We have received our CES Allied Association Booth for 2025 and want to invite everyone to come see us at Booth 8578 of Las Vegas Convention Center in the North Hall.
We may have a slightly streamlined booth compared to last year partly because a lot of the instruments that companies have loaned us are out with the Riverside City College students who will be performing at the 2025 NAMM show.
Here is a picture of our CES 2024 booth.
Also l at CES 2024, we had a surprise visitor to our CES booth.
We have been making great progress with the Music Accessibility Special Interest Group and Arcana Instruments, BetterMaker, and Audio Modeling (along with Sam Prouse and Jay Pocknell) have been working on an amazing demo of voice control of hardware and plugins that will be featured at the NAMM 2025 booth.
We want to thank the Allied Associations team of the Consumer Technology Association (CTA)®.
Just like The MIDI Association and NAMM, they are a trade association. They are a “little” bigger because they represent the $398 billion U.S. consumer technology industry.
Watch the promo video on YoutubeMIDI Association Hall A Booth 10302Three Days of Educational Sessions about MIDIMap of The MIDI Association booth and MIDI Association Members Booths In The MIDI Showcase
MIDI Association NAMM Booth Events Thursday, January 23
MIDI Association Lifetime Achievement Awards 2025
Thursday, January 2311:00 AM-11:45 AM 45 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
The MIDI Association will present John Bowen, Karl Hirano, Tadao Kikumoto, Tetsuo Nishimoto, Chris Meyer, Jeff Rona and Brian Vincik with MIDI Association Lifetime Achievement awards for their contributions to MIDI from 1983 to 1990.
MIDI 2.0 Network (UDP) Transport Specification
Thursday, January 231:00 PM- 1:30 PM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
The Network MIDI 2.0 (UDP) Transport Specification defines a way to connect home studios or performance venues via Ethernet and wireless LAN on a local area network using MIDI 1.0 and MIDI 2.0 UMP packets.
TamiX interviews Innovative Chinese MIDI Companies
Thursday, January 23 3:30 PM- 4:00 PM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
Tang Nan (artist name TamiX) who runsMidifan, the largest Music Production website in China will interview Hotone, Medeli, MIDI Plus and Robkooabout the latest developments in MIDI technology in China.
The Music Accessibility Special Interest Group
Thursday, January 234:30 PM- 5:15 PM 45 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
The Special Interest Group on Music Accessibility allows artists, researchers, and others in the music production community to interact directly with MIDI Association companies and provides a forum for discussions surrounding music accessibility and MIDI.
Riverside City College MIDI Jam
Thursday, January 235:30 PM- 6:00 PM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
Come see what this group of talented young music production students have been inspired to create with MIDI. Special thanks to Artiphon, Caedence, Jamstik, Playtime Engineering, Robkoo and others for their donations to the all-MIDI jam.
MIDI Association NAMM Booth Events Friday, January 24
Latest MIDI 2.0 Developments in Apple, Google, Linux and Microsoft Operating Systems
Friday, January 2410:30 AM- 11:00 AM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
The MIDI Association and its members will provide updates on the latest developments in the major operating systems. If you are a developer of MIDI products, this is a presentation you won’t want to miss.
DAW Control Profile-Replacing Mackie control
Friday, January 24 11:30 AM- 12:00 PM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
With MIDI 2.0 support already beginning to appear in Digital Audio Workstations, plugin developers are benefitting from the work being done by the MIDI Association member companies that develop those plugin formats – Apple (Audio Units), Avid (AAX), Bitwig (CLAP) and Steinberg (VST). The DAW Working Group is working on a DAW Control Profile which would supersede proprietary control protocols like Mackie Control and Logic control with a true industry standard for controlling DAWs via external hardware and software.
Build Your Own Audio and MIDI Plug-ins Using JUCE
Friday, January 24 1:00 PM- 1:30 PM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
Senior JUCE developer Anthony Nicholls will show you how you can use JUCE to create your own, unique, audio and MIDI plug-ins that you can make available to other people.
Plugin Formats Open Source Support for MIDI 2.0
Friday, January 241:30 PM- 2:00 PM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
The MIDI Association member companies that develop plugin formats – Apple (Audio Units), Avid (AAX), Bitwig (CLAP) and Steinberg (VST) are working together to develop open-source software that will enable plugin developers to quickly and easily interface with external MIDI gear without the need for any in depth knowledge of MIDI 2.0 or MIDI-CI.
MIDI 2.0 Piano Profile Progress Report
Friday, January 242:30 PM- 3:00 PM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
At NAMM 2024, we showed off a working prototype of the MIDI 2.0 Piano Profile.
This year we focused on two other important parts of the Piano Profile- DAW Plugin support and implementation guidelines with accompanying Audio and MIDI files.
MIDI 2.0 Drum Profiles
Friday, January 243:30 PM- 4:00 PM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
The MIDI Association has made significant progress this year in developing some Profiles focused on electronic drums and drum machines.
MIDI In Music Education and SAE Mexico
Friday, January 244:30 PM- 5:00 PM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
SAE Mexico has been selected to begin work on The MIDI Association’s MIDI In Music Education curriculum by the NAMM Foundation.
They will provide the curriculum materials in both English and Spanish under a Creative Common license and have a unique relationship with Coursera, the massive open online course provider.
Digitaize – Transforming strings with the power of MIDI
Anaheim Convention Center | Front of Hall A | The MIDI Association Booth 10302 800 W Katella Ave, Anaheim, CA, United States
Digitaize takes a completely new approach to augmenting acoustic instruments. This innovative technology uses a unique sensor system to acquire real-time playing data from musical instruments. In this demonstration, the Digitaize Module uses software instruments from Spectrasonics, Moog, and Audio Modeling, a hardware from CME and Roland to showcase its versatility.
MIDI Association NAMM Booth Events Saturday, January 25
MIDI Association Open Meeting
Saturday, January 2510:00 AM- 10:45 AM 45 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
Please join us as we introduce the new MIDI Association Executive and Technical Standards Boards, review the previous year’s progress and take a look at what we want to accomplish in 2025.
MIDI Innovation Awards 2024
Saturday, January 2511:00 AM- 11:30 AM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
Join Jean Baptiste Thibeaut from Music Hackspace and Martin Keary (host of the 2024 MIDI Innovation Awards Show) as they introduce the winners of the 2024 MIDI Innovation Awards.
Innovators Meetup with Rock Paper Scissors
Saturday, January 2511:30 am – 12:15 pm AM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
Meet all the musical instrument, software and app innovators at NAMM! Everyone gets the mic in this networking session. Give your 30-second introduction, connect faces to names around the room, then break to network one on one. Leave with connections to collaborators, customers, allies, and friends.
Riverside City College MIDI Jam II
Saturday, January 254:30 PM- 5:00 PM 30 minutes (America/Los_Angeles)
MIDI Association Booth 10302 (Hall A)
In-Person Only
Come see what this group of talented young music production students have been inspired to create with MIDI.
Special thanks to Artiphon, Caedence, Jamstik, Playtime Engineering, Robkoo and others for their donations to the all-MIDI jam.
ADC is a non-profit event, dedicated to the audio community, focused on learning, facilitating networking and positive working relationships, sharing best practice, and promoting equality, diversity and inclusion across all that we do.
Audio Developers Conference
Tickets to ADC24
Tickets to ADC24 are available for both in person and virtual attendance and range in price with discounts for Academics and Students. Click the button below to see all the options.
MIDI Association Companies Sponsor The Audio Developers Conference 2024
For many years now The MIDI Association has been a community sponsor of the Audio Developers Conference.
At ADC24, MIDI Association members Juce and Focusrite are Gold Sponsors of the conference. Arturia, Avid, Muse Group and Roland are Silver Sponsors and Steinberg is a Bronze sponsor.
MIDI Association Companies Presentations At Audio Developers Conference
MIDI Association companies are giving a number of presentations at ADC24.
The MIDI Association is actually underwriting support for the Workshop: Inclusive Design within Audio Products.
This workshop which is being run by Jay Pocknell of the Royal Institute for the Blind highlights the work being done to make music music more accessible to everyone and features the work of many of the people in the MIDI Association’s Music Accessibility Special Interest Group.
Workshop: Inclusive Design within Audio Products
What, Why, How?
14:00 – 17:00 UTC | Monday 11th November 2024 | Empire
Following the success of last year’s ‘An Introduction to Inclusive Design of Audio Products’, we are delighted to be presenting a follow up this year. The session will promote the work happening across the audio industry to support accessibility and inclusive design. We will focus on providing practical design principles for attendees to take away, backed up by engaging lived experience insights and demonstrations.
In particular, we will showcase the practices of two companies who have been making big waves within accessible music in the last year: Ableton and Arcana Instruments. Jay Pocknell and Tim Yates will be exploring how these companies involved the disabled musician community throughout the design of their products, as well as sharing accessibility top tips for attendees to take away, along with insights from musicians Elizabeth J. Birch and Andre Louis.
Why is this important?
As the audio industry seeks to improve diversity within its workforce, and the music industry seeks to widen the diversity of artists creating music, it is essential that inclusion becomes woven into the design of the tools available.
Overview of the social model of disability. 10 mins.
Why design inclusively? The importance of accessibility in mainstream audio technology. 10 mins.
Inclusive design principles and best practice guidelines for music-making and audio products, including examples from products already on the market. 40 mins.
[Break. 10 mins.]
Call to action. How to learn more, further resources to explore. 5 mins.
Case study – Developing with the community: what Ableton have learnt since investing in accessibility and connecting with their user community during the development of Live 12, Note, and Move. Andre Louis will also demonstrate the accessibility features of Ableton Move. 30 mins.
Case study – From the ground up: how Arcana built a company around inclusive design and developed their first instrument, the Arcana Strum, for all. 30 mins.
Panel Q&A. All panellists. 30 mins.
Beyond ValueTrees
(Confessions of a ValueTree Skeptic)
15:40 – 16:00 UTC | Monday 11th November 2024 | Bristol 2
Presenter:Brett g Porter Lead Software Engineer Artiphon and Executive Board of The MIDI Association
The JUCE website says “The ValueTree class is JUCE’s secret weapon,” and it’s true. They give you:
A really easy way to capture and pass around the entire state of your application’s data at run time
A rich mechanism to watch that data at a fine degree of granularity
Trivially easy persistence of application state
…but at the cost (in comparison to using native POD or class/struct variables) of being:
slower
less convenient to use
less type-safe, since all values are stored in the JUCE var variant type.
This talk will explore the new Cello library to abstract away the underlying API calls in favor of syntax that’s more like working with POD data. The original goal was to be able to write code something like the below, but using ValueTrees as the backing data store:
Roland’s Holistic Approach to AI for Music Creation
12:20 – 12:50 UTC | Tuesday 12th November 2024 | Bristol 3
Presenter:Paul McCabeSVP Research & Innovation Roland Future Design Lab
Presenter:Ichiro YazawaAdvanced R&D Group Leader Roland Future Design Lab
Presenter:Kazuyoshi SasamoriAI Product Manager Roland Future Design Lab
This presentation introduces Roland’s approach to AI for music creation and will include a technical demonstration of a new AI-powered application. Roland will also overview its holistic strategy for AI which considers R&D, policy, and governance mechanisms. As a general-purpose disruptive technology, Artificial Intelligence is in the process of impacting virtually every aspect of life, including creativity. As a leading music technology innovator, Roland is highly optimistic about the potential of AI to enhance and empower human music making but is deeply aware of the need to innovate responsibly.
Expanding SDKs and APIs in Pro Tools
12:20 – 12:50 UTC | Tuesday 12th November 2024 | Bristol 1
Dave TylerSenior Manager, Development Partner Program Avid
In this session, we will discuss how SDKs will play an important part in the future of Pro Tools to enable the integration of partner technologies and workflow solutions.
Introducing ni-midi2
A Modern C++ Library Implementing MIDI2 UMP 1.1 and MIDI CI 1.2
14:00 – 14:50 UTC | Tuesday 12th November 2024 | Bristol 1
Franz Detro – Member of the MIDI Association Technical Standards Board and contributor to MIDI 2.0 and USB Audio/MIDI Device Class specifications. Co-founder of midi2.dev – a collaboration platform for MIDI 2.0 developer resources.
MIDI 2.0 implementations arrived in recent macOS and Linux versions, and Windows MIDI 2.0 support is expected to arrive end of 2024.
ni-midi2 is a modern C++ library implementing MIDI2 UMP 1.1 and MIDI-CI 1.2. The platform-independent library allows you to easily migrate your code to support MIDI 2, while maintaining compatibility to the traditional MIDI 1 protocol.
The talk will cover basic concepts of the library and real-world examples of how it helps you to achieve protocol-agnostic MIDI 2 support in your codebase.
Sponsor Talk from Focusrite
12:20 – 12:50 UTC | Wednesday 13th November 2024 | Bristol 2
TBD
Going Deeper with CLAP
12:20 – 12:50 UTC | Wednesday 13th November 2024 | Bristol 3
Alexandre Bique of Bitwig and Urs Heckmann of u-he join the stage to present updates on CLAP (CLever Audio Plugin API). A lot has happened since CLAP was presented at ADC 23. Alexandre and Urs will briefly focus on industry adoption and give an overview of latest extensions, roadmap and goals. Then they’ll be digging deeper by showing example implementations of some of CLAPs core features, such as Polyphonic Parameter Modulation and Voice Info.
An Efficient, Open-Source C++ Loop Classifier and Tempo Estimator
The Algorithm Behind Audacity’s Brand New Tempo Detection Feature
15:00 – 15:50 Wednesday 13th November 2024 UTC
Matthieu HodgkinsonSenior Software Developer Muse Group
An efficient, offline C++ algorithm for loop classification and tempo estimation is presented, alongside its evaluation framework. The framework provides the area under the ROC curve (AUC) of the classifier, facilitating regression-free development and tuning of the algorithm. The AUC is now 0.93 when evaluated against the set of files (publicly available on freesound.org under the Creative Commons license) listed in the framework’s source code. By providing computation time measurement, the framework has also been useful for optimizing the algorithm, which is now typically over 2500 times faster than real-time (measurement made on a Windows laptop with a 12th Gen Intel Core i7-12800HX processor and 32 GB of RAM). Furthermore, the framework can be used to set the target false positive rate according to the requirements of your application. Algorithm and evaluation framework are open source, and care has been taken to keep the algorithm easily reusable.
The algorithm can be seen as a “classical” algorithm and reuses ideas described elsewhere in the literature. However, the idea behind the classifier is original. A set of loosely plausible numbers of tatums (or ticks) fitting in the duration of the provided audio file is taken. The likelihood of each tatum count hypothesis is evaluated by measuring the distance of each onset to its closest tatum and using the onset’s strength in the weighted average of all distances. The average is then compared to a threshold, and, if below, a disambiguation step is carried out, where the number of tatums is reused to determine the most likely tempo (BPM) and time signature.
As implied above, the input audio must be a loop for its tempo to be detected. This limitation was not deemed critical for the application the algorithm was intended for. On the other hand, it opened possibilities to improve the discriminant factor of the classifier, allowing a higher success rate while keeping the false positive rate low. This choice may explain the originality of the approach despite its simplicity.
As you can see the Audio Developers Conference and The MIDI Association have a close and copacetic relationship because many of our corporate members are supporters and sponsors of the Audio Developers Conference.
If you are at ADC24, please keep your eye out for these presentations and come up and say hello to the many MIDI Association members who will be there.
2 Days of Video Game Music, Sound, Dialogue and More
Game Music and Sound Design Conference
GameSoundCon 2024- October 29-30- Burbank Convention Center- Burbank, CA & Online
GameSoundCon 2024 is hybrid!
We attended GameSoundCon and got to catch up with composers, sound designers, dialogue specialists, researchers, educators and others who want to keep up with the cutting edge in video game sound, music, dialogue and technology.
Topics included:
Video Game Music Composition
Game Sound Design
Technology
Business/Career
Virtual/Mixed Reality Audio
Dialogue/Performance
Interactive Audio Research
Ludomusicology and the study of game music and sound
Tutorials
Game Music and Sound Design Education
The composers we tlaked to were very excited about the developments in MIDI 2.0 in particular the Orchestral Articulation Profile which will solve many problems with the way articulations are currently handled.
The MIDI Association and IASG Team at Game Sound Con
The MIDI Association was the booth the San Francisco Conservatory of Music (SFCM) as Steve Horowitz, IASIG chair is also the executive director of the Technology and Applied Composition (TAC) program at SCFM.
Pictures above form left to right are Pat Scandalis and Austin Smith from the IASIG and George Sanger (The Fat Man).
George Alistair Sanger (The Fat Man) is often described as a “Legendary Game Audio Guru,” and has been creating music and other audio for games since Thin Ice for Intellivision in 1983.
The Fat Man hosted the annual Texas Interactive Music Conference and BBQ (Project Bar-B-Q), the computer/music industry’s most prestigious and influential conference. The IASIG is contemplating a reboot of Project BBQ perhaps even at a different location.
Most recently George was the Audio Director (and the first audio hire) at billion-dollar tech startup Magic Leap.
Steve Horowitz
Chair of the Interactive Audio Special Interest group Executive director of the Technology and Applied Composition (TAC) program at SCFM.
Athan Billias
Former President of The MIDI Association MIDI Association Executive Board Member Chair of the Orchestral Articulation Working Group
The MIDI Association will be participating in the Audio Engineering Society 2024 which happens October 8-10 at the Jacob Javits Center In New York City. While a large group of MIDI Association members will be on planes headed to Shanghai for Music China, another group of MIDI Association members will head to the Big Apple…
Announcing Audio Developers Conference 2024 The 10th Audio Developer Conference (ADC) returns in 2024 both in-person and online in a new city, Bristol, UK. The in-person and online hybrid conference will take place 11-13 November 2024. Talks at ADC range from audio research, to professional practices, to standards in audio development, as well talks about…
The Interactive Audio Special Interest Group of the MIDI Association is the longest running SIG in the organization. IASIG is an organization in partnership with the International Game Developers Association (IGDA) and the MIDI Association (TMA) that brings together experts to share their knowledge and help improve the state of the art in audio for…
The IASIG is an organization in partnership with the International Game Developer’s Association (IGDA) and MIDI Association (TMA) that brings together experts to share their knowledge and help improve the state of the art in audio for games, websites, VR content, and other interactive performances. Our members share tips and techniques, study trends, and create…
A Week of Game Audio Lessons The Interactive Audio Special Interest Group (IASIG) of the MIDI Association is the special interest group that represents MIDI and audio to the gaming community. This year the all virtual Game Developers Conference includes a number of sessions sponsored by the IASIG and other sessions on audio that should…
What Is Interactive Audio Game Music is incredibly unique because unlike almost every other form of music which is based on a linear temporal framework (a song starts and plays uninterrupted from begin to end), game music is inherently interactive because it depends on the user’s game play to decide what music plays at what time. If…
PR firm Rock Paper Scissors, Inc. explores the new terrain at the epicenter of music and technology through their PR and marketing services as well as the Music Tectonics Conference, podcast, online events, and in-person meetups.
Everything Music Tectonics does explores the seismic shifts that shake up music and technology the way the earth’s tectonic plates cause quakes and make mountains.
Rock, Paper, Scissors
On October, 23, 2024, Rock , Paper, Scissors hosted a creators fair at the at the Annenberg Beach House in Santa Monica. Rock, Paper, Scissors has been working with The MIDI Association for the last few years and at NAMM 2024 hosted an innovation meetup at The MIDI Association booth.
There were a lot MIDI Association companies at the Creators Fair event.
We also got to connect with a whole bunch of students from the Riverside City College Music Industry Club including club president Harley Glenn. Professor Jenny Amaya provides tons of students ( last year we had 60!) to help with our MIDI Association NAMM booth. One of the outcomes of yesterday was getting artiphon, Audio Modeling, Caedence, Geoshred and Robkoo to provide gear for the RCC Music Industry Club so they can start rehearsing for an all MIDI band performance at NAMM.
Music Industry Club (MIC) The purpose of this organization shall be to offer its members the opportunity to gain knowledge, insights, experience, and artistic development in the music industry and community.
Riverside City College
Roland
Roland had a booth showing off their newest samplers and had a Roland Showcase – Sampling Techniques with Jay Ybarra ft. the P-6 & the SP-404MKII.
We were just in Shanghai with Buchla artist TamiX and then got to to meet up with Peter Nyboer from Buchla at the Creators Fair.
Buchla
Blipblox
MIDI Innovation Award entrants, BlipBox was there.
Adam also did an interview with Seids, who works with a lot of MIDI Association companies including Apple Logic and Focusrite.
Dawn Audio
Diego Pinzon, from Dawn Audio was there and we also got a chance to meet co-founder, Mandy Ortiz. We spend a lot of time catching up on the DAW working group activities and the MIDI In Music Education Initiative.
Athan Billias and Diego Pinzon from Dawn Audio. Mandy Ortiz, co-founder of Dawn Audio
Eternal Research
Another MIDI Association member and Innovation Awards entrant Eternal Research was displaying their Demon Box at the Creator Fair.
We also got to catch up with MIDI Association members Andrew Sherbrooke from Art and Logic and Scott Barkley from Whirled Notes.
Crazy Pants, MIDI Hoodie and MIDI Hat
At the very end of the event, we ran into the organizer, Dmitri Vietz from Rock, Paper Scissors and one of the artist who gave a talk at the event, Ricky Tinez. Ricky was wearing his MIDI hoodie from his website.
Crazy Pants (that’s Dmitri’s nickname), Ricky Tinez in his MIDI Hoodie and Athan Billias with his MIDI hat at the Music Tetronics event.
Already looking forward to next year’s Music Tectonics
This was a really well produced event with tons of great content, lots of music tech start ups and of course a lot of creators who love MIDI.
We are planning on an event with Rock, Paper, Scissors at NAMM 2025 as they are in The MIDI Showcase.
We have even started planning for next year’s Music Tectonics event because it was such a great event in a stunning location.
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.
Music China and the Chinese Musical Instrument Association (CMIA) have really stepped up their support for MIDI and digital music making and right next to The MIDI Association booth was the X Stage where we did a number of presentations over the course of 4 days.
Brian Hardgroove and Sennheiser Immersive Audio Presentation
Because of a long standing relationship, Sennheiser supported Brian Hardgroove’s appearance at Music China’s opening performance. He also did the first presentation on the X Stage next to The MIDI Association. Brian along with IMAC advisory board member Nevin Domer (who ran a punk record label in China and speaks fluent Mandarin) and Zhao Yajun, engineering specialist for Sennheiser presented a talk on the X Stage. Brian focused on the process of cross border, cross cultural communication in working on songs with Bian and Kong and Zhao Yajun focused on Sennheiser products particularly the HD490 Pro headphones.
The MIDI Association had worked with Music China and Sennheiser so people could come to The MIDI Association booth and register to receive a copy of a song written by Brian which featured Bian on Erhu and Kong on piano and also enter a drawing to win a pair of headphones.
This really helped us increase traffic at the MIDI Association booth.
MIDI Innovation Awards and Chinese Users Choice Awards Presentation
Finalists in the MIDI Innovation Awards were invited to participate in Synthefest UK 2024 , Music China 2024 and NAMM 2025. Here is an article we did Synth Fest UK on the event and a picture of from the event itself.
In researching this article, we relied on many first person resources and accounts. We have spent a lot of time unpacking these stories from decades ago because we feel that the history of MIDI needs to be captured correctly for posterity. Many people and organizations including NAMM and AMEI provided access to their files about…
Boaz from Arcana Instruments Strum, Jean Baptiste Thiebaut from The MIDI Innovation Awards and Andrej Kobal from seqMPEror.
At Music China we had a great panel and participation by several of the winners and finalists. Here is the promotional video we created to promote the event at Music China.
MIDI Innovation Awards and Chinese Users Choice Awards
Finalists in the 2024 MIDI Innovation Awards were also entered into the Chinese Users Choice Awards where Music China promoted the products in China and users were able to vote for their favorites.
Audio Modeling won both the MIDI Innovation Awards in the non commercial software category and the Chinese Users Choice Awards. We covered this in our article The MIDI Association At Music China 2024
This picture shows the ranking of the Chinese Users Choice Award winners.
There were a lot of MIDI Innovation Award finalists and winners at Music China including Audio Modeling, Arcana Strum, Party Maker and Flex Accordion.
Audio Modeling explains the UniMIDI Hub at Music ChinaHaim Kairy holds up the Arcana Strum at the Music Accessibility panel at Music China 2024Particle Shrine Video at Music ChinaParty Maker and Flex Accordian
MusicX Stage Music Innovation Awards Presentation
Music Accessibility Presentation
Above is the promotional video we created to promote the event at Music China.
The Music Accessibility presentation at the X Stage featured two 2024 MIDI Innovation Award winners. Arcana Instruments won in the Commercial Hardware category for the Arcana Strum and Audio Modelingwon in the non-commercial software category for UniMIDIHub.
In addition to the MIDI Innovation Award winners, we invited two of brand ambassadors and a special guest, Liang Ge from Kong Audio . He showed up several minutes before the start of the presentation because he was interested in music accessibility. His company develops virtual instruments covering modern and ancient Chinese instruments as well as western orchestral instruments.
His English is great so we roped him into being the translator for the Music Accessibility presentation at the very last minute. Thanks to Kong Audio for their support.
Liang Ge from Kong AudioHaim Kairy with Arcana Strum
MIDI In Music Education Presentation
With all the support we got last year from Xinghai Conservatory of Music and this year from Shanghai Conservatory of Music, we know that MIDI In Music Education is going to be an important topic in China in the future.
Zhao Yitian and Athan Billias from the MIDI Association executive board gave visitors to Music China an update on our plans to release a MIDI curriculum created by SAE Mexico and encouraged Chinese universities to translate our documents into Chinese.
MusicX stage MIDI in Music Education Music China 2024
In our next article, we’ll cover the 4 hour MIDI Forum that Music China arranged for Saturday, October 12, 2024.
Sound Without Sight is a new non-profit initiative, aimed at supporting sight-impaired people in the fields of audio and music. They will: showcase blind and partially sighted talent, highlight how accessibility barriers can be overcome, combine collective knowledge, and challenge stereotypes.
They have started started a monthly series of meet ups with next one being on Thursday 17th October 2024, 7pm UK time. that will feature a live demonstration of MuseScore Studio with a screen reader by headline guest James Bowden!
James is Braille Technical Officer at RNIB, and his feedback has been key in shaping the development of accessibility features within MuseScore in recent years.
The demonstration will last around 60 minutes, with a further 30 minutes for questions. This will be a relaxed, informal discussion and audience participation is encouraged.
We thought it was time to introduce the members who regularly attend these meetings so you can get to know their backgrounds and why they are passionate about making music making accessible to everyone. The Music Accessibility Standard Special Interest Group in The MIDI Association has been meeting regularly for over a year now every other Wednesday at 8 am Pacific Time.
Juho Tomanien- MASSIG Chair
Juho Tomanien is a student from Finland who had a vision for a Music Accessibility Standard. Just because you are blind, doesn’t mean that you can’t have a vision. Take Stevie Wonder whose Inner Visions album is considered one of the greatest records of all time.
Juho reached out to the MIDI Association after someone of KVR Audio suggested that perhaps The MIDI Association might be a good place to start up a conversation about Accessibility.
It turned out that there were already a number of MIDI Association member companies who had been working with accessibility consultants like UK producers/recording engineers Scott Chesworth and Jason Dasent and had already been adding accessibility features to their products. Juce which runs the Audio Developer Conference was also already onboard and had been hosting accessibility workshops at ADC for several years.
In 2023 at the ADC conference Jay Pocknell from the Royal Institute for the Blind hosted a packed session of developers trying to learn how to use Juce to add accessibility features to their products.
Workshop: An Introduction to Inclusive Design of Audio Products – Accessibility Panel – ADC23
MIDI Association members from Audio Modeling, Arturia, Native Instruments, Roland and more have joined together with The Royal Institute for the Blind and visually impaired producers and musicians like Juho, Scott Chesworth Jason Dasent and more to discuss how MIDI 2.0 might enable Music Accessibility and make making music accessible to everyone.
Jay Pocknell-SoundWithoutSight.org and the Royal Institute For The Blind
Jay Pocknell, SoundWithoutSight.org and the Royal Institute For The Blind
As a sight-impaired musician, I first considered plans for a project in 2018. I was achieving my dream of working in commercial recording studios but also found that there were significant barriers to accessing the equipment and culture. I became aware that my fully-sighted peers could be more agile within the industry. Rather than becoming frustrated, I wanted to use my experience as motivation to inspire change. I refused to believe that I was the only person to have struggled.
Ph.D. student at the Music Informatics Laboratory at the University of Milan, in collaboration with Audio Modeling.
From a young age, I was captivated by the transformative power of music. However, as I delved deeper into the world of digital instruments, I began to notice a glaring gap in accessibility. The tools that are supposed to empower creativity often come with barriers that exclude many from fully engaging in music-making. This realization fueled my desire to create digital instruments that are not only innovative but also inclusive, designed to be accessible and usable by everyone, regardless of their physical abilities or technical expertise.
Through my research, I aim to challenge the status quo by designing instruments that are adaptable and intuitive, ensuring that the joy of music is within reach for all. To deepen my understanding and to extend my vision of accessibility, I joined MASSIG (the Music and Accessibility Special Interest Group). Being part of this community has allowed me to connect with musicians who face real challenges in their everyday interactions with digital instruments. These interactions have been invaluable in shaping my research, providing me with insights into the practical needs and problems that must be addressed.
My journey is driven by the belief that music should be a universal language, and to achieve that, the tools we create must be as inclusive as the art form itself. As I continue my work, I am committed to breaking down barriers and ensuring that every musician, regardless of their background or ability, has the opportunity to express themselves through digital music. Short bio: I’m Vanessa, and I am currently pursuing a Ph.D. at the Music Informatics Laboratory at the University of Milan, in collaboration with Audio Modeling. My passion for music and technology has led me to a research project that sits at the intersection of both fields: the ideation and development of accessible digital music instruments.
Emanuele Parravicini, co-founder and CTO of Audio Modeling
Emanuele Parravicini is the co-founder and CTO of Audio Modeling. He holds a degree in Telecommunications Engineering and a Master’s in Information Technology. With a deep passion for music and music technology, Emanuele is a strong advocate for inclusivity, particularly in the realm of musical technology.
At Audio Modeling, he leads the development of innovative products, including the UniMIDI Hub, a software platform designed to integrate various accessible devices. This platform enables real-time control of digital instruments or music production software by multiple users simultaneously, whether they are individuals with disabilities, students, amateurs, or professionals.
Emanuele’s commitment to making music technology accessible to everyone is the driving force behind his involvement in the MASSIG – Music Accessibility Standard Special Interest Group. His expertise and dedication to inclusivity in the field align perfectly with the group’s mission.
I am Emanuele Parravicini, co-founder and CTO of Audio Modeling. I hold a degree in Telecommunications Engineering and a Master’s in Information Technology. With a deep passion for both music and music technology, I am a strong advocate for inclusivity, especially within the realm of musical technology.
In my role at Audio Modeling, I oversee the development of our products, including one of our latest projects, the UniMIDI Hub. This software platform aims to integrate various accessible devices, allowing real-time control of digital instruments or music production software by multiple users at once, whether they are individuals with disabilities, students, amateurs, or professionals.
My commitment to making music technology accessible to everyone is what led me to join the MASSIG – Music Accessibility Standard Special Interest Group. I believe that inclusive technology can empower people to create and enjoy music, and I am dedicated to contributing to this important mission.
Emanuele Parravicini
Haim Kairy- CEO – Arcana Instruments
I am an engineer, software developer, maker, entrepreneur, and musician, currently serving as co-founder and CEO of Arcana Instruments. Throughout my professional career in technology startups and consulting for banks, energy, and insurance companies, I never found a true sense of purpose. Music has always been central to my life, playing, recording, producing, and performing. Without it, I would surely be lost.
Eight years ago, everything changed when my friend Boaz, a music-school teacher, showed me a video of Gil, a 12-year-old girl with cerebral palsy, trying to play the guitar. Unfamiliar with CP, I was moved by her passion and frustration as she struggled to control her hands and fingers. Realizing that no suitable instrument existed for her, we were heartbroken. However, seeing Gil controlling her motorized wheelchair with a joystick inspired us to create an accessible musical instrument she could play.
What began as a hackathon project for one girl evolved into a year of research, working with individuals aged 5 to 95 to develop the Arcana Strum, an inclusive, adaptable musical instrument. We raised capital from angel investors and government grants, left our day jobs, and fully committed to this mission.
Meeting hundreds of people with disabilities and making music accessible to them has made a huge impact on me. I’ve come to understand that a significant portion of the population is systemically excluded from learning and playing music, a body-brain-developing, spirit-lifting activity I once took for granted.
As part of the MIDI Association Special Interest Group, Arcana gains invaluable insights from musicians and professionals about music accessibility needs. We aim to contribute our resources, knowledge, and experience to create an inclusive and accessible music landscape for everyone.
Micheal Strickland , Specialized Faculty in Music Technology at Florida State University
Michael Strickland is a passionate advocate for music education and accessibility, leveraging his expertise in music technology to create innovative learning and performance environments. As a member of the MIDI Association, he participates in the Music Education and Accessibility Special Interest Groups, where he promotes the use of MIDI as a tool for enhancing musical expression and inclusion. He is also a skilled performer, engineer, and researcher, with a diverse background in physics, music, and improvisation. He is honored to serve as a judge for the MIDI Innovation Awards and celebrate the creative potential of MIDI.
I have previously worked in the broadcast industry, delivering control and monitoring interfaces for visually impaired users and improving access to various production tools.
