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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.

Re.corder re.invented as a MIDI Controller

 re.corder gives you three different ways to play. 

  • Play acoustically, with or without the application running. It’s a regular recorder. 
  • Play digitally (you can mute it with the supplied mute-plug) silently and use the sounds of the app’s library, alone or play with up to three other friends! This will allow you to to practice everywhere, day and night, without annoying anyone!
  • Use the re.corder as a MIDI wind instrument controller. The re.corder features BLE wireless MIDI connectivity


The breath sensor is an high performance pressure sensing device, that can measure the strength of your blow, and transform this information into an expression parameter. This is used by the app, and most softwares, as a modifier for modulation or other sound characteristics. The mouthpiece of the re.corder can also sense your lips, understanding when you really want to play or not!

Under every note hole there’s a single or dual touch sensor that detect your finger and the note that you want to play. The software can be modified to swap fingering styles or to allow impaired mobility players to have their own custom fingering map.

We didn’t left out anything and in fact, to allow extreme expressivity and many other applications, we implemented an inertial platform with a 3D accelerometer MEMS. This sensor is capable of interpreting the movement and the attitude of the product, opening the possibility of modifying the sound following the player’s gestures.

by artinoise


Different ways to be expressive 

With breath and lip sensors  plus a 3D accelerometer has plenty of expressive capabilities as MIDI controller.  Here a few examples of what you can do with the re.corder. 




For more info, checkout the re.corder kickstarter page.  


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the recorder, re.invented by Artinoise — Kickstarter

Artinoise is raising funds for the recorder, re.invented on Kickstarter! A modern take on one of the widest used educational instruments in school. Stimulating music learning and creation.

Ableton Link- A technology for synchronization that expands on MIDI timing

Link is a technology developed by Ableton

Ableton Link is a technology that synchronizes musical beat, tempo, phase, and start/stop commands across multiple applications running on one or more devices. Applications on devices connected to a local network discover each other automatically and form a musical session in which each participant can perform independently: anyone can start or stop while still staying in time. Anyone can change the tempo, the others will follow. Anyone can join or leave without disrupting the session.

by Ableton

Core Ableton Link Concepts

Link is different from other types of synchronization technologies because it t is not as rigid.  Link allows apps to each have their own independent timelines, but provides four different ways to align the different apps together in time. 

Tempo Synchronization

Tempo is pretty well understood and Tempo can be changed via MIDI.  The difference with Link is that link is based on multiple players being connected on the same network. With traditional acoustic ensembles,  temps change fluidly and the players adapt quickly to these changes.  Link works the same way.  Every “player” (or participant in the Link network) adopts the last tempo value proposed on the network.  So with multiple participants, one person could be suggesting to speed up the tempo and one could be suggesting to slow down the tempo.  However the system quickly adapts just as acoustic players would. 

Beat Alignment

For a lot of musical situations, just Tempo Synchronization is not enough. Both devices could be playing at the same tempo, but if their beats are not aligned one could be starting a measure at beat 1 and another could be starting at beat 1.8 . 

When a session is in a state of beat alignment, an integral value on any participant’s beat timeline corresponds to an integral value on all other participants’ beat timelines. This property says nothing about the magnitude of beat values on each timeline, which can be different, just that any two timelines must only differ by an integral offset. For example, beat 1 on one participant’s timeline might correspond to beat 3 or beat 4 on another’s, but it cannot correspond to beat 3.5.

by Ableton

Phase Synchronization

Even with Tempo Synchronization and Beat Alignment, when working with loops and bars lines, you often want the large structure ( 2 bar, 4 bar, 8 bar, etc.) to be aligned.  Phase Synchronization is a clever way to do this. Link requires that each application provide a quantum value in beats that specifies the desired unit of phase synchronization. 

Specifying the quantum value and the handling of phase synchronization is the aspect of Link integration that leads to the greatest diversity of approaches among developers. There’s no one-size-fits-all recommendation about how to do this, it is very application-specific. Some applications have a constant quantum that never changes. Others allow it to change to match a changing value in their app, such as loop length or time signature. In Ableton Live, it is directly tied to the “Global Quantization” control, so it may be useful to explore how different values affect the behavior of Live in order to gain intuition about the quantum.

In order to maintain phase synchronization, the vast majority of Link-enabled applications (including Live) perform a quantized launch when the user starts transport. This means that the user sees some sort of count-in animation or flashing play button until starting at the next quantum boundary. This is a very satisfying interaction because it allows multiple users on different devices to start exactly together just by pressing play at roughly the same time. We strongly recommend that developers implement quantized launching in Link-enabled applications.

by Ableton

Start/Stop Synchronization

As of Version 3, Link allows peers to share information on the user’s intent to start or stop transport with other peers that have the feature enabled. Start/stop state changes only follow user actions. 


Apps that support link

There are 187 different apps and hardware products that support Link. 



Information for Link users


...

Ableton Link: Connect music making apps with Ableton Live | Ableton

Link is a technology that keeps devices in time over a wireless network, so you can forget the hassle of setting up and focus on playing music.

Information for Link Developers 


PlantWave uses wireless Bluetooth MIDI to let plants sing

Data Garden, the people behind MIDISprout release new kickstarter campaign

Data Garden was started by Joe Patitucci and Alex Tyson in 2011 to explore the connection between plants, music and technology. In 2012, Data Garden was invited to produce a piece at The Philadelphia Museum of Art. They launched a Kickstarter in 2014 and by 2016 they had released their first product, MIDISprout, a MIDI instrument that translates plant biorhythms into MIDI to control audio and video synthesizers in real time. 

Data Garden worked with engineer and developer, Sam Cusumano, who created a system that translated micro fluctuations in conductivity on the surface of a leaf into MIDI that could control hardware and software synthesizers. This MIDI data was then translated into harmonious music through Joe Patitucci’s algorithmic composition and sound design. The result was Data Garden Quartet, a plant music performance with four tropical plants playing music in harmony.

by Data Garden

We covered this topic in an article from 2017 – Music, Plants, MIDI and the founder of the CIA Polygraph Unit! 


...

Music, Plants, MIDI and the founder of the CIA Polygraph Unit!

MIDI gets used for so many different things and one interesting MIDI application is plant music. The story of MIDI and plants starts quite naturally with the CIA. 

Plant Wave Features

PlantWave will allow you to wirelessly connect from your plant to your phone, making it easier than ever to listen to nature’s song. With WIFI, Bluetooth and USB connectivity all a part of this device, we’re clearing new paths to your plant music listening experience. With a built-in LI battery, your PlantWave will help you recharge with hours of listening enjoyment!

by Data Garden

Hardware

  • Bluetooth streaming via Bluetooth Low Energy / BLE MIDI
  • WIFI connectivity for firmware updates
  • USB for power and for MIDI transmission to computers and/or pro audio equipment
  • Built-in rechargeable LI Battery
  • Low Power Mode
  • Durable enclosure made of renewable / recycled materials
  • Sustainable manufacturing practices

Software Standard

  • Apps for iOS and Android
  • Library of Sound Sets (groups of instruments to be played by the plant)
  • Record Audio
  • Record + Share video
  • Standard data visualization (graphs, etc)
  • Change MIDI channel on firmware for customized use with pro audio equipment

Software Advanced 

  • Customizable sounds
    • Instruments
    • Effects
    • Key/Scale
    • 440hz / 432hz / 528hz, etc
    • Record MIDI
    • MIDI Thru

Software Pro

  • Build sound sets with multiple instruments
  • Multi Mode (route up to 4 PlantWaves!)
  • Auto key detection

  • PlantWave Plant Music Device
  • Electrode leads
  • 3 pairs of sticky pads for leaves
  • Duck beak clips for smaller plants
  • Micro USB cable for charging / data transmission
  • Free iOS / Android App

ADC 2019 Features MIDI 2.0 and more

ADC- the largest audio developers conference in the world  

The Audio Developer Conference (ADC) started 5 years ago and has quickly become the leading conference for audio and MIDI programming professionals to gather and discover the latest trends in music production software development. 

This year ADC features  presentations on MIDI 2.0 from some of the key people behind the new specifications plus plenty of innovative uses of current MIDI specifications.

 Date And Time

Mon, 18 Nov 2019 –Wed, 20 Nov 2019

08:00 –21:00 GMT

Add to Calendar

Location

Code Node 10 South Pl. London EC2M 7EB United Kingdom

View Map 


Introducing MIDI 2.0 Article

At ADC’19, we will learn more about the upcoming MIDI 2.0 specification. We spoke with MIDI Manufacturers Association members Athan Billias, Mike Kent, Florian Bomers, and Brett Porter about some of the changes and improvements to expect.

by ADC

It’s amazing to me that MIDI is a protocol that has remained largely the same since it’s invention in the early 80s. Can you give us a brief overview of how MIDI became the standard for connecting digital instruments and computers together? 

The early 80’s was a remarkable time in the history of musical instrument technology. The whole music world was transitioning from electronic devices that used control voltages to digital devices that could store preset sounds in a main CPU. The Musical Instrument Digital Interface was developed by a small group companies including Sequential Circuits, Roland, Yamaha and Korg, but quickly became an industry standard.

Actually MIDI has been remarkably resilient and adaptive as the music production landscape has changed over the years. In the 90’s , MIDI Show Control was adopted and the motion picture industry started to use SMPTE Time Code to sync music and film. In the 2000s, as softsynths and digital DJs became popular, MIDI keyboard and pad controllers became the center of music creation and production. In the last decade, we have seen MIDI evolve further with wireless Bluetooth capabilities for phones and tablets, MIDI Polyphonic Expression for increased expressiveness and the rise of Arduino and DIY MIDI devices. The three winners of the Guthman Musical Instrument Design Awards in 2019 were all MIDI controllers so MIDI is still at the center of innovation. You can check out a whole series of articles on MIDI.org at The History of MIDI.

by Athan Billias (Yamaha):

With so many companies using the MIDI 1.0 standard, how did the team go about finding a consensus around the best way to update the protocol, and how long has the team been working on MIDI 2.0?

Indeed, at the MIDI Manufacturers Association, we have the goal of reaching full consensus for every part of a new specification. This is a great thing, because the resulting standard will meet the requirements of all the very different member companies.

