Listen to poem: You need Javascript to use the previous link or use They were gambling in front of the house. Manservants and pages bustled about Serving Suitors who just curse and carouse. Few mix wine with water. I heard one shout, 'Clean down the tables with wet sponges! Rouse Yourselves!

• Timidity Plus Plus 4 Machines
• Iriver Plus 4 Mac
• Timidity Plus Plus 4 Mac Download

And when you've done that lay them out Again!' Some others carve mountains of meat. I’m almost ready to admit defeat. Then I thought I glimpsed Athena (disguised As a man) long before the others did. Sat among the Suitors I’ve long despised, I daydreamed of how my father would rid This house of these hopefuls.

Extract the 'timidity' folder in your PSP/GAME150 3. Download THIS 4. Extract it anywhere on your computer 5. Inside the previously extracted folder you will see 2 folders, one named 'Drum_000' and another one called 'Tone_000', Rename 'Drum_000' to 'drums' (yes it's case sensitive!) 6. Move the folder 'drums' to timidity's root 7. These are the most popular long Divinity poems by PoetrySoup Members. Although I understand faith can be expressed, In many ways, boldly or with timidity, I likewise have the right to my opinion, Of who to trust in life’s tepidity., Win-Win Non-ZeroZone Sum Sum of regenerative PlusPlus OVER not-not double-binding appositionally.

I was surprised At the images - horrible, vivid - The Suitors’ bloody bodies heaped chest-high Slaughtered by the king they’d sought to defy. As I sat brooding, I spied a stranger At the gate, and went straight to greet him there. Great Athena's stratagem to change her Appearance at first kept me unaware Of her divinity. For, the danger Of my being overawed was unfair. Faced with a mortal, I could be at ease And act without feeling I had to please.

I said, “Welcome. You won’t believe how glad I am to see you.

Come drink, eat, and tell Me the reason you’ve come - good or bad. Please, sit close by me so I’ll hear you well.

My mother's Suitors upset me, I'm sad To say, loud and insolent. Drunk, they'll yell, Shout, and tell bawdy jokes.

Just ignore it. For decent company, they are unfit.” At that moment, the great door opened wide And the noise of feasting and merriment Grew louder and reverberated inside. Four of my mother’s Suitors hellbent On having a good time sat down beside Me and the stranger. It was evident They’d drunk far too much from their boorish ways, Rough, tipsy voices, and their glassy gaze. One, Antinous, said, “What’s this? No music Dancing or singing? Where is Phemius, The minstrel?

Tell him to play or I'll kick His backside! Tell him, I, Lord Antinous, Wants everyone to hear how artistic He is with a sweet song harmonious And pleasing. Get to it, Telemachus, Get him to sing. Don’t look so serious!” I nudged the stranger to edge down the bench To get away from these aggressive drunks And avoid breathing in the fetid stench Of their sour wine-soaked breath. Their beards had chunks Of vomit on them as they tried to quench Their insatiable thirst for wine. Each dunks His face in food bowls like pigs at a trough Gorging so fast that they splutter and cough.

I whispered to the stranger, “What I say Is, though I don’t mind a little excess And feasting's cheap when you don't have to pay, There, in some dark uncharted wilderness May lie the bleaching bones - or perhaps they Grind to powder in the surf relentless - Of my father, Odysseus, long gone, Whose wealth these greedy vultures feed upon.” Another brute, Eurymachus, stood up. He staggered unsteadily on his feet. Swaying to and fro, wine spilled from his cup. Eyes bleary, face white as a laundered sheet, He bared his backside, wagged it like a pup, And farted. “I thought I’d give you a treat!” He said, in generous mood, his speech slurred Staring down at his friends with vision blurred. Lord Antinous giggled. “You are unfit To grace this respectable, noble place.

That stink would curdle goats’ milk! I admit You’re daring in baring your bum. Replace Your face with your bum – there’s more hair on it! The barefaced cheek you show is a disgrace! I suggest you sit on your best feature You ill-mannered, uncouth, ugly creature.” Eurymachus retorted, “You're no Greek god Yourself, Antinous! Fair Penelope Will choose me over you - you drunken sod!

