MIDI.org Forum - Recent Topics

Harmonic_mpe

Thethirdapple — Sat, 10 Oct 2026 12:00:05 +0000

I’ve been working toward something that looks at MPE and acoustic modeling from an additional angle. My intent is both a philosophical and practical exploration of expression.

First off, I am incredibly grateful for the pioneers of MIDI and acoustic modeling. From the early wild west and east days of creating standards, to the incredible minds pushing things forward today, thank you. It’s this foundational work which provides the freedom and ease to tinker, hack, and rethink how to interface with sound design and musical inventions of all sorts…

Lately, I’ve been obsessed with how we, as humans, drive expression but also that which “expresses” upon us, a form of cohabitation. The brilliant EaganMatrix acoustic modeling engine and the way it handles organic, fluid responses is magical or perhaps elegantly mathematical. An equally brilliant mathematical generative sandbox is KARMA. Created entirely to express human intent, breaking free from the rigid midi landscape of yesteryear. Dedicated MPE controllers are also beautiful, the QuNexus was a great step in the journey and the current offering of fantastic controllers is growing, but I started wondering about all sorts of friction we create which could translate into musical expression.

How to expand on these foundational implementations as well as learn, by looking back to go forward?

How to achieve a similar deep, independent per-note expression which is musically aware of itself by using music theory as a variable in the model?

Eventually being able to introduce many new variables and modes of expression…

Currently, a functioning rough draft of something akin to a voice allocation scheme I am calling: HARMONIC_mpe. This might be the long lost keytar cousin of 6 string allocation. 🤪

I have been able to build a routing bridge that leverages KARMA v3.3 for the Motif XS with off the shelf MIDI 1.0 gear to unlock a “musically aware” style of multi-dimensional, acoustic-modeled expression. The goal isn’t to automate my music, but to create a setup where I’m generating the dynamics, using all forms of inputs to express multi-dimensional articulations on individual notes within a chord or phrase. And that chord or phrase also musically lives and breathes.

The Canvas: a multi-channel setup (Song mode) on the XS, and or a large mix of multi-timbral synths to create the voices specifically tuned for “organic, acoustic-style modeled” types of responses or easily re-geared towards a yet to be discovered soundscape.

The Brain: I am using a 6-module setup within the KARMA software. Instead of using it to generate traditional tracks, it’s acting as a “musically aware” voice allocation router.

The Splitter (Note Series Index Filters): play a chord, KARMA’s filters instantly recognize the chord structure and cleanly separates the notes —sending the indexed intervals to distinct modules. Such that the Root note goes to Module 1, the 3rd to Module 2, and so on. Each module gets its own dedicated MIDI channel. And by extension, when the sound module has multi-channel output, separate audio chains for post processing.

The Human Driver: By using KARMA’s DynMIDI matrix, I can mimic axis movements thru standard physical gestures—like moving individual faders, pedals or pads from MIDI 1.0 controllers—and map them directly to those specific modules. This extends to non human organic drivers of expression, using nearly any “midi controller” becomes possible. Weather, time, density, proximity, any sensor, any data which can be translated to midi CC.

Because the indexed notes are already separated by the filters and routed to distinct midi channels, “wiring” a traditional midi data stream thru DynMIDI cleanly reshapes and modulates the root of the chord. While another data stream breathes life into another interval of the chord. Each interval distinct but always perfectly or as imperfectly harmonious as expressed… much is yet to figure out

A Few Thoughts on Musical Intent & The Road Ahead

What excites me most about this setup, even as a legacy project, is how it unlocks a musical intent for both generative midi and acoustic modeling. In this sandbox, a chord is “understood” rather than simply transmitted. Because the routing relies on KARMA’s Index math rather than being strictly pitch-based, the musical structure itself becomes an active participant in how data flows. The system inherently knows the relationship of the notes within the harmony, changing how interactions are mapped.

It also challenged me to expand the horizon of what expressions might actually be possible. True musical articulation is more than just what a physical finger touches. We must respect the physical “cohabitation” we share with an instrument, but also remember that we already play countless instruments through an intermediary—sticks for a drum, bows for a violin, or complex mechanical hammers for a piano. And certainly math…

Should that intermediate layer not naturally extend to all possible interactions? After all, a physical guitar slips out of tune in humid or dry conditions. Saliva accumulates and alters the resonance of a brass horn. So many wild, chaotic environmental variables enter into how our ears ultimately perceive a sound—well beyond the neat, direct tactile intent of its original creator.

By decoupling the note-triggering surface from the modulation source, I am simply leaning into that acoustic chaos, introducing entirely new macro-gestural dimensions into physical modeling. Ultimately, I look at this setup as a transition.