On the other hand, contentious issues can take a long time to resolve. And we also need consensus with the Japanese counterpart organization AMEI. It’s been an interesting ride since we started the work on MIDI 2.0 in 2005! We had to change direction a couple of times. But the major turning point for reaching broad consensus was when we completely redesigned the internal draft specification: fewer initial features, separate independent sub-specifications instead of one monolithic spec, and more focus on seamless integration with MIDI 1.0. The outcome is MIDI-CI as enabler for the announced specifications: Profiles, Property Exchange, and MIDI 2.0 Protocol.

by Florian Bömers (Bome Software):

What are the biggest changes that we will see in MIDI 2.0, and when will it be publicly available?

 The MIDI 2.0 specifications have been designed to add numerous new options to MIDI while always keeping priority on a high level of backward compatibility with existing MIDI devices.

MIDI 1.0 was a monologue, MIDI 2.0 is a dialog. Devices can talk to each other and agree on features that both devices support. This fundamental paradigm shift has opened a whole new world of possibilities.

Profile Configuration and Property Exchange are new options to bring increased auto-configuration. MIDI systems will be easier to use when devices learn about each other and self-configure their connections.

Extended MIDI messages available in MIDI 2.0 will increase musical expression with greatly improved per-note control. Controllers and other parameters operate with far higher resolution.

Optional Jitter Reduction Timestamps will allow much tighter timing of all messages, including notes and the tempo clock.

The core MIDI 2.0 specifications are nearing completion in the MIDI Manufacturers Association and the Association of Musical Electronics Industry. Member companies are testing specification designs with prototypes. When testing is complete and specifications are published, then manufacturers can release MIDI 2.0 products. If testing continues as expected at this time, the first MIDI 2.0 devices are likely to be released in 2020. Initially, some existing MIDI 1.0 products might be updated to add some MIDI 2.0 features. It will take several years for a wider range of MIDI 2.0 products to start coming to market.

MIDI 2.0 was designed to allow for future expansion so there are plenty of free opcodes for new MIDI specifications in the future.

This is the biggest update to MIDI in 36 years, but it also guarantees that MIDI will continue to expand and adapt to new technologies customer needs in the coming decades.

by Mike Kent (MIDI Manufacturers Association)

Brett, Can you tell us more about what to expect from the MIDI 2.0 talk at ADC’19?

When I joined the group prototyping MIDI 2.0 (before it was even officially called that), I was in the fortunate position where I didn’t need to try to get the new protocol working inside of my company’s existing product, because Art+Logic doesn’t have any products of our own. Instead, I decided to build the kind of tool for development and testing that I would hope existed by the time someone drops a MIDI 2.0 project on my desk. At ADC I’ll talk about the tool now known at ‘MIDI 2.0 Scope’ and the JUCE-friendly MIDI 2.0 message classes I created for it. It’s already gotten a fair bit of use from the other developers who’ve been part of the early prototyping efforts.

We’ll also talk about the upcoming MIDI 2.0 conformance testing application that I’m working on now.

by Brett Porter (Art+Logic):


Introducing MIDI 2.0 Presentation

What is MIDI 2.0, anyway? That is the mission of this session. We’ll explain the current state of MIDI 2.0 specifications, and provide new detail of specifications to be completed soon. This will include brief reviews of MIDI-CI, Profile Configuration and Property Exchange. The focus will be the new MIDI 2.0 Protocol, with some details of the MIDI 2.0 packet and message designs and how MIDI-CI is used to achieve maximum interoperability with MIDI 1.0 and MIDI 2.0 devices. There will be little time for Q&A, but we’d love to talk shop with you at the MIDI table in the main hall.

The presenters are key architects of the MIDI 2.0 specifications in the MIDI Manufacturers Association.

Speakers:

Mike Kent: MIDI Manufacturers Association

Brett Porter: Lead Engineer, Art+Logic

Brett holds a B.M. in Composition and M.M. in Electronic/Computer Music from the University of Miami Frost School of Music. At Art+Logic since 1997, he’s worked on custom software development projects of all kinds but prefers to focus on the pro audio and MI world.

Florian Bomers:Founder, Bome Software

Will translate MIDI for food. Florian Bömers has been using MIDI since the mid-80s and started programming audio and MIDI applications already in his childhood. Now he manages his company Bome Software, which creates standard software and hardware solutions for MIDI translation. Florian actively participates in standardization groups of the MIDI Manufacturers Association and is a member of its Technical Standards Board. 

When:

Tuesday November 19, 2019 16:00 – 16:50

Where:

CodeNode10 South Pl, London EC2M 7EB Track 2 


Support for MIDI 2.0 and MIDI-CI in VST 3 Presentation

The recent extensions of the MIDI standard, namely MIDI 2 and MIDI CI (Capability Inquiry), generate many opportunities to develop hardware- and software-products, that excel previous products in terms of accuracy, expressiveness and convenience. While things should become easier for the users, the complexity of supporting MIDI as a developer will be significantly increased. In this presentation we will give a brief overview over these new MIDI extensions to then discuss, how these changes are reflected in the VST3 SDK and what plugin-developers need to do to make use of these new opportunities. Fortunately, many of these new capabilities can be supported with little to no effort, due to the design principles and features of VST3 which will be discussed, also. We may also briefly touch questions regarding support of these new MIDI capabilities from the perspective of hosting VST3 plugins. The presentation will start with giving short overviews over MIDI 2, MIDI-CI and VST3, to then dive into each specific MIDI extension to put it into context of the related concepts in VST3. This we will start with MIDI 2 – Per Note Controllers & VST3 – Note Expression, then we’ll look into MIDI 2 – Pitch handling methods and compare it to VST3. After that several further areas like

  • MIDI 2 – increased resolution
  • MIDI 2 – Channel groups
  • MIDI-CI – Program Lists
  • MIDI-CI – Recall State

will be put in context with VST3.

The presentation will be held by two senior developers of Steinberg, that have many years of experience in supporting and contributing to VST and in supporting MIDI inside the software products of Steinberg, especially Cubase and Nuendo. 

Speakers

Janne Roeper:Chief Development Engineer, Steinberg Media Technologies GmbH

My interests are making music together with other musicians in realtime, music technology, especially expressive MIDI controllers, programming, composing, yoga, meditation, piano, keyboards, drums, bass and other instruments, agile methodologies, computers and technology in general… Read More →

Arne SchefflerSoftware Developer, Steinberg Media Technologies GmbHI’m working at Steinberg for 20 years now and use Cubase since 30 years. I’m the maintainer and main contributor of the open source VSTGUI framework. If you want to know anything about VSTGUI, Cubase or Steinberg talk to me. 

When: Wednesday November 20, 2019 10:30 – 11:20

Where: CodeNode 10 South Pl, London EC2M 7EB Track 3 


Other MIDI related events at ADC 


Tickets for ADC on Eventbrite 


...

Audio Developer Conference 2019 Tickets, Mon 18 Nov 2019 at 08:00 | Eventbrite

Eventbrite – JUCE presents Audio Developer Conference 2019 – Monday, 18 November 2019 | Wednesday, 20 November 2019 at London, London, England. Find event and ticket information.

Audio Assemble-Video Tutorials, Product Reviews, & Pro Tools

There are lots of websites that offer information on DAWs and music production.  Audio Assemble takes a unique approach by offering articles, videos, reviews, interviews and information on schools that offer degrees in music and music production. 

The database they have put together about music schools is impressive and they also have a listing for the top 25 audio engineering schools. 

Audio Assemble has a lot of articles about Pro Tools, but they also cover a lot of MIDI topics especially in their list of top MIDI products for different categories. 

Here is an example of what an Audio Assemble MIDI Controller review looks like

6. Komplete Kontrol S88

Best for Pianists

Komplete Kontrol S88

The latest release of Native Instrument’s flagship MIDI controller, the Komplete Kontrol S88, brings a plethora of new additions to the already elite system. Some of the improvements are long-awaited quality-of-life changes, such as the ergonomic pitch and mod wheels, a unique touch strip for advancing tracks and tweaking synth elements, and Smart Spring memory foam damping for the fully weighted 88 hammer keys.

In addition to the smaller improvements, NI’s real innovation comes with the newfound access to all of your production tools, right at your fingertips. With this latest release, the Komplete Kontrol S88 now has two high-res color screens- allowing for visualizing, mixing, and editing, all from the hardware.

The dual screens allow for in-depth sound design and creative applications, such as a sampler on one display and a synthesizer mid-tweak on the other. For those who know of the convenience of using dual screens in everyday production, this elite system will quickly become the center of your production setup.

In addition to the 1:1 keyboard experience, the Komplete Kontrol S88 comes pre-loaded with the Komplete 12 Select Bundle- containing Massive, Monark, Drumlab, Phasis, Replika and more. Three sound packs are included with said bundle, offering the “True School,” “Velvet Lounge,” and “Deep Matter” sound packs.

Lastly, the Komplete Kontrol S88 offers out-of-the-box integration with MASCHINE, Logic Pro X, Ableton Live, Cubase, Nuendo, and GarageBand. For users of FL Studios and other DAWs like Reaper, only a few driver downloads are required before you are ready to master your production.

Price: $1,049

Features:

  • Keybed: 88-key hammer-action Fatar keybed with a real piano feel
  • Pitch Bend / Modulation: two rotary wheels with anti-slip coating are featured above the pads.
  • Pads: 16 velocity-sensitive RGB backlit drum pads with out-of-the-box Ableton Live integration.
  • Build: Lightweight, low profile.
  • Knobs: eight 360 degree fully-customizable knobs.
  • Faders: None.
  • Pedal Inputs: expression pedal and footswitch inputs.
  • Octaves: Up and Down.
  • Extra Features: Comes with KOMPLETE 12 SELECT: 14 premium instruments and effects, including THE GENTLEMAN, Massive, Monark, Drumlab, Phasis, Replika, Reaktor, and more.


Here is an example of what an Audio Assemble MIDI Pad review looks like.

iRig Pads [$149.95]

Pioneers in the “making music with iOS” category, IK Multimedia has a host of midi controllers for iPads or iPhones. One highlight in its iRig collection is the iRig Pads. The iRig Pads is a fully-functional pad controller with a 4×4 layout with multiple programmable peripherals.

Features:

  • 16 RGB Backlit Trigger Pads
  • Velocity-sensitive
  • Programmable slider
  • 2 Assignable Push Buttons
  • 2 Programmable Knobs
  • 1 Assignable Push Rotary Encoder
  • USB Port to use with non-iOS devices
  • Expression/Sustain Pedal Input


Here is an example of what an Audio Assemble MIDI Foot Controller review looks like. 

