timidity(1)timidity(1)NAME
TiMidity++ - MIDI-to-WAVE converter and player
SYNOPSIStimidity [options] filename [...]
DESCRIPTION
TiMidity++ 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). TiMidity++ uses Gravis Ultrasound-compatible patch
files or Soundfonts (*.sfx, *.sf2) to generate digital audio data from
MIDI files. The digital audio data generated by TiMidity++ can be
stored in a file for processing, or played in real time through an
audio device.
In real time playing, TiMidity++ can show the lyrics contained in KAR
or WRD files.
FILENAME
You can use the following expressions as the filename argument:
- Read a MIDI file from standard input.
path/filename
Read a MIDI file from the specified path on a filesystem.
dir:directory
directory/
Read and play all MIDI files in the specified directory. For
example,
% timidity some/where/
plays all files in the directory some/where/.
Archive File
Extract and play the file(s) in the archive. If you want to
specify a certain MIDI file in the archive, append #<MIDI-file‐
name> to the archive name. The path after `#' allows the use of
the wildcard expressions (case insensitive).
You can use escape sequence \xHH, where `HH' is a ASCII number
in hexadecimal integer.
For example:
% timidity file.zip#file.mid
Plays file.mid in file.zip
% timidity file.lzh#*.mid
Plays any files that match the wildcard expression *.mid
in file.lzh
% timidity file.tgz#*
This expression is the same as file.tgz
Since these mechanism are contained in TiMidity++ itself, you
can use this syntax even in the MS Windows environment.
TiMidity++ can handle the following archive formats:
tar (*.tar)
tar+gzip (*.tar.gz, *.tgz)
zip (*.zip)
lzh (*.lzh, *.lha)
(lh0, lh1, lh2, lh3, lh4, lh5, lh6, lz4, lzs and lz5 are
available)
Other archives can be expanded if expander command is specified
on the compile phase. TiMidity++ will pipe that command.
news://news-server[:port]/Message-ID
news://news-server[:port]/newsgroup[/first-last]
Play the MIDI file in the specified article on the news server.
If a newsgroup is specified TiMidity++ plays all MIDI files
found in any article posted to that newsgroup.
TiMidity++ parses MIME Multi-part messages in case of news://*
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
mime:
The following MIME-types are allowed:
uu-encoded file
begin
is required
base64 encoded
Content-Transfer-Encoding: base64
is required
quoted-string
Content-Transfer-Encoding: quoted-string
is required
Mac BinHex format
only HQX format is available
http://address
ftp://address
Play the file specified in the URL.
For example:
% timidity http://www.goice.co.jp/mem‐
ber/mo/dist/midi/impromptu.mid
plays the specified MIDI-file directly from the network.
If these expression are used in the *.cfg files, you can even
use patch-files (and others) from remote machines.
INPUT FILE
TiMidity++ can handle the following file formats:
.mid, .rmi (Format 0, 1, 2)
Standard MIDI File
.rcp, .r36, .g18, .g36 (Recomposer formats)
Recomposer format which is product for COME ON MUSIC co.
.mfi (MFi Version 3 - Melody Format for i-Mode)
i-Mode is Japanese local mobile phone
.kar (Karaoke format)
Displays the lyrics as a Lyric Meta Event message.
.mod, mod.* (Module file)
.wrd (WRD format)
OPTIONS
The following command line options are accepted by TiMidity++:
-A [n][,m](a)
--amplification=n
--drumpower=m
--[no-]volume-compensation
Multiplies the master volume by n%. 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 0 (no sound) to 800.
Optionally to put `a' character along with -a option, or to use
--volume-compensation, instructs TiMidity++ to regularize the
volume. You can easily gain dynamic range.
For example:
-A90 volume 90%, drum power 100%, compensation is off
-A,120 volume 70%, drum power 120%, compensation is off
-A90,120
volume 90%, drum power 120%, compensation is off
-Aa volume 70%, drum power 100%, compensation is on
-A90a volume 90%, drum power 100%, compensation is on
-A,120a
volume 70%, drum power 120%, compensation is on
-A90,120a
volume 90%, drum power 120%, compensation is on
-a, --[no-]anti-alias
Turns on antialiasing. Samples are run through a lowpass filter
before playing, which reduces aliasing noise at low resampling
frequencies.