And, I can say, without hyperbole, She'll be transfixed by the size of my rod When I hook her! What a catastrophe For her if she handles your tiny worm - She’ll not even notice it twist and squirm!” They guffawed and shouted, “More food, more drink! Bring more bread - and more meat - and much more wine - Lots - if you don't want us to cause a stink! Bring on the dancing girls! We need some fine Young maidens to be sent to us. Just think What we can do with those girls, boys! We'll line Them up take our pick, kiss them quick and grope!” To the stranger I said, “I’ve lost all hope.

These brutes, sir, would pray for much longer legs - For no amount of pleading would save them If my father came back. They'll drain the dregs Of the last of the wine, spit out their phlegm, And belch foul breath smelling of rotten eggs, I fear, before then. We will never stem Rumours of his homecoming. But he's dead.

Now, sir, tell me about yourself instead.” He replied, “I’m your father’s friend, Mentes, On a voyage, here with my ship and crew. Our fathers - your grandfather, Laertes, And mine, were good friends, as he will tell you. I came here because I've been told that he's Home - your father, Odysseus.

Not true It seems. I know for sure he isn't dead. But he’s not on the mainland, that's what's said. Therefore, it’s more likely he's held captive. Strange thing - there is a voice inside my brain - So strong I know it's authoritative - That tells me he will soon be home again.

Your father is clever and adaptive. Thus, even though he's bound with iron chain, He'll find some means of getting back home here. You are his son?

I see the likeness clear.” Mother says I’m Odysseus's son, But it's a wise child that knows his father. I would prefer to be the son of one Who'd grown old upon his own land - rather Than of that unluckiest of men - none Disputes - King Odysseus. I gather My father's doomed to die captive or roam The seas. Either way, he'll never get home. When my father was here, life went on well. Now, we don't know if he's dead or living.

It would be far better if they would tell Us that he'd died in battle. In giving Such news, they'd allow us to break the spell He's cast over us, and start forgiving Those who killed him. Then, I could build a mound To his memory and our line renowned. But now he's gone without a single trace.

I inherit nothing but sad dismay, And it doesn't end with my grief, the race To marry my mother is on. Each day They eat me out of house and home. We face Ruin by them while they pretend to pay Court to my mother who cannot decide Whether she will or not become their bride. I’ll call a state assembly tomorrow. Lay my case before them, and ask the gods To help me. More in anger than sorrow, Bid the Suitors depart. Reduce the odds Ranged against me.

Let my dear mother go Back to her father. If her nature prods Her to wed then he can give her away. I’ll search for my father that very day. Alexander Blackie Copyright © Year Posted 2017. Long poem by Disability, Illness and Fundamentalism My brother died of Cystic Fibrosis, When I was twelve and he fourteen, It took away his ambitions, To study at Oxford - the pipe organ’s steam.

I understand being born with a genetic disorder, Because I have Cerebral Palsy and sometimes mused, Upon when researches will similarly classify, The failure of muscles which neuronal circuits use. I was born with a condition, And so knew James was likewise endowed; I didn't know why my dad, an MD, Did not suspect his son’s cloud. I wrenched that it was my dad’s old age, That prohibited him for from making a diagnosis, But deep down I knew that he was immoral, For not offering a prognosis. So I related to James very well, And we talked about ‘male’ things: Cars, Spitfires, planes, and inventions, Because I was a tomboy with wings. We also discussed politics, World history, philosophy, science and maths, But at the end of each discussion, He made out to mum that we were just having a laugh! Our parents were fundamentalist Christians, Full of woe at non-religious activities, And believed that the soul supported mind and body, In harmoniously pounding entities. Neither did he say that he cared for me, In the toilet or with my jumper, Which he sometimes would put back on me, Before we were seen by “Mother Thunder.” He was just like them as he loved the Bible, So I allowed him to thus develop; In the church with his piano, The congregation to envelop.

Free antivirus for old Macs, retired in 1998. Use Microsoft Word 6 or Excel 5 or later versions, may still find Disinfectant useful. Download Disinfectant for Mac.

My knowledge of his illness, Was validated at school, special and disabled, Where there were others with CF, Who also had fingernails turned inward. Indeed I may have complained to my school, About the deprival of his life-span maximisation, But they continued to patronise me, For my self-care hesitation. It was only once James was diagnosed, That they took me seriously and ‘kent’, But by that time I was entangled, In a web of divine intervention for a CF relent. They thought God would cure him, Completely and entirely of CF, But I always knew their insanity, Would end in them being ‘cognitive deafs’. Latterly of course they prayed, That God would save him from death as well; And so I often questioned educators, Who forbode my slowness accusation to sell.

