MIDI Association members Expressive E, makers of the Osmose keyboard and the Touché Controller have released a video explaining the benefits of MPE.
What is MPE (Midi Polyphonic Expression)? How will it change how you play synths and synthesizers forever?
Watch film composer @JOSHMADOFF finally break down this fantastic technology in an approachable and musical way.
Yes, you will finally understand how MPE works and what it does for your music! In the episode #8 of our Creative Tutorials series, Josh will go over the history of keyboard instruments, their somewhat complex relationship to “musical expression” and how MPE changes the game for all musicians.
Ultimately you’ll realise that with our MPE synth Osmose, our MPE plugins and all other manufacturers’ instruments from the MPE family, you can produce more expressive music with less programming!
00:00 Intro 00:15 What does MPE mean? 00:28 A simplified history of the keyboard 02:00 Hear MPE in action 02:43 MIDI vs MPE 04:15 MPE & software synths 05:54 MPE & hardware synths 07:42 Discovering the MPE arpeggiator 08:40 Creating an MPE super synth 09:52 Different kinds of MPE instruments 11:25 MPE playing examples 12:55 The benefits of MPE
The MIDI Association and its members provided updates on the latest developments in the major operating systems at Winter NAMM 2025.
Microsoft announced updates to both MIDI and Audio at the Qualcomm Snapdragon Summit 2024 including better APIs which support MIDI, including MIDI 2.0 and full support for low-latency, high-channel-count audio, using standards already accepted by the industry.
Apple, Google and Linux are all continuing their MIDI 2.0 updates to support new MIDI Association specifications.
If you are a developer of MIDI products, this is a presentation you won’t want to to miss.
Pete Brown also provide more details about the Windows Customer Preview available in this article.
The MIDI Association and MIDI Showcase at NAMM 2025 continued to grow in both size and attendance at events.
Over 30 companies from The MIDI Association had booths at NAMM and most of them were centered around the MIDI Showcase.
We were running multiple events every day on our stage with the help of Professor Jennifer Amaya of Riverside City College and the 60 plus music production students who were helping to man the booth and run the Yamaha TF3 mixer connected to SoundOff wireless headphones.
NAMM Show Summary from Alana from MIDI Card
We invited Alana Balagot creator of the MIDI Card to the NAMM show and she did an excellent summary of everything cool at NAMM 2025 from a MIDI perspective.
MIDI 2.0 Announcements at NAMM 2025
Yamaha Montage M and special versions of Cubase 14 and Windows running MIDI 2.0
Pete Brown announced that the new version of Windows with the MIDI 2.0 open source driver developed by Amenote and funded by the Japanese MIDI organization AMEI would be available to the public in February.
New Rhodes Piano is MIDI 2.0 ready
Long time MIDI Association member and chair of the Piano Profile Working Group Dave Starkey from MIDI9 is helping Rhodes with the some of the coding for their piano and was showing a version of the Rhodes piano supporting the current version of the Piano Profile working weiht Synthogy’s Ivory.
On the other side of the Rhodes is a Roland A88MK connected to Ivory and running the Piano Profile so people could try several different keybeds with the Piano Profile at our booth.
Roland and Synthogy were cooperating to give people a chance to download the newest firmware for the A88MKII and latest version of Ivory that support the current version of the Piano Profile.
In the picture below you can see several products from Amenote, Bome, MusicKraken and Kissbox which support the new MIDI Network transport for MIDI 1.0 and MIDI 2.0 over Ethernet and Wifi.
The MIDI Networking display was constantly busy throughout the show
Pete Brown from Microsoft explains the new MIDI Network transport
SAE Mexico and MIDI In Music Education
SAE Mexico joined in a presentation of their work on developing a MIDI curriculum that will be available on Coursera and under a Creative Commons license so institutions can modify the content to their specific needs.
Arcana and Bettermaker Accessibility Demo
There was a demo of the work done by the Music Accessibility Special Interest Group in controlling hardware and plugins with voice commands.
Here is a Youtube video explaining how voice commands can control MIDI devices using some AI technology and screen readers.
While the Network presentation was happening on stage side of the booth, Stevie Wonder came and checked out the accessibility demo in the MIDI 2.0 demonstration area.
MIDI Innovation Award Booth
The MIDI Innovation Awards booth featured the 5 winners of the 2024 MIDI Innovation Awards.
Commercial Hardware Products- Arcana Strum
Artistic/Visual Project or Installation- Particle Shrine
Several of those winners were focused on music accessibility.
StudioLogic Announces MIDI 2.0 Support
It was a nice surprise that StudioLogic announced their new SL MK2 with MIDI 2.0 support.
There are three versions-73 key and 88 key versions with a premium hammer action and the flagship SL88 GT with a graded hammer action for a more realistic piano action feel.
SL73/SL88 73 or 88 Keys TP/110 Premium Hammer Action
SL88 GT 88 Keys TP/400 WOOD Graded Hammer Action
Here is what they said about MIDI 2.
“The SL mk2 takes a leap into the future with MIDI 2.0. Unlock the full potential of your music with greater resolution, richer dynamics, and unprecedented precision. It’s not just MIDI; it’s music at its most expressive.”
StudioLogic
They are the second company (the Waldorf Iridium was the first ) to announce MIDI 2.0 support without ever becoming MIDI Association corporate members.
Both these companies simply downloaded the specs and coded against them to support MIDI 2.0.
It is fine for them to do that because MIDI always has been and will be free.
However, you’ll notice that they cannot use the MIDI logo in promoting their products because AMEI and The MIDI Association have registered the logo mark around the world.
The logo is only available to MIDI Association and AMEI corporate members to ensure that they actually meet the requirements in the MIDI Association’s logo guidelines and checklist.
MIDI Association Member Booths At NAMM 2025.
Analog Devices
Analog Devices was right next to The MIDI Association booth and were continuing to promote A2B, their proprietary transport that supports MIDI 2.0.
Avid
Although Avid was in the Pro Audio area and pretty far from The MIDI Association, they had a large booth that featured Sibelius and several of Avid engineers attended our MIDI Association events.
Amenote and Azotech
As they did a Music China, Azoteq, the South African chip company and Amenote, the company that did the MIDI 2.0 open source driver for Microsoft shared a booth.
They were demonstrating the full motion key sensors which can add MIDI 2.0 features to any keyboard at a reasonable cost.
Amenote were also showing the Mitosys MIDI 2.0/1.0 network interfaces they have developed.
Audio Modeling
The NAMM Show 2025 has come to an end, and we couldn’t be more thrilled with how it turned out! We had the privilege of showcasing—and, even better, letting people experience—the magic of our instruments.
But the absolute highlight? The return of the legendary, one and only Stevie Wonder! Watching and hearing him play our SWAM instruments was truly extraordinary—a moment we’ll cherish forever.
Audio Modeling
By the way, that’s another MIDI Association member Arturia’s MIDI controller that Stevie is playing.
Bitwig
Bitwig announced their Bitwig Connect audio interface with MIDI.
Bitwig Connect 4/12 More Than An Audio Interface
Bitwig Connect 4/12 is a class-compliant, 4‑in/12‑out CV- and MIDI‑enabled audio interface with monitor- and DAW-control functionalities and a unique Bitwig Mode.
Your Ultimate Studio Sidekick Connect is a three-in-one audio/MIDI interface, monitor and DAW controller. Six mode buttons allow its 360°, touch-sensitive dial to adjust interface parameters or control software. It can set input gain, regulate the volume levels for two sets of monitors and your headphones, or even move the playhead and control any Bitwig Studio parameter with exceptional resolution. The front panel gives you immediate visual feedback, with accurate input and output meters and a ring of 32 RGB LEDs around the dial to visualize parameter values and automation data. Plus, gain settings are accessible and saved within Bitwig Studio, so you can pick up right where you left off next time you open it.
Bitwig
Bome
Florian Bomers, chair of the Network Transport working group had working versions of the new passed network specification implemented in his Bome Box.
Casio
AMEI member Casio had an impressive booth and performances every day.
Digitaize
Digitaize was showing off their MIDI violin and Nick Coleman gave an impressive performance on The MIDI Association stage.
Embodme- Erae Expressive Controller and Looper
Erae 2 is a polyphonic MIDI controller and looper crafted for immersive live performances. Elevate your musical compositions and take full command of your hardware synthesizers, modular setups, and software instruments with unmatched precision. Engineered for exceptional sensitivity and limitless customization, Erae 2 sets a new standard in electronic music. Step into a new Erae in electronic music
embodme
Groove Synthesis
The 3rd Wave Advanced Wavetable Synth was created out of our love for the classic wavetable synths of the past — and a desire to update and improve on that concept. It’s a powerhouse of real depth and beauty, yet it’s simple to use.
Groove Synthesis
Hotone
Hotone was over in the guitar area, but Tom Liu, chair of the MIDI 2.0 effects profile working group was around The MIDI Association booth and participated in several MIDI events.
Icon Pro
Icon Pro Audio was showing off their lines of MIDI controllers and DAW controllers.
Kawai
Kawai who is very active in the Piano Profile working group had a booth and participated in several MIDI Association events.
Korg
Korg introduced a new version of their flagship Kronos Music Workstation, Multi/Poly module and Multi/Poly Native (which feature MIDI 2.0 Property Exchange and were demoed at The MIDI Association booth and the Fisa Suprema C which Korg Artist Corey Pesaturo performed with at the finale of The MIDI Association booth performances along with MIDI Innovation Award finalists Sergey Antonovich and Vladimir Butusov.
Kurzweil
Kurzweil was featuring the new Kurzweil K2061 and K2088 V.A.S.T. Synthesizers.
New industrial design with an aluminum+steel enclosure
Resculpted K2000 synth library
Compatible with K2 era libraries
32 layers per program
Customizable algorithms
Flash sample playback, VA, FM and KB3 engines
2 GB of factory sounds
2 GB user sample memory
Versatile FX chains and master FX section
256 voice polyphony
480×272 color screen
16-zone MIDI controller
Over 30 physical controllers per zone including an integrated ribbon
16 Arpeggiators
16 MIDI CC sequencers
16 RIFF generators
More info coming soon!
Native Instruments
Native Instruments had added UMP MIDI 1.0 support to their Kontrol series keyboards and is very active on the DAW working group.
Nektar
Nectar is another company that is active in the DAW working group and has helped us craft the direction for how plugins will support MIDI 2.0.
Novation
As Tim Carroll is the CEO of Focusrite AND the president of The MIDI Association which includes Novation, Sequential and Oberheim , all of the Focusrite brands are working on MIDI 2.0 support.
Nonlinear Labs
The C15 is an instrument for the performing musician, designed for playability and detailed sound editing. The embedded digital synthesis engine is based on phase modulation, a comb filter, and a feedback structure giving the C15 a unique character and creating crisp, organic, and complex sounds. As a dedicated real-time instrument, the C15 provides high-resolution dynamic response and extensive sound design possibilities. The C15 is self-contained with dedicated haptical controls, but it can also be extended with a graphical user interface on any WiFi-enabled device running a browser.
Medeli Electronics believes the full enjoyment of music greatly relies on high-quality musical instruments. The company is dedicated to producing top quality digital products for players of all kinds of music.
They were at NAMM 2025 representing several brands including Ashun Sound Machines.
There seemed to be a lot of interest in the new Roto-Control from Melbourne Instruments.
Introducing a truly unique motorized MIDI controller, unlike anything seen before. Rethink software and hardware interactions via fully assignable motorized touch-sensitive knobs, user definable haptics for detailed control, high-res screens providing easy-to-read labels for every control, and internal memory with storage for over 8,000 possible assignments.
Powerful, compact, and portable, Roto-Control features three main modes of operation: MIX, PLUGIN and MIDI with Motion Recorder.
Melnbourne Instruments
MIDIPlus
The MIDIPLus booth featured a wide variety of MIDI keyboards, electronic drums and wind controllers
Oaktone
Jeff Caylor from Oaktone is a music producer and Ableton Live specialist.
An Ableton Certified Trainer since 2013, Jeff focuses on solutions that exploit technology to support the story, deploy automation to enhance the message and free the performer to focus on the room.
Rhodes had their own booth where they focused on the Mark 8 Rhodes and the MIDI 1.0 support which includes polyphonic aftertouch!
Rock, Paper, Scissors
Rock, Paper, Scissors ran the Music Techtonics event in October and also the Innovators Meetup at The MIDI Association booth on Saturday.
Robkoo
Robkoo’s booth was busy all three days as people were trying out the new Clari Pro and other wind controllers from Robkoo.
Roland
Roland had an impressive NAMM display and was featuring the new V Stage Performance Keyboards. They look like great platforms to implement the Piano and Drawbar Organ Profiles on.
Roli
Roli had an impressive booth which was highlighting the Roli Piano and Airwave system.
The smart piano that teaches you to play Forget frustrating lessons and endless repetition — say hello to the light-up piano that learns with you. Paired with the ROLI Learn app, ROLI Piano’s 49 full-size, glowing keys light your way to success through lessons with real teachers, engaging musical games, and an ever-growing library of contemporary and classic hits.
Roli
Snapdragon
Snapdragon had a booth in the MIDI showcase and was showing off the new ASIO driver that Yamaha created for them as well as the MIDI 2.0 features in the newest versions of Windows.
Synido
Synido, a premium music equipment brand that specializes in high-quality audio interfaces, MIDI controllers, and MIDI keyboards. From live stream sound cards to professional music recording equipment, we are dedicated to delivering exceptional sound performance and innovative design.
Taqs.im
Taqs.im was at NAMM 2025 with their many virtual instruments focused on the rich musical heritage in the middle east. A great example is SOLO.
SOLO: The Ultimate World Synth Discover new creative possibilities with TAQS.IM SOLO, a powerful cross-platform virtual instrument plugin (compatible with PC, MAC, VST3, AU, and AAX) crafted to elevate your music. SOLO combines hybrid synthesis, microtonal scales, and authentic world music sounds, offering composers, producers, and musicians a unique palette to enrich their compositions with captivating global elements. Embark on a sonic journey and bring a world of inspiration to your music with SOLO.
High-Performance MIDI Interfaces for Musicians and Producers
CME is proud to announce the release of two cutting-edge MIDI interfaces designed to meet the needs of modern musicians, producers, and live performers. The H4MIDI WC and U4MIDI WC redefine MIDI connectivity with advanced features, seamless integration, and innovative design tailored for demanding setups.
The H4MIDI WC focuses on USB hosting, while the U4MIDI WC, shaped by feedback from U6MIDI Pro users, offers tailored solutions for computer-based setups. Both devices operate fully standalone via 5V USB / 9V DC power options, supporting 4 customisable presets switchable via MIDI messages, without the need of an operating system.
H4MIDI WC: Advanced USB Host MIDI Interface
The H4MIDI WC is a high-performance USB host MIDI interface, ideal for keyboardists, guitar players, and producers seeking future-proof solutions. Offering near-zero latency and jitter via wired transmission, it ensures flawless performance in live and studio environments. With versatile DIN and USB connectivity, users can effortlessly link MIDI devices and expand their setups.
Optional WIDI Bluetooth expansion adds wireless flexibility, cutting down on cable clutter and enabling mobile workflows and BLE MIDI group connectivity. Plus, the powerful HxMIDI Tools software provides full control for routing, filtering, and remapping, making even the most complex configurations simple to manage.
Key Features:
USB Host MIDI Interface: Connect USB MIDI controllers, keyboards, and pedals to traditional DIN MIDI hardware without a computer.
Flexible Connectivity: USB-A (8-in/8-out virtual via any USB hub) and USB-C (4-in/4-out virtual) for host and client modes.
Advanced MIDI Routing & Filtering: Configure splits, merges, and custom mappings with HxMIDI Tools software.
Optional Bluetooth MIDI: Add ultra-low-latency (3ms) wireless MIDI via WIDI Core expansion.
High-Precision Performance: 32-bit processor and optocoupler for error-free, high-speed transmission.
Pedalboard-Friendly Design: Slim, reversible form factor with dual power options (USB or 9V DC).
Cross-Platform Compatibility: Works seamlessly with macOS, iOS, Windows, Android, Linux, and ChromeOS.
Designed for studio musicians and tight pedalboard setups, the U4MIDI WC is a lightweight yet powerful hybrid MIDI interface. Its slim profile and durable build make it the perfect addition to any pedalboard, while the 9V DC power option ensures easy integration with pedal-friendly setups.
With the optional WIDI Bluetooth expansion, users can achieve wireless MIDI connectivity with minimal latency. The UxMIDI Tools software provides precise control over routing, filtering, and remapping, empowering users to optimize their configurations with ease.
Key Features:
Hybrid MIDI Interface: USB-C and 5-pin DIN MIDI I/O for versatile connections.
MIDI Router, Filter & Mapper: Customize routing, splits, merges, and filtering with UxMIDI Tools.
Optional Bluetooth MIDI: Wireless MIDI with 3ms latency and support for splitting and merging.
3 Virtual USB MIDI Ports: 48 MIDI channels via a single USB-C connection.
Pedalboard-Ready Design: Compact (140mm x 38mm x 33mm), lightweight (99g), and dual power options (USB or 9V DC).
Cross-Platform Compatibility: Seamless operation with macOS, iOS, Windows, Android, Linux, and ChromeOS.
Both devices represent CME’s commitment to innovation and user-centric design, offering unmatched performance and flexibility for today’s demanding MIDI workflows.
I’ve always been excited about music and technology. My piano teacher set up a simple MIDI studio in the 90’s, with a Dell computer, MIDI keyboard, and a KORG Audio Gallery GM Sound Module, which at the time was many times better than the soft synth sounds coming from Windows’ MIDI playback. We used software like TRAX and Midisoft Studio, and the MIDI demo songs were incredible and inspiring. I was amazed at how much potential there was to create music on the computer, with 64 tracks playing together at once. That’s when I first got into MIDI, learning how note on/off, velocity, and controller signals could control the expression of my music.
I would later continue my passion of music and technology to learn about DAWs and software instruments, and study Composition and Technology in Music and Related Arts at Oberlin Conservatory, and then Music for the Screen at Columbia College Chicago. As an adult, I would continue to follow those interests in music and tech working as a software engineer, film composer, conductor, inventor, creative technologist, and artist.
In 2020, my friend Federico Tobon and I created a musical robotic sculpture, Four Muses, using a repurposed Rock Band keyboard with MIDI out to control four electromechanical musical sculptures to create a robotic band. That’s when I started to learn MIDI at a lower level, reading the MIDI note from the keyboard from an Arduino, packaging that up into a message and sending that with an NRF24L01 transmitter, reading that note with another NRF24L01 receiver, and then triggering a corresponding solenoid or motor to strike an instrument wirelessly. One of the instruments used motors spinning at different frequencies to translate to pitch instead. Using Arduino I also programmed several modes for the keyboard and LED matrix, such as a live interaction mode, a playback mode, a sequencer mode, and a teaching mode.
Four Muses Musical Robotic Sculpture
I travel a lot, and am often writing music on the road. I had a Yamaha QY70 in the 2000’s which I used to love tracking songs on. But I’ve always wanted a tiny MIDI keyboard for my laptop. Even portable keyboards like the Korg nanoKEY were too big for me to use with a laptop on a plane, and took up too much space in my luggage. I also wanted something super portable that I could run warmups on with my chorus, the Trans Chorus of Los Angeles, before gigs.
I started tinkering with the SeeedStudio Xiao, a tiny, quarter-sized microcontroller that is cheap and extremely powerful, arduino compatible, and able to handle HID (Human interface Device) emulation as well as MIDI over USB. I made a breadboard prototype based on my learnings from Four Muses, adding some simple Arduino logic for supporting octave functions (simply add or remove multiples of 12 to the current note), sustain (send a control change) and modulation (another control change). I open-sourced my code here:
In a manufacturer’s components website, I sorted through hundreds of buttons and switches for days, sorting them by size and by newton force to find the smallest and lightest tiny buttons.
I decided to make a credit-card sized daughterboard for the Xiao that would have 18 keys on it, octave buttons, sustain, and modulation functions. Since the buttons weren’t touch sensitive, I added more buttons for setting global velocity levels (P/MF/FF). I also learned how to multiplex inputs and outputs into rows and columns, giving me 25 inputs from 5 rows and 5 columns using only 10 I/O pins, and diodes to filter out ghost notes. I learned how to use EasyEDA (free PCB Design software), built my first schematic and PCB design, and ordered my first PCBs.
The first batch I got back was a failure. It turns out the diodes I picked had too big of a forward voltage drop, killing my signal flow. ChatGPT was very useful for this, helping me troubleshoot what I’d done wrong, and helping me understand datasheets better to pick the right type of diodes.
I ordered a second batch, and they worked! I had the manufacturer assemble the boards, and then I manually hand-soldered the Xiao microcontrollers onto them, and programmed them in Arduino. I now had a tiny, USB-C MIDI keyboard that I could take anywhere with me, and since it was class compliant, it would work with phones and tablets too.
I started selling them online, and there’s been a lot of enthusiasm for these little boards. I’ve continued to iterate with them too. The next version I designed, the MidiCard Plus, has 25 keys, which I could do by combining the 3 velocity buttons into one button with a toggle function to toggle between P/MF/FF. It also has larger, sturdier buttons.
I’m working on future versions of the MidiCard as well with multiple color options, and just using a bare SAM D21 chip instead of the full Xiao module. This will prevent me from having to hand-solder each board and will give them a slimmer profile. I’m also designing cases for the MidiCard, and am open to other suggestions. (Maybe wireless or MIDI 2.0 features!)
If you’re interested in purchasing a MidiCard, they can be found at:
Just set your browser to always translate Japanese, click on the Tokyo Gakki Expo link above and you can surf the site and see all the cool events that were held, but here is a sampling (pun intended!).
MIDI 2.0 Seminar
This is a MIDI 2.0 seminar held by the Association of Musical Electronics Industry (AMEI). The latest MIDI 2.0 compatible devices will be operated and their functions will be demonstrated. Some unreleased driver information will also be made public. This is a great opportunity to learn about the future of MIDI.
JSPA members’ top pick! Highlights of Tokyo Musical Instrument Expo 2024!
We will introduce the booths that JSPA members are personally looking forward to and paying attention to at this year’s Tokyo Musical Instrument Expo! If you check this out, you will definitely be an information expert at this year’s Tokyo Musical Instrument Expo! There will also be an announcement about the concept of this year’s event by the creator of the “unofficial” song for Tokyo Musical Instrument Expo 2024!
Following on from last year, the three major synthesizer brands, Korg, Roland, and Yamaha, will be holding the “Synthesizer Battle Royale 2024.” Don’t miss the battle between the cutting-edge synthesizer sounds and specs of the most talented keyboardists representing each company.
Let’s experience the mechanism and performance of an analog synthesizer using KORG’s monotron DUO! You can also touch modular synthesizers and rhythm machines! Calling all future music producers!
Target audience: 3rd grade elementary school students to 3rd grade junior high school students. Cast:Masaaki Enatsu
Cute gadget experiment time
Using cute battery-powered gadgets, we will experiment with making sounds and sampling! We will create simple music using sounds recorded in mono with a mini plug. What will the sound produced by the JSPA director’s collaborative experiment be?!
Cast: Miki Nomiyama Mion Tsuruta
Yamaha MONTAGE M Synth 50th Anniversary Special Demo by Katsunori Ujiie
Talk and demonstration by Katsunori Ujiie of the MONTAGE M special sound to celebrate the 50th anniversary of Yamaha synthesizers. Look forward to famous songs by famous artists and sounds of rare synthesizers.
A new era for Arturia’s new stage keyboard. Kurumi Fujioka plays and Nicolas Woolley explains AstroLab. Witness the many new features of AstroLab!
There were a lot of MIDI Association companies participating in the event (not just Japanese companies) including Ableton, Arturia, Hammond, Korg, Melbourne Instruments, Mellotron, Oberheim, Roland, Sequential, Spectrasonics, Udo and Yamaha.
Synthogy has released Ivory 3 American Concert D, the 2nd virtual piano for its Ivory 3 platform. Ivory 3 American Concert D features their legendary recordings of a vintage New York Steinway D Concert Grand, now fully realized through the power of the Ivory 3 engine.
This 1951 New York Steinway D (CD 121) was handpicked by Steinway & Sons Concert & Artist department for artist promotion. The instrument has received praise over the years from some of the world’s greatest concert artists, with the signatures of masters like Glenn Gould and Rudolph Serkin gracing its plate.
Powered by Ivory 3’s RGB engine, the Continuous Velocity feature provides smooth, seamless velocity-to-timbre on every piano strike. This technology, unique to Synthogy, behaves like modeling yet maintains the complex, rich and realistic sound of real-world instruments. It is the foundation of a new generation of expressive capabilities in Ivory 3.
The Ivory 3 American Concert D instrument also features 4 stereo microphone positions. Multiple close and ambient choices are instantly available for detailed presence and depth of field. The on-board Ivory 3 mixer enables fine levels of control over the sound.
In addition, the Ivory 3 engine is MIDI 2.0 ready for support of MIDI 2.0 high resolution velocity. 65,536 velocity-to-timbre levels are manifested by the RGB engine, opening the door to new possibilities of musical expression with myriad degrees of tone color.
Ivory 3 American Concert D is available now for Windows and Mac, as a digital download purchase direct from Synthogy’s on-line web store, or from any of its authorized resellers.
Upgrades are available for Ivory II American Concert D owners.
Ivory 3 American Concert D MSRP $249 USD Ivory 3 American Concert D Upgrade (from Ivory II American Concert D) MSRP $139 USD
Pete Brown is both the MIDI Association Exec Board Chair and a Principal Software Engineer in the Windows Developer Platform team at Microsoft. He focuses on client-side dev on Windows, apps and technology for musicians, music app developers, and music hardware developers, and the Windows developer community.
For musicians, there are two key enabling technologies for making music – MIDI and Audio. Microsoft announced updates to both are coming soon to Windows.
Microsoft announced updates to both MIDI and Audio at the Qualcomm Snapdragon Summit 2024.
What did we announce today for musicians and other audio professionals?
Musician Software coming to Arm64 Steinberg Cubase and Nuendo in preview this week Cockos Reaper in preview today Reason Studios Reason in preview in early 2025
Audio Hardware coming to Arm64 Vendor-specific USB Audio / ASIO driver preview from Focusrite early in 2025 Vendor-specific USB Audio / ASIO driver preview from Steinberg/Yamaha in 2025
In-Box Support coming to Arm64 ASIO and low-latency USB Audio Class 2 driver previews mid 2025, in-box in Windows when complete MIDI 2.0 (Windows MIDI Services) previews in Windows Insider builds this November, in-box in retail Windows early next year.
From my own use and from working with others in the music industry, I know we need to have support for two major features on Windows for musicians to have a great experience:
Better APIs which support MIDI, including MIDI 2.0, with backwards compatibility with MIDI 1.0 APIs and devices. Our older MIDI stack hasn’t kept up with current needs, and needed replacing so that we can grow and innovate.
Full support for low-latency, high-channel-count audio, using standards already accepted by the industry
Pete Brown-Microsoft
Windows MIDI Services: The New Windows MIDI Stack
Windows MIDI Services supports MIDI 1.0 as well as the MIDI 2.0 Universal MIDI Packet (UMP) standard. Together this provides compatibility with existing MIDI devices as well as the new MIDI 2.0 devices already in-market or coming soon (I have several MIDI 2.0 devices here in my studio).
MIDI CI, which bridges the gap between MIDI 1.0 and MIDI 2.0 UMP, is supported through normal SysEx support, and we recommend the use of open source cross-platform libraries which help with creating and parsing those messages.
Pete Brown-Microsoft
Backwards compatibility with the WinMM MIDI 1.0 API
The Association of Musical Electronics Industries (AMEI), the organization that oversees the MIDI specification in Japan, committed to funding the development of an open-source USB MIDI 2.0 Host Driver for Windows Operating Systems under a memorandum of understanding between AMEI, AmeNote Inc, and Microsoft.
AMEI is underwriting the cost and has engaged AmeNote Inc. to develop the driver because of AmeNote’s extensive experience in MIDI 2.0 and USB development. In addition, concurrent to this, Microsoft has also agreed to start development of a Windows standard open-source MIDI 2.0 API.
The driver and API will be developed in accordance with Microsoft’s quality control standards, and will be managed as a permissively licensed (MIT license) Microsoft open-source project. As a result, anyone can participate in the development as an open-source contributor in the future, or use the code in their own devices or operating systems. Because of this open source arrangement, continuous and timely improvements and enhancements to the USB MIDI 2.0 Host driver and MIDI 2.0 API are expected.
Here is a list of the AMEI companies supporting this work.
l AlphaTheta Corporation
l INTERNET Co., Ltd.
l Kawai Musical Instruments Manufacturing Co., Ltd.
l CRYPTON FUTURE MEDIA, INC.
l CRIMSON TECHNOLOGY, Inc.
l KORG INC.
l Educational Corporation Shobi Gakuen
l SyncPower Corporation
l ZOOM CORPORATION
l -SUZUKI MUSICAL INST. MFG. CO.,LTD.
l TEAC CORPORATION
l Yamaha Corporation
l Yamaha Music Entertainment Holdings, Inc.
l Roland Corporation
l Analog Devices, K.K.
For the full blog from Pete on the New Windows MIDI Stack, please click on the link below.
We’ve recently kicked off a project with Qualcomm and Yamaha to create a brand new USB Audio Class 2 Driver in Windows, with both WaveRT (our internal audio) and ASIO interfaces, following the latest standards for Windows driver development using the ACX framework.
The new driver will support the devices that our current USB Audio Class 2 driver supports, but will increase support for high-IO-count interfaces with an option for low-latency for musician scenarios.
It will have an ASIO interface so all the existing DAWs on Windows can use it, and it will support the interface being used by Windows and the DAW application at the same time, like a few ASIO drivers do today. And, of course, it will handle power management events on the new CPUs.
This driver will work with USB Audio Class 2 devices, so you can plug in your device, and get right to making music.
Finally, we’ll make the class driver source available to others on GitHub, just like we have with MIDI, so that any company creating their own USB Audio Class 2 drivers will be able to learn from how we handled events and also give us suggestions for how we could do better. It’s a two-way conversation.
Pete Brown-Microsoft
Announcing: Hardware-optimized USB Audio drivers on Arm64
Our new in-box driver needs to work well for all compliant USB Audio Class 2 devices. But some hardware developers are expert driver authors, and for years have known that if they write their own optimized drivers for their USB Audio Interfaces, even on other platforms with built-in drivers and low-latency APIs, they can achieve even better round-trip latency at the same levels of stability. Every millisecond counts!
Pete Brown-Microsoft
Focusrite – Native on Arm64
“Focusrite is targeting releasing native Arm64 drivers for all of its supported USB audio interface products in early 2025, bringing compatibility with all ASIO and non-ASIO applications running on the platform.”
Tim Carroll, CEO Focusrite Group
CEO Focusrite Group, President of The MIDI Association
Yamaha – Native on Arm64
Yamaha creates the Steinberg-branded USB audio interfaces, which are fantastic performers on Windows and loved by their customers. In addition to working on the in-box class driver for Arm64, they are going to release optimized device-family versions of their audio interface drivers for Windows on Arm, giving users of their devices the best of both worlds. We’re excited to see these drivers coming out for Arm64 in 2025!
Pete Brown- Microsoft
Announcing: New Musician-focused apps coming to Arm64
With the new MIDI stack and in-box ASIO, these three killer DAW apps, and two families of audio interfaces with optimized drivers for Arm64, we’re set up to help make the experience of creating music amazing on Windows. I am beyond excited for so many of these efforts to come together at this point in time. A huge thanks to all our hardware and software partners who have stepped up to help musicians and other audio creators on Windows.
Pete Brown-Microsoft
Cubase x Snapdragon: Redefining mobile music production
For the full blog from Pete on Make Great Music with Windows on Arm, please click on the link below.
At the MIDI Forum, there were a number of technology presentations and one of the most fascinating was from Robin Zhang about the open source software he developed called Digishow.
Robin runs a creators’ collective in a beautiful old building that used to be the home of the Lester School and Technical Institute. They get diverse people from different backgrounds (musicians, lighting, artists, designers) to work together and create unique pieces of art using Digishow.
DigiShow is a lightweight control software designed for live performances and immersive show spaces with music, lights, displays, robots and interactive installations. It serves as an easy-to-use console for signal controlling, also enables signal mapping between MIDI, DMX, OSC, ArtNet, Modbus, Arduino, Philips Hue and more digital interfaces.
With using DigiShow LINK app, there are some scenarios assumed:
Producers: For live music or theatre performances, DJ or producers can arrange show lighting cues and stage automations on MIDI tracks alongside the music tracks in Ableton Live or other DAW. At the show, press the button on the Launchpad, the music loop and lighting effects will be instantly played in sync.