5. Keith McMillen Instruments 12 Step Chromatic Keyboard

See Current Prices

Overview

This lightweight chromatic keyboard controller from Keith McMillen Instruments packs everything you need for a dynamic MIDI experience into a sturdy one-pound unit. When plugged into your on-stage setup via MIDI or connected using USB, this versatile device brings a whole new level of functionality and energy to your performances. Use it to control MIDI interfaces, sound modules, and soft synths throughout each show, taking advantage of the velocity-sensitive pedals to create a variety of unique tones. Bright backlighting makes it easy to see the controls onstage so that you’re always in control of your effects.

With the capability to store up to five notes per key, the 12 Step can crank out multiple complex chords on demand. Enjoy endless musical possibilities with the dozens of factory presets and the ability to create many more of your own.

Features

  • 13 velocity-sensitive keys
  • Touch responsive operation
  • Backlighting for keys and display
  • Program up to five notes per key
  • Made from strong, long-lasting carbon fiber
  • 59 factory presets
  • Up to 128 user presets



...

Best Music Schools in the United States | 2019 Rankings

Use our filtering tool to find a music school that fits your needs. Filter by state, student population, school type, and more!

GenkI Instruments Wave Ring is Now Shipping

Genki Instruments announced that they were shipping Wave, the ring that lets you control sound with motion. With three easy-to-use buttons, Wave allows musicians to easily change sounds, parameters and effects using gestures. Since being funded on Indiegogo, many well known musicians have used the Genki Wave on stage and in the studio. 

Bergur Þórisson used the Wave on the Björk’s Utopia Tour in 2018.

“Wave adds a new dimension to musical creativity. It took me a while to realize that the best thing about Wave is not only that it can replace some of the tools you already have to control stuff when you are making music, but that it can make you control stuff in a completely different way, therefore making decisions that you would have never made without it. It’s a cool tool for all creatives and I can definitely recommend adding it to your workflow, whether you use it to replace your old techniques or invent new ones.”

by Bergur Þórisson

Richard Devine, electronic musician, producer and sound designer also uses Wave along with Wavefront, the Eurorack receiver also developed by Genki Instruments. 

Wave has 6 functions you can use individually or mixed together to control your sounds. 

Four different motions allow you to control any parameter in a new way. By tapping any surface you can trigger notes or samples. Easily accessible buttons on the ring allow you to cycle between presets, send commands and simply pause Wave so you can move your hands freely without changing anything.

You can easily customize each function to suit your setup. You can for example customize

  • Movement range
  • Sensitivity of taps (how hard you need to hit the surface)
  • CC values of output
  • Which note values are sent out by taps and button clicks
  • And more…

It’s compatible with: 

Hardware

A computer with built in bluetooth 4.0+

Mac OSX 10.10+

Windows 10 v.1809

iOS 8+

Android 6+

Software

All DAWs that can map MIDI

All iOS Applications that can map MIDI

All Android applications that can map MIDI

You can find more information on the Genki website.

Bitmi – New USB MIDI Drum Pad

Hello everyone, my name is Diego Leroux. I´m from Buenos Aires, Argentina and I would like to share with the community a new product I’ve been developing for the past 3 years.

It’s called Bitmi, a USB MIDI velocity sensitive drum pad. Bitmi was designed to be simple and effective as a tool to record percussive MIDI tracks.

It’s class compliant so no drivers are needed. Works with PC, Mac and iOS devices (Apple camera kit needed)

They are hand assembled at my shop and they are built to last. The case is made of solid wood and then lacquered in three choices of finishes, black, red and green. You can also mount it on any 8mm cymbal stand.

2 year warranty and shipping worldwide with Fedex.

You can check all the info at www.bitmishop.com

Lay down your MIDI tracks faster than ever



Plug and play

A great add on to your studio or live setup.

Practice anywhere

Plug it to any iOS device and you can play on the go.

Accesories

6ft. USB cable, locking nut and padded bag.

The Cloud Piano by David Bowen

What does the weather sound like?  

David Bowen is an artist who uses data.  He has used data to point an installation of 50 twigs in unison towards the largest piece of space junk currently overhead. He used data to allow the flight of flies to control, aim and shot a revolver. He is not a musician, yet he used MIDI Manufacturer Association member Ableton’s Max MSP software to create a Cloud Piano, a piano played by clouds.

in this installation, Bowen used Max MSP and mapped Video to MIDI so that whenever a cloud passes over a note on the keyboard, the MIDI controller robotic arms presses the keys on an acoustic piano for the duration the clouds are over them. If there’s more white than blue detected, the key is pressed.

He went further and mapped multiple different video attributes to MIDI parameters. Tempo and rhythm are naturally related to how quickly the clouds are moving. Dynamics are controlled by how brightness, the more white in the video, the louder the sounds are played by generating higher MIDI velocities. Even the overall feeling of the music is based on the video input.  Clouds moving in one direction are processed to have a major feel, Clouds moving the in opposite direction are processed with more minor tonalities. 

Of course, this installation wouldn’t work well in Southern California.  There would be too many days when there was no sound at all because there were no clouds in the sky.  It might not work well in Seattle in the winter when skies are overcast for months on end. But we never cease to be amazed at the creative ways artist come up with to use MIDI. 

Here is a Youtube video from Great Big Story “That’s Amazing” about how the installation was put together. 

Blokas Midihub Standalone MIDI Processor & Router

MMA Member Blokas releases a USB to MIDI router with built-in MIDI processing 

Midihub has 4 MIDI DIN inputs, 4 MIDI DIN output ports and a USB port for power supply and/or communicating with the PC and its software. Using the dedicated 
Midihub Editor lets you customize Midihub’s processing as well as setup and store detailed MIDI routing between all the connected devices.

Here is some of what can you do with the processing inside of the Midihub. 

Midihub Editor 

You can download the Midihub editor and look at all the possibilities on the Blokas website.  Here what you can put together, but of course the effects don’t work until you have connected the Midihub.  One of the very cool things about the MIDIhub is that once the effects have been programmed and stored into one of the eight selectable Presets in the box, you can just take the MIDIhub to your gig without the need for a computer.  It’s like a programmable MIDI effects pedal. 

Midihub Youtube videos 

Here are two Youtube videos.  One from Blokas is an overview of the Midihub and the other is from Loopop and shows how you can use the Midihub to emulate some of the ideas that Olafur Arnalds has developed in his work. 

Ólafur Arnalds’ MIDI Generative effects and Pianos that go Bleep Bloop

Ólafur Arnalds didn’t start out playing keyboards. He started out as a drummer in hard rock bands. He is not alone. Yoshiki from the legendary Japanese hard rock band X Japan comes to mind. Many people forget that the piano is classified as a percussion instrument along with marimbas and vibraphones. 

He has unique approach to music that combines technology and a traditional almost classical approach to composition. He also is one of the few people still using the MOOG Piano bar, a product developed by Bob Moog and Don Buchla (now discontinued) to turn any piano into a MIDI device. 

Photo: Richard Ecclestone


What’s behind bleep bloop pianos

In many interviews, Ólafur says that his acoustic pianos bleep and bloop. 

In these two Youtube video, he explains how MIDI technology is a core part of his creative process. What is is interesting is how organic and emotional the resulting music is.  The technology nevers get in the way of the art and only compliments it. 

This video explains how the three acoustic pianos are connected by MIDI. 

I am in constant search of new ways to approach art with technology, interaction and creativity.

by Halldór Eldjárn

Halldór Eldjárn is another Icelandic artist who worked on the All Strings Attached project and developed some robotic MIDI instruments for the project. 


Ólafur Arnalds on NPR’s Tiny Desk Concerts 

To see a complete performance of this unique use of MIDI processing,  listen to this performance on NPR Music Tiny Desk Concerts. 


How to Bleep (and Bloop) yourself

Arnalds has released a library of sounds for Spitfire Audio recorded at his studio on his  ‘felted’ grand piano along with added content in the Composers Toolkit. 

Recently MIDI Manufacturer Association member Blokas released the Midihub, a MIDI router and processor.  In our article on the MIDIhub, Loopop explains how to use the Midihub to create some Olafur Arnalds inspired MIDI effects of your own. 

Developing MIDI applications on Android

About Android MIDI

In 2015 Android introduced MIDI support. Android has billions of users which means there’s a whole lot of people with MIDI compatible devices in their pocket!

In this article I’ll explore the most popular types of MIDI applications on Android and how to choose the right MIDI API when developing your own app.

Common types of MIDI app

 The two most popular types of MIDI app are:

1) Apps controlled by MIDI. These are apps which primarily receive MIDI data, such as synthesizers, drum machines and DJing apps.

2) MIDI controller apps. These apps are used to control other apps, external hardware or external software (such as a desktop audio workstation).

Apps controlled by MIDI

These apps receive MIDI data from hardware connected over Bluetooth or USB, or from a virtual MIDI service running on the phone itself.

The virtual analog synthesizer app, DRC can be played using an external MIDI keyboard  

 MIDI controller apps

These types of apps are designed to control other apps by sending MIDI to them. Examples include:

  • Using the phone’s touch screen as an X-Y pad which sends MIDI Control Change messages
  • Using the phone’s accelerometer to send MIDI pitch bend information
  • Step sequencing and piano roll apps

Super MIDI Box is a MIDI drum machine and step sequencer 

These types of apps are especially useful on Android because of how easy it is to use Android as a USB-MIDI device.

Android as a USB-MIDI device

A little-known feature of Android is that when connected to a USB host (like a computer) it can become a class compliant USB-MIDI device. This is done in the USB settings.  

Once the USB mode is changed to MIDI, it will appear on the host as a MIDI device with one input channel and one output channel. A MIDI controller app can then be used to control software, such as a Digital Audio Workstation (DAW), on the host.

Inside the app the MIDI device will show up as “Android USB Peripheral” with a single input port and a single output port.

DRC app connected to the Android USB Peripheral MIDI device

Android’s MIDI APIs 

 In order to develop a MIDI application on Android you’ll need to use one or both of the available MIDI APIs. Here’s a summary of the available APIs and their features:

JVM Midi

 In Android Marshmallow (API 23) the JVM Midi API was released. It can be accessed using Kotlin or the Java Programming Language. It enables you to enumerate, connect and communicate with MIDI devices over USB, Bluetooth LE and other apps advertising as virtual MIDI services.

