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Tag: Arduino

Microsoft MIDI 2.0 Driver and API NAMM 2024

Pete Brown from Microsoft gave a talk at Winter NAMM 2024.

This Microsoft project is the next-generation MIDI API for Windows, including MIDI 1.0, MIDI CI, and MIDI 2.0. It includes enhancements, a new USB class driver, new transports, and a suite of essential tools. The project adds many enhancements and bug fixes to our MIDI 1.0 support, and importantly adds support for the latest revisions to MIDI CI and MIDI 2.0 as approved by The MIDI Association.

The open source USB MIDI 2.0 driver has been generously donated by AMEI, the Association of Musical Electronics Industry, and developed by AmeNote ™️ in partnership with Microsoft. Please see the file headers for any additional copyright notices. A huge thank you to AMEI and its member companies for making this happen!

This is an official Microsoft project. Although Microsoft is an active member of the MIDI Association, and Pete Brown is the chair of the MIDI Association Executive Board, and other contributors are on standards boards, this project is not affiliated with the MIDI Association other than as a consumer of and contributor to the standards. Affiliation with AMEI is disclosed above.

Microsoft New MIDI 2.0 Open Source Driver and API

This project is the next-generation MIDI API for Windows, including MIDI 1.0, MIDI CI, and MIDI 2.0. It includes enhancements, a new USB class driver, new transports, and a suite of essential tools. The project adds many enhancements and bug fixes to our MIDI 1.0 support, and importantly adds support for the latest revisions to MIDI CI and MIDI 2.0 as approved by The MIDI Association.

The open source USB MIDI 2.0 driver has been generously donated by AMEI, the Association of Musical Electronics Industry, and developed by AmeNote ™️ in partnership with Microsoft. Please see the file headers for any additional copyright notices. A huge thank you to AMEI and its member companies for making this happen!

This is an official Microsoft project. Although Microsoft is an active member of the MIDI Association, and Pete Brown is the chair of the MIDI Association Executive Board, and other contributors are on standards boards, this project is not affiliated with the MIDI Association other than as a consumer of and contributor to the standards. Affiliation with AMEI is disclosed above.

A very MIDI Christmas and Happy Holidays 2021 to all

The Santasizer – MIDI Controlled Santa madness

Sam Battle (LOOK MUM NO COMPUTER) released a new MIDI creation just in time for Christmas- “The Santasizer.” It’s a choir of toy Santas that can be played from a MIDI keyboard.  Add some MIDI and modular synths for the sound track and you have everything you need to have a very MIDI Christmas. 

Happy Holidays to all and sincere wishes for a joyous New Year in 2022!




LEET Synth is everything we love-DIY, 3D Printable, Open Source, Modular and MIDI

You can make Johan Von Konow’s new modular synth for about $6!

“I have designed a keyboard, drum pad, chord keyboard, arpeggiator and a step sequencer. One special feature is that the units have RGB LEDs for each key, enabling playback visualization (so each device is both MIDI out and in). This is helpful for music training and editing, but it also looks great. They can be used as input devices to any computer with a DAW (Digital Audio Workstation) like Ableton, Logic, Cubase, Garageband etc. It will run on Windows, Mac or Linux (including Raspberry Pi). They can even be connected to your mobile phone (Android or iOS), providing a tactile super portable music development platform.”

by Johan Von Konow


The devices are easy to build and anyone with a 3D printer and basic soldering skills should be able to replicate them. They are designed to use few components that are easily accessible and affordable (one keyboard cost around $6). 

3D printed core (3DPCB)


Everything is open source and built with the easy to use Arduino framework.

Sourcecode written in the free to use Arduino IDE.



 For more information on how to build this project, check out Johan Von Konow’s website. 

Watermelons, Summer and MIDI from MEZERG

Sometimes you just need to relax and do something cool.

So on Labor day weekend 2020 we shared this video from MEZERG enjoying some cool watermelon, some bright sun and a dip in the pool.

Oh yeah, and MIDI of course! 


Want to try it yourself ? Playtronic makes it possible

Playtron is a new type of music device.

Connect Playtron to fruits and play electronic music using online synthesizers or use it as a MIDI controller with any music software and conductive objects.

by Playtronic


...

Future of human touch – gadgets for musical tactility

Buy Playtron or Touchme, two gadgets that lets you play music on any object. We are an international studio dedicated to creating meaningful interactive audio experiences, in collaboration with brands, marketers, museums, galleries, and artists.

Build a MIDI Controller with Arduino

Hi everyone! In this article I will teach you how to build your own Arduino powered MIDI controller. MIDI stands for Musical Instrument Digital Interface and it is a protocol that allows computers, musical instruments and other hardware to communicate. If you follow each and every step of this tutorial you will be able to make music with an Arduino!

What you are going to learn from this article:

  1. Chose the right components for this project.
  2. Sketch an interface with the right dimensions and build it.
  3. Read the circuit schematics and connect/solder every component to the Arduino.
  4. Chose the right software to connect the MIDI Controller with the DAW you are using.
  5. Mapping the MIDI Controller.

Make sure you watch the video because it´s more illustrative. Subscribe to my Youtube channel so you don´t miss out on new project and to help me grow! 



Step 1: Gather All the Material 

Here is a list of the material and tools we need to complete this project:

1 x Arduino Uno Starter Kit

12 x Arcade Push Buttons

4 x Pot Knob Potenciometer

2 x Sliding Potenciometer

Material to build the case ( I decided to build a wooden case )

I chose the Arduino Starter Kit because this kit provides a lot of useful material for this project such as resistors and all the wiring and connectors. Also, if you are a begginer like me, other material with this kit can help you getting started with electronics

I bought the Arcade Buttons from the link above but if I were to buy again, I would buy THESE BUTTONS instead because I wanted to give a pattern to the interface and it was impossible with single colored buttons so I had to paint them.

Tools you will need:

  • Hobby file
  • Sand paper
  • Screw driver
  • X-acto knife
  • Caliper
  • Ruler
  • Wood bits
  • Spade bit
  • Jumper wires
  • Insulation tape
  • Varnish
  • Paint
  • Wire stripper
  • Wire cutter
  • Saw
  • Power drill
  • Mini Axe Saw
  • Dremel
  • Super glue
  • Soldering Iron
  • Solder
  • Soldering paste

You can check the pictures for more details.



Step 2: Sketching and Building the Interface 

I highly recommend sketching your interface so you are sure of the dimensions you need to build the case.

I projected my interface on a A4 sheet, using a pencil a ruler and a compass. You can see the result in the picture below. By sketching the interface, you get to know the dimensions you need to install all the components. My Push Buttons have a 29.7mm diameter so I am going to drill a 30mm hole to install it. Every hole is spaced by 10mm. Basically each circle center is spaced by 40mm (diameter = 30 + space = 10).

Pot Knobs have a 10mm diameter. It is recommended to drill with increasing diameter bits to make sure not to crack the wood. I also left a 10mm space between buttons and pot knob potentiometers.

And finally, the sliding potentiometers. From the data sheet I know their travelling distance is about 80mm. You should use a Dremel to open the slots to fit in the sliding potentiometers, a.k.a. FADERS. If you don´t have this specific tool you can always do it as I show on the video. Think about a slot with 80mm length and 3mm wide.

This was my COVID-19 quarantines project. I was determined to find a productive way to spend my time and the Arduino that was left in a drawer came to mind. I went to my local store to buy wood to make the enclosure and as I bought it I was told they weren´t cutting wood because of the lack of personnel and due to this whole self-isolating/lockdown. So, I decided to buy the wood and cut it at home with the material I had available.

After removing the splinters with sand paper and preparing the surface I applied varnish paint. Two coating were applied. After I chose a color to paint the enclosure. You can check the pictures to see the result!



Step 3: Circuit Diagram and Connections

I decided to Illustrate the circuit diagram instead of drawing the conventional circuit diagram because it can get very confusing. I used several colors to separate jumper wires so you can understand where each wire belongs.

The chip used on the Arduino contains internal pull-up resistors, so there´s no need to wire resistors for each of the arcade buttons. This greatly simplifies the controller wiring.

All we need to do is choosing one leg of the Arcade Buttons to be the ground, the other will be power, which will be connected to one of the digital inputs on the Arduino board.

Faders have three legs, the first one (counting from the bottom) is the ground (-), second is power (+) and the third one is the signal.

For the Pot knob potentiometers its the following: left leg is ground (-), middle leg is the signal and right leg will be power (+).

The Arduino is going to be the brain of the MIDI Controller. It is going to send MIDI instructions to the software, depending on the button pushing input.

The interior is going to get very messing because of all the wires, I would advice you to structure the soldering process. For example, I decided to solder all the ground wires first, the power and finally I soldered the signal jumper wires.

After soldering and connecting all the pins to the Arduino board, we can close the enclosure. Have a look at the pictures to see the final outcome!


Step 4: Softwares and Programming 

You will need three pieces of software in order to be able to make music with your Arduino.

First, you need to download the Arduino IDE software to start writing your own code and upload sketches to the Arduino board.

Secondly, you need to download the LoopMidi software which is essentially a virtual midi cable.

Finally, to send your midi serial data to the LoopMidi software you will need the Hairless Midi to Serial Bridge software. This software is great to let you know if your wiring is correct because you can see the data flux exchanged between the MIDI Controller and the Hairless Midi Serial.

First step is opening the Arduino software and the code I am attaching to this Instructable (called MIDI_Controller). Credits are given to the Author Michael Balzer. You should not need to modify the code. Just verify the sketch which is kind of like a “debug” and when you get the message that the compilation is complete you can send it to the Arduino board.