Ableton Live with tracks programmed for Digishow
Picture of magnetic and MIDI demo with lightshow
Performers: When playing MIDI instruments like drums or keyboards, DigiShow can trigger dynamic lighting changes and even robotic movements by MIDI notes following the beat or the music. Sensors can also be added to acoustic or DIY instruments to automatically generate MIDI notes.
Artists and Designer: For building interactive art installations, the creators often need to make software that works with the hardware. DigiShow provides OSC, ArtNet, WebSocket pipes for inter-application communication. Designers can create their interactive content in some creative software like TouchDesigner, Unity 3D, P5.js and access the hardware easily through DigiShow. Developers can also program using Python or JavaScript to connect DigiShow and extend interaction logic.
Storefront Display programmed by Digishow and simulated in Touch Designer
Makers and Hobbyists: DigiShow is for all show makers as well as hobbyists with little professional skills. Make digital shows for your own party time, or just make your house into a mini ‘disneyland’.
The Music China 2024 edition was an extraordinary and opportunity-filled experience for us at Audio Modeling. In collaboration with the MIDI Association and in the MusicX area, we had the chance to explore the Chinese music market and strengthen our presence in this key sector.
Discovering the Chinese Music Market
During the event, we had the opportunity to deeply understand the specific characteristics of the Chinese music market by meeting key players in the industry. We discovered a strong interest in the integration of technology in music education. The role of music education in China is central and constantly expanding, representing a great opportunity for us to develop innovative technological solutions that can make a significant impact.
Partnership with ROBKOO: A New Chapter
One of the highlights of Music China 2024 was the signing of our partnership with ROBKOO, a leading company in the production of electronic controllers and wind instruments. This collaboration marks a strategic step for Audio Modeling, opening doors to a growing market where electronic controllers are becoming increasingly popular.
The partnership with ROBKOO highlights the importance of a rapidly growing sector in China, allowing us to work with a leading company to develop cutting-edge and accessible musical solutions for an ever-expanding audience.
Awards and Innovation: The Success of UniMIDI Hub
At Music China, we were proud to receive two prestigious awards: the MIDI Innovation Award and the China User Choice Award, both won thanks to our UniMIDI Hub prototype. This project embodies our vision of musical accessibility, aiming to make music creation accessible to everyone.
UniMIDI Hub represents just the beginning of our commitment to creating an inclusive musical ecosystem, usable by people with disabilities as well as anyone who wants to explore new forms of musical expression.
Lecture at the Shanghai Conservatory of Music (SHCM): Engagement and Interest
Another significant moment during our time in Shanghai was being guests at the Shanghai Conservatory of Music (SHCM), where we held a lecture on our SWAM instrument physical modeling technology. The lecture saw great participation and interest from the students, who asked numerous questions to understand how this technology can revolutionize the way music is produced and performed.
The enthusiasm shown by the students at the Shanghai Conservatory confirmed for us how strong the interest in technological innovation is within the Chinese educational sector. We are confident that this collaboration will continue to develop in the future, helping to train the next generation of musicians through advanced technologies.
The MIDI Association and the Chinese Musical Instrument Association (CMIA) have always had a close and mutually beneficial relationship. We have met every year for over decade to discuss the evolving state of the musical instrument industry with CMIA.
The important role that organizations like CMIA and NAMM play in shaping the future of the Musical Instrument Industry cannot be ignored.
During the pandemic, we actually deepened our relationship with the CMIA by providing people in China with virtual events about new MIDI products and specification hosted on The MIDI Association’s internal communication’s platform MIDIable and iframed on Music China’s WeChat channel.
Last year when we could finally return in person to Music China, we signed the 2023 Shanghai Consensus Agreement between CMIA and The MIDI Association.
Shanghai Consensus 2023
Last year (2023) both sides agreed that over the past years, the China MIDI musical instrument industry has maintained smooth communication and multi-dimensional cooperation between CMIA and TMA and agreed to further cooperation in order to:
Stimulate MI industry development
Boost trade shows and industry events
Establish mechanisms for efficient exchange of information and data
Foster industry technology innovation
The MIDI Association’s success at Music China 2024 is directly attributable to the support we received from CMIA and from Shanghai Intex, the company that runs the Music China trade show.
Here is a statement by Wang Shicheng from our 2024 meeting at Music China .
As the cornerstone of modern digital music, the development of MIDI technology has a far-reaching impact on the future development of the entire electro-acoustic instrument industry.
The International MIDI Forum will help more people understand and master MIDI technology through the promotion of advanced MIDI technology and application technology lectures, roundtable forums and other activities, lower the threshold for music production, and enable more enthusiasts to participate in music creation.
There are a considerable number of music performance groups in China, and MIDI technology and products have great development potential in the Chinese market. The participation and contribution of the Chinese MIDI industry has played a positive role in promoting the development and growth of the international MIDI industry.
In the next step, the organizers of the exhibition will continue to increase resource support for MIDI international exhibition areas, forums, activities, roadshows and other theme activities to attract more international MIDI companies to participate in the exhibition in China.
The MIDI Association and the Japan Music Electronics Industry Association are welcome to strengthen exchanges with the Chinese MIDI industry in product manufacturing, design, branding, technology development and innovative research and development to achieve mutual benefit and win-win results.
WANG SHICHENG
PRESIDENT, THE CHINESE MUSICAL INSTRUMENT ASSOCIATION
Meeting between CMIA, AMEI and The MIDI Association at Music China 2024
Wang Shicheng emphasized that the International MIDI Forum plays an important role in promoting technological development, promoting industry exchanges, popularizing education and integrated development.
“We should make full use of the industry platform of the Shanghai International Musical Instruments Exhibition, work together with the international MIDI industry in an open and cooperative manner, and continuously enhance China’s voice and influence in the global application of MIDI 2.0 technology”.
The 2024 Future Music Technology and International MIDI Technology Development Forum
On October 12, the 2024 Future Music Technology and International MIDI Technology Development Forum was held during the Shanghai Musical Instruments Exhibition.
The entire series of activities includes international project roadshows, keynote speeches, special discussions, and roundtable forums. They are rich in content and novel in form. They deeply analyze the latest developments and future trends of current international MIDI technology and the market, and provide in-depth communication opportunities for professionals and MIDI enthusiasts.
The event was hosted by the China Musical Instrument Association and Shanghai Intex Exhibition Center Co., Ltd., organized by the Association’s Future Music Technology Committee and other organizations, and strongly supported by The MIDI Association and AMEI.
The event brought together key MIDI companies in the US, China and Japan, including Zhao Ping, Chairman of Jiangsu Yinfei Technology, Ge Xinghua, General Manager of Medeli Electronics (Shanghai) Co., Ltd., Zhao Yitian, Chairman of CME Co., Ltd., Cao Qiang, Deputy General Manager of Changsha Hotone Electronic Technology, and heads of international MIDI industry leaders such as Focusrite, Amenote, Midiable, and MIDI PLUS.
It was with surprise and grief that I heard the news that Seiki Kato, President of Korg had passed away on February 21, 2025. Here is the official statement from Korg. Our company’s President and CEO, Seiki Kato, passed away at 8:00 p.m. on February 21, 2025, at the age of 67, while undergoing medical…
One of the most interesting activities organized by CMIA and The Future Music Technology Committee was the MIDI Innovation Award roadshow.
MIDI Association companies from overseas were invited to do presentations to Chinese companies and organizations. Some of the companies were looking for distribution, some were looking for exposure in the Chinese market and some were looking for possible OEM partners.
Amenote and Azoteq showed off a unique keyboard technology that is really suited to developing MIDI 2.0 products
Audio Modeling was looking to develop relationships with universities to expand their presence for SWAM instruments in the education market.
Arcana was looking for possible OEM partners to help them reduce costs to make the Arcana Strum more financially accessible.
Sergey Antonovich was looking at several different collaboration possibilities for his two projects- the Flex Accordian and the Party Maker.
Sergey Antonovich was looking at several different collaboration possibilities for his two projects- the Flex Accordion and the Party Maker.
The Chinese Music Instrument Association, The MIDI Association, The Association of Musical Electronic Industries (Japan) and The Future Music Technology Committee all believe that the future of the musical instrument industry is digital.
We are all committed to working together to create more expressive and more inclusive digital musical instruments with a goal to make more more music makers and ensure that music and music education continues to be a vital part of people’s lives.
Music Tectonics Conference October 22-24, 2024 Los Angeles, CA
Our friends at Rock , Paper, Scissors have announce that Tickets are on sale for the 2024 Music Tectonics conference! Music Innovators meet at Music Tectonics to connect and share ideas about the seismic shifts in technology that continue to rock the music business.
The 2024 Conference takes place October 22-24!
Mark Mulligan and Tatiana Cirisano of MIDiA Research return with a keynote debate packed with data and insights on the future of music! See the growing speaker roster for more.
Join the music innovators in Santa Monica, California in the beautiful beachside places people loved in 2023, including the Santa Monica Pier Carousel and the Annenberg Beach House!
The Music Tectonics conference is focused on startup companies looking to pitch their ideas to investors and tickets are limited (there are only 67 left). Tickets are $350 until October 8th and then go up to $499.
However if you are a musician or creator who wants to check out Music Tectonics, start with the new Music Tectonics Creator Fair, a parallel event on October 23. There are tickets available between now and October 8th for $25 that go up to $100 on that date.
NEW FOR 2024: Music Tectonics Creator Fair!
The Music Tectonics Creator Fair invites musical creators of all stripes to:
GeoShred introduces a new paradigm for musical instruments, offering fluid expressiveness through a performance surface featuring the innovative “Almost Magic” pitch rounding. This cutting-edge software combines a unique performance interface with physics-based models of effects and musical instruments, creating a powerful tool for musicians. Originally designed for iOS devices, GeoShred is now available as an AUv3 plug-in for desktop DAWs, expanding its reach and integration into professional music production workflows.
GeoShred Studio, an AUv3 plug-in, runs seamlessly on macOS devices. Paired with GeoShredConnect, musicians can establish a MIDI/MPE connection between their iOS device running GeoShred and GeoShred Studio, enabling them to incorporate GeoShred’s expressive multi-dimensional control into their desktop production setup. This connection allows users to perform and record tracks from their iOS device as MIDI/MPE, which can be further refined and edited in the production process.
iCloud integration ensures that preset edits are synchronized between the iOS and macOS versions of GeoShred. For example, a preset saved on the iOS version of GeoShred automatically syncs with GeoShred Studio, providing a seamless experience across platforms.
Equipped with a built-in guitar physical model and 22 modeled effects, GeoShred Studio offers an impressive array of sonic possibilities. For those looking to expand their musical palette, an additional 33 physically modeled instruments from around the globe are available as in-app purchases (IAPs). These instruments range from guitars and bowed strings to woodwinds, brass, and traditional Indian and Chinese instruments.
GeoShred Studio is designed to be performed expressively using GeoShred’s isomorphic keyboard.
GeoShred Studio is also compatible with MPE controllers, conventional MIDI controllers, and even breath controllers, offering a wide range of performance options. GeoShred Studio is free to download, but core functionality requires the purchase of GeoShred Studio Essentials, which includes distinct instruments separate from those in the iOS/iPadOS app, and iOS/iPadOS purchases do not transfer.
Works with MacOS Catalina or greater.
GeoShred, unleash your musical potential!
We are offering a 25% discount on all iOS/iPadOS and MacOS products in celebration of GeoShred 7, valid until October 10, 2024. Pricing table at moforte.com/pricing
Founded in 2020, the company has slowly made a name for itself as the only text-to-MIDI chord and melody generator on the market. Their latest plugin improves on the classic algorithm with new chord inversion and note-joining buttons, producing better voice leading and compositions.
The MIDI generator has also acquired a new Save button that acts as a bridge into the new MIDI and audio file management tool called the MIDI Vault.
The MIDI Vault: A New Type of MIDI File Manager
The MIDI Vault: A New Type of MIDI File Manager
AudioCipher’s MIDI Vault is the first file manager to bundle MIDI and audio files together in cards. Each of these cards are endowed with music metadata like BPM, key signature, genre, mood, type, and rating.
The Vault’s search and sorting options make it easier to find those cards during future sessions. It includes MIDI and audio file playback right there on the card, with the option to drag and drop files right into a DAW’s audio timeline.
As we know, virtual instruments have a big impact on the way MIDI chords and melodies sound. Often when composing for MIDI, musicians have a specific instrument or set of instruments in mind. Bounce each variation as an audio file and store them in a single card.
Cards can hold a near-unlimited number of MIDI and audio files. Use the card’s “notes” section to jot down import information about the instruments or effects that were used.
Files are stored locally on a hard drive, not on the cloud. Export the vault’s entire card collections as a single .AUCI file and store them on external hard drives to save space. Share those AUCI collections with other AudioCipher users as well.
Erase the collection and start fresh at any time, knowing that it’s easy to re-import and integrate any collection with the click of a button.
New Text-to-MIDI Generation Features
AudioCipher began as a text-to-MIDI generator and the company has continued to improve on that algorithm in the latest version. The app converts words to MIDI using a musical cryptogram, comparable to the Engima machine.
Users choose a key signature (scale/mode) and BPM, along with optional chord extension settings. A rhythm slider is provided to control or randomize note durations, including triplets.
When users find an idea they like, the save button spawns a new card in the MIDI vault. Their MIDI file is added automatically, carrying its BPM and scale metadata along with it.The quality of AudioCipher’s output has increased significantly thanks to new inversion and note-joining options.
Caedence is a browser-based music collaboration and performance software that allows people to sync and customize virtually every aspect of performances across devices – in real time – to help them learn faster, play better, and create amazing performances with less time, money, and effort.
Now in open beta, Caedence began as a passion project, but with the help and support of the MIDI Association has grown a lot.
How It All Started
It was 2018 in Minneapolis, Minnesota. Caedence founder Jeff Bernett had just joined a new six-person cover band and taken on the role of de facto Musical Director. The group had enormous potential, but also very limited time to prepare three hours of material for performance. Already facing the usual uphill battle of charting songs and accommodating learning styles, Jeff’s challenge was further complicated by a band leader who insisted on using backing tracks – famous for making live performance incredibly unforgiving.
Jeff knew of a few existing solutions that could help. But nothing got to the heart of the issue his group was experiencing: the jarring and stifling disconnect between individual practice, band rehearsal, and live performances. This disconnect is known and felt by all musicians. So why wasn’t there anything in the market to address it? What solution could simplify the process of learning music, but also enhance the creative process and elevate live performances – all while being easily accessible and simple to use? Enter the idea for Caedence – a performance and collaboration software that would allow musicians to practice, rehearse, and perform in perfect sync.
Finding The MIDI Association
Energized about creating a solution that could revolutionize music performance, Jeff, along with partners Terrance Schubring and Anton Friant, swiftly created a working prototype. After successfully sending MIDI commands from Caedence to control virtual & hardware instruments, guitar effect pedals, and stage lighting, the team realized that they truly had something great on their hands. MIDI was the catalyst that transformed Caedence from a useful individual practice tool into a fully conceived live music performance and collaboration solution.
Jeff had previously joined the MIDI Association as an individual, all the while connecting with other members to learn as much as he could. His enthusiasm attracted Executive Board member Athan Billias, who reached out to learn more about what Jeff was working on. After connecting, it was immediately clear that Caedence and the MIDI Association had natural synergy. Caedence soon joined as a Corporate Member, and Athan generously took on an unofficial advisory role for the young startup.
A Transformative Collaboration
Joining the MIDI Association was a game-changer for Caedence – both for the software itself and the Caedence team. With access to the Association’s wealth of knowledge and resources, the Caedence team was able to fix product bugs and create features they hadn’t even considered before.
With the software in a good place, Caedence was ready for a closed beta release. In an effort to sign up beta testers, the team headed to the NAMM Show in 2023 as part of the MIDI Association cohort. Attendees were attracted to the Caedence booth – its strong visuals and interactive nature regularly drawing a crowd to the area. The team walked people through the features of the platform, demonstrating how it could help musicians learn faster, play better, and create more engaging performances.
And then an unexpected thing happened. A high school music teacher from Oregon with a modern band program approached the team and asked about using Caedence in the classroom. What followed was a series of compelling conversations – and the identification of a new market for Caedence.
Open Beta and Beyond
In July of 2024, Caedence reached a huge milestone. The software began its open beta, ready for a broader audience and the feedback that will come with it. Schools across the country are ready to leverage Caedence in the 2024-2025 school year. You can sign up for the open beta on the Caedence website.
For Minneapolis makers at the intersection of tech, art, music, and education
Conferences are costly. Networking is lame. Happy hours are fun, but often less than productive. So Caedence built something different.
Caedence is also hosting its first ever event called WAVEFRONT on August 1st in Minneapolis, an opportunity for local makers at the intersection of tech, art, music, and education to exchange ideas and encourage community amongst established and emerging talent alike.
WAVEFRONT is a bespoke meeting of innovators, educators, entrepreneurs and artists, hosted in an environment purpose-built to facilitate the exchange of ideas and encourage community – amongst established and emerging talent alike.
WAVEFRONT is sponsored by several MIDI Association companies.
If you would like to learn more about WAVEFRONT please visit wavefrontmn.com.
ShowMIDI is a multi-platform GUI application to effortlessly visualize MIDI activity, filling a void in the available MIDI monitoring solutions.
Instead of wading through logs of MIDI messages to correlate relevant ones and identify what is happening, ShowMIDI visualizes the current activity and hides what you don’t care about anymore. It provides you with a real-time glanceable view of all MIDI activity on your computer.
When something happens that you need to analyze in detail, you can press the spacebar to pause the data and see a real-time static snapshot. Once you’re doing, press the spacebar again and ShowMIDI resumes with the latest activity.
This animation shows the difference between a traditional MIDI monitor on the left and ShowMIDI on the right:
Open-source and multi-platform
ShowMIDI is written in C++ and JUCE for macOS, Windows and Linux, an iOS version is in the works. You can find the source code in the GitHub repository.
Alongside the standalone application, ShowMIDI is also available as VST2, VST3, AUv2, AUv3, CLAP and LV2 plugins for DAWs and hosts that support MIDI effect plugins. This makes it possible to visualize MIDI activity for individual channels and to save these with your session.
Introduction and overview
Below is an introduction video that shows how the standalone version of ShowMIDI works. You get a glimpse of what the impetus for creating this tool was and how you can use it with multiple MIDI devices. Seeing the comparison between traditional MIDI monitor logs (including my ReceiveMIDI tool) and ShowMIDI’s visualization, clearly illustrates how the information becomes much easier to understand and consume.
Smart and getting smarter
ShowMIDI also analyzes the MIDI data and displays compound information, like RPN and NRPN messages that are constituted out of multiple CC messages. RPN 6, which is the MPE configuration message, is also detected and adds MPE modes to the channels that are part of an MPE zone.
This is just the beginning, additional visualizations, smart analysis and interaction modes will continue to be added. As MIDI 2.0 becomes more widely available, ShowMIDI will be able to switch its display mode to take those messages into account too.
We found a few favorites from MIDI Association members and friends we wanted to share with everyone.
The cover image above is from Jeff Rona who worked for Roland when the 808 first came out and was the very first President of the MIDI Association.
The YouTube video is from MIDI Association member Melodics and the photo and link at the bottom is of course from Roland and links to their Roland Cloud 808 page.
To find out more about this sweet ride, you’ll have to go over to Peter Kirn’s excellent 808 Day roundup to read about 1500 Academy’s auction for this one of kind Roland 808 inspired BMX bike.
To celebrate the last day of May is MIDI Month, we are happy to announce 3 major product updates.
Florian Bomers (Founder of Bome Software)
New BomeBox Firmware 1.5
As of today, Bome Software has released version 1.5 of the BomeBox firmware. It is a free download for BomeBox owners and adds a number of new features:
new MIDI processing capabilities (see MIDI Translator Pro update below)
remote access to each MIDI device connected to the BomeBox (see Bome Network update below)
connect up to 32 USB devices using USB hubs (previous limit was 8)
The BomeBox is available for sale world wide in (online) shops, and in the manufacturer’s web shop:
The BomeBox is a versatile hardware MIDI router, processor, and translator in a small, robust case. Connect your MIDI gear via MIDI-DIN, USB, Ethernet, and WiFi to the BomeBox and benefit instantly from all its functions. It’s a solution for your MIDI connection needs on stage or in the studio.
In conjunction with the desktop editor software Bome MIDI Translator Pro (sold separately), you can create powerful MIDI mappings, including layerings, MIDI memory, and MIDI logic. A computer is only needed for creating the mapping. Once it is loaded into the BomeBox, a computer is not necessary for operation.
New Bome MIDI Translator Pro 1.9
Today, Bome Software has released version 1.9 of the flagship product Bome MIDI Translator Pro. The tool allows flexible MIDI mappings, MIDI routing, timing, MIDI logic and processing, and much more. These translation projects also run stand-alone on the BomeBox. On desktops, you can set up translations for MIDI to keystrokes and to mouse movement and clicks, for controlling non-MIDI applications.
This new version allows for even more dynamic control on desktop (Windows and macOS) and in the BomeBox:
dynamic processing depending which other application is currently active
modify MIDI routing on the fly
dynamic processing depending on plugging in or unplugging MIDI devices
improved integration with the YouTube video tutorials
enhanced keystroke emulation options
This update is free for owners of Bome MIDI Translator Pro.
A free trial version and more information is available here:
The Bome Network tool allows connecting your computer to one or more BomeBoxes via Ethernet and WiFi. Any MIDI application can send MIDI to the BomeBox and receive from it.
BomeBoxes are auto-discovered, and once you’ve established a connection (“paired”), it is persistent across reboots and BomeBox power cycles.
Today, Bome Software has released version 1.4 with these enhancements:
A new user interface makes managing your network of BomeBoxes and other MIDI devices much easier
Remote Direct MIDI: directly access all MIDI devices connected to a BomeBox or a remote computer
MIDI Router lets you define manual MIDI routings
Add-On: Unlimited Named MIDI Ports lets you define named virtual MIDI ports to be used with the MIDI Router
Dark Mode support
Bome Network is a free download for Windows and for macOS:
Newzik is a Paris based MIDI Association member that has a unique approach to notation. They offer a range of notation products that focus on classical orchestral scores and are used by a number of world renown orchestras and ensembles. One of the most interesting parts of Muzik’s technology is their AI driven OMR technology.
Newzik’s AI-driven Optical Music Recognition technology, Maestria.
Newzik now offers this bridge between two worlds: the one of paper scores, and the one of digital scores, with our newly released AI-driven Optical Music Recognition technology, Maestria.
Take a picture of your sheet music, press play, and listen to the music – enjoy a living, dynamic partner instead of dry ink on paper.
Transpose it, play it faster or slower, turn off your part and play along with the accompaniment only, share it in real time with colleagues and friends working on the same piece wherever they are, enrich it with annotations, audio and video files – enjoy a living, dynamic partner instead of dry and dusty notes on paper.
What are we doing? A powerful AI-driven engine, in fact: the most advanced existing, analyzes the image of your sheet music and transforms it with a reliability of nearly 100% into a digital format.
We open this new vibrant world of scores to you in Newzik, fully adaptive, fully interactive, fully collaborative – while fully protecting copy, performance and exploitation rights.
And not only the music is transformed, also all metadata – composer, title, tempi, dynamic indications, fingerings, bowings, breathing marks, it’s the full range of information until now petrified in black dots of ink on paper which we bring to live.
by Newzik
Sync large ensembles with multiple devices using Newzik Web
Collaboration is at the center of Newzik’s approach. They offer both iPAD and iPhone apps. In particular, many orchestras and ensembles have moved to using iPADs ar rehearsals and performances and using Newzik apps allows large groups to share and exchange markings and notational details. There is also a desktop application.
All of these different applications can be shared via the Newzik Web. It’s an online web platform that allows you to view your Newzik account and your digital sheet music from any compatible web browser and on any computer.
Newzik Web is an easy way to share sheet music and work in collaboration with other musicians: the “projects” section is a collective space on the platform that allows several users to work together on a musical project.
Newzik Education, Support and Pricing
There is a dedicated website for support and a blog section with articles on how to get the most out of Newzik.
You can get started with Newzik for free and an annual subscription is only $29.
MIDI Association members Wizdom Music and moForte are proud to announce the release of the new Naada Instruments for GeoShred. As with all GeoShred instruments, these are models of the physics of the instrument. They are expressive and interactive. These instruments can be played from the expressive GeoShred Keyboard, an MPE controller, a Conventional MIDI controller or a MIDI Wind Controller.
Mahesh Raghvan and Madan Pisharody, two incredible artists and producers from India teamed up with Jordan Rudess to show off what Naada in Geoshred can do.
These new instruments are offered as In-App-Purchases (IAPs) for GeoShred Pro, Play and Control and are priced at $14.99USD** each. In addition the Naada 1 Collection of all 7 instruments, priced at $74.99 USD, 7 instruments for the price of 5.
**Note: All Prices are in US Dollars (USD). Apple sets the local territory price and may add additional local charges such as VAT, GST, HST. Check the store in your territory for the local price.
Read reviews, compare customer ratings, see screenshots and learn more about GeoShred. Download GeoShred and enjoy it on your iPhone, iPad and iPod touch.
CME Pro, the small-scale innovator and contributing board member of the MIDI Association, is pleased to announce the world’s first hybrid MIDI-thru-box with premium Bluetooth MIDI.
Following the successful launch of its WIDI technology, CME is taking the next step with the introduction of WIDI Thru6 BT as the latest addition to the WIDI family.
WIDI Thru6 BT lets you combine wired and wireless MIDI through this 2-in-6-out MIDI thru/split solution for studio, stage and mobile music making.
Break the barriers between smart devices and MIDI hardware
Powered by the latest Bluetooth 5 technology, the full WIDI range offers wireless MIDI solutions via Bluetooth for all MIDI devices. Both hardware and software. Both controllers and apps.
With its Smart Connectivity Algorithms and Adaptive Frequency Hopping, interference is minimised, performance range maximised (65ft/20m without obstacles) and latency reduced to an absolutely inaudible 3ms measured between 2 WIDI devices.
Moreover, the implemented 32-bit processor is fast, accurate, and efficient, delivering virtually no latency and jitter over wired MIDI.
Connect up to 10 MIDI devices simultaneously
Simply merge and split 2 MIDI inputs to 6 MIDI outputs (through). Sync all your MIDI devices without data errors, without signal loss or drop-out for professional use on stage, in the studio and for mobile setups.
In addition, you can enjoy the convenience of advanced wireless MIDI as developed and designed by CME. This opens up a new world by adding motion controllers, wearables, smart devices and mobile devices to your MIDI setup.
Easily connect any MIDI devices with standard MIDI I/O via MIDI cables. Automatically connect to WIDI devices, standard Bluetooth MIDI controllers like the Xkey Air, and easily connect to iOS, macOS, Android and Windows (10/11).
And with advanced Bluetooth MIDI groups, you can connect up to 10 MIDI devices simultaneously through a single WIDI Thru6BT….
Almost two years ago, we set out to build a tool that could capture an idea and turn it into workable music. After a long period of developing machine learning models and getting the UI just right, I’m incredibly proud to say that we are ready to put our creation out into the world. That idea I had while on tour with my band, sitting in the back of a van and wondering “how can I capture my drum beat idea?” is finally here.
Simply put, Bace is a music production app & audio plug-in that uses AI machine-learning technology to control software and hardware instruments with your voice. ???
Features
➡️ 4 Drum Tracks Control up to 4 different drum tracks including Kick, Snare, Hi-Hat and a Percussive sound.
➡️ MIDI Control Each Drum Track also doubles as a MIDI Track. Control one plugin or 4 separate plugins on separate tracks.
➡️ Train Bace with Your Voice Bace’s software can be trained to recognize your voice.
➡️ Use Your Microphone Bace works with your own dynamic microphone. No special equipment needed!
➡️ Plug-in & Standalone App Open the AU or VST3 plug-in inside your DAW or use the Standalone app to control hardware and software.
Join MIDI Association President Athan Billias, artiphon’s Emma Supica and Oddball’s Pasquale Totaro for a discussion of playful (and round) products that use MIDI from the June 2022 NAMM show
Follow the bouncing ball as it sends out MIDI messages and learn how music teachers in Anaheim are getting kids to express their emotions with MIDI.
Join MIDI Association President Athan Billias, Big Ear Games Aviv Ben-Yahuda , Playtronics’ Sacha Pas and Playtime Engineering’s Troy Sheets for a discussion of playful products that use MIDI from the June 2022 NAMM show.
Sorry, it took awhile to get this interview up. But it was an entertaining conversation. Just remembering how great it was to get everyone together at the June NAMM show has us looking forward to April NAMM 2023 and the 40th anniversary of MIDI!
New firmware update allows users to control a PTZ camera with any MIDI device
Downingtown, PA – May 26, 2022.
PTZOptics, leading manufacturers of affordable broadcast-quality robotic cameras, and the MIDI Association, the international stewards of MIDI technology, today announce a new frontier for MIDI control.
In a joint project, rapidly executed over the past six weeks, they are bringing fully configurable MIDI control to the award-winning line of PTZOptics robotic cameras.
Starting with the PTZOptics 12X-NDI and SDI cameras, PTZOptics will roll out direct MIDI control to their current generation camera line via a free firmware update. Users will be able to map camera commands including setting presets, call, pan, tilt, zoom
“Live streaming has become extremely important to musicians and creatives, from performers and worship leaders to bloggers and DJs,” says Geoff Robinson, Product Manager at PTZOptics. “With this new feature set, users can control a live video production without any additional dedicated hardware – just the devices or even instruments they already have. We can’t wait to see what this incredibly creative community does with PTZ camera control.”
This release is the result of a rapidly-formed relationship between PTZOptics and the MIDI Association. Athan Billias, President of the MIDI Association, reached out to Robinson to see if the camera maker had plans to further develop their existing – but limited – MIDI control software application. Billias and Robinson saw an opportunity to bring flexible, open-source camera control to the music industry. Less than two months later, PTZOptics was a newly-minted MIDI Association member and the only camera manufacturer to implement direct MIDI control.
“The MIDI Association is very excited to have PTZOptics as a member because we have already been working on remote collaboration using Web MIDI for our MIDI In Music Education and MIDI In Music Therapy Initiatives,” says Billias. “The ability to remotely control PTZ cameras over Web MIDI shrinks the world in a very significant way.”
The PTZOptics MIDI control feature set will debut at the NAMM and InfoComm tradeshows.
At NAMM, MIDI-controlled PTZ 12X cameras will be featured at the MIDI Association Booth at the front of Hall A Booth 10300, where they will be used to highlight their fellow MIDI Innovation Award nominees; in Studio 108, the MIDI Association’s video studio; and at the PTZOptics booth, 10103.
InfoComm attendees can experience a live interactive demo of the technology at the HuddleCam HD booth, W1659.
Owners of current generation PTZ 12X cameras can unlock MIDI control immediately by downloading and installing the latest camera firmware from the PTZOptics website in early June. MIDI control will roll out to all current-generation PTZOptics PTZ cameras by the end of 2022.
With fully configurable MIDI control, no other PTZ camera offers as much flexibility and pure fun as the PTZ 12X.
On May 28 at 10 am Pacific, 1 PM Eastern and 6 PM in the UK, LJ Rich will host the 2022 MIDI Innovation Awards
This year we are incredibly lucky to have LJ Rich hosting the MIDI Innovation Awards (MIA) show which will feature the 15 finalists from the 5 categories interacting with our international panel of judges.
World-renowned performer LJ Rich presents on the International Technology show BBC Click. She’s also a NASA Datanaut and host of the United Nations ITU #AIForGood Summit.
While filming with Click, LJ’s interviewed founders, hackers, and artists across the globe, meeting everyone from Stevie Wonder to Steve Wozniak. Since reading music at Oxford, LJ’s predicted consumer tech trends for over a decade for the BBC, with particular interest in AI, Music and the human/computer interface.
Meet our international panel of judges
We have an amazing panel of judges with incredibly diverse backgrounds, but they all share one thing – a passion for innovation and for MIDI. Here are some details of each of the seven 2022 MIA judges.
Craig Anderton
CRAIG ANDERTON is an internationally recognized authority on technology and music. He has toured, played Carnegie Hall, mastered hundreds of tracks, and been involved with dozens of major label releases as either a player, producer, or engineer. He’s also written over 30 books (including the seminal Home Recording for Musicians) and thousands of articles, as well as co-founded Electronic Musician magazine.
Known for his ability to de-mystify complex subjects, Craig has given seminars on technology and the arts in 38 states, 10 countries, and 3 languages.
