The MIDIs, below, were sequenced by myself, note by note, more or less (I haven't, as yet, used a keyboard, guitar synth, or anything). Most are original tunes. The remainder are old standards, Christmas numbers and the like. They are arranged for a Roland GS, like the SCB-55 daughtercard (SCD-15), and many will NOT play well at all on various other synths. MIDI is based on the synth you use more than anything.

Most of these MIDIs also contain some information and notes about the piece, maybe even lyrics, which can be easily viewed by just opening the MIDI file in a plain text editor like Notepad; just don't save it using Notepad (read it, only).

All these files are .zipped up. As mentioned, just below, in this way it:

• helps reduce download time, because MIDIs compress so well.
• But even for single files, or MP3, when compression isn't so important, or so much, everything is .zipped up, too. The reason is to try and defeat bandwidth-killing robot grabs which take files off any site with the .mid, or .mp3 extension, but where one may never know where they came from. I've been hit, myself, with 200-300Meg of .mp3 downloads in one day. So, hopefully, by keeping everything with a .zip extension, it won't be a problem in the future.
• And .zip is a guaranteed transfer mechanism across the web, and self-contained and self-correcting, as it were.

Zip files aren't such a problem, really, using your browser. All that's required is just associating the .zip extension with something like WinZip. Download and Winzip will open, automatically. Then just double click on what you want, to launch the application. In the latest browsers, this is all set up for you, with no extra work involved.

Most of these MIDIs were composed, sequenced and set up for the Roland GS, on an SCD-15 daughtercard (which has the MT-32 and CM-32P instruments). On FM, or for 'wavetable' GM, XG, whatever, these GS arrangements may sound terrible, or just inaudible; or in some cases, perhaps not. Some of these songs are set-up for non-GS synths. But most of these have a GS-specific version which sounds good on an SCD-15, and compatibles.
 
These are included in a .zip file, which:

• helps reduce download time, since MIDIs generally compress down so much,
• includes a GS-reset MIDI; say, if you stop in the middle of playing a MIDI, for example, the synth may not be reset - and playing this MIDI, separately, will reset the card/synth back to normal,
• can include a text file with some notes, explanations,
• can include alternate versions, maybe with one that sounds better through the hi-fi speakers, another better through headphones, the latest mp3 mix, etc.

If you don't have GS equipment, just for comparison, here's 90 sec of Gladiator (about a 800K .zip) as it actually sounds on the Roland (this requires Real Audio 3 or greater, and slide the volume up toward the top). Or, again, check out those, below, with the MP3 icon.

It's likely, but not certain, that the GS arrangements will sound little better than mush on a FM card - which is still, unfortunately, the 'card-the-computer-come-with', in too many cases. So I remixed a handful of these MIDIs specifically for FM. If you have multiple ports set up, and not everyone does, then the FM should be off of port #2. That's how these MIDIs are set up.
 
The OPL-3 FM sound cards can either play in a 'native' mode, or using some other drivers. Microsoft provides a Windows Sound System, which is not always on, but which provides a much nicer, smoother stereo sound than a 'native Soundblaster' mode. If you aren't getting a stereo effect, you probably don't have WSS running. Some of the cheap soundcards provide a '3-D' surround sound, which may also provide some improvement in FM sound quality; if the reverb/echo doesn't actually get in the way.

There are only two GM softsynths for which I arranged a few of these original MIDIs - Beatnik's synth (formerly Headspace), and an inexpensive but good quality GM synth called, WinGroove (not updated in years, but still sounds fine). The instruments are so different in tone and volume, that it typically requires a complete remix to get a MIDI to play out either. Wingroove is closer in sound quality to the GS/XG. But while it provides a little mixer and let's you change the instruments, it doesn't make it easy to change instruments, first, and then play - so another reason for a special WinGroove mix.

After finding that mp3.com was literally restricting one's viewable files to a grand total of - two - I thought people might find it easier to just upload from this site.
 
These are mostly compressed 128/44, which was the mp3.com preference, and that of some other upload sites, for a time. It does introduce some 'spash' in cymbals, and a few other things. But a much higher compression also means a much larger mp3 file, of course. One or two, below, do use a higher compression, and you can see how much larger the files are.
 
Right click, to download, and Save Target as.

A couple of these complete songs are also recorded in Real Audio, which should stream pretty evenly off the server, if there's not a lot of load. These should play with Real Player 3 or better, and were recorded in 8 bit stereo (20 kbps rate), for a 28.8 modem. The quality is 'flangey' and a bit muddy, as one might expect. But unlike with the full MP3, which has to be downloaded completely before playing, these can begin pretty quickly, even if the sound quality's not there. It's a compromise, which gives you, yet again, at least a reasonable, sort of idea of what the song really sounds like on the Roland GS.