Then head to the LoopMidi and chose a new port name. Once you chose one just press the plus button which will create the new port. After this step open the Hairless Midi Serial Bridge and start by selecting the MIDI In port that you have just created. Then select the same MIDI Out port. Finally chose the serial port of your computer (usually COM#). Congratulations, you have just enabled your MIDI Controller to communicate with the computer!


Step 5: Mapping the MIDI Controller 

 If you got this far Congratulations!!! You are just a few steps from start making music with Arduino and playing with your MIDI Controller!

Now you want to head over to your DAW (Digital Audio Workstation) and set the settings to recognize the external input which is your MIDI Controller. The example I am providing is with Ableton Live. You need to go to

Options >> Preferences : The Input Midi Port should be the one you defined earlier and you need turn the track and remote toggle button on.

Now if you press any button on your MIDI interface you should see a light flashing at the top right corner of the DAW which means the software is receiving the midi signals you are sending! To map the MIDI Controller just click on the “MIDI” button and the DAW color should turn purple. Now click over any slot and then press any button, you will see a note/control associated to it which means the button is mapped!

And you are done! Congratulations! Great project and great job! Let me know if you made it!

Tristan Calderbank made a drum robot for acoustic music

Tristan is an acoustic musician and a coder so he combined his skills in this musical performance.  


What worked and what didn’t 

Tristan tried a number of different types of motors for his robot including Car Door Locks, Stepper Motors and Solenoids, but they were all too noisy for the acoustic application he was going for. 

He finally settled on  Hitec HS-311 servos normally used for RC cars/airplanes. 


System Diagram 

The key thing here is that the Arduino controller maps MIDI note values to servo angles, and midi velocity values to the speed at which we move to those angles. For example if I sent a MIDI message (note: C2, velocity: 120), then every 1ms the controller will step the servo towards the C2 angle using some increment size determined by the velocity value.

by Tristan Calderbank


For more details…..

Tristan has more details of his project on his web page and has made the Arduino code available on his Github.  


...

midi-serv/midi-serv.ino at master · tristancalderbank/midi-serv · GitHub

Control servos using MIDI notes + Arduino. Contribute to tristancalderbank/midi-serv development by creating an account on GitHub.

Moritz Simon Geist aka “Sonic Robots” creates Techno Music Robots!

 At SXSW 2019, Moritz Simon Geist performed and presented several workshops on using robots and MIDI.  His new EP is created completely with MIDI controllers controlling robots he created himself. 

A latency control concept for midi driven mechanic robotic instruments

Geist is deeply into MIDI. His blog details a proposal for how to overcome the latency caused by physical movements of robots using MIDI and Cycling 74′ Max.  

The Novel Features of Kara MIDI Controller

After seeing the energetic guitar playing of Muse’s Matt Bellamy, I wanted to give electronic musicians a tool to achieve similar playing style with high visual impact. Easily, without years of training. And make them move.

Reinventing The Wheel 

In early concepts player would start a sound by rotating a wheel. Rotational speed would define the velocity for the sound. The rotation could be stopped by palm muting. The direction would define MIDI channel.

As the note layout of a guitar fretboard is quite complicated for many, the conventional keyboard layout was copied and mirrored.

Scratch That 

After numerous design iterations, coding and testing sessions, breadboard connections, deformed 3D printed parts, PMMA fumes from laser cutter, layers of paint, wasted adhesives, PCB rats net corrections, capacitive touch calibrations and CNC machining hours… Kara prototype was finally ready in May, 2018.

Trigger Happy 

​The notes are selected from fingertip-sized pits. The prototype has a four-octave Pitboard.

With Note Triggers, the selected notes are played by strumming or tapping.

Strummed notes are sustained indefinitely. There’s no need to touch them any longer; player can freely select new notes without affecting the strummed ones. If nothing has been selected from the Pitboard, strum action repeats the previously selected notes.

When tapping, player touches one or more Note Trigger(s) and the selected notes are played via the touched channel(s). If there are strummed notes playing on the channel, tapping stops them.

When Motion Trigger is touched, data from motion sensor is read.

Touching a Note Trigger, selects the associated MIDI channel.

The note layout was designed for easy memorization and for effortless selection of basic chords.

Command and Control 

​The usage of Note Triggers made a dual role for the Pitboard possible. The controller can recognise whether player has selected notes for playing, or values for MIDI Control Change messages.

Hence, double-tapping a pit sends various MIDI CC messages as described in the image below. After the initial double-tap, only one tap is needed.

Octaves 1 and 2 are reserved for sending values from 0 to 127 for MIDI CC number 60.
Octaves 3 and 4 are “switches” for MIDI CC numbers between 70 and 81.

To access a specific channel, MIDI CC messages from Octaves 1 to 3 are sent via the selected MIDI channel.

As DAWs have some global functions such as starting a recording, MIDI CC messages selected from Octave 4 are always sent through channel 5.

Show – Don’t Tell 

​To see the novel features in action, there’s a video below. For some reason, that performance gave me a 60s live concert vibe.   

To see videos with less noise and not so frantic drummer, please visit: http://www.deomo.com  

Here are some points of interest.

In the beginning, percussive sounds are played on MIDI channels 1 and 2 by tapping. Then, Raging Bass from Waldorf Nave on channel 3 is added to the mix.   

At 0:33, Breakbeat loop clip is launched by double-tapping a pit. The double-tap sends a MIDI CC message that has been mapped to the Breakbeat loop slot. Later, at 3:39, the clip is toggled off in similar manner.

Starting at 1:22, Pitch Bend and MIDI CC 76 messages are sent based on data received from motion sensor.

Around 3:00, moving Kara does not affect the sound. Only after touching Motion Trigger at 3:04, the values from motion sensor are used.

At 3:32, strumming a note so that it stays on. There’s no need to reach for that Panic Button, this is by design. 🙂

In the end around 4:21, no, Kara is not altering the sound although it looks like it.


That’s a Wrap 


...

The Home of Kara MIDI Controller

For more information, please visit:

To drop me a line, please use: tomi@deomo.com 

Sonoclast: Plastic Pitch Plus – Using MIDI to Experiment with Microtonality

I created the Plastic Pitch Plus (PPP) to experiment with microtonality.  My primary design goal was to create a physical interface that gives immediate and independent control of pitches in a scale.  One way of doing microtonality involves generating lists of frequencies or ratios. In contrast, I wanted something that would naturally engage my ear and provide an intuitive way to experiment with pitches.

Here are some technical details.  The PPP provides two microtonal scale modes.

1) A twelve-tone scale mode in which the twelve knobs are used to tune up or down each of the twelve notes in a scale.

2) An equal divisions per octave mode in which the keys of a MIDI keyboard are remapped to an integer number of equal divisions per octave between 5 and 53.

The two scale modes are implemented in two ways.

1) Using MIDI pitch bend.  This is somewhat of a MIDI hack intended to support microtonality with any MIDI keyboard.  In short, each key is mapped to a microtonal pitch as specified by the knobs.  The PPP listens for incoming MIDI notes and sends out MIDI pitch bends and notes that correspond to the microtonal pitches.  To support polyphonic playing, the outbound pitch bends and notes are carefully distributed to multiple MIDI channels so that each note can have its own pitch bend value.

2) Using the MIDI Tuning Specification.  This is my first time playing with this relatively new specification.  (It works great!)  The PPP acts as a controller–no MIDI input is required.  When the knobs are turned, corresponding SysEx messages are sent out to retune the synthesizer’s internal tuning table.

See my website for more information and how to buy one.

http://sonoclast.com/products/plastic-pitch-plus/



GRIDI is a large scale physical Midi sequencer

GRIDI is a large scale physical midi sequencer 

 

Gridi is a large scale physical midi sequencer (2.80 X 1.65 Meters) with embedded LEDs. It
was created by music producer Yuval Gerstein with the simple aim, to allow visitors to create
a musical composition in an accessible and intuitive way. GRIDI translates the methodology
of composing electronic music inside a computer software, into an interactive physical
installation. It could easily act as a permanent stand alone installation, as well as part of an
art exhibition or event. GRIDI could also have a role in music education, as a tool for learning
musical concepts in a non threatening, intriguing way.
Visit GRIDI for more info: http://www.gridi.info

Credits: 
Yuvi Gerstein – Creator
Michael Zeron – Electronics & Programming
Ronen Peri – Programming Max/MSP
Nadav Vainer – Industrial design
images by – Andreas Mueller

6



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Create Big Music Mashups on This Enormous MIDI Sequencer Board | Make:

A picture might be worth a thousand words, but for an interactive sound work called GRIDI a picture is worth infinite midi loops!


...

GRIDI midi sequencer created by Yuvi Gerstein

Gridi is a large scale physical midi sequencer for music composition and collaboration.Featured on Make.com, Arduino.org and more.


Tirare – MIDI String Instrument

The Tirare is a custom performance interface. In Italian, Tirare means: (to) throw, (to) to pull. The name refers to the primary performative action employed in order to generate sound. Initially, I was trying to create a form of MIDI concertina. I wanted to pull and push the interface to generate sound, similar to a concertina. I also made the intentional choice to not use a myriad of interface sensors like buttons, switches, sliders, etc. My goal was to create a simple interface that could handle all operations without the need for excessive methods of control.

I decided to use a Gametrak as the primary hardware for this interface (https://en.wikipedia.org/wiki/Gametrak). I have used the Gametrak in previous performances as a controller. This time I set out to assimilate the pieces of the Gametrak into a new interface. I used only one of the joysticks in my final design.