Michele Darling
Michele Darling is an accomplished sound designer, composer, recording engineer, and educator, who fell in love with electronic music and sound creation at an early age. She worked for 10 years as part of an Emmy award winning interactive production team at Sesame Workshop in NYC.
Also throughout her career, she has worked on a wide range of media from national television shows to video games, from online and mobile platforms to electronic toys and music software for clients such as 4Kids Entertainment, HBO Family, The Learning Channel, Toca Boca, Hasbro, Morton Subotnick, The Criterion Collection, iZotope, and more. Michele worked as a member of the Ableton sound design team for Live 10, creating sound presets for the well-known software for multi-genre music producers worldwide.
Currently, Michele is the Assistant Chair of the Electronic Production and Design Department at Berklee College of Music in Boston.
John Kao
From John Kao’s website”
“The Economist tagged me with the nicknames “Mr. Creativity” and a “Serial Innovator.” Eclectic is how I would describe my experience, from teaching at Harvard Business School and the MIT Media Lab, to producing feature films and theater, starting high tech ventures and even sharing the bandstand with Frank Zappa and the original Mothers of Invention. I’ve explored what leaders can learn from jazz musicians in my book Jamming and what it takes for a country to innovate in my book Innovation Nation. And my greatest pleasure is working with leaders of all kinds who are on the hot seat to deliver some form of meaningful innovation agenda.”
Helen Leigh
Helen Leigh is an author, education writer, and maker with a focus on creative use of new technologies. She has written playful technology education materials for National Geographic and Intel Education, and has developed a Design, Coding, and Electronics Course for the Royal Court of Oman.
Moldover
“A musician at heart, inventor born of curiosity, and innovator by necessity, I believe the world calls him the ‘Godfather of Controllerism’ for damned good reasons.” – John Tackett, Crowd Wire
History only notes a handful of artists who successfully pushed the limits – both with their music and the design of their musical instruments. What Bach was to the keyboard and Hendrix was to the guitar, Moldover is to the controller. Disillusioned with “press play DJs”, Moldover fans eagerly welcome electronic music’s return to virtuosity, improvisation, and emotional authenticity. Dig deeper into Moldover’s world and you’ll uncover a subversive cultural icon who is jolting new life into physical media with “Playable Packaging”, sparking beautiful collaborations with his custom “Jamboxes”, and drawing wave after wave of followers with an open-source approach to sharing his methods and madness.
Dr. Kate Stone
From Kate Stone’s website:
“I describe myself as a creative scientist because we all fit in more than one box. I studied electronics and physics, these give my work structure and discipline, however my true skill is creativity. Creatively using whatever I find around me to solve any problem I encounter. My grandmother told me to ‘cut your coat from the cloth at hand’.
I founded and run a company called Novalia, we create interactive posters and other everyday objects that embody the magic of interactivity and connectivity. Posters that talk, books that turn in to pianos and walls that play music. I am Chair of the Executive board of the MIDI Association and sit on the Editors Code of Practice Committee to help keep an eye on what the UK press determine to be acceptable.”
Yuri Suzuki
Yuri Suzuki is an experience and sound designer who works at the intersection of installation, interaction and product design.
His work encompasses sound, music, installations, product design, art direction, education and contemporary art for renowned clients ranging from corporations to musicians to start ups. Projects include a bespoke musical instrument for will.i.am, techno DJ legend Jeff Mills and the AR Music Kit – a music based augmented reality android app turning paper into instruments for Google. He recently has done work for Roland designing the https://808303.studio/.
He was also instrumental in the design in the design of new MIDI logo.
MIDI Association member Roland announced the latest addition to their growing family of MIDI capable digital wind instruments at CES 2022.
Aerophone AE-20 provides a wide range of stunningly authentic acoustic instrument sounds at the touch of a button. Soprano, alto, tenor, and baritone saxes are on hand, plus clarinet, flute, trumpet, and more. Violin, cello, and other string instruments are also included, along with world instruments like erhu, shakuhachi, and bagpipes. Backed by Roland’s SuperNATURAL technology, every playing nuance is fully translated with lifelike dynamics, articulations, and overtones.
The versatility of Aerophone AE-20 extends even further with the ZEN-Core Synthesis System, the same advanced sound engine found in professional Roland keyboards like FANTOM and JUPITER-X. Everything from traditional analog synths to modern digital voices are available, all carefully curated for the unique articulations and extended dynamic range of a wind instrument.
Aerophone AE-20 lets wind players step right into their musical flow with a familiar reed-style mouthpiece, immediate response, and natural pitch and vibrato control. The breath and bite sensors are customizable and ultra-sensitive, and it’s possible to reconfigure the fingering for sax, clarinet, flute, recorder, or a personal setup. Instant transposition and a five-octave range enable players to cover any style without the range limits found with traditional acoustic instruments.
The source of CME’s WIDI Wireless MIDI technology available for MIDI developers
WIDI Core is your smart (BLE) breakout board that implements premium MIDI over Bluetooth Low Energy functionality as designed & developed by CME.
What can you do with WIDI Core (X)?
The breakout board can be built into any existing piece of MIDI equipment that features MIDI I/O. Power consumption is ultra low and it works natively with Apple iOS, MacOS, Windows and Android. It can also play both the central and peripheral role to connect to any existing BLE MIDI peripheral, such as Roland AX Edge, Korg MicroKey Air, Roli Seaboard, CME Xkey Air, Jamstik+ Guitar, etc.
Onboard Antenna versus external antenna option
What is the difference between WIDI and other BLE MIDI solutions?
WIDI distinguishes itself from any other Bluetooth MIDI technology available through its unique SCA technology. SCA is a collection of highly effective algorithms that optimise the performance of WIDI in any given situation.
SCA stands for Smart Connectivity Algorithms:
Dual Role Automation
Automatic Pairing Mode
Smart Hub Functionality
Latency Reduction Optimisation
Range Performance Optimisation
WIth WIDI you add the most advanced wireless MIDI technology available to your MIDI project.
Black box concept of MIDI over BLE
All necessary IOs with 2.54mm grid
Full MIDI compatible including long SYSEX and MPE
Smallest BLE connection interval
Standard MIDI baud rate and high speed mode
Accept input voltages from 2.0V to 16V
WIDI Core Dimensions
WIDI Core Features & Data Sheet
FEATURES
Built in CC2642R single-chip Bluetooth Smart (BLE 4 / 5) System-On-Chip (SOC).
TX power: -21dBm to 5dBm
RX sensitivity: up to – 105dBm (LE coded PHY)
Breakout board size: 23.42mm (W) x 29.03mm (L) x 4.3 mm (H) (With Shielding)
Operating Voltage: 2.0V to 16V
RX current: 6.9mA
TX current @ 0dBm: 7.4mA
TX current @ 5dBm: 9.7mA
Auto-negotiation of the lowest possible connection interval
Auto-negotiation of the faster PHY 1Mb / 2Mb depending on RSSI
Auto-negotiation of the largest supported MTU
Over The Air firmware update
Support BLE central and peripheral roles
Support automatic connection with other BLE devices
Full MIDI implementation available on request
Support MIDI SYSEXs up to 5K bytes @ lowest BLE connection interval
Support Unlimited MIDI SYSEX size @ higher BLE connection interval
Support all MIDI events ( SYSEX, Real-time, controllers, MPE,..)
MIDI Association Member Udo Audio adds Super 6 Desktop to their lineup
Offering the flexible and immediate control, gorgeous analog sound and unrivalled build quality of the Super 6, but in a more compact package. The Super 6 Desktop is a fully-featured Super 6 analog-hybrid 12 voice synthesizer, housed in a newly designed all-metal chassis. The Super 6 Desktop also includes ergonomic features such as VESA mount compliance, optional rack ears (7U) and robust flip up feet, as well as a huge 24-voice Super 6 polychain option (in a future update).
The Super 6 is a 12-voice polyphonic, binaural analog-hybrid synthesizer. A harmonious marriage of state of the art FPGA digital hardware oscillators and voltage controlled analog technology. It is flexible, immediate, powerful and refined with a gorgeous analog tone. Rich and evolving textures are easily teased from the unique super-wavetable core and can be shaped and manipulated with the binaural analog signal path and flexible modulation. Robust, compact and inviting to pick up and play with smooth, solid and responsive controls throughout, it cries out to be played.
MIDI Association member Moog Music release announced Animoog Z is available as a free download.
A decade after its release as Moog Music’s first professional synthesizer for iOS devices, the award-winning Animoog Anisotropic Synth Engine (ASE) app sees a complete transformation, reborn as Animoog Z. The evolved iteration of the app, now available for both iOS and macOS devices, is free to download in the App Store.
Watch synth pioneer Suzanne Ciani demo of Animoog Z
The interface is a hands-on dream. It’s alive with a vibrant spatial sound that blends in with my quadraphonic Buchla perfectly,” Ciani shares. “I love its playability, being able to tune the scale and glide over the sensitive keyboard where any note brings awesome expression. A bass note can rouse a crowd—it couldn’t be more compact and road-worthy.
by Suzanne Ciani
Animoog Z Details
Three-Dimensional Anisotropic Synth Engine (ASE)
Available for Apple mobile devices and desktop use, Animoog Z integrates seamlessly with your DAW of choice.
Effects Page: A collection of effects and processors with unique views of their output.
Full MPE Support
For more information, visit the Moog Music Website
MIDI Association member DoreMIDI announced the MPC10 Pedal convertor
MIDI Pedal Converter (MPC-10) is a converter designed by DOREMiDi that can automatically detect multiple types of instrument pedals and convert the signals from the pedals into MIDI Messages. This product is compatible with positive polarity expression pedal, reverse polarity expression pedal,sustain pedal, and dual-switch pedal. It has MIDI DIN and USB MIDI outputs, and is suitable for use in a variety of performance scenarios.
by DoreMIDI
Different Types of Pedals Can be Connected
MPC-10 has 2 pedal connections and can automatically detect different types of pedals (currently compatible with positive polarity expression pedals, reverse polarity expression pedals, sustain pedals, and dual switch type pedals).
Connect the Pedals to your MIDI Instrument
MPC-10 has a MIDI output interface, which can be directly connected to musical instruments with a MIDI input interface.In order to maintain a portable design, MPC-10 uses a 3.5 audio port as MIDI output, which can be converted to a standard MIDI DIN interface using a 3.5-to-MIDI five-pin cable (this accessory is included in the product package).
Connect to your Computer
MPC-10 is equipped with USB MIDI function, so you can directly connect to a computer, mobile phone. It is compatible with with class compliant drivers for Windows, Mac, iOS, Android and other systems so there no need to install drivers, The MPC 10 is plug and play.
Flexible MIDI Message Configuration
MPC-10 can flexibly configure MIDI messages for each pedal through DOREMiDi’s pedal setting software (Windows only). If the pedal MIDI message is not configured, MPC-10 uses the default values of the expression pedal is MIDI CC = 21; the default value of the single switch type pedal is MIDI CC = 64 (Sustain); the default value of the dual switch pedal is MIDI CC = 64 (Sustain), MIDI CC = 66 (Sostenuto).)
MIDI Association member Moforte announced Geoswam II created in collaboration with MIDI Association member Audio Modeling
GeoSWAM II, beautifully inspired physically modeled instruments including GeoTrumpet, GeoBassTrombone, GeoBassFlute, GeoViola and GeoPizzBass, all powered by Audio Modeling’s SWAM technology. The GeoSWAM II instruments are awesome to play from GeoShred’s isomorphic keyboard, and you can also play them from other expressive MPE /MPE controllers like the LinnStrument, Roli Seaboard or Sensel Morph.
by Moforte
GeoSWAM II Introduction
Rather than reading a bunch of words, we thought it was better to just provide the Youtube videos of Jordan Rudess and others demonstrating the sounds of GeoSWAM II’s newest modeled instruments from Audio Modeling.
GeoShred Trumpet
For more information, download the Geoshred brochure by clicking on the image below.
MIDI Association member Bome Software announced their MIDI networking and routing tool is now available in the Apple App Store.
Connect your iPad or iPhone to the BomeBox’ built-in WiFi: now all MIDI gear plugged into the BomeBox can be used with and from your mobile device. Or access the BomeBox(es) via an existing WiFi hub using WiFi or Ethernet.
MIDI Association member Media Overkill announced Miniraze and a special Bob Moog Foundation 15th Anniversary Miniraze Sound Bank
Miniraze is a powerful yet approachable wave-slicing virtual synth that offers you sounds for the future, inspired by the past. Featuring MOK’s patented wave-slicing engine, Miniraze gives you the ability to splice waveforms into utterly unique sounds you won’t hear anywhere else, while the straightforward East Coast-style layout makes it easy to craft complex tones quickly. Create anything from warm, retro analog vibes to aggressive, futuristic sounds that have literally never been heard before.
by Media Overkill
SLICE AND DICE YOUR SOUND
Miniraze’s unique sound comes from the ability to slice and combine different waveforms.
Miniraze is easy to program because it uses an interface inspired by legendary East Coast analog synths.
Miniraze full featured modulation matrix makes it both powerful and versatile.
A built-in arpgeggiator let’s you create rhythmic patterns and sync them internal or to an external clock.
You can customize the user interface not just visually with colors and themes, but even with 34 languages including (naturally) Klingon, Old Norse and Egyptian hieroglyphs.
To show their appreciation for Bob Moog’s pioneering work in the field of synthesis, MOK teamed up with the Bob Moog Foundation to release an exclusive Miniraze BMF sound bank featuring patches created by an all-star team of artists and sound designers.
All proceeds will be donated to the Bob Moog Foundation to support programs like Dr. Bob’s SoundSchool, the Bob Moog Foundation Archives and the Moogseum in Asheville, NC.
For more information, visit the Media Overkill website
MIDI Association member Bitwig announced Studio 4.1 with an emphasis on new ways to create and process notes
What if notes did more than trigger your sounds? As musical signals that dance and curve, notes just do more in Bitwig Studio, both on the timeline and in performance. Version 4.1 is here, adding eight new note effects. So with 20+ FX now included, we say… LET THERE BE NOTES!
by Bitwig
New to the Note FX Family
Ricochet treats notes as bouncing balls in a room, which retrigger on collision and can use their position to animate panning and timbre.
Ricochet
Humanize randomizes chance, timing, or velocity.
And Quantize holds notes until the next beat, with optional “Forgiveness”.
Dribble bounces each note, until gravity wins.
Dribble
Randomize adds chaos to any note expression, including pitch.
And Strum fragments your chords, playing them one (or more) note at a time.
Bend slides to each note’s pitch.
Note Repeats retriggers each note, with additional “Burst” and “Euclid” pattern modes.
Additional Features in Bitwig Studio 4.1
.A handful of other enhancements are worth noting. Color palettes are now available for tracks, clips, and layers. So if you want to turn an image into a palette, just drop a JPG or PNG into the Bitwig Studio window. Track MIDI output is now directly available (and or via the HW Instrument device when you need delay compensation). Our Sampler now has a Release chain, where each note release triggers an instrument of your choice. So you can now import an SFZ file with both press and release samples, or try out a synth or VST to make any sound newly responsive. And a few other note FX got some love as well.
What if notes did more than trigger your sounds? As signals that move and curve, notes just do more in Bitwig Studio. Version 4.1 is here, adding eight new note effects. Check them out now…
MIDI Association corporate member Spectrasonics has introduced a new brand and new experiences for Omnisphere.
Omnisphere has been a huge part of many producer’s and musician’s sonic arsenal for years since it was introduced in 2009. Now Spectrasonics has developed a brand new way of interfacing with Omnisphere call Sonic Extensions ™. Each Sonic Extension™ includes custom controls, deep sampling, custom FX and detailed Scenes tailored to the particular vide of each library.
Introducing the four Sonic Extensions™
Nylon Sky
Seismic Shock
Undercurrent
Unclean Machine
Check out the detailed Sonic Extensions™ introduction by Spectrasonics founder Eric Persing (and many others) on YouTube.
The Universal MIDI Packet (UMP) is a fundamental aspect of MIDI 2.0, which allows programs to negotiate and communicate with MIDI 1.0 and MIDI 2.0 products.
Florian Bomers joins us again to lead 3 workshops across November and December to explore this in detail. Florian runs his own company Bome Software, creating MIDI tools and hardware. He has been an active MIDI 2.0 working group member since its inception. He serves on the Technical Standards Board of the MIDI Association and chairs the MIDI 2.0 Transports Working Group. He is based in Munich, Germany.
The first workshop will set the scene and you can chose to join the 2nd and or 3rd depending on if you are developing with Apple or JUCE.
An automatic 20% discount on workshop 2 and/or 3 will be applied when purchased with the first workshop, discount will show at final checkout.
MIDI 2.0 – Introduction to the Universal MIDI Packet – Workshop 1 / November 29th
This workshop will provide developers with knowledge and code for starting MIDI 2.0 Universal MIDI Packet (UMP) development in C++
2- hours
Difficulty level: Requires a working knowledge of C++ and MIDI
MIDI 2.0 is set to power the next generation of hardware and software with enhanced features for discovery, expression and faster communication. The Universal MIDI Packet (UMP) is a fundamental aspect of MIDI 2.0, which allows programs to negotiate and communicate with MIDI 1.0 and MIDI 2.0 products.
In this workshop, you will learn from a member of the MIDI Association Technology Standard Board, who wrote the specifications, how to get started working with UMP, and write a simple C++ program that utilises UMP.
Overview
This workshop will provide developers with knowledge and code for starting MIDI 2.0 Universal MIDI Packet (UMP) development in C++. The concepts of UMP will be explained. Then, the participants will co-develop a first simple implementation of a generic UMP parser in plain C++. For that, a stub workspace will be provided. Exercises will let the participants practice the newly learned concepts.
Who is this workshop for:
Developers wanting to learn how the new MIDI 2.0 packet format works under the hood, and how to get started writing software for it right away.
Learning outcomes
At the end of the workshop the participants will: Understand the core concepts of UMP Be able to build applications in C++ using UMP
Study Topics UMP Basics packet format MIDI 1.0 in UMP MIDI 2.0 in UMP Translation Protocol Negotiation in MIDI-CI Inspecting the UMP C++ class in the stub workspace A simple UMP parser in C++ Unit Testing the UMP class
Level of experience required: Some experience with C++ coding Have a development environment set up and ready with Xcode (macOS) or Visual Studio (Windows). Working knowledge of MIDI 1.0
Any technical requirements for participants A computer and internet connection A webcam and mic A Zoom account Xcode (macOS) / Visual Studio (Windows)
MIDI Association Member Nektar Releases IMPACT LX MINI
Nektar has introduced the Impact LX Mini, a new mobile USB MIDI Controller Keyboard that offers 2 independent Arpeggiator/Repeat engines, LED drum pads, a joystick, foot-switch socket and a 25-note mini-keyboard with velocity.
Impact LX Mini makes the power of Nektar’s Impact LX range of USB MIDI controller keyboards truly portable. Enhance your workflow with a host of powerful real-time and intuitive control features that inspire your creativity: No menu-diving, tactile control, two arpeggiators, drum pads, mini-keys that are great to play – and of course Nektar DAW integration. LX Mini has everything you need to create!
MIDI Association Member Apple Releases Logic Pro 10.7
Apple released Logic Pro 10.7 with spatial audio as the star, but there are also a lot of other new features.
New in Logic Pro 10.7
New features and enhancements
Mixer now supports spatial audio tools for Dolby Atmos:
Expanded pan controls.
13 plug-ins expanded for 7.1.2 channels.
Export Dolby Atmos ADM BWF file ready for Apple Music.
More than 2800 new loops in a variety of genres and from some of the world’s top producers.
Optimized for Apple silicon on new MacBook Pro models.
More than 230 new instrument and audio patches.
50 vintage and modern drum kits, including a collection of 808 samples.
It is now possible to paste regions copied from multiple tracks to new tracks using a Marquee selection to define the starting track and position.
The Select Unused Tracks command now excludes tracks inside Summing Stacks.
The Track Inspector now offers separate MIDI input and output port settings.
It is now possible to convert MIDI regions to Step Sequencer Pattern regions.
Multiple new Step Sequencer features including Live and Step Recording, convert MIDI to Pattern region, and Mono mode.
Something special if you are into lots of MIDI Controllers
Look close and you’ll now see a MIDI port and channel selector in the Track Inspector! For those of us simultaneously using multiple hardware controllers like sequencers, drum pads and keyboards this is huge! Because now you can EASILY route MIDI from multiple controllers (and the IAC bus) directly to individual tracks by selecting their ports in the Track Inspector. In effect, different controllers can be “normalled” to different tracks by selecting the port and MIDI channel. This allows recording several MIDI controller tracks live at the same time.
MIDI Association Member Expressive E Releases Imagine-multidimensional acoustic tones
Expressive E has taken a different approach to synthesis in their newest plugin-imagine.
Imagine offers hundreds of instrument layers, meticulously modeled to bring their very own character. Each preset combines two of these instrument layers to offer unprecedented acoustic timbres.
by Expressive E
For more information, go to the Expressive E website.
MIDI Association Member Antares Audio Technology releases vocoder modeling technology
Antares new release integrates the sound of vintage vocoders with their renown Autotune technology. Of course, MIDI control is integral using a vocoder.
This advanced vocoder plug-in includes models of all the classic vocoders you know and love. Plus, we built an extensive collection of artist presets featuring P-Thugg (Chromeo), producer Buddy Ross (Frank Ocean), electronic artist Rachel K. Collier and more to jump-start your creativity
Auto-Tune Vocodist delivers the legendary sound of vintage vocoders with the full force and flexibility of Auto-Tune built in. Produce the unmistakable effect made famous on dance floor bangers by Daft Punk, electro pioneers Kraftwerk, 70’s rock classics by ELO, and many more.
Exclusive interviews with the embodme team from their offices in Paris
The Mac Pro next to the ERAE Touch gives you some perspective on how impressively large it is.
It’s always exciting to see something new. On a recent trip to Paris, we got a chance to visit one of the newest members of the MIDI Association, embodme and meet their whole development team that had just finished up and shipped the first units of their Erae Touch MIDI 2.0 ready controller.
The Embodme office is design, assembly, testing, sales and shipping all in one small space (the tent is for assembly).
Erae Touch Overview
The Erae Touch is a MIDI controller that builds on many recent developments in MIDI.
Hardware:
Large18 inch X,YZ silicon control surface
+1000 sensors for extreme accuracy
Customizable layouts
Can be played by hands or drum sticks
MIDI 2.0 ready
It certainly takes advantage of MIDI Polyphonic Expression (MPE) and MIDI 2.0.
Design
We had a chance to play with several early prototypes the embome had at their offices. The surface of the early prototypes had a lot of friction and it was a bit hard to glide over the surface. With some input from Roger Linn, embodme modified the final overlay and the version they are shipping feels great and is very, very precise.
LED Sensor layer on the Erae Touch
You can use different elements to create layouts
Exclusive MIDI Association Interviews with the embodme team
The ERAE Touch demonstrated with Audio Modeling physical modeled Strings
Some creative sound design possibilities with the ERAE Touch
Playing drums using the ERAE Touch
Interview with Edgar and Etienne about the technical development of the ERAE Touch and how MPE and MIDI 2.0 influenced their decisions. The ERAE Touch uses MIDI 2.0’s Univeral MIDI Packet as its internal data format.
embodme
It’s impressive that the embodme team was able to download the MIDI 2.0 spec and implement the Universal MIDI Packet in their product without even talking to any one in the MIDI Association, but we are very glad to have them as a member of the MIDI Association now.
MIDI Association Member Hotone’s new Ampero Control is deceptively simple, but extremely powerful
At first glance, the Ampero Control looks like it is just 4 simple footswitches, but it is really so much more.
Let’s take a look at the complete feature set and then dig into details of each feature.
Compact, smart 4-footswitch Bluetooth MIDI controller
Supports standard MIDI, USB MIDI and Bluetooth MIDI input/output/thru
Sending/transferring MIDI messages to separated/combined MIDI outputs
Send max. 16 MIDI messages by one footswitch (32 for A/B groups)
100 banks (each bank includes 4 footswitches settings, 2 CTRL/EXP jack settings and more)
Different footswitch triggering actions for flexible switching and various uses
Dedicated mobile App lets you easily set your controller on the fly
2 CTRL/EXP TRS jacks for adapting external footswitches/expression pedals
3-digit LED for MIDI message info and Bluetooth connection status display
DC 9-18V or 5V USB bus power supply
Smart 4-footswitch Bluetooth MIDI Controller
The Ampero Control is not just a dumb footswitch.
You can download a smartphone app for iOS or Android and intelligently control all of the settings of the Ampero Control.
The app lets you configure 100 Banks and each bank contains all these settings.
The Bank name
The footswitch modes of 4 built-in footswitches (Single, Toggle, Momentary and Hold)
The Ampero Control can store two different groups of MIDI Messages. Single, Toggle, Momentary and Hold subtly change when those groups are sent out for different use cases.
Up to 16 MIDI messages including channels, types, values, etc. ) for each footswitch
The Ampero Control can send out 4 different types of MIDI Messages- Program Changes, Continuous Controller messages with values and Note On/Off with Velocity.
As an example you could set one internal footswitch to Momentary, and set Group A to send an 8 Note Chord with 8 Pan Values when you stepped on the footswitch and a different 8 note chord with 8 Filter Cutoff values when the footswitch was released.
Like we said, not just a simple footswitch!
CTRL 1/2 controller assign and related settings
5 Pin Din, USB and Bluetooth MIDI connectivity
Another feature of each Bank allows you to select the MIDI Output where each MIDI message will be sent. You can route MIDI messages out via Bluetooth, USB, the MIDI OUT 5 Pin DIN or any combinations of those. Again that gives you a lot of flexibility and routing possibilities.
Bridging simple analog pedals and MIDI
This could be one of the most interesting features of the Ampero Control. It has 2 CTRL/EXP TRS jacks for adapting external footswitches/expression pedals.
You can take any analog single foot switch, double footswitch or expression pedal and use it to expand your Ampero Control.
Each bank has individual settings for the external footswitches and pedals. So a simple single analog footswitch can be programmed to send out 100 different MIDI messages.
The Ampero Control also converts the analog signal from an expression pedal into MIDI, and you can assign up to 4 different CC messages (each with their own individually programmed min and max settings) per bank.
The programmable min and max are a really intelligent feature and take a simple analog expression pedal and transform it into a powerful MIDI controller.
Remember you can store 100 Banks that combine all the settings for the 4 internal switches and any connected pedals including up to two expression pedals.
Of course, the Ampero Control is a perfect match for Hotone’s Ampero multi-effects processor, but because it is MIDI it can be easily setup to work with any MIDI device whether it’s another company’s guitar multi effector, a keyboard or even a MIDI controlled lighting rig.
Anyone who has their hands full (pun intended) when playing live should look at what the Ampero Control can do in controlling MIDI via footswitches and pedals.
If you already own an expression pedal, think about what you could do if you could transform that simple analog signal into multiple CC messages with min and max settings.
The Ampero Control is a powerful MIDI Controller with extensive programmability via its smartphone app that belies its simple exterior design.
Mark of the Unicorn’s newest version of Performer adds MPE support, Articulation Maps, and Per Note Controls
It seems like MOTU has been paying close attention to developments in the MIDI Association around MIDI 2.0. Their newest version of Performer adds a ton of new MIDI features.
MPE and Per Note CC Support
First, Performer joins other MIDI Association DAW companies including Ableton, Bitwig, Steinberg, and Logic in adding MPE support.
Performer 11 makes editing of individual notes and Per Note CC messages in an MPE track easy
MIDI Polyphonic Expression (MPE) is here!
In DP 11, you can record multi-channel output from an MPE controller — such as a Roli™ Seaboard™ — as regular MIDI notes containing MPE expression data.
Instead of note and controller data splayed across dozens of tracks, you see a single stream of normal MIDI notes that each contain their own note-specific controllers, for easy and intuitive editing.
Hide and show the contained per-note controller and pitch-change events in DP’s familiar piano roll. Zoom in the note grid for finer detail. Zoom per-note data independently of the notes that contain them.
by MOTU
A number of MOTU plugins support MPE out of the box
Multi Channel MIDI Tracks
The addition of Multi-Channel MIDI tracks, which can each contain multiple channels allows multi channel plugins like those often used for guitar controllers to record everything to a single track.
Articulation Maps
A major new feature is the addition of Articulation Maps so you can take full control over advanced orchestral sound libraries, from VSL™ to EastWest™ to Spitfire™ to Cinesamples™. You can create or import articulation maps to build dynamic instruments and ensembles. The MIDI Association has been working on an Orchestral Articulation Profile for the past year and half which we hope will eventually standardize articulations across many different libraries.
Articulation Maps let you control the different articulations in many Orchestral sound libraries
Articulations in QuickScribe
Articulations can also be added and edited using QuickScribe, MOTU’s built-in notation software.
Embellish your masterpiece with articulations, trills, tremolos, bowings and alternate noteheads, all connected to your orchestra library sounds. What you see is what you hear.
by MOTU
Mark Of the Unicorn (MOTU) has been a MIDI Association member since 1991
2021 marks the 30th anniversary of MOTU’s MIDI Association membership and it seems one way they celebrated was by adding a ton of great new MIDI features to their flagship DAW product- Performer 11.
Get inspired, then refine your mix — all in a singular workflow. Digital Performer 11 delivers inspirational features devised to ignite your creative muse, combined with state-of-the-art studio production technologies engineered for the most demanding, world-class recording and production environments.
Soundiron is a recent addition to the growing list of MIDI Association companies. They joined after attending a webinar with developers that was focused on the Orchestral Articulation Profile which will use the new Attribute Types and Attribute Data of MIDI 2.0 to embed sample articulations right into the MIDI Note On and Note Off.
Sound Iron develops products on the Native Instruments’ Kontakt platform and Nikolas Jeroma, Principal Instrument Developer at Native Instruments is one of the key members of the Orchestral Articulation Profile working group so it was a natural fit.
Sound Iron has worked with music industry leaders like Native Instruments, Propellerheads, Ableton, Korg, Presonus, Image Line, Best Service, Time & Space, Crypton/Sonic Wire, Plugin Boutique, Kontakt Hub, Audio Plugin Deals, Splice and many more.
They are a team of committed creators, programmers, engineers, artists, composers, instrumentalists, writers, videographers, customer support gurus, beta testers and developers passionate about building beautiful-sounding instrument plugins that are inspiring to play.
And now for something completely different …..
Of course, Sound Iron has the some of the typical libraries that you would expect- Pianos, Strings, Choirs, etc. But where they really excel is when you are looking for something different to spice up a track. Looking for a collection of ancient Greek stringed instruments recorded in Athens. Sound Iron has it.
Need A Side of Greek Winds to go with those Strings
No problem, Sound Iron released a companion library of ancient Greek winds, a collection of nine carefully-sampled traditional Greek woodwind instruments including single and double-reeded aulos flutes from bass to alto, as well as conch shell horns, brass salpinx horn, pan flute and plagiaulos. The instruments were hand-crafted by the Athens-based historical research group LyrΑvlos and every instrument was recorded in precise detail by producer John Valasis. It doesn’t get more authenticate than that.
Whistle while you work with Sound Iron’s Aztec Death Whistle and Irish Tin Penny Whistle
Maybe you’d like some different cultural influence in your music productions. Need an Irish Tin Penny Whistle for one track and don’t want to spend a lot of money. No problem, this one is $5 (and often on sale for $3). Add the Aztec Death Whistle and you still haven’t spent $20 bucks!
Sound Iron focuses on sampling instruments and designing sounds and because they use the Kontact sample platform they have less engineering development costs and they can make their sounds available at very reasonable prices.
HOPKIN INSTRUMENTARIUM
Perhaps the highlight of the Sound Iron libraries is the Hopkin Instrumentarium that features 17 different Lamellophones created by master instrument inventor and writer Bart Hopkin. A lamellophone is a member of the family of musical instruments that makes its sound by a thin vibrating plate called a lamella or tongue, which is fixed at one end and has the other end free. Kalimbas are a well known example. Bart creates his own unique instruments and each has it’s a distinct character and tone.
ISLA Instruments recently joined the MIDI Association as voting corporate member
ISLA Instruments was founded by Brad Holland, a professional musician and studio technician in 2015. He realized his love of music, technology and electronics were perfect for a new type of MIDI controller.
ISLA’s first product was the Kordbot, a new type of MIDI controller that included a chord librarian, sophisticated arpeggiator and performance controller. It was designed with the help of Bill Behrendt, a music systems programmer since the days of the Commodore 64.
The Kordbot
ISLA Instruments S2400 The sound of a legend.
For us, the S2400 is a passion project – to recreate the sound of one of the world’s most iconic sampling drum machines, and bring it up-to-date with modern features. The result is the very best of old school and new school technology coming together.