-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 TiMidity++ 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.
-C n, --control-ratio=n
Sets the ratio of sampling and control frequencies. This deter‐
mines how often envelopes are recalculated -- small ratios yield
better quality but use more CPU time.
-c file, --config-file=file
Reads an extra configuration file.
-D n, --drum-channel=n
Marks channel as a drum channel. If channel is negative, chan‐
nel -n is marked as an instrumental channel. If n is 0, all
channels are marked as instrumental.
-d dir, --interface-path=dir
Specifies the directory containing installed dynamic-link inter‐
face modules.
-E mode, --ext=mode
Set TiMidity++ extend modes. The following modes are available
(capitalized switch means disable this feature):
w/W, --[no-]mod-wheel
Enable/disable modulation controlling.
p/P, --[no-]portamento
Enable/disable portamento controlling.
v/V, --[no-]vibrato
Enable/disable NRPM vibration.
s/S, --[no-]ch-pressure
Enable/disable channel pressure controlling.
e/E, --[no-]mod-envelope
Enable/disable modulation envelope controlling.
t/T, --[no-]trace-text-meta
Enable/disable tracing all Text Meta Events.
o/O, --[no-]overlap-voice
Accept/reject pronouncing multiple same notes.
z/Z, --[no-]temper-control
Enable/disable MIDI Tuning Standard temperament control‐
ling.
mHH, --default-mid=HH
Sets the manufacturer ID to HH (where HH are two hex-dig‐
its).
HH values of GS/gs, XG/xg or GM/gm are understood as 41,
43 and 7e respectively.
MHH, --system-mid=HH
Sets the system manufacturer ID to HH (where HH are two
hex-digits).
In this option, the manufacuture ID is set unchangable.
Manufacuture ID from the input file would be ignored.
bn, --default-bank=n
Use tone bank n as the default.
Bn, --force-bank=n
Sets the bank number of all channels to n.
in[/m], --default-program=n[/m]
Use the program number as the default instrument. Any
Program Change events in MIDI files will override this
option.
If n is followed by /m the default program number of the
channel m is specified by n.
In[/m], --force-program=n[/m]
Similar to -Ei but this ignores all program changes.
F args For effects. See below. In args option, you can specify
following effect options:
delay=(d|l|r|b)[,msec], --delay=(d|l|r|b)[,msec]
Sets delay type.
d, 0 Disabled delay effect.
l, 1 Left delay.
r, 2 Right delay.
b, 3 Swap left & right.
Optional msec is the delay time.
chorus=(d|n|s)[,level], --chorus=(d|n|s)[,level]
d, 0 Disable this effect.
n, 1 Enable MIDI chorus effect control.
s, 2 Surround sound, chorus detuned to a lesser
degree (default).
The optional parameter level specifies the chorus
level 0 to 127.
reverb=(d|n|g|f|G)[,level], --reverb=(d|n|g|f|G)[,level]
d, 0 Disable MIDI reverb effect control.
n, 1 Enable MIDI reverb effect control. This
effect is only available in stereo.
g, 2 Global reverb effect.
f, 3 Freeverb MIDI reverb effect control
(default).
G, 4 Global freeverb effect.
The optional parameter level specifies the reverb
level 0 to 127.
vlpf=(d|c|m), --voice-lpf=(d|c|m)
d, 0 Disable LPF effect.
c, 1 Chamberlin resonant LPF (12dB/oct)
(default).
m, 2 Moog resonant low-pass VCF (24dB/oct)
ns=n, --noise-shaping=n
Enable the n 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 n are in the
interval from 0 (min) to 4 (max). Default value
is 4. In case of 16-bit linear encoding, valid
values of n are in the interval from 0 to 4.
According to the value, it works as following.