The Gametrak is a video game controller created by In2Games. The Gametrak controller consists of two three-dimensional (3D) joysticks. Each joystick generates X, Y, and Z data (when the string is pulled out of the interface), so each joystick control works like three faders that are interdependent of one another. Each joystick can be manipulated on its X, Y, and Z axes. Each axis outputs an integer. The uniqueness of the Gametrak lies in the three-dimensional joystick. The handle on both 3D faders is connected to a string-pot that pulls out of the box. A string-pot is simply a potentiometer that is turned by pulling a long, spring-wound spool of string. This pulling of the string-pot turns the potentiometer which outputs data. According to In2Games, the mechanisms can determine position, “to an accuracy of 1 millimeter anywhere within a 3 meter cube around the unit, with no processor overhead or time delay.” This level of responsiveness and precision was essential for the controller’s original purpose — to control a virtual golf swing! This level of precision and responsiveness is also well suited for use as a real-time performance interface.


I disconnected the main logic board in the Gametrak and connected one of the joysticks directly to the analog inputs on an Arduino Pro Micro. Since the Arduino’s ADC is 10-bit, the values genrated by the joysticks range from 0-1023. I scaled these values in the Arduino software to a range of 0-127 to conform to MIDI 1.0. Each axis of the joystick outputs two MIDI CC values. I programmed this feature to allow the Tirare to function with MPE software. 

The next step was to reassemble the pieces into a new form. I looked for an old concertina thinking I could insert the Gametrak pieces but this search was unsuccessful. After several attempts to create my own bellow for the Tirare, I realized copying the physical form of a concertina would not work because there would be no way to keep the bellow from resting on the string. I decided to find a new physical form to house the Gametrak pieces. Ultimately, I chose to use two small round pieces of wood (craft store), basic drawer handles (Home Depot), and a small strainer (dollar store). I initially intended this design to be a working prototype and not the final product. However, I have yet to find a better way to embody the joystick. 

I used the flywheel from the unused joystick to reroute the string from the potentiometer. This was necessary because I wanted the joystick as close to the center of the piece of wood as possible. However, the size and shape of the wood and the parts left me few options for assembly. It was important to route the string from the bottom of the joystick becue the IC board on the joystick prevented any other way of routing the string. 

Data is generated when the joystick is moved or the string is pulled. The Arduino scales the incoming data and generates MIDI CC values. The Arduino sends MIDI data over USB to MaxMSP. I use MaxMSP to receive the MIDI data from the Tirare and route that data to Kyma to generate sound. 

The string-pot also generates MIDI CC values during performance. I use MaxMSP to detect the direction the string is moving at any time, and I map that data to different destinations. I basically get two unique data streams from a single movement. In MaxMSP, I set thresholds at various points along the movement of the string in order to generate events that are used to trigger notes (see photo below), CC values, and control messages for Kyma. 

My software is very simple. I use the view on the left (below) to initialize the Tirare and turn on the three axes. I use the view on the right (below) during performance to monitor the values from each axis and to monitor where the string values are in relation to the triggers I set up for controlling notes, expression, and control for Kyma.

The Tirare is only a controller and does not generate sound. The combination of physical interface, software mapping layer, and sound production software make up the entire Data-driven Instrument for live performance.

Next Steps…

The next step for this projects is to allow for MIDI over USB or Bluetooth. I am currently working on a Max patch that will allow the Tirare, when connected, to change the way it transmits MIDI — USB or BLE. I also still have hope that I will dream up a better physical form for the Tirare.

***Video Coming Soon! 

Virtual organ console unit: how to let your MIDI devices play as an organ

Introduction

We have started our project to find a way how to build full-featured organ console out of available MIDI instruments. One of our project goals was to extend the coverage of the “virtual organ” from software also to the hardware. We have turned it into “virtual organ console”.

Virtual pipe organ technology (VPO) has been well established and accepted by the market. It has many tremendous benefits, to name a few:

  • Many sample sets of famous natural pipe instruments are available
  • Acceptable organ setup costs
  • No organ maintenance costs applicable
  • No organ accessibility issue
  • Flexibility of adjustments and configurations
  • Easy hardware expandability


The VPO software generates organ sounds from waveforms. Sampling method processes registers, pipe-by-pipe, and creates a sample for each note. Modelling method simulates air movement in a pipe, so the waveform is a result of the computation. Variation of physical parameters in the algorithm creates different pitch and colour of the sound. Nearly the same approach is used during real organ voicing and intonation.

With our device the user may connect available MIDI keyboard, guitar, sequencer, etc. and use them as a console of the organ. It is important to add: the console is able to control ensembles of different instruments. It applies organ function principle and manages communication between instruments the same way as digital or modern pipe organs do. For example, couples octaves of one instrument together or plays a melody on all devices. The only thing needed is a central connection and control module and we have developed it.

Virtual Organ Console Unit: connections, functions, design

VOCU

Figure 2: VOCU – rear panel

Description

The presented device is a four-manual organ console controller. It supports Great (HW), Choir (CW), Swell (SW) and Pedal (PW) divisions. Push buttons toggle functions, usually available in every pipe or digital organ. They are octave couplers, unison off, tutti, bass, melody, manual couplers, and general cancel. There are, of course, other features demonstrated on the videos later on.

We have designed VOCU to recognize all types of MIDI messages. It processes and routes MIDI data from four inputs. Internal logic elaborates incoming MIDI messages and distributes them to outputs. “Unused” commands are not lost; the unit forwards them to outputs unchanged. VOCU holds information about all playing notes in each organ division. It generates extra commands required, for example, if a new coupler is toggled while a chord is played.

External Connections

The unit has MIDI input/output pairs. Connect your instruments to inputs to control dedicated division. For example, piano controls Great division and other keyboards control Swell and Choir. You may connect divisional outputs to separate sound generators or other MIDI instruments. 

USB Serial Interface

Figure 3: USB interface connection diagram

You may connect the unit to your PC using the USB/Virtual-COM port. The bus speed is set to 115200 baud, which is four times higher than the native MIDI interface speed. It is a preferred connection if a virtual organ simulator is used. USB output transmits commands coming from all instruments and pushbuttons. The composite MIDI data provides all required information to organ simulator. 

Composite MIDI output

Figure 4: Composite MIDI output connection diagram

The module has a composite MIDI output, which merges all divisional outputs together. This output connects the module to a single sound generator, sequencer or voice bank. The information on this output is exhaustive. Each note event is transferred while pushbuttons commands are not. They may not be recognized by the external hardware, so the best solution is to send the really played key events.

Divisional MIDI outputs

Figure 5: Divisional MIDI outputs connection diagram

The divisional MIDI outputs are used with dedicated MIDI sound generators – each organ’s division has a standalone sound generator. They send data from corresponding inputs and coupled events. This is required when each division should get a dedicated sound production and amplification system. For example, when the virtual console is a part of the geographically spreaded stage equipment or stays in a big concert hall or a church. 

Implementation

The VOCU is a completely custom design. The core processing component is based on a field programmable gate array chip. We avoided the usage of microcontrollers or platform modules to get clock-cycle-accurate control over timing and physical resources of the chip. We had to cut latency and synchronize data transmission from different MIDI queues. Standard devices usually do not have enough number of UARTs for MIDI interfaces or free pins to control push buttons and LEDs.

We have developed and manufactured two prototypes. The first one has a limited number of controls but all interfaces to keep PCB size as small as possible. This device was used to check the idea and prove the ability of the FPGA chip to fit the complete design.

Functional Prototype

Figure 6: Prototype #1 – front view

Figure 7: Prototype #1 – rear view

Figure 8: Prototype #1 – Internals

Pre-production Prototype

Figure 9: Prototype #2 – front panel with illuminated push buttons

Figure 10: Prototype #2 – connections and processing PCBs

Figure 11: Prototype #2 – central processing board

Summary

Virtual organ console unit extends a set of MIDI instruments. It brings pipe organ functions to them maintaining their natural behaviour. The VOCU adds organ principle to home, studio and stage equipment.

It is not easy to achieve an organ usually. It is a real challenge to find an instrument to practice. The VOCU solves this problem as well. You may use it with any digital music instruments.

The unit helps to play the organ without heavy investments. Professionals, beginners and even children may use it easily and extend their performance. The module also increases creativity. It can change the sound of a small ensemble with the genuine sound of a big pipe organ without bulky equipment.

The module is compact and takes a little space. It is flexible in operation with organ simulation software. We tested it to work with Hauptwerk and GrandOrgue packages.

The unit also provides many connection possibilities. Parallel and composite MIDI outputs and USB interface cover major user requirements.

Further unit descriptions and demonstration videos are available on YouTube.

We are open to questions, comments and requests. Feel free to visit our website and follow us on Twitter OandV_Systems to get recent product updates and announcements. We look forward to your comments and proposals. If you are interested in obtaining products or discuss other cooperation possibilities please contact us using email address info@oandv-systems.com.

Curve – by Nathan M. Asman

This custom-built instrument is called Curve, and is named after the shape and contour of the interface itself. I wanted to create something that had a myriad of different sensors and ways of controlling different musical parameters, while also maintaining the functionality and traditional idioms of other controllers, interfaces, and instruments that are around today. It’s kind of my take on a grid/keyboard/controller hybrid, or something along those lines, but that has far more options and possibilities for musical control and expression. I wanted it to be ergonomic as well, hence the final shape and layout.

I designed and fabricated Curve over the course of about 6 months, from the initial 3D model (done in Blender, https://www.blender.org) to the final version that you see now. The physical interface consists of one large laser-cut piece of clear 1/4″ acrylic to which I have adhered 20 FSR’s (force sensitive resistors, aka pressure sensors, https://www.sparkfun.com/products/9376), two touch-potentiometers (faders, https://www.sparkfun.com/products/8679), a keypad (https://www.adafruit.com/product/419), and a 9-degrees of freedom motion sensor (https://www.sparkfun.com/products/13944). I have also affixed 60 RGB LED lights (DotStars, https://www.adafruit.com/product/2240) that are individually addressable and correspond to various inputs from the sensors for an added layer of visual feedback. The black cubes that cover each of the FSR’s are made out of a semi-dense foam which when attached to its corresponding FSR allow me to have a far greater range of pressure and interaction than I otherwise would have had with just the FSR on its own. Each of the sensors, lights, and keypad are connected to an Arduino Mega microcontroller (https://www.arduino.cc/en/Guide/Introduction, https://store.arduino.cc/usa/arduino-mega-2560-rev3) that allowed me to completely customize the programming and functionality of each individual sensor and light.