Pros

  • Available on over 60% of all Android devices (correct as of July 10th 2019)

Cons

  • Sending MIDI messages to C/C++ code requires use of JNI which can introduce complexity due to multi-threading
  • MIDI data only available through callback mechanism

You must use this API for enumerating and connecting to MIDI devices, however, for reading and writing you can choose between this API and the Native Midi API described below.

Native Midi

In Android Q the Native MIDI API was released. It’s specifically designed for communicating with MIDI devices inside an audio callback which makes it easy to control audio rendering objects, for example a software synthesizer.

This API only handles sending and receiving MIDI data, not MIDI device enumeration or connection. That still needs to be done using the JVM API.

Pros

  • Easy to integrate with existing C and C++ code
  • Best possible latency
  • MIDI data can be received and sent inside an audio callback without blocking

Cons

  • Still need to enumerate and connect to MIDI devices in Kotlin or the Java Programming Language using the JVM MIDI API
  • Only available on Android Q and above 

Getting Started 

You can start developing a MIDI app using Android Studio. You’ll want to check out the following resources:

You should also take a look at the existing MIDI apps on the Google Play Store.

If you are using audio in your app you might want to check out the Oboe library for developing high performance audio apps.

If you have questions about developing MIDI apps on Android feel free to ask them on the android-midi group. Good luck and have fun!

Jamstik Shares Plans for New Studio MIDI Guitar

The newest Jamstik, the Studio, is a full-size, MIDI-capable electric guitar allowing producer-guitarists to create seamlessly in DAWs and music apps.

Guitarists and piano players have an equal appetite for music production, but guitar players have been left wanting due to previous technological barriers in the digital guitar market. Jamstik, leaders in innovating and modernizing the MIDI Guitar market, today share plans to expand its product offerings with the Studio—a MIDI-capable, DAW compatible electric guitar.

“When Jamstik was founded in 2009, our goals were to educate the next generation of guitar players, and open up the creative potential of MIDI compatibility to the world of guitarists,” said Matt Cannon, Jamstik’s Director of Growth. “While we’ve made strides in both areas with our existing Jamstik portable guitar controllers, the Studio is a product we’ve wanted to launch since the beginning; and one we know many customers and partners are equally excited for.”

The Jamstik Studio edition has 24 frets with standard 25.5″ scale-length, but its headless design and minimal body put it at about 3/4 the size of a standard electric— making it studio and travel-friendly. 

The Studio MIDI Guitar includes the following features:

  • Dual Electric-MIDI Capabilities: Record audio, track MIDI, or do both simultaneously.
  • Analog Audio: Includes standard 1/4” to plug into amps, pedals, and interfaces as usual.
  • Versatile I/O Ports For MIDI Processing & Charging:
    • USB C for MIDI Out & Charging
    • 3.5mm TRS-MIDI Out option
    • Bluetooth Wireless Connectivity for BLE-MIDI In/Out
  • DAW Compatible: Works out of the box with all MIDI capable DAWs and plugins.
  • Dedicated VST: Jamstik will provide a custom-built VST which will include a curated library of specifically designed sounds for the Studio guitar (also compatible with previous Jamstik models). 

Product Backstory: The Studio full-size MIDI guitar has always been a dream of the team of developers at Jamstik. Having recently completed a crowdfunding campaign for the Jamstik 7 and Jamstik 12, advances in digital signal processing gave the team a choice: press on with the 12 as designed or move the technology into a truly powerful, full-size instrument. The decision was made to move ahead with the time-honored full guitar format. All Jamstik 12 backers will be receiving the upgraded Studio model upon release. 

Pre-Order Coming Soon: Join the email waitlist at jamstik.com/studio to reserve your spot. Additional information and assets are available on the Jamstik Press Page and on Vimeo

About Jamstik 

The Minneapolis-based team has created a new format for guitar learning & music production; helping grow the digital channel of the traditional guitar market. The evolving company looks to capitalize on profound changes in technology and culture—to support innovative classrooms, studios, and stages. Learn more at jamstik.com 

Media Contact: Meredith Cannon: meredith@zivix.net 

Business Inquiries: sales@zivix.net

SHARC MIDI and Audio Module from Analog Devices

Do you want to develop MIDI hardware products?

The SHARC® Audio Module is an expandable hardware/software platform enabling project prototyping, development and deployment of audio applications including effects processors; multi-channel audio systems; MIDI synthesizers/controllers, and many other DSP/MIDI-based audio projects.

The centerpiece of the SHARC Audio Module is Analog Devices’ high-performance SHARC ADSP-SC589. Combining two 450 MHz floating point DSP cores, a 450MHz ARM® Cortex®-A5 core and an FFT/IFFT accelerator with a massive amount of on-board I/O, the ADSP-SC589 is a remarkable engine for audio processing.

This development platform is designed for the experienced programmer and is supported with an extensive wiki that includes a bare metal, light-weight C / C++ framework designed for efficient audio signal processing with lots of example code and numerous tutorials and videos. These tutorials include audio processing basics, effects creation and a simple MIDI synthesizer.

In addition, the SHARC Audio Module supports the MicroPython programming language and Faust, a functional programming language, specifically designed for real-time audio signal processing and synthesis.

The SHARC Audio Module from Analog Devices comes complete with a license-free Eclipse development environment (CCES) and a free in-circuit emulator. Also available is the Audio Project Fin – a must-have add-on board for serious MIDI developers with 5-pin MIDI Din, ¼ balanced audio, control pots, switches and a prototyping area.The best news is that both boards can be had for less than $300 total!

For more information on ordering, see the SHARC Audio Module and Audio Project pages. 

How Fishman, Arturia and MIND Music Labs Followed their MUSE to a State of the Art Synth Guitar in 30 Days

British mega band MUSE is currently on tour promoting their latest album Simulation Theory performing in sold out stadiums all over the world. Each night frontman and guitarist Matt Bellamy brings out a one of a kind guitar with a special history to play the song “The Dark Side.” While Bellamy is happy with the result, reporting that “the guitar works great!” the story of how this guitar was conceived and built is just a few short weeks is very interesting.

Matt Bellamy, being the perfectionist that he is, wants the sounds he created in the studio on stage as much as possible. One essential part of his sound is the Arturia Prophet V synthesizer. Being a user of Fishman’s TriplePlay MIDI guitar pickup & controller, both on stage and in the studio, he wanted to continue to use that to play the Arturia synth live, but without distance, range, cables and a computer getting in the way of his stage performance.

When Matt told me he absolutely wanted to use the Prophet V softsynth live on tour but still be able to move around the stage without any restrictions, I knew we had to find a new kind of solution that would take the computer out of the picture.

by Muse guitar tech Chris Whitemyer

Chris Whitemyer was aware of Swedish music tech company MIND Music Labs and how their ELK MusicOS could run existing plugins and instruments on hardware. Thinking MIND might be the missing piece of the puzzle he approached them at the 2019 NAMM Show. Together with Fishman and Arturia, a first meeting was held in the MIND Music Labs booth on the show floor. That meeting, which took place just a few weeks before the start of Muse’s 2019 World Tour, kicked off several hectic weeks resulting in the three companies producing a new kind of guitar just in time for the tour’s first date in Houston, TX.

Going to that first meeting at NAMM I didn’t know what to expect, but as soon as we plugged in the guitar with our TriplePlay system in the Powered by ELK audio interface board, it was pretty clear that the Fishman and ELK systems would be compatible.”

by Fishman founder and president Larry Fishman,

What was clear after the first meeting was that the reliability of the Fishman TriplePlay MIDI Guitar Controller in combination with ELKs ability to run existing plugins inside the guitar could open up a new world for performers like Matt Bellamy. And with the tour just weeks away, a plan was hatched to get the system finalized and ready for use in the most demanding of conditions – a world tour of arenas and stadiums.

Only days after the closing of the NAMM Show, MIND Music Labs CTO Stefano Zambon flew to Fishman’s Andover, MA headquarters to figure out how to get a powered by ELK audio board inside a guitar, that not only plays well enough to satisfy a world class performer, but could also control the Arturia Prophet V at extremely low latency. In short, redefine the state of the art for synth guitars.

Getting three different companies to join forces on a special project like this does not happen very often, so this was truly special. To go from a first meeting at NAMM to a functioning system in just weeks was a mind-blowing achievement. It required the special expertise and focused efforts of all three companies to pull it off – I can still hardly believe we did.

by MIND Music Labs CEO Michele Benincaso

To see one of our V Collection classic products like the Prophet V on Stage with Muse is very exciting. The fact that it is that same plugin running in the guitar as you use in the studio really makes all the difference. I mean, Matt Bellamy even uses the same preset in the studio!”

by Arturia CEO Frédéric Brun

On February 22nd, just 4 weeks after the first initial meeting at NAMM, MUSE went on stage in Houston in front of a jam-packed Toyota Center. Seven songs into the show Chris Whitemyer handed Matt Bellamy the new guitar for the song “The Dark Side”

When all the guys got together to build this, we didn’t tell Matt that a new guitar was going to be built or maybe not built. I just gave it to him for the first show and told him he could walk as far as he wanted on stage. He just said ‘Oh, Cool!'”

I had no doubt in my mind it would work and it performed flawlessly. When I first got the guitar one week before the first show I tested it very thoroughly, leaving it on for four hours, turning it off and on fifty or more times, and jumping up and down with it and bouncing it off a mattress. It passed all the tests. The guitar is rock solid! Matt and I couldn’t be happier. It does everything I hoped it would and it’s on stage every night.

by Muse guitar tech Chris Whitemyer

If you want to see this unique guitar in action it will be on MUSE’s Simulation Theory World Tour in the U.S. through May, then in Europe all summer and in South and Central America this fall. 

Roland Aerophone AE-10-A Digital Wind Instrument/MIDI Controller for Sax Players

Roland Aerophone AE-10 Digital Wind Instrument Features:

  • Traditional saxophone fingering ensures a familiar playing experience
  • Responsive mouthpiece-mounted breath sensor provides expressive realism
  • SuperNATURAL modeling technology reproduces subtle tonal nuances, dynamics, and articulation
  • Realistic onboard sax tones, including alto, tenor, soprano, and baritone sounds
  • Full Range feature automatically switches between sax types by key range
  • Wide variety of additional acoustic tones are onboard, as well as Roland synth sounds
  • Connects to a DAW via USB for breath control of software and hardware synths
  • Onboard speakers yield excellent sound
  • Headphone output makes private rehearsals easy
  • Connect a smartphone or music player to play along with your favorite recordings
  • 6 AA batteries provide up to 7 hours of continuous performance

Not only the volume but also the sound itself is dynamically affected by the force with which you blow into the mouthpiece and the strength with which you bite it, providing a natural and richly expressive sound. 

by Roland


​The Aerophone has tons of internal sounds and built-in speakers, but it is also a great MIDI controller. Here are some of the parameters you can control on the Aerophone AE-10.  The Bite Sensor can control pitch and vibrato. The strength of your breath effects not only volume, but other parts of the sounds


There is even a mobile app for the AE-10. 