I know that improvements to a product’s accessibility improves workflows for all of its users and that considering the access to all elements of a product, for all users at the earliest stage of design is the best way to deliver a product that works best for the widest audience. This is not just a social benefit, it is good business practice. Whilst engaging where necessary with product modifiers (such as screen readers), I much prefer to design products that work for each user’s ability. I consider what interface the users can use and how they can access the features of a product. That includes forgetting about GUI for totally blind users, reconsidering tactile controls for users without physical reach or dexterity, designing workflows with appropriate levels of complexity for users with different cognitive abilities, etc.
All of these considerations, and more should be fitted into as many of our products as we can. The core learning is that user interfaces may be significantly different for different users of the same product, to provide a similar user experience.
I have done this in the past and strive to do so with the projects I work on now and in the future. It is this experience, skillset and aspiration to improve musicians experience that attracts me to MASSIG.
Design for all and all benefit.
Sam Prouse- Music Technologist
Samuel Prouse is a passionate music technologist whose journey with sound began in the vibrant 1980s, inspired by the iconic synths that defined the era. Growing up, He channelled this passion into building rigs, DJing, and live performances, initially as a hobby. In 2008, a deep love for music technology led to a bold career shift, prompting him to pursue formal education in the field. However, just before beginning these studies, life took an unexpected turn with the sudden loss of sight in the left eye, later leading to a diagnosis of multiple sclerosis. By the end of his BTEC studies, He was registered visually impaired, which brought unique challenges to his educational journey and professional aspirations.
Despite these obstacles, Samuel demonstrated remarkable resilience, earning a foundation degree, a BA Hons, and an MSc in Music Technology. Throughout this academic journey, Samuel explored the creative implications of device interfaces, both hardware and software, with a particular focus on visual accessibility. In 2021, when JUCE released version 6.1 with enhanced accessibility features, he developed skills in C++ and interface design, driven by a commitment to improving accessibility in music technology.
After graduating with distinction, Samuel ‘s PhD bursary proposal was accepted, allowing him to focus his research on universal design concepts within the music technology industry. As an active member of the Music Accessibility Standard Special Interest Group, Samuel has found a collaborative space to share innovative ideas and concepts, further strengthening his research. Being part of such a committed group has provided constant inspiration to develop new ways of interacting with music technology. Today, he is dedicated to pioneering new ways of interacting with music technology, ensuring that the industry evolves to be more inclusive and accessible for all.
Sam Prouse demoing accessibility settings to the Music Accessibility Standard SIG
Same Prouse Highlights Music Accessibility on YouTube
Demystifying screen readers #1 We can drag and drop.
Accessible prototype synthesiser with voice activated parameters
Accessible piano roll and break point generator prototypes
Designing Plugins for low vision
Music Accessibility at Music China and ADC
We are planning a number of upcoming Music Accessibility events – one at Music China in October and then another led by Jay Pocknell at Audio Developers Conference in November.
Here is a promo video for the event at Music China and then a list of recent posts.
As the VP of Product at Muse, Martin plays a crucial role in overseeing and mentoring the teams responsible for a diverse range of products, including Ultimate Guitar, MuseScore Studio, MuseScore.com, Audacity, Audio.com, and the Muse Hub.
He also runs a YouTube channel called ‘Tantacrul’, where he shares his thoughts on music, technology, philosophy, and design.
The 2024 MIDI Innovation Award Judges
Michelle Darling
Assistant Chair of the Electronic Production and Design Department at Berklee College of Music
Mark Isham
Film Composer and recording artist with over 4 billion dollars in gross of films scored
Bian Liunian
Chinese Erhu musician, composer and musical director of the Beijing 2008 Olympic Closing Ceremonyand the CCTV New Year’s Gala, one of the most watched television programs in the world
Moldover
Musician and instrument designer and is widely recognized as the godfather of controllerism
Jeff Rona
American composer for film and games and the founder and first president of The MIDI Association
Michael Strickland
Specialized Faculty in Music Technology at Florida State University and an active member of both the MIDI In Music Education and the Music Accessibility Standard Special Interest Groups of The MIDI Association.
Join us as our esteemed panel of judges review and discuss the three finalists in each of the five categories of the MIDI Innovation Awards and selects a winner for:
Artistic/Visual Project or Installation
Software Prototypes/Non-Commercial Products
Commercial Software Products
Hardware Prototypes/Non-Commercial products
Commercial Hardware Products
For more information on the finalists, click on the link below.
5 OCTOBER 2024 – THE OCTAGON, SHEFFIELD Exhibition \\ Retailers \\ Education \\ Modular Meet \\ Seminars & Demos Come and see Keyboards – Desktop Synths – Modular – Software Synths and much more.
SynthFest UK 2024 takes place in Sheffield on Saturday 5th of October 2024 (10:30am – 6:30pm) and has been created by Sound On Sound magazine to give companies of all sizes an opportunity to showcase their synth products in front of the public in what promises to be a great day out for all musicians, whether a pro, semi-pro or hobbyist. The Octagon Centre, Clarkson Street, Sheffield, S10 2TQ (Next to the University of Sheffield Student Union building)
For more information, check out the Synthfest UK website.
Tickets for SynthFest UK 2024 now on sale via See Tickets
Early Bird Ticket – £15.99 (plus fee) available until 31 August. Advance Price Ticket – £17.99 (plus fee) from 1 September. Walk-Up Ticket – £25 on the day.
Students, Registered Claimants and Senior Citizens (60 Yrs+) – £9.00 (plus fee) Children (14-18 Yrs) – £7.00 (plus fee)
Children (Under 14 Yrs) – Free
Ticket price includes free entry to Seminars and Demos.
Sound On Sound is the media partner of The MIDI Association for The MIDI Innovation Awards and MIDI Innovation Awards finalists, Sound On Sound staff and representatives of The MIDI Association will all be there.
Following companies exhibited in 2023 and many of them have booked for 2024 already with more to come. MIDI Association members are in bold.
The MIDI Association has been actively involved with Music China for many years. You can read about that history in the articles at the bottom of this page.
But in this article, we’ll focus on Music China 2024 because there is a lot going on.
Statistics About Music China
Date: October 10-13, 2024 (Thursday-Sunday)
Last year there were122,184 people who attended Music China from 92 countries and there were 1,832 from 23 countries. You can get an idea of what Music China 2023 was like from this picture.
The MIDI Association Booth
Rendering of The MIDI Association Booth design
The MIDI Association booth will have areas for MIDI 2.0 products, MIDI Innovation Award products and explanations of our major initiatives- MIDI In Music Education, Interactive Game Audio, and Music Accessibility.
This is a picture of Andrea Martelloni, one of the winners of the 2023 MIDI Innovation Awards at last year’s MIDI Association booth at Music China. He traveled to China and spent 4 days demoing to both end users and companies who were interested in his technology.
MIDI Association Companies at Music China
A number of MIDI Association companies will have booths at Music China in the Hall N, MusicX area.
The following MIDI Association companies will have booths at Music China (some in the Music X Area and some in the other halls at Music China).
Music X area
Artiphon
Amenote/Azotech
Audio Modeling
CME
Donner
MIDIPlus
Synido
Novation
ASM-Ashun Sound Machines
Avid
Medeli: W4B42
Ringway: W4E42
Amason: W1D20, N1C55
Donner: W5C52
Hotone: W5E32
Mooer: W5C44
The Chinese Users Choice Awards
Music China arranged for all 15 finalists in the 2024 MIDI Innovations Awards to be entered into the Chinese Users Choice Awards.
This year’s winners of the Chinese User Choice awards are:
Audio Modeling- UniMIDIHub
Artiphon-Chorda
Manifest Audio-Sonification Tools
Christo Squier-Particle Shrine
Playmodes Studio-PPFF
The winner of the Chinese Music Choice Awards will be automatically entered into the Future Shock Awards which includes which includes entrants outside of The MIDI Innovation Awards and also entrants from China.
Presentations at the X Stage in Hall N
The MIDI Association will be doing three presentations at Music China’s X Stage in Hall N.
Chinese Users Choice and MIDI Innovation Award Winners
MIDI In Music Education
Music Accessibility
We’ll provide more details on the presentations and times soon.
Presentations at the Music Lab last year at Music China 2023
Performance at the opening ceremony of Music China 2024 by Brian Hardgroove, Bian Liunian and Kong Hongwei
Brian Hardgroove-Musician/Producer and bass player for Public EnemyBian Liunian- Chinese Erhu musician, composer and musical director of the Beijing 2008 Olympic Closing Ceremony and the CCTV New Year’s Gala, one of the most watched television programs in the world and 2024 MIDI Innovation Award judge.The renowned Chinese jazz pianist, Kong Hongwei (known by his nickname- Golden Buddha) is celebrated as China’s most influential and inspiring jazz musician.
Mr. Hardgroove first started a close relationship with The MIDI Association at the 2023 NAMM show when his band Resonant Alien performed at the celebration at the MIDI@40/HipHOP@50 celebration.
Brian is attending Music China on the behalf of Sennheiser and he has written a song specifically for the occasion that will be mixed in immersive audio. It will feature recorded performances by Mr. Bian and Mr.Kong.
Hardgroove, Bian and Kong will perform the song live at the Music China opening ceremony where people will be invited to come to The MIDI Association to listen to the immersive audio mix on Sennheiser HD-490 headphones.
At The MIDI Association booth, people will be able to scan a code for a free download of the song and enter a raffle to win a variety of prizes including a pair of the Sennheiser headphones, an Artiphon Chorda, NFR codes Audio Modeling SWAM software and Manifest Audio Sonification Tools an other prizes.
Opening Ceremony at Music China 2023
Stay tuned for more about The MIDI Association
at Music China 2024
There is obviously a lot going on at The MIDI Association right now, but check back regularly because there are some really exciting things planned that we are just in the process of confirming. Also check out the following articles detailing our long and friendly relationship with Music China.
By the way for many people around the world, you no longer need a visa to visit China and even for the US, UK and Canada, it is pretty easy to go to Music China under a 6 day transit visa (you just need to travel to another country rather than go directly back to your country of origin).
Entering a New Era for Music and Musical InstrumentsThe Future of MIDI 2.0 Technology Joe Zhang from Medeli and the MIDI Association Technical Standards Board At Music China 2020’s MIDI Technology Forum, Joe Zhang (pictured in the article cover photo) gave an in-depth presentation covering a variety of MIDI topics. Joe is in the R&D department of MIDI Association corporate member Medeli and also…
This is a translation of an article on the Chinese Musical Instrument Association’s website. The original article is linked below. Music China is now scheduled for January 14-17, 2022 Creating an interconnected space for music technology and leading the cross-border integration of the musical instrument industry Under the background of the Internet+ era, science and technology…
The MIDI Association, Music China and the Chinese Musical Instrument Association cooperate together to promote MIDI in China In the past year, with the help of MIDI Association Exec Board member Yitian Zhao, CEO of CME and Technical Standards Board member Joe Zhang of Medeli, the MIDI Association has greatly expanded our promotion of MIDI…
MIDI has grown in importance in China as Chinese companies expand in both domestic and overseas markets The MIDI Association is tasked with promoting and managing MIDI specification for MIDI in every country in the world except Japan where the Association Of Music Electronics Industry (AMEI) is responsible for MIDI. Thanks to the leadership of Yitian Zhao,…
Music China is back after three years During the pandemic, Music China and The MIDI Association worked closely together to keep information and news about MIDI and MIDI products available in China. Music China hosted online events on their WeChat channels and together we figured out a clever way to iFrame our MIDIable meetings so that…
Last year at Music China, Shanghai Intex who runs the Music China show arranged for The MIDI Association to have three brand ambassadors from Xinghai Conservatory of Music in Guangzhou. They were students who were studying at the school and were proficient in English and music technology. They are an amazing help in communicating with…
The MIDI Association will be participating in the Audio Engineering Society 2024 which happens October 8-10 at the Jacob Javits Center In New York City.
While a large group of MIDI Association members will be on planes headed to Shanghai for Music China, another group of MIDI Association members will head to the Big Apple to represent The MIDI Association at AES.
Lee Whitmore, Chair of the MIDI In Music Education initiative will be there in his role a VP of Education for Focusrite and Steve Horowitz, Chair of the Interactive Audio Special Interest Group will be giving several talks on Game Audio. Here are some topics lead by Steve Horowitz and then a few others by Micheal Bierylo, fomr Berklee College of Music that would be of interest to MIDI Association members.
Get Smart! – Everything you wanted to know about game audio education but were afraid to ask!
Steven Horowitz, Dafna Naftali, Alistair Hirst
Take the Blue Pill-Interactive and Adaptive Music In the 21st century
Steven Horowitz
The Technical Legacy of Dr. Robert Moog
Michael Bierylo, Steve Dunnington
Expressive Control in Electronic Instruments
Michael Bierylo, Jesse Terry, Richard Graham
AI in Electronic Instrument Design
Michael Bierylo, Akito van Troyer
Sustainability in Music Technology Manufacturing
Michael Bierylo
New Directions in Modular Synthesizer Design
Michael Bierylo
There are a number of MIDI Association companies who have booths at AES.
Avid, Eternal Research (makers of MIDI Innovation Award contestant Demon Box), Icon Pro Audio and Juce’s parent company Pace will be at the show.
Step into a world of audio innovation and inspiration at AES Show 2024 NY, the flagship event of the Audio Engineering Society. This annual gathering unites over 10,000 audio professionals, enthusiasts, and exhibitors from around the globe. Whether you’re a seasoned expert, a novice, or a student, the AES Show provides a platform for collaboration, discovery, and learning.
Audio Engineering Society
Below are the prices for attending AES which include a ticket just for exhibits which is quite reasonable.
The 10th Audio Developer Conference (ADC) returns in 2024 both in-person and online in a new city, Bristol, UK.
The in-person and online hybrid conference will take place 11-13 November 2024.
Talks at ADC range from audio research, to professional practices, to standards in audio development, as well talks about application areas and career development. Experimental projects are welcome.
Topics include, but are not limited, to:
Digital Signal Processing
Audio synthesis and analysis
Music technology, DAWs, audio plug-ins
Game audio
3D and VR/AR audio
Creative coding
Other applications of audio programming (e.g. telecommunications, multimedia, medicine, biology)
Design and evaluation of audio software and hardware systems
Programming languages used for audio development (e.g. C++, Rust, Python)
Software development tools, techniques, and processes
Performance, optimisation, and parallelisation
Audio development on mobile platforms
Embedded, Linux, and bare metal audio programming
Low-latency and real-time programming
Best practices in audio programming
Testing and QA
Educational approaches and tools for audio and DSP programming
Planning and navigating a career as an audio developer
Other relevant topics likely to be of interest to the ADC audience
The MIDI Association and ADC
The MIDI Association is a community sponsor of Audio Developers Conference and several MIDI Association companies are paid sponsors of the event.
ADC is run by PACE Anti-Piracy Inc., an industry leader in the development of robust protection products, and flexible licensing management solutions. PACE acquired JUCE a few years ago.
JUCE is the most widely used framework for audio application and plug-in development. It is an open source C++ codebase that can be used to create standalone software on Windows, macOS, Linux, iOS and Android, as well as VST, VST3, AU, AUv3, AAX and LV2 plug-ins.
Several MIDI Association companies are sponsors of Audio Developers Conference including Gold Sponsors Juce and Focusrite, Silver sponsor Avid, and Bronze sponsor Steinberg.
Franz Detro from Native Instruments will be doing a talk introducing ni-midi2, a modern C++ library implementing MIDI2 UMP 1.1 and MIDI CI 1.2 and also the open source software available on MIDI2.dev.
Franz is on The MIDI Association Technical Standards Board and an active participant in the MIDI 2.0 Working Group, the DAW working group which is working on open source software for how plugin formats including Apple Audio Units, Avid Audio Extension, Bitwig CLever Audio Plug-in, and Steinberg VST3.
He will be available at ADC to answer questions about MIDI 2.0 and The MIDI Association. The Interactive Audio Special Interest Group (Tom Poole from JUCE is on the IASIG steering committee) will hold an online meeting during ADC.
The MIDI Association will have both in person and on line representation at ADC and ADCx Gather.
The ADCx Gather one-day online event is free and open to everyone in the audio developer community (registration required). ADCx Gather is hosted in Gather.Town, a browser-based virtual online platform that allows attendees to interact and collaborate in real-time.
ADCx Gather takes place on the 1st of November starting at Noon UTC.
Registration for this event has not yet started. Sign-up for the ADC newsletter and be the first to know when ADCx Gather attendee registrations begin.
Tickets for ADC
There are different tickets available for ADC with in person tickets for corporate, individual, academic and also the same categories for online participation.
The Interactive Audio Special Interest Group of the MIDI Association is the longest running SIG in the organization.
IASIG is an organization in partnership with the International Game Developers Association (IGDA) and the MIDI Association (TMA) that brings together experts to share their knowledge and help improve the state of the art in audio for games, websites, VR content, and other interactive mediums. Our members share tips and techniques, study trends, and create reports and recommendations that game developers, tool makers, and platform owners use to create better products.
IASIG was born out of the Audio Town Meeting at the Computer Game Developers conference in April of 1994. The group first met in June of 1994 to discuss a means for improving audio development tools and upgrading multimedia audio performance. Initially called the AIAMP (Association of Interactive Audio and Music Professionals), the MIDI Association (TMA) assumed responsibility for the group in August of 1994.
IASIG is a partner of the International Game Developers Association (IGDA) and the MIDI Association (TMA).
IASIG operates as an official Special Interest Group of the IGDA, & under the auspices of the MIDI Association, with its own Advisory Board, Steering Committee and Working Groups. The majority of activity is in discussion of various topics of interest to the members, which is conducted via private internet mailing lists. Every participant is free to choose their own level of contribution, and all are encouraged to define issues and establish solutions with assistance from the greater community.
Working Groups are the foundation of the IASIG, which operate as explained in the IASIG Working Group Process. Working Groups are supervised by the IASIG Steering Committee. The Steering Committee ultimately serves the General Membership of the IASIG.
In addition, IASIG may convene an Advisory Board. Advisory Board members are not involved in the day to day management of the organization. As the name suggests, they serve to advise the Steering Committee in areas of specialized expertise, and as ambassadors for the IASIG to specific industry segments.
The process, in general, is geared towards gaining consensus, and the wider SIG membership is given ample opportunity to comment on the progress of each Working Group through reports given at regular physical meetings as well as via e-mail, internet chat rooms, or regular mail (as the case may be). IASIG recommendations will be forwarded to the IGDA, the MIDI Association, and all other interactive audio industry groups as needed to complete the IASIG mission to positively influence the development of interactive audio hardware and software.
Steve Horowitz-IASIG Chair
Steve Horowitz is not only a criticially acclaimed composer and the Chair of the Interactive Audio Special Interest Group, he is also the executive director of Technology and Applied Composition (TAC) program at SFCM, a position he took over in January, 2024.
Horowitz comes to SFCM after 23 years as Audio Director at Nickelodeon where he worked on scoring hundreds of video games.
Horowitz is also the author of The Essential Guide to Game Audio: The Theory and Practice of Sound for Games on Focal press, and newest book The Theory And Practice Of Music For Games, published January 2024.
2 Days of Video Game Music, Sound, Dialogue and More Game Music and Sound Design Conference GameSoundCon 2024- October 29-30- Burbank Convention Center- Burbank, CA & Online GameSoundCon 2024 is hybrid! We attended GameSoundCon and got to catch up with composers, sound designers, dialogue specialists, researchers, educators and others who want to keep up with…
The MIDI Association will be participating in the Audio Engineering Society 2024 which happens October 8-10 at the Jacob Javits Center In New York City. While a large group of MIDI Association members will be on planes headed to Shanghai for Music China, another group of MIDI Association members will head to the Big Apple…
Announcing Audio Developers Conference 2024 The 10th Audio Developer Conference (ADC) returns in 2024 both in-person and online in a new city, Bristol, UK. The in-person and online hybrid conference will take place 11-13 November 2024. Talks at ADC range from audio research, to professional practices, to standards in audio development, as well talks about…
The IASIG is an organization in partnership with the International Game Developer’s Association (IGDA) and MIDI Association (TMA) that brings together experts to share their knowledge and help improve the state of the art in audio for games, websites, VR content, and other interactive performances. Our members share tips and techniques, study trends, and create…
A Week of Game Audio Lessons The Interactive Audio Special Interest Group (IASIG) of the MIDI Association is the special interest group that represents MIDI and audio to the gaming community. This year the all virtual Game Developers Conference includes a number of sessions sponsored by the IASIG and other sessions on audio that should…
What Is Interactive Audio Game Music is incredibly unique because unlike almost every other form of music which is based on a linear temporal framework (a song starts and plays uninterrupted from begin to end), game music is inherently interactive because it depends on the user’s game play to decide what music plays at what time. If…
Last year at Music China, Shanghai Intex who runs the Music China show arranged for The MIDI Association to have three brand ambassadors from Xinghai Conservatory of Music in Guangzhou.
They were students who were studying at the school and were proficient in English and music technology. They are an amazing help in communicating with people at the Music China show. Not only could they translate, but we had videos we had create descriptions in Chinese and they were quick to figure out how to use the Visibox software to trigger the multiple videos via MIDI.
But it wasn’t until the last day of the show that we realized they were also really creative software engineers. The young student in the picture above had created software to work with a beat boxer to do duo performances.
We were provided a sneak peak at a number of entries to the 2024 MIDI Innovation awards from students at the University and an article about the school.
Students at the Xinghai Conservatory of Department of Musical Instrument Engineering are leading the integration of technology and artistic vision. Their diverse curriculum in musicology, design, physics, computer science,engineering,and mathematics equips them for innovative contributions in electronic instrument design and development. Their works reflect a blend of technical skill, imaginative exploration, and the rich heritage of musical tradition with digital technology. Next you will see some of the students’ best work!
FMB Sequencer made by Bin Yuan（Tyler）
FMB Sequencer made by Bin Yuan（Tyler）, FM sequencer part which uses pitch multiplication, and then connected to the triangle waveform of the FM waveform, while connected to the capture module, through the different pitch threshold set up to capture, so as to realize the real-time adjustment of the FM drum machine.The Bassline section is first set up with a panel control module, which facilitates direct visual control of all the connected functions. The settings for pitch and pitch grab are similar to the FM sequencer, but the waveform settings are different. I set up three waveforms: sawtooth, pulse, and triangle, which can be used separately or together for synthesized sound effects.
The sound effects created by the FM sequencer and Bassline are finally integrated with the mixer and then connected to the three effect modules to add richness to the sound. The three sound effects are Delay, Phaser and Reverb. In the panel design, in order to increase the visual effect, I added a two-position spectrum module, according to the sound or effect triggering adjustments and change the waveform or lighting cue changes, so that the sound and rhythm of the changes in the panel directly show, and at the same time, increase the user’s direct senses.
The “Moon Performance System,” a project by Zilu Li
The Moon Performance System seamlessly integrates MIDI controller, FM synthesizer, and drum sequencer presenting a cohesive and visually appealing design. The unique dual-circuit board MIDI controller allows users to simultaneously control the synthesizer and drum sequencer, enabling instant switching and concurrent play within the same system. Beyond its aesthetic appeal, this music system opens up new possibilities for music creators and performers. The Moon Sequencer offers a rich array of features, including the ability to adjust drum tones and pitch, select different effects, and engage in mixing processes without the need for additional sound packs. The Moon Fm Synthesizer boasts a cutting-edge frequency modulation (FM) engine, allowing the use of other oscillators to modulate specific ones, narrowing down the digitalized FM synthesis sound. With its unique XY-axis visual adjustment for envelopes and filtering, coupled with effects like distortion, delay, and chorus, it facilitates the effortless creation of captivating sounds. In summary, the Moon Performance System provides a diverse range of possibilities for music creation.
Yizhong Zheng has created two distinct works, XIAO and DYZZY’s SEQ
The first work is a Kontakt sample-based sound source plugin centered around the traditional Chinese instrument, the xiao. It includes samples of fundamental techniques used in woodwind instruments such as blowing, vibrato, air-driven sounds, and percussion. These samples are categorized into three musical intensity levels: pp, mf, and ff, catering to the needs of music arrangement and production. The plugin also incorporates effects like delay, reverb, chorus, and compression, all of which can be adjusted and viewed through the user interface. In terms of design, Yizhong Zheng used 3D modeling software to create a three-dimensional model of the xiao as the right-side skin window, incorporating elements of vinyl and metal to appeal to modern music producers while blending in elements of both Chinese and Western culture.
The second work, named “DZZYZ’S SEQ,” was crafted by Yizhong Zheng using Reaktor software. In developing this drum sample combination sequencer, he combined existing sequencer functionalities available in the market with innovative features. This drum sequencer comprises four types of drums: kick drum, hi-hat, snare drum, and percussion. Each drum can be modulated through various effects, resulting in completely distinct drum sounds. Furthermore, individual drums can be adjusted for pitch and effects, and mute switches are available for each section to create real-time drum effects ranging from subtle to complex. The user panel’s bottom section corresponds to the beats of the four drums (kick, hi-hat, snare, and percussion) from top to bottom along the horizontal axis. Beneath the green box on the user panel are the corresponding beat positions, allowing users to adjust the volume of individual beats by moving the black square within the box. Finally, a filter effect is placed after all channels to modulate the overall music, enhancing the overall musical experience.
OXIDE-Lofi by Liangsen Chen
“OXIDE-Lofi”is a sophisticated lo-fi effect processor offering a rich toolkit for vintage lo-fi sound production.It features advanced input/output level adjustments for significant sound control flexibility. With its panning control, music can be precisely positioned within the stereo field, enhancing auditory effects. The filter functionality supports various modes to accommodate diverse musical styles and requirements, expanding creative possibilities. Integrated reverb effects enrich the spatial depth of compositions, while seamless DAW integration ensures efficiency and convenience in the music production process. These characteristics demonstrate a commitment to technical innovation and enhancing the user experience in music creation.
The “Ya Sequencer” by Zeya Li
The “Ya Sequencer” by Zeya Li is an advanced 16-step sequencer, equipped with a unique array of features such as four distinct drum kits, versatile melodic and harmonic voices, and a dedicated keyboard timbre for nuanced synthesizer production. It stands out with its live performance capabilities, including a page-turning function, an immersive surround sound system, and seven specialized synth-based sound modules, making it a robust tool for both studio and live settings.
Ya Synth by Zeya Li
The“Ya Synthesizer” , also by Zeya Li, offers a dual approach to sound synthesis, combining additive and subtractive methods. The additive section features a versatile oscillator for generating basic waveforms and enriching the sound with overtones, complemented by pitch modulation, filter options, and an ADSR envelope for dynamic sound shaping. The subtractive section expands the sound palette with waveform selection, noise addition for texture, and comprehensive modulation options including filters, an ADSR envelope, delay, pan control, and reverb, designed to cater to a broad range of users from beginners to experts.
Metal E series by Zichong Wang
The “Metal E” series, crafted by Zichong Wang , showcases a suite of personal music plugins designed for simplicity and efficiency. The series spans across three generations, starting with a synthesizer adept at simulating instruments like trumpets, violins, and guitars with unique control features. The second generation introduces a drum machine sequencer tailored for electronic music, featuring an enhanced interface for optimal usability. The third generation evolves into an effects processor that utilizes C sound’s robust data processing capabilities, offering diverse sound synthesis options. Inspired by guitar effects processors, it allows for seamless effect switching and combinations, illustrating Wang Zichong’s commitment to innovation and user-friendly design in music production tools.
RADARR Semi-automatic playing system by Zichong Wang
RADARR Semi-automatic playing system developed by Zichong Wang, is a revolutionary plugin for enhancing live performances of loop-based electronic music. Utilizing Max/MSP for its development, RADARR comprises a synthesizer section, drum machine, track section, and modulation section. It’s engineered to streamline the workflow of live performances, ensuring stability and orderliness on stage. With a focus on simplicity and a modular interface design, RADARR invites musicians to explore new dimensions of electronic music performance and creation, reflecting Wang Zichong’s vision for the future of music technology.
Here is a performance from last year at Music China featuring an amazing beat boxer from Xinghai Conservatory and the RADARR semi-automatic playing system.
Morphium by Shengxuan Huang
Shengxuan Huang has created an ambient music generator patch called Morphium with Max/MSP, employing algorithmic composition principles. The patch comprises two core sections: sound generation and effects processing. It allows users to craft evolving soundscapes with two independent sound generators for atmospheric and percussive elements. Effects like reverb and tape delay add depth.Envelope followers and a randomizer module shape the sounds, ensuring ongoing evolution. The interface is user-friendly, with oscilloscope visualizations, categorized sections, and extensive sound-shaping options. This patch is perfect for generative background music, infinite pad textures, sound installations, or live performances. It provides endless sonic possibilities, making it a valuable tool for creative endeavors, from studio production to multimedia projects. Let it inspire your next ambient masterpiece!
Spaceship by Shengxuan Huang
“Spaceship” is a software synthesizer plugin developed by Shengxuan Huang, built with SynthEdit to offer extensive sound design capabilities through an intuitive interface. It features a multi-waveform oscillator for creating rich analog-style sounds, adjustable in pulse width and volume. Additional sound shaping is provided by a second oscillator, LFO modulation, a multi-mode filter, and an ADSR envelope, along with a playable keyboard for real-time performance. Aimed at musicians and producers, the plugin encourages exploration and experimentation in electronic music and sound effects, highlighting ease of use, creative potential, and depth in sound programming.
Creative Music Production in China
To sum up, these innovative projects indicate significant advancements in the electronic instrument field. Their work, evidencing comprehensive study and creative exploration, signals the creation of new instruments.
As we prepare to examine these students’ works further, it’s apparent their efforts will enliven the future of music, showcasing a new chapter in electronic instrument design and hinting at transformations in music creation and performance methods.
Ikutaro Kakehashi’s impact on music production is undeniable. He founded Roland and oversaw some of the most seminal MIDI products in history. When he passed away on April 1, 2017, we created an article about his life and times.
Today marks the seventh anniversary of his passing.
Just a week ago, Athan Billias, MIDI Association Exec Board member was in Tokyo after meetings in Hamamatsu with the AMEI Piano Profile working group. He was able to catch up and meet with Kakehashi’s son, Ikuo.
Ikuo Kakehashi (son of Roland Founder Ikutaro Kakehashi, Athan BIllias (MIDI Association) and Takanori Kojima (Tokyo Gakki Expo)
Ikuo updated The MIDI Association on what is going on with Kakehashi Foundation.
The Kakehashi Foundation is a non-profit organization that contributes to the promotion and spread of art that applies electronic technology.
Message from the Chair
The Kakehashi Arts and Culture Foundation is a public interest incorporated foundation based on the surname “Kakehashi” of the foundation’s founder, Ikutaro Kakehashi (founder of Roland Co., Ltd.), and the foundation of the arts and culture that give dreams and hopes to people in Japan and around the world. I was reborn with the desire to become a “kakehashi” Unfortunately, the promotion of art and culture in Japan is lagging behind developed countries due to economic priority and results-based culture. I would like to create a society where culture leads the economy. From now on, our foundation will continue to spread joy and excitement to as many people as possible through electronic technology and electronic musical instruments, in accordance with our basic philosophy of promoting and disseminating artistic culture that applies electronic technology. Specifically, we hold performances and lectures using electronic technology, conduct appropriate and effective support activities in the field of art and culture, and conduct educational development projects such as the Japanese representative office for the Royal Musical Examinations. We would like to contribute to the spread of this technology. We will continue to carry out even more fulfilling business activities in the hope of realizing a rich and creative society. We look forward to your continued support and cooperation. Akiko Santo, Chairman of the Kakehashi Arts and Culture Foundation
Artware Hub in Shinjuku
MIDI Association member AVID has partnered with the Kakehashi Foundation and created a very unique space for electronic music performances.
Shinjuku has a long history as one of Tokyo’s most vibrant areas, and Waseda is arguably the district’s cultural and creative nexus. The area is home to the renowned Waseda University, as well as numerous museums, theaters, night clubs, and performance spaces.
Waseda’s newest venue, the Artware hub, opened its doors in late 2019. Commissioned by the Kakehashi Foundation (Arts and Cultural Foundation), the space is the realization of a lifelong dream of Roland Corporation founder and visionary Ikutaro Kakehashi.
What appears at first glance to be a fairly typical live performance venue is, in fact, much more. Designed as an experimental acoustic space, the facility incorporates an unparalleled 36.8 multi-channel immersive audio system based around an Avid VENUE | S6L live sound system and FLUX::Immersive’s Spat Revolution software engine.
Fast Company recently contacted The MIDI Association about the Music Accessibility Standard.
Janko Roettgers from Fast Company reached out to us and we arranged some interviews with members of the Music Accessibility Standard Special Interest Group (MASSIG).
It really seems like this Music Accessibility initiative is gaining more and more traction.
The MASSIG meets every other Wednesday at 8 am Pacific to accommodate the many EU based members.
You can join The MIDI Association’s Music Accessibility Standard by registering on the site and indicating Music Accessibility as one of your interests or send an email to info@midi.org and we can get you set up.
Here are some quotes from the article.
The MIDI Association’s work in this field includes an effort to create a technical standard that could help vision-impaired musicians to more easily control their recording and production gear by loading accessibility settings whenever they plug one of their devices into another. The nonprofit also plans to help spread the word about accessibility, and potentially steward open source software efforts in the field.
For Chesworth, the biggest thing music tech companies can do to further accessibility is to actually listen to blind and vision-impaired people. “ The best people to write a screen reader user experience are screen reader users,” he says. Chesworth believes that companies would ideally hire blind developers to work on accessibility, and he even taught himself programming to contribute to the Reaper accessibility extension.
Written for Fast Company by Janko Roettgers, a San Francisco-based reporter who has written for Variety, Protocol, and Gigaom, among other publications.
