On Tuesday 22 July 2003 20:03, Reuben Martin wrote: I have both, and in principle I have the bandwidth to send them to anyone who wants, but I don't have anything like enough hosting space to actually host them and I really don't feel like clogging up the world's email servers with this sort of stuff. I guess the answer is one of the filesharing systems, but I haven't a clue how they work (I prefer not to get involved with this technology stuff if I can help it, you understand) and really the thought doesn't tempt me. One problem I have with these soundfonts, and with the idea of getting free-software repositories to host them, is that it's very hard to know that what you're getting really is redistributable. Many of these soundfonts (I have no idea about Fluid) are made up largely of samples of existing synths: what exactly is the copyright situation with those? If it's iffy, how can I know whether a soundfont contains such samples or not? It's very rare to see any statement from the author/compiler of the font about the status of the samples. This question comes up quite frequently (though maybe a little less often than the one about ZynAddSubFX licensing) and I haven't ever seen a very satisfactory answer. That said, I'm not especially keen on Fluid myself anyway. I find the balance of the acoustic instruments is a bit unpredictable. One completely different set of soundfonts I will recommend is Bree Gorton's (Gort's Synth, Gort's Mini Piano etc) available at hammersound.net. There are some groovy and generally peculiar sounds in there, made up of very small generator sets and thus packed into absolutely tiny soundfonts (the largest I have is 78K, the smallest 3K, and they're full sets of 256 or so instruments). Of course you need a rather particular aesthetic to enjoy that kind of thing, but they're a very clever construction. Chris