As the saying goes, “a bridge gets more people to the promised land than a catapult.” For myself, heavily invested in the fun and exploration of both new and “legacy” gear, this offers a healthy, functioning pathway forward. It allows me to keep some beloved instruments relevant within a framework like MPE—which, if I am being completely honest, resides as one of truly beautifully formulated, brilliant hacks.

The fun truly starts when playing the mpe controller of your choice to modulate the over 400 parameters within each KARMA module routed back to an mpe enabled sound module!

Expressing a musical intent in real-time from each axis of the controller.

MIDI 2.0 is to me the new wild frontier, the promised land!!!

A work in progress…

PEACE
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I've got a MIDI DAW - how do you control volume on VSTs that don't accept CC numbers?

Christopher — Sat, 10 Oct 2026 09:18:19 +0000

Dear Anyone.

Quick Score Elite Level 2. It's MIDI Central, and CC Commands for everything. Unfortunately a lot of VSTs don't do CC commands and don't have MIDI Learn. I've got a large collection of things that make lovely noises but I can't use because they're stuck on full volume! Anyone know of ANYTHING I can use as an insert effect to just turn sounds up and down? Doesn't have to do anything else, just accept CC commands itself so it can turn the channel volume up and down, to make the sound ON that channel louder and quieter. Don't care if it's called Volume or GAIN as long as it makes things louder and quieter.

I know Blue Cat but Blue Cat's got a big problem. You can only use it on Channel One of multitimbral VSTs, if you try to put it on any other channel it doesn't actually do anything! It's not perfect on Channel One - one of the progs that doesn't have MIDI-LEARN is Kontakt - if you set up a multi in Kontakt and try to turn it up and down via MIDI/CC7 instead of turning the whole multi up and down as one combined sound, it turns the INDIVIDUAL SOUNDS UP AND DOWN INDIVIDUALLY - thus wrecking the combined sound!

There's GOTTA be SOMETHING else out there.... hopefully VST32 though I DO have JBRIDGE if necessary.

Anyone got any ideas?

Yours hopefully

Chris.

• Typo in AMEI SysEx ID List: Duplicate ID for Sonicware (00H 48H 04H)

Roberto Forni — Wed, 30 Sep 2026 11:12:38 +0000

Hi everyone,

I noticed a quick typographical error in the published (SysEx ID Table – MIDI.org) Japanese (AMEI) SysEx ID Holders list regarding Sonicware Co., Ltd.

Currently, the table lists Sonicware with a duplicated ID belonging to another manufacturer, while breaking the sequential order:

sigboost Inc.: 00H 48H 00H
Tsukuba Scientific Co., Ltd.: 00H 48H 03H
Sonicware Co., Ltd.: 00H 48H 00H (Current typo)
Poppy Seed Studio: 00H 48H 05H

Following the hexadecimal sequence between 03H and 05H, the correct ID for Sonicware Co., Ltd. should be 00H 48H 04H.

Could the site administrators or AMEI maintainers please update the document or webpage to reflect the correct sequence?

Thank you!

SNES MIDI Remaster Project (New Release September 13 2026)

Jason — Wed, 16 Sep 2026 14:23:00 +0000

I have been working on a project for the last several years remastering my favorite soundtracks from the Super Nintendo Entertainment System (SNES) as high quality GS MIDI Files, and uploading the completed soundtrack videos to YouTube, as well as having the MIDI files available for download.

New Release - September 13, 2026

Super Ghouls ‘N Ghosts https://youtu.be/h9P_PLq-1RQ

This soundtrack has notes that “interfere” with each other at the note off/on transition in nearly every song and every channel. Pitch bends and expression changes meant for the new note affect the previous note, causing all sorts of auditory anomalies. In an attempt to compensate, I tried to add a new feature in to MIDI-MIS, and at this point, I realized that I needed to completely rewrite the core of my editor if I wanted to continue adding features. The old code became too convoluted to follow, and MIDI data was split in to too many data containers that needed constant synchronization.

So instead of finishing the soundtrack in a few months’ time, I rebuilt MIDI-MIS from the ground up, making it tremendously more efficient, and so much easier to upgrade as needed.

The major new feature added for this soundtrack is that it can now take a MIDI channel and split the notes and corresponding commands to a new empty channel. Odd-numbered notes are left on one channel, and even-numbered are moved to the new channel. This gives notes that have an extended decay room to breathe without being unintentionally modified by the next note’s commands.