BTW, the image for this article was generated by AI with the simple prompt ” Futuristic Music Production Studio for people with accessibility challenges”.
The MIDI Association Selects SAE Mexico to create a MIDI Curriculum
Starting in 2021, Athan Billias (MIDI Association President), Denis Labrecque (former MIDI Association Exec Board member) , and Lee Whitmore (MIDI Association Board Member and Treasurer) initiated biweekly meetings of the MIDI Association MIDI in Music Education (MIME) Special Interest Group.
The group includes various MIDI users and stakeholder types associated with music, audio, and education, from academia, manufacturers, retailers, and other thought leaders.
The MIME Special Interest Group has discussed and worked on topics including:
A definition of MIDI users in education and their needs
A MIDI curriculum outline given the rollout of MIDI 2.0
Ideas and a draft for proposal to the board for a MIDI skills certification program
Regular Participants – In addition Athan, Denis, and Lee, the following are among organizations’ representatives that regularly participate in the MiME Special Interest Group:
1500 Sound Academy, CA
Belmont University, TN
Columbia University
Florida State University
Full Sail University, FL
Guitar Center
Indiana University
Musicians Institute, CA
Next Point Training (Avid Certification)
Rensselaer Polytechnic Institute
Riverside City College
Romeo Music, Dallas
SAE Institutes Latin America
Sweetwater
Tufts University, MA
And Many More
Lee is the VP of Education for Focusrite and has previously held positions as Berklee’s Vice President for education outreach and social entrepreneurship, and also as the inaugural executive director for the Grammy Music Education Coalition so he is a perfect fit as the Special Interest Group chair.
The MIDI in Music Education Charter
The MIME Working Group developed a charter to establish a concrete set of goals.
To raise awareness about MIDI in education at schools (secondary, college and university, and pro schools), and for manufacturer and reseller staff members. Current work includes:
Establishment of standardized, readily/publicly available content (text/video/modules) for use on MIDI.org, to be added to college courses, more; and,
Creation, launch, and actively manage of a MIDI certification program (perhaps a couple levels, general, MIDI 1 and 2, for coding, etc.).
Motivation behind (benefit to the market) of addressing this topic:
Teaching of MIDI is fragmented and there is no standardized curriculum
We need to explain the benefits of MIDI 2.0 and how it works to music educators.
The MIDI Association is the central repository for information on the latest developments in MIDI.
In a recent survey our MIDI Association Corporate members identified educators as a key segment to reach out to.
Paul Lehrman from Tufts University and former MIDI Association Executive Board member drafted a proposed MIDI Curriculum.
Core Curriculum
First Course: Introduction to MIDI
Module I – What is MIDI?
What can MIDI be used for?
Musical instruments, mixing and processing, live performance, education, synchronization, robotics, stage mechanics, multimedia, toys, web, personal electronics
MIDI History: Pre-MIDI (Voltage Control, Digital Control)
Original use of MIDI was to have one keyboard control several instruments, has gone way beyond that
Benefits of Digital (vs. Analog) Instruments
Control, memory, reproducibility
Module II – MIDI Setups
MIDI signal flow and connectivity, live and studio
Tracks/Channels, Data Editing, Data Manipulation, Step Time, Quantizing, etc.
Editing
Graphic, Numerical, and Notation
Looping, Clips
Tempo Map: Time Fitting and Scaling
Bouncing MIDI tracks
Module IV – The MIDI Specification
Serial data protocol, Bits and Bytes
MIDI Connections: DIN, USB, Bluetooth, Ethernet, iOS, Web MIDI
Thru Jacks, mergers and splitters, Computer interface
MIDI Commands: Command/Status Byte, Data Bytes, Program Change
Channels, Notes, Controllers, Modes, and System Messages
Second Course, Advanced MIDI
Module V – MIDI Products
Hardware:
Instruments, modules, controllers
Software:
Softsynths, DAWs, Plugin Formats, Max/PD, OSC
Module VI – MIDI files and General MIDI
SMF, GM, GM2, GM extensions, DLS
General MIDI devices
Module VII – Advanced Topics
Clocking, MTC, Tuning, SysEx, RP and NRP, MPE, Sample Dump
Module VIII – Other applications
Games
Robotics
MIDI Show Control, museums, multimedia
MIDI 2.0 Topics
(This information can be integrated into any of the above modules. i.e. Each section above could include a “MIDI 2.0 Implications” section )
Expanded control and data bytes
Two-way communication
Property Exchange/CI
PROFILES
Backwards compatibility
Topic Based Courses
Course A: MIDI for Music Creation
Using physical controllers—alternative control surfaces
Combining hardware and software synths
Synth programming
Synth control
Plug-ins control
MIDI clocks-synchronization
Looping and clips
Bouncing
Mixing
Course track B: MIDI for audio production
Control surfaces
DSP control
Mixing
MIDI-to-audio, audio-to-MIDI
Pitch-shifting, harmonizing
Synchronization-MTC
Course track C: MIDI for live performance and show control
Alternate controllers
Mapping
Synth control
DSP control
Looping and clips
Mixing
Course track D: MIDI for scoring video, multimedia and post production
Control surfaces
Synchronization-MTC
SFX, sampling
Ambience, DSP
Mixing
SAE Mexico Selected To Begin Work On The Curriculum
After recieving proposals from Indiana University, Next Point Training and SAE Mexico, the MIME Working Group has recommended that SAE Mexico be selected to start work on the curriculum.
There were a number of compelling reasons for selecting SAE Mexico.
First, they will be able to provide the curriculum materials in both English and Spanish. Second, they have a unique relationship with Coursera, the for-profit U.S.-based massive open online course provider. It has become more and more challenging to actually give away courses on Cousera.
All of the materials created for The MIDI In Music Education curriculum will be given away under a Creative Common license. This means anyone is free to take the materials, modify and adapt them for whatever purpose that need. Universities can include portions in their already existing materials without any concerns about copyrights or licenses. It is a great example of what we do.
The MIDI Association gets really smart people to volunteer to work on really difficult problems. Once we solve those problems, then we give away those solutions for free to allow creative people to make music and art with MIDI.
Juho Tomanien is a student from Finland who had a vision for a Music Accessibility Standard. Just because you are blind, doesn’t mean that you can’t have a vision. Take Stevie Wonder whose Inner Visions album is considered one of the greatest records of all time.
Juho reached out to the MIDI Association after someone of KVR Audio suggested that perhaps The MIDI Association might be a good place to start up a conversation about Accessibility. It turned out that there were already a number of MIDI Association member companies who had been working with accessibility consultants like UK producers/recording engineers Scott Chesworth and Jason Dasent and had already been adding accessibility features to their products. Juce which runs the Audio Developer Conference was also already onboard and had been hosting accessibility workshops at ADC for several years.
In 2023 at the ADC conference Jay Pocknell from the Royal Institute for the Blind hosted a packed session of developers trying to learn how to use Juce to add accessibility features to their products.
MIDI Association members from Audio Modeling, Arturia, Native Instruments, Roland and more have joined together with The Royal Institute for the Blind and visually impaired producers and musicians like Juho, Scott Chesworth Jason Dasent and more to discuss how MIDI 2.0 might enable Music Accessibility and make making music accessible to everyone.
Music Accessibility Standard Meeting at NAMM Booth 10302 Friday, January 26 at 3:00 PM
Jay Pocknell from the Royal Institute of Blind People / Sound Without Sight
At Winter NAMM 2024, we had a meeting of the Music Accessibility Standard Special Interest Group and discussed the next steps in creating a standard. Audio Modeling who has been working on a reserach project into this area for several years now outlined their vision of what a music accessibility standard could bring to people.
Audio Modeling’s visions for a music accessibility standard for everyone
As you may know, we are working on a Music Accessibility Standard to make making music accessible to all.
Thanks to MIDI Association member Audio Modeling, we got in touch with Lamar Mitchell and Cristian Perez from Stevie Wonder’s team a few weeks ago and explain to them our ideas about a Music Accessibility standard.
Then a few days Tony Baras, an industry friend from Ultimate Ears called us and let us know that Stevie had some specific ideas about the needs of people with accessibility challenges.
Thanks to Tony, Lamar and Cristian, Stevie visited our CES booth and we were able to explain the goal of the Music Accessibility Standard directly to him and gain his insight on specific needs of people who are visually impaired.
Having worked for Yamaha for many years, I had the pleasure of meeting Stevie before and was actually running the Yamaha booth the year that Ellis Hall (another amazing blind musician) was playing at the booth and Stevie showed. Ellis moved to electronic drums and they did several songs together.
Yamaha also put on a clinic a few years ago at West LA that featured Ellis and Alan Parsons. Stevie showed up to see Ellis at that event too.
It was an honor to be able to share our ideas and goals with Stevie and of course he agreed that making music should be accessible to all.
Come see us at NAMM Booth 10302 on Friday, January 26 at 3 pm for the Music Accessibility Standard panel discussion and then stick around to enjoy Ellis Hall, the ambassador of soul perform.
Ellis is performing at both our booth on Friday right after the Music Accessibility Standard panel discussion and then again at Ultimate Ears booth with Matthew Whittaker, Nate Barnes and Jeremy Jeffers at the Ultimate Ears booth 10720 on Saturday afternoon.
The MIDI Association booth (Booth 10302 at the front of Hall A) at Winter NAMM 2024 is very different than our booths in years past.
It is larger with a 30′ by 30′ footprint. A 10′ by 30′ area will be divided into thirds with displays of MIDI 2.0 products, a MIDI Showcase stage for presentations/performances and an area focused on our MIDI In Music Education, Music Accessibility Standard and Interactive Audio Special Interest Groups. But 75% of the booth is dedicated to 50 seats each with a set of wireless headphones so people can come and comfortably watch and listen to presentations and performances.
We also have Booth 10604 which is a 10′ by 10′ booth shared between Intuitive Instruments who won the Commercial Hardware category in The MIDI Innovation Awards in 2023 and the other MIDI Innovation Award winners
Audio Modeling- Camelot Pro
Hitar- augmented guitar for percussive fingerstyle
Sound Sculpture-an interactive musical instrument comprised of 25 location-aware cubes
Studio 108 is a small meeting space for private meetings during the show.
We are being helped again this year by Jennifer Amaya, Associate Professor of Music at the Riverside City College Coil School for the Arts and member of The MIDI In Music Education Special Interest Group.
We will have 70 students helping with all aspects of the booth including running the Yamaha TF3 digital mixer.
We have put together over 20 different presentations and performances highlighting the innovative power of creating music and art with MIDI.
Below is a listing of all the presentations we have planned. The list starts with a Youtube video summary of the each day’s events and then includes the details of each individual event.
Each day ends with a solo performance by one of the artists who performed in our MIDI@40 celebration at the April 2023 NAMM show on the Yamaha Grand Plaza stage.
Thursday, January 25
Friday, January 26
Saturday, January 27
Sunday, January 28
Full Four Day Schedule (3 minutes and 38 seconds)
MIDI Association Companies at NAMM
37 MIDI Association companies will have booths at the 2024 Winter NAMM show.
Many are in the MIDI showcase area, but there are plenty who are spread around the show in different areas including some of the larger companies like Avid, Steinway and Yamaha.
Here is an alphabetical list of The MIDI Association companies at the 2024 Winter NAMM show with their booth numbers.
The 2023 MIDI Innovation Awards live stream event took place on 16 September 2023 at 10 am Pacific, 1 pm Eastern and 5 pm GMT.
The live stream was hosted by composer/UX designer Martin Keary (aka Tantacrul) and British musician, synth maker, and author of the YouTube channel Look Mum No Computer, Sam Battle.
Now in their third year, the awards are a joint initiative created by Music Hackspace, The MIDI Association, and NAMM, created to showcase both products and projects using MIDI .0 and2.0 in fresh and original ways, and to highlight the role of MIDI technology in empowering musical creativity.
The show highlighted the innovative use of MIDI by all 15 finalists and featured interviews with an all-star panel of judges that included:
Nina Richards, electronic musician and synth hardware designerBian Liunian, musical director of the Beijing 2008 Olympic Closing CeremonyRoger Linn, American engineer, musician, and inventorJean-Michel Jarre, French composer and electronic music pioneerPedro Eustache, Venezuelan-born electronic woodwind soloist and composerMichele Darling, Assistant Chair of Electronic Production and Design at Berklee College of Music
WINNERS IN THE FIVE CATEGORIES WERE ANNOUNCED AT THE SEPTEMBER 16 LIVE STREAM EVENT, BROADCAST FROM TILEYARD STUDIOS IN LONDON.
Exquis combines a hardware surface equipped with a hexagonal matrix of keys with a companion mobile app, aiming to provide musicians of all levels with a fun and intuitive way to create new melodies and progressions. By default, thirds are placed next to each other, with backlit keys able to display any musical scale or custom mapping, and chords all placed in ergonomic shapes that make them easy to play, learn and understand.
The keys are firm enough to play short notes with precision or trigger percussion sounds, but have enough play to modulate long notes with physical movement — Exquis also boasts MPE (MIDI Polyphonic Expression) support, meaning that modulation can be applied on a per-note basis within chords. MIDI, CV and USB connectivity is provided, and the included app makes it possible to choose sounds, record loops and quickly try out different parts and arrangements.
Commercial Software ProductAudio Modeling – Camelot Pro
Camelot Pro is a cross-platform (macOS, Windows and iPad OS) app that is capable of acting as a MIDI patchbay/router, setlist manager, digital mixer, software instrument and effects host, PDF music score display and multitrack audio player! Designed to remove the complications of combining MIDI-enabled hardware and software from different manufacturers, the app allows users to control their entire setup from a single location with minimal knowledge of MIDI.
It can be used to switch modes or manage multi-part patches on connected devices without the need to touch the hardware itself, as well as switching between different routing configurations without having to disconnect and reconnect cables. It is also capable of hosting software instruments and effects, and it’s not just MIDI that’s catered for: the device can also be used to manage audio sources, as well as playing backing tracks, displaying scores or sticky notes and much more.
Prototypes & Non-Commercial Hardware Product Andrea Martelloni – HITar
Aimed at percussive fingerstyle guitarists, the HITar is a device that can be fitted to a regular acoustic guitar and is said to reinvent the way in which a player can interact with the instrument’s body. The unit employs five piezo sensors placed underneath the areas most commonly struck by players, and uses an AI engine to determine which part of the hard is used for each percussive hit.
The resulting MIDI output can then be used to integrate hardware or software instruments or samples into a performance, allowing guitarists to trigger drum and percussion samples or blend sample libraries and virtual instruments with their playing.
Prototypes & Non-Commercial Software Products Max Graf And Mathieu Barthet – Netz
Netz is a mixed reality (MR) software instrument that blends the real and virtual worlds by displaying 3D virtual objects within a real environment. It is a self-contained instrument that features an embedded sound engine, allowing users to produce sounds directly from the head-mounted display using hardware such as a Meta Quest 2. Additionally, it can also be used as an MPE MIDI controller to interface with external virtual instruments over WiFi or USB.
The software’s interface appears as a network where nodes represent notes, which can be mapped to a tangible surface for tactile feedback or be positioned in the air. Performers’ hand poses and gestures are tracked in in real time, allowing Netz to translate subtle hand movements to expressive musical controls; gestures such as the opening and closing of fingers — or movements such as wrist rotation — are recognised and interpreted by the system and can be assigned to specific instrument parameters and MIDI controls.
Artistic/Visual Project Or Installation Ryan Edwards And Masary Studios – Sound Sculpture
Sound Sculpture is a large-scale interactive music sequencer designed for installation at venues such as museums, schools, community centres and public art festivals. Comprising 25 cubes kitted out with positioning tags, batteries, processors, a WiFi antenna and an LED array, the installation allows participants to generate musical patterns by physically moving and rearranging the blocks.
A software application continually scans the locations of the blocks, and uses their physical placement to generate a musical composition, typically with the x-axis representing rhythm and the y-axis representing pitch.
TO VIEW THE LIVE STREAM, PLEASE CLICK THE LINK BELOW.
MIDI Innovation Award finalists were also featured at SynthFest UK 2023 that took place in Sheffield, England on Saturday October 7th 2023 (10:30am – 6:30pm) and at Music China in Shanghai on October 11-14, 2023.
The MIDI in Music Education (MIME) Special Interest Group has defined a MIDI Curriculum and a Certification Program
Starting in 2021, Athan Billias (MIDI Association President), Denis Labrecque (former MIDI Association Exec Board member) , and Lee Whitmore (MIDI Association Board Member and Treasurer) initiated biweekly meetings of the MIDI Association MIDI in Music Education (MIME) Special Interest Group.
The group includes various MIDI users and stakeholder types associated with music, audio, and education, from academia, manufacturers, retailers, and other thought leaders.
The MIME Special Interest Group has discussed and worked on topics including:
A definition of MIDI users in education and their needs
A MIDI curriculum outline given the rollout of MIDI 2.0
Ideas and a draft for proposal to the board for a MIDI skills certification program
Regular Participants – In addition Athan, Denis, and Lee, the following are among organizations’ representatives that regularly participate in the MiME Special Interest Group:
1500 Sound Academy, CA
Belmont University, TN
Columbia University
Florida State University
Full Sail University, FL
Guitar Center
Indiana University
Musicians Institute, CA
Rensselaer Polytechnic Institute
Riverside City College
Romeo Music, Dallas
SAE Institutes Latin America
Sweetwater
Tufts University, MA
And Many More
Lee is the VP of Education for Focusrite and has previously held positions as Berklee’s Vice President for education outreach and social entrepreneurship, and also as the inaugural executive director for the Grammy Music Education Coalition so he is a perfect fit as the Special Interest Group chair.
The MIDI in Music Education Charter
The group developed a charter to establish a concrete set of goals.
Name of WG: MIDI In Music Education
MIDI In Music Education (MiME) Special Interest Group (SIG)
Topic and purpose (goal) of this WG:
To raise awareness about MIDI in education at schools (secondary, college and university, and pro schools), and for manufacturer and reseller staff members. Current work includes:
Establishment of standardized, readily/publicly available content (text/video/modules) for use on MIDI.org, to be added to college courses, more; and,
Creation, launch, and actively manage of a MIDI certification program (perhaps a couple levels, general, MIDI 1 and 2, for coding, etc.).
Motivation behind (benefit to the market) of addressing this topic:
Teaching of MIDI is fragmented and there is no standardized curriculum
We need to explain the benefits of MIDI 2.0 and how it works to music educators.
The MIDI Association is the central repository for information on the latest developments in MIDI.
In a recent survey our members identified educators as a key segment to reach out to.
Paul Lehrman from Tufts University and former MIDI Association board member drafted a proposed MIDI Curriculum.
The MIDI Association MIDI Education Course Outline
Guidelines for a 3-semester program of courses for MIDI education and certification
First semester. Introduction to MIDI
I. What is MIDI?
What can MIDI be used for?
Musical instruments, mixing and processing, live performance, education, synchronization, robotics, stage mechanics, multimedia, toys, web, personal electronics
MIDI History: Pre-MIDI (Voltage Control, Digital Control)
Original use of MIDI was to have one keyboard control several instruments, has gone way beyond that
Benefits of Digital (vs. Analog) Instruments
Control, memory, reproducibility
II. MIDI Setups
MIDI signal flow and connectivity, live and studio
On September 16 at 10 am Pacific, a Youtube livestream will showcase the entries of the 15 finalists of the MIDI Innovation Awards, and select the 5 category winners chosen by the jury.
Tune in to discover some of the most exciting music technology products of the moment, and inventors quizzed by an all-star jury composed of Roger Linn, Nina Richards, Bian Liunian, Pedro Eustache, Jean-Michel Jarre and Michele Darling.
Your votes selected the three finalists from each product category. You can click on the image to go to the full article about the product.
MIDI Innovation Award 2023 Finalists
COMMERCIAL HARDWARE FINALISTS
INSTACHORD IC-31
InstaChord is a strummable MIDI chord instrument/controller. By assigning the Nashville Number method to each buttons, even beginners can play right away.
AE-30 AEROPHONE PRO
Roland’s world-class sounds in a high-performance wind instrument that responds to the dynamics and expression worthy of professional woodwind and brasswind players.
Exquis
The expressive MPE controller and intuitive software to produce, perform and learn music
HARDWARE PROTOTYPES AND NON-COMMERCIAL FINALISTS
Abacusynth
Abacusynth is a kinetic synthesizer inspired by an abacus. Its playful interface allows anyone to explore synthesis and timbre, regardless of their musical experience.
Hitar
An augmented guitar for percussive fingerstyle, using AI to transform the body into an expressive MIDI controller for rich multi-dimensional control of drum synthesisers.
Musimoto
MusiMoto is a SW+HW system designed to empower anyone who likes playing MIDI musical instruments to do it while walking, jogging, riding, skating or dancing.
COMMERCIAL SOFTWARE FINALISTS
Beat Scholar
Innovative MIDI sequencer that uses a “Pizza”-like circular interface to give you granular control over any beat division.
Camelot Pro
One program to rule them all: MIDI patchbay/router, setlist manager, digital mixer, software instrument and effects host, PDF music score display, multitrack audio player
Ivory 3
Breakthrough technology combines the realism of digital sampling with the expressivity of modeling. Limitless tone color featuring all new recordings of a German Steinway D.
SOFTWARE PROTOTYPES AND NON-COMMERCIAL FINALISTS
HOT LICKS
A MIDI enabled VST plugin to incorporate a multitude of audiovisual devices into a musical performance.
Music Tapestry
Music Tapestry is a new musical analysis technology that visualizes musical performances in real-time and produces a piece of art.
Netz
Discover Netz, an immersive mixed reality musical instrument and controller featuring a keyboard-like interface with expressive MPE MIDI that learns your gestures using AI.
ARTISTIC/VISUAL INSTALLATIONS FINALISTS
sononyms
sononyms: an immersive sound installation based on the Jazz Cerkno archives and local objects from Cerkno Museum.
Sound Sculpture
Sound Sculpture is an interactive musical instrument, comprised of 25 location-aware cubes. It is a physical sound and light environment that facilitates cooperative sound composition.
THE “DRANKORGEL” PROJECT
The “drankorgel” project is an artistic installation of a MIDI instrument that generates sounds by hitting bottles with spoons and by blowing air over bottles.
We will be sending out more detailed information about the MIDI Innovation Awards live show soon so stay tuned.
We are excited to announce that voting for the MIDI Innovation Awards 2023 is officially open. In the tradition of our past two successful years, we continue to celebrate innovation, creativity, and the fantastic array of talent in our MIDI community. As MIDI marks its 40th birthday this year, we’re thrilled to see how far we’ve come and anticipate the future with MIDI 2.0, which is set to inspire another revolution in music.
This year, you can discover and cast your votes for the most innovative MIDI-based projects across five categories until July 21st. The categories are:
Commercial Hardware Products
Commercial Software Products
Prototypes and non-commercial hardware products
Prototypes and non-commercial software products
Artistic/Visual Project or Installation
The MIDI Innovation Awards 2023, a joint effort by Music Hackspace, The MIDI Association, and NAMM, showcases over 70 innovative entries ranging from MIDI controllers to art installation. The three entries with the most votes will be shortlisted and presented to our stellar jury who will select each category winner.
We’re proud to announce new partnerships for 2023 with Sound On Sound, the world’s leading music technology magazine, and Music China, who will provide exhibition space to our winners at their Autumn 2023 trade fair in Shanghai. Our winners also receive significant support from The MIDI Association and Music Hackspace for the development of MIDI 2.0 prototypes, coverage in Sound On Sound, and an opportunity to exhibit at the 2023 NAMM Show.
The MIDI Innovation Awards entries will be evaluated by a distinguished jury representing various facets of the music industry. The esteemed judges include Jean-Michel Jarre, Nina Richards, Roger Linn, Michele Darling, Bian Liunian, and Pedro Eustache. They’ll be assessing entries based on innovation, inspiring and novel qualities, interoperability, and practical / commercial viability.
Mark these key dates in your calendar:
July 21st: Voting closes, jury deliberation starts
August 16th: Finalists announced
September 16th: Live show online – winners revealed
October: Finalists are invited to participate in the Sound On Sound SynthFest UK and Music China, including the User Choice Awards competition
Vote for your favorites now, and help us champion the most innovative MIDI designs of 2023!
For more details, visit the MIDI Innovation Awards page.
Together, let’s keep the music playing and the innovations flowing!
Music Accessibility Standard Special Interest Group kicks off with a Youtube Live Stream
Members of the Music Accessibility Standard Special Interest Group (MAS SIG) outlined their vision for the future of Music Accessibility in a Youtube Live event on the MIDI Association Youtube channel.
Musicians and producers who face accessibility challenges including Juho Toumainen, Jason Dasent and Scott Chesworth joined developers and representatives from companies like Arturia, Audio Modeling, Native Instruments and Roland who are participating in the MAS SIG. The group meets every two weeks.
The MIDI association hosted a live roundtable discussion last week, featuring 2022 MIDI Award winners Krishna Chetan (Pitch Innovations), Henrik Langer (Instrument of Things), Markus Ruh (MusiKraken), and John Dingley (Digigurdy). Amongst the winning products you’ll find the Somi-1 MIDI controller, a motion-sensor wearable that converts users’ body movements into MIDI data. MusiKraken’s MIDI controller construction kit similarly tracks your hands, face, voice and device rotations.
The warm reception toward these mixed reality music products underscores a greater trend towards immersion, novelty, and disruption that’s persisted into 2023.
The MIDI medium is the message
Changes to the way we create music can have an impact on the types of music we produce.
Media theorist Marshall McLuhan famously said that the medium is the message, meaning that our tools reveal something about our collective mindset toward the problems at hand. Conventional MIDI keyboard designs are inherited from the classical piano, for example, and with them comes the assumption that musicians should press buttons and keys to make music. Next-generation controllers like MusiKraken and Somi-1 reimagine the controller landscape by turning human bodies into expressive instruments.
Streaming platforms like Spotify and Apple Music offer a second example of unconscious bias that comes baked into our technology. Artists are required to release songs with a fixed duration, arranged into singles, EPs and albums. This model for music is inherited from legacy formats in the recording industry. As a result, they exclude modern formats like adaptive music and may be limiting our pace of musical innovation.
YouTube differs from other music streaming platforms with their support of continuous music in a 24/7 streaming format. Extreme AI artists Dadabots took advantage of this opportunity by publishing a number of infinite music videos, like the infinite metal example shown below. WarpSound offers adaptive AI music experiences on YouTube, empowering fans to can cast votes and impact the music during their YouTube livestream. These kinds of experiments are only possible because the medium supports them.
Toward more immersive music making experiences
MIDI software is often experienced through an LCD screen, but that could soon change with the rising popularity of virtual and mixed reality hardware.
Earlier this month, Spatial Labs announced their upcoming AR DAW called Light Field. It’s not available commercially but you can watch a demo of their prototype below. Like a laser keyboard, the interface is projected onto a hard surface and users can interact with UI elements to sequence beats, chop samples, and more.
BREAKTHROUGHS IN MIDI COMPOSING SOFTWARE DURING 2023
Artificial intelligence has had a major impact on the creative arts this year. The popularity of text-to-image generators has coincided with a parallel trend in MIDI software. AudioCipher published its third version of a text-to-MIDI generator this year. The app turns words into melodies and chord progressions based on parameters like key signature, chord extensions, and rhythm automation. You can watch a demo below.
The text-to-music trend has continued to gain traction this year. Riffusion paved the way for text-to-song in December 2022, with Google’s MusicLm following suit in May 2023. Riffusion and MusicLM don’t compose in MIDI. They generate low fidelity audio clips replete with sonic artifacts but they’re nevertheless a step forward.
Most people hear AI Music and think of AI voice generators, due to the recent popularity of AI songs that imitate mainstream artists. An AI Drake song called Heart on my Sleeve reached more than 20,000,000 streams in April and May. United Music Group has made a public statement denouncing this practice.
Earlier today, rapper Ice Cube made a public statement calling AI music demonic and threatening to sue anyone who used his voice. Meanwhile, other artists like Grimes and Holly Herndon have sought to come up with models for consensual licensing of their voices.
So far, there has been very little discussion over the tens of millions of music clips used by Google to train MusicLM. As the owners of YouTube, Google has the right to train on the clips in their database. Many of these songs are protected by copyright and were uploaded by everyday users without the original artist’s consent.
This intro to Google’s AI music datasets outlines their training architecture in more detail and addresses some of the ethical concerns at play, as more companies seek to train on instrumental tracks to build their AI models.
THE RISE OF AI DAWS IN 2023
Digital audio workflows can have a steep learning curve for beginners, but artificial intelligence may soon remove that barrier to entry.
WavTool, a browser-based AI DAW, comes equipped with a GPT-4 assistant that takes actions on any element in the workstation. Users can summon the chatbot and ask it to add audio effects, build wavetables, and even compose MIDI ideas. A full demo of the software is shown below.
The AI assistant understands prescriptive commands like “add a new MIDI instrument track with a square wave”.
Vague requests like “write a catchy melody” yield less satisfying results. In many instances, a prompt like that will generate a major scale that repeats twice. Rich descriptions like “write a syncopated melody comprised of quarter, eighth, and sixteenth notes in the key of C minor” deliver marginally better results.
The AI text-to-midi problem could eventually be solved by AI agents, a special class of text generation that breaks down an initial goal into a series of subtasks. During my own experiments with AutoGPT music, I found that the AI agent could reason its way through the necessary steps of composing, including quality-assurance checks along the way.
For an AI agent to actually be useful in this context, someone would need to develop the middleware to translate those logical steps into MIDI. WavTool is positioned to make these updates, but it would require a well-trained MIDI composition model that even the biggest tech teams at OpenAI’s MuseNet and Google’s Magenta Suite have not achieved to a satisfactory degree.
POLYPHONIC AUDIO-TO-MIDI CONVERSION SOFTWARE
For years, Melodyne has been the gold standard for monophonic audio-to-midi transcription. In June 2022, a free Spotify AI tool called Basic Pitch went live, delivering polyphonic audio-to-MIDI within a web browser.
A second company called SampLab has since delivered their own plugin and desktop app this year, with more features than Basic Pitch. Both tools are pushing updates to their code as recently as this month, indicating that improvements to polyphonic MIDI transcription will be ongoing through 2023.
Suffice to say that MIDI has remained highly relevant in the era of artificial intelligence. With so many innovations taking place, we’re excited to see who comes out on top in this year’s MIDI Innovation Awards!
Check out these in depth interviews with the winners of the 2022 MIDI Innovation Awards
The MIDI Association invited the winners of the 2022 MIDI Innovation Awards to join this round table on May 20, 20323 to discuss the evolution of their award winning products, discuss how they work with MIDI and share their thoughts on MIDI 2.0.
Participants:
Krishna Chetan, Pitch Innovations
Henrik Langer, Instruments of Things
Markus Ruh, MusiKraken
John Dingley, Digigurdy
Moderated by JB Thiebaut, chair of the MIDI Innovation Awards and Secretary of the MIDI Association
Entries for the 2023 MIDI Innovation Awards close on May 23, 2023
For 2023, The MIDI Innovation Awards are proud to welcome new partners including Sound On Sound, the world’s leading music technology magazine, and Music China, who will provide exhibition space to the winners at their Autumn 2023 trade fair in Shanghai.
Musicians and inventors around the world will have a unique opportunity to present their ideas on a global stage, and the winners will gain invaluable help in bringing their products to market. Prizes include an exhibition booth at the 2023 NAMM Show, coverage in Sound On Sound, an opportunity to exhibit at Music China, and significant support from The MIDI Association and Music Hackspace for the development of MIDI 2.0 prototypes.
The MIDI Innovation awards are open to individuals, artists, and companies who work with MIDI to build innovative products or interactive experiences. The 2023 MIDI Innovation Awards categories are:
Commercial Hardware Products
Commercial Software Products
Prototypes and non-commercial hardware products
Prototypes and non-commercial software products
Artistic/Visual Project or Installation
The MIDI Innovation Awards welcomes entries from, but not limited to: MIDI instruments, controllers, software, art installation, MIDI peripherals, I/O boxes, lighting systems, automated systems, and more.
Entries to the competition are open, and applicants are invited to submit their entry via the button below.
Here is the detailed MIA 2023 schedule.
May 23rd: Registrations close
May 30th: Voting starts
July 21st: Voting closes, jury deliberation starts
August 16th: Finalists announced
September 16th: Live show online – winners revealed
October: Finalists are invited to participate in the Sound On Sound SynthFest UK in the UK and also in Music China including the User Choice Awards competition
Hosted by MIDI In Music Education Working Group Chair, Lee Whitmore, VP of Education for Focusrite, the webinar featured virtual tours of several MIDI In Music Education institutions including Belmont University, Columbia University, Full Sail University and Riverside City College.
The MIDI In Music Education Special Interest Group (SIG) formed in 2014 is a community of educators, musicians, and music technology enthusiasts dedicated to advancing the use of MIDI in music education.
By providing resources, support, and advocacy for the use of MIDI in music education, the SIG is helping to shape the future of music education and empower the next generation of musicians and music creators.
You can view the webinar by clicking on the link below.
The IASIG is an organization in partnership with the International Game Developer’s Association (IGDA) and MIDI Association (TMA) that brings together experts to share their knowledge and help improve the state of the art in audio for games, websites, VR content, and other interactive performances. Our members share tips and techniques, study trends, and create reports and recommendations that game developers, tool makers, and platform owners use to create better products.
The IASIG will be hosting a number of events at the 2023 Game Developers Conference (GDC) in San Francisco’s Moscone Center held March 20-24.
IASIG Town Hall When: Friday, March 24, 2023 – 12:15 PM -1:15 PM Where: West Hall, Room 3006
The IASIG will be holding its GDC Town Hall in person for the first time in several years.