Software-wise, I programmed all of the electronics using the Arduino IDE, which then connects via USB serial to Max/MSP where all of my data-mapping and data-processing happens. From Max/MSP, the data is then sent as MIDI data to Ableton Live, where all of my sound design and musical composition was done. I relied heavily on Max for Live instruments and devices for the majority of my sound design, leaning heavily towards a synth-based musical soundscape for my first piece with Curve.

It is important to note that while the hardware controller itself does not generate sound, Curve is nonetheless a comprehensive instrument in its own right when coupled with the customized software that I have designed in Arduino, Max/MSP, and Ableton Live. The individual components only form the complete instrument when they are all working together, similar to the way that a modular synthesizer operates. Curve (as an instrument) consists of the hardware, data-mapping, and sound design layers all functioning together as a complete package.

My Étude No.1, for Curve is the first of many pieces I hope to write for Curve. Being the first ever composition using this new interface, it imbued a unique set of qualities to the compositional process; accordingly, I am calling this piece an étude. To study and explore the control, performative possibilities, and affordances that this new interface offered me, I needed to study the options that Curve provided. However, I did not simply want to compose a study using the interface, but a substantial musical piece in its own right. To that end, the piece is broken up into four different sections, each highlighting a specific and unique performative technique that I developed for the instrument. Each section is denoted by a different method of physical interaction with the instrument, as well as a unique lighting mode designed to correspond and emphasize each performative technique.

For my biography and more of my works, please visit http://nathanasman.com


    Building & Designing Curve


Mixtela- A MIDI Stylophone Business Card, Music Box, and 5 Pin DIN Synth

MIDI Stylophone Business Card

Last Sunday we were looking at bookmarks we had made while searching the Internet for blog topics.  We had booked marked Mixtela.com a few months ago because of all the cool MIDI DIY projects.  But then we found WaitingForFriday’s website and decided to do an article on the MIDI Stylophone first. Imagine our surprise we we dicovered this on the Mixtela website this week. 

It’s not just a business card, it’s a fully functional Stylophone MIDI controller!

Printed Circuit Boards as a business card are a great gimmick. I’d seen ones with USB ports etched into them, which enumerate as a keyboard and then type a person’s name or load up their website. It’s just about possible to build them cheap enough to hand out as a business card, at least if you’re picky about who you give them to.

A couple of years ago I took a stab at making one for myself, but I didn’t want it to be pointless. I wanted it to do something useful! Or at least entertain someone for longer than a few seconds. I can’t remember quite how I got the idea of making a MIDI-stylophone, but the idea was perfect. A working midi controller, that’s unique enough in its playing characteristic to potentially give some value, while at the same time costing no more than the card would have done otherwise, since the keyboard is just a plated area on the PCB, as is true on the original stylophone.

by Tim Alex Jacobs

Tim even referenced the WaitingForFriday’s website is his complete description of the process of making his stylophone business card.  Tim has some of the most amazing MIDI DIY projects we’ve ever seen and also does incredibly detailed posts on exactly how it does his intricate engineering projects and usually includes assets. 


MIDI Music Box


In March, Tim created a MIDI Music Box.  You can drive the music boxes’s tines with a paper tape with holes punched in it.   This concept is identical to the rolls from Player Pianos described in this article. The MIDI Music Box is really an amazing piece of engineering and you can read all the details on the Mixtela website


World’s Second Smallest MIDI Synth

A number of people have claimed to make the world’s smallest synthesizer. It’s a pretty silly ambition because at this level the size makes it extremely impractical, and fiddly to pull out of the socket. Nevertheless, I have created something which is just about as small as a midi synth could ever be. It’s physically smaller than an ordinary midi plug!

by Tim Alex Jacobs

Fro more details on these projects and others ( Midi Monotron, Touch Screen as a MIDI Ribbon Controller, Mini Pitchbend Joystick and more) check out the Mixtela.com website.  

How to make a MIDI compatible Stylophone

The Original Dubreq Stylophone

The Dubreq Stylophone was invented in 1968 by Brian Jarvis.  It was originally designed as a toy, but the fact that it was portable and easy to play and it’s distinctive synth sound soon made it popular with some of the most iconic musicians of the late 60’s. David Bowie used it on the track ‘Space Oddity’ and it made it’s way on to recordings by the Beatles, Kraftwerk, Queen, Vangelis, The Osmonds and more.

The thing that really sets the  Stylophone design apart is plated circuit board touch-pads that you play with a stylus, thus the name Stylophone.

David Bowie with his Dubreq Stylophone

In 2003, Dubreq Ltd, a British company was formed to keep the legacy of the Stylophone alive and you can buy Stylophones at almost any large music store. 

They have even come out with BeatBox version. This demo by British comedian Brett Domino got 1.8 million hits on Youtube. 


The Stylophone Studio 5 with MIDI

But at MIDI.org, we are only interested in MIDI instruments, so we were happy to find The Stylophone Studio 5 on the website WaitingForFriday. 

The Stylophone Studio 5 is a project to recreate the original 1968 Dubreq Stylophone which sounds and reacts just like the original (and even contains a replica of the original circuitry) however it also fully supports both MIDI in and MIDI out over USB and can be controlled by studio software such as Cubase.

by Simon Inns

Everything you need to make your own MIDI controlled Stylophone is available on WaitingForFriday’s website including a zip file containing  the AVR Studio 5 firmware project and the Eagle CAD board and schematic files for the project. 

Heavy Metal MIDI by Author and Punisher

Tristan Shone A.K.A. Author and Punisher is a musician and mechanical engineer who makes heavy metal MIDI controllers, really heavy metal !

He has created a range of unique MIDI controllers he calls “dub machines” using his electronic and mechanical engineering expertise.  Tristan studied for a Master of Fine Arts at the University of San Diego and originally had a career as a mechanical engineer.  He programs his mechanical devices using Arduino. 

Here is his Big Knob controller and it’s really, really big!

Big Knob expression port knob controller.

This simple device is a heavy-duty CNC machined black anodized knob for use with your expression port on any midi/usb keyboard controller. Simply plug into your expression port and immediately have a 0-128 mappable control knob. Currently there are 10 spring loaded detente positions and a hard stop for quantized physical snapping, however by removing the 1″ chromed steel ball bearing and spring, you can create a smooth position knob controller.

2


by Author and Punisher

Another unique MIDI device is the Rack and Pinion 

This device is a 2 level, 6 key sound controller with continuous pitch control for each key. Each key is velocity sensitive and contains its own linear encoder for extremely high resolution control. The keys are made from ebony and the slide from delrin providing very smooth control against the teflon coated linear rails. The brain of the Rack & Pinion is the Arduino Duemilanove. Currently the device is programmed to output USB/MIDI to Ableton Live, but can easily be configured to output OSC commands to communicate with Pd, MAX, Reaktor, etc.

by Author and Punisher

But maybe our favorite is Rails.  And yes , it’s a MIDI controller! 

Overall, the Rails device is intended to be the “sequencer” or metronome of the performance but lacking a machine-like precision or click. Instead the user can continuously move between the limits in his/her own rhythmic or arrhythmic manner changing sounds at each point and fluctuating in a more human and emotional manner. Performances with the Dub/Drone Machines are intended to follow the players mood in a somewhat unintentional improvisation in a way that a midi timed sequence cannot. 2 ports on the back (3 total with the USB) provide sustain and channel switching but are completely reprogrammable to allow them to be any type of switch or expression control.The brain of the Rails is the Arduino Duemilanove. Currently the device is programmed to output USB/MIDI to Ableton Live, but can easily be configured to output OSC commands to communicate with Pd, MAX, Reaktor, etc.

by Author and Punisher

Check out this video by Noisey that details Tristan Shone’s journey to explore the heavier side of MIDI controllers,

Author and Punisher is performing at MoogFest in May.   


...

Author & Punisher Tickets, Tour Dates 2018 & Concerts – Songkick

Buy tickets for an upcoming Author & Punisher concert near you. List of all Author & Punisher tickets and tour dates for 2018.

The Story of SMOMID

Nick Demopoulos started out as a jazz musician and played with legends like Chico Hamilton.  But then he began exploring the possibilities of using MIDI and that led him to a new path as a DIY maker and creator of some fascinating and unique MIDI devices. 

HIs website (Smomid.com)  is named after the first instrument he ever built. Smomid is an acronym for String Modeling Midi Device.

Nick also created software that works with his instruments and allows him to approach music in a totally unique way, from the samples and sounds used, to the way beats are played, to the way loops are recorded and manipulated.

by Snomid.com

Here is an example of the music Nick makes with his DIY instruments.  All of the sounds are made by instruments of his own design.  He has released several recordings with Exegesis, a group that mixes jazz and electronic music. In 2008, the band toured Bahrain, Yemen, Oman, U.A.E and Kuwait on behalf of the State Department.  You can hear the influence of that trip on this piece, Smoment in Time. 

Cabot- MIDI Cahon

At SXSW, we got a chance to check out the Cabor MIDI cahon.  Cabot is a project of UTSUWA, Inc., a Kyoto, Japan based tech start-up. 

The Cabot percussion robot was conceived by Hideaki Iio, Director of the Cabot development team and guitar player/singer.

“I wanted to create a product that would rev up my solo performance.”

 


by Hideaki Iio

The Cabot team went through a long process of prototyping and improving the design. At SXSW, they showed a new prototype that looked much closer to a production version. You can subscribe on their website for updates on a launch date. 