Default value is 4.
0 No noise shaping.
1 Traditional noise shaping.
2 Overdrive-like soft-clipping + new noise
shaping.
3 Tube-amplifier-like soft-clipping + new
noise shaping.
4 New noise shaping.
resamp=(d|l|c|L|n|g), --resample=(d|l|c|L|n|g)
d, 0 No interpolation.
l, 1 Linear interpolation.
c, 2 Cubic spline interpolation.
L, 3 Lagrange method.
n, 4 Newton polynomial interpolation.
g, 5 Modified Gauss effect (default).
This option affects the behavior of -N option.
-e, --evil
Make TiMidity++ 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.
-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 bal‐
ance rapidly between left and right, which can cause severe pop‐
ping when the -F flag is used.
In the current version of TiMidity++ this option is a toggle.
-f, --[no-]fast-decay
Toggles fast envelopes. This option makes TiMidity++ faster but
the release time of the notes are shortened.
-g sec, --spectrogram=sec
Open the Sound-Spectrogram window. This option is activated if
the system has support for the X Window System.
-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 n is
positive) or flat (when n is negative). Valid values of n are
in the interval from -7 to 7. For example, if n is 1, MIDI file
with any tonality will be performed transposing to 1 flat (i.e.,
F major or D minor). Therefore, it is convenient to use for the
accompaniment when practicing a musical instrument by the tonal‐
ity which is easy to perform.
-h, --help
Show the help message.
-i mode, --interface=mode
--realtime-priority=n
--sequencer-ports=n
Selects the user interfaces from the compiled-in alternatives.
mode must be begun with one of the supported interface identi‐
fiers. Run TiMidity++ with the -h option to see a list.
For ALSA sequencer interface, optionally to use --realtime-pri‐
ority, set the realtime priority by n, and to use
--sequencer-ports, set the number of opened sequencer ports.
Default value is 4.
The following identifiers may be available:
-id dumb interface
-in ncurses interface
-is S-Lang interface
-ia X Athena Widget interface
-ik Tcl/Tk interface
-im Motif interface
-iT vt100 interface
-ie Emacs interface
(use ``M-x timidity'' in Emacs)
-ii skin interface
Environment variable TIMIDITY_SKIN must be set to the
path of the skin data (compressed data are also sup‐
ported).
-ig GTK+ interface
-ir Launch TiMidity++ as MIDI server.
-iA Launch TiMidity++ as ALSA sequencer client.
-iW Windodws synthesizer interface
-iw Windodws GUI interface
-iP PortMIDI synthesizer interface
-ip UMP interface
Interface options
Option characters may be added immediately after the
interface identifier. The following options are recog‐
nized:
v, --verbose=n
Increases verbosity level. This option is cumula‐
tive.
q, --quiet=n
Decreases verbosity level. This option is cumula‐
tive.
t, --[no-]trace
Toggles trace mode. In trace mode, TiMidity++
attempts to display its current state in real
time. For the Linux sound driver, this is accom‐
plished through the use of short DMA buffer frag‐
ments, which can be tuned via the -B option.
l, --[no-]loop
Loop playing (some interfaces ignore this option)
r, --[no-]random
Randomize file list arguments before playing
s, --[no-]sort
Sort file list arguments before playing
D, --[no-]background
Daemonize TiMidity++ in background (for alsaseq
only)
-j, --[no-]realtime-load
Enable the loading of patch files during play.
-K n, --adjust-key=n
Adjusts key (i.e., transposes the song) by n half tones. Ranges
from -24 to 24.
-k msec, --voice-queue=msec
Specify audio queue time limit to reduce voices. If the remain‐
ing audio buffer is less than msec milliseconds, TiMidity++
tries to kill some voices. This feature makes it possible to
play complicated MIDI files on slow CPUs. Setting msec to zero
tells TiMidity++ to never remove any voices.
-L path, --patch-path=path
Adds path 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.
-M name, --pcm-file=name
TiMidity++ can play a PCM file instead of a MIDI file. If
``auto'' is specified, TiMidity++ 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 name.