The twenty MIDIs, below are either metal or hard rock numbers, that for the GS versions, particularly, must be turned up quite loud in order to get the desired effect, as lower volumes will produce unwanted interferences and side effects. These are designed for the resonance you get with a loud volume on the GS.

  Loud hard rock number, with a title referring to offshore speedboat racing. Sort of a 'surf rock' sound to it, heavy on the ZZ Top.

  Metal/hard rock, a little 'nervous', a little 'scratchy', suggested a cat on the prowl, hoping to survive the night in one piece. One of the hardest rocking tunes I've done.

  It may be country (?), rock, metal (?). Certain riffs seem to suggest SRV, perhaps. And others suggest a percussive, overdriven sort of 'new country'. I call it Country Fived simply because the song is in 5/4 time; though the lead tends to be played 4/4, allowing the 'extra' beat to sort of bridge measures.

  Short, rhythm driven, syncopated 'groove' thing, with the guitar playing off both the harmony and rhythm of the organ and drum/bass.

  A simple, uncomplicated little metal tune that combines the same sort of country/bluegrass and metal sound of Country Fived, but here with a much less fussier rhythm, and a much faster beat. It's a heavy, rock sound, but it seems light, in a way, too (in parts).

  Another 'country/metal' sort of thing, a little bit Ghost Riders. Old country ballad, power rock and a dance beat, and that's sort what you have here - maybe. Has a sort of 'Indian' beat, as with Scar, and the idea of Buffaloes running across the American midwestern plains just came to mind. It might also suggest a sort of amped rhythm and blues, especially for the guitar phrasing.

  Similar to Buffalo Storm, also suggesting an Indian beat. As many tribes wore soft soled shoes, it just seem a good name for the tune. This is very simple, in some ways almost like a studio exercise, or primer, and should convert well to equipment which is not even GS - except you'll lose out hearing the growl which Roland takes care to put in its guitar samples. It's an interesting song, somehow. And the mp3 version was one of the first, years ago, that actually sounded okay on my stereo.

  In an attempt, perhaps, to waste even more bandwidth, I have here a speeded up version of this tune in Real Audio (D-ISDN, about 720K), playing out the Roland at a tempo of 334 (that's right). Anyway - thought some might find it kind of funny, and sort of catchy, in a way.

  Really requires GS, to get the sound effects if nothing else. It's a song about a drag racer at the track, with his 'big block' Chevy engine, in a metal/dixieland motif, I suppose. The song comes in under 2 minutes, but that would be challenge enough if anyone actually wanted to try and play it live. If you have GS, definitely turn it up - the effects sound much cleaner that way.

  Similar to Rapidfire. Similar 'groove rock', but not quite as wild. Perhaps described as amplified jazz, with a metal rock rhythm (maybe even almost rap/R&B if played back on a cheesy GM synth).

  Suggested to me an urgency, and a power that St. Michael might be just the one to come storming in on a mission. Seemed appropriate.

  Subtitled Buffy in the Burbs, not that it sounds like the theme song for the TV show, but it just seemed appropriate somehow; with angels softly singing to start, but building up a bit later to a real metal rhythm as Buffy, we'll say, really gets to fighting all of the bad sorts out and about.

  Brought to mind the same show, same kind of theme, but very different song from the above - more a high energy power chord kind of thing, with a few breaks and then back to the 'fight'; and a 'sad' melancholy ending to say perhaps the 'slayer' is not always happy with her lot in life.

  Also GM, but also with GS specific SysEx to change the sounds a bit. Named Chopper Crush because the rhythm suggests a helicopter, and crush is just the mechanical way in which their guided missles are detonated.

  Meant to suggest a game guy on the target/obstacle course, creeping up, or being crept up on, and then unleashing whatever arsenal, using a power chord fanfare, perhaps even suggesting something orchestral.

  From a line in an episode of BTVS, this is a techno/metal? kind of rhythm based thing - and hopefully not too repetitive. Maybe one could dance to it.

  Later renamed, Did She Show Me, which seems easier to say quickly.

  Kind of a familiar sounding thing; like the theme to a movie, perhaps. Incorporates a few novelty effects, as the destroyer searches and sends off a depth charge at the sub, as the guitars play it pretty safe, throughout, around one or two chords, basically.

  Originally titled, Sub Hunter. But DE, Destroyer Escort, seemed missing. And destroying a sub is to kill it. So - DE Kill.

  In this case, I was playing around with a drum pattern, at the start. And things just went from there. It probably sounds like that. But I think it gets into a 'groove' about a third of the way through. It might be jarring to hear it the first time. If so, maybe listen to it three, four times, to see if you like it.

  Light tune, that for the sake of mercy one might dance for joy. It's more along the lines of a bouncy R&B or jazz-rock number, just with some fast guitar licks, and obvious blues phrasing. Very slight 'edge'. But it's joyful.