Brad has been obsessed with drum machines for many years – owning, repairing, restoring, modifying countless makes and models (see his HR-16 mods on youtube).
Staying true to form in both sonic characteristics and design aesthetic were the main drivers in the realization of this project, while bringing the hardware into the 21st Century and keeping the same ‘instant gratification’ and intuitiveness of its spiritual pre-predecessor at heart.
by ISLA Instruments
S2400 Specifications
Sampler / Audio
16-Bit 48Khz ‘Hi-Fi’ Sampling/Playback Engine
12-Bit 26Khz ‘Classic’ Sampling/Playback Engine
Engine type assignable to each of the 32 sample slots
Sample up to 21.5 minutes per slot (Classic / Mono), 5.5 minutes (Hi-Fi / Stereo)
Simultaneous (Full Duplex) playback and record with 8 channel LiveLooping functionality.
On-screen waveform display (slice audio, set loop-points with ease)
128 MB of built-in factory drum kits (from some of our featured beta team)
Independent Headphone output for monitoring (effectively 2 extra channels)
DSP based LP/HP Filtering per track (more FX planned for future)
Sequencer
Multiple sequence entry methods: Live recording, Step Sequence, Piano Roll GUI, TR x0x Style
After the successful launch of WIDI Master and WIDI Jack, CME returns with two premium BLE MIDI solutions completely focussed on USB MIDI devices.
In its essence, WIDI Uhost offers wireless MIDI solutions for all USB MIDI devices. Both USB hosts as well as USB devices. Together with the already available WIDI solutions, it is now possible to add wireless Bluetooth MIDI to any MIDI device. No matter if it is a vintage synth, a slim-sized MIDI controller, your mobile device or operating system.
Therewith, WIDI is taking away the barriers of MIDI connection terminals and allows you to transmit any MIDI message bidirectional and wireless over air. At the same time it delivers 20 meter (65 ft) range without obstacles and latency performance as low as 3ms.
Besides the reliable performance levels, WIDI delivers 1-to-4 MIDI split and 4-to-1 MIDI merge capabilities via the user-friendly WIDI app. You can set up wireless WIDI groups of up to 5 devices, consisting out of 1 central device and 4 Bluetooth peripherals.
I’m blown away by all the WIDI gear. I have a Novation Peak and I switch between using a keyboard and a theory board to control it. With WIDI, it’s so easy to switch, I love it.
In its essence WIDI Uhost offers 3 solutions in 1 tiny little interface. It can operate both as a USB host as well as a USB device. Therewith it is suitable to add Bluetooth MIDI to both bus-powered MIDI controllers as well as standalone MIDI hardware. No matter if you have a Korg Kronos or an M-Audio Oxygen, WIDI Uhost simply adds wireless BLE MIDI to all your USB MIDI devices.
Also, you can use it as a MIDI USB dongle for any PC, tablet or smartphone. No matter the operating system, WIDI Uhost adds high performance BLE MIDI without having to upgrade your computer.It even bypasses the limitations of macOS and iOS and adds automatic pairing and WIDI group connectivity to the equation.
Basically, WIDI Uhost covers three main use cases:
Connect MIDI devices that operate as a USB device. Like a standard bus-powered USB MIDI controller.
Connect MIDI devices that operate as a USB host. Like the Korg Kronos or other MIDI devices with a USB A port.
Connect computer and smart device without Bluetooth MIDI or bypass limitation of any operating system.
Pair your USB MIDI hardware wirelessly with your Windows / Android / Chrome OS / Linux with two (2) WIDI Uhost units.
How does WIDI Uhost work with bus-powered USB MIDI devices?
As said before, WIDI Uhost is an all-in-one solutions for any USB MIDI piece of equipment. Therewith, there are three main power modes to cover all use cases.
WIDI Uhost can be powered all kinds of standard USB power sources: USB bus power, USB power supply, USB power bank, etc.
If your MIDI device has a USB Host connector (USB-A slot), it can also power WIDI Uhost.
MIDI device which only have a USB device connector (peripheral, USB-B or micro-B slot), will require power from Uhost via its USB-c port.
The external power option will power WIDI Uhost. Besides this, WIDI Uhost can pass 500mA to power your (bus powered) MIDI device which is connected to WIDI Uhost. In other words, with the right USB cable(s), you can add wireless MIDI via Bluetooth to any USB MIDI device.
I’m really happy with my WIDI Masters and WIDI Jacks and I’m looking forward to the new WIDI Uhost and WIDI Bud Pro!
Besides the versatile WIDI Uhost, CME also introduces the successor of the legacy WIDI Bud (2016). The new WIDI Bud Pro is a Bluetooth MIDI dongle for any operating system. Basically, WIDI Uhost can do everything WIDI Bud Pro can, and not the other way around.
WIDI Bud Pro is a simplified solution compared to the WIDI Uhost. It offers convenience and a plug, pair & play experience for any MIDI enthusiast. No matter the level of experience or performance. By applying today’s BLE5 and WIDI technology, the WIDI Bud Pro takes the effective WIDI Bud to new heights.
Compared to the legacy WIDI Bud (central only), WIDI Bud Pro can now operate both as a central as well as a peripheral Bluetooth device. Therewith it adds WIDI group connectivity and automatic pairing to all operating systems. Furthermore, both range and latency performance have taken another leap forward compared to the WIDI Bud that was released in 2016.
Bluetooth MIDI for all operating systems
Wireless MIDI via Bluetooth
Selecting the right WIDI product for your MIDI setup!
In its essence WIDI Master and WIDI Jack are the same products. Same goes for WIDI Uhost and WIDI Bud Pro. The main difference is that WIDI Uhost and WIDI Jack offer external power options and changeable cable options to widen the number of use cases.
WIDI Master – DIN-5 MIDI
WIDI Jack – DIN MIDI + TRS MIDI + external power + changeable cables
WIDI Bud Pro – USB MIDI
WIDI Uhost – USB MIDI + external power + changeable cables
To help anyone with making the right choice this guide can be really helpful. More info via CME
I’m hooked on the WIDI products like a fish … but without a line.
To celebrate the last day of May is MIDI Month, we are happy to announce 3 major product updates.
Florian Bomers (Founder of Bome Software)
New BomeBox Firmware 1.5
As of today, Bome Software has released version 1.5 of the BomeBox firmware. It is a free download for BomeBox owners and adds a number of new features:
new MIDI processing capabilities (see MIDI Translator Pro update below)
remote access to each MIDI device connected to the BomeBox (see Bome Network update below)
connect up to 32 USB devices using USB hubs (previous limit was 8)
The BomeBox is available for sale world wide in (online) shops, and in the manufacturer’s web shop:
The BomeBox is a versatile hardware MIDI router, processor, and translator in a small, robust case. Connect your MIDI gear via MIDI-DIN, USB, Ethernet, and WiFi to the BomeBox and benefit instantly from all its functions. It’s a solution for your MIDI connection needs on stage or in the studio.
In conjunction with the desktop editor software Bome MIDI Translator Pro (sold separately), you can create powerful MIDI mappings, including layerings, MIDI memory, and MIDI logic. A computer is only needed for creating the mapping. Once it is loaded into the BomeBox, a computer is not necessary for operation.
New Bome MIDI Translator Pro 1.9
Today, Bome Software has released version 1.9 of the flagship product Bome MIDI Translator Pro. The tool allows flexible MIDI mappings, MIDI routing, timing, MIDI logic and processing, and much more. These translation projects also run stand-alone on the BomeBox. On desktops, you can set up translations for MIDI to keystrokes and to mouse movement and clicks, for controlling non-MIDI applications.
This new version allows for even more dynamic control on desktop (Windows and macOS) and in the BomeBox:
dynamic processing depending which other application is currently active
modify MIDI routing on the fly
dynamic processing depending on plugging in or unplugging MIDI devices
improved integration with the YouTube video tutorials
enhanced keystroke emulation options
This update is free for owners of Bome MIDI Translator Pro.
A free trial version and more information is available here:
The Bome Network tool allows connecting your computer to one or more BomeBoxes via Ethernet and WiFi. Any MIDI application can send MIDI to the BomeBox and receive from it.
BomeBoxes are auto-discovered, and once you’ve established a connection (“paired”), it is persistent across reboots and BomeBox power cycles.
Today, Bome Software has released version 1.4 with these enhancements:
A new user interface makes managing your network of BomeBoxes and other MIDI devices much easier
Remote Direct MIDI: directly access all MIDI devices connected to a BomeBox or a remote computer
MIDI Router lets you define manual MIDI routings
Add-On: Unlimited Named MIDI Ports lets you define named virtual MIDI ports to be used with the MIDI Router
Dark Mode support
Bome Network is a free download for Windows and for macOS:
Available in tabletop and keyboard versions, IK’s follow up to the original UNO adds a lot of new capabilities
The new IK Multimedia Uno Pro lineup has two versions- the Synth Pro features a 37-note Fatar keyboard and pitch/mod wheels while the Synth Pro Desktop version has capacitance-sensing keys and pitch/mod touchstrips. But the connectivity and sound engines for each model are the same.
The Synth Pro and the Synth Pro Desktop
The analog synth engines in both the Uno Pro models each have three analogue oscillators and lots of modulation possibilities. Each Oscillator allows variable waveshape and pulse width modulation. You can have the oscillators interact with each other via hard-sync, FM, and ring modulation. There is also a white noise oscillator.
Compared to the original Uno Synth, the Pro versions have been improved by a new SSI 2/4-pole low-pass filter and you can even use the two filters in series or parallel and with invertible phase, giving you a total of 24 possible filter modes.
You can connect your MIDI and your modular gear together
Besides the usual connectivity for audio (balanced stereo outs and a headphone output) and standard 5-pin MIDI DIN in and out and USB MIDI, there are also assignable CV and gate connections for connecting to modular and semi-modular gear. Another plus the audio input so you can run other instruments through the internal filter and effects.
Check out Eric Norlander describe the UNO synth Pro
The MPE specification was adopted by The MIDI Association at the 2018 Winter NAMM show.
MPE is designed for MIDI Devices that allow the performer to vary the pitch and timbre of individual notes while playing polyphonically. In many of these MIDI Devices, pitch is expressed by lateral motion on a continuous playing surface, while individual timbre changes are expressed by varying pressure, or moving fingers towards and away from the player.
MPE specifies the MIDI messages used for these three dimensions of control — regardless of how a particular controller physically expresses them — and defines how to configure Devices to send and receive this “multidimensional control data” for maximum interoperability.
MIDI Pitch Bend and Control Change messages are Channel Messages, meaning they affect all notes assigned to that Channel. To apply Channel Messages to individual notes, an MPE controller assigns each note its own Channel.
Ableton added MPE support to Ableton 11 giving Ableton users the ability to be more musically expressive.
What Is MPE?
MPE (MIDI Polyphonic Expression) allows you to control multiple instrument parameters simultaneously depending on how you press the notes on your MPE-capable MIDI controller.
With MPE you can change these individual values for every note in real-time:
Pitch Bend (horizontal movement)
Slide (vertical movement)
Pressure
MPE MIDI messages are displayed once you record or draw a note, and you can edit them at any time.
Keyboards and other controllers are no longer limited to up/down motions and sometimes pressure. The MPE specification accommodates multiple performance gestures within a single note. How hard you strike a key or pad; how much you move your fingers side to side or up and down; how much pressure you apply after striking a key; how quickly or slowly you release from the surface: all of these gestures suddenly become musical with MPE. For example, instruments can translate side-to-side motion to provide vibrato like on an acoustic string instruments. A tiny amount of pressure on a key can “swell” the volume, or add brightness, to each part of a brass section.
With MPE you don’t just play a note—you play with a note. Because of this it is an artistic breakthrough as well as a technological one. It endows electronic instruments with greater potential for expressiveness.
by Craig Anderton, Author and MIDI Association President
Add more feeling to your music
Edit your recorded MPE MIDI Messages
Select the MIDI clip and click the Note Expression tab in the Clip View Editor.
You can view each parameter by clicking the Show/Hide lane buttons.
Similar to editing automation, you can move breakpoints, copy/paste/delete them, mark them, or use the draw mode.
Morph between chords and add bends by connecting the curve of a note with any subsequent note.
This just came in at the last minute tonight and we thought we would get it out to everyone. You will see some really cool Augmented Reality and AI from another company that will be an exclusive here later in the month, but we thought this announcement from Artiphon was worth a quick post.
“We’ve been designing AR Music technology for the past few years in secret, so we’re jazzed to finally show the world what we’ve been up to,” says Artiphon founder and CEO, Mike Butera. “For us, AR Music represents the possibility to go beyond the traditional notion that only musicians can make music.”
What if you could control all your MIDI controllers, keyboards, and pedals all in one centralized application? What if this app didn’t only allow you to control all your devices on stage but also provided you with a music score reader, a MIDI patchbay router, and a setlist manager?
Camelot Pro is an application to make the lives of every stage musician easier and more convenient so that their time is better spent focusing on the music, rather than focusing on technical details.
Not only does Camelot Pro control your soft synths, but it integrates your hardware synths and softsynths together and even let’s you turn your hardware into an MPE compatible tone generator.
MIDI Capabilities
It is also has complete MIDI routing, filtering and processing capabilities.
Look at many modern drum setups, and you’ll find an SPD-SX—but it can do a lot more than you might expect.
There’s a reason why so many drum setups use Roland’s SPD-SX. By combining a drum controller with sampling, the SPD-DX has allowed drummers to augment their performances with electronic production. The SPD-SX has transformed electronic drum pads from control surfaces to much more–they’re truly production tools that extend drumming into an entirely different realm.
Part of this has been driven by necessity. In the past three decades, music technology shifted pop’s sonic landscape from primarily live instruments to electronic ones. Touring drummers needed a way to incorporate the electronic sounds from these recordings, beyond simply playing to a backing track.
Of course, the SPD-SX can run a click track for an entire band. But it also gives drummers the ability to trigger backing tracks or individual samples (like an 808 or clap sample), and process them with built-in effects. In addition to being a performance tool, the SPD-SX can enhance your workflow in several ways. For example, it allows users to record performance audio, in addition to using the device as a MIDI controller.
Using the SPD-SX as a MIDI controller opens up a new world of creative possibilities, so let’s explore the SPD-SX as a production tool.
2. After installing the driver, click the “Menu” button on your device and go to Setup.
3. Click the “Option” button, and switch the USB mode from Wave Manager to Audio/MIDI. Tip: To use the SPD-SX in its normal performance/sampling mode, return to this menu and select Wave Manager as the USB mode.
4. Connect the SPD-SX to your computer. Your DAW should recognize the SPD-SX. If the device doesn’t automatically show up, scan for MIDI instruments, or check your computer’s MIDI preferences.
5. Once your DAW recognizes the device, select a new kit on the SPD-SX.
6. Click the “Menu” button, go to “Kit,” and select the MIDI option.
7. The MIDI menu lets you select each pad’s corresponding MIDI note by inputting the desired MIDI note number.
The kit has a default range of notes. With this option, you can create custom triggers to respond to different parts of your MIDI instrument. All you have to do is play the pad and use the “+” or “-” button. This changes the number and corresponding sound. The method should work for most DAWs. However, in Ableton Live, you can use MIDI mapping to make the SPD-SX a more versatile controller.
MIDI Mapping
Ableton Live allows using the SPD-SX in very creative ways.
1. After connecting your device, go to Ableton Live’s preferences.
2. In the “Link MIDI” tab’s “Track” and “Remote” fields, set the SPD input and output to “On.”
3. Press the MIDI button at the top right of the screen.
4. Choose any function within Ableton Live, and play a pad to control that function. For example, you can stop and start tracks, scroll between clip scenes, and trigger samples.
One useful tip is to map various kits on the pad to different drum racks in Ableton Live. This lets you scroll between banks of samples. The drum racks in Ableton Live correspond to 127 MIDI notes. As a result, the SPD-SX will automatically give the pads a MIDI number within the range of 0-127.
You can create drum tracks with various samples and space them out evenly. By changing kits in the SPD-SX, you access a different MIDI note range and sample group.
Tip: The Ableton Live drum rack layout is 4 x 4, while the SPD is 3 x 3. As a result, if you group your samples in rows of threes, it may be easier to visualize them on the SPD-SX.
MIDI Applications
Do you love to chop up samples or create your own? Using the SPD-SX as a MIDI controller allows you to take your chops and instantly play them, without exporting. This feature is powerful when playing drum samples. With the SPD-SX’s sensitivity and velocity controls, you can create a deeply nuanced performance. This is especially true compared to MIDI controllers based on keyboards, or smaller square pads.
Quality is another factor. The SPD-SX is meant primarily for live performance, and requires 16-bit WAV files.
Tip: Inside a DAW, you can record performances using custom samples without the need to change bit depth.
Backing Tracks, DJing, and Beyond
Beyond chopping drum samples, you can use the SPD-SX for other purposes. Expressively play vocal chops, FX, keyboard patches, and samples of chopped-up records. With Ableton Live, you can run backing tracks using the SPD-SX to toggle between scenes, as well as start clips and stop them from launching.
This can be incredibly useful if you have a complicated live show that involves lots of backing tracks and samples. Alternately, you can even DJ using just the SPD-SX. Finally, if you’re a drummer or enjoy the tactile experience of hitting pads while making beats, consider the SPD-SX as a controller. You’ll unlock a new world of possibilities.
Author: Charles Burchell
Charles “BLVK Samurai” Burchell is a music producer, rapper, multi-instrumentalist, and educator from New Orleans, Louisiana.
Why Physical Modeling Instruments are so expressive
With computers becoming more powerful everyday, digital musicians want more expressiveness, more realism, more flexibility in their virtual instruments. In fact, increased expressiveness and realism is a big part of what MIDI 2.0 is all about. MIDI Association member Audio Modeling is ready to take full advantage of MIDI 2.0 because their VST plugins are based on physical modeling.
Physical modeling refers to sound synthesis methods in which the waveform of the sound is computed using a mathematical model, a set of equations, and algorithms to simulate the physical source of sound like a musical instrument.
The first commercially available physical modeling instrument was from MIDI Association member Yamaha in 1993- the VL1.
Unlike sampling, which uses recordings to replicate the sound of an instrument, physical modeling doesn’t generate a sound as such but creates the conditions for the system to create it according to an external input (like someone playing on a keyboard). Modeled virtual instruments can give the feeling and behaviour of the instrument, reacting and interacting with the player the same way a real instrument does.
Audio Modeling has always been at the cutting edge of technology for creating the most realistic virtual instruments and VST plug-ins on the market. To achieve this, they developed a proprietary technology called SWAM (Synchronous Waves Acoustic Modeling) based on physical modeling.
Physical Models are a great match for MPE controllers, wind controllers and breath controllers.
The SWAM engine combines pure physical modeling synthesis methods with some additional elements allowing us to go much further in terms of flexibility and realism. The topic is huge but in a nutshell, not only does Audio Modeling model the mechanical system of an instrument, they also model the unconscious behaviors of a real professional musician.
Steinway & Sons has a long history of technology innovation
Heinrich Engelhard Steinweg built his first grand piano in Germany in 1836. He moved to New York, changed his last name to Steinway and established Steinway & Sons in 1853. The company has always been focused on new technology and in its first 40 years in business were granted over 50 patents based on scientific research including the acoustical theories of the Hermann von Helmholtz.
So why is Steinway and Sons a member of The MIDI Association?
Steinway has continued to evolve piano technology, and their latest offering is the Spirio |r, a high resolution player piano capable of live performance capture and playback.
Spirio | r will record in high resolution
Spirio | r will edit in high resolution
Spirio | r offers seamless connectivity
Spirio | r offers a world class library
Steinway & Sons is contributing to the future of MIDI 2.0
As you can see from the feature set of the current Spirio | r, it will be a great match for the high resolution and bi-directional capabilities of MIDI 2.0. There are Piano Profile and Standard MIDI 2 File Format working groups that are defining new standards for interoperability between player pianos and Steinway staff are active participants.
The MIDI Association is honored to have Steinway as a corporate member because the company has had a very long tradition of technical excellence.
Steinberg released the latest update (3.3) to Cubasis, their music production app available for both iOS and Android devices.
Make use of extended MIDI routing options to create inspiring tracks in a snap. Explore even more creative possibilities via advanced MIDI track-to-track routing options.
Extended MIDI Routing
Next there is MIDI Learn making it incredibly simple to set up your external MIDI controller.
MIDI Learn
Easily control Cubasis remotely, via your external controller. Enable MIDI Learn and simply move a knob or fader on your controller to assign it to a selected parameter.
by Steinberg
Explore all the New Features in this Video Tutorial and Download a Free Trial Version
Just like MIDI itself, the Korg SQ64 hardware sequencer focuses on connectivity and control
The SQ-64 is unique in its ability to drive MIDI and modular synths letting you create music with all your synth gear without the need for a computer, tablet or cellphone. It features four hardware based sequencer tracks each with up to 64-step sequences
The first three tracks support up to 8-note polyphony, with Mod, Pitch, and Gate outputs for each track. The fourth track is designed to be a monophonic 16-part sequencer, driving eight separate Gate outputs along with eight different MIDI notes — perfect for driving a drum machine or drum synthesis modules. So in total, you can send three polyphonic sequences to three different devices via MIDI or CV/Gate/Mod, plus a monophonic sequence with up to eight different MIDI notes to a MIDI device, plus a monophonic sequence with up to eight different parts sent out via Gate outputs. That’s a lot of creative potential for a compact hardware sequencer!
by Sweetwater
Blending CV/Gate and MIDI control in one portable box
It’s the unique combination of CV control, MIDI & Audio sync, and polyphonic multitrack sequencing that makes the Korg’s SQ-64 special. Check out Korg’s James Sajeva as he demos the SQ64 with a rack of modular synths.
More Unique Step Sequencing features
The SQ64 Step Sequencer has some unique features that are really only available with Step Sequencer- you can set the steps to play backwards (Reverse), play from the beginning to the end and then turn around (Bounce), Stochastic (randomly pick between one step forward, skip one forward, backwards or repeat step) or Random (randomly pick from all the available steps in the track). When you combine that with the ability to do Polyrhythms (Each track can have different lengths) and changing the time divisions of each track independently (1/32, 1/16, 1/8, 1/4 plus Triplets) and there is an endless amount of creative fun available.
Within days of announcing their new group brand name, Muse Group (a music company focused on open source software) acquired Audacity.
Audacity will add to Muse Group’s other brands that are all base open source standards.
Martin Keary who previously worked at MIDI Association member Microsoft talks about joining Audacity.
“Audacity has just joined Muse Group, a collection of brands that includes another popular open-source music app called MuseScore, which I’m currently in charge of.
“And since things are going rather well at MuseScore, I was asked to step up and also manage Audacity in partnership with its open-source community.
“And just like we’re doing at MuseScore, we’re now planning on significantly improving the feature set and ease of use of Audacity – providing dedicated designers and developers to give it the attention it deserves – while keeping it free and open-source.”
by Martin Keary, aka Tantacrul
Audacity and MuseScore are Free and Open source so how do they make money?
When you have 100s of millions of users, they are plenty of ways to monetize your platforms without directly charging end users and this company has been doing it successfully for 25 years,
For a more in depth article, try reading Peter Kirn from Create Digital Music’s take on the acquisition.
Exciting news for one of MIDI’s most important people
We’re excited and pleased to add Sequential’s instruments and pedigree to Focusrite Group’s portfolio of world-class audio and music production tools,Dave Smith’s history as an innovator speaks for itself. From his creation of the world’s first fully programmable polysynth (the Prophet 5) to his co-invention of MIDI, Dave Smith has literally changed the world of music several times. We’re looking forward to continuing his history of innovation and expanding the global market for Sequential’s instruments.
Before your mind goes wild conceiving the ultimate Novation x Sequential product mashup, it’s safe to say that Sequential and Novation will continue to operate independently, as separate entities under the Focusrite Group umbrella. Dave Smith will remain at the helm of Sequential, leading engineering, product development and mentorship of Sequential’s new breed of designers.
by Focusrite Executive Chairman Phil Dudderidge
A message from Dave Smith about the acquisition
Check out our article about Dave in our MIDI History series
Visionaries including Dave Smith from Sequential Circuits, and Ikutaru Kakehashi from Roland began to worry that this lack of compatibility between manufacturers would restrict people’s use of synthesizers, which would ultimately inhibit sales growth
MIDI Polyphonic Expression (MPE) offers a vast playground of musical opportunities to create musical compositions and productions. Live 11 supports a range of MPE tools to allow the composer and producer to create ideas in a myriad of ways. In this workshop you will creatively explore and deploy a range of MPE techniques in a musical setting. This workshop aims to provide you with suitable skills to utilise the creative possibilities of MPE in the Ableton Live environment.
Session Learning Outcomes
By the end of this session a successful student will be able to:
Identify the role and function of MPE
Explore MPE compatible devices in Live
Utilize MPE controllers within Live 11
Apply MPE to create novel musical and sonic elements
Session Study Topics
Using MPE
MPE devices in Live
MPE controllers
Creatively using MPE
Requirements
A computer and internet connection
A web cam and mic
A Zoom account
Access to a copy of Live 11 (i.e. trial or full license)
About the workshop leader
Mel is a London based music producer, vocalist and educator.
She spends most of her time teaching people how to make music with Ableton Live and Push. When she’s not doing any of the above, she makes educational content and helps music teachers and schools integrate technology into their classrooms. She is particularly interested in training and supporting female and non-binary people to succeed in the music world.
MIDI Association Member Music Hackspace featured this very cool new product on their Youtube channel
Discover the ProxiMIDI, the first MIDI controller made by Copper & Cedar. ProxiMIDI detects proximity motion and transforms it into MIDI data. It can be configured so that the hand gesture is interpreted as pitch controller, volume, or any other custom MIDI messages. In this interview, Ruben demonstrates the system live and creates an original track from scratch. Beautifully hand crafted, ProxiMIDI devices will be available for order in the coming weeks in limited quantities. Software used in this video: Ableton Live, u-he Diva, Audio Modeling’s SWAM Cello.
by Music Hackspace
The demo also features MIDI Association members Ableton and Audio Modeling.
Ableton makes Push and Live, hardware and software for music production, creation and performance. Ableton´s products are made to inspire creative music-making.
Francis Preve has created a companion guide for Synth One
Audiokitpro has is the source for a lot of very cool projects. In this article, we will highlight some of the those and then show you AudioPro’s most recent offer – a free guide to synthesis from sound designer and author Francis Preve!
AudioKit is a leading free & open-source audio framework for iOS, macOS, and Apple Watch.
AudioKit allows developers to quickly add professional audio functionality, synthesis, DSP, and more to apps.
by AudioKit Pro
Four Amazing Apps created with AudioKit Pro
MCDONALD’S MCTRAX
Koert Gaaikema and his team mates used conductive ink on a piece of paper and iOS app built with Audiokit Pro to turn your McDonald’s placemat into a music production station! It connects via BLE MIDI (BLE=Bluetooth Low Energy).
USING A WIND CONTROLLER WITH DIGITALISM 2000
SKOOGMUSIC & SKOOG SKRATCH
Skoog is a free app that works with your Skoog 2.0 device. The app easily connects wirelessly via Bluetooth® Low Energy to your Skoog. The app integrates with your Apple Music library or Spotify premium account and automatically tunes your Skoog so you can play with the music you love.
HOUSE: MARK I
Studio musician Tic Toc explores the possibilities of using an EWI Wind Controller to play AudioKit’s Digitalism 2000. Tik Tok uses MIDI Association member CME’s WIDI Master to connect wirelessly to the iPAD.
Created by two platinum-selling producers, HOUSE: MARK I was custom made exclusively for your iPhone & iPad. Perfect for the studio, songwriting, and performance. Proceeds from this app benefit the Music Unit of the Creative and Performing Arts Division at Morehouse College in Atlanta, GA, inspiring the next generation of musicians, artists and coders.
AudioKit Synth One- The Ultimate Guide
More than just an instruction manual, Synth One: The Ultimate Guide is a complete introduction to the basics of synthesizers and analog synthesis. Combining this book with the open source AudioKit Synth One—the award-winning free synth for iOS—The Ultimate Guide explains everything from how filters and oscillators work to the details of the harmonic series and microtonal music. Additionally, all new versions of AudioKit Synth One now include a set of patches specifically designed for the lessons in this book.
Whether you’re getting started in electronic production or just want to learn how synthesizers work, this free reference guide explains everything about Synth One in plain, clear English
Fluid pitch is an innovative next-generation Pitch bend system, which is not only free of existing limitations but a Revolutionary Leap Forward in Music expressions for all Musicians Fluid pitch introduces the World’s First Scale-Locked-Pitch-Bend System powered by Midi to MPE upscale engine, which gives the power of MPE to any standard Midi keyboard. Now musicians no longer have to think which scale or where they are using the pitch bend wheel, the fear of landing on a wrong note using the pitch bend wheel is a thing of past, Fluid pitch always takes you to the right note. Fluid pitch is one of those tools you always wish you had but never knew it was possible.
Micro tune individual notes on your midi device and Master Arabic makams and Indian Ragas with a click. Maybe even create a whole new scale
Key Features
Scale Locked Pitch Bend System (SLPB)
Fluid pitch Introduces world’s first scale locked pitch bend (SLPB) system which can lock your keyboard’s pitch bend wheel to any scale you want, giving you access to Fluid pitch bending
Realtime access to different pitch bend ranges
You can choose any range for your pitch bend wheel and change it in real time while performing.
MPE Upscale Technology
Upgrade your standard MIDI keyboard into an MPE (MIDI Polyphonic Expression) device and access MPE Synths without MPE hardware.
Polyphonic Pitch Bending
Introduce chord bending into your music powered by MPE Upscale Technology.
Microtuning
With Fluid Pitch, you can now tune any note in the scale up to 100 cents up or down giving you access to a whole new world of microtonal scales, melodies and harmonies. Access a new world of micro tuned scales in Indian ragas and Middle Eastern maqam’s.
System Requirements
Operating Systems:
Windows 10 (64-bit).
OS X 10.9 and above.
Digital Audio Workstation that supports AU or VST. See DAW compatibility down below for more information.MIDI keyboard with a pitch bend.
Fluid Pitch enables listeners to flow through their music with the world’s first MIDI to MPE Upscale Plugin. Pick a key, set a scale, and leverage our scale-locked pitch-bending system to effortlessly create new melodies in minutes.
We make Live, Push and Link — unique software and hardware for music creation and performance. With these products, our community of users creates amazing things. Ableton was founded in 1999 and released the first version of Live in 2001. Our products are used by a community of dedicated musicians, sound designers, and artists from across the world.
Making music isn’t easy. It takes time, effort, and learning. But when you’re in the flow, it’s incredibly rewarding.We feel the same way about making Ableton products. The driving force behind Ableton is our passion for what we make, and the people we make it for.
Song Maker Kit
The ROLI Songmaker Kit is comprised of some of the most innovative and portable music-making devices available. It’s centered around the Seaboard Block, a 24-note controller featuring ROLI’s acclaimed keywave playing surface. It’s joined with the Lightpad Block M touch controller, and the Loop Block control module, for comprehensive control over the included Equator and NOISE software. Complete with a protective case, the ROLI Songmaker Kit is a powerful portable music creation system.
The Songmaker Kit also included Ableton Live Lite and Ableton is also a May MIDI Month platinum sponsor.
Brothers Marco and Jack Parisi recreate a Michael Jackson classic hit
Electronic duo PARISI are true virtuosic players of ROLI instruments, whose performances have amazed and astounded audiences all over the world — and their latest rendition of Michael Jackson’s iconic pop hit “Billie Jean” is no exception.
A new French company EMBODME launched a KickStarter on October 14 for their new Polyphonic MIDI Controller, the Erae Touch.
Here’s what they have to say about it,
Super Sensitive & Reactive
1000 nerves in a backlit muscle pad with blazing fast aquisition speed, grasping every nuances, every articulations with a satisfying touch feeling.
1000 Sensors
The first musical controller to embed more than a thousand high quality Force Sensitive Resistors (FSRs). Erae Touch is both ultra sensitive and large, to open up possibilities and gives you more space to explore. and express yourself.
1 ms
+1000 sensors is a lot to take. The Erae Touch makes full use of 5 embedded processors. Data will never be left behind!
MIDI 2.0
The Erae Touch is the first generation of MIDI 2.0 enabled controllers. This new MIDI norm goes deeper in velocity dynamics, is more accurate in microtonal variations, and allows you to read informations from your DAWs and synths for easier mappings and routings.
Embodme is raising funds for Erae Touch: the Expressive Music Controller. on Kickstarter! Keys, drumpads, sliders, sequencer, launchpad, polyphonic, ultra sensitive and reactive. Bring your music to light.