After he died they produced a book, And called it Goodnight James, Which upset me and found me distraught, Because their own faith it blames! It seems to say that if you ask nicely of God, In a way and in a certain manner, That Jesus will heal the sufferer’s body, So as to create a holy clangor. I am disabled, entitled to the health service, And would not like to promote divinity, As a pathway to make anyone better, Even if it allow conceptual modal validity. Studied marketing, hate the book Goodnight James, Because it plasters God as real, As potentially effective as a doctor, When He just ramifies what you feel. NHS doctors are real to me, Because hey helped my brother get better, Fight bacteria and mucus build-up, With operations and drugs - ‘bread-and-butter’. There is no God, And he’s certainly got nothing to do with the NHS, In any way whatsoever!

Because that would make a great big mess! The NHS is not attached to divinity, Dependent on it at all, Not a sidekick or an offspring, Not a development from God, a call. It’s not above God, Beside him or below, Not secondary, Nor a third party to know.

The NHS is not an agent of the divine one, And it is not an agent of earthly representatives, It’s not assigned to Jesus for productivity, And in medical need, God is not active. It is the mind of the doctor which I so love, Astute, intelligent, insightful and aware, Of the patients’ incapacity’s, Giving life, functionality and care. I don't know why my parents wrote the book, To chide those who ignore, The celestial being in medical journeys, Making the patient into an ignorant whore.

See, there are not three people in the doctor’s room, There’s only two, you and her or him, God is not invisibly interacting, In that beauteous dialogue - the win. Although I understand faith can be expressed, In many ways, boldly or with timidity, I likewise have the right to my opinion, Of who to trust in life’s tepidity. To sacrifice one’s mind for a delusion, When the actual means a nurse or doctor, Is an extremely saddening experience, For the relatives who know people so much more. Obviously, private devotions are personal, Not affecting anybody else, But what they did changed hearts, Towards God, and not towards the NHS. Fundamentalists in the 80s so needed to know, How to fit in to their brave new society, Where new technology, disability rights and medical advances, Gave church leaders a certain amount of sobriety.

The book could’ve described James’ love for me, And that would have explained disability at least, But what transpired was a religious projectile - A holy cry of an introspective fundamentalist feast! I explained life and death to James, How to cope and why we get ill and suffer, He was more at ease after we had talked, More interactive, chatty, and calmer. You can only validate what you know is true, And I know to hope in the health service, To glorify, praise and advocate its methods, So as to help others enjoy a human presence. People’s lives will only improve, When individuals make it better, Societal progress is wrought by the ones, Who’s convictions become actions and words, letter.

So I did not help market the book, In any way at university, And I don't know if my parents understood, Their slighting by my apparent adversity. I have my own memory of James, His fondness, deviation and complexity, So I hope that you will understand, The real story of his personality. Go to the doctor when you are ill, Don’t request divine healing, Because your confidence will be much greater, When you rest in people’s love, in their caring. Copyright © Year Posted 2018. Long poem by I have had a highly redundant, one might even choose polypathic, graduate studies experience spanning my adult life to date. This began with a semester of Philosophy. Just enough to learn I wanted something more experiential, a more communitarian environment of Applied Metaphysics, perhaps.

So then I began, and soon completed, studies for the Master of Divinity degree, which has an arcane ring to it, but basically the title implies just the opposite of what degree candidates most hope for, to be Mastered by Divine Love, to economically and politically operate as an icon of all-inclusive ecological love. Those receiving the M.Div. Hoped to apply their ecopolitical science of empathic trust, our mutual Basic Attendance, to life as liturgical theology or at least teleologically benign song and dance; to be the love today we proclaim for tomorrow, rooted in our humane-divine nondual nature-spirit compost of ecopolitical peace-integrity with justice-truth becoming; pilgrimage, The Ways of Divinity, co-mastering together. Fortunately, when I landed in a rural Colorado parish, the beat-down aging poor mutually-marginalizing Mexican and Anglo faith community invited me to reconsider further investment in administering sacraments disconnected from ecologically healthy outcomes of empathic trust. To continue as individuals, families, and as a multiculturally rich community of mutually holonic, respected, cooperative, trusting co-empathic faith, we needed more of a Total Makeover, a gut rehab, an economic design to fuel our continuing collective political incarnation into this Beloved Therapeutic EcoPolitical Community we each long to belong within, as integrity without. Responding to apparent hope for stronger organizing and planning and budgeting and ecological design and implementation, and evaluation and socioeconomic change skills, I accepted an invitation into a double Master of Public Administration and Community Economic Development degree program, primarily taught by PhDs in Political Science; my first among too many loves as an undergraduate at Michigan.