-m msec, --decay-time=msec
Modify envelope volume decay time. msec is the minimum number
of milliseconds to sustain a sustained note.
-m0 Disable sustain ramping, causes constant volume sustains
(default).
-m1 Effectively behaves as if all sustains are ignored, vol‐
ume ramping is the same as normal stage 3.
-m3000 A note at full volume will decay for 3 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.
-N n, --interpolation=n
Sets interpolation parameter. This option depends on the -EFre‐
samp option's value.
cspline, lagrange
Toggles 4-point linear interpolation (default is on).
newton n point interpolation using Newton polynomials. n must
be an odd number from 1 to 57.
gauss n+1 point modified Gauss interpolation. Ranges 0 (dis‐
able) to 34 (max), default to 25.
In either way, linear interpolation is used if audio queue <
99%.
-O mode, --output-mode=mode
--flac-verify
--flac-padding=n
--flac-complevel=n
--oggflac
--speex-quality=n
--speex-vbr
--speex-abr=n
--speex-vad
--speex-dtx
--speex-complexity=n
--speex-nframes=n
Selects the output mode from the compiled-in alternatives. mode
must begin with one of the supported output mode identifiers.
Run TiMidity++ with the -h option to see the list.
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 --flac-verify, --flac-pad‐
ding, --flac-complevel and --oggflac options respectively.
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 complex‐
ity (0 to 10) (default is 3), and frames in a single Ogg packet
(0 to 10) (default is 1) can be specified by --speex-quality,
--speex-vbr, --speex-abr, --speex-vad, --speex-dtx, --speex-com‐
plexity and --speex-nframes options respectively.
The following identifiers are available in all versions:
-Od Outputs via audio device (default)
-Os Output to ALSA
-Or Generate raw waveform data. All format options are sup‐
ported. Common formats include:
-OrU u-Law
-Or1sl 16-bit signed linear PCM
-Or8ul 8-bit unsigned linear PCM
-Ou Generate Sun Audio (au) data
-Oa Generate AIFF data
-Ow Generate RIFF WAVE format output. If output is directed
to a non-seekable file, or if TiMidity++ 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.
-Ol List MIDI events
-OM MOD -> MIDI conversion
-Oe EsounD
-Op PortAudio
-Oj JACK
-Or aRts
-OA Alib
-Ov Ogg Vorbis
-OF Ogg FLAC
-OS Ogg Speex
-OO libdao
Format options
Option characters may be added immediately after the mode
identifier to change the output format. The following
options are recognized:
S, --output-stereo
Stereo
M, --output-mono
Monophonic
s, --output-signed
Signed output
u, --output-unsigned
Unsigned output
1, --output-16bit
16-bit sample width
2, --output-24bit
24-bit sample width
8, --output-8bit
8-bit sample width
l, --output-linear
Linear encoding
U, --output-ulaw
u-Law (8-bit) encoding
A, --output-alaw
A-Law encoding
x, --[no-]output-swab
Byte-swapped output
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.
-o file, --output-file=file
Place output on file, which may be a file, device, or HP-UX
audio server, depending on the output mode selected with the -O
option. The special filename `-' causes output to be placed on
stdout.
-P file, --patch-file=file
Use patch file for all programs.
-p [n](a)
--polyphony=n
--[no-]polyphony-reduction
Sets polyphony (maximum number of simultaneous voices) to n.
Optionally to put `a' character along with -p option, or to use
--polyphony-reduction, instructs TiMidity++ to enable automatic
polyphony reduction algorithm.
-Q n[,...](t)
--mute=n[,...]
--temper-mute=n[,...]
Cause channel n to be quiet. n can carry out package specifica‐
tion by `,'. If n is 0, all channels are turned off. Continu‐
ously, specifying -n, channel n is turned back on.
On the other hand, to put `t' character after -Q option or to
use --temper-mute describes temperament mute. This mutes chan‐
nels of specific temperament type n. For preset temperament, n
can range 0 to 3. For user-defined temperament, n can range 4
to 7.