MIDI Association Member Artiphon announced that the Orba is now available
Artiphon Orba Features:
Eight capacitive-sensing pads for feather-touch control
Accelerometer and gyroscope capture a range of gestures
Center menu button accesses four presets, the looper, and other functions
Onboard synthesizer and built-in speaker offer an immediate playing experience
Connect to the cross-platform Orba app for more sounds, songs, and settings
Use MIDI over Bluetooth or USB to plug into any of your favorite music apps
Use the 1/8? (3.5mm) output to listen on headphones, speakers, and amps
Multicolor LEDs respond to the way you play
Embedded haptics offer vibration feedback
USB Rechargeable battery
The Orba is the result of a successful Kickstarter campaign that had 12,377 backers pledged $1,442,181.
The Instrument One by Artiphon was also the result of a Kickstarter campaign with 3,391 backers pledging $1,319,672 to help bring this project to life.
The Orba is now available for sale for $99.99.
The Orb in action
a cross between a gaming controller and half an orange,
The best new way to learn piano. Learning with flowkey is easy and fun. Practice notes and chords interactively and receive instant feedback.
The idea behind flowkey is simple: “learn piano with songs you love.” And the flowkey app makes it easy to learn your favorite songs, whether your level is that of a Beginner, Intermediate, Advanced or Pro piano player!
Discover fascinating piano arrangements tailored to your level. Get started today and play your first song within minutes.
Click on the links below to see the Yamaha keyboards that qualify in your area.
Earlier this month, Roland unveiled the biggest enhancements yet to the Roland Cloud platform. These include the introduction of the ZENOLOGY software synthesizer, new membership options, and the ability to buy Lifetime Keys to individual instruments.
Since its inception, Roland Cloud has grown into a collection of more than 50 instruments—including Roland legends like the TR-808, JUPITER-8, and JUNO-106—each giving users instantly inspiring, genre-defining sounds from the past, present, and future of music.
Introducing the New ZENOLOGY Software Synthesizer
Roland’s ZEN-Core Synthesis System—found in the Roland FANTOM and JUPITER-X synthesizers, MC Series Grooveboxes, and the RD-88 Digital Piano—is now available for use in DAWs with the new ZENOLOGY Software Synthesizer, available only in Roland Cloud. Users can utilize the same sounds in both DAW and hardware instruments, create custom banks, and share with friends and collaborators. Anyone with an active Roland Account can access ZENOLOGY Lite.
New Membership Plans
Roland Cloud now offers three membership plans: Core, Pro, and Ultimate. Core ($29.99/year or $2.99/month) includes access to the ZENOLOGY Software Synthesizer and ZEN-Core sound packs.
Pro ($99.00/year or $9.99/month) gives unlimited access to the TR-808, D-50, and ZENOLOGY Pro (coming fall 2020). Pro also includes all Zen-Core Sound Packs, Wave and Model Expansions for software, plus Anthology, TERA, FLAVR, Drum Studio collections, and all software patches and patterns.
Ultimate ($199.00/year or $19.99/month) includes all Legendary and SRX collections plus unlimited access to all instruments and sounds.
Lifetime Keys to Individual Roland Cloud Instruments
Users can also purchase Lifetime Keys to Roland Cloud instruments like the TB-303, TR-909, JX-3P, and many others. These Lifetime Keys provide unrestricted access to a single Roland Cloud software instrument for as long as a Roland Account remains active.
Experience Roland Cloud by downloading Roland Cloud Manager 2.5:
New presets from Jordan Rudess and more for Mac/PC and iOS.
Jordan Rudess recently took the stage with Deep Purple for a festival performance in Mexico City using Hammond B-3X as their sole organ instrument. With great success, the Hammond B-3X fit seamlessly into the performance, nailing every organ sound the band has built their sound upon. Jordan and IK product manager, Erik Norlander, created 24 custom presets for the show with the idea to also release them to all Hammond B-3X users. The presets are automatically installed with the 1.3 update.
– 24 new Jordan Rudess Deep Purple presets – Compatibility with iPad preset sharing – Controllers are now received only on the assigned channels – Pitch bend range is now stored globally
iPad version:
– 24 new Jordan Rudess Deep Purple presets – New share function for importing and exporting presets with desktop version and other iPads – New restore factory presets function – Controllers are now received only on the assigned channels – Pitch bend range is now stored globally
Update your software now to gain all of these added features!
Audio Modeling has been coming out with more and more physical modeled instruments that add incredible realism and expressiveness. Recently they released the Solo Brass Bundle.
You can buy either individual instruments or save money by buying the entire bundle.
We make Live, Push and Link — unique software and hardware for music creation and performance. With these products, our community of users creates amazing things. Ableton was founded in 1999 and released the first version of Live in 2001. Our products are used by a community of dedicated musicians, sound designers, and artists from across the world.
Making music isn’t easy. It takes time, effort, and learning. But when you’re in the flow, it’s incredibly rewarding. We feel the same way about making Ableton products. The driving force behind Ableton is our passion for what we make, and the people we make it for.
Want to connect modular hardware to Ableton Live? There are a number of ways to go about this depending on what software and hardware you have. In this article, we break down the different methods and explain the gear you might need.
Live is fast, fluid and flexible software for music creation and performance. It comes with effects, instruments, sounds and all kinds of creative features—everything you need to make any kind of music.
Create in a traditional linear arrangement, or improvise without the constraints of a timeline in Live’s Session View. Move freely between musical elements and play with ideas, without stopping the music and without breaking your flow.
Ableton and Max for Live
Max For Live puts the vast creative potential of the Max development environment directly inside of Live. It powers a range of instruments and devices in Live Suite. And for those who want to go further, it lets you customize devices, create your own from scratch, and explore another world of devices produced by the Max For Live community.
Ableton makes Push and Live, hardware and software for music production, creation and performance. Ableton´s products are made to inspire creative music-making.
We have actively participated in creating the MIDI 2.0 specifications in the MIDI Manufacturers Association for many years. This year, some specifications will be finalized, and the Bome products will learn new MIDI 2.0 features along that path. The main focus will be on bridging MIDI 1.0 gear with the MIDI 2.0 world: proxying and translation. Existing BomeBox owners will also benefit from these new features by way of free firmware upgrades.
by Florian Bome
The BomeBox is a versatile hardware MIDI router, processor, and translator in a small, robust case. Connect your MIDI gear via MIDI-DIN, USB, Ethernet, and WiFi to the BomeBox and benefit instantly from all its functions. It’s a solution for your MIDI connection needs on stage or in the studio.
In conjunction with the desktop editor software Bome MIDI Translator Pro (sold separately), you can create powerful MIDI mappings, including layerings, MIDI memory, and MIDI logic. A computer is only needed for creating the mapping. Once it is loaded into the BomeBox, a computer is not necessary for operation.
BomeBox Overview
BomeBox Features
Configuration
The BomeBox is configured via a web browser. Just enable the integrated WiFi Hot Spot, connect your cell phone, tablet, or computer to it, and open a web browser to access the easy-to-use web configuration.
MIDI DIN
Connect your MIDI gear to the two standard MIDI DIN input and output ports. If you need more MIDI-DIN ports, use the MIDI Host port!
USB Host
The USB Host port allows you to connect any (class compliant) USB-MIDI device to the BomeBox, and use the advanced MIDI router and processing.
USB Hubs
Using a USB hub, you can connect even more USB-MIDI devices to a BomeBox. The MIDI Router allows fine grained routing control for every connected MIDI device individually.
MIDI Router
The integrated MIDI Router gives you full control over which MIDI device talks to which other MIDI device connected to the BomeBox. And if you need more fine grained filtering, or routing by MIDI channel, note number, etc., see Processing below.
Network MIDI Support
The BomeBox has two Ethernet ports. You can use Ethernet to directly connect BomeBox to BomeBox or to a computer. Using the Bome Network tool (see below), all BomeBoxes are auto-discovered. Once set up (“paired”), Network MIDI connections are persistent across reboots and BomeBox power cycles.
Wireless MIDI
The BomeBox’ integrated WiFi HotSpot can also be used for wireless MIDI connections to computers and/or to other BomeBoxes. You can also configure the BomeBox to be a WiFi client for integration into existing WiFi networks.
Processing
The powerful MIDI processing of Bome MIDI Translator Pro is available in the BomeBox. Hundreds of thousands of processing entries can be stored on the BomeBox.
Incoming Actions:
MIDI messages
Keystrokes (on QWERTY keyboard or number pad)
Data on Serial Port
Timed events
Enable/disable translation preset
Scripting (“Rules”):
A sequence of rules can be defined to be processed if the incoming action matches:
assignments of variables, e.g. pp = 20
simple expressions, e.g. pp = og + 128
labels and goto, e.g. goto “2nd Options”
conditional execution, e.g. IF pp < 20 THEN do not execute Outgoing Action
Outgoing Actions:
Send MIDI messages
Send bytes or text to Serial Ports
Create/start/stop timer
Enable/disable translation preset
Open another translation project
Keystroke (QWERTY) Input Support
Connect a (wireless) computer keyboard or a number pad to the BomeBox, then use the processing capabilities to convert to MIDI or trigger other actions! Really? Yes! and it’s useful… sometimes!
RS-232 Serial Port Support
The BomeBox also supports RS-232 adapters to be plugged into the USB host port. Now all processing actions are available in conjunction with serial ports, too: convert serial data to MIDI and vice versa. Route Serial port data via Ethernet. Or integrate older mixing consoles which only talk RS-232.
Allen & Heath Digital Mixer Support
Last, but not least, the BomeBox has built-in support for Allen & Heath mixers connected via Ethernet. They’re auto-discovered, and once you’ve paired them, all the MIDI routing and processing is available to the connected A&H mixer, too!
Bome Network
The standard edition of the Bome Network tool allows connecting your computer to one or more BomeBoxes via Ethernet and WiFi. Any MIDI application can send MIDI to the BomeBox and receive from it. On the BomeBox, you can configure which MIDI stream is sent to a particular connected computer.
BomeBoxes are auto-discovered, and once you’ve established a connection (“paired”), it is persistent across reboots and BomeBox power cycles.
If you like to set up network MIDI connections from computer to computer, use the Add-On Bome Network Pro.
Bome Network is available for Windows and for macOS.
Take your MIDI gear to the next level! Bome Software creates software and hardware for custom interaction with your MIDI devices and the computer. Used by live sound engineers, controllerists, DJ’s, theaters and opera houses, lighting engineers, beat boxers, performance artists, music and broadcasting studios, and many others.
We have actively participated in creating the MIDI 2.0 specifications in the MIDI Manufacturers Association for many years. This year, some specifications will be finalized, and the Bome products will learn new MIDI 2.0 features along that path. The main focus will be on bridging MIDI 1.0 gear with the MIDI 2.0 world: proxying and translation. Existing BomeBox owners will also benefit from these new features by way of free firmware upgrades.
by Florian Bome
The BomeBox is a versatile hardware MIDI router, processor, and translator in a small, robust case. Connect your MIDI gear via MIDI-DIN, USB, Ethernet, and WiFi to the BomeBox and benefit instantly from all its functions. It’s a solution for your MIDI connection needs on stage or in the studio.
In conjunction with the desktop editor software Bome MIDI Translator Pro (sold separately), you can create powerful MIDI mappings, including layerings, MIDI memory, and MIDI logic. A computer is only needed for creating the mapping. Once it is loaded into the BomeBox, a computer is not necessary for operation.
BomeBox Overview
BomeBox Features
Configuration
The BomeBox is configured via a web browser. Just enable the integrated WiFi Hot Spot, connect your cell phone, tablet, or computer to it, and open a web browser to access the easy-to-use web configuration.
MIDI DIN
Connect your MIDI gear to the two standard MIDI DIN input and output ports. If you need more MIDI-DIN ports, use the MIDI Host port!
USB Host
The USB Host port allows you to connect any (class compliant) USB-MIDI device to the BomeBox, and use the advanced MIDI router and processing.
USB Hubs
Using a USB hub, you can connect even more USB-MIDI devices to a BomeBox. The MIDI Router allows fine grained routing control for every connected MIDI device individually.
MIDI Router
The integrated MIDI Router gives you full control over which MIDI device talks to which other MIDI device connected to the BomeBox. And if you need more fine grained filtering, or routing by MIDI channel, note number, etc., see Processing below.
Network MIDI Support
The BomeBox has two Ethernet ports. You can use Ethernet to directly connect BomeBox to BomeBox or to a computer. Using the Bome Network tool (see below), all BomeBoxes are auto-discovered. Once set up (“paired”), Network MIDI connections are persistent across reboots and BomeBox power cycles.
Wireless MIDI
The BomeBox’ integrated WiFi HotSpot can also be used for wireless MIDI connections to computers and/or to other BomeBoxes. You can also configure the BomeBox to be a WiFi client for integration into existing WiFi networks.
Processing
The powerful MIDI processing of Bome MIDI Translator Pro is available in the BomeBox. Hundreds of thousands of processing entries can be stored on the BomeBox.
Incoming Actions:
MIDI messages
Keystrokes (on QWERTY keyboard or number pad)
Data on Serial Port
Timed events
Enable/disable translation preset
Scripting (“Rules”):
A sequence of rules can be defined to be processed if the incoming action matches:
assignments of variables, e.g. pp = 20
simple expressions, e.g. pp = og + 128
labels and goto, e.g. goto “2nd Options”
conditional execution, e.g. IF pp < 20 THEN do not execute Outgoing Action
Outgoing Actions:
Send MIDI messages
Send bytes or text to Serial Ports
Create/start/stop timer
Enable/disable translation preset
Open another translation project
Keystroke (QWERTY) Input Support
Connect a (wireless) computer keyboard or a number pad to the BomeBox, then use the processing capabilities to convert to MIDI or trigger other actions! Really? Yes! and it’s useful… sometimes!
RS-232 Serial Port Support
The BomeBox also supports RS-232 adapters to be plugged into the USB host port. Now all processing actions are available in conjunction with serial ports, too: convert serial data to MIDI and vice versa. Route Serial port data via Ethernet. Or integrate older mixing consoles which only talk RS-232.
Allen & Heath Digital Mixer Support
Last, but not least, the BomeBox has built-in support for Allen & Heath mixers connected via Ethernet. They’re auto-discovered, and once you’ve paired them, all the MIDI routing and processing is available to the connected A&H mixer, too!
Bome Network
The standard edition of the Bome Network tool allows connecting your computer to one or more BomeBoxes via Ethernet and WiFi. Any MIDI application can send MIDI to the BomeBox and receive from it. On the BomeBox, you can configure which MIDI stream is sent to a particular connected computer.
BomeBoxes are auto-discovered, and once you’ve established a connection (“paired”), it is persistent across reboots and BomeBox power cycles.
If you like to set up network MIDI connections from computer to computer, use the Add-On Bome Network Pro.
Bome Network is available for Windows and for macOS.
Take your MIDI gear to the next level! Bome Software creates software and hardware for custom interaction with your MIDI devices and the computer. Used by live sound engineers, controllerists, DJ’s, theaters and opera houses, lighting engineers, beat boxers, performance artists, music and broadcasting studios, and many others.
Wondering how to connect and control your hardware and software instruments in one place? Want to remotely control your Yamaha synthesizers and quickly recall presets on stage? How about attaching a lead sheet or music score with your own notes to a set of sounds?
Camelot Pro and Yamaha have teamed up with special features for Yamaha Synth owners.
REGISTER AND GET CAMELOT PRO FOR MAC OS OR WINDOWS
Download your Camelot Pro copy now with a special offer for Yamaha Synth owners: try the full version FREE for three months with an option to purchase for 40% off.
The promo is valid from:
The promo is valid from:
October 1, 2019 to September 30, 2020..
Upgrade your live performance experience to the next level:
Build your live set list with ease
Manage your Yamaha instruments using smart maps (no programming skills required!)
Combine, layer and split software instruments with your Yamaha synths
Get rid of standard connection limits with Camelot Advanced MIDI routing
Attach music scores or chords to any scene
The real slick thing about the combination of the Yamaha synths and Camelot Pro is that it allows you to very easily integrate your hardware synths and VST/AU plugins for live performance. The Yamaha synths connect to your computer via USB and integrate digital audio and MIDI. So just connect your computer to your Yamaha synth and then your Yamaha synth to your sound system. Camelot allows you to integrate your hardware and software in complex splits and layers and everything comes out the analog outputs of your Yamaha synth.
If you have Cubase/Nuendo, take advantage of the special 50% off promotion that Steinberg is running until June 30 on VST Connect Pro.
If you are a musician who works with producers who use Cubase/Nuendo, you can download VST Connect Performer for free and do studio sessions from the comfort of your home.
Music with no boundaries
VST Connect Pro lets you expand your studio from its physical location to cover the whole world. It allows any musician with a computer, an internet link and the free VST Connect Performer app to be recorded direct on your studio DAW, even if they are on a different continent, because VST Connect Pro makes distance irrelevant. Not only that, but you can see and talk to each other, while the producer has full control over the recording session at both ends of the connection, including cue mix and talkback level.
Multi-track remote recording
Is a musician you want to work with thousands of miles away? No problem. Remote record in real time and the uncompressed audio files are loaded automatically in the background. And you never need to worry about the Internet connection – all VST Connect Performer HD recordings are saved on the musician’s local hard drive and can be reloaded into VST Connect Pro at any time. Worried about security? Don’t be – the unique data encryption system means that your work will always stay yours.
MIDI around the world
VST Connect Pro allows you to record MIDI and audio data live from a VST instrument loaded into VST Connect Performer, anywhere in the world. The artist can even connect a MIDI controller, leaving the session admin to record the incoming MIDI data directly in Cubase, together with the audio stream from the VST instrument.
It also works both ways – send MIDI data from your Cubase project, via VST Connect, to any MIDI compatible instrument or VST instrument connected to a remote instance of VST Connect Performer and record the incoming audio signal.
VST Connect Performer
VST Connect Performer is a license-free, DAW-independent application for the musician being recorded to connect directly into your VST Connect Pro recording session. Available for PC, Mac or iPad, VST Connect Performer is remotely controlled from VST Connect Pro, freeing the musician to concentrate on their performance, be it vocals or an instrument sent as an audio signal. MIDI data or VST instruments can also be played in real time from VST Connect Performer to the VST Connect Pro session in real time. Meanwhile, VST Connect Manager helps you to maintain an overview of your recordings.
VST Connect offers you a fundamental kind of improvement that goes beyond the studio realm. Simply put, I have much more time for my kids now. For something as abstract as a feature in a DAW to have that kind of effect on one’s private life is quite an astonishing achievement. I can’t think of anything comparable.
Safe Spacer™ is a new, lightweight wearable device that helps workers and visitors maintain safe social distancing, enabling MI and other industries to safely re-open and operate with peace of mind.
Using Ultra-wideband technology, Safe Spacer runs wirelessly on a rechargeable battery and precisely senses when other devices come within 2m/6ft, alerting wearers with a choice of visual, vibrating or audio alarm.
Simple to use, Safe Spacer features a patent-pending algorithm that works immediately out of the box, with no set-up or special infrastructure needed and can be comfortably worn on a wristband, with a lanyard, or carried in a pocket. It offers ultra-precise measurement down to 10cm/4” – ten times more accurate than Bluetooth applications.
Ideal for factories, warehouses and offices, Safe Spacer can also be used by visitors of public spaces such as music schools, large retailers, auditoriums, workshops spaces and more. Engineered for fast, easy disinfection, it’s also waterproof. For minimal handling, Safe Spacer works wirelessly via NFC contactless technology or Bluetooth.
Each Safe Spacer also features a unique ID tag and built-in memory that can be optionally associated to workers’ names for tracing any unintentional contact, to keep organizations and their employees secure. To maintain the highest standard of privacy, no data other than the Safe Spacer ID and proximity is stored.
For advanced use, set-up and monitoring in workspaces, an iOS/Android app is also available to allow human resources or safety departments to associate IDs to specific workers, log daily tracing without collecting sensitive data, configure the alarms, set custom distance and alert thresholds, export log data and more.
We created Safe Spacer to help our Italian factory workers maintain safe distance during re-opening. It’s easy to use, fast to deploy, private and secure, so it can be used comfortably in any situation. We hope this solution helps other companies feel secure as they re-open, too.”
Way back in 1996 — around the time electricity was discovered and cell phones were the size of your average 4-slot toaster — two Italian engineers got together to solve a problem in a recording studio. Could you get the sound of classic analog gear from a computer? One of them said (in Italian, of course) “Could we emulate electronic circuits using DSP algorithms and feed an audio signal through the computer and get the same sound?” The answer was yes, the piece of gear they emulated was a vintage Abbey Road console, and a company was born.
Although that’s a pretty simplified version of how IK came to be, it reflects the driving philosophy behind all of our products: give musicians the tools they want/need to be creative and productive.
Recreate classic legendary products in the digital world and make them available to all musicians. But make them simple. Make them both aspirational and affordable. And make them for Musicians First.
iRig Keys I/O
The iRig® Keys I/O series evolves the concept of traditional controllers as the only one available on the market that integrates 25 or 49 full sized keys together with a fully-fledged professional audio interface featuring 24-bit audio up to 96kHz sampling rate, balanced stereo and headphone outputs, plus a combo input jack for line, instrument or mic input (with Phantom power.)
The first Lightning/USB compatible mobile MIDI interface that works with all generations of iOS devices, Android (via optional OTG to Mini-DIN cable) as well as Mac and PC. It features everything you loved about iRig MIDI but with even greater pocketability, connectivity and control.
Simply put, it’s the perfect MIDI solution for the musician on the move.
Syntronik is a cutting-edge virtual synthesizer that raises the bar in sound quality and flexibility thanks to the most advanced sampling techniques combined with a new hybrid sample and modeling synthesis engine. Watch as legendary keyboardist Jordan Rudess demonstrates his own Syntronik presets using the legendary synth powerhouse and SampleTank 3. See how a master keyboard player uses IK’s synth and workstation products to make great music.
The Bob Moog Foundation and the MIDI Association have had a close working relationship for many years. When we talked to Michelle Moog-Koussa, she graciously agreed to provide some materials on synthesizers for the May Is MIDI Month 2020 promotion.
The series of posters in this article are available for purchaseherewith the proceeds going to the Moog Foundation.
We have combined it with Ableton’s excellent interactive website for Learning Synths, Google’s Chrome Music Lab, and text from synth master Jerry Kovarsky, monthly columnist for Electronic Musician Magazine and author of Keyboard For Dummies.
Together these elements come together to make a great introduction to synthesis appropriate for students and musicians of all ages and levels. There are links to more information in each section.
MIMM 2020 Webinar The MiniMoog- The Synth That Changed the World Saturday, May 9, 10 am Pacific
Join us this Saturday at 10 am Pacific, 1 PM Eastern and 6 PM Greenwich on MIDI Llve to hear a panel discussion about the Minimoog, one of the most influential synths of all time.
Panelists include Michelle Moog Koussa and David Mash from the Bob Moog Foundation Board of Directors, Amos Gaynes and Steve Dunnington from Moog Music, and synth artists and sound designers Jack Hoptop, senior sound designer for Korg USA, Jordan Rudess, keyboardist for Dream Theatre and President of Wizdom Music (Makers of MorphWiz, SampleWiz, HarmonyWiz, Jordantron), and Huston Singletary, US lead clinician and training specialist for Ableton Inc.
href=”images/easyblog_articles/918/b2ap3_large_Jerry_Piano_Crop800.jpeg”
title=”Jerry Kovarsky-
Author of Keyboard For Dummies”>
Jerry Kovarsky-
Author of Keyboard For Dummies
href=”images/easyblog_articles/918/b2ap3_large_David-Mas_20200508-200241_1.jpeg”
title=”David Mash- President of the Bob Moog Foundation”>
David Mash- President of the Bob Moog Foundation
href=”images/easyblog_articles/918/b2ap3_large_Michelle.jpeg”
title=”Michelle Moog Koussa-Executive Director of the Bob Moog Foundation”>
Michelle Moog Koussa-Executive Director of the Bob Moog Foundation
href=”images/easyblog_articles/918/b2ap3_large_Jordan.jpeg”
title=”Jordan Rudess- Keyboardist for Dream Theatre “>
Jordan Rudess- Keyboardist for Dream Theatre
href=”images/easyblog_articles/918/b2ap3_large_Jack-Hotop-MF.jpeg”
title=”Jack Hotop-Senior Sound Designer for Korg USA”>
href=”images/easyblog_articles/918/b2ap3_large_Huston-headshot-with-Moog-.png”
title=”Huston Singletary-Lead Sound Designer for Ableton”>
Huston Singletary-Lead Sound Designer for Ableton
Composer Alex Wurman Provides Sonic Meditation For All Mothers as Part of Moogmentum in Place
The Bob Moog Foundation is proud to announce that EMMY® Award Winning composer Alex Wurman will perform a Facebook live stream concert to benefit the Foundation on Saturday, May 9th at 8pm (ET) / 5pm (PT), the eve before Mother’s Day. Wurman will inspire a worldwide audience with ASonic Meditation for All Mothers on a Yamaha Disklavier and a Moog Voyager synthesizer. The performance and accompanying question and answer, which will last approximately an hour, is meant to offer musical solace during these times of difficulty.
Listen to the Synth sound in the video and then check it out for yourself via the link below.
Learn about synthesizers via Ableton’s interactive website. Play with a synth in your browser and learn to use the various parts of a synth to make your own sounds.
A waveform is a visual representation of a continuous tone that you can hear. In analog synthesis the waveforms are somewhat simple and repetitious (with the exception of noise), because that was easier to generate electronically. But any sustaining, or ongoing sound can be analyzed and represented as a waveform. So any type of synthesizer has what are referred to as waveforms, even though they may be generated by sampling (audio recordings of sound), analog circuitry, DSP-generated signals, and various forms of digital sound manipulation (FM, Phase Modulation, Phase Distortion, Wavetables, Additive Synthesis, Spectral Resynthesis and much more). However they are created, we generally refer to the sonic building block of sound as a waveform.
Simply stated, an oscillator is the electronic device, or part of a software synthesizer design that generates a waveform. In an analog synthesizer it is a physical circuit made up of electronic components. In digital/DSP-driven synthesizers (including soft synths) it is a part of the software code that is instructed/coded to produce a waveform, or tone.
Learn about synthesizers via Ableton’s interactive website. Play with a synth in your browser and learn to use the various parts of a synth to make your own sounds.
Learn about synthesizers via Ableton’s interactive website. Play with a synth in your browser and learn to use the various parts of a synth to make your own sounds.
Harmonics are the building blocks of sound that make one instrument, or waveform sound different from another. The level of each harmonic as they exist in nature (the harmonic series) together determine the timbral “fingerprint” of a sound, so we can recognize the difference between a clarinet and a piano. Often these harmonics change in their volume level and tuning as a sound develops, and might decay away: the more this happens the more complex, and “alive” a sound will seem to our ears. You can now go back to the original Waveform poster and understand that it is the harmonic “signature” of each waveform that gives it the sonic characteristics that we used to describe each one.
The general dictionary definition of a filter is a device that when things pass through it, the device may hold back, lessen or remove some of what passes through it. In synthesis a filter is used to reshape the harmonic content from the oscillator-generated waveform. The above poster describes three of the most common types of filters from analog synthesis, but many more have been developed which have different characteristics.Different brands of synthesizers have their own filter designs that have a special sound, and many of those classic designs are much sought-after and emulated in modern digital and software synthesizers.
Learn about synthesizers via Ableton’s interactive website. Play with a synth in your browser and learn to use the various parts of a synth to make your own sounds.
Learn about synthesizers via Ableton’s interactive website. Play with a synth in your browser and learn to use the various parts of a synth to make your own sounds.
The poster says it straight up – an amp increases and decreases volume of the sound that is output by the oscillator. If the sound only stayed at a single level as determined by the amp level sounds would be pretty boring. Thankfully we have many ways to vary that sound output, via envelopes, LFOs, step-sequencers and more. Read on…
Learn about synthesizers via Ableton’s interactive website. Play with a synth in your browser and learn to use the various parts of a synth to make your own sounds.
An envelope (originally called a contour generator by Bob Moog!) is a building block of a synthesizer that changes the level of something over time. This is needed to recreate the complex characteristics of different sounds. The three main aspects of a sound that are usually shaped in this way are pitch (oscillator frequency), timbre (filter cutoff) and volume (amp level). Just describing the volume characteristics of a sound, some instruments keep sustaining (like a pipe organ), others decay in volume over time (a plucked string of a guitar, or a struck piano note). In modern synthesizers, and in modular synths an envelope can usually be routed to most any parameter to change its value over time. The poster describes what is called an ADSR envelope, but there are many types, some with many more steps able to be defined, and on the flip side some are simpler, with only Attack and Release stages.
Learn about synthesizers via Ableton’s interactive website. Play with a synth in your browser and learn to use the various parts of a synth to make your own sounds.
An LFO is another type of oscillator that is dedicated for use to modulate, or affect another parameter of the sound in a cyclic fashion (meaning it keeps repeating).So it seems related to the function of envelopes, but it behaves differently in the sense that you can’t shape it as finitely. Yet it is easier to use for simple repeatable things like vibrato (pitch modulation), tremolo (amp level modulation), and panning (changing the amp output from left to right in a stereo field).
How can we use MIDI to interact with these parameters?
The most common use of MIDI to affect these parameters is to map, or assign a physical controller on your keyboard or control surface to directly control a given parameter. We do this when we don’t have the instrument right in front of us (it may be a rack-mount device, or a soft-synth), or it doesn’t have many knobs/slider/controls on the front panel.You would use CC numbers (Control Change) and match up the controller object (slider, encoder, whatever) to the destination parameter you wish to control.
Then when you move the controller it sends a steady stream of values (128 to be exact) to move/change the destination. A device may have those CC numbers hard set, or they can be freely assigned. Most soft synths have a “learn” function, where the synth “listens” or waits to receive an incoming MIDI message and then sets is automatically, so you don’t even need to know what CC number is being used.
Some synths use what are called RPN (Registered Parameter Numbers) and NRPN (Non-Registered Parameter Numbers) to control parameters. While more complicated to set up, these types of message offer finer resolution than CCs (16,384 steps), but do the same thing. Soon there will be MIDI 2.0 which brings 32 bit resolution or 2,147,483,647 steps. Yes, that number is correct!
From a performance standpoint, a cool benefit of using MIDI to control a parameter is you can choose to have a different type of controller interact with the given parameter than your hardware device offers. Some people like to use a ribbon to do pitch bends rather than a wheel. Or to sweep the cutoff of a filter using an X/Y pad rather than a knob. Or route keyboard after-touch to bring in vibrato or tremolo rather than a Mod Wheel (OK, this one went beyond using CCs but you get the picture).
Another nice way to use MIDI is to assign sliders or knobs to an ADSR envelope in a product that doesn’t already have dedicated knobs to control the stages. So now you can easily soften, or slow up the attack on a sound (or speed it up), lengthen or tighten up the release (what happens when you take your finger off the key).
Using MIDI really becomes an aid when I am recording. If were to record only audio, as I play a synth I need to get all of my interactions with the sound perfect during the performance. My pitch bends, my choices of when to add vibrato and how much to add, and any other interactions I want to make with the sound. I can’t fix them later, as they are forever frozen in the audio I recorded. If I capture my performance using MIDI, each of those aspects are recorded as different types of MIDI messages/data, and I can then go back in and adjust them later. Too much vibrato on that one note? Go into event edit and find the stream of MIDI CC#1 messages and adjust it to taste. Even better, I can record my performance and not worry about other gestures/manipulation I might want to make, and then go back and overdub, or add them in later. So I can manipulate the sound and performance in ways that would be impossible to do in real-time. When I get the performance shaped exactly as I want it, I can then bounce the MIDI track to audio and I’m done. Thank you MIDI!
by Jerry Kovarsky, Musician and Author
A Brief History of the Minimoog Part I
Follow the life of the Minimoog Synthesizer from its inception through its prolific contributions to poplular music throughout the last 4 decades. In this first installment documenting the journey of the Minimoog synth through the 1970’s, we explore the musicians and the people that were instrumental in bringing the instrument to prominence. We also sit with one of Moog Music’s earliest engineers, Bill Hemsath, who recalls the process of the Minimoog’s birth and sheds some light on what sets the Moog synthesizer apart from other analog synths.
by Moog Music
A Brief History of the MiniMoog Part II
Chronicling the influential artists who used the Minimoog Model D to explore new genres and discover the sounds of tomorrow.
Since 1979, we’ve helped music makers all across the world build their dreams. We are a team of gear heads who are committed to doing the right thing for our customers.
We are musicians, engineers, producers, Julliard grads, Grammy winners, mothers, fathers, sons and daughters. We are diverse in our backgrounds and beliefs, but we’re all bound by the same goal- Do the right thing, for the customer.
