MIDI.org Forum - Recent Topics https://midi.org/community MIDI.org Discussion Board en-US Thu, 05 Nov 2026 01:02:50 +0000 wpForo 60 Looking for Technical Volunteers and MIDI Developers for an Inclusive Music Education Project https://midi.org/community/creating-with-midi/looking-for-technical-volunteers-and-midi-developers-for-an-inclusive-music-education-project Fri, 23 Oct 2026 15:04:37 +0000 Hello everyone,

My name is Rafael, and I am a primary school music teacher in Spain.

I am currently developing an educational innovation project called AMI (Aula Musical Inteligente / Intelligent Music Classroom), whose main goal is to transform the traditional music classroom into a more inclusive, accessible and technology-enhanced learning environment through the use of MIDI controllers and educational software.

For decades, music education in Spanish primary schools has relied heavily on the recorder (flauta dulce). While valuable, this instrument creates barriers for some students due to respiratory, motor, sensory, and learning difficulties.

My objective is to replace recorder-based instruction with a MIDI-based ecosystem that promotes:

  • Inclusion and accessibility.
  • Universal Design for Learning (UDL, DUA in Spanish).
  • Digital competence.
  • Creativity and composition.
  • Objective assessment.
  • Motivation through gamification.
  • Personalized learning pathways.

The initial classroom setup is based on: MIDI keyboard controllers, Educational software running on PCs and Raspberry Pi systems, Speakers and Headphones for individual practice, MIDI connectivity and data collection. (Future developments may include MIDI percussion controllers, Wind MIDI controllers, Adaptive controllers for students with disabilities)

I am looking for guidance from MIDI engineers, programmers, educators and accessibility specialists interested in helping with small-scale educational developments such as:

  • MIDI event monitoring.
  • Note and rhythm assessment tools.
  • Educational MIDI visualizers.
  • Gamified learning applications.
  • Real-time feedback systems.
  • Student progress tracking.
  • Accessibility-oriented MIDI interfaces.
  • Raspberry Pi MIDI projects.
  • MIDI 2.0 educational possibilities.

Why This Matters: My goal is not commercial.

This is an educational project designed to make music learning more inclusive and accessible for all children, especially those who may struggle with traditional instrumental approaches.

I would greatly appreciate any advice, collaboration, open-source project recommendations, code examples or educational experiences related to MIDI technology in schools.

"I am not a professional programmer, but I am highly motivated to learn and collaborate. Any level of support, from simple code snippets to project ideas, would be greatly appreciated."

Thank you for reading, and I look forward to learning from this community.

Best regards,

Rafael

AMI – Intelligent Music Classroom Project
Spain

]]> Rafael Pomares https://midi.org/community/creating-with-midi/looking-for-technical-volunteers-and-midi-developers-for-an-inclusive-music-education-project Hello from a new member - creative web tools and MIDI https://midi.org/community/the-midi-association/hello-from-a-new-member-creative-web-tools-and-midi Thu, 22 Oct 2026 04:31:29 +0000 Hello everyone! I just joined the MIDI Association as an individual member. I am a web developer who builds small creative tools for the browser, most recently a Shakespearean English translator web app.

I have always been fascinated by how MIDI connects the digital and physical worlds, and I am here to learn more about MIDI 2.0 and explore ideas for interactive, browser-based music projects. Looking forward to being part of this community!

]]> Shakespearean Translator https://midi.org/community/the-midi-association/hello-from-a-new-member-creative-web-tools-and-midi Herald: a site for sending CC/PC messages https://midi.org/community/midi-software/herald-a-site-for-sending-cc-pc-messages Fri, 16 Oct 2026 19:39:05 +0000 Hi there! My name is James and I'm software engineer. I'd like to share <a href=" removed link " target="_blank" rel="noopener">my browser app called Herald, which can send CC/PC messages to a connected MIDI device. This was primarily designed and built with guitar pedals in mind, but I'm sure it can handle other use cases too!