Cabot’s target market is solo perfomers who want to add cahon accompaniment to their live solo performances. A foot pedal allows you to select different MIDI patterns in realtime. 

The Cabot has a 4 pin DIN plug on its body which is not a standard MIDI connector, but it sends and receives standard MIDI messages.  

There are two ways to program patterns for the Cabot. There is an iOS app that is under development and you can also connect the Cabot to your DAW. 


Here are some videos of the Cabot MIDI Cahon in action 




THE TOP MIDI DIY RESOURCES ON THE WEB

We collected up links to the top MIDI DIY resources from around the web. Links are embedded in the logos, the pictures and the text in blue. Clicking on a link takes you to the site’s search engine with the keyword MIDI so the latest MIDI DIY projects will always appear.

Instructables: Hundreds of DIY MIDI Projects

Learn how to make anything with Instructables. Easy to follow step-by-step instructions, online classes, and a vibrant maker community.


...

A curated list of MIDI DIY projects on Instructables 

​We have gone through the many MIDI DIY projects in Instructables and picked our some of our favorites.


  • Makezine MIDI Projects-Over 700 MIDI projects
  • From electronics to crafts to robots with a side of drones, the Make: edit team picks the latest products, projects and tools to make you a better maker.

Sparkfun 

SparkFun is an online retail store that sells the bits and pieces to make your electronics projects possible.


MIDIBox-Non-commercial DIY Projects for MIDI Hardware Geeks


DJ tech tools helped start the whole MIDI DIY revolution.  
Read more about it in this article.

Hackster-Hackster is a community dedicated to learning hardware.



...

MIDI Processing, Programming, and Do It Yourself (DIY) Components –

We created a list of companies that sell MIDI DIY components and programming tools. Check it out in the article link below. 

The People Who Created the DIY MIDI Revolution

Do It Yourself MIDI

​With the boom in open-source electronics platform like Arduino and the growth of 3-D printers, it’s become easier and easier to create your own MIDI controller. We wanted to introduce you to some of the people and companies who helped create the DIY MIDI revolution.


Moldover- The Godfather of Controllerism

Moldover is the acknowledged godfather of controllerism.  He has been a long time supporter of The MIDI Association and we featured him as a MIDI artist in 2016. He was one of the first people to develop his own DIY MIDI controller. 


...

Moldover-The Godfather of Controllerism –

Controllerism In 2005, Matt Moldover and Dj Shakey (Julie Covello) coined the term Controllerism to describe Moldover’s performance style.


Ean Golden- DJ Tech Tools

Ean Golden  (who now runs djtechtools) wrote an article  about Moldover “Music Maneuvers: Discover the Digital Turntablism Concept, Controllerism, Compliments of Moldover” in the October 2007 issue of Remix Magazine.

Soon after that he put out a Youtube video on how to make your own MIDI controller and started djtechtools

DJ Tech Tools continues to update their YouTube channel with videos on how to make your own MIDI controller.



Shawn Wasabi

Shawn Wasabi has 574,651 subscribers and 54,314,415 views on his Youtube channel. He started combining multiple 16 button MIDI Fighters together and combining them with game controllers.  Eventually he convinced DJ TechTools to make him a 64 button version of the MIDI Fighter with Sanwa arcade buttons. 




Evan Kale

Evan Kale is a young  creator who has 2,736,359 views on YouTube.  Here is how he describes himself on his Youtube channel. 

I break stuff. All things Arduino, guitar, ukulele, MIDI, mods, music, explosions, and hacks.

by Evan Kale



...

Evan Kale – YouTube

I break stuff. All things Arduino, guitar, ukulele, MIDI, mods, music, explosions, and hacks.
@EvanKale91


Notes and Volts has some really nice videos on Arduino, MIDI and building your own synths. 



Livid Instruments

Livid Instruments has been at the forefront of MIDI controller experimentation since 2004.  They have a number of manufactured products.

minim- mobile MIDI controller

Guitar Wing MIDI controller

Ds1 MIDI controller

But Livid also makes some great components for DIY projects like the Brain V2. 

Easily create your own MIDI controller with Brain v2. Brain V2 contains the Brain with a connected Bus Board for simple connectivity. Connect up to 128 buttons, 192 LEDs, and 64 analog controls. Components are easily connected with ribbons cables and we’ve created the Omni Board to allow dozens of layouts with a single circuit board.
Brain v2 supports faders, rotary potentiometers, arcade buttons, rubber buttons, LEDs, RGB LEDs, LED rings, encoders, velocity sensitive pads, accelerometers, and more.

by Livid



Links to MIDI.org resources for DIY MIDI projects so you can DO IT YOURSELF!



...

Arduino MIDI Output Basics –

IntroductionThe Arduino UNO is a popular open-source microcontroller that, in many respects, is a perfect complement to the extensible nature of the Music Instrument Digital Interface (MIDI) protocol. Microcontroller platforms such as Arduino, Teensy



...

A curated list of MIDI DIY projects on Instructables –

​ Instructables is a site which hosts DIY projects and is a platform for people to share what they make through words, photos, video and files. We have gone through the many MIDI DIY projects  and picked our some of



...

MIDI Processing, Programming, and Do It Yourself (DIY) Components –

Companies and products listed here do not imply any recommendation or endorsement by the MIDI Manufacturers Association. MIDI Processing, Programming, and Do It Yourself (DIY) Components These are just examples of such products — we make n


MIDI and Robots Part 2- Super Booth 2017

There has recently been a surge in robotic MIDI devices as Arduinos and low cost CPUs make it easier and easier to develop MIDI-controlled robotic components. 

At Super Booth 2017, there were a number of significant MIDI robot introductions. 


Felix Thorn

From a very early age Felix was inspired by both visual and sound arts. He studied both drawing and painting and piano in his formative years, but he never seemed to be able to settle on more traditional artistic paths and was always looking to combine sonic and visual arts together. Felix creates new experiences that combine real objects, music and design. 

Felix’s Machines are not intended to replace human-made music, but like Conlon Nancarrow, Felix focuses on how machines can exceed human’s ability to perform because of their mechanical nature. 

“Although my medium focuses on the development of acoustic sounds, I am continually inspired by electronic music – the countless abstractions act as blueprints for the construction of its acoustic counterparts. I aim to build a space where artificial and dream-like environments can become a reality.

by Felix Thorn

Bastl Instruments

Okay, technically this isn’t MIDI, it’s control voltages, but we just didn’t think it was right to have a piece on robotics and not include Bastl.  In any case, their new Thyme effect is MIDI controllable and it’s a sequenceable robot-operated digital tape machine.

DadaMachines

Inspired in part by Felix Thorn, Johannes Lohbihler created a Kickstarter to develop DADA Machines. The dadamachines automat toolkit lets anyone create robotic orchestras with everyday objects. Automat is open source, hackable and Arduino compatible. 

The center of each toolkit is the automat controller. Plug in your favorite software or hardware MIDI input directly into the controller. For output, automat controller has 12 universal DC outputs to connect motors, solenoids, LEDs – whatever you want to start playing. The automat is plug & play – offering unlimited possibilities. Simply connect your favorite MIDI hardware device, music App or DAW and trigger the actuators of your choice to create a composition.

by Dada Machines

Prototypes of DADA Machines were used in this German production of 20,000 Leagues Under the Sea


...

dadamachines: music machines for everyone! by Johannes Lohbihler —Kickstarter

Johannes Lohbihler is raising funds for dadamachines: music machines for everyone! on Kickstarter! The dadamachines automat toolkit enables you to tap, move and bang to make sound with the world around you. Hackable & open-source!

Polyend Perc Pro

Polyend was only started in 2015, but they have been working hard on their ideas to expand musicians’ creativity

PERC PRO, a MIDI-controlled device that mechanically plays any percussive surface. It make a drumming machine out of anything.  Aphex Twin, Daedelus, and Dan Deacon have all utilized the Perc Pro in their work. Any percussion instrument you strike with a stick or your bare hands works with PERC PRO. Open yourself up to new possibilities. Congas, xylophone, sauce pan?


Each PERC PRO kit includes:
– 3 beaters (you can choose silicon, aluminum or wooded striker for each beater)
– controller (capable of playing up to 3 beaters)
– 3 clamps
– USB cable
– Power cable

PERC Controller IN/OUT:
•1x MIDI DIN in
•1x MIDI USB in
•3x Drum Gate in
•3x CV Velocity in
•1x MIDI DIN thru
•1x MIDI DIN out
•3x PERC Ball out

At Super Booth 2017, Polyend introduced tempos so fast for the Perc Pro that the drum rolls became audible pitches. 

Yamaha reface robot

Yamaha also showed a robot at Super Booth 2017.  Designed in collaboration with Anno Labs, a design company from Fukuoka, Japan.  Here is a little bit about the reface robot and annon labs and then a couple of Youtube videos about the reface robot project.

“#refacerobot”. Custom-made robot for reface CS dynamically controlling all sound parameters. From it’s fierce and full-blast performance you will experience unheard sounds freed from conventional two-handed tweaking.

by Yamaha

“#annolab”. anno lab is an emerging creative group focused on media art and interactive design. Most of their works aim at inspiring curiosity and fun for people in their daily life.

by anno lab

Les Boîtes Mécaniques (Mechanical Boxes) from Kogumi

In our history of MIDI, we covered the very earliest mechanical music machines. 


...

MIDI History:Chapter 1- 850 AD to 1850 AD –

To really understand the origins of MIDI, you need to go all the way back to before there were digitally controlled synthesizers and computers, In fact you need to go back before there was even electricity to the very first mechanical music machines

Now Kogumi‘s Anatole Buttin and Yan Godat have developed new mechanical boxes that combine Arduinos, marbles, mechanical devices and MIDI together to appeal to kids in educational electronic music workshops

There’s even a mode that allows users to control it all via MIDI notes on a computer.