...

Roland – Aerophone GO | Digital Wind Instrument

Aerophone GO: Digital Wind Instrument – Explore the Inspirational World of Wind Instruments

Projucer: Deliver music apps for desktop and mobile, with the same code

 You may not know it, but a lot of the software you use may be made by the same system, JUCE.  JUCE is used for the development of desktop and mobile applications. 

The aim of JUCE is to allow software to be written such that the same code will can run identically on Windows, Mac OS X and Linux platforms. It supports various development environments and compilers.



Juce provides the following advantages 


What does Juce have to do with MIDI? 

 Juce not only teaches you how to build audio apps and synths, but also how to control them with MIDI. 


Dave Zicarelli from Cycling 74′ and Brett Porter from Art and Logic use Juce 

Why does that matter?  Both David and Brett are in the MIDI 2.0 prototyping working  group. Because a lot of the MIDI 2.0 prototyping work that they are doing is being done in Juce,  it will support various development environments and compilers. Tools like Juce weren’t available back in 1982!


Melodics- the best way to build your musical skills.

Melodics™ is a desktop app that teaches you to play MIDI keyboards, pad controllers, and drums.

Melodics works with any MIDI capable keyboard, pad controller, or drum kit. It has plug & play support for the most popular devices on the planet and custom remapping for everything else. 

It’s free to download, and comes with 60 free lessons to get you started.


If you make beats… Melodics is like going to the gym for a workout

by DJ Jazzy Jeff – Melodics artist


Melodics works with MIDI keyboards 


Melodics works with MIDI pad controllers like Push and Maschine


Melodics works with MIDI electronic drums


Melodics partners with other MIDI companies 




...

Melodics – About Melodics

Melodics is an app that adapts to your abilities and musical tastes to help you get better at playing keyboards, pad controllers, and drums.

Ableton Link- Play Together

With acoustic instruments, playing in time comes naturally. You can jump in when the time’s right, and everyone keeps their flow. Playing together with electronic instruments hasn’t always been so easy. Now Link makes it effortless.

Link is a technology that keeps devices in time over a local network, so you can forget the hassle of setting up and focus on playing music. Link is now part of Live, and also comes as a built-in feature of other software and hardware for music making.

Join the session

Hop on to the same network and jam with others using multiple devices running Link-enabled software. While others play, anyone can start and stop their part; or start and stop multiple Link-running applications at the same time. And anyone can adjust the tempo and the rest will follow. No MIDI cables, no installation, just free-flowing sync that works.

With Live and beyond

People make music using a range of instruments, so Link helps you play together using a range of devices. A growing number of music applications have Link built in, which means anyone on the same network can play them in time with Live. You can even use Link without Live in your setup: play Link-enabled software in time using multiple devices, or multiple applications on the same device. 


Apps that support link


...

Link-enabled music making apps for iOS | Ableton

You can use Ableton Link without Live: play Link-enabled music making apps in time using multiple devices, or using multiple apps on the same device.


Information for Link users


...

Ableton Link: Connect music making apps with Ableton Live | Ableton

Link is a technology that keeps devices in time over a wireless network, so you can forget the hassle of setting up and focus on playing music.

Information for Link Developers 


Ableton Push- Music at your fingertips

Push is an instrument that puts everything you need to make music in one place—at your fingertips

Making music is hard. To stay in the flow, you need to be able to capture your ideas quickly, and you need technology to stay out of the way. Computers make it possible for one person to create whole worlds of sound. But instruments are where inspiration comes from. Push gives you the best of everything. It’s a powerful, expressive instrument that gives you hands-on control of an unlimited palette of sounds, without needing to look at a computer.

Spend less time with the computer when composing ideas, editing MIDI or shaping and mixing sounds. Browse, preview and load samples, then slice and play them on 64 responsive pads. Play and program beats, melodies and harmonies. See everything you do directly on Push’s multicolor display. Integration with Live is as tight as possible, which means what you do on Push is like putting your hands directly on the software. 

Ableton Push 2 Key Features:

  • Hardware instrument for hands-on playability with Ableton Live
  • Simultaneously sequence notes and play them in from the same pad layout
  • Creative sampling workflows: slice, play and manipulate samples from Push
  • Navigate and refine your music in context directly with advanced visualization on the Push multicolor display
  • 64 velocity- and pressure-sensitive backlit pads
  • 8 touch-sensitive encoders for controlling mixer, devices and instruments, and Live browser navigation
  • Launch clips from the pads for jamming, live performance or arrangement recording
  • Scales mode offers a unique approach to playing notes and chords
  • Includes Beat Tools—a toolkit for beatmakers with more than 150 drum kits and instruments, 180 audio loops and much more
  • Includes Live 10 Intro for new users

Push gives you the best of both worlds for making music: inspiring hardware for hands-on control at the beginning, and full-featured music creation software for fine-tuning the details at the end.

by Ableton



...

Learn more about Ableton Push | Ableton

Push is the music making instrument that perfectly integrates with Ableton Live. Make a song from scratch with hands on control of melody, beats and structure.

Native Instruments Native Control Standard (NKS)

NKS is an integration technology developed by Native Instruments

NKS brings all your software instruments, effects, loops and samples, into one intuitive workflow – creating seamless integration between NI and other leading developers. It gives you streamlined browsing, consistent tagging, instant sound previews, pre-mapped parameters, Smart Play features, and more. NKS also connects all your favorite tools to our KOMPLETE KONTROL keyboards and software, MASCHINE, and third-party controllers.So If you see the NKS logo, you know what to expect: An intuitive and comfortable workflow that makes it easy to bring your sound to life.

by Native Instruments


BROWSE BETTER AND FASTER THAN EVER

Hear instant audio previews as you scroll through thousands of patches, from hundreds of instruments, from over 75 developers.

EVERYTHING IS PRE-MAPPED 

Start playing and tweaking instantly – just load an instrument or an effect and go. Each parameter is pre-mapped to the hardware, with the mappings designed by the developers themselves.

PLAY COMPLEX MUSIC EASILY

 The KOMPLETE KONTROL software lets you play intricate chord progressions and arpeggios, even without musical training, with single finger control. NKS helps bring out the music in you.

DEEPER CONTROL 

The Light Guide on the KOMPLETE KONTROL S-Series keyboards lets you see – and control – a range of deeper settings including articulations, keyswitches, and more. 


Apps that support NKS



Information for NKS users

Information for NKS Developers 


Yamaha SHS-500 Sonogenic MIDI Controller

The Sonogenic is not just a MIDI controller, it has built-in sounds, speakers and USB Audio/MIDI connectivity 

​The SHS-500 has everything you need to start playing right away all built-in to the compact “keytar” form factor. 

Sonogenic Red and Black

Sonogenic Controls

The Sonogenic has both Audio (stereo 44.1kHz) and MIDI USB capabilities and lots of connectivity


The SHS-500 Sonogenic connectivity

The SHS-500 features Bluetooth MIDI for wireless iOS connectivity

The Chord Tracker App

Chord Tracker is an app that analyzes the songs in your music library and nearly instantaneously shows you the musical structure of each in the form of an easy-to-understand chord chart like this:

Chord Tracker

Sample Tank 3


Sonogenic SHS500 Features:

  • 37-note keytar with Bluetooth MIDI for wireless iOS connectvity
  • JAM mode lets you focus on playing rhythms while the Sonogenic takes care of playing the correct notes of songs
  • 37 mini keys that play like a full-sized keyboard
  • Modulation wheel lets you control the amount of modulation effect on your sound
  • The USB-to-Host port connects to a wide variety of educational, creative, and entertaining musical applications on your computer or mobile device
  • 3.5mm AUX input for connecting a portable music player, iOS device, mixer, or computer for audio playback via internal speakers
  • ¼” AUX Line output jacks for connecting to an external amp or PA system without disabling the onboard speakers
  • Included AC adapter, MIDI breakout cable, neck strap


Powered by ELK Retrologue synth

MIND Music Labs announced the continuation of the official partnership with music and media production products provider Steinberg — by bringing a brand-new, co-developed desktop synth prototype with full MIDI support to SUPERBOOTH19 in Berlin, May 9-11.

“We immediately saw the potential of ELK MusicOS, and that’s why we added it to the official VST SDK [Software Development Kit]. The development of the ‘Powered by ELK’ Retrologue 2 hardware prototype has further strengthened our belief that, with the help of ELK MusicOS, VST can become a standard for not only software, as it is today, but also for hardware.” – Florian Haack, Senior Marketing Manager at Steinberg

The proof-of-concept Powered by ELK Retrologue 2 desktop synth prototype — running the full Retrologue 2 VST desktop version, successfully emulating the warmth and fatness of classic analog synthesizers — was showcased for all to see and hear on Steinberg-owner Yamaha’s booth at SUPERBOOTH19.


Use MIDI to Control Your Vocal Pitch, Harmonies and More!

Though Roland co-invented the Musical Instrument Digital Interface (MIDI) well over three decades ago, it’s still an integral part of new products and is as useful to musicians as ever. A prime example is the tiny but mighty Roland VT-4 Voice Transformer, a portable effects box for the instrument inside us all—the human voice.

Today’s musical styles increasingly use unusual vocal sounds with heavy processing, making them stand out and grab the listener’s attention. With the Roland VT-4, you have a wealth of modern and retro vocal effects at your fingertips, with no need for a complicated setup using a computer and plug-ins. The VT-4 has everything from delay and reverb to mind-bending formant and vocoding effects. Better still, the Roland VT-4’s performance-oriented interface lets you ride the controls while you sing to constantly alter the sound to suit the track and enhance the vibe of your performance.

But what if you need more control over your pitch or the voicings of your vocal harmonies? That’s where MIDI comes in.