Here I learned, once again, that politically correct administration of empathic trusting, sometimes mistrusting, and even actively distrusting totalitarian political relationships historically and culturally thrive when 'follow economic wealth' also means 'responsibly invite multicultural political as personal health' internally economic as externally political, nondual internal-external co-arising ecological landscapes of nutrition. Humane ecopolitical landscapes are ruled by active hope and cooperative potential within as divinely landscaped multicultural ecology without, polypathic faith in love's synergetic trust and discovery and curious regenerativity of enlightening imagination. Declaration of interdependent Independence and Constitution were born of Enlightenment CoOperative EcoPolitics.

Applied ecopolitical science looked a great deal like applied theology, or at least teleology, healthy purpose, therapeutic cultural meaning. Democracy develops fragrant discernment through co-empathic multicultural trust, moving toward inclusive resonant resolutions of complexly interdependent ecopolitical issues, risks, opportunities, social investments and historical-cultural divestments, intending improved climate health and less climates of pathology, whether too hyperactively warm or too near to flat-line fading into freezing despair. My issues with effectively developing ecopolitical health, by suppressing dis-ecological pathologies, past failures of achieving a truly multiculturally abundant history of sustainable healthy climates, soon led to confusion about a great cultural divide between two vocational labels: 1.

Political Scientist, and 2. Permacultural Designer. This great cultural divide appeared front and center more recently when I became certified as a Permaculture Designer. It helped me to look more carefully at the functional intent of 'political' as compared to 'permacultural' outcome goals and use-of-power objectives. As I thought more about how our normal day-to-day scientific investment in learning about power includes learning primal differences between multicultural designs and monocultural monopolies of totalitarian mistrust leaning toward distrust chaos, dissonance, then polypathic confluence of design and pattern correlations emerge as the compost, the food, the fodder of our ecological as ecopolitical learning enterprise. 'Permaculture' was chosen to distinguish perennially designed and democratically self-governing landscapes from more traditional annual economies of 'Agriculture' business, with more of a replant, spray, and harvest of chemically treated quasi-edibles, nutritionally malignant regarding fertile health of Earth's soil, leading to well-established suboptimal health-trends of ecopolitical Business As Usual. Permaculture designs are for and on and about and composed of information rooted in past positive polyculturally balanced community landscape outcomes.

These polyculturing ecopolitical landscapes began as maps of nurturing health plans for exteriors only, like gardens and farms and river banks. But, this organic economic and political view of power-with ecological balancing climates has moved from exterior to increasingly interior ecopolitical health landscapes, like bicameral full-octave nature-spirit nondual deep learning healthy multicultural mindbody landscapes, dialogues, stories, evolutions. If you believe IN evolutionary processes that you do not believe also believe in you, cooperatively together, then you are less likely to achieve healthy nutritional ecopolitically sustainable outcomes, while you are waiting for SomeOne Other to grace you with His Transcendent truth-beauty presence. If you believe WITH processes of ecosystemic health, then you have joined the evolutionary permacultural partisans of healthy regenesis, wherein lies all evidence of co-creation. Copyright © Year Posted 2016 Long poem by Know Thyself (one of the two Delphic commands of Apollo) For years before the narrow windows of my senses I stood, Trying to pierce the nebulous world of outer reality, Hoping to find GOD, One year was following the other but I was: Still wondering, Still inquiring, Still demanding.

I was lost in the tenebrous world of materiality’s Phenomena, While the true essence of things, evasive As ever, Persistently escaped the grasp of my confused Perception, Unable to see behind the impenetrable veil Of Isis, And disappointed with reason’s constant Failure, My impatient voice towards the starry heavens I lifted, Asking aloud: Where are Thee, oh LORD? For I have been seeking for Thee so many years now, But I have found Thee not! I have kept my eyes wide-open in order to see, As many colors of Thy creation as possible, And not even for a moment have I shut them, For fear I missed Thy resplendent light, But I saw Thee not! I have kept my ears wide-open in order to hear As many sounds of Thy creation as possible, And not even for a second have I covered them up For fear I missed Thy sacred voice, But I heard Thee not! I have kept my hands extended in order to touch As many things of Thy creation as possible And not even for a minute have I held them back, For fear I missed Thy spiritual touch But I touched Thee not! I have kept my nostrils wide-open in order to scent As many perfumes of Thy creation as possible And not even for an instant have I held my breath For fear I missed Thy holy aroma But I scent Thee not!

