MIDI.org Forum - Recent Topics

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

What is the common practice of handling a virtual UMP device when a legacy Midi host connected into it?

Accipiter Nova — Mon, 17 Aug 2026 02:02:21 +0000

Hi mate!

First time commenter here since I have a hard time on searching relevant info regardless to the ALSA sequencer where I find no info related to this problem in the ALSA documentation, nor I could find anyone handing this problem in the existing midi libraries, while the github and sourceforge discussions are a bit inactive where many of the questions remain unanswered. Seems like here is the closest place where can give me some directions to solve the problems since my problem might also involves in some basic midi 2.0 knowledge.

I am currently studying the ALSA sequencer and I have some success on building a basic midi 1.0 input and output, so I decided to build a virtual input with supporting ump; basically, I have created a port with an enum of SND_SEQ_PORT_TYPE_MIDI_UMP:

// Create an input port, but ump
const port_id = asound.snd_seq_create_simple_port(
    seq.?,
    "Zig Midi In Ump",
    asound.SND_SEQ_PORT_CAP_WRITE | asound.SND_SEQ_PORT_CAP_SUBS_WRITE,
    asound.SND_SEQ_PORT_TYPE_MIDI_GENERIC | asound.SND_SEQ_PORT_TYPE_APPLICATION | asound.SND_SEQ_PORT_TYPE_MIDI_UMP,
);

After that, I have created an async callback to receive the ump packet. is_active is a global variable so that the loop can be stopped outside the async function, while the type UmpEvent is snd_seq_ump_event_t:

fn processUmpEvent(seq: ?*Seq) void {
    var ev: ?*UmpEvent = null;
    while (is_active) {
        if (asound.snd_seq_ump_event_input(seq.?, &ev) >= 0) {
            std.debug.print("Event type: {d}\n", .{ev.?.type});
        }
    }
}

While the program is run, since I also want to see how midi host that can't support ump behaves to my virtual input device, I decided to open a daw and trying to send something with it; unsurprisingly, although my daw recognized my virtual port, the port don't response to the event since my host didn't send ump event, but this creates some questions since I am not sure how should I handle this situation if I want to build a midi library or a midi host for example, so here are the questions:

- Is the behavior of legacy midi host recognized my virtual input device intended?
- When I build a virtual input device, do I need to check if the new incoming or target device support ump? Or my virtual device should always handle both ump and legacy format? Or I should prevent the legacy device to connect to the ump endpoint?

Please let me know if anyone needs more info for the questions, or if the question is duplicated so that I could referred to the existing discussion.

Middle C (note 60) Pitch Assignment?

Jim Fogle — Sat, 15 Aug 2026 17:14:21 +0000

Greetings to all but especially those that write MIDI specifications.

Is assigning a pitch value such as C2, C3, C4 or C5 to midi middle C equals note 60 under consideration?

As things currently stand there is hardware and software that use each of the pitch values listed above as their middle C standard.

Whatever audio is played back may not represent the intent of the midi composer because the audio maybe played back at the wrong octave.

Got Property Exchange working between two vendors' gear that never coordinated — sharing it, and some open questions on adoption

Nick Rains — Thu, 06 Aug 2026 22:26:48 +0000

I wanted to share a proof-of-concept and open a discussion, because I think it says something useful about where Property Exchange is right now.

What I built. A small PE responder (running on a Mac) that impersonates a sound generator. It serves resources built from data that a synth already has — its parameter names and its CC map — so that a hardware controller can discover it over MIDI-CI. The result: the controller auto-labels its eight knobs with the synth's real parameter names and drives them, with no MIDI-learn and no templates. The two products were never designed to interoperate; PE made them.

For me this was the "oh, it actually works" moment — the thing PE promised, running on real gear. It scaled cleanly across ~47 instruments from one software collection.

Why I'm posting. Getting there took more reverse-engineering than I expected, and I ran into a few things I'd genuinely like other implementers' perspectives on:

Standard vs. vendor-specific resources. The controller I used fetches vendor-specific

parameter/value resources rather than the standardized CtrlList / AllCtrlList. Is that common in the wild? Has anyone successfully served standard controller resources to a shipping controller and had it map knobs from them? I'd love to know how portable a "standard-resources-only" responder actually is today.
Subscriptions / value sync. For a responder to advertise live values and have a controller

display them, what's the subscription behavior you've found works reliably? I'd like to compare notes on the full vs partial update flow and how different peers handle it.
Robustness patterns. Stale MIDI-CI sessions, re-subscription behavior, MUID invalidation on

reconnect — is there an agreed set of best practices or, ideally, a reference implementation people build against?

Offer. I'm happy to share the responder and the harvester (the bit that turns a synth's shipped files into a PE resource set) as a reference — it might save the next person the reverse-engineering, and it could be a useful starting point for anyone building a responder. If there's interest in an open reference implementation / conformance-style test set for PE, I'd gladly contribute what I have.

Mostly I'd love to hear from anyone else implementing PE — what's worked, what's been painful, and whether the standard-resource path is as viable as I hope it becomes.