  I also thought about calling it Happy Dance (really), or Snoopy Dance, but it gives you some idea of the flavor of the song.

  I was thinking about lonely Indians playing the flute, then about rock, and metal, and then just started 'typing' away. Whatever it is, I also don't know if the wailing guitars are meant for Scar and his lonely little band, or for all the people they slaughtered in the story. (Scar, just to be clear, refers to the character in the John Ford epic western, The Searchers - Scar, Secatrese)

  I later renamed this to, Tribe, to apply more broadly.

  This was the first original rock MIDI I composed. The number has a particularly nasty sound to parts of it. But it seems appropriate, somehow. It's funny and it's nasty is maybe the sense one takes away from it.

  A fusion/rock piece, kind of slow and spacey, moody and bluesy, sounding like something right from the old Miami Vice, with the synth pads and suggestion of congas. It was my entry for the DTF3 project.

  The DTF Project (now defunct) set out a couple of basic tracks, and asked people to just try and come up with a complete song. Everyone started with the same thing, but what each came up with tended to be radically different in style and approach.

  Reggae/jazz/rock? Another fusion thing, based on the DTF4 starter. The starter crammed a lot of notes into its tracks. I kept most of them, and hopefully it doesn't sound too 'overdubbed' or 'busy', as a result.

  Some kind of fusion/classical/game/new age, whatever. Basic syncopated arpeggio runs with chorus swells. Was meant for a hypothetical game interlude, or maybe a level. But it sounds interesting just by itself, too.

  There was a conscious attempt, if you will, to include some theta wave manipulations, as well. It may help explain a somewhat soothing 'emotion', if it isn't cranked up too loud.

  My first jazz MIDI, with lots of chords, a light kind of freeform 'Dixieland' rhythm, with a title which plays on the name, Cordelia.

  If you think I didn't give the 'drummer' enough time for his solo, remember - it's just a midi. It's built up note by note.

  Jazz/rock fusion, heavy on the rock as it gets going, and with what some call a 'red indian' beat trying to assert itself - just put me in mind of the lead character of the famous tv show.
 
  The whole thing hangs together somewhat roughly because of the effort in the last refrain to really blend almost a hard rock exercise into a mellow jazz guitar piece. A work in progress, as are they all.

  The briefest bit. A simple start to a work in progress. Only have the first movement, or overture, or whatever, so far.

  Heard this traditional little aire in my head, one day, and wondered if I couldn't get the ocean f/x, pounding waves &c, what with all the different gadget effects in GS. I think it sounds passably convincing. But I'd hoped to get the effect of a camera, flying in like a bird into an open hatchway, and into the room where they were playing. But it sounds more like the song somehow rising out of the sea.

  Great Christmas song, done not with a sequencer, but rather with Noteworthy's Composer; a notation program. Turned out alright. I used a big orchestra and choir sound, here, though it's typically rendered in a sad and melancholy fashion - low voices, soft instruments, and like that.

  Very, very beautiful 15th century English Christmas motet (in Latin), in three part harmony, only about one minute long; sung for only a two line stanza. Sounds like Gregorian chant, but this postdates plainsong as plainsong did not use harmony and counterpoint.

  The classic tune, of course. I never used to hear a rendition that didn't bore me, until I came across a very moving, beautiful version on the radio, sung likely by a trained opera singer decades ago, and which ran about the same tempo as I used here; and then later, too, I heard Mannheim Steamroller's sort of moody version, which is also rather moving. I used three rather different arrangements for each of the three verses. And one might consider the arrangement for the third verse something of a homage to Chip Davis and his little group.

  I believe it was described as an Appalachian carol by John Rutter in one of his Cambridge Singers videos (must have items, btw). I used Noteworthy's Composer to get the notes, tempo changes, and general arrangement, but then switched over to Winjammer to try and get that voice just right. Somehow, it seems to have worked, though I obv have only played it back with the Roland equip; the layered voice has to sound just right, or else.

  This common prayer is not really a Christmas song, but one might argue generally it would still be appropriate. And particularly this version, which is not the typical slow melody/aire most might think of for the Tantum Ergo, but which is rather light and jaunty, some might phrase it; and which is slighly rearranged from the melody I found in an old St. Gregory hymnal. In other words, it 'sounded' Christmasy.

  Two files got me particularly enthused with MIDI. One was the Batman movie theme, then so popular on "the net". It sounded as good on FM cards as on synths (quite an accomplishment). The other was Oldfield's Tubular Bells, particularly a longer version sequenced by Rene de Vreng. I really had played that over and over again, and just had it stuck in my head when I tackled the traditional, Carol of the Bells. What resulted was sort of a mix of the two.