I have become a famed gourmet in order to taste As many delicacies of Thy creation as possible And not even for an hour have I withheld my appetite For fear I missed Thy heavenly feast But I tasted Thee not! Then, the thunderous voice of the Lord, Coming deep down from the twilight of time, Tearing the eternal heavens apart Answered me and said: Dear innocent child of Mine; hasn’t time taught you, That I am neither to be seen by eyes Nor to be heard by ears? That I am not to be touched by hands Nor to be scent by nostrils?

That I am not to be tasted by palates But I am only to be felt by enraptured hearts? Trembling and puzzled, in a shaky timid voice, I dared ask: How could this be done, oh Lord?

Contents. General settings Most of these variables can be set from the menu. cddrive Default: ' This is the drive letter of the CD drive that the CD commands will affect. If you only have one CD drive, you can leave it blank.

Doing so will cause the game to use the default CD drive. Since drive letters only exist in Windows file systems, this variable is ignored on Unix and Mac OS systems.

cdenabled Default: true Set this to false if you don't want CD audio support. dlgmusicvolume Default: 1.0 This is a multiplier for when a -style conversation starts. This can be used to reduce music volume so as to make it easier to listen to the voice acting. isoundinbackground Default: false If set to true, the sound and music continue to play in the background if the program's window loses focus, otherwise they pause in such a case. sndbuffercount Default: 0 If non-zero, allows to choose how many buffer are used. Note that with any below about 44kHz, you will need to set to avoid long latencies.

sndbuffersize Default: 0 This is the length of the sound buffer in milliseconds. Leaving this at 0 will let choose the value. If that is unacceptable, you can try setting the buffer size manually. Buffer sizes can be any multiple of 20.

Sizes that are not will be rounded up to the nearest multiple of 20. Smaller buffers produce less latency but are more prone to 'breaking up' or 'stuttering'. You want the buffer size to be as low as possible without stuttering. Each time you change the buffer size, you should use to test the new buffer size. sndchannels Default: 32 This cvar determines the number of channels used for mixing sound effects. Larger values generally sound better but also require a faster processor; though if you have a multicore processor you can safely use the maximum value of 256.

Of ZDoom (up to 2.2.0) used a lower default value of 12. snddriver Default: 0 Selects a machine-specific sound driver. The available drivers depends both on the setting of and on the hardware installed. The command will list the drivers available for the current output device. sndflipstereo Default: false Setting this to true causes sounds to the left of the listener to play on the right channel and vice-versa. Use this if your sound setup is screwy and has stereo reversed. sndhrtf Default: false If true, the filter is applied.

sndmenuvolume Default: 0.6 This is the volume at which menu sounds are played and can range from 0 to 1. sndmididevice Default: -1 This cvar determines which ZDoom uses for and music. A value of -1 indicates to use the synthesizer, while other values select specific MIDI devices. A complete list of MIDI devices available can be obtained with the command.

sndmidiprecache Default: false Works around a bug in the PnP drivers by precaching every instrument in a song just before playback begins. If you do not have one of these cards, you can leave this to false to speed up music transitions (even if using the emulator). sndmusicvolume Default: 0.5 This is the volume at which music is played and can range from 0 to 1. sndoutput Default: 'Default' Selects how sound is sent to the operating system.

Possible values other than 'default' and 'no sound' are system-dependent:. Windows: 'DirectSound', 'WASAPI', 'ASIO', 'WaveOut', 'OpenAL'. Unix: 'OSS', 'ALSA', 'SDL', 'ESD', 'PulseAudio'. Mac OS: 'Sound Manager', 'Core Audio. sndoutputformat Default: 'PCM-16' The format in which ZDoom's audio output is sent to the system.