-q sec/n, --audio-buffer=sec/n
Specify audio buffer in seconds. sec maximum size of buffer, n
percentage filled at the beginning (default is 5.0/100) (size of
100% equals the whole device buffer size).
-R msec
Enables Pseudo Reverb Mode. It sets every instrument's release
to msec ms. If msec is 0, msec is set to 800 (default).
-S n, --cache-size=n
Sets the re-sample cache size to n bytes. If n equals 0 any
sample caches are disabled. The default value of n is 2097152
(2MB).
-s freq, --sampling-freq=freq
Sets the resampling frequency (Hz or kHz). Not all sound
devices are capable of all frequencies -- an approximate fre‐
quency may be selected, depending on the implementation.
-T n, --adjust-tempo=n
Adjust tempo to n%; 120 play MOD files with an NTSC Amiga's tim‐
ing.
-t code, --output-charset=code
Sets output coding of Japanese text. Possible values of code
are:
auto determined by the LANG environment variable.
ascii Translates non-ASCII code to period.
nocnv No conversion.
1251 Convert from windows-1251 to koi8-r.
euc Outputs EUC (Japan) coding.
jis Outputs JIS coding.
sjis Outputs SJIS coding.
-U, --[no-]unload-instruments
Unload all instruments from memory between MIDI files. This can
reduce memory requirements when playing many files in succes‐
sion.
-V power, --volume-curve=power
Set the power of volume curve. The total amplification becomes
volume^power. 0 (default) uses the regular tables. Any
non-zero value causes all midi to use the new user defined
velocity/volume/expression curve (linear: 1, ideal: ~1.661, GS:
~2).
-v, --version
Show the version string
-W mode, --wrd=mode
Play WRD file.
Allowed values of mode are:
x X Window System mode
w Windows console mode
t TTY mode
d Dumb mode (outputs WRD events directory)
- do not trace WRD
R[opts]
Sets WRD options:
a1=b1,a2=b2,...
Sets the WRD options. an is the name of option
and bn is the value.
d=n Emulates timing (@WAIT, @WMODE) bugs of the origi‐
nal MIMPI player. The emulation levels are:
-WRd=0 do not emulate any bugs of MIMPI
-WRd=1 only emulate some bugs (default)
-WRd=2 emulate all known bugs
F=file Use file as WRD file only no file matching *.wrd
is found.
f=file Uses file as WRD file.
WRD mode must also use trace mode (option -i?t) or the timing of
the WRD events will be terrible.
-w mode, --rcpcv-dll=mode
Extended mode for MS Windows. The following options are avail‐
able:
-w r Use rcpcv.dll to play RCP/R36 files.
-w R Do not use rcpcv.dll (default).
-x str, --config-string=str
Configure TiMidity++ with str. The format of str is the same as
timidity.cfg.
For example:
-x'bank 0\n0 violin.pat'
Sets the instrument number 0 to violin.
Character `\' (Ascii 0x5c) in the str is treated as escape char‐
acter like in C literals. For example \n is treated as carriage
return.
-Z file, --freq-table=file
Cause the table of frequencies to be read from file. This is
useful to define a tuning different from 12-equal temperament.
If ``pure'' is specified, TiMidity++ plays in trial pure intona‐
tion.
-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, n is the number of key signa‐
ture. In case of sharp, n is positive. In case of flat,
n is negative. Valid values of n are in the interval
from -7 to 7. In case of minor mode, you should put `m'
character along with -Zpure option.
