Now that is amazingly clever.

Please explain to us how you did that.

In 1982 I was using the Yamaha CS-70M, I think that was the last synth Yamaha made without MIDI Ports.  A year later I was using the DX-7 and then a few years later the TX-816 rack.  

It's pretty obvious I was off by a year. From the tone of your reply I can safely assume you've never made an error like that. 

Now that is amazingly clever.

Please explain to us how you did that.

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

One thing I keep running into is how differently the MIDI community uses transcription output. Some people want note-perfect MIDI for sheet music generation, others want something that captures the performance feel even at the cost of some accuracy, and others are piping it straight into a DAW where timing quantization matters more than dynamics.

Curious what this community's experience has been: what's the most frustrating gap you've hit between what audio-to-MIDI tools produce today and what you actually need the output to do? And which instrument has felt most underserved?

I submitted my work for the 2026 contest, but I did not receive any email confirmation either. Can you send me an email too if it was received? Thank you! 

removed link handles the transcription part — would love to eventually support MIDI 2.0 output with proper JR timing once OS support catches up.

I am in the process of adding this feature to MIDI-MIS, though it is a bit more tricky than I initially anticipated.  The partially working results already sound loads better with the elimination of cross-talk between subsequent notes on a channel.

I have two possible methods to choose: A) Clone the track I want to modify, move it to another channel, and remove all of the alternating notes, -or- B) keep all of the notes on the same track, and only change the channel values of the notes that are moving to the other channel 

I'm currently working on method B.  I already had systems in place to collect relevant commands around each note, so I am using that to split the notes between channels, and bringing along any expressions and pitch bends.  I then realized I need to duplicate a bunch of other commands like bank selection, channel volume, pitch bend range, echo, chorus, and who knows what else so both channels still have those commands.  Hmm.  This could be a problem if someone besides myself were to actually use my editor for this purpose.

Pitch bend will require more fiddling, as if it changes on a note on one channel, but then jumps to the other channel, that channel will still be working with the previous pitch bend value.  Oof.

So now the more I think about it, the more I may be leaning toward method A, which may come with it's own set of "issues".

Currently I am allowing it to work on a single instrument on a channel, so if there are multiple instruments on a single track/channel (which is the case with nearly all of my files) then I can only affect the chosen instrument.  Cloning the entire track will make it harder to only modify the one instrument, since I then need to remove all commands related to the other un-split instrument(s). (Or, I could simply delete all of the note on/off related to the other, but then I will be left with a bunch of unneeded commands clogging up the file)

Each has pros and cons.  It would be great if someone already had a working method of doing this 😀 

However, as such, my niche editor keeps getting niche-ier.