Arduino Team

Arduino MIDI Output Basics

Introduction

The Arduino UNO is a popular open-source microcontroller that, in many respects, is a perfect complement to the extensible nature of the Music Instrument Digital Interface (MIDI) protocol. Microcontroller platforms such as Arduino, Teensy, and others, make it relatively easy to develop custom MIDI controllers that respond to light, pressure, sound, and many other forms of input. In this way, microcontrollers provide a unique way to expand the possibilities of MIDI into the physical realm. MIDI musicians can now envision and create an astounding array of custom hardware devices from custom controllers to algorithmic composers and beyond.

Note that this article focuses on the basics of MIDI output on an Arduino UNO. Future articles will cover MIDI input on the Arduino and Teensy platforms as well as the use of potentiometers, switches, and other components for real-time MIDI control.

Transmitter Circuit

It is necessary to utilize a MIDI interface in order to send MIDI messages from an Arduino to a synthesizer, Digital Audio Workstation, or other MIDI device. Fortunately, it is easy (and inexpensive) to create a simple circuit that can handle MIDI output. The circuit can be mocked up on a solderless breadboard for experimentation or a permanent version can be soldered to solderboard. Users who are new to electronics might want to consider a commercial version such as the SparkFun MIDI Shield, offered at a nominal cost by SparkFun Electronics and other vendors.

As is evident in Figure 1, a circuit that was documented in David Miles Huber’s The MIDI Manual, the circuit for MIDI output is relatively simple and consists of:

  • a connection from the 5V pin of an Arduino through a 220-ohm resistor to pin 4 of a standard MIDI DIN jack,
  • a connection from the GND pin of an Arduino to pin 2 of a MIDI DIN jack,
  • a connection from the TX pin of an Arduino through a 220-ohm resister and 7404 Hex inverter to pin 5 of a MIDI DIN jack. 

Figure 2 demonstrates one way that the transmitter circuit could be configured on a solderless breadboard. Note that the top rail of the solderless breadboard is connected to the 5V pin on the Arduino and the bottom rail is connected to the Arduino GND pin.

MIDI Output Sketch: “Old School” Approach

While it is generally more convenient to use a MIDI library to program MIDI sketches on an Arduino, we will start with a low-level “pure” sketch in order to demonstrate how MIDI bytes are handled. If you have ever programmed MIDI applications for Windows, OS X, or Linux you are in for a pleasant surprise because MIDI output can be achieved with just a few lines of code on an Arduino. If you haven’t done so already, be sure to download the Arduino Software (Integrated Development Environment) from https://www.arduino.cc/en/Main/Software. Next, run the Arduino software and select File…New and enter the code that is described in the following paragraphs.

Boilerplate Code

While the basics of C and C++ programming are beyond the scope of this article (and covered in detail in my own Arduino for Musicians as well as numerous other books and online resources), rest assured that the basics of coding a simple MIDI sketch are not unduly difficult. Start by typing the functions shown in Listing 1 which form the basis for all Arduino sketches. Note that the term function is used to describe a block of “functional” code denoted by the function name and opening and closing braces:

Listing 1 Boilerplate functions


void setup()
{

}

void loop()
{

}

The setup() function is called once when your sketch is first run on an Arduino. You will use that block of code (between the opening and closing braces) to establish the serial transmission rate and any other initialization required by the sketch. The loop() function is where the action happens. As the name of the function implies, the loop() function continues to loop throughout the duration of your sketch unless you pause it with a delay() function or some other blocking activity.

Establishing a serial connection

To establish a serial MIDI connection between the Arduino and a MIDI receiver, add the code shown in Listing 2 to the setup() function. The Serial object represents a class (an object or pre-programmed chunk of code) that handles all of the low-level details of establishing and maintaining a serial connection. Note that the Serial class provides a function (typically called a method in the context of a class) titled begin() that takes the baud rate as a parameter. In this example, serial transmission is set to 31250 baud, the expected MIDI transmission rate as per The Complete MIDI 1.0 Detailed Specification (available from the MIDI Association at midi.org).

Listing 2 Setting up a serial connection


void setup()
{
Serial.begin(31250);
}

Writing a MIDI output function

Although there is nothing wrong with writing code for sending MIDI data in the loop() function, custom functions can help to produce code that is extensible and easier to read and maintain. Listing 3 demonstrates one approach to sending Note-On messages. Notice how the function takes three bytes that correspond to the MIDI channel, note, and velocity. The only tricky part of the code is the first line which translates the expected MIDI channel range of 1-16 to the range of Note-On status bytes starting at 0x90 (hexadecimal). The Serial.write() method is used to transmit the status byte and data bytes that form a Note-On message:

Listing 3 Custom function for outputting MIDI Note-On messages


void playMIDINote(byte channel, byte note, byte velocity)
{
//MIDI channels 1-16 are really 0-15
byte noteOnStatus = 0x90 + (channel-1);

//Transmit a Note-On message
Serial.write(noteOnStatus);
Serial.write(note);
Serial.write(velocity);
}

Outputting Notes

Now that a convenience function is available to handle the transmission of Note-On messages, it is easy to fill in some simple code in the loop() function to output a series of notes. Note that this example uses a blocking delay—generally a bad idea for more robust applications—but the use of timers is beyond the scope of this article and would only serve to obfuscate the underlying concept of sending MIDI data via a serial connection. In Listing 4, a “for loop” is used to output MIDI Note-On messages in the range of 60 to 72. The function delays and then the transmits the same note with a velocity of zero—which is functionally equivalent to sending a corresponding Note-Off message.

Listing 4 Outputting a chromatic scale


void loop()
{
//Play a chromatic scale starting on middle C (60)
for(int note = 60; note < 72; note++)
{
//Play a note
playMIDINote(1, note, 100);
//Hold the note for 60 ms (delay() used for simplicity)
delay(60);

//Turn note off (velocity = 0)
playMIDINote(1, note, 0);
//Pause for 60 ms
delay(60);
}
}

Uploading a Sketch to the Arduino

The complete sketch is shown in Listing 5. Once you have typed or copied the code into the Arduino Integrated Development Environment (IDE), click the leftmost check button to ensure that the sketch is free from errors. If you are relatively new to programming it might be helpful to remember that C code is case sensitive. It is also easy to omit an opening or closing brace or semicolon which can create any number of error messages. A final step is to connect the Arduino to your computer via a USB cable and select the upload button to upload the code to the Arduino. Assuming you have connected a valid MIDI output circuit, the chromatic scale should be received by any MIDI receiver device that is connected to the circuit via a MIDI cable.

Listing 5 Complete listing


void setup()
{
//Set up serial output with standard MIDI baud rate
Serial.begin(31250);

}

void loop()
{
//Play a chromatic scale starting on middle C (60)
for(int note = 60; note < 72; note++)
{
//Play a note
playMIDINote(1, note, 100);
//Hold note for 60 ms (delay() used for simplicity)
delay(60);

//Turn note off (velocity = 0)
playMIDINote(1, note, 0);
//Pause for 60 ms
delay(60);
}
}

void playMIDINote(byte channel, byte note, byte velocity)
{
//MIDI channels 1-16 are really 0-15
byte noteOnStatus=0x90 + (channel-1);

//Send notes to MIDI output:
Serial.write(noteOnStatus);
Serial.write(note);
Serial.write(velocity);
}

Coding Challenge

That’s it—Arduino MIDI output can be achieved with just a few lines of code! Consider how you might use the boilerplate code in this example to develop a simple algorithmic generator (perhaps using the Arduino random() function) or a sketch that outputs chords, exotic scales, or drum beats.

Next Steps

Although this introduction is necessarily limited, it forms the basis for many exciting possibilities including algorithmic composition, automation, and real-time control. As you will see in future articles, a basic MIDI output circuit can also be used for useful applications such as using a potentiometer to send continuous controller messages to a DAW or a two-axis joystick as an expressive real-time controller. As noted in the introduction, detailed coverage of Arduino MIDI and audio concepts are provided in Arduino for Musicians: A Complete Guide to Arduino and Teensy Microcontrollers as well as other books online resources.

Happy coding!

The Great American Horn Machine GAHM

The loudest MIDI instrument ever ?  

Dana Dolfi has created what is probably the loudest MIDI controlled instrument ever made out of recycled ship, truck and train air horns and steam whistles. 

Dolfi, a pipe-fitter and project manager for Chapman Corp. in Washington, Pennsylvania sets his 3-ton, red, white and blue atop a car trailer and performs at Maker Faires, July Fourth events and graduation parties. 

But his contraption (It’s great when you can use an old-timey word like contraption in it’s proper context) creates some limitations in where he can perform.  The GAHM is as loud as a jet engine and so Dana marks off a 100 yard perimeter around the instrument and even then recommends ear plugs.  It’s no wonder it is so loud as it is powered by a gasoline-powered air compressor and a 620-gallon air tank blows the horns and whistles. 

Among the horns and whistles Dolfi has collected are a large horn from the USS Mississinewa, a Naval replenishment oiler; horns off a Coast Guard cutter and an ocean-going dredge; a horn that was used on a California drawbridge; a set of horns from a Great Lakes ore freighter; whistles from the Donora American Steel and Wire Works; an 1890s whistle from a fire hall in Gloucester, Mass.; a whistle from an antique popcorn machine, and several train and towboat horns and whistles.

by Karen Mansfield
Staff Writer for the award-winning Observer-Reporter. a daily newspaper headquartered in Washington, Pa., the newspaper has been part of Southwestern Pennsylvania since the early 1800s.

The Great American Horn Machine has performed at lots of Maker Faires and here are a couple of video examples. 