While the Roland VT-4 works great on its own and can harmonize and vocode without any input other than your voice, plugging a MIDI keyboard opens even more expressive possibilities. Through MIDI you can control the Auto-Pitch, harmony, and vocoder engines in real time with the notes you play from a connected controller. You can hard-tune your voice to specific notes as you sing or create instant MIDI-controlled melodies and multi-part harmonies with voicings that follow your chords, and it is SO simple to get set up!

Supported by MIDI, the Roland VT-4 Voice Transformer brings real time vocal processing (including vocoding!) into the 21st Century.

To learn more about Roland’s VT-4 Vocal Transformer, visit https://www.roland.com/global/products/vt-4/ 


Roland VT-4 Voice Transformer Effects Processor Features: 

  • Compact vocal effects processor
  • Craft your own unique vocal sound, from subtle polishing to out-and-out mangling
  • Easy to use with no menu diving or programming
  • Great-sounding 24-bit/192kHz effects
  • Portable, compact design with up to 5 hours of battery life



ROLI Keyboards Feature Five Dimensions of Touch

Erin Barra, an associate professor at Berklee College of Music and Berklee Online details the Five Dimensions of Touch in Roli keyboards. 

Using MIDI Polyphonic Expression, ROLi keyboards lets you have expressive control over every note. 

  • Strike-Strike to sound a note
  • Glide-Glide your fingers from side to side to bend the pitch, simulating the effect of vibrato on a string instrument
  • Slide-Slide up and down to modulate a sound — for example, to add brightness, texture, or depth
  • Press-Press into the keywaves to deepen sounds, simulating the effect of breath on a wind instrument
  • Lift-Lift to change a sound’s resonance 

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MIDI Polyphonic Expression (MPE) Specification Adopted! –  

One of the biggest recen developments in MIDI is MIDI Polyphonic Expression (MPE). MPE is a method of using MIDI which enables multidimensional controllers to control multiple parameters of every note within MPE-compatible software.


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What is 5D Touch? : ROLI Support

ROLI Support for ROLI instruments including Seaboard RISE, Seaboard GRAND, BLOCKS, Equator, NOISE, Seaboard Block, Lightpad Block, and more

Native Instruments Maschine as a MIDI Controller

NI Maschine-Production and Performance System

Native Instruments’ Maschine MK3 is a comkplet music production system that includes  a built-in 24-bit/96kHz audio interface, high-resolution full-color displays, large pads, touch-sensitive knobs, and more. It comes with over 8GB of sample content, along with the full Komplete Select software bundle It has seamless DAW integration, and maybe best of all you can control all your other  MIDI devices with Maschine. 

Native Instruments Maschine MK3 Features:

  • NEW Built-in 24-bit/96kHz audio interface allows you to capture patterns and sequences with your DAW
  • NEW 2 high-resolution full-color displays allow for precision sample slicing, sound tweaking, note editing, mixing, browsing, and more
  • NEW Larger pads and touch-sensitive knobs make 2-handed drumming and tweaking parameters easy
  • NEW 4-directional push encoder makes browsing, navigating, and adjusting levels and balance fast and intuitive
  • NEW Powered with the included power supply or via USB
  • Innovative software/hardware hybrid groove production and performance system
  • Combines intuitive sequencer, sampler and high-quality effects with comprehensive hands-on control
  • Dedicated controller with 16 multicolor pads, 47 buttons, and 9 rotary encoders for playing, recording, sequencing, automation and arrangement lets you keep your eyes off your monitor
  • Smart Strip for strumming notes, pitch bending sounds, performing with FX, and more
  • Includes all basic groove-production features such as step sequencing, real-time recording, note repeat, slicing, and auto-mapping
  • Hosts VST and AU plug-ins for adding even more production power to your rig
  • Easily find kits, instruments, samples, and effects with the tag-based browser
  • Intuitive automation recording and step automation editing lets you create complex sounds
  • Sample compatibility includes Akai MPC 500, 1000, 2000(XL), 2500, 3000, and 4000 program import
  • Threshold detection makes sampling from external and internal sources easy
  • Works as a plug-in in virtually any application that supports AAX, VST, AU, or RTAS formats
  • Extensive MIDI I/O allows you to sequence your external MIDI gear with Maschine and vice versa
  • Easy drag-and-drop pattern export lets you easily transfer MIDI and audio directly to your DAW’s timeline
  • Group Macro Controls let you assign any parameter of the dedicated group to the controller’s 8 knobs
  • Dedicated MIDI-mapping software makes using the Maschine controller with other applications and instruments easy

Using Maschine to control external MIDI devices

What are MIDI CC Macro Presets?

MIDI Control Change Macros allow you to define a set of macros in MASCHINE that can be used to control and modulate parameters on external MIDI devices using your MASCHINE soft- ware or hardware.

To save you the time of creating sets of Macro controller we have created a few readymade pre- sets for popular devices which can be installed on your computer. Once installed the Macro presets appear in the Sound and Group categories of your MASCHINE Browser and can easily be used as part of your workflow. It is also possible to edit these presets or create new ones. 

by Native Instruments

Native Instruments has put together Macro Presets for a lot of popular MIDI gear, but you can also create your own.  Here is a look at what’s included in the Maschine MIDI Presets for External Instruments

Groups

Sounds 


How to Record MIDI Instruments

It has never been as easy to stay “in the box” as it is now. There are lots of software virtual instruments out there; some emulate hardware instruments, and others offer completely new sounds. That said, there’s something special about performing on a synthesizer or MIDI instrument with its own sound engine that’s difficult, if not impossible, to capture in software. And just as software instruments keep getting better, hardware MIDI instruments have never been better or more affordable. Here are ways you can record your MIDI instrument, depending on the features. 


Recording a MIDI Instrument with USB Audio and MIDI 

If your MIDI instrument has a USB port that can both send and receive MIDI and audio data, you’re in luck! Recording this device will be a breeze. First, connect the USB port on your instrument to a USB port on your computer. Then make sure that your DAW sees the USB ports of your instrument as both audio and MIDI devices. You’ll want to set up an instrument track to record and play back the MIDI data from your instrument, and to accept the audio input coming from the USB audio connection as well. This allows for the most flexible use of your MIDI instrument possible — you can record it, edit the recorded MIDI notes, and then hear the resulting edited audio coming back from your instrument. 


Recording a MIDI Instrument with USB MIDI Only 

Many MIDI instruments that have USB ports will only send and receive MIDI data over USB. This isn’t quite as convenient as if your instrument could send both audio and MIDI over USB, but it’s still easy to work with. First, connect the USB port of your instrument to a USB port on your computer, and connect the audio outputs of your instrument to audio inputs on your audio interface. Next, set up a MIDI track in your DAW to record and play back the MIDI data from the USB connection of your instrument. Then set up an audio track in your DAW to record the audio inputs on your interface that you’ve connected your instrument to. Now your MIDI track will record and then play back MIDI to your instrument over USB, and your audio track will record the audio output from your instrument. Although connecting everything is a bit more complicated with this method, you’ll still be able to record, edit the recorded MIDI notes, and then hear the resulting edited audio coming back from your instrument. 


Recording a MIDI Instrument with No USB Ports

Some MIDI instruments, especially older ones, don’t have any USB ports at all. They will usually use the original 5-pin DIN MIDI ports. This requires a little extra gear but is fundamentally the same as recording a MIDI instrument with USB MIDI only. The big difference is that you’ll need a separate USB MIDI interface to send and receive MIDI between your instrument and computer. Some audio interfaces may come with a built-in 5-pin DIN MIDI interface; otherwise, you can purchase a dedicated one. You can buy inexpensive MIDI interfaces with a single MIDI in and MIDI out port, such as the M-Audio MIDISport 2 x 2, or fully featured rackmounted MIDI interfaces, such as the MOTU MIDI Express series with up to 8 x 8 MIDI ports, depending on how many MIDI devices without USB you have. Once you have your MIDI devices connected to your computer via a USB MIDI interface, the rest of the process is identical to the prior method: recording a MIDI instrument with USB MIDI only.

It might take a little more planning to record a hardware MIDI instrument, but the expression potential and the often unbeatable sound quality make it worth it. Don’t let the fact that the sounds aren’t inside your computer scare you off; recording MIDI instruments is easy!

ROLI BLOCKS-Modular Wireless MIDI Touch System


BLOCKS is a modular music making system made up of 5 components


Seaboard Block Super Powered Keyboard

  • Multi-award-winning Seaboard interface
  • 5D Touch technology
  • 24 keywave, two-octave playing surface
  • Hundreds of free sounds
  • Suite of music making software for desktop and mobile
  • Wireless and portable for making music on the go
  • Connects to other Blocks


Lightpad Block Expressive Musical Touchpad

  •  Touch responsive soft silicon playing surface
  • LED illumination reconfigures Lightpad M for different notes and scales
  • Adaptable surface can become a drum pad, fader bank, effects launcher and more
  • Hundreds of free sounds
  • Suite of music making software for desktop and mobile
  • Wireless and portable for making music on the go
  • Connects to other Blocks


Perform with the Live Block

 The Live Block is for performance. The buttons let you switch scales and octaves, trigger chords and arpeggios, and sustain notes in real time.


Touch Block-Add Expression Faster

Touch Block helps you adjust the expressive behavior of your Seaboard Block and Lightpad Block. Turn up or turn down the responsiveness of the surface to the Strike, Glide, Slide, Press, and Lift dimensions of touch. Maximize the depth of expression available through pressure, or minimize the pitch-bend effect of sideways movements. Customize your control of any sound in real time and on the fly.


Loop Block-Produce Faster
 

Loop Block helps you produce a track faster. Record loops and play them back. Set your tempo, and quantize your loops so they’re always in time. 



ROLI Dashboard 

Customize BLOCKS and the Seaboard RISE for your workflow 

Blocks become open-ended MIDI control surfaces through ROLI Dashboard. Customize the LED-illuminated Lightpad Block by loading different apps, including a note grid, a bank of faders and more. Use Control Blocks as CC controllers for your favorite DAW. 



IK Multimedia iRig Keys I/O

MIDI Controller/Audio Interface for mobile musician

The iRIg Keys I/O comes in two version a a 25-key MIDI controller version and a 49-key MIDI controller version.  Both feature built-in audio interfaces with 24-bit/96kHz sound quality, a Neutrik combo input, and phantom power and eight touch-sensitive RGB LED backlit drum pads.

iRIG I/O 25

iRIG I/O 49


Complete suite of music production software included

 The iRig Keys I/O 25 comes with all the software you need to start creating music. Ableton Live Lite is the perfect DAW to get started with and IK Multimedia adds RackS Deluxe with 10 i mixing and mastering tools and  SampleTank 3 with 4,000 rinstruments, 2,500 rhythm loops, and 2,000 MIDI files. If you are mobile musician, SampleTank iOS for iPad and iPhone is a full-featured mobile sound and groove production studio.