The other major change for this release is that it is officially the first soundtrack I have completed using the new spc2midi-tsuu that is being written by aikiriao. spc2midi-tsuu picks up where classic spc2midi left off, fixing a lot of things that classic doesn’t do well and adding a lot of things that the original lacks. I “finished” the soundtrack using the classic version several weeks ago, but I was not happy with the results. There were assorted discordant pitch issues that I just couldn’t iron out. So I gave spc2midi-tsuu a shot, and I’m happy to say it worked out fantastic.

NOTE: If you have previously downloaded any of my finished MIDI files, I will hopefully be updating them in the next few months. While testing out spc2midi-tsuu, I realized that most of my GS Percussion SYSEX commands were stored with invalid checksums. Most software seems to ignore this, but I plan on fixing and cleaning up the previously completed files as time allows.

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 Ghouls ‘N Ghosts https://youtu.be/h9P_PLq-1RQ

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 with extra development info:

https://midi.org/community/creating-with-midi/snes-midi-remaster-project-new-release-december-19-2025

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

Cannot get reply form MIDI.org

Kende Wong — Wed, 09 Sep 2026 01:33:15 +0000

I am a participant of the MIDI Innovation Award. I received a invitation email from the MIDI Association that provide a link to joint the MIDI Association Corporate Forum. The email said I must joint the forum because "because all communciations with 2026 entrants will take place there." I followed the link and filled the information, and it said I will receive a activation email to joint the forum. But for unknown reason, I didn't received any activation email. I send 2 emails in 2 days to info@midi.org to ask help, but didn't get any reply !!! Can anyone help ?

Adding C2PA to Midi 2.0 and requesting a SysEx ID

Matthew Rappard — Thu, 03 Sep 2026 19:46:37 +0000

Hello I'm a member of the (Coalition for Content Provenance and Authenticity) C2PA's Audio Working Group.

The group is actively working on including MIDI 2.0 in the C2PA specifications.

In our implementation of adding C2PA to MIDI 2.0 we would need a Manufacturer ID (SysEx ID) so we could indicate the data is a C2PA manifest and thus could be verified.

I personally was just wondering about the best way to discuss this with the MIDI 2.0 group.

I know I can pay for a membership, and many of the organization in C2PA are already corporate members, but since the Manufacture ID (SysEx ID) would have to be shared with people inside our group and outside, it might warrant a discussion.

Join and Participation in MASSIG

Billy Lackey — Wed, 02 Sep 2026 15:02:37 +0000

Hi, My name is Billy Lackey, just joined and looking to join and participate in MASSIG meetings removed link I will appreciate any information on how to join and connect with the group. Many thanks!

Oh no... My SNES MIDI Remaster Project downloads contain invalid GS SYSEX

Jason — Mon, 31 Aug 2026 15:56:30 +0000

Just an FYI if you have previously downloaded any of my SNES MIDI Remaster Project MIDI files, particularly any released in the past couple of years, I have just discovered that most of my GS percussion assignment SYSEX commands were written with invalid checksum bytes. Some software will ignore this, so might not cause any issues. However, I will be going back through all my files and fixing the checksums at some point, and when I do I will upload the corrected versions of each. I'll follow up here when I do.

Replace the Equal Temperament Tuning or ETT - New Tuning / New Notation System

Philippe Rousset — Mon, 31 Aug 2026 13:09:59 +0000

^{I need your help to create a new music notation program.}

^{We will use A-28 Hertz as a reference (base or aggregate).}

^{Add 28 dividers … 1 - 2 - 4 - 7 - 14 - 28 to the base and we obtain the following list}

^{28 - 29 - 30 - 32 - 35 - 42 - 56.}

^{Apply this list to the sonic band in Hertz and we have a basic scale (7 notes/ first octave)}

^{28Hz 29Hz 30Hz 32Hz 35Hz 42Hz 56Hz}

^{List the harmonics for each of the notes in the basic scale and you have the making of a new musical / instrumental tuning.}

^{This new tuning can be applied / transferred to an existing notation program’s extension providing the program will accept the new tuning and run its oscillators on it.}

^{I want to replace the Equal Temperament Tuning. with the following frequencies, for each note respectively.}