Happy Memorial Day-2016

Sky Magic Live at Mt.Fuji :MIDI Controlled LED Drones

Okay, I admit it.  I’m a sucker for this sort of thing.  First, I have been into MIDI my whole life. Second, I lived in Japan for 7 years and have climbed Mt Fuji (twice).  Third, I love the combination of MIDI and art especially visual art.   

So when I saw this I was hooked even before I watched it. 

The Beautiful backdrop of the world heritage site Mt. Fuji was used to stage the first Live performance using MIDI controlled LED flying machines, accompanied by Shamisens, the Japanese traditional guitars.This was done so by utilising more than 20 units of these flying machines, flight swarming formations, music, and 16,500 LED lights to combine into a single audio visual extravaganza. Furthermore, we are able to control the flying machines, visual and audio aspects concurrently, using the DMX512.

by 
Creative Director by TSUYOSHI TAKASHIRO
Film Director by SHU SHINKAWA
Director of Photography by KANEKO SATOSHI
Flying Videography by DISUKE OHKI
Music by Tsukagaru-Shamisen, OYAMA-KAI
Sound By MANABU NAGAYAMA & MASAKAZU UEHATA
Production Company by FPI, Inc.
Produced by MicroAd, Inc.

The sky is one of the few remaining frontiers in the new cyber space,It is the objective of this project. I would like to reach out to as many people in various places in the 21st century of fireworks.”

by MicroAd President Kentaro Watanabe said.

MIDI and Robots

We have a soft spot for robots…….

“Fingers” – guitarist for Compressorhead.
It is equipped with two hands, with a total of 78 fingers

People who tinker with robots, art installations and circuit bending are right in our wheelhouse .  They seem to share a passion  for pushing the limits of what MIDI can do.  Here’s a quick selection of some of our favorite MIDI robots curated from the web. 

Eric Singer and the League of Electronic Musical Robots (LEMUR)

When we first started The MIDI Association,we reached out to Eric Singer and he has been a member of our educational advisory panel since the very beginning. Eric founded The League of Electronic Musical Urban Robots, or LEMUR, in in 2000 , LEMUR is a group of artists and technologists developing robotic musical instruments that play themselves. Here an interview with Eric from Motherboard. 

Recently Eric did an installation for the LIDO nightclub in Paris. 

The Guitarbot is a guitar that can be played by MIDI files.

Eric Singer worked with another member of our educational advisory panel on this project. 

Paul Lehrman is the Director of the program in Music Engineering at Tufts University and an adjunct Professor in Computer Science and Mechanical Engineering. Paul has had a long relationship with MIDI and actually released the first all MIDI album “The Celtic Macintosh” in 1986. Paul has also been on our educational advisory panel since it’s inception. 

Paul Lehrman showing Herbie Hancock the joy of MIDI.

Eric and Paul worked together on Anthiel’s Ballet Mecanique which was performed at Carnegie Hall and at the National Gallery of Art among many other performances around the world. 

Perhaps Eric’s most well known project (although he has worked with They Might Be Giants and many other musicians was he work with Pat Methany on the Orchestrion Project. 

Chico Macmurtrie and the Robotic Church

Somehow Brooklyn has become a haven for musical robots and there are a number of robotic MIDI artists working there. One of our favorites is Chico Macmurtrie.  His group, Amorphic Robot Works (ARW) created a robotic MIDI driven band of 50 pieces that toured Europe for many years.  Now he has “revived” these mechanical “saints” and 35 computer-controlled pneumatic sculptures ranging in size from 12 inches to 15 feet are installed in a former Norwegian Seaman’s Church in Redhook known as The Robotic Church, 

While responding to computer language (MIDI), they are anthropopathic in nature and channel air to activate their inner biology.

by Chico Macmurtrie

Octant Innards


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Octant Innards

New Music, Musical Instruments, Videos, and Updates.

Matt Steinke’s dense, funny, haunting installations and performances feature everything from animatronic puppetry and meticulous animation to interactive homemade robotic sound apparatuses. Each piece offers an incomplete glimpse into an evocative, elegant, claustrophobic cosmos.

by -Bert Stabler

The following bio is from Matt’s website at http://matthewsteinke.com/info

Steinke holds a MFA in Art and Technology Studies from The School of the Art Institute of Chicago. Upon graduation, he received The Illinois Arts Council Fellowship for Interdisciplinary/Computer Art. He received the 2015 New Music USA Project Grant for Composers. His “Tine Organ” instrument was a finalist in the 2015 Margaret Guthman Musical Instrument Competition. His work has been featured in Wired, Artweek LA, The Village Voice, The San Francisco Bay Guardian, Spin, Rolling Stone, Keyboard Magazine, Drum Magazine and on the cover of Tape Op. As a founding member of the Northwest noise-punk bands, Mocket and Satisfact, he has made over a dozen recordings for Kill Rockstars, K Records, and Up Records and has performed with his homemade robotic musical instrument ensemble, Octant, across the US.

His Tine organ is MIDI controlled. 

Tesla Coils, Robotic Drummers and MIDI, what’s not to like!


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Tesla Coil Music | ArcAttack

Designers of the original Singing Tesla Coils, ArcAttack specializes in providing innovative entertainment, Tesla coil fabrication and creating unique things.

Compressorhead – the all robot band

Compressorhead has performed at festivals around the world doing covers of classic rock songs, but have their own studio album planned for this year. 

Georgia Tech Center for Music Technology

Gil Weinberg is the founding director of the Georgia Tech Center for Music Technology, where he established the M.S. and Ph.D. programs in Music Technology. He developed robots that interact with humans in uncannily well…. human ways. The Georgia Tech Center is really doing some interesting stuff with music technology!

Shimon has “eyes” that can respond to the conductor’s baton. 

Gil also worked to develop a prosthetic robotic hand for Jason Barnes, a drummer who lost an arm in a freak accident. Though technically not MIDI, it is a truly inspiring story. 

Guthman Musical Instrument Competition

If you don’t follow it, you should.  The Guthman musical instrument competition is held every year and there are always really cool and unique instruments that show up like the one below. 

Here’s a link to this year’s winners. 

Drones, MIDI and Thus Spake Zarathustra, need we say more?

Finally here is a link to an article from our friends over at CreatDigitalMusic about robots that even includes a MIDI controlled Roomba. 

MIDI Processing, Programming, and Do It Yourself (DIY) Components

Companies and products listed here do not imply any recommendation or endorsement by the MIDI Manufacturers Association.

MIDI Processing, Programming, and Do It Yourself (DIY) Components

These are just examples of such products — we make no warranty re: suitability (or anything else, for that matter) — use at your own risk. If you are a manufacturer and would like to be listed here, please use our Contact Form to let us know.

MIDI Processing Devices and DIY Hardware

Programming Tools

DLS and XMF Development Tools

  • Nokia Audio Suite 2.0 enables authoring of SP-MIDI, Mobile DLS, and Mobile XMF content, as well as modeling the sound as played by Nokia terminals.
  • Crimson’s DLS Tools is a professional editor for DLS Level-1, DLS Level-2, and Mobile DLS/XMF. It is useful for 3GPP (Mobile DLS) content authoring, MIDI sound module IC development, etc.
  • Eye and I Productions (Voice Crystal®) specializes in General MIDI & custom wavetable design and offers a wide range of GM wavetable sizes; 32KB thru 128KB for Mobile DLS1 & DLS2 applications up to 32MB for professional products. Also provides technical advice on synth functionality, testing & verification..
  • PolyPhontics is a full-featured DLS and SoundFont® compatible authoring tool for Mac OSX.
  • FMJ Software’s Awave edits and creates DLS files.
  • Audio Compositor is a MIDI-to-WAV file renderer, multitimbral realtime software wavetable synth and patch editor for DLS (and other) files.
  • Moderati mXMFTool (press release)

Animusic-MIDI-Driven Computer Animation

Animusic produces innovative music animation by leveraging MIDI data in creating “virtual concerts”. The animation of graphical instrument elements is generated using proprietary software called MIDImotionTM. The technique is analytical, note-based, and involves a pre-process (as opposed to being reactive, sound-based, and real-time).

Feature: Interview with Wayne Lytle, from Animusic

Animusic , as the name implies, is visualized or animated music; the brainchild of one Wayne Lytle, Columbia Music major turned animator. The Animusic DVDs feature computer-animations of preposterous-looking instruments – part fairground organ, part Disney’s Fantasia – that ‘play’ various pieces of music from techno to classical.The brains behind the technology is MIDI. MIDI allows the music and the animations to work, control, and be controlled in sync. Initially Lytle used off the shelf animation and music applications but in recent years the business has grown sufficiently for the company to invest in their own, purpose-designed software, Animotion.

How did this get started?

WL: I got into synths before MIDI, back in seventies, with things like the MiniMoog and all that stuff. By the early 1980s I had been vaguely aware of MIDI and I had already started drawing sketches in notebooks about how I wanted to drive animation from music. Then a friend told me about me about this thing called MIDI, and how you can have synths and computers talking to each other, and suddenly my two worlds merged together. It’s been a happy place ever since.

It wasn’t really until1989 that I first started experimenting with animation being driven from music, and analyzing the MIDI files that I would read in from whichever sequencer I was using.

Are you a keyboard player by nature?

WL: I started with piano and drums. I actually studied classical piano in college but I wasn’t really very good. I was more interested in playing with my bands. I’m not particularly accurate so I’m very grateful for MIDI and sequencing. The keyboard doesn’t get in my way. I ‘think’ the notes and then figure out a way to get them in there. The keyboard may or may not be involved. Thanks goodness I don’t have to play correctly; I just have to think it.

How many people work on projects?

