I began working with MIDI in 1982, right after I graduated college with a degree in classical music theory and composition.  My friend Gary Leuenberger, who is a pianist and who owned a piano store in San Francisco, where I live, called me one day around 1985 to invite me and a few other musicians to hear Bach's Brandenburg Concerto in D major, the first movement, that he programmed for 8 DX-7s (the TX816 rack) using the Yamaha QX-1 sequencer.   I was hooked.  From that day until today, I've been immersed in MIDI composition and production.  I've scored for TV, film, dance, animation, games, documentaries and other commercial projects before I "retired" from soundtrack work to focus on my own compositions and albums.  I am also immersed in astrophotography and have produced, so far, 17 music videos featuring my astrophotographs set to music.  Some of the soundtracks are specifically written for the music videos, some are symphonic movements and other works I've composed for my albums.  

I'm not allowed to post the link to my website but it's easy to find. I'm currently working on my 14th symphony for virtual instruments.  Feel free to ask me anything you want about MIDI composition and production. Maybe I can be of help.

Jerry

removed link

A sustained note slowly fades out using expression, and then the next note instantly jumps to expression 127 on the same tick that the previous note has been turned off.  This causes transients from the previous note to briefly sound at full volume.  In one previous soundtrack I ended up duplicating the tracks and then alternating each original track's notes between the two new tracks.

I've tried to work around it this time by gapping the string notes, which only helps somewhat.  So I want to see if there is some sort of "smoothing" I can do in any of the commonly available Windows MIDI editors to make the expression of the new note blend with the one of the old so the transition isn't so jarring.  I have Anvil Studio, Sekaiju, and Sonar as the main ones I use, plus assorted others for converting to/from text etc.  I would only need it to apply to the strings, which sometimes share a track/channel with one or more other instrument(s).

If worse comes to worse, I can always do the duplicate/alternate hack again, but it's time consuming (and I haven't added that in to my editor yet 😆 ) but I'd rather just be able to have it sound good without all the extra modification.

So commands might look like

Bend 250

Note On A

Bend 0

Note On B

Since both bend commands occur on the same tick, will both bends be applied correctly, or will both notes get Bend 250, or will both get Bend 0?

I can't seem to find anything in the specs that specifically mention it.  I was under the assumption that only the last bend would be used, since I have been working with files that typically are single-note-at-a-time.  However,  now that I am looking at some multi-note files, I am wondering if I was mistaken.  If both bends DO apply, then I will need to modify my duplicate-command pruning function to be more selective.

That made it much harder than it should be to update things in the editor and keep track of other things like file location indexes and such.  I finally got fed up enough with it a few months ago to re-write the core from scratch.  The new code is so much more efficient, organized, and flexible.

As I'm running all of my old test files through the new editor, I'm occasionally finding things that either weren't a problem in my old code, or were and I couldn't fix, or were things that I never realized were a problem.

The most recent that I just discovered is that, unbeknownst to me, running status is NOT ended if you hit a META event.  It just picks right back up after the META event!  Took me a bit to figure out what was happening, as I have always assumed that META events could not be running (they can't) and as such, the running status flag should be disabled.  So I disabled it and always wrote the command byte for the next event.  But a test file I have has only a single Note-On command in the whole file and all the rest are running status, with META text events between groups of notes.  My saved copy of this file should have been near-identical, except now it had a bunch of Note-Ons that weren't present in the original.  Now that I've realized how running status ACTUALLY behaves around META events, I am able to reproduce an exact copy of the test file after loading, parsing, sorting events, and then rebuilding at the end.

Just thought it was interesting and a good bit of information to know for those who are working on their own software.

The new version of my editor will be posted on my Google Drive when it is "ready", and then I can finally finish up the next soundtrack-in-progress for the SNES MIDI Remaster Project.  If you are more interested about the inner workings of the editor, you can check some of my older posts on this forum as well as posts over on the Gamemaker forums.

https://forum.gamemaker.io/index.php

More to come.

n is the "block" number, which translates to

0 = CH 10

1 = CH 1

...

9 = CH 9

A = CH 11

...

F = CH 16

It shows

00 at n!=0

01 at n=0

Does this mean that channel 10 (n=0) CAN NOT be assigned as a non-percussion part?  I am testing a file with the SYSEX command to set CH 10 to non-percussion, but my software is still playing it as percussion.

I've posted this over on the Cakewalk Sonar forums, as sadly this forum has shriveled up :/

https://discuss.cakewalk.com/topic/92637-need-to-shorten-all-touching-midi-notes/

I found the Player Piano Prep script written for Sekaiju, and I think with proper modification it can accomplish the task?

