filled at the beginning (default is \fB5.0/100\fP)
(size of 100% equals the whole device buffer size).
.TP
.BI "\-R " msec
Enables Pseudo Reverb Mode.  It sets every instrument's release to
\fImsec\fP ms.  If \fImsec\fP is \fB0\fP, \fImsec\fP is set to
\fB800\fP (default).
.TP
.BI "\-S " n ", \-\-cache\-size=" n
Sets the re\-sample cache size to \fIn\fP bytes.  If \fIn\fP equals
\fB0\fP any sample caches are disabled.  The default value of
\fIn\fP is \fB2097152\fP (2MB).
.TP
.BI "\-s " freq ", \-\-sampling\-freq=" freq
Sets the resampling frequency (Hz or kHz).  Not all sound devices are
capable of all frequencies \-\- an approximate frequency may be
selected, depending on the implementation.
.TP
.BI "\-T " n ", \-\-adjust\-tempo=" n
Adjust tempo to \fIn\fP%; \fB120\fP play MOD files with an NTSC
Amiga's timing.
.TP
.BI "\-t " code ", \-\-output\-charset=" code
Sets output coding of Japanese text.  Possible values of \fIcode\fP
are:
.RS
.TP
.B auto
determined by the LANG environment variable.
.TP
.B ascii
Translates non\-ASCII code to period.
.TP
.B nocnv
No conversion.
.TP
.B 1251
Convert from windows\-1251 to koi8\-r.
.TP
.B euc
Outputs EUC (Japan) coding.
.TP
.B jis
Outputs JIS coding.
.TP
.B sjis
Outputs SJIS coding.
.RE
.TP
.B \-U, \-\-[no\-]unload\-instruments
Unload all instruments from memory between MIDI files.  This can
reduce memory requirements when playing many files in succession.
.TP
.BI "\-V " power ", \-\-volume\-curve=" power
Set the power of volume curve.  The total amplification becomes
volume^\fIpower\fP.  \fB0\fP (default) uses the regular tables.  Any
non\-zero value causes all midi to use the new user defined
velocity/volume/expression curve (linear: \fB1\fP, ideal:
~\fB1.661\fP, GS: ~\fB2\fP).
.TP
.B \-v, \-\-version
Show the version string
.TP
.BI "\-W " mode ", \-\-wrd=" mode
Play WRD file.
.sp
Allowed values of \fImode\fP are:
.RS
.TP
.B x
X Window System mode
.TP
.B w
Windows console mode
.TP
.B t
TTY mode
.TP
.B d
Dumb mode (outputs WRD events directory)
.TP
.B \-
do not trace WRD
.TP
.B R[opts]
Sets WRD options:
.RS
.TP
.BI a1= b1 ,a2= b2 ,...
Sets the WRD options.  \fBan\fP is the name of option and \fIbn\fP is
the value.
.TP
.BI d= n
Emulates timing (@WAIT, @WMODE) bugs of the original MIMPI player.
The emulation levels are:
.RS
.TP
.BI \-WRd= 0
do not emulate any bugs of MIMPI
.TP
.BI \-WRd= 1
only emulate some bugs (default)
.TP
.BI \-WRd= 2
emulate all known bugs
.RE
.TP
.BI F= file
Use \fIfile\fP as WRD file only no file matching *.wrd is found.
.TP
.BI f= file
Uses \fIfile\fP as WRD file.
.RE
.LP
WRD mode must also use trace mode (option \fB\-i?t\fP) or
the timing of the WRD events will be terrible.
.RE
.TP
.BI "\-w " mode ", \-\-rcpcv\-dll=" mode
Extended mode for MS Windows.  The following options are available:
.RS
.TP
.BI "\-w " r
Use rcpcv.dll to play RCP/R36 files.
.TP
.BI "\-w " R
Do not use rcpcv.dll (default).
.RE
.TP
.BI "\-x " str ", \-\-config\-string=" str
Configure \fBTiMidity++\fP with \fIstr\fP.  The format of \fIstr\fP is
the same as \fBtimidity.cfg\fP.
.sp
For example:
.br
\fB\-x'bank 0\\n0 violin.pat'\fP
.br
Sets the instrument number 0 to violin.
.br
Character `\\' (Ascii 0x5c) in the \fIstr\fP is treated as escape
character like in C literals.  For example \fB\\n\fP is treated as
carriage return.
.TP
.BI "\-Z " file ", \-\-freq\-table=" file
Cause the table of frequencies to be read from \fIfile\fP.  This is
useful to define a tuning different from 12\-equal temperament.  If
``pure'' is specified, TiMidity++ plays in trial pure intonation.
.RS
.TP
.BI \-Zpure [n(m)] ", \-\-pure\-intonation=" [n(m)]
Play in trial pure intonation by Key Signature meta\-event in the MIDI
file.  You can specify the initial keysig by hand, in case the MIDI
file does not contains the meta\-event.  Optionally, \fIn\fP is the
number of key signature.  In case of sharp, \fIn\fP is positive.  In
case of flat, \fIn\fP is negative.  Valid values of \fIn\fP are in the
interval from \fB\-7\fP to \fB7\fP.  In case of minor mode, you should
put `m' character along with \fB\-Zpure\fP option.
.RE
.TP
.BI \-\-module= n
Simulate behavior of specific synthesizer module as much as possible.