This has been floating around for a while but I'm sharing it now. Free to use, and source code can be found via the documentation. This is built using the Web MIDI API. Happy to receive any and all feedback/critique - cheers :)

]]> unifolia https://midi.org/community/midi-software/herald-a-site-for-sending-cc-pc-messages TECHNICAL MEMORANDUM TO MIDI ASSOCIATION MEMBER COMPANIES AND DEVELOPERS: UNLOCKING THE 32-BIT PRECISION OF MIDI 2.0 VIA THE CORRECTION OF SYNTH SUMNING POWER ANOMALIES AND THE ADOPTION OF LIBERATED OCTAVE SCALING https://midi.org/community/midi-specifications/technical-memorandum-to-midi-association-member-companies-and-developers-unlocking-the-32-bit-precision-of-midi-2-0-via-the-correction-of-synth-sumning-power-anomalies-and-the-adoption-of-liberated-o Thu, 15 Oct 2026 12:59:25 +0000 To All Corporate Members, Software Architects, and Engineering Leads,

Following recent communication with the MIDI Association Technical Standards Board regarding idea contribution policies, I need to draw attention and opinions on two foundational digital signal processing (DSP) and psychoacoustic anomalies directly to individual member companies and developers in the public domain.

I hope companies with engineering access to the active MIDI 2.0 Working Groups can help implement these enhancements. This data addresses two structural bottlenecks that, (1.) currently degrade digital synthesis and, (2.) outlines the cross-disciplinary scientific proof requiring an expansion of the protocol's pitch architecture.

(1.) The Multi-Channel Sample Summing Power Error
The internal mixing buses and software voice accumulators of modern synthesizers and samplers default to legacy linear instantaneous amplitude summation (V_out = V1 + V2 + ... + Vn). Assuming a constant digital reference load, doubling the instantaneous voltage equivalent of phase-aligned harmonics scales the output power by an un-physical factor of 4 (P = V^2 / R), forcing an unnatural +6 dB surge across shared frequencies.

In physical acoustics, independent, non-coherent instruments add their powers linearly in open air (P_out = P1 + P2 + ... + Pn), yielding a power factor of 2 (+3 dB). Standard digital summing violates this conservation of energy law, forcing an aggressive, un-controlled "fortissimo" volume bloat across polyphonic passages. To achieve real-world physical compliance and restore natural dynamic balance, your mix accumulators should implement a Power-Conservative RMS Summing Mode at the core voice-summation gate:

V_mixed = SQRT( X1^2 + X2^2 + ... + Xn^2 )

Processing polyphonic channels through this root-sum-of-squares vector eliminates the un-physical power explosion, allowing stacked instruments to preserve their individual timbral integrity, spatial boundaries, and character naturally without requiring aggressive post-mix EQ carving or master gain damping.


(2.) The Biophysical and Empirical Mandate for Stretched Octave Architecture
While MIDI 2.0 provides an exceptional 32-bit data infrastructure to manipulate pitch via Per-Note Pitch Bend Change messages, implementation software remains tethered to a rigid, un-stretched 2:1 (1200-cent) octave envelope.

The restriction of the octave to a strict 2:1 ratio is an industrial artifact that ignores human neurophysiology. Seven decades of independent, peer-reviewed psychoacoustic and neurological literature consistently demonstrate that human peripheral hearing does not track a flat 2:1 integer grid:

* Melodic Octave Enlargement: Ward (1954) established that human listeners, when matching consecutive pure tones, systematically adjust the upper frequency (fH) higher than twice the lower fundamental (2fL), proving a cross-cultural biological preference for melodic "octave stretching."
* Constant Stimuli Verification: Cuddy, L.L. and Dobbins, P.A. (1988), in "Octave Discrimination: Temporal and Contextual Effects" (Canadian Acoustics, 16, 3-13), confirmed that the subjective musical octave is stretched approximately 20 cents sharper than the physical 1200-cent boundary.
* Mistuning Asymmetry: Demany et al. (1991, 2021) proved that human sensitivity to octave mistuning is highly asymmetric; the auditory system exhibits a significantly wider tolerance for positive (stretched) mistuning than negative (compressed) alterations.
* Brainstem Circuit Modeling: Alain de Cheveigné (2023), in "Why is the perceptual octave stretched?", isolates this asymmetry straight to the neural cancellation and coincidence-sensitive circuits of the auditory brainstem, proving the stretch is hardwired into human sensory biology.
* Orchestral Realization: Institutional research out of the University of Helsinki (Jaatinen, Pätynen, and Alho, 2019/2023) tracks this exact "octave enlargement phenomenon" across real orchestral instruments, showing that stretched tuning layouts optimize acoustic clarity and expressiveness.

My own published research builds upon this foundation, isolating the hard memory encoded within biological ROM of two distinct, unequal diatonic semitones: Wit's 1.055 resonance measurement (135/128, approx. 92.18 cents) and Burns’ 1.066 emission tracking cluster (16/15, approx. 111.73 cents). These coordinates sum to the 9/8 whole tone, expanding the scale architecture to a definitive biological stretched octave coordinate: (9/8)^6 = 1223.46 cents. Compounding these precise offset frequencies allows upper partials to cross at varying geometric angles—mimicking the natural phase distribution of a live concert hall and completely eliminating digital phase-locking.