Ableton Live lite

Sample Tank 3

T-RackS Deluxe


IK Multimedia iRig Keys I/O 49 Features:

  • MIDI controller with 49 full-size, velocity-sensitive keys
  • 8 touch-sensitive RGB LED backlit drum pads for beat creation
  • Touch-sensitive sliders and buttons plus touch-sensitive rotary controllers for controlling soft synths and other apps
  • Built-in USB audio interface features excellent 24-bit/96kHz sound quality
  • Neutrik combo input with phantom power handles nearly any microphone or instrument
  • Stereo line output and headphone jack provides ample monitoring options
  • Mac/PC/iOS compatible (MFi certified, lightning cable included)
  • Powered via USB (Mac/PC), batteries (iOS), or optional power supply (sold separately)
  • Includes full versions of T-RackS Deluxe, SampleTank 3, Miroslav Philharmonik 2 CE, Ableton Live Lite, and SampleTank iOS for iPad and iPhone
  • iOS stand is included

May Is MIDI Month 2019 Webinar: Guthman Musical Instrument Design

Guthman Musical Instrument Design Competition
May 11, 2019 at 7PM Pacific Time

All three winners of the 2019 Guthman Musiclal Design Competition were MIDI Controllers. 

Check out Geoshred,AirSticks and The Glide as well as other unique MIDI instruments. 

This panel discussion will also include live and video performances from the participants.

Panelists:
Jordan Rudess, Pat Scandalis, Alon Ilsar, Keith Groover, Qianqian Jin, Nathan Asman
 




The Glide, GeoShred and Airsticks win Guthman New Instrument Competition 

On March 9th at the Georgia Tech Center for Music Technology, three judges with audience input selected the three winners of the 2019 Guthman New Instrument contest . 

All three judges are people who are heavily involved with MIDI. 

Pamela Z Composer, Performer, Media Artist       Roger Linn Technical Grammy Award Winner             Ge Wang Associate Professor, Stanford University


The Glide 

The Glide was conceived, designed, and coded by Keith Groover, a musician, music educator, and inventor living in South Carolina.  There are two controllers, one for each hand, and each controller has three accelerometers (for the X, Y, and Z axes.) It is primarily designed to be a MIDI controller broadcasting over bluetooth, which means that you pair it with a phone, tablet, or computer and then play through a synthesizer app. Here is a video on how it works.


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Home | The Glide

The Glide is a new wireless midi instrument, based around the accelerometer.


GeoShred 

Jordan Rudess is no stranger to MIDI.org.  We have done exclusive interviews with him.  HIs videos of playing a number of MPE instruments are featured in our articles on MPE. Now his GeoShred app has won 2nd place in the 2019 Guthman New instrument Competition. GeoShred is highly expressive when controlling, and being controlled by, instruments that use the  “MPE” MIDI specification (MIDI Polyphonic Expression). It’s both a powerful synth and a formidable iPad based MIDI/MPE controller! 


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GeoShred – Wizdom Music

GeoShred is a powerful, musical instrument that offers a performance environment on a multi-touch surface unlike anything you’ve ever experienced.


Airsticks 

The AirSticks combine the physicality of drumming with the unlimited possibilities of computer music, taking the practice of real-time electronic music to a new realm.

The AirSticks were developed by drummer/ electronic producer Alon Ilsar and computer programmer/ composer Mark Havryliv. Airsticks transform off-the-shelf gaming controllers into a unique musical instrument, 

AirSticks™

Airsticks converts game controllers into a new musical instrument

 


Qijin

The QJin was developed by Qianqian Jin, a student in the Technology and Applied Composition (TAC)  of San Francisco Conservatory of Music  The Qijin is a customized MIDI controller for a Guzheng (a Chinese classical zither).  It is not only a MIDI controller , but it has a built-in amplification system to augment its capacity for live performance and sound design. A built-in arduino board that supports MIDI allows the performer to connect to any MIDI compatible music software. 



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Qianqian Jin ’20 | SFCM

Qianqian Jin is forging her own path to stand out with unmatched originality.


Kaurios 

The Kaurios gets its name from the amazingly unique wood that it is made out of. Kauri is the oldest wood available in the world and has been buried underground in New Zealand for about 50,000 years. So Nathan Asman’s project marries ancient wood with state of the art wireless BTLE MIDI technology. 


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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 mai


The tagline for the Margaret Guthman New Instrument Competition is “the future of music”  and all three winners of the 2019 competition were MIDI controllers. So the future of music is MIDI. We couldn’t agree more.

May Is MIDI Month 2019 Webinar: Controllerism

Controllerism
May 4, 2019 at 3 PM Pacific Time
A panel discussion with the people who created the Controllerism movement about how MIDI influences the world of Digital DJs.

Laura Escudé, Sam Gribbens, Huston Singletary, Moldover,
Kate Stone, Shawn Wasabi

Panelists 

Laura Escudé

International music producer, DJ, controllerist, violinist and live show designer Laura Escudé aka Alluxe has been an important figure in some of the most revered concerts around the globe, DJing, programming and designing shows for the likes of Kanye West, Jay Z, Miguel, Charli XCX, Demi Lovato, Iggy Azalea, Yeah Yeah Yeahs, Herbie Hancock, Cat Power, Bon Iver, Drake, The Weeknd, Silversun Pickups, Garbage, Childish Gambino and M83. Escudé is a classically trained violinist, an Ableton Certified Trainer and is the CEO of Electronic Creatives, a team of some of the most talented and sought after programmers and controllerists in the business.

Sam Gribbens

Sam was the CEO of Serrato when the Controllism movement began. He then went on to found Melodics™. Having finished up at Serato after a decade at the helm, Sam was ready for something new. He’d worked with some of the biggest artists in the music world, and with the international companies who built the instruments & controllers they used. Along the way he noticed how important pad & cue point drumming was becoming in the overlapping worlds of DJing & production. Thus, an idea was born.

Huston Singletary

Sound designer, producer, film composer, product specialist, clinician, and programmer, Huston Singletary, has been affiliated with the best of the best in the sound design/synth world. Toontrack, Izotope, Synthogy, Native Instruments, Roland, Alesis, and Spectrasonics.

Moldover

History only notes a handful of artists who successfully pushed the limits – both with their music and the design of their musical instruments. What Bach was to the keyboard and Hendrix was to the guitar, Moldover is to the controller. Disillusioned with “press play DJs”, Moldover fans eagerly welcome electronic music’s return to virtuosity, improvisation, and emotional authenticity. Dig deeper into Moldover’s world and you’ll uncover a subversive cultural icon who is jolting new life into physical media with “Playable Packaging”, sparking beautiful collaborations with his custom “Jamboxes”, and drawing wave after wave of followers with an open-source approach to sharing his methods and madness. 


 Kate Stone

Dr. Kate Stone, founder of Novalia, works at the intersection of ordinary printing and electronics to make our current analogue world come alive through interaction.
Novalia creates paper thin self-adhesive touch sensors from printed conductive ink and attached silicon microcontroller modules. Their control modules use Bluetooth MIDI connectivity.
“Novalia’s technology adds touch, connectivity and data to surfaces around us. We play in the space between the physical and digital using beautiful, tactile printed touch sensors to connect people, places and objects. Touching our print either triggers sounds from its surface or sends information to the internet. From postcard to bus shelter size, our interactive print is often as thin as a piece of paper. Let’s blend science with design to create experiences indistinguishable from magic.”


Shawn Wasabi

Shawn Wasabi is an Artist/Producer/Visionary of Filipino decent from the city of Salinas, California. He first awed the Internet world with his release of “Marble Soda”, using the rare Midi Fighter 64, co-designed by Shawn. Using this one of a kind machine, Shawn reached 1 million views on Youtube within 48 hours of “Marble Soda” being uploaded.

On the heels of “Marble Soda” success he went on to release 7 more original songs amassing over 100 million Youtube in the span of 3 years. Shawn went on to create an original visual element that blends video games, animation and music together. With his visual brand, Shawn Wasabi’s has culminated a demand for his services as a studio music producer, which resulted in famed Songwriter Justin Tranter signing him to an exclusive publishing deal with Facet Music/Warner Chappell.  

K Board Pro 4- Expressive Smart Sensor Keyboard

With K-Board Pro 4 we’ve taken the format of a traditional keyboard and updated it for the 21st Century. With our SmartFabric™ Sensors underneath each key you can tweak any synthesis parameter in real time by moving your fingers while you are playing. The MIDI MPE Standard is the future for expressive controllers and we have designed the K-Board Pro 4 to be the ultimate MPE Controller.

by Keith McMillen


Multidimensional Expression

The Keith McMillen Instruments K-Board Pro 4 is a 4-octave MIDI keyboard controller with multidimensional touch sensitivity in each key. K-Board Pro 4 supports MIDI Polyphonic Expression (MPE) that allows additional gestures individually on each key.  You can wiggle your finger horizontally to generate MIDI CC commands,  slide vertically to open up a filter, or apply pressure to control volume. For non-MPE synths, the K-Board Pro 4 provides fully featured polyphonic aftertouch. The data from each gesture is completely assignable and sent individually per note.


Keith McMillen Instruments K-Board Pro 4 Features: 

  • Provides a level of expressiveness previously attainable only with acoustic instruments
  • Expressive Smart Sensor Keyboard Fabric technology
  • Support for MPE (MIDI polyphonic expression) protocol
  • SmartFabric sensors underneath each key
  • Transmits attack and release velocity and continuous pressure, as well as horizontal and vertical position data
  • 48 resilient silicone keys and no moving parts for superior durability
  • USB powered; class compliant
  • MacOS/Windows, iOS/Android compatibility

SmartFabric sensor technology 

Under each key is Keith McMillen Instruments’ patented Smart Sensor Fabric technology which let you tweak any synthesis parameter in real time simply by moving your fingers while you are playing. 

The K-Board Pro 4 is USB powered and class compliant to ensure compatibility with MacOS, Windows, iOS, and Android, as well as all MIDI-enabled hardware.