For the moment, the value of \fIn\fP defined is as follows:
.RS
.TP
.B 0
\fBTiMidity++\fP Default
.TP
.B 1
Roland SC\-55
.TP
.B 2
Roland SC\-88
.TP
.B 3
Roland SC\-88Pro
.TP
.B 4
Roland SC\-8850
.TP
.B 5\-15
Reserved for GS family
.TP
.B 16
YAMAHA MU\-50
.TP
.B 17
YAMAHA MU\-80
.TP
.B 18
YAMAHA MU\-90
.TP
.B 19
YAMAHA MU\-100
.TP
.B 20\-31
Reserved for XG family
.TP
.B 32
SoundBlaster Live!
.TP
.B 33
SoundBlaster Audigy
.TP
.B 34\-111
Reserved for other synthesizer modules
.TP
.B 112
\fBTiMidity++\fP Special 1
.TP
.B 113\-126
Reserved for \fBTiMidity++\fP specification purposes
.TP
.B 127
\fBTiMidity++\fP Debug
.RE
.SH SEE ALSO
sf2text(1), timidity.cfg(5)
.SH COPYRIGHT
Copyright (C) 1999\-2004 Masanao Izumo <iz@onicos.co.jp>
.br
Copyright (C) 1995 Tuukka Toivonen <tt@cgs.fi>
.LP
The original version was developed by Tuukka Toivonen <tt@cgs.fi>
until the release of TiMidity\-0.2i.  His development was discontinued
because of his being busy with work.
.LP
This program is free software; you can redistribute it and/or modify
it under the terms of the \fIGNU General Public License\fP as
published by the Free Software Foundation; either version 2 of the
License, or (at your option) any later version.
.LP
This program is distributed in the hope that it will be useful, but
WITHOUT ANY WARRANTY; without even the implied warranty of
MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the \fIGNU
General Public License\fP for more details.
.LP
You should have received a copy of the GNU General Public License
along with this program; if not, write to the Free Software
Foundation, Inc., 59 Temple Place, Suite 330, Boston, MA 02111\-1307
USA
.SH AVAILABILITY
The latest release is available on the \fBTiMidity++\fP Page,
.LP
URL http://www.timidity.jp/
.SH BUGS
Eats more CPU time than a small CPU\-time\-eating animal.
.LP
This man page was translated from Japanese to English by me with
poor English skill :\-)
.SH AUTHORS
.TP
.B Version 0.2i and earlier:
Tuukka Toivonen <tt@cgs.fi>
.br
Vincent Pagel <pagel@loria.fr>
.br
Takashi Iwai <tiwai@suse.de>
.br
Davide Moretti <dave@rimini.com>
.br
Chi Ming HUNG <cmhung@insti.physics.sunysb.edu>
.br
Riccardo Facchetti <riccardo@cdc8g5.cdc.polimi.it>
.TP
.B TiMidity++:
IZUMO Masanao <iz@onicos.co.jp>
.br
HARADA Tomokazu <harada@prince.pe.u\-tokyo.ac.jp>
.br
YAMATE Keiichirou <keiich\-y@is.aist\-nara.ac.jp>
.br
KIRYU Masaki <mkiryu@usa.net>
.br
AOKI Daisuke <dai@y7.net>
.br
MATSUMOTO Shoji <shom@i.h.kyoto\-u.ac.jp>
.br
KOYANAGI Masaaki <koyanagi@okilab.oki.co.jp>
.br
IMAI Kunihiko <imai@leo.ec.t.kanazawa\-u.ac.jp>
.br
NOGAMI Takaya <t\-nogami@happy.email.ne.jp>
.br
WATANABE Takanori <takawata@shidahara1.planet.kobe\-u.ac.jp>
.br
TAKEKAWA Hiroshi <sian@big.or.jp>
.br
NAGANO Daisuke <breeze.nagano@nifty.ne.jp>
.br
KINOSHITA kosuke <kino@krhm.jvc\-victor.co.jp>
.br
SHIGEMURA Norikatsu <nork@ninth\-nine.com>
.br
YAMAHATA Isaku <yamahata@kusm.kyoto\-u.ac.jp>
.br
ARAI Yoshishige <ryo2@on.rim.or.jp>
.br
Glenn Trigg <ggt@netspace.net.au>
.br
Tim Allen <thristian@usa.net>
.br
Michael Haardt <michael@moria.de>
.br
Eric A. Welsh <ewelsh@ccb.wustl.edu>
.br
Paolo Bonzini <bonzini@gnu.org>
.br
KIMOTO Masahiko <kimoto@ohnolab.org>
.br
IWAI Takashi <tiwai@suse.de>
.br
Saito <saito2@digitalme.com>
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SATO Kentaro <kentaro@ps.catv.ne.jp>
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TAMUKI Shoichi <tamuki@linet.gr.jp>
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URABE Shohei <root@mput.dip.jp>
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SUENAGA Keishi <s_keishi@mutt.freemail.ne.jp>
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SUZUKI Koji <k@kekyo.net>
.LP
(titles omitted and an order different)
.LP
and other many people sends information and bug\-fix codes.
.LP
The English version of this man page was written by NAGANO Daisuke
<breeze.nagano@nifty.ne.jp>.
.LP
Now, TAMUKI Shoichi <tamuki@linet.gr.jp> and URABE Shohei
<root@mput.dip.jp> are maintaining the man page.
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If you have any comments or suggestions or complaints :) about this
man page, please tell us it.