Valid values are 'PCM-8', 'PCM-16', 'PCM-24', 'PCM-32', and 'PCM-Float'. sndpitched Default: false When set to true, the random pitch effect found in early versions of will be simulated. sndprofile Default: false. sndresampler Default: 'Linear' Valid values include 'NoInterp', 'Linear', 'Cubic', and 'Spline'. sndsamplerate Default: 0 This is the sampling rate (in Hz) at which sounds are mixed in the game.

This affects the sound quality for everything except MIDI music. Most sounds are only 11025 Hz, but some are 22050 Hz, and music sounds better with higher sampling rates. A value of 0 lets use the system default, with a fallback to 48000 Hz if the system does not provide a valid answer.

sndsfxvolume Default: 0.5 This is the volume at which sound effects are played and can range from 0 to 1. This does not set the volume for your sound card's wave playback. sndspeakermode Default: 'Auto' Adapts sound output to your speaker configuration.

Timidity Plus Plus 4 Machines

Valid values include 'Auto', 'Mono', 'Stereo', 'Prologic', 'Quad', 'Surround', '5.1', and '7.1'. sndwaterlp Default: 250.0 Underwater low-pass filter cutoff frequency. Set to 0 to disable the filter.

sndwaterreverb Default: true Controls the use of reverb in underwater areas. False disables the reverb, and true enables it. synthwatch Default: false FluidSynth settings These variables are specific to the synthesizer. ( Need more info). fluidchorus Default: true. fluidchorusdepth Default: 8.0 Valid values range from 0.0 to 21.0.

fluidchoruslevel Default: 1.2 Valid values range from 0.0 to 1.0. The FluidSynth default value is 2.0.

fluidchorusspeed Default: 0.3 Valid values range from 0.29 to 5.0. fluidchorustype Default: 0 Valid values are 0 (sine) and 1 (triangle). fluidchorusvoices Default: 3 Valid values range from 0 to 99. fluidgain Default: 0.5. fluidinterp Default: 1 type. Valid values are 0 (no interpolation), 1 ( ), 4 (fourth order ) and 7 (seventh order polynomial). fluidpatchset Default: ' Defines the paths to the used by the MIDI synthesizer.

fluidreverb Default: true. fluidreverbdamping Default: 0.23 Valid values range from 0.0 to 1.0.

The FluidSynth default is 0.0. fluidreverblevel Default: 0.57 Valid values range from 0.0 to 1.0. The FluidSynth default value is 0.9. fluidreverbroomsize Default: 0.61 Valid values range from 0.0 to 1.2. The FluidSynth default value is 0.2. fluidreverbwidth Default: 0.76 Valid values range from 0.0 to 100.0. The FluidSynth default value is 0.5.

fluidsamplerate Default: 0 The sample rate at which FluidSynth should work. Leaving it to 0 means that it uses its own default.

Iriver Plus 4 Mac

fluidthreads Default: 1 Number of threads that FluidSynth can use. Valid values range from 1 to 256. fluidvoices Default: 128 Number of simultaneous voices. Valid values range from 16 to 4096. GME settings These variables are specific to the system. gmestereodepth Default: 0.0 How much stereo separation is added to songs played by GME.

This can make mono songs sound stereo. The maximum value is 1.0. GUS settings These variables are specific to ZDoom's TiMidity-based emulator.

mididmxgus Default: true Selects whether lumps ought to be parsed and read. If false, the GUS emulator will only read the midiconfig. midiconfig Default: 'timidity.cfg' Defines the path to the fallback configuration file. miditimiditylike Default: false This re-enables TiMidity handling of GUS patch flags, envelopes, and volume levels, while trying to be closer to TiMidity than original TiMidity.

midivoices Default: 32 The maximum amount of voices available to the GUS emulator. Valid values range from 16 to 256. gusmemsize Default: 0 Chooses the amount of memory available to the GUS emulator. Valid values are 0 for unlimited, 1 for 256K, 2 for 512K, 3 for 768K, and 4 for 1024K. A non-zero value only affects how patches are remapped; ZDoom's internal TiMidity will actually use as much memory as needed to load the patches in any case.

guspatchdir. Default: ' Defines the path in which to search for. This is in addition to the system default of%ULTRADIR%/midi. Module settings Most of these variables can be set from the menu. modautochip Default: false Disables interpolation for short samples that meet criteria set by the associated CVARs for scan threshold, size force, and size scan.

modautochipscanthreshold Default: 12. modautochipsizeforce Default: 100.

modautochipsizescan Default: 500. moddumb Default: true Selects whether the replayer should be used. If false, the replayer is used instead.