Want to improve game audio workflow or the professional audio tools available to you? Join fellow game audio educators, sound designers, composers, audio programmers, and other audio professionals at the Interactive Audio Special Interest Group (IASIG) Town Hall.
Get an update on current IASIG efforts, and share your own ideas, suggestions, and recommendations for improving the state of the art in audio for interactive media.
If you do audio, come and be heard.
IASIG Town Hall Sponsors
The Game Developers Conference Audio Track
GDC has its own Audio Track with a full schedule focused on Audio and Music in games.
With the support of IGDA, the IASIG will be holding a meet and greet in the South Hall of Moscone Center on the second floor in Room 203 on Tuesday – 3:00pm PST.
The IASIG is working with GDC on the plans for the annual IASIG Townhall and will send out invites in advance of the conference.
Many companies who have participated in the IASIG have booths at the Game Developers Conference including:
Chase Bethea – the new IASIG Chair- is a NYX award-winning and VGMO nominated freelance Composer/Technical Audio Designer for Video Games and a variety of other Media. He will be at GDC and hosting the Town Hall and looking for Game Audio professionals who want to be on the IASIG steering committee.
With new leadership, a growing relationship as a Special Interest Group of IGDA and the decades long relationship with The MIDI Association, the IASIG is poised to drive new advances in interactive audio in games and continue to serve audio professionals in the game industry.
Chase is also presenting two talks at Game Developers Conference.
Hunting with Hits: Tempo-Slaying Monsters in ‘Harmony”
This talk demonstrates the creation and implementation of an interactive score for a Hunting RPG with rhythm combat mechanics.
In this series of microtalks, developers from six studios will present custom toolsets they’ve built and/or used to help development run more efficiently and comfortably.
Steve Horowitz, is a member of the IASIG Steering Committee and an Audio Director/Composer at Nickelodeon Digital. Steve is also a Faculty Lecturer in Game Audio at San Francisco State University.
Steve is also presenting a talk at GDC.
Developing Together: Game Audio and Game Development Roundtable (Presented by the IGDA)
This roundtable brings together composers, sound designers, game designers, animators, programmers, producers, and anyone else involved with game production and design. Organizers will open up the floor and discuss the latest and greatest trends in games, as well as the most common production roadblocks.
This is what the Federal Trade Commission had to say recently about the gaming industry.
“Today, gaming is the largest category in the entertainment industry, with revenues that far exceed those of both the film and music industries. This year, the gaming industry is expected to be worth more than $170 billion in global revenues, five times greater than global movie box office revenues.”
With autonomous cars on the horizon and Analog Devices already implementing MIDI 2.0 over A2B in a few years people won’t be driving their cars, they’ll be playing games in them or mixing their latest album in immersive audio.
Please join us at the 2023 Game Developers Conference and get involved with one of the fastest growing industries for Audio Professionals.
Are you exploring new ways for musicians to interact with digital musical instruments? Have an idea for an original electronic instrument or controller? Trying to raise investment or attract attention for a new product? If you’re looking to make waves in music technology, you need to know about The MIDI Innovation Awards.
In 2023, MIDI celebrates its 40th birthday. The universal language of synths, controllers, and electronic instruments, MIDI 1.0 revolutionised music in the 1980s. Now, MIDI 2.0 is poised to unleash a second revolution. Massively extended and reimagined for the computer age, yet fully backwards compatible, MIDI 2.0 opens up endless possibilities for creative developers.
A joint initiative created by Music Hackspace, The MIDI Association, and NAMM, The MIDI Innovation Awards are now in their third year. The Awards showcase products and projects that are using MIDI 1.0 and 2.0 in fresh and original ways, highlighting the role that MIDI technology has to play in enabling musical creativity.
For 2023, The MIDI Innovation Awards are proud to welcome new partners including Sound On Sound, the world’s leading music technology magazine, and Music China, who will host the awards ceremony at their Autumn 2023 trade fair in Shanghai.
Musicians and inventors around the world will have a unique opportunity to present their ideas on a global stage, and the winners will gain invaluable help in bringing their products to market. Prizes include an exhibition booth at the 2023 NAMM Show, coverage in Sound On Sound, an opportunity to exhibit at Music China, and significant support from The MIDI Association and Music Hackspace for the development of MIDI 2.0 prototypes.
The MIDI Innovation awards are open to individuals, artists, and companies who work with MIDI to build innovative products or interactive experiences.
The 2023 MIDI Innovation Awards categories are:
Commercial Hardware Products
Commercial Software Products
Prototypes and non-commercial hardware products
Prototypes and non-commercial software products
Artistic/Visual Project or Installation
The MIDI Innovation Awards welcomes entries from, but not limited to: MIDI instruments, controllers, software, art installation, MIDI peripherals, I/O boxes, lighting systems, automated systems, and more.
A jury is being assembled to represent the wider music industry and its many facets, including artists, engineers, and innovators. Entries will be judged on four attributes: innovation, inspiring and novel qualities, interoperability, and practical / commercial viability.
Registration will close in April 2023, and a public vote will begin in June 2023.
The winners will be announced at Music China in Autumn 2023.
For more details, see the MIDI Awards section of this website.
Tapis Magique is a pressure-sensitive, knitted electronic textile carpet that generates three-dimensional sensor data based on body postures and gestures and drives an immersive sonic environment in real-time. Demonstrating an organic and expressive relationship between choreography and music has been a never-ending feat in the performance arts, as seen in previous work by Cage and Cunningham, Horst and Graham, or Stravinsky and Balanchine. Our work unveils dancers’ creative, unconventional possibilities of agency, intimacy, and improvisation over the music through a textile interface.
Motivated by the craftsmanship and connections of cultural textiles such as Javanese Batik or Balinese Ikat to their traditional performance arts, we began to apply an artistic approach into technological textile design and merge new materials, sensing technologies, and digital fabrication with contemporary dance and music into one united and harmonious piece of object and performance.
The tapis design is composed of multi-layer knitted textiles. The top and bottom layers are orthogonal conductive line matrices knitted within a single operation using multi-material twisted yarns. The middle layer is a knitted piezo-resistive textile, a pressure-sensitive layer that interfaces with the conductive matrices to create a sensing grid. The dense geometrical patterns of the stars scattered around the brushstroke details in the tapis represent 1800 pressure-sensing pixels (distributed in 15 MIDI Channels) and are inspired by the galactic space. Parametric design transformed these patterns into a 3-D spatial illusion to illustrate the multi-dimensionality of the sensor data.
The knitted conductive lines are connected to a system hardware consisting of multiplexers, shift-registers, operational amplifiers, and microcontroller that sequentially reads each pressure sensing pixel and sends it to a computer. These pixels collectively generate continuous 3-D spatiotemporal sensor data mapped into MIDI streams to trigger and control discrete notes, continuous effects, and immersive soundscapes through science-inspired musical tools.
Several musical pieces were designed to invoke various emotions to inspire conversations between the choreographer and the instrument. Behind the scenes, runs a digital modular synthesizer made of several patches, each for a different type of performance. The incoming stream of MIDI data is first fed into quantizer modules that align the notes to major, minor, and pentatonic scales, as well as mystic chords. The sounds are then generated by a collection of subtractive, additive, and granular synthesizers. “Venus Sunrise”, one of our performance pieces, as shown in the video above, presents a metaphorical celestial sound of the universe as the dancer is twirling around the stars, traveling through space and time.
Tapis Magique demonstrates the interplay between art and technology, highlighting the deep emotional link between contemporary textiles, dance, and music through the physical-digital connection. It provides a canvas for dancers and sound artists to modulate sound, perform and compose a musical piece based on choreography and vice versa; it also creates an auditory-gestural synesthetic environment that invites and encourages audiences to interact and express themselves with the tapis, experiencing a magical connection that stimulates the body and mind.
GLASYS (Gil Assayas) was a winner of the MIDI Association’s 2022 Innovation Awards for artistic installations. He’s a keyboard player, composer, sound designer, and video content creator who currently performs live with Todd Rundgren’s solo band. The internet largely knows GLASYS for his viral MIDI art and chiptune music.
We spoke with Gil to learn more about how he makes music. I’ll share that interview with him below. First, let’s have a quick review of his newly released chiptune album.
MIDI Art that Tugs on my Heartchips
The latest record from GLASYS, Tugging On My Heartchips, debuted January 2023 and captures the nostalgia of early 8-bit game music perfectly, with classic sound patches that transport the listener back in time. The arrangements are true to the genre and some of the songs even have easter eggs to find.
Gil created MIDI art to inspire multiple songs on the album, elevating the album’s conceptual value into uncharted meta-musical territory. He even created music video animations of the MIDI notes in post production. On track two, The MIDI Skull Song, you can almost hear the swashbuckling pirates in search of buried treasure. Take a listen here:
The MIDI Gargoyle Song features an even more complex drawing, with chromatic lines to put any pianist’s hands in a pretzel. Once the picture is finished, Gil’s gargoyle comes to life in a funny animation and dances to the finished song. It’s the first time I’ve seen someone create animations from MIDI notes in the piano roll!
Heartchips delivers all the bubbly synths and 8-bit percussion you could want from a chiptune album. But with Gil, there’s more to the music than aesthetic bravado. Where other artists lean on retro sounds to make mid-grade music sound more interesting, GLASYS has mastered the composing and arrangement skills needed to evoke the spirit of early 90s games.
It can take several listens to focus on each of the album’s sonic elements. The mix and panning are impeccable. Gil rolls off some of the harsh overtones in the instrument’s waveform, to make it easier on our ears. But there’s something special happening in the arrangement, that we discussed in more detail during our interview.
Drawing from a classic 8-Bit technique
The playful acoustics of Heartchips mask Gil’s complex harmonic and rhythmic ideas like a coating of sugar.
Gil gives each instrument a clear sense of purpose and identity, bringing them together in a song that tells a story without words. To accomplish this, he uses techniques from early game music, back when composers had only 5 instruments channels to use.
In the 1980s and 90s, as portable gaming consoles became popular, there was a limit to the number of notes a microchip could store and play at once. Chords had to be hocketed, or broken up into separate notes, so that the other instrument channels could be used for lead melody, accompaniment and percussion.
As a result, the classic 8-bit composers avoided sustained chords unless the entire song was focused on that one instrument. Every instrument took on an almost melodic quality.
While Heartchips doesn’t limit itself to five instrument channels per song, it does align with the idea that harmony and chord progressions should be outlined rather than merely sustained as a chord.
When GLASYS outlines a chord as an arpeggio in the bass, you’ll often hear two or three countermelodies in the middle and upper registers. Each expresses a unique idea, completely different from the others, yet somehow working perfectly with them. That’s the magic of his art.
There are a few moments on the album when chords are sustained for a measure at a time, like on the tracks No School Today or Back to Reality. These instances where chords are used acquire an almost dramatic effect because it disrupts your expectations as a listener.
Overall, I found Tugging on my Heartchips to be a fun listening experience with lots of replay value.
What’s up with GLASYS in 2023?
In February 2023, GLASYS branched out from MIDI piano roll drawings to audio spectrograms. This new medium grants him the ability to draw images with more than MIDI blocks.
A spectrogram is a kind of 2D image. It’s a visual map of the sound waves in an audio file. It reads left to right, just like a piano roll. The X axis represents time and the Y axis represents frequency.
Some other artists (Aphex Twin, Dizasterpeace) have hidden images in spectrograms before, but those previous efforts only generated white noise. GLASYS has defied everyone’s expectations with spectrogram art created from his own voice and keyboards.
Here’s one of his latest videos, humming and whistling accompaniment to a piano arrangement in order to create a dragon. It may be the first time in history that something like this has been performed and recorded:
An Interview with GLASYS (Gil Assayas)
I’ve really enjoyed the boundary-defying MIDI art that comes from GLASYS, so I reached out on behalf of the MIDI Association to ask a few questions and learn more. Here’s that conversation.
E: You’ve released an album in January called Tugging On My Heartchips. Can you talk about what inspired you to write these songs and share any challenges that came up while creating it?
G: Sure. Game boy was a big part of my childhood. It was the only console we had, because in Israel it was more expensive and harder to get a hold of other systems.
The first games I had were Links Awakening, Donkey Kong, Battletoads, and Castlevania. I loved the music and what these composers could achieve with 4 tracks, using pulse wave and noise. Somehow they could still create these gorgeous melodies.
My experience growing up with those games was the main inspiration for this album. I never really explored these sounds in previous albums. I always went more for analog synths.
E: Your first GLASYS EP, The Pressure, came out in 2016 but your Youtube channel goes back almost a decade. Can you tell me a bit about the history of GLASYS?
G: When I first got started, I was playing in a band in Israel and every so often I would write a solo work that didn’t fit the band’s sound. So I created the GLASYS channel to record those ideas occasionally. After moving to the United States, I had a lot more time to focus on my own music and that’s when things started picking up.
E: Can you tell me more about your mixing process? Do you write, record, and mix everything yourself?
G: Yes, I write everything myself and record most of it in my home studio. Nowadays I mix everything myself, though in the past I’ve worked with some great mixing engineers such as Tony Lash (Dandy Warhols, Elliot Smith).
E: I think the playful tone of Heartchips will carry most listeners away. It’s easy to overlook the difficulty of creating a chiptune album like this, not to mention all the video work you do on social media to promote it. You’ve nailed the timbre of your instruments and compositional style.
G: Yeah, mixing chiptune can be trickier than it seems because of all the high end harmonic content. None of the waveforms are filtered and everything has overtones coming through. I found that a little bit of saturation on the square waves, pulse waves, and a little bitcrushing can smooth out the edges a bit. EQ can take out some of the harsh highs, and you can do some sidechaining. These are things you can’t do on a gameboy or NES.
E: How much of your time is spent composing versus mixing and designing your instruments?
G: Mixing takes a lot longer. Composition is the easy part. The heard part is making something cool enough to want to share. I can be a bit of a perfectionist. So I’ll do a mix, try to improve it, rinse and repeat ten revisions until I’m happy with it. That’s one of the reasons it can be better to do the mix myself, haha.
E: Before this interview, we were talking about aphantasia where people can’t visualize images but they can still dream in images. Do you ever dream in music?
G: Dreams are such an emotional experience. When you get a musical idea in your dreams, more often than not you forget it when you wake up. But when you do remember it, it’s very surreal. Actually, my first song ever was based on a purple hippo I saw in my dream. I was 5 years old, heard the melody, figured it out and wrote it down with my dad.
E: What inspired you to get into MIDI art?
G: Well, there were a couple of things. Back in 2017, an artist by the name of Savant created some amazing MIDI art – I believe he was the first to do it in a way that sounds musical. He inspired other artists to create MIDI art, such as Andrew Huang who created his famous MIDI Unicorn (which I performed live in one of my videos).
There was another piece in particular that blew me away, this Harry Potter logo MIDI art that uses themes from Harry Potter, masterfully created by composer Hana Shin. I don’t particularly care for Harry Potter, but I just found the concept and execution really inspiring and I thought it would be awesome to perform something like that live. In 2021, Jacob Collier did a few videos where he spelled out words in real time, which proved that it’s possible and motivated me to finally give it a shot.
My idea was to build on the MIDI art concept and draw things that were meaningful to me, such as video game logos and characters – and do it live, so I needed to write them in a way that would be possible to play with two hands. I actually just wanted to do it once or twice but it was the audience who motivated me to keep going. It got such a huge response, I’ve ended up doing nearly fifty of them. I’m now focusing on other things, but I might get back to MIDI art in the future
E: Do you have any advice for MIDI composers who struggle coming up with new ideas?
G: Sure, I do get writers block sometimes. As far as advice goes… I know how it goes where you keep rewriting something you’ve already created before. Everyone has their subconscious biases, things that they tend to go to without thinking. So even though they’re trying to do something new, they end up repeating themselves. It can be a struggle for sure.
If you find yourself sitting in front of your daw not knowing what to do, then don’t sit in front of your daw. Go outside and take a guitar with you and start jamming. Sometimes a change of environment, breaking the habit and getting out of the rut doing the same thing over and over can really help you.
Listen to something entirely different, then new ideas will come. A lot of the problem comes from listening to the same stuff or only listening to one genre of music. So everything you write starts to sounds like them.
Listen to music outside of the genres you like. For example, if you never listen to Cuban music, listen to it for a week. Some of it will creep into your subconscious, you might end up writing some indie rock song with cuban elements that’s awesome and would sound entirely new.
E: Are there any organizational tricks that you use to manage the sheer volume of musical ideas you come up with?
G: Yeah I used to have a lot of little ideas and save them in different folders, but it was too difficult to get back to things that I had written a year ago. Time goes by, you forget about how you felt when you wrote that thing, you feel detached from it.
If I decide to do something, I work on just one or two tracks until I’m done with them. I don’t record every idea I have either. I have to feel motivated enough to do something with it.
E: Do you have perfect pitch? Can you hear music in your head before playing it?
G: Definitely, yeah I can hear music in my head. I do have perfect pitch but it has declined a little bit as I get older.
E: What can we expect from GLASYS in 2023?
G: Lots of new music and videos – I’ve got many exciting ideas that I’m looking forward to sharing!
To learn more about Gil’s musical background, check out interviews with him here, here, and here. You can also visit the GLASYS website or check out his Youtube channel.
If you enjoyed this artist spotlight and want to read more about innovative musicians, software, and culture in 2023, check out the AudioCipher blog. We’ve recently covered Holly Herndon’s AI music podcast Interdependence, shared a new Japanese AI music plugin called Neutone, and promoted an 80-musician Songcamp project that created over 20,000 music NFTs in just six weeks. AudioCipher is a MIDI plugin that turns words into music within your DAW.
Musical Instrument Digital Interface (MIDI) is the technical standard for connecting electronic musical instruments and computers to record, edit, and playback music.Created in 1983 and 40 years later, it is still essential in music education because playing any keyboard note can generate:
Notation
Pitch
Velocity
Panning
Vibrato
Clock Signals
Key Pressure
… and much more, plus hundreds of instruments and sounds; these MIDI messages act as instructions for the computer and music education software.
All this and a bag of chips:looping, randomizing, instant transposing, cut, copy, paste, drop and drag and more.
But it is Web MIDI, the World Wide Web Consortium (W3C) standard for MIDI on the Internet that has driven Chromebook adoption in the music education market.
The MIDI Association worked closely with W3C and MIDI Association member Google to get the standard adopted by W3C.
Chromebooks are a new type of computer designed to help you get things done faster and easier. They run ChromeOS, an operating system that has cloud storage, the best of Google built-in, and multiple layers of security.Enter your quote here…
by Google
Google Chromebooks and Web MIDI To The Rescue
Chromebooks flourished after the adoption on Web MIDI in 2015 as it answers urgent music education needs. Chromebook advanced rapidly in its first 10 years, under Acer Inc. and Samsung.Then Lenovo, Hewlett Packard and Google itself entered the market in 2013. It is forecasted that nearly 30 million Chromebooks will be shipped globally in 2022, more than double in 2019.
The education market has 40 million Chromebook users world-wide, a jump of 33 percent over last year. Currently, Google services 148 American school districts and there is a list of those districts here.
World-wide, Chromebook is well established educationally in the international market, notably in Australia, New Zealand and in the UK among other global markets. This is in part due to its excellent, strong security preferences.
Chromebooks are Cloud based which means there is no need to install music programs onto Chromebooks. There are manycreative web-based music programs for students that run from the Cloud. Hence, no problematic installs or technical support and since Chromebook’s tight security controls make installing apps more difficult, they are perfect for education because the school can control what websites the students can access. As a web-browser, Google Chrome is ideal for MIDI operations which is a blessing for Internet-driven Chromebooks. Students can store songs and all of their work and result in the cloud (Google Drive) for easy retrieval. The challenge is finding suitable web-based music programs so we have created a list.
Chromebooks Versus Traditional Notebooks
The main difference between Chromebooks and laptops is of course the operating system. While manylaptops run on either the Mac OS or Windows operating system, Chromebook runs on the web-based Chrome OS, which is fully open-sourced Linux based and its simplicity produces attractive speed. Chrome OS also boasts a stronger security layer with minimal risk for security breaches, hacks, malware, viruses, and other malicious content.
Chromebooks aren’t for everyone, but they probably are well suited for the education market. Educators and students tend to prefer a Chromebook because, 1) light weight for backpack convenience, 2) lower price, 3) longer battery life without charging at school, and 4) better security since students can’t easily load virus-vulnerable programs and other technology issues.
While other laptops are typically more expensive than Chromebooks, they are typically more powerful along and offer more full featured DAW programs like Ableton, Bitwig, Cubase, Performer, and Logic.
The only real disadvantage with a Chromebook disadvantages is that unless you are connected to the Internet, there is not that much you can do with them.
If you are a music educator you should consider Chromebooks are worth the investment, depending on the students needs. Chromebook can now meet a wide variety of computing needs, and a good Chromebook OS laptop or two-in-one can advantages in an educational setting.
Watch this presentation entitled “Are Chromebooks Worth It In 2022?”
Google Classroom
Google Classroom is an all-in-one place for teaching and learning. This secure, easy-to-use tool helps educators manage, measure, and enrich learning experiences.Google Classroom is a free, blended learning platform developed by Google for educational institutions that aim to simplify creating, distributing, and grading assignments. The primary purpose of Google Classroom is to streamline the process of sharing files between teachers and students. For example, you can:Switch from class to assignment to student in just a few clicks\
Track student progress in your gradebook and export scores to your school’s student information system (SIS)
Keep grading consistent and transparent with rubrics displayed alongside student work
Store frequently used phrases in a customizable comment bank
Prepare and schedule tasks, assignments, and quizzes across multiple classes
Mastering Music
Mastering Music at https://masteringmusic.online is a complete, pure music suite offering integrated instruction with performance, MIDI and digital sequencing, music theory, ear training and film scoring.The magic of this program is its extremely user-friendly interface for the classroom and for home creativity.
Here is a convenient list of Mastering Music Online features:
Works on all devices including PCs, Macs, Chromebooks, tablets and iPads
Provides 400+ self-paced, step-by-step tutorial lessons for personalized learning mapped to the curriculum
K-12 Lessons categorized by year level and activity type (performing, composing, publishing and musicianship (aural + theory)
Easy-to-use instruction and video help in all lessons with the correct editor and tools loaded ready for immediate use to focus students on the lesson content rather than the technology
All song lessons have attached rubrics to guide teachers on marking criteria
Schools and educators can easily login using their Google or Microsoft Education Accounts Stores songs and results in the cloud (Google or One Drive) for easy retrieval
Use Google Classroom or interface directly with other LMS to easily deploy lessons
Teacher admin functions for account, custom lesson plans, classes and monitoring student results
Contains a full MIDI sequencer for composing, arranging, mixing and notation for playing and printing stand-alone or inside lessons
Record real-time compositions from a connected MIDI keyboard and sync to YouTube videos using drag/drop functionality.
A new music teacher tells the story of how she assigned the students to download another music software to their laptops to complete an exercise to discover that the students were all using Chromebooks and couldn’t install the app. They are now using Mastering Music Online because it works so well on their Chromebooks at home or in class.
The folks at Mastering Music are looking to offer a free one-year subscription to some Google school districts using 1:1 Chromebooks to trial Mastering Music Online and to provide them with feedback.
Auralia
Auralia® is the most comprehensive ear training software available. It has 59 topics and endless customization.Each of the 59 topics has carefully graded levels, allowing you to easily use Auralia® with beginner through advanced students. The integrated course of lessons provides ideal preparation for each topic.All the fundamentals of pitch, rhythm, intervals, chords, scales and tuning are covered and progress through cadences, dictation, harmony, jazz progressions and melodic transcription.
Sophisticated tracking allows you to easily monitor and assess students. You’ll set tasks and assignments, and run exams with high quality content that your students will love.Check it out athttps://www.risingsoftware.com/.
When my daughter was a freshmen college performance major, she called me with distressing problem that she was failing first semester ear training. Fortunately, she had access to Auralia and she earned an A grade. The product worked as advertised.
People like Auralia’s clean, elegant interface, designed to keep students focused on an essential ear training task.
Musition
Musition at https://www.risingsoftware.com/musition is a music education music theory software program. Even if you play by ear, music theory can build understanding of what other musicians are playing and increase your awareness of their melodic, rhythmic and harmonic language. Regardless of your preferred style, classical, jazz or contemporary, Musition’s music theory topics make you a better musician.
Noteflight at https://www.noteflight.com/ took flight in 2008 as an online music writing application to create, view, print and hear professional quality music notation right in your web browser. Noteflight is an international product with over 7 million users world-wide because it serves individual music-makers and music educators at all levels with its family of products.Its playback sound choices are excellent with a good variety of authentic sounding soft synth palettes, plus playback can be straight or swing. This powerful notation program has a fantastic well-organized manual at https://www.noteflight.com/guide#mixInstruments to further exhibit its robust notation capabilities. It offers live recording options as well as transcribing a MIDI performance with impressive importing and exporting options.
Noteflight integrates well with Google Classroom to create a seamless experience for students and teachers. It is a robust notation program that is very popular world-wide with a variety of different timbres available for customized playback.Noteflight for Teachers platform, you and your students get access to features from the premium Noteflight Crescendo membership. This allows students to create an unlimited number of pieces with up to 50 instruments.
Noteflight also provides a marketplace to purchase and sell music all as digital Noteflight notation files. It also offers three different plans for purchase at https://www.noteflight.com/plans.
Flat
Flat at https://flat.io/ is a collaborative music notation platform for new composers and professionals alike. Uniquely, you can compose and write music with others.It has a great feature when you lose the Internet, your work will be reinstated whenever you reconnect.For MIDI composition, you use your MIDI device to input notes and chords with easy transposition and adapt a score to your instrument or register in a few clicks with MusicXML/MIDI Files, youcan easily move in and out of other software products.
Flat offers Advanced Layout Customization to change the density and the style of your musical content.
Soundtrap
Soundtrap owned by Spotify at https://www.soundtrap.com/is a free premium online cross-platform digital audio workstation (DAW) for browsers to create music or podcasts. This DAW is operated by Soundtrap AB, which Spotify bought in November 2017. Soundtrap is offered in English, Spanish, French, German, and Swedish. The Soundtrap DAWincludes inputs for external instruments, an instrument player, a way to input and export MIDI files, collaboration features, Patterns BeatMaker and a built-in autotune provided by Antares Audio Technologies.You’ll have fun creating with its extensive collection of beats, loops and instruments. Soundtrap’s modern DAWs has a central interface that allows a user to alter and mix multiple recordings and tracks into a final production including music, songs, speech, radio, television, soundtracks, podcasts, sound effects.
Bandlab
BandLab is a dynamic DAW for recording, mixing and collaborating your music projects from start to finish with its “Best-In-Class” award from SBO magazine, [JK1] 100% free Mix Editor. Today’s high school music teachers are very fortunate to have at their fingertips this cutting-edge.The MIDI-driven BANDLAB for EDUCATION is a wonderful music production-education tool to help music educators to meet and exceed standards.It is ideal for and exciting discovery learning and makes differentiated instruction much easier. And it is especially well designed for distance learning needs.Public and private students love the flexibility of creative options BandLab offers.
Band Lab for Education is designed to make life easier for the teacher and a lot more fun and innovative for students. To support this purpose their website is loaded with good information and enticing features.
Perhaps the best news is Band Lab for Education is available to educators via a free subscription at https://edu.bandlab.com. Currently, it can be used on all PCs (using the Chrome and Edge browsers) and an iOS version for mobile devices.This is the most user–friendly and industry–friendly music creating teaching tool on the market because Band Lab for Education is built to integrate with other services, music educators often use it to complement their existing suite of tools.
Band Lab for Education allows a win–win atmosphere for teachers and students, creating true ownership of music skills, pride of achievement and life-long lovers of music.You can take a closer look at:
Compare these robust Chromebook music applications all designed for ideal school and home creativity. There may well be other such music products, but these are arguably the most well-known.
Chromebook is a good fit on the economic and creative horizon of music education.Full MIDI compatibility and seamless Cloud connectivity simplifies teaching and learning for engaging creativity.I hope this inspires K-12 music educators to take a fresh look at this innovative music technology.
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!
The NAMM Foundation and the MIDI Association are pleased to announce the MIDIFund, a new donor-advised fund in The NAMM Foundation.
The MIDIFund will support projects and programs that advance engagement in music-making and the varied and unique options to make, create and explore music made possible by MIDI, the Musical Instrument Digital Interface that allows musical instruments to connect to computers, tablets, cell phones, and each other.
For the past several years, the MIDI Association has delivered programs for the public benefit. Between 2020 and 2021, the MIDI Association raised $50,000 and donated that money to the Children’s Music Fund, a 501(c)3 non-profit organization that provides music therapy programs to children affected by chronic conditions or life-altering illnesses, to help them on their journey towards a better quality of life. The MIDI Association had planned to create its own 501(c)3 to focus on these and other projects for the public benefit.
However, at the recommendation of NAMM President and CEO Joe Lamond, and with the help of NAMM Foundation Executive Director Mary Luehrsen, establishing a new donor-advised fund enables the MIDI Association to avail itself of the considerable experience and administrative resources of the NAMM Foundation.
The first major project the MIDIFund is focusing on is the development of a MIDI curriculum and certification program to raise awareness about MIDI in education at secondary and post-secondary schools, and for manufacturer and reseller staff members.
Current work includes: Establishment of standardized, readily/publicly available MIDI education content Creation, launch, and active management of a MIDI certification program
The MIDI Association Executive Board committed to funding the MIDI Fund with $25,000 and matching any donations made to the fund before June 30, 2022.
Ed Cannon, CEO of Zivix, makers of the Jamstick MIDI Guitars has pledged $5000 from the Cannon Family Foundation.
Roland has committed $3000 as a Platinum sponsor.
Steinberg has committed $1500 as a Gold Sponsor.
Casio and IK Multimedia have both pledged $750as Silver sponsors.
That is $11,000 in sponsor pledges matched by another $11,000 in matching funds from the MIDI Association bringing the current total funding of the MIDI Fund to $47,000.
But we are not done yet.
You can fill out the form below to commit to a founding MIDI Fund sponsorship and we will continue to promote your company and your products as we promote the MIDI Fund for years to come.
Join the inaugural webinar of the MIDI Association’s MIDI in Music Education (MiME) working group.
To celebrate “May is MIDI Month,” we welcome Craig Anderton – who’s played Carnegie Hall, written 45 books on music technology, and lectured around the world for over four decades. His talk on “Music, MIDI, and the Art of Inspired Instruction” will open your eyes to the exciting future of music education.
Active MiME members can then join in a moderated panel discussion with Craig, after which we’ll discuss new MIDI Association education initiatives – including a proposed MIDI certification program, and the launch of a trailblazing philanthropic endeavor with the NAMM Foundation.
Simply go to this URL using a Web MIDI enabled browser on May 21 at 10 am Pacific, 1 pm Eastern and 6 pm London.
THE MIDI ASSOCIATION, a global community of people who work, play and create with MIDI and the central repository of information about anything related to MIDI.
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.
Check out over 100 entrants and then vote for your favorites
There are five distinct categories (listed below) for the 2022 MIDI Innovation Awards.
From May 1 to May 14, you will be able to select three entrants from each category to be the finalists who will participate in the May 28 MIDI Innovation Awards show on MIDI.org.
When voting, you do not have to vote in all categories, but any category you vote in you must select three entrants.
Clicking on the links below shows you all the entrants for that particular category.
On May 15, three finalists will be selected from each category by 50% weighting of the public vote and the judges vote.
Commercial Software-22 Entries
Fluid Chords from Pitch Innovations
Pictured above is this year’s entry from last year’s winner, Pitch Innovations.
It’s clear that one of the trends in MIDI Innovation is more precise control over pitch and tuning.
In the commercial software area, there are a lot of entrants that focus on pitch and pitch control via MIDI Polyphonic Expression.
Entonal Studio is an audio application and plugin that gives musicians the ability to use and create alternative tunings in their music, in any environment.
Infinitone Dynamic Micro-Tuning plugin empowers musicians with Freedom of Pitch, through opening access to the full harmonic spectrum, a.k.a. the “notes between the notes”.
GeoShred, an award-winning, fluidly expressive musical instrument with a performance surface that uses MIDI/MPE to control expressive physics-based models of musical instruments.
But there are entries in other categories that support this trend as well.
If there is one major trend in Commercial Hardware, it seems to be portability.
Piano de Voyage (pictured above) was one of the first MIDI products to have a modular design that allowed greater portability. It is a modular, 88 full-size keys portable piano keyboard.
The Vboard 49 is a portable foldable MIDI keyboard.
The Vboard 25 is a folding MIDI keyboard with standard key width, pads, knobs, and a wealth of features.
POPUPIANO SMART PORTABLE KEYBOARD + POPUMUSIC APP is also a product with a modular design. It was designed into two parts. The right keyboard focuses on melody, while the left chords pad focuses on chords & rhythm. Besides, you can replace the left chords pad via a magnetic extended keyboard, and make PopuPiano a complete E-keyboard.
The POCKETPIANO is “the First Portable, Professional Piano that fits into your Backpack”.
But there are also some Commercial Hardware products that really push the envelope in innovation.
Oddball -Create music by simply bouncing, catching and spinning a ball
PTZOPTICS MIDI CAMERA CONTROL
PTZOptics is adding configurable MIDI control to their award-winning PTZ cameras. Set and call presets, plus operate pan, tilt, and zoom from any MIDI device.
Erae Touch is a Polyphonic Expressive MIDI Controller.
It is born out of a desire to combine both sensitivity and versatility in a seamless object.
Count-Me-In allows the audience of a musical event to use their mobile phones and become part of the show!