Sweetwater offers customers a free 2-year warranty on nearly everything we sell, free shipping, 24/7 technical support and the dedicated support of our Sales Engineers. Visit us at Sweetwater.com, or give us a call at 800.222.4700 to see how we can help you achieve your creative goals.
Sweetwater Resources
Sweetwater MIDI Interface Buying Guide
How to Choose a MIDI Interface
When MIDI (Musical Instrument Digital Interface) was developed over 30 years ago, it resulted in a flood of music technology. Software DAWs have long replaced the hardware sequencers of the twentieth century, bringing an ever-increasing demand for effective ways to get MIDI in and out of computers.
MIDI keyboard controllers have become an important part of the music-making process for contemporary musicians and producers due to the increasing use of virtual instruments onstage and in the studio.
Knowing the ranges that instruments and voices occupy in the frequency spectrum is essential for any mixing engineer. Sweetwater has put together a Music Instrument Frequency Cheatsheet, listing common sources and their “magic frequencies” — boost/cut points that will produce pleasing results. Just remember to trust your own ears!
You can download the PDF of this chart by clicking here and then print it out.
Since its launch in 1997, Sweetwater’s Word for the Day feature has presented nearly 4,900 music and audio technology terms. Our definitions can help you cut through industry jargon, so you can understand what’s going on.
Moog Music is the leading producer of analog synthesizers in the world. The employee-owned company and its customers carry on the legacy of its founder, electronic musical instrument pioneer, Dr. Bob Moog. All of Moog’s instruments are hand built in its factory on the edge of downtown Asheville, NC
Moog Subsequent 25
Subsequent 25
Subsequent 25 is a 2-note paraphonic analog synthesizer that melds the hands-on analog soul of classic Moog instruments with the convenience and workflow of a modern sound-design machine. Moog’s most compact keyboard synthesizer, the Subsequent 25 delivers all of the rich sonic density that Moog synthesizers are known for.
Moog One® is the ultimate Moog synthesizer – a tri-timbral, polyphonic, analog dream-synth designed to inspire imagination, stimulate creativity, and unlock portals to vast new realms of sonic potential.
The Moog Factory in Asheville, NC has resumed production of the highly sought-after Moog 16 Channel Vocoder, an instrument which continuously analyzes the timbral characteristics of one sound (Program) and impresses these timbral characteristics upon a second signal (Carrier).
The Moog Factory in Asheville, NC has resumed production of the highly sought-after Moog 16 Channel Vocoder, an instrument which continuously analyzes the timbral characteristics of one sound (Program) and impresses these timbral characteristics upon a second signal (Carrier). Originally introduced in 1978, and famously heard on Giorgio Moroder’s E=MC2, this model has been used to transmute vocals, transform synthesizers, and electronically encode sound for over 40 years.
Melodics is modern learning for modern instruments
Melodics is modern learning for modern instruments, supporting MIDI Keyboards, Pad Controllers, and electronic drum kits. It’s structured learning for solid progress. Melodics takes the “but where do I start?” out of learning music. Start with a genre you love, or a technique you want to master. Whatever your skill level, there’s something there. Then take a course – Melodics courses take you on a journey, teaching you everything you want to know about a genre or concept.
by Melodics
Founder and CEO Sam Gribben
Melodics was founded by Sam Gribben, the former CEO of Serato and one of the people responsible for the digital DJ revolution and controllerism. So it’s not surprising that Melodics started with finger drumming on pad controllers.
Melodics hardware partners
It’s also not surprising that Sam took a page out of the Serato playbook and worked with well established hardware companies to create value add bundles with Melodics™. Here is a list of some of the companies that Melodics™ works with.
Because of the relationships he built up in ten years at Serato, Melodics has a stellar collection of artists that contribute lessons and content for the Melodics™ platform. This is just a small example the Melodics artist roster.
Melodics™ started with training for Pad Controllers like Ableton Push and Native Instruments Maschine. They have guides on techniques and correct posture. Long story short, they treat these new controllers as legitimate musical instruments that you need to practice and learn to play exactly the same way you would with a traditional instrument like a cello or a clarinet.
Melodics for Electronic Drums
Melodics™ is a perfect practice partner for someone with electronic drums.
Melodics™ for Keyboards
Melodics™ has a unique interface for keyboards that shows you what notes are coming next.
Melodics and MIDI
Melodics™ uses MIDI for all of it’s core functionality. SysEx is used to identify what device is connected and automatically configure the hardware controls. The lessons are MIDI based so Melodics™ can look at your performance and compare it to the notes in the MIDI file. So Melodics™ can determine if you played the right note and whether you played early or late and provide an ongoing report on your musical progress.
MIDI underpins everything we do, from the lesson creation process, to how we play back the lessons and display feedback, to how we interact with the instruments. Under the hood, Melodics is a midi sampler. We take the input from what the student is playing, compare that to the midi in the lesson we created, and show the student how they are doing compared to a perfect performance.
by Melodics
Get started for free!
You can download and start learning with Melodics at no charge.
Introducing WIDI Master CME has been the wireless MIDI expert since 2005. Our WIDI (Wireless MIDI) technology already serves thousands of professional musicians worldwide. After CME launched the Xkey Air (2015) and the WIDI BUD (2016) there has been ongoing conversations about advanced MIDI connectivity over Bluetooth. Following that CME present today the wireless MIDI over Bluetooth adapter: WIDI Master
With WIDI Master you can connect all your MIDI devices point-to-point wirelessly. No matter if they are master or slave. For instance, you can connect two standalone MIDI hardware devices. Also you can pair your Bluetooth MIDI controller with any standalone MIDI instrument.
What can you do with MIDI over Bluetooth?
MIDI to MIDI Connect two standalone MIDI hardware devices with two (2) WIDI Masters.
Bluetooth (BLE) to MIDI Pair your bluetooth MIDI controller with any standalone MIDI hardware device using one (1) WIDI Master.
MacOS/iOS BLE to MIDI Play your standalone MIDI hardware (switch WIDI Master to slave mode) and pair it with your iOS device or Mac (For Windows and Android we suggest to use with our WIDI BUD)
What makes WIDI Master the most advanced wireless MIDI solution in the market?
Automatic pairing! WIDI Master automatically pairs with any Bluetooth MIDI device. No more manual scanning and pairing of your Bluetooth devices.
Ultra low latency! WIDI Master reduces latency by directly embedding the BLE MIDI protocol in its firmware. Bypass your computer and benefit from fast wireless MIDI connectivity.
Secure connection! WIDI Master delivers the most reliable wireless MIDI connection with our customised antenna design and automatic panic mode.
No external power! WIDI Master is a fully standalone wireless solution. There is no need for an external power source or battery.
Trusted technology! WIDI Master is the successor of Xkey Air and WIDI BUD. Our wireless MIDI technology is already trusted by thousands of professional musicians worldwide.
With WIDI Master we reduce latency by directly embedding the BLE MIDI protocol in the firmware of the device. You can bypass your computer and use wireless MIDI with low latency.
CME Blog
What about the specs?
Wireless technology: Bluetooth (ver. 5), MIDI over Bluetooth Low Energy-Compliant
Connectors: 1x MIDI IN (5pin-DIN), 1x MIDI OUT (5pin-DIN)
Compatible devices: WIDI Master, WIDI BUD, Bluetooth MIDI controllers, iPhone/iPad/iPod Touch, Mac with Bluetooth 4.0 installed
Compatible OS: iOS 8 or later, OSX Yosemite or later
Firmware update: On the air by using WIDI PLUS software (iOS/ MacOSX)
When will WIDI Master be available? During our preorder phase we sold over 2,500 WIDI Masters in about 21 days. Besides this, we are currently testing Prototype III (April. 2020). We expect to deliver the first batch by the end of May 2020.
Next steps will be introducing other members of the WIDI family, such as the HUB4 and UHOST and develop. those items further with our community. Also, we will start putting our distribution and retail network in place.
Furthermore, we are connecting with industry partners to embed our technology in future product lines. Are you interested? Do not hesitate to contact CME through info(at)cme-pro.com
The KMI K-Board Pro 4 started off as Kickstarter campaign in 2016 and quickly got to its funding goal of $50.000. What sets the Pro 4 apart from other controllers is KMI’s patented Smart Sensor Fabric technology which is a unique and proprietary conductive material that changes resistance as it is compressed.
KMI’s patented Smart Sensor Fabric technology
Expressive
KBP4 has Smart Fabric Sensors under each key bringing five dimensions of expressivity to your playing
Playable
KBP4 is configured like a traditional keyboard, giving you a familiar playing surface so you can start expressing yourself immediately.
Programmable
The KBP4 Editor Software works with Mac, Windows, or in a web browser to fully customize every element of the KBP4 playing experience
Every K-Board Pro 4 ships with a free license for Bitwig Studio 8-Track
Bitwig Studio 8-Track, the trim and effective digital audio workstation to start producing, performing, and designing sounds like a pro. 8-Track includes a large selection of Bitwig devices for use on up to eight project tracks with audio or MIDI. Plug in your controller, record your instrument, produce simple arrangements, design new sounds, or just jam.
Bitwig Studio 8-Track is the sketch pad for your musical ideas featuring the acclaimed workflow of Bitwig Studio.
Bitwig Studio 8-Track is available exclusively through bundles with selected partners.
K-Board Pro 4 , BitWig and MPE Expressions
KMI put together a tutorial to show how to setup the K-Board with Bitwig to take advantage of MPE’s advance MIDI expression capabilities,
Aaron Andrew Hunt from H-Pi Instruments in Germany), Tim Alex Jacobs (mitxela · UK) and Jordan Dimitrov Petkov (Largonet Ltd., MIDI Boutique · Bulgaria have teamed up to create the world’s smallest polyphonic MIDI instrument. It’s really incredibly powerful.
FEATURES
Tuning
Unlimited pitch General MIDI microtuning up to 16 voices polyphony
16 full range programmable tunings of 128 notes each = 2048 programmable fixed pitches
voluntary pitch bending from retuned fixed-pitch centres
Synth main housing made in Germany by Lumberg GmbH, Nickel-plated Zinc Alloy 50 x 14 x 14 mm
UART-programmer housing – Aluminium (2mm thick) 50 x 25 x 25 mm, hand made in Germany
FLASH draws its power straight from the MIDI socket! All MIDI OUT ports which are made to the specification of the MIDI Manufacturer’s Association (MMA) will work. MIDI OUT ports not made to the MMA spec will not work!
by H-Pi Instruments
Support for micro tuning
FLASH features unlimited dynamic General MIDI microtuning for ease-of-use with 16-channel polyphonic tuned output from TBX2, TBX1, and Tonal Plexus TPX keyboards, and also features a mini UART-programmer which allows you to assign unique microtonal tuning tables to each of 16 MIDI input channels for full microtonal output compatibility with literally thousands of standard MIDI controllers as well as multichannel controllers like MIDI guitars and MIDI organs without a tuning device, not to mention advanced 2048 unique-pitch-output for the Tonal Plexus and other microtonal controllers like the Microzone, Axis 64, and Terpstra keyboards. Of course you can also use it as a normal synth with normal tuning … if you’re into that sort of thing.
The FLASH UART-programmer interfaces via USB with Universal Tuning Editor (UTE) cross-platform software (free license included), so you can edit tunings and upload them to the synth. Firmware is also user-upgradable via the programmer, so features can be improved or added at any time.
by H-Pi Instruments
Axis 64 Universal Tuning Editor templatre
In fact the Flash comes with the UART-programmer, USB cable, and a UTE software license.
David Skulina from Edinburgh, United Kingdom founded Skoogmusic and in 2015 ran a successful funding campaign on Indiegogo and released it’s first original tactile music interface, Skoog. Skwitch is Skoogmusic’s newest offering and it is has a unique approach. It clips on your iPhone and uses onboard magnetic sensors to create a very low cost MIDI controller.
Skwitch: It’s a one button controller
Skwitch has a unique tactile interface. The 20mm of squeezable depth is let’s you press on the button for expressive control.
Skwitch: It’s expressive
Skwitch uses patented magnetic sensing technology allowing you to vary your sound using filters and effects, or pitch-bending between notes and chords.
Skwitch: Comes with an app
Skwitch is powered by the Skwitch Music app. It’s where you pick how and what you want to play. Choose songs, create riffs, set up your button, or get creative with other apps and devices. Whatever you choose, our app makes it easy and fun!
by Skoogmusic
Skwitch: It’s an MPE MIDI controller !
MULTI-FUNCTIONAL HARDWARE CONTROLLER
The Skwitch Music app lets you connect to other devices using Bluetooth MIDI so that you can use Skwitch as a wireless hardware controller for apps, DAWs and plugins. With separate MPE, modulation and fx control modes, it’s easy to create a fully customised hardware-software setup.
Skwitch is compatible with the leading Bluetooth MIDI compatible apps and DAWs:
by SkoogMusic
Skwitch: For more information, check it out on Indiegogo
Exclusive opportunity to influence new features & apps for this ready-to-ship | Check out ‘Skwitch: the one-button music-making gadget & app’ on Indiegogo.
The SHARC® Audio Module is an expandable hardware/software platform enabling project prototyping, development and deployment of audio applications including effects processors; multi-channel audio systems; MIDI synthesizers/controllers, and many other DSP/MIDI-based audio projects.
The centerpiece of the SHARC Audio Module is Analog Devices’ high-performance SHARC ADSP-SC589. Combining two 450 MHz floating point DSP cores, a 450MHz ARM® Cortex®-A5 core and an FFT/IFFT accelerator with a massive amount of on-board I/O, the ADSP-SC589 is a remarkable engine for audio processing.
This development platform is designed for the experienced programmer and is supported with an extensive wiki that includes a bare metal, light-weight C / C++ framework designed for efficient audio signal processing with lots of example code and numerous tutorials and videos. These tutorials include audio processing basics, effects creation and a simple MIDI synthesizer.
In addition, the SHARC Audio Module supports the MicroPython programming language and Faust, a functional programming language, specifically designed for real-time audio signal processing and synthesis.
The SHARC Audio Module from Analog Devicescomes complete with a license-free Eclipse development environment (CCES) and a free in-circuit emulator. Also available is the Audio Project Fin – a must-have add-on board for serious MIDI developers with 5-pin MIDI Din, ¼ balanced audio, control pots, switches and a prototyping area.The best news is that both boards can be had for less than $300 total!
British mega band MUSE is currently on tour promoting their latest album Simulation Theory performing in sold out stadiums all over the world. Each night frontman and guitarist Matt Bellamy brings out a one of a kind guitar with a special history to play the song “The Dark Side.” While Bellamy is happy with the result, reporting that “the guitar works great!” the story of how this guitar was conceived and built is just a few short weeks is very interesting.
Matt Bellamy, being the perfectionist that he is, wants the sounds he created in the studio on stage as much as possible. One essential part of his sound is the Arturia Prophet V synthesizer. Being a user of Fishman’s TriplePlay MIDI guitar pickup & controller, both on stage and in the studio, he wanted to continue to use that to play the Arturia synth live, but without distance, range, cables and a computer getting in the way of his stage performance.
When Matt told me he absolutely wanted to use the Prophet V softsynth live on tour but still be able to move around the stage without any restrictions, I knew we had to find a new kind of solution that would take the computer out of the picture.
by Muse guitar tech Chris Whitemyer
Chris Whitemyer was aware of Swedish music tech company MIND Music Labs and how their ELK MusicOS could run existing plugins and instruments on hardware. Thinking MIND might be the missing piece of the puzzle he approached them at the 2019 NAMM Show. Together with Fishman and Arturia, a first meeting was held in the MIND Music Labs booth on the show floor. That meeting, which took place just a few weeks before the start of Muse’s 2019 World Tour, kicked off several hectic weeks resulting in the three companies producing a new kind of guitar just in time for the tour’s first date in Houston, TX.
Going to that first meeting at NAMM I didn’t know what to expect, but as soon as we plugged in the guitar with our TriplePlay system in the Powered by ELK audio interface board, it was pretty clear that the Fishman and ELK systems would be compatible.”
What was clear after the first meeting was that the reliability of the Fishman TriplePlay MIDI Guitar Controller in combination with ELKs ability to run existing plugins inside the guitar could open up a new world for performers like Matt Bellamy. And with the tour just weeks away, a plan was hatched to get the system finalized and ready for use in the most demanding of conditions – a world tour of arenas and stadiums.
Only days after the closing of the NAMM Show, MIND Music Labs CTO Stefano Zambon flew to Fishman’s Andover, MA headquarters to figure out how to get a powered by ELK audio board inside a guitar, that not only plays well enough to satisfy a world class performer, but could also control the Arturia Prophet V at extremely low latency. In short, redefine the state of the art for synth guitars.
Getting three different companies to join forces on a special project like this does not happen very often, so this was truly special. To go from a first meeting at NAMM to a functioning system in just weeks was a mind-blowing achievement. It required the special expertise and focused efforts of all three companies to pull it off – I can still hardly believe we did.
To see one of our V Collection classic products like the Prophet V on Stage with Muse is very exciting. The fact that it is that same plugin running in the guitar as you use in the studio really makes all the difference. I mean, Matt Bellamy even uses the same preset in the studio!”
by Arturia CEO Frédéric Brun
On February 22nd, just 4 weeks after the first initial meeting at NAMM, MUSE went on stage in Houston in front of a jam-packed Toyota Center. Seven songs into the show Chris Whitemyer handed Matt Bellamy the new guitar for the song “The Dark Side”
When all the guys got together to build this, we didn’t tell Matt that a new guitar was going to be built or maybe not built. I just gave it to him for the first show and told him he could walk as far as he wanted on stage. He just said ‘Oh, Cool!'”
I had no doubt in my mind it would work and it performed flawlessly. When I first got the guitar one week before the first show I tested it very thoroughly, leaving it on for four hours, turning it off and on fifty or more times, and jumping up and down with it and bouncing it off a mattress. It passed all the tests. The guitar is rock solid! Matt and I couldn’t be happier. It does everything I hoped it would and it’s on stage every night.
by Muse guitar tech Chris Whitemyer
If you want to see this unique guitar in action it will be on MUSE’s Simulation Theory World Tour in the U.S. through May, then in Europe all summer and in South and Central America this fall.
You may not know it, but a lot of the software you use may be made by the same system, JUCE. JUCE is used for the development of desktop and mobile applications.
The aim of JUCE is to allow software to be written such that the same code will can run identically on Windows, Mac OS X and Linux platforms. It supports various development environments and compilers.
Juce not only teaches you how to build audio apps and synths, but also how to control them with MIDI.
Dave Zicarelli from Cycling 74′ and Brett Porter from Art and Logic use Juce
Why does that matter? Both David and Brett are in the MIDI 2.0 prototyping working group. Because a lot of the MIDI 2.0 prototyping work that they are doing is being done in Juce, it will support various development environments and compilers. Tools like Juce weren’t available back in 1982!
BLOCKS is a modular music making system made up of 5 components
Seaboard Block Super Powered Keyboard
Multi-award-winning Seaboard interface
5D Touch technology
24 keywave, two-octave playing surface
Hundreds of free sounds
Suite of music making software for desktop and mobile
Wireless and portable for making music on the go
Connects to other Blocks
Lightpad Block Expressive Musical Touchpad
Touch responsive soft silicon playing surface
LED illumination reconfigures Lightpad M for different notes and scales
Adaptable surface can become a drum pad, fader bank, effects launcher and more
Hundreds of free sounds
Suite of music making software for desktop and mobile
Wireless and portable for making music on the go
Connects to other Blocks
Perform with the Live Block
The Live Block is for performance. The buttons let you switch scales and octaves, trigger chords and arpeggios, and sustain notes in real time.
Touch Block-Add Expression Faster
Touch Block helps you adjust the expressive behavior of your Seaboard Block and Lightpad Block. Turn up or turn down the responsiveness of the surface to the Strike, Glide, Slide, Press, and Lift dimensions of touch. Maximize the depth of expression available through pressure, or minimize the pitch-bend effect of sideways movements. Customize your control of any sound in real time and on the fly.
Loop Block-Produce Faster
Loop Block helps you produce a track faster. Record loops and play them back. Set your tempo, and quantize your loops so they’re always in time.
ROLI Dashboard
Customize BLOCKS and the Seaboard RISE for your workflow
Blocks become open-ended MIDI control surfaces through ROLI Dashboard. Customize the LED-illuminated Lightpad Block by loading different apps, including a note grid, a bank of faders and more. Use Control Blocks as CC controllers for your favorite DAW.
With K-Board Pro 4 we’ve taken the format of a traditional keyboard and updated it for the 21st Century. With our SmartFabric™ Sensors underneath each key you can tweak any synthesis parameter in real time by moving your fingers while you are playing. The MIDI MPE Standard is the future for expressive controllers and we have designed the K-Board Pro 4 to be the ultimate MPE Controller.
by Keith McMillen
Multidimensional Expression
The Keith McMillen Instruments K-Board Pro 4 is a 4-octave MIDI keyboard controller with multidimensional touch sensitivity in each key. K-Board Pro 4 supports MIDI Polyphonic Expression (MPE) that allows additional gestures individually on each key. You can wiggle your finger horizontally to generate MIDI CC commands, slide vertically to open up a filter, or apply pressure to control volume. For non-MPE synths, the K-Board Pro 4 provides fully featured polyphonic aftertouch. The data from each gesture is completely assignable and sent individually per note.
Keith McMillen Instruments K-Board Pro 4 Features:
Provides a level of expressiveness previously attainable only with acoustic instruments
Support for MPE (MIDI polyphonic expression) protocol
SmartFabric sensors underneath each key
Transmits attack and release velocity and continuous pressure, as well as horizontal and vertical position data
48 resilient silicone keys and no moving parts for superior durability
USB powered; class compliant
MacOS/Windows, iOS/Android compatibility
SmartFabric sensor technology
Under each key is Keith McMillen Instruments’ patented Smart Sensor Fabric technology which let you tweak any synthesis parameter in real time simply by moving your fingers while you are playing.
The K-Board Pro 4 is USB powered and class compliant to ensure compatibility with MacOS, Windows, iOS, and Android, as well as all MIDI-enabled hardware.
Editors in OSX, Windows and Web MIDI formats
Keith McMillan Instruments provides editors for OSX and Windows, but you can also edit and update your K Board Pro 4 directly online using Web MIDI.
The NAMM Show is the pulse of the music industry. The 2019 Winter NAMM Show lived up to expectations with 115,000+ attendees and 2,000 exhibiting member companies. Most notable, there was a 14% increase in international participants, boosting the global importance of The NAMM Show. It’s always a pure delight to attend the Winter NAMM Show. This year’s event from January 24 to 27, exceeded all of my expectations. The expanded Anaheim Convention Center hosted a dynamic array of brands, special events set to live music, celebrity appearances, and interviews with the world’s top musical innovators, artists, and professionals, along with educational sessions tied to today’s trends
I was pleasantly surprised to discover 20+ booths side-by-side featuring an array of new MIDI products and applications. To see 35 photos of these booths and their unique MIDI products, go to: http://jalbum.net/a/1917003. In addition, there were numerous booths located throughout the convention center with MIDI-driven products from prominent manufacturers such as Avid, MakeMusic, Yamaha, Roland and others. Here are some highlights of the new MIDI products presented at this year’s show:
Bome Software displayed its flagship software, Bome MIDI Translator Pro, and the BomeBox, a MIDI translation and processing box. The box connects and routes MIDI devices connected via its USB host, MIDI DIN, and Ethernet connectors as well as via the built-in wireless network. New firmware adds support for translating computer (HID) keyboards and number pads to MIDI. Bome Software also announced that it has started prototyping the MIDI 2.0 protocol, which is currently being developed by the MIDI Manufacturers Association.
Bome Software GmbH & Co KG Petra-Kelly-Str. 15 80797 München, Germany Amtsgericht München HRA95502 http://www.bome.com
AirTurn BT200S is a durable and tactile wireless footswitch for creating proprietary keyboard, audio, and MIDI commands that control your tablet, computer, phone, or other Bluetooth devices.
music.iLuv is an augmented-reality social music application for creating, practicing and performing in groups such as classroom, virtual classroom, private or public groups of childrern or adults who want to make music regardless of their background or skill level. The music.iLuv application uses MIDI technology in multiple areas. The software can provide live feedback to users during MIDI instrument practice sessions. Users can merge their MIDI and audio tracks and play with 3D virtual bands, orchestras and ensembles.
music.iLuv 2 N. 1st Street, Suite 500 San Jose, CA 95113 650-704-9457
Mukikim announced their new Studio Piano and New Studio Drums. These MIDI compatible instruments offer more advanced electronics with a built in speaker powered by a lithium rechargeable battery.
Piano de Voyage is a digital piano keyboard fully focused on portability. Its modular design makes it the ideal travel companion for keyboardists looking for a full-size keyboard they can carry in a cabin bag or a small backpack.
KAGURA is a revolutionary digital instrument that lets you make music simply by gesturing. A computer and a web camera are all you need. From professional musicians to beginners, everyone can create original songs and performances easily.
The Counterpoint Calculator is a plugin for all major DAWs. This tool helps composers speed up their compositional process. It allows users to write a short motif, specify the harmonic sequence of the piece of music and, from there the plugin composes the rest of the notes.
The Effigy Control Pedal is a programmable MIDI controller, playable and responsive enough for keyboardists’ pitch bend and mod wheel work, allowing the player’s comping (left) hand to stay on the keys where it belongs.
BandLab is a free, easy-to-use, all-in-one, social music creation platform with more than 5 million active users creating new music and collaborating all over the world. With BandLab for Education, the company is bringing its award-winning music creation features to classrooms in order to empower teachers and their students with everything they need for collaborative and fun learning. Nothing to patch or install – BandLab’s FREE cloud-based platform works on Mac, Windows, Linux, and Chromebooks.
Band-in-a-Box is a landmark accompaniment generator since 1988 for authentic sounding backtracks for songwriting, learning and teaching and music production ranging from country to jazz to rock with over 6,500 different musical styles to use, augment, create and perform from. Prominent new features include a 64-bit (32-bit version included) and a VST DAW Plugin. This is a separate application that works directly inside your DAW (Cakewalk, Reaper, Pro Tools PreSonus etc.) to generate styles. RealTracks, RealDrums, Multi-Riffs and more.
EarMaster improves the way music theory and ear training is learned at home and in music schools by offering musicians interactive daily practice routines. Nominated at the 32nd NAMM TEC Awards, EarMaster is currently available on PC, Mac, and iPad. It includes audio-to-MIDI technology, MIDI I/O and SoundFont playback support. EarMaster Cloud educational solution enables music schools to easily integrate it into teaching programs.
R.C voice is a technology that changes a human’s voice into a specific character’s voice in real time using machine learning. R.C.voice is available for Windows and for macOS.
John Kuzmich, Jr. Ph.D. is a veteran music educator, jazz educator and music technologist who has taught on five continents. Dr Kuzmich won five Gold Medals as a band director at the World Music Contest in Kerkrade, Netherlands. His music talents are wide-spread as an accomplished conductor, performer, clinician, author, technologist and educator making him a creative music studio teacher for every level of student.
Ploytec (Ploytec.com) develops chipsets for USB MIDI and audio as well as the PL2, analog synthesizer module and the ONE.2 MIDI CLOCK TAP TEMPO PEDAL.
PL2
The PL2 is an analog synthesizer module with a digital (125kHz, state variable) multimode filter, offering unique saturation. That filter’s followed by a second analog lowpass filter. It comes in two versions:
The original black PL2 is MIDI powered via its MIDI input. It works with almost any MIDI equipped keyboard or MIDI interface. The built-in micro USB connector doesn’t contain USB functionality, but can be used for additional power when needed.
Ploytec GmbH does USB Audio drivers (Windows and Mac) and hardware for digital audio via USB1.1, USB2.0 and USB3.0. They do reference designs and a couple of audio and MIDI related products.
Founded in 1994 by Los Angeles composer Eric Persing and his wife Lorey, Spectrasonics quickly became a leading developer of world-class sampled sound libraries. As Chief Sound Designer for Roland Corporation since 1984, Eric was already well-known in the music industry for creating many of the most popular sounds in their classic synthesizers, including the ground breaking Roland D-50. By infusing his years of product design expertise, Spectrasonics earned a reputation for setting the standard of excellence in the industry.
At the Winter NAMM 2019 showed the next steps in their hardware integration initiative.
Six New Companies Join the MIDI Manufacturers Association (MMA) at Winter NAMM 2019
With the MIDI 2.0 specification moving forward, more and more new companies are joining the MMA.
Blokas (https://blokas.io/) is the team behind PiSound, an ultra-low latency high-quality sound card and MIDI interface specially designed for Raspberry Pi pocket computer and Midihiub, a stand-alone MIDI event processor, router & MIDI interface.
EASTWEST (soundsonline.com) is one of the largest virtual (software) instrument companies in the world.
Gewa (Gewamusic.com/) makes digital pianos and electronic drums that feature MIDI.
Ploytec (Ploytec.com) develops chipsets for USB MIDI and audio as well as the PL2, analog synthesizer module and the ONE.2 MIDI CLOCK TAP TEMPO PEDAL.
Second Sound (secondsound.com) makes chips for audio-to-synth technology that have analog synth components and translate audio into CV or MIDI signals to control pitch.
Spectrasonics ( Spectrasonics.net ) makes Omnisphere, Stylus, Trillian and Keyscape- some of the most popular virtual software synths in the market.
Core MIDI 2.0 specifications now available. Click here to download You must be logged in as a TMA member to download the spec. Clicking on the link will take you to the signup page to either create an account or log in. On Sunday, January 19, 20
The MIDI Manufacturers Association (MMA) and the Association of Music Electronics Industry (AMEI) announce MIDI 2.0TM Prototyping
Los Angeles, CA, January 18, 2019 – The MIDI Manufacturers Association (MMA) and AMEI (the Japanese MIDI association) have finalized the core features and name for the next generation MIDI protocol: MIDI 2.0. Member companies are currently working together to develop prototypes based on a jointly developed, feature-complete, draft specification. A members-only plugfest to test compatibility between some early MIDI 2.0 prototypes is planned for Winter NAMM 2019. Participating companies include Ableton/Cycling ’74, Art+Logic, Bome Software, Google, imitone, Native Instruments, Roland, ROLI, Steinberg, TouchKeys, and Yamaha.
As with MIDI 1.0, AMEI and the MMA are working closely together and sharing code to streamline the prototype development process. Prototyping is planned to continue during 2019 as the associations work together on MIDI 2.0 launch plans, including exploring the development of a MIDI 2.0 logo and self-certification program for MMA and AMEI member companies.
During the prototyping phase, the proposed MIDI 2.0 specification is available only to MMA and AMEI members, because the prototyping process may trigger minor enhancements to the specification. Once a final specification is adopted, it will join the current MIDI specifications as a free download on www.midi.org.
The MIDI 2.0 initiative updates MIDI with auto-configuration, new DAW/web integrations, extended resolution, increased expressiveness, and tighter timing — all while maintaining a high priority on backward compatibility. This major update of MIDI paves the way for a new generation of advanced interconnected MIDI devices, while still preserving interoperability with the millions of existing MIDI 1.0 devices. One of the core goals of the MIDI 2.0 initiative is to also enhance the MIDI 1.0 feature set whenever possible.
All companies that develop MIDI products are encouraged to join the MMA to participate in the future development of the specification, and to keep abreast of other developments in MIDI technology.
About the MIDI Manufacturers Association (MMA)
The MIDI Manufacturers Association is an international group of hardware and software companies working together to develop new MIDI specifications and promote MIDI technology. For more information on the MMA corporate membership, please visit www.midi.org/about-the-mma.
The MMA also supports The MIDI Association, a growing, global community of over 18,000 people who work, play, and create with MIDI technology at www.midi.org. To stay up to date with the latest MIDI news and stories, and to access current MIDI specifications and receive the MIDI Association’s MIDI Message newsletter, sign up for free at:www.midi.org/midi-signup.
Planned Major Update to MIDI Technology Attracts New Members to the MIDI Manufacturers Association (MMA)
Los Angeles, CA, November 6, 2018 – The MIDI Manufacturers Association (MMA) announced that Ableton, Aodyo, Audio Modeling, Art+Logic, Jammy Guitar, Melodics, MIND Music Labs, Native Instruments, OnSong, and TouchKeys have joined the MMA to collaborate with other hardware and software developers on extending the power of MIDI technology. The planned update to the MIDI specification will support new levels of musical expression and make electronic instruments easier to configure and use.