New Release - December 19 2025

Battletoads in Battlemaniacs  https://youtu.be/lLnt43QQxcQ

Once again, what theoretically could have been very easy… was not.

This soundtrack uses every channel for every instrument, rotating generally one note at a time.  The next note for any instrument then typically plays on the next open channel.  This caused issues when I started editing things like pitch bend, expression, and volume, which would then erroneously carry over to the following instrument’s notes.  The same is true of all percussion as well. 

Since the original music files only use 8 channels total, I was able to split them in to 8 instrumental channels and 8 percussion channels in the final MIDI files.  Yet each of these channels still has to play all of the instruments or percussions.

I had to add in even more functionality to MIDI-MIS to compensate by inserting extra pitch bend, expression, and volume commands.  They were added wherever a note existed that didn’t already explicitly have them, when it immediately following a note of a different instrument.  The command thinning functionality added for my previous soundtrack definitely helped out this time around as well.

I also needed to custom edit a heavy guitar soundfont, as this soundtrack has a very specific sound I was not able to replicate using any of the soundfonts already in my collection.

The full SNES MIDI Remaster Project playlist can be found here:
https://www.youtube.com/playlist?list=PLzNFPVjo8upworyQq0DXDTiCZzPP29Frw

The most recent WIP version of my editor MIDI-MIS can be found here:

https://drive.google.com/drive/folders/114K2TuMGXu7w_vX-iBWI0Kf9RCb9wi6K?usp=drive_link

Soundtracks currently remastered:

Axelay (re-release)  https://youtu.be/YJC4pmL1hGU

Battletoads and Double Dragon: The Ultimate Team  https://youtu.be/bt8FIzJuIu8

Battletoads in Battlemaniacs  https://youtu.be/lLnt43QQxcQ

Gradius III  https://youtu.be/XXcfmE7TOho

Legend of Zelda: A Link to the Past  https://youtu.be/IknXcaQYxaY

Prince Of Persia  https://youtu.be/cFp1Dos_ltM

Super Castlevania IV  https://youtu.be/r0-P66UJDzY

Super Castlevania IV (Prototype)  https://youtu.be/PPQJMg3UVng

Super Double Dragon  https://youtu.be/6ICJpRNXzaM

Super R-Type  https://youtu.be/3ApAJHJDjc4

Super Tetris 2 + Bombliss   https://youtu.be/XXcfmE7TOho

Super Tetris 3  https://youtu.be/gM_1ZuOsjlU

Super Valis IV  https://youtu.be/I_UBQWP0OGI

Making of SMRP https://youtu.be/DKRim0JcXVg

More info about the project/documentation can be found at
https://drive.google.com/drive/folders/1op35g2ALiWenpXUNndyuHikq6ZlfmQuG?usp=drive_link
with additional per-soundtrack info located in the video descriptions.

Previous SMRP release posts:

https://midi.org/community/creating-with-midi/snes-midi-remaster-project-update-july-7-2025

https://midi.org/community/creating-with-midi/snes-midi-remaster-project-updated-january-22-2025

https://midi.org/community/creating-with-midi/snes-midi-remaster-project-updated-november-25-2024

https://midi.org/community/creating-with-midi/snes-midi-remaster-project-updated-july-5-2024

https://midi.org/community/creating-with-midi/snes-midi-remaster-project-updated-may-3-2024

https://midi.org/community/creating-with-midi/snes-midi-remaster-project-nov-2023-update

https://midi.org/community/creating-with-midi/snes-midi-remaster-project-updated-july-31-2023

https://midi.org/community/creating-with-midi/snes-midi-remaster-project-march-9-2024-update

Basically, I want to connect all my devices to Midi and Im using the Widi products for that (wireless midi).

My devices are:

iPad, B-beat X, Wolfmix MK2 and Airturn BT500 S6 pedal.

Currently Im connecting the B-beat and Wolfmix in a group in a closed Widi universe, meaning that the B-beat and Wolfmix are not connected to my iPad. Im currently using the B-beat as the main Midi centre, going Midi in and Midi out and uses my iPad to control the B-beat through a hotspot on the B-beat.

I have midi-tracks on the B-beat to automatically switch my presets on Wolfmix accordingly to the backtracks playing.

Here comes my question: Can I somehow connect the Airturn BT500 to the B-beat through BT midi and simultaneously control the Wolfmix, so I manually can use the Blinder, Smoke etc on the Wolfmix, while the backtrack form B-beat still runs and sends midi commands to Wolfmix from the midi track?

I have downloaded the Midimittr app, but Im very new to this app and hope to be able to control my whole midi universe from the B-beat with my Airturn connected simultaneously.