It’s pretty clear that one of the major trends in MIDI Innovation is collaboration.
Count-Me-In pictured above is just one example.
DAWn Audio allows artists anywhere in the world to work together live, even if they’re using different DAWs.
THE DAW COLLABORATION FRAMEWORK (DCF) is Browser-based middleware that interfaces with shared Cubase projects via virtual MIDI ports, establishing online collaboration with real-time videoconferencing and synchronised audio and MIDI track mixing.
Another trend we see all over the 2022 MIDI Innovation Awards is creative uses of Web MIDI.
Here are a few.
VOGUM is a web application with extensive MIDI controller support for music teachers, learners and performers.
MIDI PROXY-Use a simple MIDI keyboard with pitch-bend to emulate a controller with faders and buttons. And do it from the Web!
WEBMIDI.js is a free and open source JavaScript library that makes it easy for any website to interact with a visitor’s MIDI devices.
ProtoZOA is a flexible prototyping tool for MIDI 2.0.
Open source firmware provides MIDI 2.0 interfaces and functions for developers to use in their own hardware and software products.
Okay, we may be a little biased here, but if there is one Non-Commercial/Prototype Hardware entry that we think everyone should at least be aware of it’s this one.
Why?
Because the MIDI Association is just about to ship over 50 of these ProtoZOA MIDI 2.0 prototyping tools to MIDI Association members around the world.
AmeNote developed a USB MIDI 2.0 Device, designed specifically to jump-start prototyping and validation of UMP functions and fuel the MIDI 2.0 revolution by encourage speedier adoption of MIDI 2.0 by:
Providing an affordable, flexible prototyping platform to enable software and hardware developers to start testing and prototyping MIDI 2.0 UMP.
Providing a testing platform which connects via the USB MIDI 2.0 drivers recently released by Apple and Google and a test tool for Microsoft as they create Windows drivers.
Providing USB MIDI 2.0 source code that other hardware developers can use under a no-charge permissive license.
But there were also plenty of other interesting entries.
Super MIDI Pak turns your Super Nintendo into a MIDI synthesizer!
The Meta Glove for Augmented Art is a low cost MIDI controller glove that allows musicians and artists to augment their digital expressivity resulting in high impact, high publicity and social media attention for them and their sponsors.
And of course, the POSITRONIC RECURSION STUDIO is a fractal synthesizer from the future. Recurse your MIDI signals, your CV’s or your grandma’s quantum brownies. Innumerable novel HD fractals at your fingertips.
Tapis Magique is a knitted interactive carpet that generates 3D sensor data based on body locations and gestures and drives an immersive sonic environment in real-time.
Respoken is an interactive light and sound installation that creates an experience from the user´s voice. A stage for self-expression manifesting the spirit in light and sound.
The MIDI Innovation awards give a platform to MIDI innovation. This enables winners to accelerate their product ideas through connections to the industry, as well as increase their visibility among musicians and the NAMM community of trade professionals. The MIDI Innovation Awards rewards products, prototypes, installations or concepts that are thought-provoking and inspire new, creative use cases.
The founding partners of the event (The MIDI Association, Music Hackspace and NAMM) are committed to continuing with MIDI Innovation Awards and have laid out a plan for 2022.
Check out the highlights from the 2021 MIDI Innovation Awards
Plans for the MIDI Innovation Awards 2022
Jean-Baptiste Thiebaut, MIDI Association Exec Board member and CEO of Music Hackspace came up with the idea for the MIDI Innovation Awards in December of 2020 and amazingly put together the entire MIDI Innovation Awards 2021 event in a little over a month.
In 2022, we are planning in advance and have more time. The MIDI Innovation Awards activity this year will be focused on MIDI.org.
We will start submissions for entrants to the 2022 MIDI Innovation awards in March.
We will hold a number of MIDI Innovation Award events during May Is MIDI Month 2022.
We plan to announce the MIDI Innovation Award winners at the June NAMM show.
If you are interested in submitting a MIDI Innovation project for 2022, please check the box for entrants/submissions below.
If you are interested in viewing or voting for the MIDI Innovation Awards 2022, please check the viewing and voting box below.
THE MIDI ASSOCIATION, a global community of people who work, play and create with MIDI and the central repository of information about anything related to MIDI.
KnittedKeyboard is a recent project coming out from the Responsive Environments Group at the MIT Media Lab. This instrument provides new interactions and tactile experiences for musical expressions, and it can be easily worn, folded, rolled up, and packed in our luggage like a pair of socks or a scarf. The project was initially motivated by discussions with Lyle Mays, a late composer and jazz pianist in the Pat Metheny Group, who wished a rollable fabric keyboard for composing and performing music on the road.
Credit: Irmandy Wicaksono
The KnittedKeyboard leverages digital machine knitting of functional (electrically-conductive and thermoplastic) and non-functional (polyester) fibers to develop a seamless and customized, 5-octave piano-patterned musical textile. The individual and combinations of the keys could simultaneously sense touch, as well as continuous proximity, stretch, and pressure. It ultimately combines both discrete controls from the conventional keystrokes and expressive continuous controls from the non-contact, theremin-inspired proximity sensors (by waving and hovering on the air), as well as physical interactions enabled by the knitted fabric sensors (e.g. squeezing, pulling, stretching, and twisting). The KnittedKaybord enables performers to experience intimate, organic tactile experience as they explore the seamless texture and materiality of the electronic textile.
The sensing mechanism is based on capacitive and piezo-resistive sensing. Every key acts as an electrode and is sequentially charged and discharged. This creates an electromagnetic field that can be disrupted by hand’s approach, enabling us to detect not only contact touch, but also non-contact proxemic gesture such as hovering or waving on the air, contact touch, as well as to calculate strike velocity. The piezo-resistive layers underneath can measure pressure and stretch exerted on the knitted keyboard. All of the sensor data is converted to musical instrument digital interface (MIDI) messages by a central microprocessor, which will correspond to certain timbral, dynamic, and temporal variations (filter resonance, frequency, glide, reverb, amp, distortion, et cetera), as well as pitch-bend. Audio sequencing and generation software such as Ableton Live and Max/MSP map these MIDI messages to their corresponding channels, controls, notes, and effects.
Credit: Irmandy Wicaksono
“Fabric of Time and Space”, as demonstrated in below video, is a contemporary musical piece exclusively written for KnittedKeyboard to demonstrate and illustrate the multi-dimensional expressiveness of the instrument. The piece is a metaphor for the expanding and contracting nature of the universe and this is represented musically by the glissandi of the melody as well as the interplay between major and minor chords. The metaphorical perturbations of space-time were expressed by the interaction between the performer and the fabric. The musical translation of these expressions were used to shape the envelope of the sound. The underlining technology would enable further exploration of soft and malleable gestural musical interfaces that leverage the unique mechanical structures of the materials, as well as the intrinsic electrical properties of the knitted sensors. For further information about this project, please access its main page.
The Interactive Audio Special Interest Group (IASIG) of the MIDI Association is the special interest group that represents MIDI and audio to the gaming community. This year the all virtual Game Developers Conference includes a number of sessions sponsored by the IASIG and other sessions on audio that should be of interest for MIDI companies.
Join the game industry’s top audio professionals to share knowledge and experience from the real-world addressing audio’s unique aesthetic, technical, business, and logistical problems.
2021 Game Audio Pass Pricing Details
Register for an Audio Pass ($399 – General Registration rate, ends 7/17) to attend all Audio Core and Summits sessions throughout the week. The Audio Pass also includes access to the virtual GDC Expo, Sponsored Content, Networking & Meetings (with other Attendees & Exhibitors), Advocacy Sessions, Special Events, Main Stage Content, and the 2021 IGF Awards & GDCA.
IASIG Town Hall
Wednesday, July 21 | 9:40am – 10:40am
Speakers: Kurt Heiden (IASIG), Steve Horowitz (Nickelodeon Digital, GAI, IASIG, SFSU), Scott Looney (Game Audio Institute), Athan Billias (The MIDI Association) Pass Type: All Access Pass, Core Pass, Summits Pass, Expo Pass, Audio Pass, Independent Games Summit Pass, Career Development Pass Topic: Audio, Special Event Format: Special Event
Want to improve game audio workflow or the professional audio tools available to you? Join fellow game audio educators, sound designers, composers, audio programmers, and other audio professionals at the Interactive Audio Special Interest Group (IASIG) Town Hall.
Guest speaker Scott Looney will discuss the state of VR hardware, software and tools for VR, AR, MR and more. New developments with MIDI 2.0 and info on the upcoming Women in Game Audio roundtable will also be covered. Share your own ideas, suggestions, and recommendations for improving the state of the art in audio for interactive media. If you do audio, come and be heard!
Loud Secrets of Game Audio RoundTable (Presented by IGDA)
Thursday, July 22 | 2:30pm – 3:30pm
Speakers: Steph Nguyen (Independent), Chel Wong (Independent), Bonnie Bogovich (BlackCatBonifide LLC) Pass Type: All Access Pass, Core Pass, Summits Pass, Expo Pass, Audio Pass, Independent Games Summit Pass, Career Development Pass Topic: Advocacy Format: Roundtable
The IGDA Interactive Audio Special Interest Group is hosting a roundtable discussion of women’s experiences in game audio. As the industry grows, more and more women are joining in making amazing audio for games. But the industry has historically been a male dominated one, and there are very clear and prevalent issues that women face. This women led roundtable intends to expose some of these issues, and discuss potential solutions. Some of the topics will include: lauding the professionals who hold the door open for women in the industry, harmful allyship, Women’s health issues, awareness of language, and intersectionality.
Pass Type: All Access Pass, Summits Pass, Audio Pass
Topic: Audio
Format: Session If you’re specialized in interactive audio, not in programming, you’re still able to make musical instruments using the variety of software and gaming hardware we have nowadays. It’s pure fun as those instruments can be customized from the top to the bottom. It’s possible to use different controllers and play recorded or even resynthesized timbres with them. All this can be done easily: with simple scripts, the power of game engines and audio middleware.
Join Dolby for an online gathering of the game development communityin celebration of GDC 2021, July 19 – 23, 2021
Experience the power of Dolby Vision and Dolby Atmos in games, hear from industry leaders on the future of game technology, and learn how you can start creating and delivering your games in Dolby today.
MIDI Controllers (Products, Physical Controls, and Messages)
Unfortunately the word controller is overburdened in the MIDI lexicon and probably the most overused word in the world of MIDI.
It can refer to three different things- products, physical controls and messages.
MIDI Controller=Product
People can say MIDI Controller and they mean a product like a IK MultiMedia iRig Keys I/O 25 Controller Keyboard.
They might say ” I’m using The Roland A88 MK2 as my MIDI Controller”.
MIDI Controller=Physical Control
But the word Controller is also used to refer to physical controls like a Modulation Wheel, a Pitch Bend wheel, a Sustain Pedal, or a Breath Controller (yes, there is that word again).
The word Controller is also used to describe the MIDI messages that are sent. So you could say “I’m sending Controller #74 to control Filter Cutoff’.
In fact, there are multiple types of MIDI messages that are sometimes referred to as “Controllers”:
MIDI 1.0 Control Change Messages
Channel Pressure (aftertouch)
Polyphonic Key Pressure (poly pressure)
Pitch Bend
Registered Parameter Numbers (RPNs) in MIDI 1.0 that equate to the 16,834 Registered Controllers in MIDI 2.0
Non-Registered Parameter Numbers (NRPNs) in MIDI 1.0 that equate to the 16,834 Assignable Controllers in MIDI 2.0
MIDI 2.0 Registered Per-Note Controllers
MIDI 2.0 Assignable Per-Note Controllers
To make things a bit more convoluted, the MIDI 1.0 specification contains certain MIDI Messages that are named after physical controls specifically-
Decimal Hex Function
1 0x01 Modulation Wheel or Lever
2 0x02 Breath Controller
4 0x04 Foot Controller
11 0x0B Expression Controller
64 0x40 Damper Pedal on/off (Sustain)
66 0x42 Sostenuto On/Off
67 0x43 Soft Pedal On/Off
But these are MIDI Control Change (CC) messages, not the actual physical controllers themselves.
However most products hardwire the Mod Wheel to CC#1 and set the factory default of Damper to be assigned to CC#64, etc.
Also on most MIDI products you can set your physical controller Mod Wheel to send different CC messages (for example Control Change #2 Breath Controller or Control Change #11 Expression).
MOD WHEEL is a physical controller that always generates a specific message cc001 Modulation Wheel. cc001 (Control Change) can be applied to most any function, it does not have a fixed function. It is most often used to apply Modulation depth to pitch (vibrato) but that must be assigned to the wheel on a per program basis.
by Yamaha Product Specialist Phil Clendennin ( AKA Bad Mister)
So a MIDI Controller has a MIDI Controller that sends a MIDI Controller! Or translated into a sentence that makes more sense-
A IK MultiMedia iRig Keys I/O 25 has a Mod Wheel that sends Control Change (CC) #11 Expression.
The important thing to remember.
The word MIDI controller can refer to three different things.
A type of product- The IK MultiMedia iRig Keys I/O 25 is a MIDI Controller
A physical control- The Mod Wheel on the IK MultiMedia iRig Keys I/O 25 is a MIDI Controller
A MIDI Control Change Message- The Mod Wheel on the IK MultiMedia iRig Keys I/O 25 is sending MIDI Controller #11 Expression
We hosted our final May Is MIDI Month 2021 webinar on May 29 with a focus on Innovation.
There were four presenters covering different aspects of innovation around Artificial Intelligence, Augmented Reality, Machine Learning and Gamification
A3E Deep Dive™: AI & Artificial Creativity
Paul Sitar, President- A3E: The Future of Music + Entertainment Technology™
Paul Sitar explained the A3E Deep Dive into AI and Artificial Creativity.
They have assembled a group of AI & Artificial Creativity Think Tank Luminaries to help to do in depth research on these topics.
Here is the list of people currently involved.
1. Jack Joseph Puig (Multiple GRAMMY Award-Winning Producer/Engineer & Vice President Creative Innovation Waves Consumer)
2. Drew Silverstein (CEO/Co-Founder of Amper/Shutterstock)
3. Maya Ackerman (CEO/Co-founder WaveAI | Professor of AI | Woman of Influence 2020)
4. Daniel Rowland (Oscar-winning, Grammy-nom Engineer/Producer & Head of Strategy & Partnerships at LANDR Audio
5. Kevin Doucette (Composer, Inventor, Engineer and Technology Futurist, Intel Corporation collaborator)
6. Tom Austin (CEO – The Analyst Syndicate)
7. Marc-Jean Jot (VP of Research, Chief Scientist at iZotope)
They have also launched a broader survey on AI and Artificial Creativity.
You can take the survey until June 7, 2021 at the link below.
Taking the survey will also make sure you receive a copy of the survey results.
AR Pianist combines MIDI and AI to create virtual piano performances in your home
Craig Knudsen- Yamaha Consultant/Production Manager for the Piano Guys
Fayez Salka, M.D Medical Doctor, Musician, Software Developer and 3D Artist
Jon Schmidt of the Piano Guys poses next to his AR Pianist avatar at the Apple Store
Craig Knudsen, Yamaha Consultant and Production Manager for The Piano Guys and Fayez Salka, M.D Medical Doctor, Musician, Software Developer and 3D Artist discussed VR Pianist.
The full article on VR Pianist can be found at the link below.
Three years ago, while on tour with my band, Ritual Howls, I encountered a problem. After five grueling hours of sitting in a van on our way to the next gig, I had an idea for a drum beat but no way to capture
Aviv Ben Yehuda -CEO of Big Ear Games explained how gamification can be used to create more music makers. Big Ear Games is affiliated with the Lang Lang Institute which is supported by MIDI Association member, Steinway and Big Ear Games uses MIDI Association member Native Instruments technology inside of their game for sounds. Big Ear just announced MIDI support in the app.
Join Solo, our wannabe musician, to demystify the mystery of how music works and level up your inner musician. Play music puzzles, collect instruments and make music.
Three years ago, while on tour with my band, Ritual Howls, I encountered a problem. After five grueling hours of sitting in a van on our way to the next gig, I had an idea for a drum beat but no way to capture it. All my gear was surgically packed away and out of reach. How could I capture my idea and turn it into workable music?
Typically when inspiration for new music strikes, I open a voice recorder app and record myself beatboxing a beat or mumbling a melody. Once I have access to a computer, I listen back to the recording and try to recreate it by moving MIDI notes into just the right place. While this method would help preserve my idea, it didn’t provide a real-time solution.
Being a musician and product designer, I began researching the marketplace for applications or plugins that could translate my beatboxing into usable MIDI notes. I experimented with a couple of products with audio-to-midi functionality, but nothing worked the way I envisioned. Some plugins even required special microphones to work effectively. I needed something that could work in any setting and with any microphone, like the one on my laptop.
I also tried DAW tools that convert audio into MIDI notes, but it didn’t give me the instant gratification of actually playing music. Further, without perfectly separated audio, it created outputs that didn’t resemble my idea. At this point, I knew there was an opportunity and began to ideate a practical solution.
My Voice as an Instrument
After an exhaustive survey of the current marketplace, I started researching artificial intelligence in audio processing. To translate my voice into workable MIDI notes, it was clear that I needed to develop an algorithm with enough smarts to differentiate various types of drum sounds.
As a product designer, I could envision the look and feel of the experience but needed to find AI experts to develop the architecture for my idea. So I assembled a team of experienced digital signal processing engineers to build a complete machine learning neural network to accomplish this end. We call this technology, Bace.
Bace prototype showing an accurate detection of a drum kick sound.
For several months we trained Bace’s neural network. We collected sample data from men, women, children, and adults of different races and nationalities to offer the most comprehensive drum sound classifications. To account for variations of the same drum sounds between individuals, Bace has built-in training mechanics so any user can improve or retrain the model with their own sample data. These mechanics provide better results while adding a personal dimension to the technology by empowering users to define their experience.
While in our training phase, we also wanted to leverage vocal frequencies beyond drum classification for more involved melodic ideas. To achieve this, we integrated pitch detection into Bace’s algorithm. Pitch detection allows users to process and map their voices to a piano roll.
The Future of Music Technology
In building Bace, I’ve realized that technology can complicate the most straightforward solutions. As product designers and developers, we’ve all seen applications with unnecessarily complex interfaces, special hardware, and elaborate design for design’s sake. While novel and sophisticated, these complicated systems can take a toll on the creative process. Controlling drum sounds with my voice was such a natural idea; I could intuitively recognize its abilities and limitations as an artist.
I see the future of music-making as a way of removing complexity and empowering intuition. Bace was born from my inherent desire to capture a drum beat with my voice and translate it into real music at the moment of inspiration. By making music technology more intuitive, we will not only unleash creativity from experienced creators but provide anyone an opportunity to express themselves in new ways. That self-expression is what makes music unique, and it is our job as technologists to foster rather than complicate it.
Saturday May 8, 2021, May Is MIDI Month 2021 Webinar The Healing Power of Music
The webinar kicked off with Michael Boddicker who has played synthesizer, vocoder, accordion and keyboards on albums by many notables such as Quincy Jones, Randy Newman, The Manhattan Transfer and The Bee Gees and worked on many soundtracks including Saturday Night Fever, Battlestar Galactica and The Wiz.
Boddicker is a Board Member of The Society of Composers and Lyricists (SCL), and he owns an audio post production facility, Sol7 (aka Sol Seven). In 2019, he co-founded the Los Angeles synthesizer music festival, Synthplex.
He described his relationship with music and music therapy and his chance meeting while out for a neighborhood walk with Raffi Tachdjian.
Check out Synth Wizards interview with Micheal where he show off some sounds from his Moog System 55.
Next Raffi Tachdjian MD, MPH, UCLA professor of allergy and pediatric pain specialist and founder of Children”s Music Fund talked about meeting the young patient pictured above during his time a Massachusetts General Hospital and that inspired him to get involved with music therapy (Raffi is a musician himself) and found Children’s Music Fund. In the past decade, CMF has become a leading organization to deliver research on the positive effects of music therapy in sick children and young adults.
Raffi connected with Suzanne B Hanser who was at Berklee College of Music at the time. Dr. Hanser has a long list of accomplishments.
Professor and Chair Emerita of the Music Therapy Department at Berklee College of Music.
Past President of the World Federation of Music Therapy
Past President of the National Association for Music Therapy
Current president of the International Association for Music and Medicine.
It was an incredible honor to have someone who is so important to the world of music therapy attend our webinar and give an impassioned speech about the healing power of music.
Recently there were studies done on the number of people who feel that they are having symptoms of anxiety. In 2019, the percentage of people in the US was 8 percent. In studies completed last month, that number has risen to 30 percent. Given all that is going on the in world. we all could use the healing power of music so we wanted to share one of the many free Youtube videos from Berklee College of Music that are targeted to help ANYONE apply the basic principles of and reap the benefits of music therapy.
In this episode, Suzanne explains the ISO principle. Simply put, most people think that if you are feeling anxious, you should start listening to calming music right away. But that is actually not how your brain works. This video will teach you how to apply the ISO principle and develop your own music playlist to get from one mood to another.
As with all music therapy, this has been researched, tested and documented and it just works.
Walter Werzowa is the founder of Healthtunes.org. HealthTunes® is an audio streaming service designed to improve one’s physical and mental health by pairing medical research with active music links. Binaural beats and isochronic tones are embedded within HealthTunes® music which are two different methods used for brain wave entrainment.
A binaural beat is an auditory phenomenon when two different sine waves, with a close frequency rate, are perceived by an individual through each ear. This experience enables the listener to perceive a third tone. The third tone is a binaural beat.
You may have heard much more of Walter’s music than you know. He has designed the sonic branding for Intel, T Mobile, Fox Sports, Samsung and many others.
Experts in audio branding, custom scoring and sound design for film, broadcast, advertising, and VR. We are an all-inclusive music production studio. Home of the Intel sonic branding mnemonic audio identity.
There is a new project that we didn’t get to cover in the webinar, but wanted to share here. Walter is using AI and MIDI to work on Beethoven’s Unfinished Symphony.
That’s a project that sounds like it deserves a complete article on MIDI.org in the near future.
With an extensive background in the music field, Lori Frazer is the lead program facilitator and technical specialist for the Yamaha Music and Wellness Institute. She trains and supports hospital and clinical staff, as well as research teams. Lori’s expertise extends into medical, as well as retirement communities, senior centers, and special programs that enable people with a host of challenges to enjoy the benefits of creative musical expression. She described her work over the past decade with the Yamaha Music and Wellness Institute.
Yamaha Music and Wellness Institute (YMWI) continues to be actively engaged in exploring the impact of creative musical expression on the human genome as presented in two peer-reviewed scientific research investigations
Alton Mitchell, the Minster of Worship and Arts at Rodman Street Missionary Baptist Church. He spoke to us from his piano lab and explained how the church pioneered a study on using creative musical expression as a catalyst for reducing cardiovascular risk factors. Active participation in vocal and instrumental gospel music is not only enjoyable but good for the heart and soul. Rodman Street’s Health Ministry is making waves, and creating national news.
DAW software, like Ableton Live, Logic, Pro Tools, Studio One, etc. isn’t just about audio. Virtual instruments that are driven by MIDI data produce sounds in real time, in sync with the rest of your tracks. It’s as if you had a keyboard player in your studio who played along with your tracks, and could play the same part, over and over again, without ever making a mistake or getting tired.
MIDI-compatible controllers, like keyboards, drum pads, mixers, control surfaces, and the like, generate data that represents performance gestures (fig. 1). These include playing notes, moving controls, changing level, adding vibrato, and the like. The computer then uses this data to control virtual instruments and effects.
Figure 1: Native Instruments’ Komplete keyboards generate MIDI data, but can also edit the parameters of virtual instruments.
Virtual Instrument Basics
Virtual instruments “tracks” are not traditional digital audio tracks, but instrument plug-ins, triggered by MIDI data. The instruments exist in software. You can play a virtual instrument in real time, record what you play as data, edit it if desired, and then convert the virtual instrument’s sound to a standard audio track—or let it continue to play back in real time.
Virtual instruments are based on computer algorithms that model or reproduce particular sounds, from ancient analog synthesizers, to sounds that never existed before. The instrument outputs appear in your DAW’s mixer, as if they were audio tracks.
Why MIDI Tracks Are More Editable than Audio Tracks
Virtual instruments are being driven by MIDI data, so editing the data driving an instrument changes a part. This editing can be as simple as transposing to a different key, or as complex as changing an arrangement by cutting, pasting, and processing MIDI data in various ways (fig. 2).
Figure 2: MIDI data in Ableton Live. The rectangles indicate notes, while the line along the bottom show the dynamics for the various notes. All of this data is completely editable.
Because MIDI data can be modified so extensively after being recorded, tracks triggered by MIDI data are far more flexible than audio tracks. For example, if you record a standard electric bass part and decide you should have played the part with a synthesizer bass instead, or used the neck pickup instead of the bridge pickup, you can’t make those changes. But the same MIDI data that drives a virtual bass can just as easily drive a synthesizer, and the virtual bass instrument itself will likely offer the sounds of different pickups.
How DAWs Handle Virtual Instruments
Programs handle virtual instrument plug-ins in two main ways:
The instrument inserts in one track, and a separate MIDI track sends its data to the instrument track.
More commonly, a single track incorporates both the instrument and its MIDI data. The track itself consists of MIDI data. The track output sends audio from the virtual instrument into a mixer channel.
Compared to audio tracks, there are three major differences when mixing with virtual instruments:
The virtual instrument’s audio is typically not recorded as a track, at least initially. Instead, it’s generated by the computer, in real time.
The MIDI data in the track tells the instrument what notes to play, the dynamics, additional articulations, and any other aspects of a musical performance.
In a mixer, a virtual instrument track acts like a regular audio track, because it’s generating audio. You can insert effects in a virtual instrument’s channel, use sends, do panning, automate levels, and so on.
However, after doing all needed editing, it’s a good idea to render (transform) the MIDI part into a standard audio track. This lightens the load on your CPU (virtual instruments often consume a lot of CPU power), and “future-proofs” the part by preserving it as audio. Rendering is also helpful in case the instrument you used to create the part becomes incompatible with newer operating systems or program versions. (With most programs, you can retain the original, non-rendered version if you need to edit it later.)
The Most Important MIDI Data for Virtual Instruments
The two most important parts of the MIDI “language” for mixing with virtual instruments are note data and controller data.
Note data specifies a note’s pitch and dynamics.
Controller data creates modulation signals that vary parameter values. These variations can be periodic, like vibrato that modulates pitch, or arbitrary variations generated by moving a control, like a physical knob or footpedal.
Just as you can vary a channel’s fader to change the channel level, MIDI data can create changes—automated or human-controlled—in signal processors and virtual instruments. These changes add interest to a mix by introducing variations.
Instruments with Multiple Outputs
Many virtual instruments offer multiple outputs, especially if they’re multitimbral (i.e., they can play back different instruments, which receive their data over different MIDI channels). For example, if you’ve loaded bass, piano, and ukulele sounds, each one can have its own output, on its own mixer channel (which will likely be stereo).
However, multitimbral instruments generally have internal mixers as well, where you can set the various instruments’ levels and panning (fig. 3). The mix of the internal sounds appears as a stereo channel in your DAW’s mixer. The instrument will likely incorporate effects, too.
Figure 3: IK Multimedia’s SampleTank can host up to 16 instruments (8 are shown), mix them down to a stereo output, and add effects.
Using a stereo, mixed instrument output has pros and cons.
There’s less clutter in your software mixer, because each instrument sound doesn’t need its own mixer channel.
If you load the instrument preset into a different DAW, the mix settings travel with it.
To adjust levels, the instrument’s user interface has to be open. This takes up screen space.
If the instrument doesn’t include the effects plug-ins needed to create a particular sound, then use the instrument’s individual outputs, and insert effects in your DAW’s mixer channels. (For example, using separate outputs for drum instruments allows adding individual effects to each drum sound.)
Are Virtual Instruments as Good as Physical Instruments?
This is a question that keeps cropping up, and the answer is…it depends. A virtual piano won’t have the resonating wood of a physical piano, but paradoxically, it might sound better in a mix because it was recorded with tremendous care, using the best possible microphones. Also, some virtual instruments would be difficult, or even impossible, to create as physical instruments.
One possible complaint about virtual instruments is that their controls don’t work as smoothly as, for example, analog synthesizers. This is because the control has to be converted into digital data, which is divided into steps. However, the MIDI 2.0 specification increases control resolution dramatically, where the steps are so minuscule that rotating a control feels just like rotating the control on an analog synthesizer.
MIDI 2.0 also makes it easier to integrate physical instruments with DAWs, so they can be treated more like virtual instruments, and offer some of the same advantages. So the bottom line is that the line between physical and virtual instruments continues to blur—and both are essential elements in today’s recordings.
If you don’t know anything about music therapy, this 18 minute Tedx Talk Youtube video is a great way to understand how music and medicine work together to heal.
Music therapist, Dr. Deforia Lane takes you inside University Hospitals Seidman Cancer Center to experience first hand the response of patients to music therapy: hear of music’s effects on an unborn child; watch the reaction of a laryngectomy patient; see how therapeutic singing helps a man with stroke to speak again.
Dr. Lane shares her personal challenge with cancer and how music benefited her healing. She ends with a probing question for each all who will hear.
Internationally acclaimed music therapist, Dr. Deforia Lane is the founder and Director of Art & Music Therapy at the University Hospitals Case Medical Center in Cleveland, OH. She oversees a 9-member team of art and music therapists who serve the 1000-bed hospital. She is a researcher, clinician, clinical training director, teaches at the Case Western Reserve School of Medicine and the Frances Payne Bolton School of Nursing and has experienced a pioneering career spanning 4 decades.
Was May Is MIDI Month 2020 really only a year ago?
It seems that everyone has had a bit of trouble keeping time this year. Not musically as that is the one place where time remains constant.
But in talking to people , they often say that one moment last May seems like it was last week and the next it seems like it was 10 years ago.
In the late spring of 2020, the world was in the beginning of the global pandemic and there was a huge amount of uncertainty about what the future would hold. The MIDI Association decided that instead of raising money for ourselves for May Is MIDI Month 2020, we would raise money for people affected by the global pandemic.
Our first plan was to give the money to the Grammy Foundation’s Musicares Coronavirus Relief Fund. Joe LaMond, president of NAMM urged us to find something we could be more directly involved in.
We were on a call with LA studio legend and Grammy award winner Michael Boddicker discussing our Orchestral Articulation profile.
He mentioned his long-time affiliation with the Children’s Music Fund (CMF), and that’s when we knew we had found the perfect partner.
UCLA professor of allergy and pediatric pain specialist Raffi Tachdjian MD, MPH founded the organization in 2002, after he was inspired by a patient during his pediatric residency at Harvard’s Massachusetts General Hospital.
Here is a picture of Raffi with the young patient who inspired him to form Children’s Music Fund. That patient sadly passed away, but lives on in the work that Raffi continues to this day.
In the past decade, CMF has become a leading organization to deliver research on the positive effects of music therapy in sick children and young adults.
The MIDI Association and Children’s Music Fund
CMF maintains a network of carefully screened, board-certified music therapists (MT-BC), and follows the practices and standards established by the American Music Therapy Association.
Due to the pandemic, CMF music therapists were unable to do in person sessions and had to switch to remote telehealth sessions. The MIDI Association donated the $18,000 we raised from our May Is MIDI Month 2020 donation drive to help support CMF’s move to telehealth.
After a few meetings with the CMF board, The MIDI Association realized that we should not just be donating money to CMF, but working closely with them on an exciting new area, using MIDI for remote music therapy.
Many MIDI controllers bring a level of accessibility and ease of use that is impossible with traditional instruments and Web MIDI has the capability to add smartphones and tablets to that mix.
This is a vast as yet untapped area in music therapy and we know we have the right partners to significantly improve the lives of many sick children for years to come.
Watch Lisa Harriton from Smashing Pumpkins, Serj Tankian from System of a Down, Scott Shriner from Weezer, and actress/singer/songwriter Minnie Driver explain the important mission of Children’s Music Fund.
You Give a Dollar. We’ll Give $10. Let’s Give 24 in 21.
It’s just that simple. If we can raise $2000 in donations from individual MIDI Association members, our MIDI Association corporate sponsors will match it with $22,000.
Where else can you spend $1 and get $11?
The MIDI Association is committed to raising $24,000 to help sick kids through the healing power of music and MIDI with caring sponsorships of Art+Logic, Audio Modeling, Bome, imitone, IK Multimedia, Korg, NAMM, Steinberg, Steinway, Sweetwater, and Yamaha.
Whether you are a beginner or advanced we invite you to explore our unique workshops, which range from live coding sound to creating dynamic drum patterns, plus much more….
All sessions will be led by women artists, creators, producers and educators, within a safe and inviting online space.
Here, at Music Hackspace we champion and celebrate women who are active within the music technology field, and hope to support more women (and those who are not often represented including those who identify as non-binary) in learning music technology.
We ask everyone in our community to challenge the status quo in music technology, to create more equal, representative and inclusive space for everyone to create, engage and enjoy.
Find out more about our events and the workshop leaders below.
And spread the word:
#LearnMusicTech #ChooseToChallenge #IWD2021Enter your quote here…
by MusicHackspace
Music Hackspace who pioneered The MIDI Innovation Awards announces International Women’s Day line up
Chagall is an Amsterdam-based singer, producer and performer known for her use of the MiMU Gloves to control music & reactive visuals. With performances at South by Southwest, Ableton Loop, TEDx and many more Chagall is one of the most experienced users of the technology. She is also the UX designer for MiMU’s Glover & Gliss.