Standardized in 1983, MIDI 1.0 has adapted over the years to support all operating systems and communication protocols, but its core specifications have stayed the same. This initiative updates MIDI with in-demand options: auto-configuration, new DAW/Web integrations, extended resolution, increased expressiveness, and tighter timing — all while maintaining a high priority on backward compatibility. This major update of MIDI will support the development of a new generation of interconnected devices and preserve the relevance of existing MIDI 1.0 devices.
“Our goal is to assemble a diverse group of companies of different sizes and business models and help them come to consensus on how to make their products interoperable using MIDI technology,” explained Tom White, President of the MMA.
Any company can join the MMA to participate or keep abreast of the development of MIDI technology.
Synonymous with ease of use, Cubasis 2 is a powerful and fully featured iOS-based music production system that pushes the creative envelope. Whether you’re capturing simple ideas or musical masterpieces, Cubasis comes with outstanding, touch-optimized tools for recording, editing, mixing and sharing your music with the world right away. With its second iteration, Cubasis boasts many additions such as real-time time-stretching and pitch-shifting, a studio-grade channel strip, pro- sounding effects, massive instrument refills, a refreshed MIDI Editor and many other great features. Put your hands on three onboard instruments, numerous loops and instrument sounds to creatively lift your music to perfection, together with the included mixer and effects. Once recorded, transfer it directly to Cubase or share your music directly with the world.
But what’s really interesting is how many new MIDI features Cubasis 2.6 has.
New features in Cubasis 2.6
Audio Unit full-screen support*
Tweak sounds and parameters with utmost accuracy, using Cubasis’ super-sized full-screen support for Audio Unit instruments and effects plug-ins. Enjoy maximum productivity, creativity and flexibility, switching between the available screen sizes at lightning speed with only a few taps.
ROLI NOISE Seaboard and Drum Grid visualizer support*
Experience a new approach to making music, using ROLI’s free downloadable NOISE app within Cubasis. Create inspiring drum and melody parts through intuitive gestures, using the unique Seaboard and Drum Grid visualizers, now directly accessible via Cubasis’ Audio Unit full-screen mode.
MIDI CC support for compatible Audio Unit effect plug-ins*
Easily remote control your favorite compatible Audio Unit effect plug-ins via external controllers. No matter if you’re moving effect knobs via MIDI Learn or switching presets via program change — if your Audio Unit effects plug-in supports it, it can be done in Cubasis with great ease.
*Requires iOS 11
Check out what you can do with Cubasis 2.6 and Roli.
Here is an in-depth tutorial on Cubasis and Roli Blocks
Read reviews, compare customer ratings, see screenshots, and learn more about Cubasis 2. Download Cubasis 2 and enjoy it on your iPhone, iPad, and iPod touch.
Get fascinated by the brand new features that Cubasis 2 comes with such as real-time time-stretch and pitch shift, a studio-grade channel strip, Spin FX, massive instrument refills and many more powerful features.
The MIDI Manufacturers Association (MMA) has released a Specification for use of TRS Connectors with MIDI Devices. It is available for free download by MIDI Association members.
The document defines how to wire “TRS” (tip-ring-sleeve) connectors for use with MIDI devices, and describes the necessary device circuitry and cable specifications to support MIDI communication over the TRS connection.
The inclination towards smaller hardware devices has made it increasingly difficult to make use of DIN connectors for MIDI In/Out in the past few years. Many manufacturers have chosen to use 2.5mm or 3.5mm “TRS” connectors instead. But since there was no specification for wiring a TRS MIDI connection, the situation exists where two devices may not have chosen the same wiring scheme, so compatibility between devices is not known. By specifying the pin-out for the TRS connection, and also the connectors for the adapter cable, we can ensure greater interoperability between TRS and DIN-MIDI devices.
ReWire is a software protocol that allows two (or sometimes more) software applications to work together as one integrated program. For example, suppose you wish your DAW of choice had Propellerhead Reason’s roster of way cool virtual instruments, but you don’t want to learn a different DAW. No problem: use ReWire with your DAW, and get Reason into the mix.
ReWire requires a client application (also called the synth application) that plugs into a ReWire-compatible host program (also called the mixer application) such as Cakewalk, Cubase, Digital Performer, Live, Logic, Pro Tools, Samplitude, Studio One Pro, etc. In the host, you’ll have an option to insert a ReWire device. The process is very much like inserting any virtual instrument, except that you’re plugging in an entire program, not just an instrument. You usually need to open the host first and then any clients, and close programs in the reverse order. You won’t break anything if you don’t, but you’ll likely need to close your programs, then re-open them in the right order.
ReWire sets up relationships between the host and client programs.
Here’s how the client and host work together.
The client’s audio outputs stream into the host’s mixer.
The host and client transports are linked, so that starting or stopping either one starts or stops the other.
Setting loop points in either application affects both applications.
MIDI data recorded in the host can flow to the client (excellent for triggering soft synths).
Both applications can share the same audio interface.
Rewire is an interconnection protocol that doesn’t require much CPU power, but note that you’ll need a computer capable of running two (possibly powerful) programs simultaneously. Fortunately most modern computers can indeed handle ReWired programs, so find out for yourself what this protocol can do.
It’s a pure delight to attend the Winter NAMM Show. You get to bask in the warm Southern California sun, in the middle of winter, next to Disneyland, while your family enjoys a mini-vacation. The annual Winter NAMM Show in Anaheim California puts you at the global crossroads of the music products industry. This year’s event, which took place January 25-28, exceeded all my expectations. The newly-expanded Anaheim Convention Center hosted a dynamic array of 7,000+ brands, special events set to live music, celebrity appearances, dozens of educational sessions tied to today’s trends, and interviews with the world’s top musical innovators, artists, and professionals.
To my pleasant surprise, there were 26 booths side-by-side featuring a host of new MIDI products and applications. Here are some highlights of the new MIDI products presented at this year’s show:
Audiofusion
Audiofusion(TM) software by Audio Fusion Systems, LLC turns your smartphone into a wireless in-ear monitoring (IEM) system. Their core technology, delivering real-time audio over Wi-Fi, gives each musician a complete multichannel monitor mixer and wireless IEM on their iOS device at a fraction of the cost of hardware-based systems. And, since it is a software-based solution, the makers of Audiofusion plan to add lots of great features, such as MIDI-driven controls, in future updates.
The Blipblox is a full-featured synthesizer and beatbox designed for anyone three years old and up. Large, colorful, easy-to-use knobs and buttons, and a synchronized LED light show make playing music fun for youngsters and non-musicians. MIDI input, Audio output, eight unique oscillator schemes, integrated drum machine, a filter, LFOs, envelope generators, and special performance modes (like Sequencer Freeze and Sequencer Off modes) make it ready for professional music production.
Bome Software presented their MIDI products at NAMM 2018. Bome MIDI Translator Pro, a versatile MIDI translation and MIDI routing software program for Windows and MacOS, and the hardware BomeBox, which embodies the same translation and routing power of the software in a small and robust box. Florian Bomers, CEO of Bome Software, demonstrated an example preset which made an MPE keyboard work with a non-MPE synthesizer.
For the professional pianist on the go the Studio Piano features 61 keys, 127 multiple keyboard tones and rhythms, demo songs, drum kit, record and playback feature with Midi out function and powered with a rechargeable lithium battery. The Studio Drum for the professional drummer with three-dimensional drum pads, multiple instrument tracks, record and playback, built-in speaker and MIDI out function. Includes drumsticks, two foot pedals, and runs off USB or rechargeable lithium battery power.
Mukikim 6812 W Calumet Rd. Milwaukee, WI 53223 (414) 395-7850 | (414) 357-3997 Email: info@mukikim.com
Kilpatrick Audio
Kilpatrick Audio helps musicians explore the world of electronic music creation by combining the best of analog and digital technology in their live performance devices, Eurorack modules, Kilpatrick format modular synthesizers, and limited edition accessories. Nearly all of their products use embedded processors for a modern experience, and most of them employ MIDI for control from computers and other instruments..
Polyend showcased three products. Each of them have implemented the MIDI protocol. Polyend Perc Pro is a Drumming Machine that is a Midi operated, one of its kind, state of art robotic tool. Polyend Seq is the ultimate MIDI sequencer. Polyend Poly is a MIDI to CV Converter.
R.C. Voice from Crimson Technology is a free, real-time voice morphing app for iPhone.
Crimson Technology, Inc. 2-37-2 Ikejiri Setagaya-ku Tokyo, 154-0001 Japan Tel : +81-50-3816-7190
SMASHmouse
The Bluetooth or USB-connected SMASHmouse enables mouse control and audio/video playback toolbar functions out of the box. In addition, SMASHmouse will offer consumers additional low-cost software applications that offer page turn, beat machine, MIDI expression, DAW functionalities, and more providing musicians a universal solution for hands-free control.
SMASHmouse USA 3525 Piedmont Center. Building 7, Suite 300 Atlanta, GA 30305 (404) 931-0677
Synesthesia Pipes
Synesthesia Pipes
Imagine a device that outperforms any sample playback device and out-horsepowers a laptop for less than the cost of a current smartphone. That’s what Synesthesia built, and they call it Pipes, an all-new hardware audio engine. It includes Effects, MIDI Tweakers, and an onboard sound library, or load your own WAV, AIF, MDA, EXS, SFZ, GIG and NKI files.
Think of Pipes as a powerful touchscreen portable computer devoted solely to high quality audio control and manipulation. Pair Pipes with MIDI controller–keyboards, pads, drum triggers, etc.– and you have a powerful music creation and performance tool. Pipes outperforms any sample playback instrument and even out-horsepowers a laptop. Best of all, Pipes costs less than half of what you’d pay for the latest fancy smartphone.
Art+Logic Announces Launch of New Software Incubator Lab.
Software innovation company will design and develop a working prototype of selected music technology or pro-audio app.
Pasadena, CA: January 24, 2018, Art+Logic, a premier software innovation firm in the United States, announces the launch of a new software incubator called Art+Logic Labs. This incubator will focus on developing a working prototype of a selected software project. Art+Logic will begin accepting submissions for this Lab at the A3E, Advanced Audio + Applications Exchange Summit at the NAMM show in Anaheim in January. This first iteration of the lab will target the music technology and professional audio community, offering individuals, companies, and organizations an opportunity to have their application created by Art+Logic developers and designers.
Paul Hershenson, co-founder of Art+Logic, wants this competition to be “open to anybody, whether they have a compelling pitch deck to submit or just a vague idea that can be built enough to get additional funding. We‘ve been involved in music technology since the early days of MIDI and Digital Audio Workstations. We‘re happy to be in a position to help a talented artist or entrepreneur create something their industry needs, maybe even something the industry has never seen before.”
The selected project will receive:
A working prototype created by Art+Logic’s talented team of designers and developers (valued at over $50,000).
Ongoing support during the capital raising process.
An opportunity to have the full-featured version of their concept built by Art+Logic.
The winner will have the opportunity to work with A+L strategists to refine their concept and marketing strategy.
A progress report will be shared at the A3E Summit at Summer NAMM in Nashville in June 2018.
Submissions will be accepted through artandlogic.com/incubator (after 1/25/2018). The deadline is 4/1/2018.
About Art+Logic: Art+Logic, Inc. has been creating custom software for many of the world’s most successful companies since 1991. The company’s thoroughly vetted team of designers and engineers are all North American. Client projects are never outsourced or sent overseas. Art+Logic employs their own proprietary Agile/Lean-inspired software development methodology to nurture clients’ software products and digital experiences from concept to maturity. In addition to their in-house talent, the company partners with select leading innovators in emerging fields.
MIDI (the Musical Instrument Digital Interface) was an integral part of the Intel CES 2018 Keynote “Rock The Park” pre-show entertainment.
The pre-show started with the world’s first Data only band, Algorithm and Blues. Want to guess what kind of data it was?
MIDI, of course !
Using Intel’s Intel® RealSense™ Technology, a band performed without any physical instruments using only sensing technology to trigger MIDI notes and contoller data. Musical Director Kevin Doucette performed on what is affectionately known as “the Dragon Fly” which can use positional sensing to send different MIDI CC messages.
Performers danced on a giant musical keyboard on the stage of the Monte Carlo Park Theatre to trigger MIDI notes.
Kevin played a Yamaha DCF4 Disklavier sending MIDI data in real time to an Intel Movidius Neural Compute Stick™ where AI algorithms processed the data and created new MIDI notes that were played by two 80 ft. tall avatars named Ella and Miles.
Indeed, MIDI rocked the Park as the MIDI Association was credited in the playbill for helping to make the Intel CES Keynote pre-show possible.
So why is MIDI, a 35 year old protocol that was first adopted in 1983, still alive and well and the perfect fit for future-forward AI music applications?
The Musical Instrument Digital Interface (MIDI) is an abstract data representation of a musical performance and the industry standard way to connect digital musical instruments to computers and processors. Record a trumpet in audio and you simply have a recording of a trumpet. Record a trumpet performance in MIDI and after the fact, you can change the trumpet into a trombone, a guitar or a piano or change the key and timing of the notes. This flexibility for rendering and processing is perfect for AI applications and one of the reasons MIDI continues to be a major force in modern music production. MIDI lends itself to innovative data manipulation and real-time musical interactivity whether that is by people using unique new multi-dimensional physical controllers or by AI applications (or both).
In 2018, MIDI is poised to be at the musical center of a data-driven world of voice assistants, AI, advanced sensors, drones and robotics. Music AI may still be in its infancy, but in the next few years, we anticipate an explosion of music AI applications utilizing MIDI.
2018 Intel CES Pre Show Video
The first 12 minutes is all music driven by MIDI data!
Intel drones perform in sequence with the Fountains of Bellagio
The Intel Shooting Star drones weren’t controller by MIDI (yet!), but the Bellagio Fountains have always been controlled by MIDI Show Control so the fountains can spray and play in time with the music.
From the Monte Carlo Park Theatre to the Fountains at the Bellagio, MIDI was behind some of the biggest events at the 2018 CES
One of the biggest recent developments in MIDI is MIDI Polyphonic Expression (MPE). MPE is a method of using MIDI which enables multidimensional controllers to control multiple parameters of every note within MPE-compatible software.
In normal MIDI, Channel-wide messages (such as Pitch Bend) are applied to all notes being played on a single MIDI Channel. In MPE, each note is assigned its own MIDI Channel so that those messages can be applied to each note individually.
The newly adopted MIDI Polyphonic Expression (MPE) specification is now available for download By MIDI Association members.
MIDI Manufacturers Association (MMA) Adopts New MIDI Polyphonic Expression (MPE) Enhancement to the MIDI Specification
Los Angeles, CA, January 28, 2018− Today marks the MIDI Manufacturers Association’s (MMA) ratification of a new extension to MIDI, MPE (MIDI Polyphonic Expression). MPE enables electronic instruments such as synthesizers to provide a level of expressiveness typically possible only with acoustic instruments.
Prior to MPE, expressive gestures on synthesizers—such as pitch bending or adding vibrato—affected all notes being played. With MPE, every note a musician plays can be articulated individually for much greater expressiveness.
In MPE, each note is assigned its own MIDI Channel, so that Channel-wide expression messages can be applied to each note individually. Music making products (such as the ROLI Seaboard, Moog’s Animoog, and Apple’s Logic) take advantage of this so that musicians can apply multiple dimensions of finger movement control: left and right, forward and back, downward pressure, and more.
MMA President Tom White notes that “The efforts of the members (companies) of MMA has resulted in a specification for Polyphonic Expression that provides for interoperability among products from different manufacturers, and benefits the entire music industry.”
Jean-Baptiste Thiebaut of ROLI concurs. “The MPE specification paves the way for a new generation of expressive controllers and music software, providing many creative opportunities for live musicians and producers. MPE remains fully compatible with MIDI.”
The MPE specification will be available for download in the coming weeks. To obtain a free copy, join the MIDI Association, the global community of people who work, play and create with MIDI, at www.MIDI.org.
(Reprinted from the MIDI Manufacturers Association MPE Specification document’s Background Section) (Note: not all devices may support all features)
The MPE specification aims to provide an agreed method for hardware and software manufacturers to communicate multidimensional control data between MIDI controllers, synthesizers, digital audio workstations, and other products, using the existing framework of MIDI 1.0.
These proposed conventions define a way of distributing polyphonic music over a group of MIDI Channels, making multiple parameters of different notes separately controllable. This will enable richer communication between increasingly expressive MIDI hardware and software.
Briefly, what is defined is as follows:
— Wherever possible, every sounding note is temporarily assigned its own MIDI Channel between its Note On and Note Off. This allows Control Change and Pitch Bend messages to be addressed to that particular note.
— A Registered Parameter Number is used to establish the range of Channels used for sending or receiving notes. Two messages control the division of MIDI Channel space into sub-spaces called Zones, so that multi-timbral playing is still possible using only one physical MIDI interface.
— When there are more active notes in a Zone than available Channels, two or more notes will have to share the same Channel. Under such circumstances, all notes will continue to sound, but will no longer be uniquely controllable.
— Each Zone has a dedicated extra Channel, called the Master Channel, which conveys common information including Program Change messages, pedal data, and overall Pitch Bend. These messages apply across the entire Zone.
(The MPE specification also defines how to handle Pitch Bend, Aftertouch and CC messages to provide maximum interoperability.)
The full MPE MIDI specification will be available soon for download in the Specs section of the site.
The following products support one or more of the features of MPE:
Digital audio workstations (DAWs)
Bitwig 8-Track & Studio
GarageBand macOS
Logic Pro X
Reaper
Steinberg Cubase
Steinberg Cubasis 2.6
Tracktion Waveform
Software synthesizers
Admiral Quality Poly-Ana
Cycling ’74 Max
Equator / Equator Player
FXpansion Strobe2
KV331 Audio SynthMaster
Madrona Labs Aalto
Madrona Labs Kaivo
MainStage
Native Instruments Reaktor
Softube Modular
Spitfire BT Phobos
Stagecraft Addiction and Infinity
Symbolic Sound Kyma
UVI Falcon
Mobile apps
NOISE
Seaboard 5D
GeoShred
GarageBand iOS
Moog Model 15
AniMoog
Hardware synthesizers
Artiphon INSTRUMENT 1
Audiothingies MicroMonsta
Axoloti
Deckard’s Dream
Endorphin.es Shuttle Control
Expert Sleepers FH-1
Futuresonus Parva
Haken Continuum
MOD Duo
Modal Electronics 001 / 002 / 002R
Modor NF-1 / NF-1m
Polyend Poly
Snyderphonics MantaMate
These DAWs and synthesizer plugins can be used with certain MPE Controllers by following the setup guides provided by the MPE Controller maker:
Ableton Live
Audio Modeling SWAM Engine
Digital Performer
FL Studio
iZotope Iris 2
Native Instruments Kontakt
Pro Tools
Spectrasonics Omnisphere and Trillian
Studio One
U-he Diva
Le Sound Reshape
MPE Live Chat
On May 26, 2018, we held the very first MIDI Live! chat with a panel of MPE specialists.
We recorded the session and it is presented here as a podcast.
Listeners were not only able to send in questions via text but were able to actually join the discussion and interact directly with the panelists. Roger Linn demoed his Linnstrument live from his studio in Los Altos.
DIscussions included the differences between the original MPE spec and the final MMA specification, MPE checklists, and test sequences, and the requirements for obtaining an MMA MPE logo that is under development.
Bitwig Studio is a multi-platform music-creation system for production, performance and DJing, with a focus on flexible editing tools and a super-fast workflow.
Pens and stylus’ have been employed as computer interaction devices for quite some time now. Most commonly they were used along with peripheral graphics tablets to give a more natural flow to the artist or designer than a mouse could muster. With the release of the Surface Pro hybrid laptop by Microsoft in 2012 they brought a digital pen along to party that could work directly on the screen. It was intended to bridge the gap between the demands of desktop software and the tablet touch screen form factor. In a mouse and track-pad free computing environment how better to access the finer details that your thick fingertips couldn’t manage.
The advantages for the artist become quickly apparent. As the Surface Pro has evolved the graphical power has gotten to the point where it’s a completely competent sketching, drawing and design platform. But there’s another group of artists for whom the digital pen has an awful lot of potential, and that’s the musician.
This is probably most joyously demonstrated by the Windows 10 app Staffpad. Staffpad takes the idea of writing music completely literally and presents you with a blank sheet of manuscript paper and asks you to start writing. Combining the digital pen with hand writing recognition Staffpad is able to interpret your hand written notes into digital MIDI information directly onto a score. It can then be played back through a virtual orchestra. It’s a stunning piece of work and remarkably fluid and creative to use.
Most of us approach music creation in a more sequenced format. The pen has a lot to offer here as well. Entering notes into a piano roll immediately comes to mind, as does the editing of notes, the trimming of clips or moving blocks in an arrangement. Consider drawing in track automation, with a pen rather than a mouse. How much more fluid and natural could that be?
In many ways the pen feels like it’s simply replacing the actions of a mouse – but it doesn’t quite work like that. The Surface Pen works through a combination of technology in the pen and a layer of corresponding technology on the screen. It’s not just touch-screen technology, you can’t take the Surface Pen and use it on another brand of screen, it will only work on Surface products. While that affords the technology a great deal of power it can also trip up software that isn’t able to interpret the technology properly. In many cases the pen works just like a mouse replacement, but in others it can cause weird or no behaviour at all.
When PreSonus first released their new touch-enabled version 3 of Studio One the reaction to the Surface Pen when running on the Surface Pro 3 was to get quickly confused and then lock up. In Cakewalk Sonar, again touch-enabled, there were areas in the software that completely refused to acknowledge the presence of a pen on the screen. Both of those DAWs have far better support for it now. Ableton Live appeared to work with both touch and the pen without any trouble except that when grabbing a fader or knob control the value would leap between the maximum and minimum making it impossible to set it accurately. Adding support for “AbsoluteMouseMode” in a preferences file cured that particular oddity.
Where it’s been most unflinchingly successful is within Steinberg’s Cubase and Avid’s Pro Tools neither of which has expressed any interest in touch or pen interaction – but it simply works anyway. From entering and editing notes to drawing in long wiggly lines of modulation and automation the pen becomes a very expressive tool.
However, for the full immersion that the pen can offer, this tends to mean eschewing the keyboard. When you are leaned in, as I mentioned earlier, having to then pull back to use a keyboard shortcut can be rather jarring and interrupting to your workflow. There’s a certain amount you can do with the on-screen virtual keyboard but it can completely cover what it is you’re trying to edit, so it’s not ideal. This highlights what I see as being the current flaw in the Surface Pen workflow – the lack of a relevant, customisable toolbar.
When editing notes or an arrangement with the pen the ability to do simple tasks such as copy and paste become cumbersome. You can evoke a right-click with the squeeze of a button and then select these task from the list, or you can glide through the menu system but neither of these options are as elegant as a simple Ctrl-C and Ctrl-V. You can quickly extend that to other actions – opening the editor, or the mixer, duplicating, setting loop points there’s a whole raft of commands that are hidden away behind menus or keyboard shortcuts that are annoying to reach with just the pen for input. Adding a simple macro toolbar with user definable keyboard shortcuts would greatly enhance the pen’s workflow. It’s possible to do this with third party applications but it really needs support at the OS level.
This is something Dell have considered with their Canvas touch-screen and digital pen system. They have incorporated floating “palettes” that are little toolbars to access useful keyboard shortcuts. Some DAWs, such as Bitwig Studio and PreSonus Studio One, have fingerable toolbars that can perform a similar function – but something more global would be helpful.
With the release of the Surface Pro (2017) Microsoft have introduced an improved Surface Pen with 4 times the resolution of the previous version. Although more relevant to the artist who draws, it’s interesting to see pen support improving in many DAWs. It’s usefulness is becoming more apparent and if you consider the Dell Canvas and the iPad Pro Pencil, along with the development of the Surface into the larger Surface Studio and laptop form factors, it’s also becoming more widespread.
At the time of writing only one DAW manufacturer has stepped up to push the digital pen into more than just emulating mouse tasks. Bitwig Studio has some special MPE (Multidimensional Polyphony Expression) functionality that allows you to map the pen pressure to parameters on MPE compatible virtual instruments. More on that in another article, but hopefully more creative uses will emerge as this gains popularity.
The digital pen offers many creative opportunities. It unhinges you from the mouse/keyboard paradigm and pushes you into a more natural and fluid way of working. It lacks support in some software and there’s some work to be done on optimising the workflow by combining it with a toolbar, but it offers a different and creative approach to musical computer interaction.
Here’s a video of me reviewing the Microsoft Surface Book for music production which has a lot of pen use and examples in it. There’s plenty more on the YouTube channel:
Music is a visual language, too. Composer Andrew Huang used the piano roll editor in his MIDI sequencer to create sound from a picture of a unicorn. Each dot and line outlining the mythical creature triggers a MIDi note. To make the notes harmonize, Huang had to think both visually and musically. See his creative approach in the video.
The latest Tweets from midi (@midiassociation). The MIDI Association’s mission is to nurture an inclusive global community of people who create music and art with MIDI.
The MIDI Association (TMA), a global community of people who use MIDI to create music and art, has announced the first #DigMyRig contest. Sponsored in cooperation with media partner Broadjam, the contest is a celebration of more than 30 years of MIDI, and its impact on modern music.
The contest brings together MIDI users of all backgrounds and levels of experience and expertise, offering an opportunity to share their stories and their setups, and a chance to win prizes worth thousands.
The #DigMyRig Contest is open to all TMA members. Membership is free — join online for information on entering a photo or video of your MIDI rig. Info and entry instructions can be found on The MIDI Association’s website at www.midi.org. Prizes have been donated by TMA members including Roland, Yamaha, Gibson, iConnectivity, and many more.
The first prize winner will take home a selection of MIDI gear worth over $3000, including a Roland JP-08 synthesizer, Yamaha DTX Multi 12 controller, Cubase Pro 8.5 workstation software, Steinberg UR44 interface, and much more.
Second prize, worth more than $2000, includes a Yamaha Reface CS synth, Roland TR8 Rhythm Performer, Steinberg UR242 interface, and more.
The third place winner will be awarded over $1000 in gear, including a Zivix Jamstick, Steinberg 22 Mk 2 interface, and Yamaha UD-BT01 MIDI Bluetooth interface.All three winning bundles also include an NVidia Shield Tablet, Korg NanoKONTROLStudio and NanoKEYStudio, and a free Broadjam membership.
To enter the #DigMyRig Contest, simply go to http://www.midi.org and register as a member of The MIDI Association (it’s free to join). The member portal page contains details on how to submit your photo and text showing off your MIDI gear to the contest. Winners will be selected by peer-to-peer voting. The contest will run from March 1 to June 30th. Prize details and photos can be found here- prize details.
Help us celebrate MIDI by sharing how you use MIDI with other people who share your passion for technology..
The MIDI Association, the global community of people who work, play and create with MIDI, is offering the MIDI 1.0 specifications for download at no charge to their members at www.midi.org. Until now, 300+ page document has only been available at a charge of $60 to cover the cost of printing and shipping.
The MIDI 1.0 Detailed Specification is an important resource for developers, hobbyists, technicians, and others who want to know about the inner workings of MIDI. The document includes sections on the following topics:
MIDI 1.0 (Electrical Specification and Protocol)
General MIDI 1 (including GM Developer Guidelines)
Standard MIDI Files
MIDI Show Control
MIDI Machine Control
MIDI Time Code
Also available on the website are all the additions to the MIDI Specification developed since the document’s completion in 1996, up to and including the recently-added specification for transmission of MIDI data over Bluetooth Low Energy (BLE). Also included are reference tables to make it quick and easy to research a particular MIDI message number, locate a Manufacturer ID number, find international standards that incorporate MIDI, and more.
To access the specifications, go to www.midi.org and register for free as member of the MIDI Association. Members get access not only to the downloadable specifications, but a wealth of member-only premium content, including a wide range of information on how to get the most out of MIDI. The member portal also provides the gateway to members-only contests, including the current #DigMyRig contest, featuring prizes of MIDI gear worth over $3000.
The MIDI Association (TMA), a global community of people who use MIDI to create music and art, has been founded with the goals of providing education for existing users, as well as creating new music makers by promoting the creative possibilities of connecting digital musical instruments, MIDI controllers, smartphones, tablets and computers.
To further these goals, TMA has established an advisory team made up of music industry veterans who bring diverse expertise to the organization. They will participate in various panels dedicated to setting The MIDI Association’s overall direction, developing marketing and social media initiatives, and creating funding opportunities.
The TMA advisory team will set overall direction for The MIDI Association, develop marketing and social media initiatives, and interface with private and institutional revenue sources.
The advisory team includes:
Craig Anderton, Executive Vice President, Evangelist at Gibson
Athan Billias, Director of Strategic Product Planning at Yamaha
Roy Elkins, CEO at Broadjam
Jon Haber, CEO at Alto Music and former NAMM board member and CEO of Alto Music
Dendy Jarrett, Director at Harmony Central
Gene Joly, former Guitar Center executive and past NAMM Board member
Daniel Keller, CEO at PR firm Get It In Writing
Robin Kelly, Director of Channel Management at Roland
Kevin LaManna, Principle at the digital marketing agency SocialRaise
Bryan Lanser, Director of Marketing at Muse Research
Paul Lehrman, Director of Music Engineering at Tufts University
Lawrence Levine, Principle at Comet Capital
Gerson Rosenbloom, Vice President of Strategic Management at Sweetwater and former NAMM Chairman.
“Over 30 years after the industry came together to create MIDI, it’s encouraging that it’s coming together again to help consumers as well as musicians take advantage of all that MIDI has to offer,” remarked Craig Anderton EVP at Gibson.
“The new MIDI website, (www.midi.org) has been completely revamped,” offered Roy Elkins,CEO of Broadjam. “It’s now mobile friendly and features video streaming, interactive forums, and easy searches of the hundreds of articles on MIDI available on the site. It’s a great site that will support the whole global MIDI community.”
“In a world with billions of MIDI-enabled mobile computing devices, our goal is to create more music makers by promoting the vast MIDI capabilities offered when those devices are interfaced with musical instruments,” observed Gerson Rosenbloom. “We look forward to the active participation and support of companies and foundations in our industry in helping us to bring awareness to the masses.” .
We were really surprised to see so much MIDI activity at the Intel booth at CES 2016. There were two presenters on their main demo stage that have direct connections to The MIDI Association.
DJ RaviDrums was there showing off the combination of a DJ MIDI controller and electronic drums with sophisticated video processing
Ravi is always at the cutting edge of tech, check out a short bit of his performance here.
Intel has also been working on some very interesting MIDI Controllers with Kevin Doucette and AJ Rahman (who was the composer for Slum Dog Millionaire).
There is a lot of MIDI going on at the Intel CES Keynote as many of the performers are wearing Curie sensors and triggering sounds via MIDI.
You could try it out of yourself at the Intel booth where there were people strapping on Curie sensors and playing ari drums all throughout the 4 days of the show.
Winter NAMM 2016 is going to be a busy one for The MIDI Manufacturers Association (MMA), the non-profit trade organization that develops and protects the MIDI specification and the brand new MIDI Association, the global community of people who work, play and create with MIDI.
The MMA Booth #1086 (Hall E) will feature displays of innovative MIDI Products from:
Ikutaro Kakehashi and Dave Smith receive Technical GRAMMY Award from the Recording Academy®
In 1983, Ikutaro Kakehashi, founder of Roland Corporation, and Dave Smith, president of Sequential Circuits, unveiled MIDI (Musical Instrument Digital Interface). The launch of MIDI motivated the cooperation of an entire industry and helped move music technology into a new era. In a nearly unprecedented collaboration between competing manufacturers, what would soon prove an inescapable new technology was born when two competing manufacturers’ electronic keyboards were connected, enabling them to “talk” to one another using a new communication standard. The announcement ultimately revolutionized the music world. Today, MIDI is ubiquitous in the musical equipment industry, and is the de facto standard feature on virtually every electronic music product made by every manufacturer.
A special invitation-only ceremony was held during GRAMMY Week on Saturday, Feb. 9, 2013.
About the Technical GRAMMY Award Recipients:
In 1983, Ikutaro Kakehashi, founder of Roland Corporation, and Dave Smith, president of Sequential Circuits, unveiled MIDI (Musical Instrument Digital Interface). Next year marks the 30th anniversary of the launch of MIDI, a standard that motivated the cooperation of an entire industry and helped move music technology into a new era. In a nearly unprecedented collaboration between competing manufacturers, what would soon prove an inescapable new technology was born when two competing manufacturers’ electronic keyboards were connected, enabling them to “talk” to one another using a new communication standard. The announcement ultimately revolutionized the music world. Today, MIDI is ubiquitous in the musical equipment industry, and is the de facto standard feature on virtually every electronic music product made by every manufacturer.