WL: We have three people on our core production staff with a couple of other freelancers who do background projects, skies. We have one full-time software developer and then Dave and I are the core that cook up the ideas, and model them and write the music. On the one hand it’s hard to be small but it’s also hard to be big. On the one hand we don’t have any major communication issues, but at the same time with so few people it’s easy to get burned out.

How long does a project take?

WL: Each of the first two DVDs took three years. We’re working towards being able to do one a year, which is why we developed the software, to make a more streamlined pipeline. We want to get to a point where we’re spending more time playing with the instrument than writing and testing the code.

Are you an animator who plays or a musician who animates?

WL: That’s the tough question I’ve asked myself! In fact worse: Am I a musician who programs or a programmer who’s trying to be a musician? I guess for a long time I wondered how was I going to get good at any of these things. I felt that I needed to just pick one and focus on that. But I didn’t and at this time they do seem to have merged nicely together.

It’s certainly a lot of fun and a wonderful thing to be able to do what’s your passion and for it be able to support a company. We feel very fortunate.

Is there any underlying motive or message behind what you’re doing?

WL: That’s a great question I don’t get asked much. You’ve really touched on something. When we started out it was just a personal passion; what I wanted to do and what I thought about all day long. It certainly started with my own personal interest. But from there when the first DVD was released, and we could see people’s reaction to it, then our motives and purpose began to broaden quite a bit. It did really seem to bring joy to people, to make them smile, make them happy, mesmerize them even. It does seem to affect some people very deeply – kids, and older people, right across the spectrum. That changed our motivation somewhat. There’s even special education. We have Special Needs teachers using our work for education, helping with everything from musical timing, to math, to social interaction.

None of that was expected. It was kind of a happy surprise. Now our motivation to go and kindle those things. We don’t really have an agenda that we’re out to educate per se, but we do want to contribute positively to the electronic media and entertainment world that, at the moment, we see filled with a lot of poor quality, or violent, or plain disgusting content. We’re trying to show a positive side by producing something that’s different and cool, without being silly or corny.

Which comes first – the visuals or the music?

WL: Yes and yes. We’ve done it both ways. With certain animations I have the entire music written sequenced and mixed before even we’ve even thought about animating anything. Other times we have designed and built and tested the graphical instruments before we write any music for them.

In the most ideal sense – and certainly the approach we’re taking with Animusic 3 – it’s really something we try to do in tandem, where we’re working on building the instrument the same time as we’re learning how it will play better. What is it capable of, will it play better faster, or is it better at slow, plodding riffs and basslines? Are there too many notes and do we need to take some out and have it be this 8-note bass machine, or can it handle having 40 different notes? Then, as that evolves, the musical palette evolves and perhaps even stuff we’re doing in the music influences the design of the instrument. Ideally it is a much more integrated process rather than one coming completely before the other.

Have you worked specifically with any of the DAW manufacturers?

WL: Not yet. We try to just focus on the content. Our product is the DVD themselves rather than the tools, although it’s not out of the question that at some point we’d do that. We’ve actually gone away from using commercial sequencers. Not that they’re not great – they get greater and greater as times goes on – but a year or two ago I finally got to the point where I decided to write my own sequencer [MIDIMotion] that could integrate directly with the music animation stuff so that animating and sequencing become a more unified process; where they’re almost one and the same – where you could say you were sequencing the animation or animating the music.

Is MIDIMotion available for sale yet?

WL: It’s been discussed but we haven’t done that yet. It’s quite an undertaking to release a price of software and support it well so up to this point it’s just been an in-house set of software tools.

We have this large animation sequencing program called Animusic Studio and that uses the MIDIMotion engine to do the music animation part of it.

What do you see as the strengths of plug-ins and software sounds as opposed to hardware synths?

WL: I for one am very happy about where we are now. I don’t have a lot of complaints. Nowadays you can have synths that sound fantastic, and that offer total recall, and can be used in as many instances as you like. In the old days you couldn’t just run out and buy six MiniMoogs. Now I can open, say, multiple Reason sessions open and just switch between whichever I’m working on at the moment. And there everything is, configured. Honestly I don’t find myself reminiscing about the old days too often. I’m happy about the new days.

I do however having fond memories of ELP at Madison Square Gardens watching them with mountains of gear and Emerson sticking knives into his Hammonds and stuff. That was fun too.

How does MIDI fit into the modern idiom of music making?

WL: The fact that it’s become as transparent as it has become is in itself an indication of its incredible success. Yes it’s powerful, but you don’t necessarily have to understand it. It’s not like the old modular synth days where if you couldn’t figure out what to hook up to what you were pretty much sunk. Now, a lot of it is going on in the background, invisibly. And even in computer stuff a lot of it is MIDI that may not even make into a physical cable at all but it’s still using the MIDI protocol and a lot of people are completely unaware of that’s what’s there.

I don’t really see much of a problem with that though it would be nice if there was little more evolution because clearly there are some things that are missing. I don’t see a whole lot of activity in pushing stuff forward. One thing I personally wishing for sometimes is the ability to glide from one note to another in some controllable way, sort of like a ribbon controller where you’re not snapping back to the old note. Using a pitch bend you can bend up a fifth, say, and then have to let it snap back and pick up from where you were. But that actually presents some problems graphically when bending, then having to go back and then going to a new note. I have to tell it ignore certain data and pretend like it was someone gliding up to another like on a fretless bass. I have to fight it.

Are the basics of MIDI Still useful for people to learn?

WL: Probably, but how far down do you want to get knowledgeable about your tools? You can get really at using your tools without necessarily knowing too much ‘about’ them. A painter may not necessarily know all about the wood his paintbrush is made from or where the bristles come. That won’t prevent him from being able to do great job at painting. But if you want, you can keep digging down another layer.

Obviously for the people who build music technology tools it’s critical that they understand MIDI, and not consider it to be frozen, never to be enhanced or pushed forward. And it never hurts anyone to understand what’s under the hood.

How much are you prepared to reveal about the processes you use?

WL: Right now we don’t really want to give away the recipe to our secret sauce but at certain point I think it’ll be important to share what goes on behind the scenes. It’s important for us to figure out how to do that so it’s clear, and doesn’t comes across as “wow that’s really complicated. Those guys are really smart.” That’s a reaction we can get sometimes and that’s not really the point. It’s cool what can be done but not as complex as it looks if you explain in right.

We’d like to share this in such as way as people can be empowered by MIDI. Maybe we’ll do that at the same time as we make the software available for people to use. Right now, though, our focus is still very much on the next DVD.

What do you think can be done by the ‘average’ person?

WL: As far as out-of-the-box goes, not a lot, probably. It’s like when synthesizers were operated by guys in lab coats at universities; plugging cords in… Nowadays everything can be done on a laptop. I think that’s how it should develop; it should become that way with music and animation, where people are just dragging and dropping and making their own instruments making new instruments pumping music into it. They don’t necessarily need to know the technology behind it. That’s a target. To put it in people’s hands as a simple and enjoyable process as opposed to crashing and dorking around every few minutes in order to make cool things happen.

-END-

MIDI History:Chapter 2-Player Pianos 1850-1930


The golden age of mechanical music machines really came in the late 19th century and early 20th century with player pianos and orchestrions.  A player piano is defined as any actual acoustic piano that is played by a pneumatic or electro-mechanical mechanism that operates the piano action via pre-programmed music.

By Daderot (Own work) [Public domain], via Wikimedia Commons

Between 1910 and 1930 player pianos were the largest segment of the music industry in the United States. These instruments were mostly used for playing back preprogrammed music via piano rolls. Remember back then there was no radio, TV or movies. If you wanted to hear music you either had to play it yourself or have it played for you by an automated music machine.


A piano roll is a continuous roll of paper with perforations (holes) punched into it that represent note control data. As the holes move over a ‘tracker bar’ each musical note is triggered when a perforation crosses the bar and is read.

Notice the words on right side of the role (read from bottom to top. Player pianos were actually the very first Karaoke machines, another function they have in common with MIDI !


This layout should look familiar to anyone who has a DAW. The piano roll view of MIDI notes is a direct descendant of these 100 year old piano rolls because MIDI does digitally exactly what a player piano does mechanically.


A new full-scale roll format, playing all 88 notes, was agreed at an industry conference in Buffalo in 1908, the so-called Buffalo Convention. Any player made anywhere in the world could now play any make of roll. Understanding the need for compatibility was the defining moment of the player industry. The consensus was key to avoiding a costly format war, which plagued almost every other form of entertainment media that followed roll music.

https://en.wikipedia.org/wiki/Player_piano



Reproducing Pianos

In Germany the first reproducing player piano called the “Mignon” was developed by Weltien in 1904. A reproducing player piano can play back a recorded performance with all the subtleties of dynamics and timing exactly as the original pianist played the piece. When World War I came in 1914, German patents were seized in the US, and Ampico (the American Piano Company) and the Duo-Art systems became the big players. Because these rolls could capture the subtle nuances of the performers (just like MIDI) in the rolls themselves, famous performers and composers including Gustav Mahler, Camille Saint-Saëns, Edvard Grieg, Claude Debussy, Scott Joplin, Sergei Rachmaninoff, Jelly Roll Morton and George Gershwin,  all recorded piano roll performances.

Most player pianos are now more than 100 years old the paper piano rolls are difficult to maintain and are deteriorating quickly.So there are companies that retro fit these classic 100-year-old pianos with MIDI interfaces.



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Conlon Nancarrow and Black MIDI –  

Conlon Nancarrow and impossible music In an earlier MIDI history blog, we talked about the strange symbiotic relationship between player pianos and MIDI. But one of the things we didn’t talk about was Conlon Nancarrow, the 20th century American&amp;nbsp;


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MIDI History:Chapter 3-Orchestrions 1900-2015 –  

From mechanical to digital to virtual….and back! The relationship between mechanical musical machines and MIDI gets even more intriguing with orchestrions and fairground organs.