Melody is an artist, creative technologist, and educator based in Brooklyn, NYC. Her work ranges from live coding performance, generative sound installations, multisensory performance, and more. She currently teaches at Hunter College and Harvestworks and is part of Cycling 74’s Max Certified Trainer Program
Purvi is a London based web developer with years of experience in music technology & ux research. She currently works as a Frontend Engineer at Potato, an award-winning digital product studio that works with the likes of Google, PepsiCo, Mozilla, the BBC and NatWest. She has co-produced KALA, an album that explores human emotions through the design of everyday sounds.
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.
Anna is a London based producer, engineer, vocalist and educator. Anna is a certified trainer for Ableton.
Anna is currently working as a university lecturer in London, teaching music production, creating educational content and working on her next releases as ANNA DISCLAIM.
The MIDI Association, Music Hackspace, and NAMM held the first MIDI Innovation Awards online. The event showcased the Top 10 entries, as innovators from nine countries competed for a share of $20,000 worth of prizes in a fast-paced, livestreamed show, which also featured live and recorded performances. The show’s climax was announcing the three Grand Prize winners as decided by an expert panel of judges, as well as the winner of the popular vote.
The number of entries, the high standards they represented, and the sheer number of votes exceeded even our most optimistic expectations. Innovation in MIDI is thriving.
by Craig Anderton, President of The MIDI Association
The awards realized our shared dream: give makers and innovators around the world an opportunity to connect with the NAMM community despite the pandemic, spotlight their work to the public, and celebrate the spirit of creativity.”
by MusicHackspace.com and MIDI Innovations Award founder Jean-Baptiste Thiebaut
The judges awarded 1st place to Krishna Chetan from India for his entry Fluid Pitch, which also won the popular vote. Noted technologist and judge Dr. Kate Stone stated “This novel plug-in re-imagines pitch bending, in a way that enhances and simplifies how keyboard players react with MIDI instruments.” Krishna won over $12,500 in prizes, including a booth at the 2022 NAMM show, 2-year corporate membership in the MIDI Association, consulting from MK2 Audio and MIDI2Marketing, and a full Max 8 license.
Khrisna has worked for A R Rahman. Mr Rhaman’s work on Slumdog Millionaire (2008) earned him Best Original Score and Best Original Song at the 81st Academy Awards. In 2009, he was named by Time Magazine as one of the world’s 100 most influential people. When A R covered Fluid Pitch on his weekly show it got over 150,000 views. He calls it out as the very first MIDI plugin from India.
2nd place went to Kevin Chang from North Carolina, USA for his entry Sonoclast Plastic Pitch Pro. Judge and YouTube sensationShawn Wasabi said “Plastic Pitch Pro’s innovative approach to microtonality makes formerly obscure tuning techniques easy to use and understand.” Kevin’s prize package, worth over $3,000, includes hardware from Expert Sleepers, a 1-year corporate membership in the MIDI Association, consulting from MK2 Audio and MIDI2Marketing, and a full Max 8 license.
Leigh Davies from Wales, UK won 3rd place for his entry Playces. Judge Helen Leigh, creative technologist said : “This art installation, made from corrugated cardboard and electronics, offers sonic exploration opportunities for children of all ages—and enthralled the judges with its creative use of MIDI and technology.” Watch Leigh’s 3-minute pitch.
The livestream was recorded, and is now available on the Music Hackspace YouTube channel.
Preparations will be underway soon for the 2022 event.
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.
Guthman Musical Instrument Design CompetitionMay 11, 2019 at 7PM Pacific Time All three winners of the 2019 Guthman Musiclal Design Competition were MIDI Controllers. Check out Geoshred,AirSticks and The Glide as well as other unique MIDI instr
This year because of the CoVid situation the competition is being done remotely and you get to vote on who the winners are. There is still a panel of judges and one of them is the godfather of MIDI , Dave Smith.
Legendary instrument designer and Grammy-winner Dave Smith
There are also not only a number of MIDI controllers among the finalists, but even a number of MIDI Association corporate members.
Here is some information and links to the 2021 Guthman Musical Instrument Competition Finalists page.
Orba by Artiphon
Orba is a $99 portable synth, looper, and wireless MPE MIDI controller. We designed it to be played with intuitive techniques that are inviting for kids, hobbyists, and pros alike. Orba has ten core gestures: Tap, Press, Spin, Radiate, Tilt, Shake, Slide, Vibrato, Move, and Bump. Orba builds on Artiphon’s framework of the multi-instrument: a single instrument that can be played as many.
The Sylphyo by Aodyo Instruments
The Sylphyo is an electronic wind instrument that reproduces the feeling of an acoustic wind instrument. Like them, it is played by blowing into a mouthpiece and selecting notes using keys on the front of the instrument. However, unlike other wind instruments, the Sylphyo is also sensitive to your movements, as well as the way you touch it, offering novel expressive possibilities.
du-touch-s by Dualo
The Sylphyo is an electronic wind instrument that reproduces the feeling of an acoustic wind instrument. Like them, it is played by blowing into a mouthpiece and selecting notes using keys on the front of the instrument. However, unlike other wind instruments, the Sylphyo is also sensitive to your movements, as well as the way you touch it, offering novel expressive possibilities.
ELECTROMAGNETIC PIANO by Monica Lim
This is an attachment to an acoustic piano that uses magnets to resonate the piano strings. It allows the strings to sustain indefinitely, providing an alternative to the way acoustic pianos have been played and sound for centuries. The piano can also be played in the normal manner, allowing a rich mixture of percussive and sustained texture. Each string has a corresponding magnet tuned to its specific frequency, giving an ethereal, organ-like sound. The midi-triggered magnets come in a portable, easy to set-up format that can be used on any grand piano.
The MIDIS 2.0 is a product line of four different MIDI instruments. The MIDIS 2.0 are created to make digital music with human passion and intuition. It is our aim to bring that human touch back to digital music productions and give users the feeling that they are playing an instrument instead of a VST plugin with their mouse and keyboard.
The Striso board
The Striso board is an expressive instrument which combines multidimensionally sensitive buttons with an innovative note layout that helps understand the structures in music. The buttons capture each subtle finger movement, which allows for levels of musical expression previously only known to acoustic instruments. Additionally, accents and sound effects can be added by shaking and moving the instrument as a whole.
To see all the 2021 Guthman Musical Instrument Competition Finalists and vote, click on the image below.
Once upon a time, school students had to know how to play an instrument to make music or know enough theory to compose a song. We all gathered in the music room or auditorium of our brick-and mortar high schools to learn music and perform it.
The music education world has seen many changes since then; and recently all education has been drastically altered.Today’s high school music teachers are very fortunate to have our fingertips the cutting-edge, MIDI-driven BANDLAB for EDUCATION.We are not in-a-pickle, rushing to configure remote learning lessons.Why? Because this wonderful music production-education tool to benefits music educators to meet and exceed standards, and offer their students, public or private, and exciting music listing principles of discovery learning and much easier differentiated instruction.And it’s especially well designed for today’s critical distance learning needs due the national shut down of school from the virus pandemic.
Band Lab for Education can energize an entire band and orchestra or private studio program, opening up an new creative and performing possibilities in a collaborative learning environment. Students and technology are natural magnets and Band Lab for Education fits easily into that zone.Plus, it provides no fuss, low learning curve platform for the teacher.
The recognized potential of Band Lab for Education offers a dream tool for busy music educators to facilitate easy–to–create assignments, real-time independent student collaboration, quick grading and quality feedback without distracting admin tasks or security headaches since it’s entirely COPPA compliant.This is perfect for new remote-leaning and collaborative environments.Our students’ creative world will open up more than ever before now that Band Lab is used in over 180 schools in 40 countries with 12 million+ users worldwide
What also makes this such an attractive, magnetic teaching tool is the wide-ranging musical color palate students get to explore and create with. Think of all they can produce with the bass, brass, strings, piano, woodwind and guitar sounds, plus the creator kits, drum kits, percussion, synths, and special effects! While students can connect their own physical instruments, they don’t actually need them to get started. They can record into Band Lab for Educator’s mix editor and access 6000+ free loops ranging from pop, hip-hop, Latin, rock, EDM genres to Soundscape and Ambient collections
Experimentation is the watchword. Some music educators find it handy to use Band Lab for Education’s linked interfaces to help connect physical instruments into most any DAW, which can be very inexpensive.
Band Lab for Education is designed to make life easier for the teacher and a lot more fun and innovative for students.For this purpose their website is loaded with information and enticing features.
Perhaps the best news is Band Lab for Education is FREE and open for everyone. And, it operates from the Cloud so it is easily accessible.It’s available to all educators via a free subscription at https://edu.bandlab.com. Currently, it can be used on all PCs (via the Chrome and Edge browsers).The iOS version for mobile devices in now in beta.
This is the most user–friendly and industry–friendly music creating teaching tool on the market. Band Lab for Education is built to integrate with other services, so the music educators often use it to complement their existing suite of tools.
Band Lab for Education allows a win–win atmosphere for teachers and students, creating true ownership of music skills, achievement and life-long lovers of music.
Band Lab for Education is perfect for these pandemic times when the music and education must go on.
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.
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.
Game Music is incredibly unique because unlike almost every other form of music which is based on a linear temporal framework (a song starts and plays uninterrupted from begin to end), game music is inherently interactive because it depends on the user’s game play to decide what music plays at what time. If you are doing well in the game and increasing from one level to the next, the music will build and generate added excitement. But when you fail to move forward and the games ends, completely different music is triggered. More money is spent on developing games than is spent on developing movies and there is a very active group of dedicated game audio professionals who also use MIDI.
What is Interactive Audio?
“Interactive Audio” is audio for interactive media such as video games, AR/VR environments, and websites… anywhere the audio changes according to listener input. The term “Interactive” is used to distinguish it from “linear” forms of audio (such as in films and in cut scenes in games) where the audio is decided in advance and always is the same no matter who is listening. The creation and delivery of Interactive Audio involves specialized skills and tools, and the close cooperation of composers, musicians, sound designers, programmers, educators, and software/hardware developers
by Interactive Audio Special Interest Group (IASIG)
What is the IASIG?
The IASIG is an organization that brings together experts to share their knowledge and help improve the state of the art in audio for games, websites, VR content, and other interactive performances. Our members share tips and techniques, study trends, and create reports and recommendations that game developers, tool makers, and platform owners use to create better products.
by IASIG
The IASIG was born out of the Audio Town Meeting at the Computer Game Developers conference in April of 1994. The group first met in June of 1994 to discuss a means for improving audio development tools and upgrading multimedia audio performance. Initially called the AIAMP (Association of Interactive Audio and Music Professionals), the MIDI Manufacturers Association (MMA) assumed responsibility for the group in August of 1994.
The IASIG operates as an autonomous group supervised by the MMA, with its own advisory board, steering committee and working groups. The majority of activity is in discussion of various topics of interest to the members, which is conducted via private Internet mailing lists. As is often the case in groups like this, every participant is free to choose their own level of contribution, though naturally participants are encouraged (and needed) to work on creating issues and solutions, not to just sit back and review everyone else’s work. The process, in general, is geared towards gaining consensus, and the wider SIG membership is given ample opportunity to comment on the progress of each Working Group through reports given at regular physical meetings as well as via e-mail, fax, or regular mail (as the case may be).
IASIG activities are independent of MMA activities, and membership in one organization does not entitle the member to services of the other. IASIG recommendations will be forwarded to the MMA and all other interactive audio industry groups as necessary to complete the IASIG mission to positively influence the development of interactive audio hardware and software.
There are lots of websites that offer information on DAWs and music production. Audio Assemble takes a unique approach by offering articles, videos, reviews, interviews and information on schools that offer degrees in music and music production.
Audio Assemble has a lot of articles about Pro Tools, but they also cover a lot of MIDI topics especially in their list of top MIDI products for different categories.
Audio Assemble Top MIDI keyboard controllers for 2020:
The latest release of Native Instrument’s flagship MIDI controller, the Komplete Kontrol S88, brings a plethora of new additions to the already elite system. Some of the improvements are long-awaited quality-of-life changes, such as the ergonomic pitch and mod wheels, a unique touch strip for advancing tracks and tweaking synth elements, and Smart Spring memory foam damping for the fully weighted 88 hammer keys.
In addition to the smaller improvements, NI’s real innovation comes with the newfound access to all of your production tools, right at your fingertips. With this latest release, the Komplete Kontrol S88 now has two high-res color screens- allowing for visualizing, mixing, and editing, all from the hardware.
The dual screens allow for in-depth sound design and creative applications, such as a sampler on one display and a synthesizer mid-tweak on the other. For those who know of the convenience of using dual screens in everyday production, this elite system will quickly become the center of your production setup.
In addition to the 1:1 keyboard experience, the Komplete Kontrol S88 comes pre-loaded with the Komplete 12 Select Bundle- containing Massive, Monark, Drumlab, Phasis, Replika and more. Three sound packs are included with said bundle, offering the “True School,” “Velvet Lounge,” and “Deep Matter” sound packs.
Lastly, the Komplete Kontrol S88 offers out-of-the-box integration with MASCHINE, Logic Pro X, Ableton Live, Cubase, Nuendo, and GarageBand. For users of FL Studios and other DAWs like Reaper, only a few driver downloads are required before you are ready to master your production.
Keybed: 88-key hammer-action Fatar keybed with a real piano feel
Pitch Bend / Modulation: two rotary wheels with anti-slip coating are featured above the pads.
Pads: 16 velocity-sensitive RGB backlit drum pads with out-of-the-box Ableton Live integration.
Build: Lightweight, low profile.
Knobs: eight 360 degree fully-customizable knobs.
Faders: None.
Pedal Inputs: expression pedal and footswitch inputs.
Octaves: Up and Down.
Extra Features: Comes with KOMPLETE 12 SELECT: 14 premium instruments and effects, including THE GENTLEMAN, Massive, Monark, Drumlab, Phasis, Replika, Reaktor, and more.
Here is an example of what an Audio Assemble MIDI Pad review looks like.
iRig Pads [$149.95]
Pioneers in the “making music with iOS” category, IK Multimedia has a host of midi controllers for iPads or iPhones. One highlight in its iRig collection is the iRig Pads. The iRig Pads is a fully-functional pad controller with a 4×4 layout with multiple programmable peripherals.
This lightweight chromatic keyboard controller from Keith McMillen Instruments packs everything you need for a dynamic MIDI experience into a sturdy one-pound unit. When plugged into your on-stage setup via MIDI or connected using USB, this versatile device brings a whole new level of functionality and energy to your performances. Use it to control MIDI interfaces, sound modules, and soft synths throughout each show, taking advantage of the velocity-sensitive pedals to create a variety of unique tones. Bright backlighting makes it easy to see the controls onstage so that you’re always in control of your effects.
With the capability to store up to five notes per key, the 12 Step can crank out multiple complex chords on demand. Enjoy endless musical possibilities with the dozens of factory presets and the ability to create many more of your own.
I created the Plastic Pitch Plus (PPP) to experiment with microtonality. My primary design goal was to create a physical interface that gives immediate and independent control of pitches in a scale. One way of doing microtonality involves generating lists of frequencies or ratios. In contrast, I wanted something that would naturally engage my ear and provide an intuitive way to experiment with pitches.
Here are some technical details. The PPP provides two microtonal scale modes.
1) A twelve-tone scale mode in which the twelve knobs are used to tune up or down each of the twelve notes in a scale.
2) An equal divisions per octave mode in which the keys of a MIDI keyboard are remapped to an integer number of equal divisions per octave between 5 and 53.
The two scale modes are implemented in two ways.
1) Using MIDI pitch bend. This is somewhat of a MIDI hack intended to support microtonality with any MIDI keyboard. In short, each key is mapped to a microtonal pitch as specified by the knobs. The PPP listens for incoming MIDI notes and sends out MIDI pitch bends and notes that correspond to the microtonal pitches. To support polyphonic playing, the outbound pitch bends and notes are carefully distributed to multiple MIDI channels so that each note can have its own pitch bend value.
2) Using the MIDI Tuning Specification. This is my first time playing with this relatively new specification. (It works great!) The PPP acts as a controller–no MIDI input is required. When the knobs are turned, corresponding SysEx messages are sent out to retune the synthesizer’s internal tuning table.
See my website for more information and how to buy one.
We got several entrees for suggested content from the December 2017 MIDI Association newsletter. One was for an article on CTRLCap from Edwin Joassart. We did a little more research and decided to do an article not just on CNTRLCap, but on the developers behind it -Herrmutt Lobby.
Herrmutt Lobby has created not just music, but hardware and apps to allow people to interact with music. After all, their mission is Empowering Real-Time Electronic Music.
They have four major projects-
Playground-Music At Your Fingertips
BEATSURFING-The Organic MIDI Controller Builder
Le U (20syl)-The Interactive Skateboarding Ramp
CTRLCap, the cap you squeeze to control FX
Founded in 2003, Herrmutt Lobby is a collective of musicians, handymen, and programmers. Since 1997, the individual members of the group have released music on various labels – DUB, Studio !K7, Vlek, Eat Concrete, Thin Consolation, Catune – and across genres.
Alongside music, they’ve also devised and built various softwares, controllers, and apps that help musicians perform live with the freedom to express at the moment’s inspiration/instinct.
Their ever-changing musical universe grows through encounters with musicians from diverse horizons, most recently the Belgian jazz player Stéphane Mercier and UK rapper Lord Rao.
1
by Herrmutt Lobby Website
CNTRLCAP-The cap you squeeze to control FX
Ever tried to add FX while scratching without breaking your flow? With both hands busy controlling the fader and the record, it’s pretty much mission impossible… Unless you own a CTRLCap.
With its cutting edge technology, CTRLCAP adds an expressive touch to your fingertips!
This Application lets you to draw a 3-dimensional controller which you can use, like any other, by tapping. But Beatsurfing allows more: you design your own paths until they suit you, follow routes, take turns and cuts with your fingers and collide with objects along the way, triggering melody, beats, effects . Movement is what it’s all about.
It can control any MIDI-enabled device (Software, Hardware, or even selected iPad apps), features a very intuitive in-app editing system and integrates seamlessly in any existing Studio or Live setup. Objects Behaviours can be set to link objects together and multiply the available commands on the surface of the iPad.
LE U – Interactive Skateboarding Ramp by 20syl
Skateboard culture and electronic music, those are the two mail components of 20syl’s artistic construction. He has practiced these disciplines for twenty years or so and has never stopped building bridges between them. Today, along with La Région des Pays de la Loire and les salles de musiques actuelles(places dedicated to modern music VIP, Stereolux, Chabada, Fuzz’Yon, 6par4, Oasis), he presents a project which could be the achievement of this crossbreed: a Sound Ramp, a “U” turned into a sensitive and visual surface allowing the skater to perform music that the artist has composed.
We want to thank Edwin Joassart from Herrmutt Lobby for reaching out to us and hopefully you enjoyed this quick tour of the many Herrmutt Lobby MIDI projects. MIDI is often at the heart of these kinds of innovative projects.
Ask Audio’s AudioPedia series is a comprehensive video dictionary of audio terminology. Created by audio expert Joe Albano, this encyclopedia of technical terms is the ultimate audio reference tool. Here are the topics covered and defined in the ninth installment of this authoritative series:
MIDI:
MIDI | Musical Instrument Digital Interface (preview below)
DIN (Cable) | USB (MIDI)
MIDI In | Out | Thru
Channel Voice Messages (preview below)
Velocity(preview below)
Pitch Bend
Aftertouch | Pressure
Control Change | CC
System Exclusive | SysEx
MIDI – Operation | Applications:
Quantization (MIDI)
Sound (Drum) Replacement
MIDI Controller
Touch | Velocity Sensitivity
Weighted | Unweighted Keyboard
Keyboard Split | Layering
Alternative MIDI Controller
MIDI Drum Kit
General MIDI | GM | SMF
MIDI Sequencer | Step Sequencer
Arpeggiation, Arpeggiator
Almost everyone who works with music encounters MIDI at some point, and many people use it every day. But aside from plugging in your USB keyboard, how much do you really know about what MIDI is and how it works? In the course AudioPedia 109: MIDI, Joe Albano gets to the heart of the MIDI protocol and explains it in a way that’s friendly and enlightening.
by Ask Audio
MIDI Channel messages
There are 7 MIDI channel voice messages.
Note on
Note Off
Mono Pressure
Poly Pressure
Program Change
Pitch Bend
Control Change
Velocity
Velocity is the force with which a note is played, and essential to making MIDI expressive.
The NLE AudioPedia series, our video-based audio encyclopedia, is an invaluable resource for sound engineers, musicians, students, educators and all audio enthusiasts. This ninth installment is about MIDI terminology.
With the boom in open-source electronics platform like Arduino and the growth of 3-D printers, it’s become easier and easier to create your own MIDI controller. We wanted to introduce you to some of the people and companies who helped create the DIY MIDI revolution.
Moldover- The Godfather of Controllerism
Moldover is the acknowledged godfather of controllerism. He has been a long time supporter of The MIDI Association and we featured him as a MIDI artist in 2016. He was one of the first people to develop his own DIY MIDI controller.
Shawn Wasabi has 574,651 subscribers and 54,314,415 views on his Youtube channel. He started combining multiple 16 button MIDI Fighters together and combining them with game controllers. Eventually he convinced DJ TechTools to make him a 64 button version of the MIDI Fighter with Sanwa arcade buttons.
Livid Instruments has been at the forefront of MIDI controller experimentation since 2004. They have a number of manufactured products.
minim- mobile MIDI controller
Guitar Wing MIDI controller
Ds1 MIDI controller
But Livid also makes some great components for DIY projects like the Brain V2.
Easily create your own MIDI controller with Brain v2. Brain V2 contains the Brain with a connected Bus Board for simple connectivity. Connect up to 128 buttons, 192 LEDs, and 64 analog controls. Components are easily connected with ribbons cables and we’ve created the Omni Board to allow dozens of layouts with a single circuit board. Brain v2 supports faders, rotary potentiometers, arcade buttons, rubber buttons, LEDs, RGB LEDs, LED rings, encoders, velocity sensitive pads, accelerometers, and more.
by Livid
Links to MIDI.org resources for DIY MIDI projects so you can DO IT YOURSELF!
IntroductionThe Arduino UNO is a popular open-source microcontroller that, in many respects, is a perfect complement to the extensible nature of the Music Instrument Digital Interface (MIDI) protocol. Microcontroller platforms such as Arduino, Teensy
Instructables is a site which hosts DIY projects and is a platform for people to share what they make through words, photos, video and files. We have gone through the many MIDI DIY projects  and picked our some of
Companies and products listed here do not imply any recommendation or endorsement by the MIDI Manufacturers Association. MIDI Processing, Programming, and Do It Yourself (DIY) Components These are just examples of such products — we make n
Ask.Audio is one of our favorite technology websites and has been a great partner to The MIDI Association. We have worked with Ask.Audio’s parent company, Non Linear Educating to provide extensive video training right here on the MIDI.org website in our courses section. Here’s a brief description on what NonLinear Educating is all about.
Nonlinear Educating is an adaptive technology company dedicated to improving the way the world learns. The combination of our powerful and modular video-courseware production & distribution platform and our extensive library of industry leading training courses, has granted us the opportunity to empower a variety of partners from a multitude of industries. The foundationally modular approach to our application infrastructure enables us to rapidly customize instances of our platform to meet the specific needs of our partners. We are agile adaptive and are committed to developing the most efficient and robust video-learning platform on the internet.
by Non Linear Educating
The MIDI Association collaborates with many of the top technology websites including Ask.Audio, Electronic Musician, Harmony Central, Hispasonic, Keyboard Magazine, SonicState, Sound On Sound and more by mutually sharing information and stories about MIDI.
Joe Albano, a well known author on Ask.Audio recently put together a great article on MIDI messages. We have Ask.Audio’s permission to summarize the content of their articles and then include a link to the full article.
Fig 1 The wonderful world of MIDI
M.I.D.I.—Musical Instrument Digital Interface—shook up the industry when it was introduced in 1983, by separating the player’s performance from the sound of the instrument, and this powerful digital communication protocol has been going strong ever since.
by Joe Albano
Joe’s article covers the basics about the most common MIDI messages
Channel Voice Messages
The bulk of the musical performance data of a MIDI recording falls into the message category of “Channel Voice Messages” (I’m going to ignore the old-school “Channel” designation here). The 7 Voice Messages are:
• Note-On
• Note-Off
• Monophonic (Channel) Pressure/Aftertouch
• Polyphonic (Key) Pressure/Aftertouch
• PitchBend
• Program Change
• Control Change (or Continuous Controller) messages, a.k.a. CC messages, of which there 127
Fig 3 Strings of continuous (streaming) MIDI messages
Below is a link to the full article on Ask.Audio’s website.
MIDI. There’s a lot of musicians and producers who don’t know how to use this protocol to improve their musical performances and add more expression to their in
Nonlinear Educating is an adaptive technology company dedicated to improving the way the world learns. The combination of our powerful and modular video-courseware production & distribution platform and our extensive library of industry leading training courses, has granted us the opportunity to empower a variety of partners from a multitude of industries. The foundationally modular approach to our application infrastructure enables us to rapidly customize instances of our platform to meet the specific needs of our partners. We are agile adaptive and are committed to developing the most efficient and robust video-learning platform on the internet.
Join the MIDI Association and download the 21 page booklet “What is MIDI” excerpted from “MIDI for the Professional” by Paul Lehrman and Tim Tully.
We’re always trying to help our MIDI Association members get the most out of MIDI. Paul Lehrman has been involved with MIDI since its inception. Paul has written over 500 articles for various music technology publications and is currently the Director of Music Engineering at Tufts University.
He and co-author Tim Tully have graciously donated a 21-page excerpt from their book “MIDI for the Professional” to The MIDI Association and we are making it available to our TMA members as a free download.
Click the link below to join or login as a TMA member and then download Paul’s “What is MIDI” guide.
This exclusive member content is both the perfect in-depth introduction to MIDI for a “newbie” and also a handy reference guide for the seasoned MIDI expert.
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Paul Lehrman showing Herbie Hancock the joy of MIDI.
Paul D. Lehrman, PhD, composer, author, consultant, and educator, is one of the world’s leading experts on MIDI and computer music.
He was the creator of the first all-MIDI album, The Celtic Macintosh (1986), and has had compositions commissioned by Newcomp, the Boston Computer Society, the Society for Small Computers in the Arts, the Audio Engineering Society, and UMass Lowell.
He has written over 500 articles on music technology for publications including Wired, New Media, Keyboard, Electronic Musician, EQ, Piano & Keyboard, Sound on Sound, the Boston Globe, the Boston Phoenix, Technology Illustrated, Studio Sound, Oui, High Times, Millimeter, and Recording Engineer/Producer, and from 1996 to 2008 was the “Insider Audio” columnist for Mix magazine. He was also the web editor for the Technical Excellence and Creativity (TEC) Awards from 1997 to 2015.
He served three terms as executive director of the MIDI Manufacturers Association during which time he contributed to the development of MIDI Time Code, MIDI Machine Control, and General MIDI.
Paul Lehrman is the Director of the program in Music Engineering at Tufts University.
Paul worked with Eric Singer from the League of Electronic Musical Urban Robots (LEMUR) worked together on Anthiel’s Ballet Mecanique which was performed at Carnegie Hall and at the National Gallery of Art among many other performances around the world.
Links to more information on Paul Lehrman on the web
Nintendo’s ultra-affordable Wii Remote controller can sense movement in every direction, and even knows at what angle you’re holding it. Its potential as a music controller is unlimited, and you don’t even need a Wii console to use it!
George Antheil’s Ballet Mécanique is all but impossible for human musicians to play. So for his latest presentation of it, Paul D. Lehrman built an orchestra of robots…
Unlike audio file formats like MP3 files and CDs, MIDI files contain individual instructions for playing each individual note of each individual instrument. So with MIDI it is actually possible to change just one note in a song, or to re-orchestrate an entire song with entirely different instruments. And since each instrument in a MIDI performance is separate from the rest, its easy to isolate individual instruments and study them for educational purposes, or to mute individual instruments in a song so that you can play that part yourself. Here are just some of the tangible advantages of using MIDI for active music-making.
Play with “a band”
Learning to play a musical instrument is one of the most rewarding things people can do. But why play by yourself when you can play along with a band? Standard MIDI Files are available for many popular songs, and when used with a personal computer or digital piano make it possible to have an entire backing band play along with you at whatever speed (tempo) and in any pitch (key) you desire. MIDI files are perfect for practicing with, as well as for performing when additional musicians are not available.
Correct Your Performance
A MIDI sequencer or a ‘Digital Audio Workstation’ can record your performances for listening at a later time, and even save your performance in Standard MIDI File format for playback on other MIDI systems. This is a great way to evaluate your own progress, or even to study how someone else plays.Better yet, because all MIDI data is editable, you can edit out any imperfections! If you play a wrong note, you can just change it using the Sequencer’s editing tools. And if you find you just can’t play fast enough to keep up with the tempo, you can slow it down for recording and speed it back up for playback — without the “Mickey Mouse” effect that normally comes from speeding up a song.
Play Any Instrument
When you use MIDI to make music, you aren’t limited to playing just one instrument. No matter what sort of MIDI Controller (keyboard, guitar, wind, drums, etc.) you actually use, you can make it sound like just about any instrument you can imagine (and some that are only in your imagination). Most digital pianos and other MIDI instruments come with hundreds of different sounds (pianos, trumpets, violins, guitars, basses and more) which you can play yourself or play via a MIDI sequencer to create fully orchestrated music. Now software synthesizers add incredible possibilities and most contemporary music is produced on computers and tablets using softsynths controlled by MIDI controllers.
Arrange and Orchestrate
Many people enjoy arranging and orchestrating music as much as performing it. There are MIDI files available for songs from every style of music — as well as software programs that generate the basic rhythm and chord patterns that define specific styles — that you can use to create your own arrangements and orchestrations. Just change the instrumentation, add a verse or chorus here or there, even put in your own original phrase or section — all of this is easy to do with MIDI. You can also share your arrangements with other people, who can then rearrange them to fit their own needs — many people download MIDI files from the Internet and rearrange them to fit their own needs.
Print Sheet Music
When you are done creating your own performance or arrangement, if you have a personal computer, you can convert MIDI information into musical notation and print out actual sheet music. Even if you can’t play a note, MIDI Notation programs often make it possible to place notes on a musical staff using your mouse or computer keyboard. There are Notation programs available for every level and pocket book — from professional engraving to casual use.
Compose Music
If you’ve ever had an original song idea in your head and wished you could have it performed, MIDI is the way to do it. All you need is a MIDI Sequencer plus a MIDI instrument to enter notes with. (You can also use MIDI Notation software to place notes on a musical staff without playing them at all.) You can start with just a melody and then add backing chords, bass, and rhythm later, or add instruments in any order you like. If you make mistake, you can change it without having to play the part all over again. You can also make entire sections repeat without playing them again. And you can rearrange and re-orchestrate your song as many times as you like.
This month, he explains the concept of MIDI sequencing.To anyone used to playing and recording using traditional methods and skills, the MIDI sequencer is sometimes viewed as little short of cheating, but to the sequencer user, MIDI and sequencing are seen as practical tools that make complex multipart composition and performance a reality. Before MIDI appeared, few people could compose a symphony (or pop song, for that matter) and ever expect to hear it performed; now almost anyone can turn their musical ideas into a performance using affordable technology. Before exploring the mechanics of sequencing, however, I’d like to tackle the idea that sequencing is somehow ‘cheating’ by looking at how things were done before the introduction of MIDI.
WHAT DID WE DO BEFORE MIDI?
Having never personally written a symphony, I can’t detail the exact stages involved, but I expect it goes something like this…
The composer sits at his or her chosen instrument testing musical ideas, and the ones that make it are then written down on manuscript paper for the various sections of the orchestra to play. The composer visualises (or should it be auralises?) the parts already written down while adding new sections, harmonies and so forth. Then, when the music is nominally finished, the score will be scrutinised and any required alterations or adjustments will be made.
Once the score is complete, an orchestra will be hired and given copies of the score, and the music will be played back as written by the composer. The composer, who may not even be able to perform to an acceptable standard on even one instrument, has conceived a piece of music and then written a list of instructions in the form of a musical score in order that a musically proficient orchestra can perform it. But has anyone ever accused Stravinski or Beethoven of being cheats, because they couldn’t play all the orchestral instruments themselves? I think not.
In contrast, let’s see how the MIDI composer writes. As with the orchestral composer, the work usually starts at the keyboard, but this time the keyboard is a MIDI instrument connected to a MIDI sequencer. Instead of writing down a score, the composer will record sections of the music into the sequencer against an electronic metronome set to the desired tempo. Instead of scanning a score to verify what’s been done, it’s a simple matter to play back the MIDI sequence to hear exactly what has been recorded. Best of all, you don’t have to hire in an orchestra a relatively inexpensive multitimbral synthesizer will provide all the sounds for you; each ‘part’ of the multitimbral synth plays one line of your electronic score.
In some ways, the sequencer is better than the written score, because it can play back a part exactly as you played it in the first place it doesn’t necessarily have to ‘quantise’ everything to equal subdivisions of a musical bar, as the written score does. And, just like the written score, if you’re unhappy with something you’ve done, you don’t have to start from scratch; you just erase the unwanted notes and ‘write’ in new ones.
When you summarise the way a musician composes using a sequencer, it isn’t really too different from the way a traditional composer works. Both types of composer are likely to edit their compositions to some degree before they’re entirely happy with them, and both bring in performers to play the finished composition. It doesn’t really matter whether the finished piece is played by a bank of synths or by a hired orchestra whose role is simply to reproduce the composer’s original work as faithfully as possible. My verdict, then is that electronic composition is as legitimate as any other form of composition. Note that I have no intention of fuelling the ‘synths versus real instruments’ debate at this point. If you have the talent to write a major symphonic work using synths, you can always get your computer to print out the score and have a real orchestra play it for you later!