^{NOTE Frequency}

^{in Hertz}

A - 1 28 -

A# 29

B 30

C 32

C# 35

D 42

D# 56 -

E 58

F 60

F# 64

G 70

G# 84

A - 2 87

A# 90

B 96

C 105

C# 112 -

D 116

D# 120

E 126

F 128

F# 140

G 145

G# 150

A - 3 160

A# 168

B 174

C 175

C# 180

D 192

D# 196

E 203

F 210

F# 224 -

G 232

G# 240

A - 4 245

A# 252

B 256

C 261

C# 270

D 280

D# 288

E 290

F 294

F# 300

G 308

G# 315

A - 5 319

A# 320

B 330

C 336

C# 348

D 350

D# 352

E 360

F 364

F# 377

G 378

G# 384

A - 6 385

A# 390

B 392

C 406

C# 416

D 420

D# 435

E 448 -

F 450

F# 455

G 462

G# 464

A - 7 476

A# 480

B 490

C 493

C# 504

D 510

D# 512

E 522

F 525

F# 532

G 540

G# 544

A - 8 546

A# 551

B 560

C 570

C# 576

D 580

D# 588

E 595

F 600

F# 608

G 609

G# 616

A - 9 630

A# 638

B 640

C 644

C# 660

D 665

D# 667

E 672

F 690

F# 696

G 700

G# 704

A - 10 714

A# 720

B 725

C 728

C# 735

D 736

D# 750

E 754

F 756

F# 768

G 770

G# 780

A - 11 783

A# 784

B 798

C 800

C# 805

D 810

D# 812

E 832

F 840

F# 841

G 864

G# 868

A - 12 870

I asked the same thing to Chat Gpt

Thet say ok, it's new we do it

I followes the intructions, installed Python... and now I am stuck

I need me a computer person to help me and the Chat Gpt robo thingy complete the prototype.

Hello I'm new to Midi and here

MIDInovice — Sat, 29 Aug 2026 18:18:51 +0000

HI everyone,

A friend recommended this site and I am writing to both introduce myself and also probably make a total fool of myself asking some really dumb questions. As with this forum and community, I'm new to MIDI although I've had MIDI equipment for about 10 years or so already. I've just never got to using it before now, as I was doing everything on to a mixer and I plan to continue using that as the main platform for my recording. However, a while ago I started getting curious about MIDI and I connected a number of instruments together and really havent looked back. So this is what I came here to ask about, and learn more.

I would like to link a number of instruments I have via Midi to create more complex instrumentations which I want to send to a Zoom Live Track 20 mixing deck. What I want to do is create a synchronous interactive polyphonous sound configured through MIDI while also sending the individual voices of the various instruments to the Zoom 20 deck via Phone/XLR cable. In effect I want to create two kinds of networks (MIDI and conventional audio jacks) using the same instruments all of which are controlled via a central unit in the system which I will play. The sound modules I want to link up are;

1) Midi Network - Circuit One
i Mini Nova synth
ii Yamaha MOXF
iii Korg Volca Drum
iv Behringer RD9
v Beat Buddy 2
vi Line6 Guitar Helix
Circuit One : Connect MIDI Network To Zoom L20 via a final connection through 6.3mm jack or XLR.

Circuit Two : The individual voices of the seperate instruments connected via XLR/right channel phone to the Zoom L20.
i Mini Nova
ii Yamaha MOXF
iii Volca Drum
iv Behringer RD9
v Beat Buddy 2
vi Guitar via Line 6

The idea is to get two different sounds from each instrument;

a) the sound produced via the MIDI induced configuration, and

b) the sound that comes out of the instrument without the MIDI induced sound.

I want to record both these sound sources on the Zoom Livetrack 20 and get a 'band' feel to the music rather than dubbing different tracks and building the sound progressively with each dub. I also still like the "analogic" experience of creating the music mechanically through the way I play the instruments rather than just programming stuff straight into a DAW or something like that. My feeling is I will probably use the Yamaha MOXF as the central controller of the MIDI network to get the chords and tones and instrument changes into the network, alhtough I may end up using a clock to master the timing of all the instruments together.

2) Three Questions about MIDI Hardware

A) What is the best way to get a synchronous MIDI network of this nature to work? My research into MIDI suggests that long daisy-chains is not a good idea.

B) What would be the best way to set up this synchronous MIDI network? A MIDI clock(+MIDI through hub/s) or just MIDI hub/s and use the controller (say MOXF) to set the timing? Would that for sure stop any unexpected timing deviations from the other sound modules?

C) Is it possible to use the MIDI controller (MOXF or a dedicated MIDI controller) to specify what each instrument would do, for example if I want the MiniNova to create bass lines, the MOXF itself to create a symphonic sound of strings as well as other voices such as bells, and the Korg Volca to create a range of tonal rythms, while the Beat Buddy creates a basic drum kit beat while the RD9 creates more complex overlays of beats and rythms (perhaps in different time signatures). Or would it be simpler/better to just programme each of these sound modules individually to produce the sounds I would like them to?

I would appreciate any product recommendations to create this network as well.

Sorry for the long post - I hope someone will find time to look at it.

Thanks, regards and greetings

John