Timidity Plus Plus 4 Mac Download

modinterp Default: 1 Sets the interpolation type. Valid values are 0 for no interpolation, 1 for linear, and 2 for cubic. modsamplerate Default: 0 The sample rate at which the replayer works. Leaving the value to 0 means to use the same rate as the rest of the sound system. modvolramp Default: 0 Sets the mode used for volume ramping.

Valid values are 0 (no ramping), 1 (logarithmic), 2 (linear), 3 (linear for XM, no ramping otherwise) and 4 (linear for XM, logarithmic otherwise). OpenAL settings These variables are specific to ZDoom's sound backend. sndaldevice Default: 'default' Choose which sound device to use for OpenAL's sound output. Possible values are system-dependent. sndefx Default: on Enable OpenAL's audio effects extensions, which allows things such as to work. OPL emulator settings These variables are specific to ZDoom's.

oplcore Default: 0 Choose which OPL emulator core to use. Possible values are:. 0: Use MAME-derived OPL2 core. 1: Use DOSBox-derived OPL3 core. 2: Use Java-ported OPL3 core. 3: Use Nuked.YKT's OPL3 core.

oplfullpan Default: true If true, the OPL emulator will be able to use full stereo on playback, even though the emulated hardware only supported mono output (OPL2) or stereo limited to three panning position (OPL3). oplnumchips Default: 2 This allows to choose the number of virtual OPL chips used in the when rendering songs. ( is still limited to two chips at most.) Using only one chip can make the emulation up to twice as fast, but it is not really enough to play Doom's music, and most old sound cards had either two OPL2 chips or one OPL3 chip (which acts like two OPL2 chips).

oplsinglevoice Default: false Setting this to true will cause all double voice instruments to use only one voice. Many Doom instruments use two voices, so this is not recommended. TiMidity settings These variables are specific to the external synthesizer. timidity8bit Default: false Set this to true to make TiMidity output 8-bit instead of 16-bit. timiditybyteswap Default: false Set this to true to make Timidity swap the upper 8 bits and the lower 8 bits of audio data when it is outputting 16-bits.

Probably nobody needs this. timiditychorus Default: '0' The contents of this CVAR are supplied to TiMidity's -EFchorus option.

timidityexe Default: 'timidity.exe' (on Windows systems) or 'timidity' (on Unix and Mac OS X) Defines the path to the executable. timidityextargs Default: ' This CVAR is used to supply any extra arguments to TiMidity. Its contents are appended to the command line that generates using the other timidity CVARs. timidityfrequency Default: 44100 This is the sample rate that at which TiMidity will play the music. timiditymastervolume Default: 1.0 This scales the external TiMidity's output volume. It was added because TiMidity tends to be louder than other MIDI synthesizers.

Valid values are in the range from 0.0 to 4.0. timiditypipe Default: 90 This is the approximate size, in milliseconds, of the stream buffer the game uses to mix TiMidity's output with the rest of the game audio. Setting the buffer size to 0 will cause TiMidity to send its output directly to the sound card instead of through the game.

Most, if not all, PCI sound cards should be fine with this set to 0. Older sound cards will require this to be non-zero so that can mix the music with the rest of its sounds. timidityreverb Default: '0' The contents of this cvar are supplied to TiMidity's -EFreverb option. timiditystereo Default: true Set this to false to force Timidity's output to be monaural instead of stereo.

WildMIDI settings These variables are specific to the synthesizer. wildmidiconfig Default: ' Defines the path to the configuration file. wildmidifrequency Default: 0 Defines the sample rate in hertz for MIDI rendering. Valid values are between 11025 and 65535; values outside that range (such as the default of 0) will cause the global default ( ) to be used.

wildmidireverb Default: false Defines whether the WMMOREVERB option is set in WildMIDI. wildmidienhancedresampling Default: true Defines whether the WMMOENHANCEDRESAMPLING option is set in WildMIDI.

Miscellaneous. eaxedittest Default: true When true, the EAX environment currently shown in the editor called by the console command will be used for all areas of the map. This allows for interactive tweaking of different environments.

snddrawoutput Default: 0 When non-zero, shows various oscilloscopes and spectrums for debugging purposes. See also.