Having covered the philosophical groundwork, it’s now time to look more closely at the MIDI sequencer.
What exactly is a sequencer? It’s often convenient to visualise a sequencer as being analogous to a multitrack tape recorder, and indeed, the ‘layers’ or parts of a sequence are recorded onto tracks, but it is vitally important to understand that what is being recorded is not the sound itself, but the electronic equivalent of a musical score. Just as a musical score is a series of instructions to the musicians, a MIDI sequence holds a series of instructions which tell your synths what to play. In some ways, a better analogy might be the player piano or pianola, where a punched paper roll holds the instructions that make the piano play, except in the case of MIDI, you have a multitrack, a virtual ‘paper roll’ capable of controlling many instruments at the same time.
In a typical setup, a MIDI instrument (usually, but not invariably, a keyboard) is connected to a sequencer via a MIDI cable, and when the sequencer is set to record, any notes played on the keyboard are recorded as MIDI data into whichever sequencer track has been selected for recording. In a simple system, you might have 16 MIDI tracks set up so that each is on a different MIDI channel, and if you feed the MIDI output of the sequencer to a 16part multitimbral sound module, you can play back all 16 tracks at once. If you only have an 8part multitimbral module, then you can only play back eight different sounds at once, in the same way that a reallife string quartet can only play four lines of music at the same time.
To avoid having to switch the MIDI send channel on your keyboard every time you want to record onto a new sequencer track, modern sequencers convert the incoming MIDI data to the appropriate channel for the track you’re recording on. This makes life very easy, because once you’ve completed one track, all you need do is select the next one and carry on playing.
The remaining capabilities of a MIDI sequencer bear more resemblance to a word processor than anything else. Like a word processor, you can delete or replace wrong characters (in this case, musical notes) and if you want to use the same phrase more than once, you can copy it and paste copies into new locations to save having to do the same thing lots of times. For example, if a song has the same structure for each chorus, you only need play the chorus once, then copy it to any place in the sequence where you’d like another chorus to appear.
Of course, there’s more to MIDI data than notes, and a sequencer will record just about any MIDI data you throw at it, with the exception of MIDI clock a sequencer has its own timing clock. Nevertheless, you can synchronise a sequencer to an external source if you wish, such as a tape machine (via a suitable sync box) or to a MIDI drum machine.
Unless you deliberately filter out certain types of MIDI data, you’ll find that your sequencer captures Note On/Off, Pitch, Velocity, Aftertouch and Controller information as well as MIDI Program Changes and even System Exclusive (SysEx) data. If these terms are unfamiliar, fear not we’ll be looking at Controllers and Program Change information next month. There’s even less need to worry about the concept of SysEx data at this point, but it is useful to know that it is possible to record a SysEx dump of all your synth sounds at the start of a song, so that when you first play the sequence, your synths are automatically loaded up with the appropriate set of new sounds to play that particular musical sequence.
A MIDI Program Change command recorded during the countin period of a track will ensure that the connected synth switches to the correct sound patch before playback commences, but you can also insert Program Changes part way through a track (as many times as you like) if you want the sound to change for, say, a solo. This is the orchestral equivalent of writing a note on the score at a certain bar number to tell a violin player to put down his violin and play the next part on a flute! This isn’t something you’d usually do in real life, but a MIDI sound module is equally proficient on all instruments and, as yet, MIDI modules don’t have trade unions!
When your sequence is played back, the sequencer transmits the MIDI information to the receiving synth(s) or sampler, drum machine, and so on in exactly the same order, and with the same timing as you originally played it. If you so wish, you can change the tempo after recording without affecting the pitch (unlike a tape recorder, where you’re dealing with sound rather than MIDI data). If you’re still not sure why the pitch doesn’t increase as the tempo goes up, think back to the orchestra and score analogy; if the conductor asks for a piece to be played faster, the orchestral instruments don’t change in pitch. Similarly, if you pedal a pianola faster, the paper roll will be played faster but the piano’s tuning will remain the same.
In reality, MIDI does has a finite timing resolution, because the sequencer or computer sending the MIDI information has to work to an internal timing routine based on an electronic clock. However, in practice, MIDI is far more accurate than a typical human performer, and is capable of resolving a bar of music into at least 960 time divisions, and frequently more.
SEQUENCER TYPES
All MIDI sequencers are based on computer technology, but you have a choice of buying a sequencer system that runs on an existing computer (such as an Atari ST, Apple Mac, Apple Power Mac, IBM compatible PC or Commodore Amiga) or opting for a piece of dedicated hardware where everything you need is built into one box. The two types work in a similar manner what tends to vary is the way in which the recorded information is displayed, and how easily it can be edited.
For those who are relatively accomplished players, hardware sequencers (like the Roland MC500) offer the benefits of simplicity and convenience, but they rarely have the information display capability of a fullsize computer screen. And because there’s no computer mouse, editing is generally less comprehensive and more timeconsuming than it would be on a computerbased system. However, the recording process is usually just a matter of hitting the Record button and playing. A significant benefit of hardware sequencers is that they are more practical in live performance situations; they are more compact and more rugged than a computer-plus-monitor, and you have fewer things to plug in.
“Has anyone ever accused Stravinsky or Beethoven of being cheats, because they couldn’t play all the orchestral instruments themselves? I think not.”
by Paul white, Sound on Sound
Some MIDI sequencers (including all the compute-rbased ones) lose all information stored in their memory (RAM) when they are switched off, so it is vital to save your work to disk at regular intervals. The MIDI information which makes up a completed song can normally be saved onto either floppy or hard disk in the form of a song data file, and a single floppy disk will hold several songs of average complexity. Many hardware sequencers also have a builtin disk drive, allowing songs to be saved as files on floppy disk, though some of the less expensive models (such as the Alesis MMT8) use battery-backed-up memory instead of disks. Once the memory is full, however, you either have to save your work to a MIDI data filer (which has an inbuilt disk drive) or throw away your old project before you can start a new one. Usually, this kind of sequencer can only store a few songs at a time.
The computer-based sequencer is capable of more sophistication than most hardware models, which means there may be a steeper learning curve. However, this is more than made up for in my opinion by the amount of visual feedback available, especially when it comes to tasks like song arrangement.
Remember this was written in 1996 and a lot has changed since then.
Unless you’re using an Atari ST, which has a built-in MIDI connections, you’ll have to buy an external MIDI interface box, though some of the newer GM synth modules (such as Yamaha’s MU50) come with PC and Mac MIDI interfaces built in. MIDI interfaces for Apple Macintosh computers usually plug into the modem or printer ports on the machine, while PC users need an interface card which goes inside the computer. A basic sequencing setup is shown in Figure 1, and to keep things simple, I’ve depicted a ‘dumb’ master MIDI keyboard; if you have a MIDI keyboard that includes a sound generation section, simply select Local Off and connect it up like any other synth module.
The majority of the leading software sequencing packages have adopted the style of user interface pioneered by Steinberg in their Cubase software. This typically comprises a main screen page, which handles the basic ‘recording’ and arranging, plus a number of further pages which address various aspects of editing and, where applicable, scoring. The record and playback controls are designed to look something like a tape recorder’s transport control, and the edit pages usually allow you to examine (and change) the recorded data in several ways: (i) as a list of MIDI events; (ii) graphically, in the guise of a ‘piano roll’ display; or (iii) in the case of ‘score’ versions, in the form of a conventional musical score.
Some software sequencers include sophisticated scorewriting facilities which enable you to print out sheet music for your compositions, in which case you’ll need a printer that is compatible both with your computer and the software package. However, some musical literacy is useful, because the computer doesn’t always interpret what you play in the same way that a trained scorewriter would.
Editing
From the editing pages of a typical sequencer, you can change the value, timing, and velocity of any of the notes you’ve played. Alternatively, you can build up compositions manually, by placing new notes onto the quantise grid in non-real time, rather like writing out a manuscript. The non-realtime entry of note information may also be referred to as step-time entry.
A number of related non-destructive (ie. the operation is not permanent and can be reversed) editing options are sometimes available, including the ability to transpose your music, either as you play or after recording. You also usually have the ability to make the music louder or softer by adjusting the overall velocity. On some systems, you can even compress the dynamic range of your MIDI data to even out the difference between your loudest notes and the quietest ones, as well as delay or advance tracks relative to each other (to make timing adjustments). This is frequently achieved by recalculating the note data during playback, but the real data isn’t changed, so you can always revert to your original performance data.
MIDI DRUMS
t is possible to sequence the sounds from your drum machine just as you can any other type of MIDI sound module, but remember to turn off the drum machine’s external MIDI sync first, otherwise every time you start your sequencer, the drum machine’s internal patterns will start to play. Unlike a conventional instrument, where each note on the keyboard plays a different pitch of the same sound, drum machines place different sounds on different keys, allowing access to many varied drum sounds. Because it’s difficult to play a complete drum part in one go via a keyboard, it is common practice to spread the drum part over several sequencer tracks enabling you to record, say, your bass and snare first, your hihats next and finally your fills. This method of working makes it easy to edit your drum tracks later, without having to work out what note corresponds to what drum sound. And once the drum part is completed, of course, you can always merge the drum tracks into one for convenience. Most sequencers offer a suitable track merge function these days.
SUMMARY
MIDI sequencers are very powerful tools both for music composition and recording, and because they have grown so sophisticated, there are still a great many features that I haven’t discussed. For example, MIDI allows you to remotely control the volume of your instruments, so by recording MIDI Volume information (Controller 7) in your sequences, you can create automated mixes.
Wonderful though sequencers are, they are still far from perfect. Aside from the inevitable software bugs that creep in, they tend to force you to work in a way that you probably wouldn’t adopt if you were playing and composing conventionally. Most insidious is the metronome or tempo click that you have to play along to, and although you can turn this off and record ‘freestyle’ regardless of bar positions, you won’t be able to quantise your data (for an explanation of quantisation, see the box elsewhere in this article), and you won’t be able to print out a meaningful score. This means that tempo changes have to be planned ahead rather than being intuitive. Although software designers are now including features to help you in this area (such as rebarring), it takes a lot of determination to move away from the fixed tempo, four-tothe bar, music that we’ve all become so accustomed to.
Despite the pitfalls mentioned, MIDI sequencing still offers far more advantages than disadvantages, and used creatively, it makes many things possible that would have been far too impractical or expensive in the pre-MIDI era. And finally, don’t think that sequencing is difficult once you’ve made a start and seen how easy it is to handle the basics, you’ll wonder why the manuals ever needed to be so thick!
MIDI AND SYNCHRONISATION
MIDI sync was covered in some depth in Part 1 of this series, but it is useful to recap here on the main points.
Sequencers with integral hard disk recording facilities offer a great way of combining audio with MIDI, but they still tend to be expensive and there’s also the problem of backing up very large audio data files. Because of this, most people still use multitrack tape, but there’s no advantage in recording your sequenced material to tape if you can find a way of making the sequencer run in sync with your multitrack.
The easy answer is to record some form of MIDI sync code onto tape. This means you give up one tape track to record the necessary sync code, but you gain as many ‘virtual tracks’ as your sequencer and synth/sound module collection can provide. The simplest way to achieve this is to use a ‘Smart FSK’ MIDI totape sync box which you can buy for as little as £100. These use both MIDI Clock and MIDI Song Position Pointers to ensure that your sequencer starts at the right time and remains in perfect synchronisation with your multitrack, regardless of whether you play the tape from the start of the song or from half way through. For more on MIDI sync, FSK, and Song Position Pointers, take a look at the article ‘Synchronisation Explained’, starting on page 186 of July ’94’s SOS.
SEQUENCER FEATURES
What basic features can you expect from a MIDI sequencer? Obviously every sequencer is different, but all should be capable of the following core functions.
REALTIME RECORDING: You play in your MIDI data from a keyboard and record just as you would with a tape recorder. Unlike a tape recorder, you can transpose, change tempo and quantise your data after recording. If you want to use the quantise feature, you have to play to the internal metronome track when recording.
STEP TIME RECORDING: Notes are played in one at a time it’s rather like typing a letter with one finger! You decide where the notes go and how long they’re going to be, after which you can play back your work at any tempo. Most people mainly use realtime recording with occasional recourse to step-time when the going gets tough. With a pianoroll type of editing screen, you can also ‘draw’ your notes directly onto the quantise grid and then use the mouse pointer to ‘stretch’ them to the desired note length.
EDIT: A typical sequencer will have a variety of editing tools to enable you to change your composition once you have recorded it. These range from the ability to change individual notes to the ability to change entire arrangements and swap instruments.
QUANTISATION: This is the ability to move your notes to the nearest accurate subdivision of a bar (for example, 16ths of a bar). See ‘Quantisation’ box elsewhere in this article for more details.
TRANSPOSITION: Notes can be transposed by any amount without altering their lengths, while entire compositions or sections of compositions can easily be shifted to a different key.
COPY/CUT/PASTE: Any section of music can be copied to different tracks or to different locations in the song. This is useful for duplicating repeated sections, such as a chorus, or for doubling up a line of music on two tracks by assigning them to different instrument sounds. Cut allows unwanted material to be removed.
ARRANGING: This may be implemented in a separate part of the program, as in CLab’s Notator/Creator, or it may be handled using Cut/Copy/Paste as in the case of Steinberg’s Cubase, EMAGIC’s Logic and Opcode’s Vision.
MUTE: Most sequencers allow you to mute tracks, or solo a track, so that you can hear it in isolation. • CYCLE: Simply allows you to continually loop around a specific section of music while you record or edit.
UNDO: Computer-based sequencers, and some hardware sequencers, have an Undo function which, as the name implies, lets you undo the last seemingly permanent thing you did.
QUANTISATION
One important feature common to both hardware and software sequencers is the ability to quantise data after recording a useful feature for those musicians not possessed of a perfect sense of timing. Essentially, when you choose to quantise something, the timing is changed so as to push each note you’ve recorded to the nearest exact subdivision of a bar. For example, if you are working in 4/4 time, and you select 16 as your quantise value, all the notes becomes locked to an invisible grid which in effect divides the bar into 16 equal time slots. Quantise must be used carefully as it can strip all the feel from some types of music; however, if you’re doing dance music where precise timing is essential, the quantise feature is indispensible.
The most recent computer-based sequencers allow you to un-quantise data as well as to quantise it, but be aware that some less advanced software sequencers and a number of hardware sequencers perform what is known as destructive quantise. So if you think you might need to go back to the original version, it’s vital that you keep a copy of the sequence.
Another feature which I find really valuable is what is usually referred to as percentage quantise. Using this, you don’t have to make all your notes snap to the quantise grid; instead, by setting a quantise value of say 50%, you can have your notes moved to a position that’s halfway between where you originally played them and the nearest time slot in the quantise grid. This is great for tightening up your playing without losing all the feel.
Yet another quantise-related function is swing, where the quantise grid is moved away from regular slots to alternating longer and shorter slots. This can be used subtly to add feel or used more aggressively to turn a 4/4 track into a 2/4 track, say. It’s now even possible to load in thirdparty groove templates (such as DNA Grooves) created from the timing of real players.
HARD OR SOFT?
Software sequencers have several obvious advantages over hardware sequencers, but that doesn’t mean that they’re better it all depends on what facilities you need and whether you want your sequencer to be portable.
SOFT OPTION
The main pros of software sequencers are as follows:
A good visual interface.
More comprehensive editing facilities.
You can still use the computer for other purposes.
You’re not tied to one manufacturer for software upgrades if somebody comes out with a better program, you can always move over to it.
Most computer sequencers support multiple MIDI output ports via a special multiport MIDI interface. This means you are not restricted to 16 MIDI channels and a typical system will provide six output ports, giving you up to 96 MIDI channels to work with.
The most popular sequencer software packages now allow you to transfer song data from one computer platform to another and, in some cases, even from one manufacturer’s software sequencer to another’s
Professional standard score printing is available from many sequencing packages, using either an inexpensive inkjet printer or a laser printer.
Hard Option
Hardware sequencers have their advantages too, the main ones being listed below:
One-box solution to sequencing.
Generally more reliable than computers in live situations or when being moved from studio to studio.
Although they may have fewer editing options than a software sequencer, they also tend to be easier to use.
You don’t have to learn to use a computer before you can begin to learn your sequencer software.
A basic MIDI sequencing setup starts at your keyboard it’s here that the MIDI information to be recorded originates. The master keyboard is connected via its MIDI Out socket to the MIDI In of your MIDI interface, or directly to the MIDI In of your hardware sequencer or Atari ST. As mentioned earlier, if your keyboard includes a synth section (in other words, if it makes sounds), then turn Local Off and patch a MIDI cable from the sequencer’s MIDI Out to the keyboard’s MIDI In.
If you have other MIDI modules in the system, you can daisychain them in any order by feeding the MIDI Thru of one piece of gear to the MIDI In of the next, as described last month. Up to three modules can normally be chained in this way without problems, but longer chains may cause stuck or missed notes (due to corruption of the MIDI signal), in which case you should use a multiple output MIDI Thru box connected to the output of your sequencer and then feed each module (or short chain of two or three modules) from separate outputs on this Thru box. MIDI Thru boxes were explained in Part 1 of this series, last month.
f you’ve connected up your system as described but no sound comes out, here are a few things you might want to check before you get into serious panic mode.
Check that everything is switched on and that your synth modules are set to Multi or Sequencer mode (assuming you want to use them multi-timbrally).
Check your MIDI cable connections and don’t rule out the possibility a faulty MIDI lead. Some modules
have a combined MIDI Out/Thru socket; if so, ensure MIDI Thru is enabled (see handbook for that piece of
equipment). To help narrow the problem down, most sequencers have some form of indication that they’re
receiving MIDI data and many modules have a MIDI light or other indicator that blinks when data is being
received.
Check that you’ve set the MIDI channels correctly on your modules and that Omni mode is switched off on all modules. If two or more instruments try to play the same part, the chances are you’ve either got more than one module set to the same MIDI channel or something’s been left set to Omni. If your master keyboard plays its own sounds when you’re trying to record using the sound of another module, check that Local Off is really set to Off.
If playing a single note results in a burst of sound, rather like machine gun fire, or if you get stuck notes or apparently reduced polyphony, the chances are you have a MIDI loop. In a MIDI loop, MIDI data generated by the master keyboard passes through the sequencer and somehow finds its way back to the input of the master keyboard, where it starts its round trip all over again, rather like acoustic feedback. This usually happens when you are using a keyboard synth as your master keyboard and have forgotten to select Local Off.
If you have one of those rare instruments with no Local Off facility, you’ll probably find that your sequencer allows you to disable the MIDI Thru on whatever channel your master keyboard is sending on (most people leave it set to channel 1).
If you are unfortunate enough to have neither facility, then all you can do is record with the MIDI In disconnected from your master keyboard and use the sounds from external modules. When you’ve finished recording, you can reconnect the master keyboard’s MIDI In, if you wish, and use it to play back one of the recorded parts or to layer with an existing synth voice.
Paul White, editor of Sound on Sound wrote a series of articles in 1995 for newcomers to MIDI.
You might imagine that most SOS readers already have a pretty firm grasp of MIDI, but new readers are joining us every month. Furthermore, there are those amongst our existing readership who mainly record using traditional multitrack methods, and they too could benefit from a refresher course in MIDI practices. One of the problems is that many of the musicians who could reap the benefits of MIDI are frightened off by the jargon and there’s also the underlying suspicion that MIDI has something to do with computerising and dehumanising music. Furthermore, it’s not always clear what MIDI can actually help you achieve. But before looking at all the great things you can do with MIDI, is it true that MIDI is complicated? Technically, MIDI is quite complicated but then the same is true of TV, telephones, cars, and the insides of your hifi system. Even so, most of us take these things for granted and use them without giving a second thought to what really makes them tick. The ease of use of something doesn’t necessarily relate to the complexity of the technology that makes it work, and that’s certainly true of MIDI, because although it does provide the scope for you to do complicated things if you wish to, you can choose to approach it on your own terms and make use only of the facilities that you need.
WHAT IS MIDI?
MIDI is essentially a communications protocol or common language that enables any MIDI equipped electronic instruments to be linked together in a musically useful way. The data that makes this possible is in digital form, hence the acronym MIDI (Musical Instrument Digital Interface). Don’t worry if you don’t know how digital data works it doesn’t know how you work either, but that doesn’t mean you can’t work together! MIDI compatible instruments and other MIDI devices are connected to each other via standard MIDI cables, with 5pin DIN plugs on either end. There are a few simple rules determining what should be plugged where, but what would really help at this stage would be to talk more about this mysterious ‘musically useful’ information that MIDI instruments send to each other. In reality, there are many types of MIDI message, and to try to grasp them all at once would probably give you a headache, so what I’m going to do is cover the essentials first (and if I have to bend the truth occasionally to keep things simple, it won’t do you any lasting damage!). Electronic keyboard instruments are, by definition, electronic, which means that the sound is created by circuitry, not by something being hit, bowed, or blown. Whereas a piano key activates a mechanism which hits the string, the keys on an electronic MIDI instrument generate electronic signals to tell the internal circuitry what note to play and how loud to play it. When a key is depressed, a signal known as a Note On message is transmitted, and when the key is released, a Note Off message is sent. The actually key that you depress dictates which musical note will be played, and the loudness of the note depends on how hard the key is hit which is really the same thing as saying how fast the key is pushed down. This speed, or velocity, is read by circuitry within the keyboard and used to control the volume of the sound being played. The term ‘velocity’ is one piece of MIDI jargon that crops up quite regularly. To recap so far, the main parameters of a musical note played from a keyboard are: which note it is, when it starts, when it stops, and how loud it is. There are other things that you can do to a note, such as bending the pitch or adding vibrato, but they’ll keep for now… If pitch, Note On, Note Off and Velocity information all exists in the form of electronic signals, it must be possible to send these signals along a piece of wire and use them to control the sound generating circuitry in another electronic instrument, and it’s precisely that concept which is at the heart of MIDI. (It might occur to you at this stage that you could send the same signals directly from a computer and cut out the middle man but that avenue of exploration comes later, when we look at sequencing.) The main point to get across to new users is that MIDI is not a means of transmitting audible sounds it is a means of transmitting instructions or messages. A good analogy might be to compare MIDI data with a written musical score; the score only tells the performer what to play, it doesn’t have any influence over the sound of the instrument. What’s more, you could read a score written for violin and choose to play it on a piano.
MIDI allows us to play any piece of music using any sound at our disposal. If we plug the MIDI Out of the keyboard we are physically playing (the Master keyboard) into the MIDI In socket of another MIDI instrument (the Slave), then the slave is able to play the notes as performed on the master keyboard. This simple arrangement is shown in Figure 1. Great but why would I want to do that? Well, when playing live, the ability to link a second instrument via MIDI means that the sounds of both instruments can be played without changing keyboards. Not so flash as wearing a gold cape and standing in front of tiered banks of Moog synths, perhaps, but far more practical. Indeed, only the master synth needs to have a keyboard at all the other MIDI devices can simply be sound modules, which certainly saves on space if you have to drive to a gig in a Metro, and it saves money. To understand how the control of multiple modules is possible without them all playing at once, all of the time, the concept of MIDI channels has to be introduced.
MIDI CHANNELS
In a basic MIDI system, the way the instruments are linked means they all receive the same MIDI information. In order to allow the master instrument to communicate with the slaves on a more selective basis, the MIDI Channel system was devised. There are 16 MIDI channels available, numbered 1 to 16, and they work in a very similar way to TV channels. Most people in the UK receive four TV channels (forget Sky just for now), yet all four channels arrive at the same aerial and reach the set down the same piece of wire. Which one we actually watch depends on which TV channel we select on the set. With MIDI, the information sent down the MIDI cable can be transmitted on any one of 16 channels selected on the master keyboard; similarly, the sound modules may be set to receive on any of the 16 channels. If we, for example, set the master keyboard to transmit on MIDI channel 1 and connect up three different MIDI modules set to receive on channels 1, 2, and 3, only the first module set to channel 1 will respond. The others still receive the information, but the MIDI data tells them that the information is not on their channel and so they ignore it. Of course, you can set all your modules on the same MIDI channel and have them all playing at once, if you want to. Putting it briefly, by switching channels at the master keyboard end, up to 16 different modules (set to the 16 different MIDI channels) can be addressed/played individually, even though they are all wired into the same system.
MULTITIMBRAL APPROACH
We’ve already discovered that a MIDI sound module is essentially a MIDI instrument without a keyboard, but many current MIDI modules actually contain the equivalent of several MIDI instruments, each of which can be addressed on a different MIDI channel. These are known as multitimbral modules, but the instruments inside are not usually quite as independent as they appear; for example, some parameters may affect all the voices globally, or the sounds may all be mixed to a single stereo pair of audio output sockets. Even so, it is always possible to change the relative volume levels of the different instrument voices and to change their left/right pan positions. Why should you want a multitimbral module, after all, you only have one pair of hands? If you’re playing live, then you probably can’t take full advantage of multitimbral modules (though you could use them to assign different sounds to different regions of your keyboard), but if you want to add a sequencer to your setup to allow you to make multitrack MIDI recordings, just one multitimbral module can provide you with a complete backing band or orchestra, including the drums. Before multitimbral sound modules appeared, you needed a different MIDI instrument for each of the parts you wanted to sequence. On top of that, all MIDI sound modules have what is known as a ‘maximum polyphony’ the maximum number of notes that they can play at any one time. This being the case, if some of the MIDI channels are already playing very busy parts, you might find that trying to play yet another part on top causes some of the notes to drop out or be cut short. The bottom line here is that the more polyphony you have (64note polyphony is typically the maximum for modern modules), the better especially if you’re in the habit of writing complex pieces of music where lots of sustained notes overlap. Drum machines may also be used as MIDI modules, even though they have their own builtin rhythm sequencers. It is possible to access their sounds externally over MIDI, each drum sound being ‘mapped’ to a different note on the keyboard. Some MIDI drum modules, such as the Alesis D4, are specifically designed with no internal sequencing capability, just sounds.
MIDI CONNECTIONS
Most MIDI instruments have three MIDI sockets, labelled In, Out, and Thru, though some older models may not have all three. The master instrument always sends information from its MIDI Out socket, which must be connected to the MIDI In socket of one of the slaves. The MIDI Thru of the slave is then connected to the MIDI In of the next slave and its Thru connected to the In of the next one, and so on… What we end up with is a daisychain and, in theory, this can be indefinitely long. Not so in practice, however, because the MIDI signal deteriorates slightly as it passes through each successive instrument. After passing through three or four instruments, the MIDI messages may start to become unreliable, resulting in notes which stick on or refuse to play at all. A better way to interconnect multiple instruments, in anything other than the smallest MIDI system, is to use a socalled MIDI Thru box. This takes the Out from the master keyboard and splits it into several Thru connections, which then feed the individual modules directly. Figure 2 shows the standard method of daisy chaining, followed by the same system using a MIDI Thru box instead. In practice, many people use a combination of MIDI Thru boxes and short daisychains of instruments. The MIDI Outs of the slave units are normally unused during performance, but they are useful when you want to hook up your keyboard to a MIDI sound editor or librarian program, running on a MIDIequipped computer.
PROGRAM CHANGE
So far, I’ve explained that MIDI operates on 16 channels and can be used to send note information from a MIDIcompatible master instrument to a MIDIcompatible slave, but there’s a lot more useful information that you can send over MIDI. Today’s synthesizers are programmable, and they have memory banks full of sounds (often called ‘patches’) from which you can choose. MIDI provides direct access for up to 128 patches, sometimes numbered from 0 to 127 and sometimes from 1 to 128. The buttons that are used to select the patches on the master keyboard also enable Program Change information to be transmitted to the slave synthesizer modules, so now we can play the modules remotely and we can select the sound or patch that they will play. These Program Change messages may also be used to switch to different effects patches on a MIDI effects unit that responds to MIDI Program Changes (most units do). In the case of a MIDI instrument that offers more than 128 sounds, the likelihood is that these sounds will be organised into banks, each bank containing no more than 128 sounds. The MIDI protocol now includes the facility to switch from one bank to another, though some older instruments have nonstandard bank change systems which are usually explained in their respective operation manuals.
PERFORMANCE CONTROL
A typical MIDI synthesizer has two control wheels mounted to the left of the keyboard, and though these are often assignable to allow them to control various different effects, one is generally used to control pitch bend while the other controls vibrato depth. These controls work by generating electronic signals which, in turn, control the circuitry that creates the sound. And, like note information, control information may also be transmitted down a MIDI cable simply move the control wheel on the master, and the slave instrument will respond. Time to introduce a possible pitfall. MIDI instruments can often be ‘scaled’ so that, for example, the maximum travel of the pitch bend wheel might cause a pitch shift of as little as one semitone or as much as an octave. It is important to ensure that any instruments likely to play at the same time are set with the same scaling values, especially for pitch bend, otherwise when you try to bend a note on the master keyboard, the sound coming from the master keyboard might go up by a third and the sound from the slave by a fourth clearly not desirable. Similarly when you’re working with a sequencer, it makes sense to set up your instruments so that they all have the same pitch bend range. Another useful MIDI controller is master volume most modern instruments respond to it while some older ones do not. On an instrument that transmits master volume information, turning up the master volume slider will send the appropriate control information over MIDI and the receiving slave instrument (providing it understands master volume) will respond to it. In fact, when you get into MIDI you’ll find that there’s a whole list of controllers that can be used to add expression to your performance, including sustain pedals, vector joysticks, sostenuto, and so on. You’ll find a list of the controllers to which your MIDI instruments can respond in their respective manuals, and you’ll notice that the controllers are divided into two types: switch controllers which are either on or off, and continuous controllers which allow something to be varied. For example, a sustain pedal is a simple on/off switch, but a volume control is a continuous controller. Because of the structure of MIDI data, you’ll find that the maximum range of any MIDI parameter or controller is usually from 1 to 128. In other words, a continuous controller really provides you with 128 small (but separate) steps.
MORE ON MIDI
So far I’ve only touched on the basics of MIDI, and much of what MIDI can do has been left unsaid for the time being. Even so, with what you’ve learned so far, you should be able to start putting MIDI into practice. However, there is time to introduce just one more concept, and that’s the idea of MIDI Clock. Some MIDI instruments, like drum machines, have a builtin sequencer which allows drum patterns to be set up and played back at different tempos. Such instruments both send and receive MIDI Clock data, a series of electronic timing markers which go down the MIDI lead along with the other data. Think of it as the electronic equivalent of the sprocket holes at the edge of a cine film and you’ll soon grasp the idea. MIDI Clock is very useful as it allows us to synchronise two or more MIDI devices together. For example, a drum machine could be slaved to a second drum machine so that both play together, allowing you to use sounds from both machines. And as we shall see later, MIDI Clock is what allows us to synchronise sequencers and drum machines together or to sync sequencers to tape recorders. Also associated with MIDI synchronisation are commands for starting and stopping things like drum machines and sequencers, and these are known as MIDI Real Time messages (see box). There’ll be more about MIDI Clock when we delve into the basics of sequencing next month.”Like note information, control information may also be transmitted down a MIDI cable simply move the control wheel on the master, and the slave instrument will respond.””…when you get into MIDI you’ll find that there’s a whole list of controllers that can be used to add expression to your performance…””If you want to add a sequencer to your setup to allow you to make multitrack MIDI recordings, just one multitimbral module can provide you with a complete backing band or orchestra, including the drums.”
MIDI MODES
Most MIDI instruments can be set to receive on any of the 16 MIDI channels, but there is also a setting called Omni mode, which allows the unit to respond to all incoming data, regardless of its channel. Some MIDI equipment, especially older models, tends to default to Omni mode when first switched on. Although this is a trifle tedious, it isn’t really a problem so long as you remember to reset the instrument to the desired MIDI channel before you continue. If the instrument is set to receive on separate MIDI channels, then it is said to be in Omni Off mode. It is also possible to tell an instrument whether to play polyphonically or monophonically, and while polyphonic operation is by far the most common requirement, mono operation has certain advantages, not least for guitar synth users. In Mono mode, a single polyphonic synth can be made to behave as several singlevoice synths, each voice being on a different MIDI channel. If you have a MIDI guitar, it makes sense to set up the system so that each guitar string controls its own single synthesizer voice on its own MIDI channel. Not only does that make the note allocation mirror that of the guitar (where each string can only be played monophonically), but it also allows independent amounts of pitch bend to added to each string. The four possible combinations of Omni On/Off and Poly/Mono operation form the four modes of MIDI operation and are defined as follows:
Mode 1: Omni On/Poly
Mode 2: Omni On/Mono
Mode 3: Omni Off/Poly
Mode 4: Omni Off/Mono
Most of the time, players using keyboards will use Mode 3, which is the default mode for the majority of MIDI instruments. In Mode 3, the instrument works polyphonically and responds only to notes sent on its chosen MIDI channel (or channels, in the case of a multitimbral instrument). Mode 2 is the least useful mode indeed, I’ve never met anyone who’s found any use for it at all! Stories abound that it crept into the MIDI specification as the result of a misunderstanding, so if your synth doesn’t support Mode 2, don’t feel you’re missing out.
MIDI JARGON BUSTER
MIDI –Musical Instrument Digital Interface.
MIDI Clock –Series of tempo related electronic timing markers embedded in the MIDI data stream.
Note On- MIDI message sent when note is played (key pressed).
Note Off -MIDI Message sent when key is released.
MIDI Module- Sound generating device with no integral keyboard.
Multitimbral Module-MIDI sound source capable of producing several different sounds at the same time, controlled on different MIDI channels.
MIDI Channels-The 16 channels over which MIDI information can be sent.