3. Structural Proposal: Open-Ended Per-Note or Per-Octave Pitch Coefficients
To exploit the true capacity of MIDI 2.0, the implementation standards must look past the 2:1 container. I propose that Member Companies advocate for a standardized Per-Note Tuning Profile facility (or Per-Octave Profile, stretched octaves allowed) inside the MIDI-CI (Capability Inquiry) framework.

Rather than enforcing rigid 1200-cent templates, software instruments should expose an open-ended architecture where every individual note index, or a repeating 12-note octave cell, can be assigned its own custom pitch-stretch coefficient. This architecture would allow creators to program any desired macro-octave magnitude—whether aligning with the 1223.46-cent biological model or other historical/cultural tuning profiles—natively on a single shared channel. Exposing this open facility provides developers with an automated environment to realize authentic, context-dependent vocal and orchestral inflections that current samplers flatten.

I have processed open-source MIDI data grids through a specialized Tuning Parser Application running this stretched configuration across reference-grade sound libraries. Complete 16-file audio verification matrices isolating these acoustic behaviors across selected musical examples—including Mussorgsky's "Gnomus," Wagner's "Flying Dutchman" Overture, and Tchaikovsky's Piano and Violin Concertos, among others—are hosted on my open-access repository for public evaluation.

Precise microtonal tuning on my provided demonstrations is made fully operational within the current legacy MIDI environment by programmatically re-assigning an independent, dedicated MIDI channel for every single note. A maximum polyphony of 60 simultaneous notes is achieved across 4 concurrent MIDI software instances utilizing CoolSoft VirtualMIDISynth. Twelve alternating semitones of said sizes (16/15 and 135/128) arrive at the definitive 1223.46-cent octave envelope, resulting in emotionally rich musical renderings. Detailed mathematical analysis explains how this structural arrangement natively initiates the sought-after vertical "ringing" effect found in elite a cappella vocal quartets.

The complete biophysical equations, neuro-mechanistic deductions, and data sets backing this framework are available via my open-access monograph:
Liu, C.-F. (2026) The Resonance of Emotion: A Mechanistic Theory of Musical Intonation and Affect. Open Journal of Acoustics, 14(2), 21-81.
Direct Publisher Portal:
removed link
Audio Demos open site:
removed link

]]> Linus https://midi.org/community/midi-specifications/technical-memorandum-to-midi-association-member-companies-and-developers-unlocking-the-32-bit-precision-of-midi-2-0-via-the-correction-of-synth-sumning-power-anomalies-and-the-adoption-of-liberated-o Harmonic_mpe https://midi.org/community/creating-with-midi/harmonic_mpe 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
_
_
_

]]> Thethirdapple https://midi.org/community/creating-with-midi/harmonic_mpe I've got a MIDI DAW - how do you control volume on VSTs that don't accept CC numbers? https://midi.org/community/creating-with-midi/ive-got-a-midi-daw-how-do-you-control-volume-on-vsts-that-dont-accept-cc-numbers 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.

]]> Christopher https://midi.org/community/creating-with-midi/ive-got-a-midi-daw-how-do-you-control-volume-on-vsts-that-dont-accept-cc-numbers • Typo in AMEI SysEx ID List: Duplicate ID for Sonicware (00H 48H 04H) https://midi.org/community/midi-software/typo-in-amei-sysex-id-list-duplicate-id-for-sonicware-00h-48h-04h 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!
 
]]> Roberto Forni https://midi.org/community/midi-software/typo-in-amei-sysex-id-list-duplicate-id-for-sonicware-00h-48h-04h SNES MIDI Remaster Project (New Release September 13 2026) https://midi.org/community/creating-with-midi/snes-midi-remaster-project-new-release-september-13-2026 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

 

]]> Jason https://midi.org/community/creating-with-midi/snes-midi-remaster-project-new-release-september-13-2026 Cannot get reply form MIDI.org https://midi.org/community/midi-specifications/cannot-get-reply-form-midi-org 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 ?

]]> Kende Wong https://midi.org/community/midi-specifications/cannot-get-reply-form-midi-org Adding C2PA to Midi 2.0 and requesting a SysEx ID https://midi.org/community/midi-specifications/adding-c2pa-to-midi-2-0-and-requesting-a-sysex-id 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. 

]]> Matthew Rappard https://midi.org/community/midi-specifications/adding-c2pa-to-midi-2-0-and-requesting-a-sysex-id