--module=n
Simulate behavior of specific synthesizer module as much as pos‐
sible. For the moment, the value of n defined is as follows:
0 TiMidity++ Default
1 Roland SC-55
2 Roland SC-88
3 Roland SC-88Pro
4 Roland SC-8850
5-15 Reserved for GS family
16 YAMAHA MU-50
17 YAMAHA MU-80
18 YAMAHA MU-90
19 YAMAHA MU-100
20-31 Reserved for XG family
32 SoundBlaster Live!
33 SoundBlaster Audigy
34-111 Reserved for other synthesizer modules
112 TiMidity++ Special 1
113-126
Reserved for TiMidity++ specification purposes
127 TiMidity++ Debug
SEE ALSOlsmidiprog(1), mididump(1), patinfo(1), sf2text(1), wav2pat(1), timid‐
ity.cfg(5)COPYRIGHT
Copyright (C) 1999-2004 Masanao Izumo <iz@onicos.co.jp>
Copyright (C) 1995 Tuukka Toivonen <tt@cgs.fi>
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.
This program is free software; you can redistribute it and/or modify it
under the terms of the GNU General Public License as published by the
Free Software Foundation; either version 2 of the License, or (at your
option) any later version.
This program is distributed in the hope that it will be useful, but
WITHOUT ANY WARRANTY; without even the implied warranty of MER‐
CHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General
Public License for more details.
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
AVAILABILITY
The latest release is available on the TiMidity++ Page,
URL http://www.timidity.jp/
BUGS
Eats more CPU time than a small CPU-time-eating animal.
This man page was translated from Japanese to English by me with poor
English skill :-)
AUTHORS
Version 0.2i and earlier:
Tuukka Toivonen <tt@cgs.fi>
Vincent Pagel <pagel@loria.fr>
Takashi Iwai <tiwai@suse.de>
Davide Moretti <dave@rimini.com>
Chi Ming HUNG <cmhung@insti.physics.sunysb.edu>
Riccardo Facchetti <riccardo@cdc8g5.cdc.polimi.it>
TiMidity++:
IZUMO Masanao <iz@onicos.co.jp>
HARADA Tomokazu <harada@prince.pe.u-tokyo.ac.jp>
YAMATE Keiichirou <keiich-y@is.aist-nara.ac.jp>
KIRYU Masaki <mkiryu@usa.net>
AOKI Daisuke <dai@y7.net>
MATSUMOTO Shoji <shom@i.h.kyoto-u.ac.jp>
KOYANAGI Masaaki <koyanagi@okilab.oki.co.jp>
IMAI Kunihiko <imai@leo.ec.t.kanazawa-u.ac.jp>
NOGAMI Takaya <t-nogami@happy.email.ne.jp>
WATANABE Takanori <takawata@shidahara1.planet.kobe-u.ac.jp>
TAKEKAWA Hiroshi <sian@big.or.jp>
NAGANO Daisuke <breeze.nagano@nifty.ne.jp>
KINOSHITA kosuke <kino@krhm.jvc-victor.co.jp>
SHIGEMURA Norikatsu <nork@ninth-nine.com>
YAMAHATA Isaku <yamahata@kusm.kyoto-u.ac.jp>
ARAI Yoshishige <ryo2@on.rim.or.jp>
Glenn Trigg <ggt@netspace.net.au>
Tim Allen <thristian@usa.net>
Michael Haardt <michael@moria.de>
Eric A. Welsh <ewelsh@ccb.wustl.edu>
Paolo Bonzini <bonzini@gnu.org>
KIMOTO Masahiko <kimoto@ohnolab.org>
IWAI Takashi <tiwai@suse.de>
Saito <saito2@digitalme.com>
SATO Kentaro <kentaro@ps.catv.ne.jp>
TAMUKI Shoichi <tamuki@linet.gr.jp>
URABE Shohei <root@mput.dip.jp>
SUENAGA Keishi <s_keishi@mutt.freemail.ne.jp>
SUZUKI Koji <k@kekyo.net>
(titles omitted and an order different)
and other many people sends information and bug-fix codes.
The English version of this man page was written by NAGANO Daisuke
<breeze.nagano@nifty.ne.jp>.
Now, TAMUKI Shoichi <tamuki@linet.gr.jp> and URABE Shohei
<root@mput.dip.jp> are maintaining the man page.
If you have any comments or suggestions or complaints :) about this man
page, please tell us it.
2.13.0 April 25 2004 timidity(1)