MIDI Mode- MIDI information can be interpreted by the receiving MIDI instrument in a number of ways, the most common being polyphonically on a single MIDI channel (Poly/Omni Off mode). Omni mode enables a MIDI instrument to play all incoming data regardless of channel setting.
MIDI Program Change- Type of MIDI message used to change sound patches on a remote module or the
effects patch on a MIDI effects unit.
MIDI Controller- MIDI message sent in response to movement of certain physical controls on the master
keyboard (or other master MIDI instrument).
MIDI Thru Box- Device which splits the MIDI Out signal of a master instrument or sequencer to avoid
daisy chaining.
MIDI In- Socket used to receive information from a master controller or from the MIDI Thru socket of a
slave unit
MIDI Out- Socket on a master controller or sequencer used to send MIDI information to the slave units
MIDI Thru- Socket on a slave unit used to feed the MIDI In socket of the next unit in line.
REAL TIME MESSAGES
Before MIDI arrived on the scene in 1982/83, attempts were made to provide tempo related clock systems to allow devices from different manufacturers to be synchronised together, but quite often they used different numbers of clocks per bar which meant some form of convertor box had to be employed. MIDI uses 96 clock pulses per 4beat bar (or ‘whole note’, as the Americans like to call it) so any piece of MIDI gear that can send or read tempo information will sync to any other. If the tempo of the master machine is speeded up, its MIDI Clock rate speeds up accordingly, so the slave tempo is forced to follow. Even when the master machine is not playing, it is still sending out MIDI Clock data at the current tempo, which means that any connected slave device knows exactly what tempo to take off at when it receives a Start command. The Stop command will cause both the master and slave machines to stop running, and a further command, Continue, allows the machines to continue playing from wherever in the song they were stopped. Start always causes the master and slave to start from the beginning of the song. If you’re wondering how the machines know whether they’re supposed to be the master or a slave, it’s because they can all be switched for internal sync (master) or external MIDI sync (slave) operation. Any machine switched to external MIDI sync can be used as a slave. As with MIDI note information, the MIDI connection runs from the master’s MIDI Out to the slave’s MIDI In.
Unlike MP3 files and CDs, MIDI files contain individual instructions for playing each individual note of each individual instrument. So with MIDI it is actually possible to change just one note in a song, or to re-orchestrate an entire song with entirely different instruments. And since each instrument in a MIDI performance is separate from the rest, its easy to isolate individual instruments and study them for educational purposes, or to mute individual instruments in a song so that you can play that part yourself.
Here are just some of the tangible advantages of using MIDI for active music-making.
Play with “a band”
Learning to play a musical instrument is one of the most rewarding things people can do. But why play by yourself when you can play along with a band? Standard MIDI Files are available for many popular songs, and when used with a personal computer or digital piano make it possible to have an entire backing band play along with you at whatever speed (tempo) and in any pitch (key) you desire. MIDI files are perfect for practicing with, as well as for performing when additional musicians are not available.
Correct Your Performance
A MIDI sequencer or a ‘Digital Audio Workstation’ can record your performances for listening at a later time, and even save your performance in Standard MIDI File format for playback on other MIDI systems. This is a great way to evaluate your own progress, or even to study how someone else plays.
Better yet, because all MIDI data is editable, you can edit out any imperfections! If you play a wrong note, you can just change it using the Sequencer’s editing tools. And if you find you just can’t play fast enough to keep up with the tempo, you can slow it down for recording and speed it back up for playback — without the “Mickey Mouse” effect that normally comes from speeding up a song.
Play Any Instrument
When you use MIDI to make music, you aren’t limited to playing just one instrument. No matter what sort of MIDI Controller (keyboard, guitar, wind, drums, etc.) you actually use, you can make it sound like just about any instrument you can imagine (and some that are only in your imagination). Most digital pianos and other MIDI instruments come with hundreds of different sounds (pianos, trumpets, violins, guitars, basses and more) which you can play yourself or play via a MIDI sequencer to create fully orchestrated music.
Arrange and Orchestrate
Many people enjoy arranging and orchestrating music as much as performing it. There are MIDI files available for songs from every style of music — as well as software programs that generate the basic rhythm and chord patterns that define specific styles — that you can use to create your own arrangements and orchestrations. Just change the instrumentation, add a verse or chorus here or there, even put in your own original phrase or section — all of this is easy to do with MIDI. You can also share your arrangements with other people, who can then rearrange them to fit their own needs — many people download MIDI files from the Internet and rearrange them to fit their own needs.
Print Sheet Music
When you are done creating your own performance or arrangement, if you have a personal computer, you can convert MIDI information into musical notation and print out actual sheet music. Even if you can’t play a note, MIDI Notation programs often make it possible to place notes on a musical staff using your mouse or computer keyboard. There are Notation programs available for every level and pocket book — from professional engraving to casual use.
Compose Music
If you’ve ever had an original song idea in your head and wished you could have it performed, MIDI is the way to do it. All you need is a MIDI Sequencer , plus a MIDI instrument to enter notes with. (You can also use MIDI Notation software to place notes on a musical staff without playing them at all.) You can start with just a melody and then add backing chords, bass, and rhythm later, or add instruments in any order you like. If you make mistake, you can change it without having to play the part all over again. You can also make entire sections repeat without playing them again. And you can rearrange and re-orchestrate your song as many times as you like.
MIDI (pronounced “mid-e”) is a technology that makes creating, playing, or just learning about music easier and more rewarding. Playing a musical instrument can provide a lifetime of enjoyment and friendship. Whether your goal is to play in a band, or you just want to perform privately in your home, or you want to develop your skills as a music composer or arranger, MIDI can help.
How Does MIDI Work?
There are many different kinds of devices that use MIDI, from cell phones to digital music instruments to personal computers. The one thing all MIDI devices have in common is that they speak the “language” of MIDI. This language describes the process of playing music in much the same manner as sheet music: there are MIDI Messages that describe what notes are to be played and for how long, as well as the tempo, which instruments are to be played, and at what relative volumes.
MIDI is not audio.
MIDI is not audio. So if someone says MIDI sounds bad, they really don’t understand how MIDI works. Imagine if you took sheet music of a work by Beethoven and handed it to someone who can read music, but has never played the violin. Then you put in their hands a very cheap violin. The music would probably sound bad. Now take that same piece of sheet music and hand it to the first chair of a symphony orchestra playing a Stradivarius and it will sound wonderful. So MIDI depends on the quality of playback device and also also how well the description of the music fits that player.
MIDI is flexible
The fact that MIDI is a descriptive language provides tremendous flexibility.Because MIDI data is only performance instructions and not a digital version of a sound recording, it is actually possible to change the performance, whether that means changing just one note played incorrectly, or changing all of them to perform the song in an entirely new key or at a different tempo, or on different instruments.
MIDI data can be transmitted between MIDI-compatible musical instruments, or stored in a Standard MIDI File for later playback. In either case, the resulting performance will depend on how the receiving device interprets the performance instructions, just as it would in the case of a human performer reading sheet music. The ability to fix, change, add, remove, speed up or slow down any part of a musical performance is exactly why MIDI is so valuable for creating, playing and learning about music.
The Three Parts of MIDI
The original Musical Instrument Digital Interface (MIDI) specification defined a physical connector and message format for connecting devices and controlling them in “real time”. A few years later Standard MIDI Files were developed as a storage format so performance information could be recalled at a later date. The three parts of MIDI are often just referred to as “MIDI “, even though they are distinctly different parts with different characteristics.
1. The MIDI Messages – the software protocol
The MIDI Messages specification (or “MIDI Protocol”) is the most important part of MIDI. The protocol is made up of the MIDI messages that describe the music. There are note messages that tell the MIDI devices what note to play, there are velocity messages that tell the MIDI device how loud to play the note, there are messages to define how bright, long or short a note will be.There are Program Change messages that tell the MIDI device what instrument to play.So by studying and understanding MIDI messages you can learn how to completely describe a piece of music digitally. Look for information about MIDI messages in the “Control” section of Resources.
2. The physical transports for MIDI
Though originally intended just for use with the MIDI DIN transport as a means to connect two keyboards, MIDI messages are now used inside computers and cell phones to generate music, and transported over any number of professional and consumer interfaces (USB, Bluetooth, FireWire, etc.) to a wide variety of MIDI-equipped devices.
There are many different Cables & Connectors that are used to transport MIDI data between devices. Look for specific information in the “Connect” section of Resources.
MIDI is not slow
The “MIDI DIN” transport causes some confusion because it has specific characteristics which some people associate as characteristics of “MIDI” — forgetting that the MIDI-DIN characteristics go away when using MIDI over other transports (and inside a computer). With computers a High Speed Serial, USB or FireWire connection is more common. USB MIDI is significantly faster than 5 pin DIN. Each transport has its own performance characteristics that might make some difference in specific applications, but in general the transport is the least important part of MIDI, as long as it allows you to connect all the devices you want use!
3. The file formats for MIDI files
The final part of MIDI is made up of the Standard MIDI Files (and variants), which are used to distribute music playable on MIDI players of both the hardware and software variety. All popular computer platforms can play MIDI files (*.mid) and there are thousands of web sites offering files for sale or even for free. Anyone can make a MIDI file using commercial (or free) software that is readily available, and many people do. Whether or not you like a specific MIDI file can depend on how well it was created, and how accurately your synthesizer plays the file… not all synthesizers are the same, and unless yours is similar to that of the file composer, what you hear may not be at all what he or she intended. Look in the “Create”section of Resources for information about how to create and use different MIDI file formats.
Even More MIDI
Many people today see MIDI as a way to accomplish something, rather than as a protocol, cable, or file format. For example, many musicians will say they “use MIDI”, “compose in MIDI” or “create MIDI parts”, which means they are sequencing MIDI events for playback via a synthesizer, rather than recording the audio that the synthesizer creates.
Many different “transports” can be used for MIDI messages. The speed of the transport determines how much MIDI data can be carried, and how quickly it will be received.
5-Pin MIDI DIN
Using a 5-pin “DIN” connector, the MIDI DIN transport was developed back in 1983, so it is slow compared to common high-speed digital transports available today, like USB, FireWire, and Ethernet. But MIDI-DIN is almost always still used on a lot of MIDI-equipped devices because it adequately handles communication speed for one device. Also, if you want to connect one MIDI device to another (without a computer), MIDI cables are usually needed.
USB and FireWire
Computers are most often equipped with USB and possibly FireWire connectors, and these are now the most common means of connecting MIDI devices to computers (using appropriate adapters). Adapters can be as simple as a short cable with USB or FireWire connectors on one end and MIDI DIN connectors on the other, or as complex as a 19 inch rack mountable processor with dozens of MIDI and Audio In and Out ports. The best part is that USB and FireWire are “plug-and-play” interfaces which means they generally configure themselves. In most cases, all you need to do is plug in your USB or FireWire MIDI interface and boot up some MIDI software and off you go.
With USB technology, devices must connect to a host (PC), so it is not possible to connect two USB MIDI devices to each other as it is with two MIDI DIN devices. (This could change sometime in the future with new versions of USB). USB-MIDI devices require a “driver” on the PC that knows how the device sends/receives MIDI messages over USB. Most devices follow a specification (“class”) that was defined by the USB-IF; Windows and Mac PCs already come with “class compliant” drivers for devices that follow the USB-IF MIDI specification. For more details, see the article on USB in the Connection area of Resources.
Most FireWire MIDI devices also connect directly to a PC with a host device driver, and the host handles communication between FireWire MIDI devices even if they use different drivers. But FireWire also supports “peer-to-peer” connections, so MMA (along with the 1394TA) produced a specification for transport of MIDI over IEEE-1394 (FireWire), which is available for download on this site (and also part of the IEC-61883 international standard).
Ethernet & WiFi (LAN)
Many people have multiple MIDI instruments and one or more computers (or a desktop computer and a mobile device like an iPad), and would like to connect them all over a local area network (LAN). However, Ethernet and WiFi LANs do not always guarantee on-time delivery of MIDI messages, so MMA has been reluctant to endorse LANs as a recommended alternative to MIDI DIN, USB, and FireWire. That said, there are many LAN-based solutions for MIDI, the most popular being the RTP-MIDI specification which was developed at the IETF in cooperation with MMA Members and the MMA Technical Standards Board. In anticipation of increased use of LANs for audio/video in the future, MMA is also working on recommendations for transporting MIDI using new solutions like the IEEE-1722 Transport Protocol for Time-Sensitive Streams.
Bluetooth
Everything is becoming “mobile”, and music creation is no exception. There are hundreds of music-making software applications for tablets and smart phones, many of which are equipped with Bluetooth “LE” (aka “Smart”) wireless connections. Though Bluetooth technology is similar to WiFi in that it can not always guarantee timely delivery of MIDI data, in some devices Bluetooth takes less battery power to operate than WiFi, and in most cases will be less likely to encounter interference from other devices (because Bluetooth is designed for short distance communication). In 2015 the MMA adopted Bluetooth MIDI LE performance and developed a recommended practice (specification) for MIDI over Bluetooth.
Deprecated Solutions
Sound Cards
It used to be that connecting a MIDI device to a computer meant installing a “sound card” or “MIDI interface” in order to have a MIDI DIN connector on the computer. Because of space limitations, most such cards did not have actual 5-Pin DIN connectors on the card, but provided a special cable with 5-Pin DINs (In and Out) on one end (often connected to the “joystick port”). All such cards need “driver” software to make the MIDI connection work, but there are a few standards that companies follow, including “MPU-401” and “SoundBlaster”. Even with those standards, however, making MIDI work could be a major task. Over a number of years the components of the typical sound card and MIDI interface (including the joystick port) became standard on the motherboard of most PCs, but this did not make configuring them any easier.
Serial, Parallel, and Joystick Ports
Before USB and FireWire, personal computers were all generally equipped with serial, parallel, and (possibly) joystick ports, all of which have been used for connecting MIDI-equipped instruments (through special adapters). Though not always faster than MIDI-DIN, these connectors were already available on computers and that made them an economical alternative to add-on cards, with the added benefit that in general they already worked and did not need special configuration. The High Speed Serial Ports such as the “mini-DIN” ports available on early Macintosh computers support communication speeds roughly 20 times faster than MIDI-DIN, making it also possible for companies to develop and market “multiport” MIDI interfaces that allowed connecting multiple MIDI-DINs to one computer. In this manner it became possible to have the computer address many different MIDI-equipped devices at the same time. Recent multi-port MIDI interfaces use even faster USB or FireWire ports to connect to the computer.
An explanation of music synthesis technology and how MIDI is used to generate and control sounds.
This document was originally published in 1995 at a time when MIDI had been used in electronic musical instruments for more than a decade, but was still a relatively new technology in the computer industry. All these years later, the PC industry has changed, and some of the explanations herein are now dated (such as references to “internal sound cards”, which have been replaced by external Analog to Digital converters). The explanations of MIDI technology and synthesis methods are still accurate.
Standard MIDI Files (“SMF” or *.mid files) are a popular source of music on the web, and for musicians performing in clubs who need a little extra accompaniment. The files contain all the MIDI instructions for notes, volumes, sounds, and even effects. The files are loaded into some form of ‘player’ (software or hardware), and the final sound is then produced by a sound-engine that is connected to or that forms part of the player.
One reason for the popularity of MIDI files is that, unlike digital audio files (.wav, .aiff, etc.) or even compact discs or cassettes, a MIDI file does not need to capture and store actual sounds. Instead, the MIDI file can be just a list of events which describe the specific steps that a soundcard or other playback device must take to generate ceratin sounds. This way, MIDI files are very much smaller than digital audio files, and the events are also editable, allowing the music to be rearranged, edited, even composed interactively, if desired.
All popular computer platforms can play MIDI files (*.mid) and there are thousands of web sites offering files for sale or even for free. Anyone can make a MIDI file using commercial (or free) software that is readily available, and many people do, with a wide variety of results.
Whether or not you like a specific MIDI file can depend on how well it was created, and how accurately your synthesizer plays the file… not all synthesizers are the same, and unless yours is similar to that of the file composer, what you hear may not be at all what he or she intended. General MIDI (GM) and GM2 both help address the issue of predictable playback from MIDI Files.
Formats
The Standard MIDI File format is different from native MIDI protocol, because the events are time-stamped for playback in the proper sequence.
Standard MIDI Files come in two basic varieties: a Type 1 file, and a Type 0 file (a Type 2 was also specified originally but never really caught on, so we won’t spend any time discussing it here). In a Type 1 file individual parts are saved on different tracks within the sequence. In a Type 0 file everything is merged into a single track.
Making SMFs
Musical performances are not usually created as SMFs; rather a composition is recorded using a sequencer such as Digital Performer, Cubase, Sonar etc. that saves MIDI data in it’s own format. However, most if not all sequencers a ‘Save As’ or ‘Export’ as a Standard MIDI File.
Compositions in SMF format can be created and played back using most DAW software (Cubase, Logic, Sonar, Performer, FL Studio, Ableton Live, GarageBand ( Type 1 SMF), and other MIDI software applications. Many hardware products (digital pianos, synths and workstations) can also create and playback SMF files. Check the manual of the MIDI products you own to find out about their SMF capabilities.
Setup Data
An SMF not only contains regular MIDI performance data – Channelized notes, lengths, pitch bend data etc – it also should have data (commonly referred to as a ‘header’) that contains additional set-up data (tempo, instrument selections per Channel, controller settings, etc.) as well as songinformation (copyright notices, composer, etc.).
How good, or true to its originally created state an SMF will sound can depend a lot on the header information. The header can exert control over the mix, effects, and even sound editing parameters in order to minimize inherent differences between one soundset and another. There is no standard set of data that you have to put in a header (indeed such data can also be placed in a spare ‘set-up’ bar in the body of the file itself) but generally speaking the more information you provide for the receiving sound device the more defined – and so, presumably, the more to your tastes – the results will be.
Depending upon the application you are using to create the file in the first place, header information may automatically be saved from within parameters set in the application, or may need to be manually placed in a ‘set-up’ bar before the music data commences.
Information that should be considered (per MIDI Channel) includes:
Bank Select (0=GM) / Program Change #
Reset All Controllers (not all devices may recognize this command so you may prefer to zero out or reset individual controllers)
Initial Volume (CC7) (standard level = 100)
Expression (CC11) (initial level set to 127)
Hold pedal (0 = off)
Pan (Center = 64)
Modulation (0)
Pitch bend range
Reverb (0 = off)
Chorus level (0 = off)
All files should also begin with a GM/GS/XG Reset message (if appropriate) and any other System Exclusive data that might be necessary to setup the target synthesizer. If RPNs or more detailed controller messages are being employed in the file these should also be reset or normalized in the header.
If you are inputting header data yourself it is advisable not to clump all such information together but rather space it out in intervals of 5-10 ticks. Certainly if a file is designed to be looped, having too much data play simultaneously will cause most playback devices to ‘choke, ‘ and throw off your timing.
Download the MIDI 1.0 specification that includes Standard MIDI File details
THE MIDI ASSOCIATION, a global community of people who work, play and create with MIDI and the central repository of information about anything related to MIDI.
The MIDI Message specification (or “MIDI Protocol”) is probably the most important part of MIDI.
MIDI is a music description language in digital (binary) form. It was designed for use with keyboard-based musical instruments, so the message structure is oriented to performance events, such as picking a note and then striking it, or setting typical parameters available on electronic keyboards. For example, to sound a note in MIDI you send a “Note On” message, and then assign that note a “velocity”, which determines how loud it plays relative to other notes. You can also adjust the overall loudness of all the notes with a Channel Volume” message. Other MIDI messages include selecting which instrument sounds to use, stereo panning, and more.
The first specification (1983) did not define every possible “word” that can be spoken in MIDI , nor did it define every musical instruction that might be desired in an electronic performance. So over the past 20 or more years, companies have enhanced the original MIDI specification by defining additional performance control messages, and creating companion specifications which include:
MIDI Machine Control
MIDI Show Control
MIDI Time Code
General MIDI
Downloadable Sounds
Scalable Polyphony MIDI
Alternate Applications
MIDI Machine Control and MIDI Show Control are interesting extensions because instead of addressing musical instruments they address studio recording equipment (tape decks etc) and theatrical control (lights, smoke machines, etc.).
MIDI is also being used for control of devices where standard messages have not been defined by MMA, such as with audio mixing console automation.
Different Kinds of MIDI Messages
A MIDI message is made up of an eight-bit status byte which is generally followed by one or two data bytes. There are a number of different types of MIDI messages. At the highest level, MIDI messages are classified as being either Channel Messages or System Messages. Channel messages are those which apply to a specific Channel, and the Channel number is included in the status byte for these messages. System messages are not Channel specific, and no Channel number is indicated in their status bytes.
Channel Messages may be further classified as being either Channel Voice Messages, or Mode Messages. Channel Voice Messages carry musical performance data, and these messages comprise most of the traffic in a typical MIDI data stream. Channel Mode messages affect the way a receiving instrument will respond to the Channel Voice messages.
Channel Voice Messages
Channel Voice Messages are used to send musical performance information. The messages in this category are the Note On, Note Off, Polyphonic Key Pressure, Channel Pressure, Pitch Bend Change, Program Change, and the Control Change messages.
Note On / Note Off / Velocity
In MIDI systems, the activation of a particular note and the release of the same note are considered as two separate events. When a key is pressed on a MIDI keyboard instrument or MIDI keyboard controller, the keyboard sends a Note On message on the MIDI OUT port. The keyboard may be set to transmit on any one of the sixteen logical MIDI channels, and the status byte for the Note On message will indicate the selected Channel number. The Note On status byte is followed by two data bytes, which specify key number (indicating which key was pressed) and velocity (how hard the key was pressed).
The key number is used in the receiving synthesizer to select which note should be played, and the velocity is normally used to control the amplitude of the note. When the key is released, the keyboard instrument or controller will send a Note Off message. The Note Off message also includes data bytes for the key number and for the velocity with which the key was released. The Note Off velocity information is normally ignored.
Aftertouch
Some MIDI keyboard instruments have the ability to sense the amount of pressure which is being applied to the keys while they are depressed. This pressure information, commonly called “aftertouch”, may be used to control some aspects of the sound produced by the synthesizer (vibrato, for example). If the keyboard has a pressure sensor for each key, then the resulting “polyphonic aftertouch” information would be sent in the form of Polyphonic Key Pressure messages. These messages include separate data bytes for key number and pressure amount. It is currently more common for keyboard instruments to sense only a single pressure level for the entire keyboard. This “Channel aftertouch” information is sent using the Channel Pressure message, which needs only one data byte to specify the pressure value.
Pitch Bend
The Pitch Bend Change message is normally sent from a keyboard instrument in response to changes in position of the pitch bend wheel. The pitch bend information is used to modify the pitch of sounds being played on a given Channel. The Pitch Bend message includes two data bytes to specify the pitch bend value. Two bytes are required to allow fine enough resolution to make pitch changes resulting from movement of the pitch bend wheel seem to occur in a continuous manner rather than in steps.
Program Change
The Program Change message is used to specify the type of instrument which should be used to play sounds on a given Channel. This message needs only one data byte which specifies the new program number.
Control Change
MIDI Control Change messages are used to control a wide variety of functions in a synthesizer. Control Change messages, like other MIDI Channel messages, should only affect the Channel number indicated in the status byte. The Control Change status byte is followed by one data byte indicating the “controller number”, and a second byte which specifies the “control value”. The controller number identifies which function of the synthesizer is to be controlled by the message. A complete list of assigned controllers is found in the MIDI 1.0 Detailed Specification.
– Bank Select
Controller number zero (with 32 as the LSB) is defined as the bank select. The bank select function is used in some synthesizers in conjunction with the MIDI Program Change message to expand the number of different instrument sounds which may be specified (the Program Change message alone allows selection of one of 128 possible program numbers). The additional sounds are selected by preceding the Program Change message with a Control Change message which specifies a new value for Controller zero and Controller 32, allowing 16,384 banks of 128 sound each.
Since the MIDI specification does not describe the manner in which a synthesizer’s banks are to be mapped to Bank Select messages, there is no standard way for a Bank Select message to select a specific synthesizer bank. Some manufacturers, such as Roland (with “GS”) and Yamaha (with “XG”) , have adopted their own practices to assure some standardization within their own product lines.
– RPN / NRPN
Controller number 6 (Data Entry), in conjunction with Controller numbers 96 (Data Increment), 97 (Data Decrement), 98 (Non-Registered Parameter Number LSB), 99 (Non-Registered Parameter Number MSB), 100 (Registered Parameter Number LSB), and 101 (Registered Parameter Number MSB), extend the number of controllers available via MIDI. Parameter data is transferred by first selecting the parameter number to be edited using controllers 98 and 99 or 100 and 101, and then adjusting the data value for that parameter using controller number 6, 96, or 97.
RPN and NRPN are typically used to send parameter data to a synthesizer in order to edit sound patches or other data. Registered parameters are those which have been assigned some particular function by the MIDI Manufacturers Association (MMA) and the Japan MIDI Standards Committee (JMSC). For example, there are Registered Parameter numbers assigned to control pitch bend sensitivity and master tuning for a synthesizer. Non-Registered parameters have not been assigned specific functions, and may be used for different functions by different manufacturers. Here again, Roland and Yamaha, among others, have adopted their own practices to assure some standardization.
Channel Mode Messages
Channel Mode messages (MIDI controller numbers 121 through 127) affect the way a synthesizer responds to MIDI data. Controller number 121 is used to reset all controllers. Controller number 122 is used to enable or disable Local Control (In a MIDI synthesizer which has it’s own keyboard, the functions of the keyboard controller and the synthesizer can be isolated by turning Local Control off). Controller numbers 124 through 127 are used to select between Omni Mode On or Off, and to select between the Mono Mode or Poly Mode of operation.
When Omni mode is On, the synthesizer will respond to incoming MIDI data on all channels. When Omni mode is Off, the synthesizer will only respond to MIDI messages on one Channel. When Poly mode is selected, incoming Note On messages are played polyphonically. This means that when multiple Note On messages are received, each note is assigned its own voice (subject to the number of voices available in the synthesizer). The result is that multiple notes are played at the same time. When Mono mode is selected, a single voice is assigned per MIDI Channel. This means that only one note can be played on a given Channel at a given time.
Most modern MIDI synthesizers will default to Omni On/Poly mode of operation. In this mode, the synthesizer will play note messages received on any MIDI Channel, and notes received on each Channel are played polyphonically. In the Omni Off/Poly mode of operation, the synthesizer will receive on a single Channel and play the notes received on this Channel polyphonically. This mode could be useful when several synthesizers are daisy-chained using MIDI THRU. In this case each synthesizer in the chain can be set to play one part (the MIDI data on one Channel), and ignore the information related to the other parts.
Note that a MIDI instrument has one MIDI Channel which is designated as its “Basic Channel”. The Basic Channel assignment may be hard-wired, or it may be selectable. Mode messages can only be received by an instrument on the Basic Channel.
System Messages
MIDI System Messages are classified as being System Common Messages, System Real Time Messages, or System Exclusive Messages. System Common messages are intended for all receivers in the system. System Real Time messages are used for synchronization between clock-based MIDI components. System Exclusive messages include a Manufacturer’s Identification (ID) code, and are used to transfer any number of data bytes in a format specified by the referenced manufacturer.
System Common Messages
The System Common Messages which are currently defined include MTC Quarter Frame, Song Select, Song Position Pointer, Tune Request, and End Of Exclusive (EOX). The MTC Quarter Frame message is part of the MIDI Time Code information used for synchronization of MIDI equipment and other equipment, such as audio or video tape machines.
The Song Select message is used with MIDI equipment, such as sequencers or drum machines, which can store and recall a number of different songs. The Song Position Pointer is used to set a sequencer to start playback of a song at some point other than at the beginning. The Song Position Pointer value is related to the number of MIDI clocks which would have elapsed between the beginning of the song and the desired point in the song. This message can only be used with equipment which recognizes MIDI System Real Time Messages (MIDI Sync).
The Tune Request message is generally used to request an analog synthesizer to retune its’ internal oscillators. This message is generally not needed with digital synthesizers.
The EOX message is used to flag the end of a System Exclusive message, which can include a variable number of data bytes.
System Real Time Messages
The MIDI System Real Time messages are used to synchronize all of the MIDI clock-based equipment within a system, such as sequencers and drum machines. Most of the System Real Time messages are normally ignored by keyboard instruments and synthesizers. To help ensure accurate timing, System Real Time messages are given priority over other messages, and these single-byte messages may occur anywhere in the data stream (a Real Time message may appear between the status byte and data byte of some other MIDI message).
The System Real Time messages are the Timing Clock, Start, Continue, Stop, Active Sensing, and the System Reset message. The Timing Clock message is the master clock which sets the tempo for playback of a sequence. The Timing Clock message is sent 24 times per quarter note. The Start, Continue, and Stop messages are used to control playback of the sequence.
The Active Sensing signal is used to help eliminate “stuck notes” which may occur if a MIDI cable is disconnected during playback of a MIDI sequence. Without Active Sensing, if a cable is disconnected during playback, then some notes may be left playing indefinitely because they have been activated by a Note On message, but the corresponding Note Off message will never be received.
The System Reset message, as the name implies, is used to reset and initialize any equipment which receives the message. This message is generally not sent automatically by transmitting devices, and must be initiated manually by a user.
System Exclusive Messages
System Exclusive messages may be used to send data such as patch parameters or sample data between MIDI devices. Manufacturers of MIDI equipment may define their own formats for System Exclusive data. Manufacturers are granted unique identification (ID) numbers by the MMA or the JMSC, and the manufacturer ID number is included as part of the System Exclusive message. The manufacturers ID is followed by any number of data bytes, and the data transmission is terminated with the EOX message. Manufacturers are required to publish the details of their System Exclusive data formats, and other manufacturers may freely utilize these formats, provided that they do not alter or utilize the format in a way which conflicts with the original manufacturers specifications.
Certain System Exclusive ID numbers are reserved for special protocols. Among these are the MIDI Sample Dump Standard, which is a System Exclusive data format defined in the MIDI specification for the transmission of sample data between MIDI devices, as well as MIDI Show Control and MIDI Machine Control.
MIDI is like air, it’s all around you, most of the time you can take it for granted, but if you are a digital musician you probably couldn’t live with out it. MIDI is inside musical instruments, computers, tablets, smart phones, stage lighting, audio mixers, and many other products from well-known international companies including Apple, Gibson, Google, Korg, Microsoft, Roland, Yamaha, and hundreds more. By the fall of 2015, it’s projected that they will be around 2.6 billion devices on the planet that are MIDI enabled!
MIDI is almost always an integral part of the modern recording process for popular music and the music that is made for films, TV, and even video games. MIDI-equipped electronic keyboards are connected to computers and mobile devices running Digital Audio workstation software that record both MIDI and Audio to produce music. With advances in computing power making digital software based instruments sound ever more realistic, the music you hear on TV, in radio ads and in movies is often recordings of MIDI instruments (both hardware instruments and virtual “soft synth” software rather than of dozens of acoustic instruments. Even the huge orchestral score playing behind that big-screen block buster almost always starts off as a MIDI mockup arrangement and then the composer uses MIDI to transcribe the parts into music notation.
More and more DJ gear has MIDI integrated into it and the last few years has seen a dramatic rise in the number of unique DJ MIDI controllers and controllerists- artists like Moldover that use MIDI to manipulate sound and loops via MIDI controllers.
Types of MIDI
MIDI technology has been around for more than 30 years, and first appeared in the form of a special 5-Pin DIN connector on the back of a keyboard that is used to connect to another keyboard or to a computer. Though 5-pin DIN connections are still used for making connections between standalone hardware digital instruments, over the years as computer technology had developed and advanced so has MIDI.
Your computer, tablet, or smart phone probably has MIDI capabilities and starting in 2015, the web browser you are using to view this page may be capable of making music with MIDI. Google’s Chrome browser (and others to follow) can access local MIDI devices (hardware and software synthesizers, external keyboards, etc.) and use them for producing music and/or for controlling objects in the browser (such as a browser-based synthesizer).Web app developers are rapidly adding
MIDI support to existing apps and creating new apps that are Web-MIDI enabled.
If you own an iPad or iPhone you probably know that there are hundreds of programs you can get for making music (even on-the-go) that use Apple’s CoreMIDI technology to connect to MIDI devices.CoreMIDI also allows an iPad/iPhone to send/receive MIDI messages via Wi-Fi allowing the iPad/iPhone to control and/or play sounds and sequences on the Mac, and vice-versa.CoreMIDI also supports MIDI connections via USB, Ethernet, and FireWire (where equipped). Windows users can also connect to Macs and iOS devices via a third party RTP-MIDI.
With Android M, Google has added robust MIDI support for the billions of Android devices that are available making MIDI one of the most ubiquitous technologies on the planet.
Of course, MIDI is not just for keyboards… other MIDI-equipped musical instruments include digital drums, guitars, wind instruments, and more. For electronic dance music (EDM) and DJs, there are specialized controllers that use MIDI to trigger beats and loops, and to control lighting. And new kinds of digital musical instruments and controllers are being invented all the time, all of which integrate perfectly with existing instruments and devices because of MIDI.
Besides music creation, MIDI has some other interesting and popular uses. MIDI Show Control is a set of MIDI messages used for controlling lights and rides at theme parks as well as for operating themed events such as are found outside many Las Vegas casinos. And MIDI Machine Control provides remote transport control for many kinds of audio/video recording devices. Moreover, because MIDI is widely available and free to use, many people are able to develop unique DYI products using MIDI to control and/or generate sound… in all kinds of shapes and forms.
If you’d like to learn more about the amazingly diverse world of MIDI, this is the place as the site has videos, tutorials, forums and stories about MIDI artists.So join the community of people who make music and art with MIDI and learn how to get the most out of this incredibly flexible technology.