(In addition to the GRAMMY Awards, The Recording Academy presents Special Merit Awards recognizing contributions of significance to the recording field, including the Lifetime Achievement Award, Trustees Award and
One day I was going past a music store in Camden Town and there was a crowd inside so I went in and there was a kind of hush whilst someone was explaining that this Sequential Circuits Prophet 600 had MIDI! Once I grasped what they were talking about I felt quite faint, my head spinning with the possibilities. I’ve never been the same since and neither has the rest of the world.
by Dave Stewart- As a member of Eurythmics with Annie Lennox,he won a GRAMMY in 1986 for Best Rock Performance By A Duo Or Group With Vocal for “Missionary Man.” Artists he has collaborated with include Tom Petty, Bob Dylan, Aretha Franklin, Mick Jagger, Alison Krauss, and Stevie Nicks. In 2012 Stewart released his latest solo album, The Ringmaster General.
Congratulations to the Award Recipients and to the More than 700 Companies that Helped Make MIDI Popular.
We celebrated the Award by taking out an advertisement in the 55th Annual GRAMMY Awards Souvenir Book (see left, click to enlarge). If you look closely at the ad you will see the names of hundreds of current and former MMA member companies in the background of the ad. Companies that donated funding for the ad are featured via logos.
This year at CES we previewed our MIDI Makes Music promotional campaign, sponsored by a coalition of leading industry companies and organizations including, Roland, Yamaha, Gibson, Fishman, Dave Smith Instruments, Korg, Dream, Mediamation, NAMM, AES, Keyboard Magazine, Electronic Musician Magazine and Robertson Communications.
MMA CES Booth 2013
Our booth featured graphics and handouts explaining that MIDI is a Grammy®-winning technology that enables people to use electronic musical instruments along with computers and mobile devices to compose, record, notate, arrange, perform and learn about music.
We also displayed our new “MIDI Makes Music” introductory video about the past, present, and future of MIDI technology. The video describes how MIDI was developed in 1983 and how it has become ubiquitous in music creation and production over the past 30 years.
CES 2014 we continued our MIDI Makes Music promotional campaign with booth graphics and handouts explaining that MIDI is a Grammy®-winning technology, with photos and descriptions of typical applications and products that use MIDI technology. .
We also displayed our “MIDI Makes Music” introductory video about the past, present, and future of MIDI technology. The video describes how MIDI was developed in 1983 and how it has become ubiquitous in music creation and production over the past 30 years.
A3E – the Advanced Audio + Applications Exchange – is the first major industry conference focused on Audio Development and true Next–Gen Technology Innovations.
A3E features three conferences, which bring Artists, Developers and Manufacturers together to explore the impact of Algorithmic Intelligence, Mobile Technology, Controllerism & DJ Tech, High Performance DSP, & Cloud Technologies:
A number of larger MMA member companies including Google, Microsoft, Analog Devices, and Roland had exhibits and/or had representatives speaking on panels. Many smaller, forward-thinking software companies also exhibited or participated in the panels. Athan Billias attended on behalf of both Yamaha and MMA, and participated in some panels on behalf of MMA (to promote MIDI to developers).
The MMA was well represented in the program and all the signage. Dave Mash, VP of Technology at Berklee College of Music (and a member of the A3E Advisory Board) mentioned MIDI several times in his keynote presentation. Attendees appeared to be well-aware of MIDI, but not necessarily about how MIDI is evolving.
The session titled “The Next 12 Months of Advanced Audio Development: Audio In The Web Platform” was attended by about 50 people, most of whom appeared to be developers. The panel featured Chris Wilson from Google, who is the developer advocate at Google who has been pushing the standardization of the audio API and MIDI API in browsers. Chris did a great job explaining why these APIs are going to be important. Joe Berkovitz from Note Flight (notation software that runs in a browser) did a demo where he pulled out a MIDI keyboard and edited the notes via the network, which drew some oohs and aahs from the audience. Athan Billias, speaking for MMA, explained that browser-based apps are cheaper to produce and support since developers don’t need to have separate code for MACs and PCs. Browser apps also can be accessed anywhere there is an Internet connection, and have all of the added social and tracking aspects of any web page.
During Q & A at the Web MIDI panel Athan was asked if there was “something after MIDI”. Rick Cohen (MMA HD Protocol Working Group Chairman) happened to be in the audience so together Athan and Rick explained that MMA was working on developing a new protocol that wouldn’t replace MIDI but would extend it and work with it because people would still need and want to use the millions of MIDI 1.0 device that already exist. The audience seemed very interested in the idea and quite positive about the news.
As a whole, people at the event seemed generally happy with MIDI for what they are doing, but some would like to see more capabilities. Some people did mention OSC as a possible alternative, but acknowledged that there is no interoperability with OSC. Throughout the event there were also times when people brought up the issue of improving audio performance on Android.
[Report prepared by Tom White from notes prepared by Athan Billias.]
Ubisoft: “Rocksmith” guitar training & game software
Quicco: Wireless (BLE) MIDI Adapter “MI.1”
Psicraft: Synth Editing Software and Juno-106 MIDI Kit
There was also a MIDI JAM Area where attendees could play some of the latest MIDI-equipped instruments from Roland,Yamaha, CME, Muse Research, YouRockGuitar, and others (connected through a JamHub mixer).
HOT (Hands-On-Training) Zone Sessions
“Game Audio 101”
In this fun and informative presentation, game audio gurus Steve Horowitz and Scott Looney explained the evolving playing field of sound for games, highlighting both the business and technical challenges. Topics included Social Media, Mobile, and AAA games, with demonstrations of development tools such as Unity 3d, FMOD Studio, Fabric, and Master Audio.
Sponsored by
Sponsored by
“Dynamic Music for Games”
This talk explained the techniques and strategies for producing dynamic music scores. Topics presented included: Differences between interactive and dynamic music; Classic dynamic/interactive music forms; 10 Methods to reduce repetitions in music; Strategies to overcome technical constraints and limitations of current platforms. Scenarios were shown using Wwise, a sound engine used by hundreds of software titles including Ubisoft’s Rocksmith 2014 which was also being demoed in theMIDI Innovations booth (Hall E #1086).
Sponsored by
MMA Annual General Meeting & Breakout Sessions
The Members of MMA meet annually during each Winter NAMM Show to share information and plan activities for the upcoming year. The Annual General Meeting of MMA Members began with the General Session at 9:00 am for members and invited guests. MMA President Tom White provided an overview and current status of each Technical Proposal being discussed in MMA:
#191 HD Protocol / #211 HD Tunnel SysEx Message (MIDI 1.0)
#200 IEEE AVB MMA Payloads
#202 MIDI Electrical Spec. Update
#203 IEC MIDI Specification
#206 Polyphonic Legato Messaging
#207 Arpeggiator/LFO Sync Recommendations
#208 USB MIDI Update
#210 Bluetooth MIDI
Tom also mentioned the importance of OS support for MIDI and described some of the issue and opportunities being addressed by Apple, Microsoft, and Google in cooperation with MMA.
Tom then explained that with the HD Protocol Specification nearing completion it was necessary for interested product developers to consider how to make their products interoperable, and how consumers will be able to figure out what to buy and how systems will work. He said HD capabilities go way beyond those of MIDI, so interoperability will be a bigger challenge, which may need to be addressed with additional device specifications and compliance testing. He pointed out that users and retailers will also need to be educated to explain and use HD products correctly. He added that HD Protocol was not intended to replace MIDI protocol but already people on forums have been talking about “MIDI HD” and “New MIDI” so some effort must also be made to control the message. Tom said MMA operates by consensus so won’t simply mandate the rules for marketing HD products, but would ask all potential developers to decide. He said the first such discussion opportunity would be an afternoon session of the AGM (see below).
Tom went on to explain that interoperability testing and market promotion/education are costly, and that MMA’s current membership revenues are not sufficient to fund those activities (nor any other new projects). Tom said part of the problem is that many companies in the MI industry perceive MMA as a “standards body” and are not interested in working on standards. It is also true that many companies who are not “Manufacturers” believe they are not the intended constituency for the MMA. Tom said changing these perceptions could encourage more companies (and even individuals) to support MMA’s market development and education efforts, if there were a way for them to do so separate from technical standards work. Tom said the Executive Board believes it is possible (and necessary) to address these challenges by rebranding the MMA (e.g. as the MIDI Association) and adding new classes of membership such as teachers, retailers, etc. He said the Board is looking for key people to join Advisory Committees representing these new membership classes, as well as regional committees (EU, China) and market area committees (DJ, lighting) to make sure that all stakeholders are represented.
Executive Board Members Bryan Lanser and Denis Labrecque spoke about the current state of MIDI education. Bryan said that some MI industry trade schools are not providing graduates with sufficient MIDI knowledge to be employable at MI companies, because there are no standards for what should be taught. Denis announced he would lead and an MMA project to work with educators to establish standards for MIDI education that are endorsed and marketed by MMA (including certifying teachers and/or schools and/or students). Tom White added that misinformation about MIDI is also rampant on musician forums, and even among industry people, in part because most people learned about MIDI 25 years ago, and so don’t know about new messages, transports, or applications. Tom observed that manufacturers stopped including informational materials product boxes back in the 90’s, so an entire generation of consumers has come along since that has not really been told much about MIDI. He said promoting accurate and current information about MIDI should be a priority for all stakeholders in MIDI, and could help MMA attract new members.
Tom then reported on MMA’s participation in Music China (Shanghai) last October, and said he was looking forward to the 2nd Annual “MIDI World” event this year. He also briefly described the MMA exhibits at CES and NAMM this year, and how helpful they have been at exposing more people to MIDI and to the MMA.
After electing directors (Executive Board and Technical Standards Board) the members met in a Technical Session to review open proposals for additions and clarifications to the MIDI 1.0 Specification, and discuss other issues.
In the afternoon, an HD Protocol Business & Marketing Issues Discussion was held, as explained above. Following that discussion interested parties met to learn more about eScore Standards Activity in W3C and IEC, and to discuss methods for performing Polyphonic Legato playback with MIDI messages.
Industry Players Agree on Common Format for Wavetable Synthesis (10/98)
At the 45th meeting of the Moving Picture Experts Group (MPEG), audio experts reached agreement on a common format for creating sounds with the popular “wavetable synthesis” technique. The agreement merges the best features of different specifications promoted by the MIDI Manufacturers Association (MMA) and Creative Technology Ltd. into a single format. This new format is called Downloadable Sounds Level 2 (DLS-2) and is known within MPEG as the MPEG-4 Structured Audio Sample Bank Format.
The DLS-2 format is an extension of the MMA’s DLS-1 format; it includes new features requested by MPEG, Creative, Microsoft, the MIT Media Laboratory, and MMA members. “The agreement on DLS-2 increases consumers’ access to high-quality interactive music content,” said Tom White, president and chief executive officer of the MMA. “Compatibility among multiple vendors was the compelling reason behind the MMA’s DLS Level 1 Specification, and the MMA is very pleased to have had this collaboration with MPEG in establishing a single new standard with an even higher level of performance.” The MMA is a nonprofit association which produces standards and recommended practices for musical instruments and digital music devices.
Wavetable synthesis is a popular and widely-used method for creating music in multimedia presentations, video games, and on the Internet. Short samples of recorded sound (wavetables) are accessed with MIDI instructions; this method provides the realism of recorded sound but at a significant savings in file size. Most multimedia PCs use this method for creating sound, and even more powerful versions are used by professional musicians to produce film scores and popular music recordings. The DLS format makes it possible for musicians composing for Internet or CD-ROM applications to use sounds of their own design, rather than limiting their compositions to the 128 General MIDI sounds that are typically available on multimedia computers.
“Microsoft is a firm believer in the value of open standards,” said Kevin Bachus, product manager for DirectX at Microsoft. “We made a commitment early on to provide support in the Windows operating system for the DLS format, and are pleased have had MPEG’s collaboration in delivering a more advanced DLS standard to hardware manufacturers, software developers and composers. With the DLS support included in the DirectMusic application programming interface, musicians and programmers can easily add interactive music capabilities to applications developed for the Windows operating system.”
“At Creative, quality and flexibility of sound synthesis is paramount,” said Dave Rossum, founder of E-Mu Systems and chief scientist of Creative Technology Ltd. we always give the strongest attention to the quality and flexibility possible in sound synthesis. “The new wavetable format will provide the best features and sound quality for use by all PC-based and Internet musicians. The advanced capabilities of Creative’s popular SoundFonts 2.0 format are included in the new standard.”
The harmonized format is one component of a powerful and flexible suite of tools in MPEG-4 called Structured Audio, contributed for free to MPEG by the MIT Media Laboratory. In MPEG-4, wavetable synthesis can be used in conjunction with general-purpose software synthesis and mixed with compressed vocals or the sounds of natural musical instruments. The resulting soundtracks may be transmitted as part of a virtual-reality experience or used as accompaniment to interactive video presentations on the Internet.
MPEG-4 Structured Audio is based on a powerful sound-description language for very-low-bitrate coding of synthetic music and sound effects and “3-D” positional audio. MPEG-4 was ratified as a Final Draft of International Standard at the meeting in Atlantic City, and will be published in December. For more details on MPEG-4 Structured Audio, please visit http://sound.media.mit.edu/mpeg4.
“MPEG, as part of the international standardization community, is the ideal forum to bring together representatives from industry to arrive at common understandings and to agree on the best technical solutions,” said Leonardo Chiariglione, chairman and Convener of MPEG. “Everyone who cares about music synthesis should applaud the forward thinking of the companies involved. We are particularly grateful for the productive relationship with the MIDI Manufacturers Association.” MPEG is a subdivision of the International Organisation for Standardisation (ISO) chartered with the development of new standards for audiovisual compression and transmission.
The Downloadable Sounds Level 2 (DLS-2) specification is available from the MIDI Manufacturers Association.
SoundFonts is a registered trademark of Creative Technology Ltd.Downloadable Sounds and DLS are trademarks of the MIDI Manufacturers Association.
Manufacturers Endorse “3dDxp” Audio Acceleration API (7/97)
A “Who’s Who” group of 11 leading PC multimedia technology companies have endorsed “3Dxp”, a means for extending Microsoft’s DirectX 3.0 API to enable hardware acceleration of 3D audio in PC games. The 3Dxp DirectSound 3.0 API Extension is an open, royalty-free specification developed by members of the 3D Audio Working Group of the IASIG. The IASIG is comprised of 250 hardware and software developers as well as music composers and sound designers with a common interest in improving the quality of sound for interactive media, and is a project of the MIDI Manufacturers Association.
Without hardware acceleration, applications must use the host processor for 3D calculations via DirectSound 3D. The resulting high workload placed on the CPU is likely to result in lower quality audio processing or reduced visual frame rates. The solution is to use dedicated hardware to accelerate the 3D functions, yet each of the current 3D hardware implementations has its own interface. “It seemed to us that the largest obstacle developers faced in using 3D sound was picking between all the incompatible and competing technology suppliers”, said Tom White of the Interactive Audio Special Interest Group (IASIG) which released the specification. “What 3Dxp intends to do is level the playing field so that software developers will jump in and start using 3D audio in games.”
The 3Dxp specification has been made available to the public on the IASIG web site (http://www.iasig.org). Reference source code is available for developers from DiamondWare (athttp://www.dw.com/DEV3D).
Downloadable Sounds Specification Approved (4/97)
The MIDI Manufacturers Association (MMA) announced a delay in releasing the Downloadable Sounds Level 1 (DLS-1) Specification approved by the MMA membership in January and previously expected to be available in April. “During our normal 60 day comment period we received requests for some modifications which would improve performance on existing products, and we felt a short delay was warranted” said MMA president Tom White.
The DLS Level 1 specification has been eagerly anticipated by music and game software developers for achieving consistent and predictable playback of interactive sound tracks. Originally proposed by the MMA’s Interactive Audio Special Interest Group (IA-SIG), DLS-1 allows composers to deliver customized instrument sounds and sound effects to accompany MIDI data which can be played on DLS-compatible sound cards or software synthesizers.
DLS-1 was approved for adoption by the MMA membership in January 1997 during the MMA’s annual meeting held in conjunction with the NAMM International Music Products Industry trade show. The specification is now expected to be published on June 1. The MMA will also make available software developer kits which will include a tool for authoring DLS-1 files called “DLS Synth/Author”.
Downloadable Sounds Specification Established (5/96)
The MIDI Manufacturers Association (MMA) today announced the creation of a new advanced audio standard for multimedia hardware. Targeted for CD-ROM and Internet entertainment applications, the new specification will result in higher quality audio from wavetable synthesizers, without any incremental memory costs. The new industry standard Downloadable Sounds (DLS) format was developed in cooperation with members of the Interactive Audio Special Interest Group (IA-SIG) and by leading multimedia companies.
The Downloadable Sounds specification extends General MIDI by providing a means for game developers and composers to add their own sounds to the PC sound card, rather than relying on the fixed GM sound set. General MIDI is used in PC games for generating music scores, and is also very popular with musicians and hobbyists who use MIDI for composing or learning about music. With DLS, custom sounds can be created and existing instrument sounds can be augmented with special effects by simply downloading a new sample bank.
“Inconsistent and proprietary designs have stalled the widespread adoption of wavetable synthesis.” said Tom White, President, MIDI Manufacturers Association. ” DLS 1.0 is the industry standard that will make wavetable and MIDI ubiquitous on mainstream consumer PCs. Consumers will experience enhanced interactive sounds beyond anything available today on the PC, and the title composers can rest assured that the consumer will hear exactly what was intended.”
According to composer and recording artist Thomas Dolby, now President and CEO of Headspace, “Downloadable Sounds will give composers a universal delivery system for great-sounding music in computer games… I’m done apologizing for a string section that sounds like a squished bug!”
“We are excited about the MMA DLS 1.0 format,” said Eric Engstrom, DirectX Program Manager, Microsoft Corporation. “In our effort to provide the industry with a suite of high performance standards and compliant APIs for gaming and Internet applications, we intend to support DLS 1.0 in the DirectMusic API.”
Initial sound developer tools will be provided by Sonic Foundry, best known for “Sound Forge” sound editing software. Monty Schmidt, CEO, Sonic Foundry, said “We have been instrumental in driving this standard with the MMA. With our tools the incorporation of MIDI with DLS will be seamless and above all easy to use by developers.”
U.S. Copyright Office opinion equates MIDI files with CDs and audio cassettes
The MMA, with assistance from multimedia industry leaders such as Thomas Dolby/Headspace, Microsoft, Apple, Yamaha and Kurzweil announced today at the Interactive Multimedia Association Expo that legal opinions from the U.S. Copyright Office state that MIDI files are subject to mechanical compulsory licenses when not accompanying a motion picture or other audiovisual work.
This groundbreaking and controversial decision will significantly lower publishers per unit licensing fees for MIDI recordings of musical works. At the same time, it will allow for a substantial increase in the number of published MIDI files, increasing publishers overall revenues and bringing MIDI into the mainstream consumer audio market.
“MIDI technology can dramatically improve music education, games and Internet applications,” said Tom White, president of the MMA. “But until now, licensing for audio-only MIDI files has been difficult and expensive.”
According to Charlotte Douglass, principal legal advisor to the general counsel, United States Copyright Office: “The Office still considers the media upon which aural sequences are recorded (unaccompanied by visual images) to be phonorecords and that such media are subject to a mechanical license or compulsory license under Section 115. The output of Standard MIDI files are works of authorship copyrightable as sound recordings since the information in the file causes the sound device to render the pitch, timbre, speed, duration and volume of the musical notes in a certain order, as does a player piano in conjunction with a piano roll, or a compact disc player in conjunction with a compact disc.”
“This opinion clarifies for everyone that MIDI files are no different from other forms of audio,” said Brian Ward, special counsel to the MMA. “This has been the critical missing link for growth in consumer interactive audio applications.”
While removing barriers to the use of MIDI data in many areas, this opinion still leaves unresolved other creative control issues affected by a compulsory license. “Our intent is to continue our dialogue with publishers and songwriters to help create solutions which will allow everyone to benefit,” noted White.
Comprised of over 140 hardware and software companies from various industries, the MIDI Manufacturers Association (MMA) is dedicated to improving and standardizing the capabilities and marketability of MIDI-based products. Membership includes leading companies from every application of audio and MIDI technology, including stage and theater, music performance, home and studio recording, multimedia computing, film and broadcast, and others.
The MMA’s SMF Copyright and Licensing Committee was formed with the assistance of charter members Roland and Yamaha to communicate the interests of the music products industry and its customers to music publishers, artists, and copyright holders in hopes of developing a strong market for commercial MIDI files.
Manufacturers Unite to Promote Licensing of MIDI Files (1/96)
The MIDI Manufacturers Association (MMA) has announced an industry initiative to promote the licensing of commercial music in Standard MIDI file (SMF) format. The “SMF Copyright and Licensing Committee” was formed — with the assistance of charter members Roland and Yamaha — to communicate the interests of the music products industry and its customers to music publishers, artists, and copyright holders in hopes of developing a strong market for commercial MIDI files.
This effort is designed to replicate the market which exists in Japan and Europe, where floppy disks of music are treated just like audio CDs and cassettes, and are sold shrink-wrapped off store shelves for prices similar to CDs. In these markets there is also substantial secondary revenue from related services such as magazines and even on-line services devoted to hobbyists and casual listeners.
“To a great extent, the problem in the US and North America is that there is no standard set of laws and practices governing MIDI recordings (SMFs)”, said Tom White, MMA President and CEO. “This has severely hampered the development of several MIDI-related markets, including the sale of MIDI scores and instruments for rehearsal, live performance, karaoke, computer hobbyists, and end-user entertainment”.
Japan and parts of Europe enjoy healthy markets in the areas of MIDI music data sales, where a single mail order outlet can sell up to 10,000 disks a month. Desktop Music (DTM) sales in Japan hit $35 million in 1994 and were projected to reach $50 million in 1995. What’s more, 70% of the business is currently going to first-time buyers, and home computer sales are just starting to explode in Japan.
The MMA initiative will include lobbying for MIDI recordings to enjoy the same status as audio recordings for licensing and copyright protections. MMA Special Counsel for Intellectual Property, Brian Ward, is leading this effort. Equally important is an educational effort, aimed at record labels, music publishers, online content providers, and recording artists, to help them understand the growing interest in MIDI files and how this can be good for business. “The current confusion surrounding the application of MIDI in these markets is blocking its use, and in some cases, the licensing fees requested just don’t support a viable business model for these markets”, said Ward. “At the same time, the MMA must understand and address the legitimate concerns of rights-holders and develop recommended practices and new MIDI protocols if necessary to protect those rights”.
MMA publishes GM Survey and Developer Guidelines
The MMA Executive Board has completed a comprehensive survey of existing GM hardware and software in order to determine what level of consistency exists in current GM implementations. This data clarifies what is required to be GM compatible based on what products exist today.
“The GM specification wasn’t written as an instruction manual … it’s more like a road map” said Tom White, MMA President. “So we have a situation where companies don’t understand how to implement certain features, which aren’t detailed in the specification. We are responding by making specific recommendations which will help developers be compatible with the majority of products in use today.”
The survey covers synthesizers (receivers), sequencers (players), and scores(content). The data is compiled and reported along with objective and subjective evaluations, designed to identify potential problem areas and recommended actions for best compatibility. The GM Developer Guidelines and survey is available to MMA members and other interested parties.
NAMM & MMA agree to develop MIDI Education Program
NAMM has agreed to co-sponsor a program to be developed by the MMA, which will help grow the market for MIDI through dealer training and better understading of end-user needs. The program intends to create new customers for MIDI products, by demonstrating the benefits of MIDI without requiring the user to learn the technology. The dealer certification program will be aimed squarely at the millions of PC/multimedia system owners, who are looking for more to do with their computers, and will focus the salesperson to demonstrate how MIDI technology can be applied to meet a customers musical interests. Training will include topics such as General MIDI, home recording, song writing, education and entertainment. Retailers will receive certificates identifying each graduate of the course on their staff as MMA Certified Instructors, and will be eligible to teach a similar course to their customers if desired.
MMA PARTNERS WITH THE IMA FOR EXPO ’96
The MIDI Manufacturers Association (MMA) will join with the Interactive Multimedia Association as a major participant in IMA Expo ’96, to be held in New York City’s Javits Convention Center, September 17-19, 1996. The Expo will provide a comprehensive forum for the diverse and rapidly growing $18 billion multimedia industry, which includes the CD-ROM, Internet delivery, on-line, broadband, and enterprise network systems markets.
“Computer and multimedia applications have become extremely important to a major segment of our membership,” said MMA President Tom White. “
“We see a strong synergy between our organizations and major opportunity to combine forces for the benefit of both memberships,” said IMA President Philip V. W. Dodds. “The MMA’s participation in IMA Expo ’96 will significantly enhance our show. Music and audio are major elements in the multimedia equation, and the MMA, with its roots in the music industry, is rapidly becoming a key player within the multimedia industry.”
As part of the MMA’s participation, Tom White will join IMA Expo’s conference committee, working closely with the IMA to provide input on conference program content related to audio. White said “Together, our organizations will work to develop a program track which will educate and inform developers and producers on the tools available for audio production, as well as on new technologies and directions which promise to change how content is made and distributed.”
Position Statement on “XMIDI”Source: MMA Technical Standards Board (c1996)
In response to magazine or online publications claiming that a new technology called “XMIDI” is poised to become a new standard for synthesizers, the MMA Technical Standards Board of Directors has released the following statement: We genuinely applaud the effort of the developer for attempting to make MIDI into a different and, in their eyes, better technology. However, despite some very clever engineering on the part of the developer, extensive review and discussion by the MMA’s Technical Standards Board and many of our members indicates that XMIDI would create more problems than it would solve for the vast majority of current and future users of MIDI. What follows are four main reasons which have led to this conclusion:1) MIDI is inexpensive and royalty free. These characteristics are considered vital to our membership and a prime reason for its acceptance and proliferation. A custom hardware solution from a single source would represent a 180 degree change in direction.2) The non-orthogonality of the XMIDI interface makes it extremely difficult to write manageable software to parse it, and more importantly, to relate it to the user in an non-confusing manner. MIDI is now being evaluated for adoption in a number of high-volume markets where design simplicity is crucial. The Tech Board feels that introducing anything that risks increasing design difficulty and user confusion would compromise both the interests of the greater MMA membership and our customers.3) The MIDI Specification is open for everyone to use. The requirement of secrecy agreements for each licensee of XMIDI is unacceptable. MIDI is based on the spirit of cooperation and consensus. Secrecy agreements would completely undermine this spirit.4) The MMA membership has indicated many times that enhancements to MIDI should not increase the amount of data traffic on the 31.25 Kbaud serial line. In our opinion XMIDI would clearly increase traffic a great deal, adding to the current problems of MIDI response time with dense controller activity.In conclusion, we once again express our interest in any effort to design a low cost, high speed MIDI alternative that would be royalty and copyright free. We believe a design with such characteristics would be warmly welcomed by the MMA membership. We do not believe that XMIDI meets these requirements.
The Web MIDI API connects your MIDI gear directly to your browser. Your browser connects you to the rest of the world.
MIDI hardware support has been available for a long time in Windows, Mac OS, iOS and most computer/tablet/smart phone platforms through USB, WiFi and even Bluetooth interfaces. But until now, there has been no standard mechanism to use MIDI devices with a Web browser or browser-based Operating System.
The Web Audio Working Group of the W3C has designed the Web MIDI API to provide support for MIDI devices as a standard feature in Web browsers and operating systems across multiple hardware platforms.
Google has led the way to support the inclusion of MIDI in the Web platform, both contributing to the specification and by shipping the first implementation of the Web MIDI API (in Chrome v.43 for Windows, OSX, and Linux), continuing to demonstrate the company’s interest in helping musicians interact with music more easily using the Web.
Being able to connect to local MIDI hardware will increase the creation and distribution of music-making applications for PCs, tablets and smart phones. It also means that popular MIDI hardware can be used to control any kind of software in the browser (using physical buttons and knobs instead of on-screen sliders, for example).
For hardware device makers, instrument control panels and editor/librarians which previously needed to be produced in multiple versions can now be implemented once in HTML5, and consumers can run them on any Web device (tablet, computer, or smart phone) and even “live” over the Web.
And finally, since the browser is connected to the Internet, musicians can more easily share data and even connect music devices over a network.
USES and ADVANTAGES Here’s why the Web MIDI API for Web browsers is the most significant advancement of MIDI since… MIDI itself Works on all platforms and devices. Anything with a web browser can run a Web MIDI app and use local MIDI hardware. Works with your existing MIDI setup. If your MIDI gear is connected to your computer, tablet or phone (by a cable or even wirelessly) that same connection will connect your MIDI gear to your Web MIDI enabled browser. Updates are automatic. No need to install new versions, the latest version is always available at the website URL. Accessible anywhere. Apps and data in “the Cloud” are available anywhere you have an internet connection. It’s the Internet! Browsers make it easy to connect you and your music to other people via social media and on-line MIDI communities.
Where will Web MIDI take us?
Web MIDI has the potential to be one of the most disruptive music technologies in a long time, maybe as disruptive as MIDI was originally back in 1983. Did Dave Smith and Ikutaro Kakehachi envision a world with 2,6 billion MIDI enabled smart phones. Definitely not!
Here is an interesting video of someone using a commercially available MIDI controller to play a browser based game. it just makes you think about all the possibilities in the future.
Develop your songs from inspiration to finished projects with our best-in-class Mix Editor. Pull from thousands of available beats and loops in our extensive library or connect an interface and record live audio.
Soundtrap is the first cloud-based audio recording platform to work across all operating systems, enabling users to co-create music anywhere in the world. The company is headquartered in Stockholm, Sweden. Soundtrap provides an easy-to-use music and audio creation platform for all levels of musical interest and abilities and is being used by the K-12 through higher-education markets. On December 2017, Soundtrap was acquired by Spotify. For more information, visit http://www.soundtrap.com
Noteflight® is an online music writing application that lets you create, view, print and hear music notation with professional quality, right in your web browser.
Learn to play piano with online, interactive lessons and tutorials. Our in-depth courses will adapt and give you feedback. Play your first melody in minutes.
Play drums online is an online rhythm game where you can learn to play along with the best songs. Set a new high score or practice your drum skills with your favorite artists and songs.
Keith McMillen Instruments shared this short demo of gestural mixing, using their K-Mix programmable mixer, a Leap Motion controller and Web MIDI. This article has links to all the great Web MIDI articles on the KMI site.
August 2015 — This contest is a joint partnership between CMIA, MMA, Google, and AMEI, to sponsor the promotion of web based music and audio application development and innovations, by leveraging the latest development in web audio APIs and web MIDI APIs, to develop new products and services, and creating more business opportunities for the music industry.
1) The dates and arrangement of the contest:
From now to Sept. 18th: Learning and application development trial runs – we have put together some self-learning guide and code labs (see below);
Sept. 19th: Web audio and web MIDI application development hackathon;
Oct. 5th: Contest submission and judging;
Oct. 16th: Top winners of the app contest present their apps and demo them at the 2015 China Music Expo. Winners will receive the contest winning certificate and trophy, and a new MIDI device as the award.
2) Contest rules and selection criteria:
All applications must use the web audio and/or web MIDI APIs;
Application leverages MIDI hardware is highly desired;
Application areas can be anything in music application (include installation art), education, games, entertainment, business applications, etc.
Web based application must run inside Chrome;
No 3rd party closed or proprietary technologies should be used;
3) Contest participation registration:
If you would like to participate the contest, please enter your information below to register:
A special Web Audio/MIDI Hackathon was organized for web developers by Google at the Google Shanghai office. More than 70 developers from across China, from as far as Beijing and Zhangjiakou in northern China, and even a developer from the Netherlands, came to attend the event, which was lead by Ryoya Kawai and Encai Liu of Yamaha, to train the developers about Web Audio and Web MIDI APIs. Bill Luan from Google’s Developer Relations team provided developers with MIDI devices to use (courtesy of Google, Yamaha, Korg, and CME). At the Hackathon, Mr. Kawai and Mr. Liu answered many questions from developers. Some of the developers attending the event demonstrated existing applications, from music-making to art installations, all using MIDI and audio technologies, to inspire others for the development. Attendees were eager to get their application completed for the contest, which will be judged by music and web industry experts from Yamaha, MMA, and Google.
&mrkgcl=28&mrkgen=gpla&mrkgbflag=1&mrkgcat=brand&&acctid=21700000001645388&dskeywordid=92700046937728365&lid=92700046937728365&ds_s_kwgid=58700005283819382&ds_s_inventory_feed_id=97700000007215323&dsproductgroupid=375256682333&product_id=Sub25&prodctry=US&prodlang=en&channel=online&storeid=&device=c&network=g&matchtype=&locationid=9031548&creative=228658011806&targetid=aud-418160834130:pla-375256682333&campaignid=