Editors in OSX, Windows and Web MIDI formats 

 Keith McMillan Instruments provides editors for OSX and Windows, but you can also edit and update your K Board Pro 4 directly online using Web MIDI.



The Moog One- The Ultimate Moog Synth

After many years, Moog releases a polyphonic analog synth 

The Moog One is a programmable, tri-timbral analog synth featuring an intuitive tactile interface that allows you to explore a vast sonic universe of classic Moog analog circuits that have been know for many years for their unrivaled punch and rich harmonics, 

An advanced sound architecture comes in 16 voice and 8 voice versions 

The 16 voice allows sixteen complete voices simultaneously and the 8 voice allows eight.  Each voice features three state-of-the-art analog voltage-controlled oscillators (VCOs), two independent analog filters (a Variable State filter and the famous Moog Ladder Filter) that can be run in series or parallel, a dual-source variable analog noise generator, an analog mixer with external audio input, four LFOs, and three envelope generators. 

You can split or layer three different timbres — each with its own sequencer, arpeggiator, and onboard effects library — across the premium 61-note Fatar keyboard with velocity and aftertouch.


Moog One Analog Synthesizer Features: 

  • 8- or 16-voice polyphony
  • 3 VCOs per voice with waveshape mixing and OLED displays
  • Unison mode (up to 48 oscillators on the 16-voice instrument)
  • 2 filters per voice with filter mixing (2 multimode State Variable filters that function as a single filter, and a classic lowpass/highpass Moog Ladder filter)
  • 3 DAHDSR envelopes per voice with user-definable curves
  • 3-part multitimbrality
  • Separate sequencer and arpeggiator per timbre
  • Chord memory
  • Dual-source noise generator with dedicated envelope
  • Mixer with external audio input
  • Ring modulation with selectable routing
  • Oscillator FM and hard sync with selectable routing
  • 4 assignable LFOs
  • Premium 61-note Fatar TP-8S keybed with velocity and aftertouch
  • Assignable pressure-sensitive X/Y pad
  • Digital Effects (Synth and Master Bus)
  • Eventide reverbs
  • Selectable glide types
  • USB and DIN MIDI
  • Save, categorize, and recall tens of thousands of presets
  • Create Performance Sets that make up to 64 presets accessible at the push of a button
  • 2 x ¼” stereo headphone outputs
  • 2 pairs of assignable ¼” outputs (supports TRS and TS)
  • 4 x ¼” hardware inserts (TRS)
  • 1 x ¼” external audio input (line-level)
  • 1 XLR + ¼” TRS combo external audio input with trim knob
  • 9 assignable CV/GATE I/O (5-in/4-out)
  • USB drive support for system and preset backup
  • LAN port for future expansion


Amos Gaynes on the Moog One 

Amos Gaynes works for Moog Music and he is also the chairman of the MIDI Manufacturers Association’s Technical Standards Board. Here he talks about the development of the Moog One,  


IK UNO Drum- Analog/PCM Drum Machine Announced at Super Booth

UNO Drum marries analog sounds and digital control

The UNO Drum features six true analog voices — kick, snares, claps, and hi-hats — plus there are  54 PCM samples — toms, rims, ride, and cowbell — derived from IK’s popular SampleTank 4. Because the UNO has 11-voice polyphony you can even layer the analog and PCM sounds together.  

The analog section was designed by Soundmachines who also collaborated with IK Multimedia on the UNO Synth. 

IK Multimedia UNO Drum Features:

  • Drum machine with analog engine plus 54 PCM samples
  • 6 analog voices designed by Soundmachines
  • 54 PCM samples derived from SampleTank 4
  • Layer analog and PCM sounds together with 11-voice polyphony
  • Loads of sound-shaping tools, including tune, snap, and decay for every sound, and global drive and compression effects
  • 12 touch-sensitive pads with dual velocity zones
  • 4 dynamic encoders
  • Stutter, random, and roll effects for spicing things up
  • 64-step sequencer with 8 parameter automations per step
  • Record by step or in real-time
  • Save and recall 100 patterns and 100 drum kits
  • Song mode chains up to 64 patterns together in any order
  • Integrates with your rig via USB, 2.5mm MIDI I/O, and audio pass-through
  • Runs off battery or USB bus power


Integrates in any Live, Studio, or Mobile Set-up

The UNO Drum features USB and traditional MIDI via 2.5mm jacks (the cables are included) so it’s easy to integrate with our Mac/PC,  iOS device or traditional outboard MIDI gear.

UNO also offers Audio in with compression to daisy chain with other gear. 



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IK Multimedia – UNO Drum

UNO Drum – True analog/PCM drum machine. Easily programmable. Ultra-portable.

IK Multimedia iRig BlueBoard

Bluetooth LE MIDI Pedalboard for controlling iOS and Mac apps

The IK Multimedia Blue Board uses the new BTLE (Bluetooth Low Energy) MIDI specification so you can control your music apps wirelessly with your feet! 


If you’re using iOS apps such as IK Multimedia’s AmpliTube, you can now send control messages to them for up to 32.8 feet via Bluetooth MIDI connection.


There are two expansion TRS jacks for expression pedals to give you more control over your sound.  


IK Multimedia iRig BlueBoard Features:

  • Wireless Bluetooth technology that functions up to 10 meters (32.8 feet)
  • 4 backlit control pads with additional LEDs that light when the pad is active
  • 2 expansion 1/4″ TRS jacks for additional expression pedals
  • Compatible with Mac and iOS devices
  • Powered by 4 standard AAA batteries
  • Small enough to fit in a laptop bag


Get Real and Get Funky: How to Create Realistic MIDI Bass Parts

5 Tricks to getting a great MIDI bass track 

1. How to get rid of a hangover 

Fig. 1: The orange notes overlap the attacks of subsequent notes. The white notes are trimmed to avoid this.

Most bass lines are single notes, and because bassists lift fingers, mute strings, and pick, there’s going to be a space between notes. Go through your MIDI sequence note by note and make sure that no note extends over another note’s attack (Fig. 1). If two notes play together, you’ll hear a momentary note collision that doesn’t sound like a real bass. I’ll even increase the gap between notes slightly if the notes are far apart. 

2.  Squeeze every drop out of your track

Fig. 2: Studio One’s Transform tool makes it easy to compress values by raising the tool’s lower boundary.

Great bassists are known for their touch — the ability to play notes with consistent timing and dynamics. It can sometimes be harder to play keyboard notes consistently than bass strings, which brings us to MIDI velocity compression.

Audio compression can give more consistent levels, but it doesn’t give a more consistent touch; that has to happen at the source. Some recording software programs have either MIDI FX or editing commands to compress data by raising low-level notes and/or reducing high-level notes (Fig. 2). But if your program doesn’t have velocity compression, there’s an easy solution: add a constant to all velocity values for “MIDI limiting.”

For example, suppose the bass part’s softest note velocity is 70, and the highest is 110 — a difference of 40. Add 35 to all values, and now your softest velocity is 70+35=105, and your highest is 110+35=145, but velocity can’t go higher than 127 — so you have instant “MIDI limiting.” Now your highest-velocity note is 127, and there’s only a difference of 22 between the highest and lowest notes. If you want to go back to making sure the highest-level note is 110, then subtract 17 from all values. Your highest-level note is now at 110, but the lowest-level note is 88 — still a difference of 22 instead of 40.

This doesn’t necessarily preclude adding audio compression, but you’ll probably need to add less of it, and the sound will be more natural. 

3. If it’s a Synth Bass 

It means you can probably modulate synth parameters with velocity. When creating sampled bass instruments, rather than go through the hassle of multi-sampling different velocities, I sample each individual note plucked strongly and then tie sample start time, level, and filter cutoff to note velocity to create the dynamics. Although the sound may arguably not be as realistic as something with four billion round-robin samples, I find this approach to be more expressive overall because any synth module changes tied to dynamics are continuous. 

4. Slippin’ and Slidin’ 

Slides are an important bass technique — not just slides up or down a string, but over a semitone or more when transitioning between notes. For example, when going from A to C, you can extend the A MIDI note and use pitch bend to slide it up to C (remember to add a pitch bend of 0 after the note ends). Also, all my sampled bass instruments have sampled down and up/down slides for each string. Throw those in from time to time, and people swear it’s a real bass. Unless you’re emulating a fretless bass, you want a stepped, not continuous, slide to emulate sliding over frets, but you don’t want to re-trigger the note at each step. There are several ways to do this. 

Fig. 3: Studio One’s Presence XT instrument has glide. Enable it, set a very short glide time, and add a very slight overlap between notes — the 1-measure slide shown here goes from C to G. The last note does not overlap with the G; this gap between notes allows the G note to re-trigger.

  • If the bass instrument has a legato mode, you can do a slide by adding notes at individual semitones to create the slide, and then using legato mode to avoid having the notes re-trigger. Legato mode does require an overlap between notes, but it can be very short.
  • Glide will also work under the same conditions, but you need to set the Glide time to minimum (Fig. 3).
    If your program doesn’t interpolate between pitch-bend messages (or you can turn off smoothing for the pitch-bend function), quantizing pitch-bend slide messages so they’re stepped is another solution, but this one doesn’t require entering extra notes. For example, with a virtual instrument’s pitch bend set to +/-12 semitones, quantizing the bend to 1/32 triplets will give exactly 12 steps in an octave-up slide that lasts one beat, while a 1/16 note triplet gives 12 steps in an octave-up slide that lasts two beats, or
  • Just draw a stepped pitch bend.

Then again, you might want to emulate a fretless bass and have continuous slides. 

Fig. 4: Use these pitch-bend values to slide a precise number of semitones.

For precise slides, Figure 4 shows the amount of pitch-bend change per semitone when using a pitch-bend range of +/-12 semitones (recommended for bass to make these kinds of slides possible). For example, if an octave is a pitch-bend value of 8191 and you want to start a slide three semitones above the note where you want to land, start at a pitch-bend value of +2048 and end with a pitch-bend value of 0. If you want to step the part (this assumes you can turn off pitch-bend smoothing or enter precise values in an Event List), add equally spaced events at +1366, +683, and just before the final note, 0. 

5. Mod Wheels Are Not for Vibrato 

Dubstep people have figured this out — they eschew vibrato for tremolo or “filtrato.” With bass, I use the mod wheel for what I feel are more useful effects:

  • Roll off treble as the wheel rolls further away to emulate a traditional bass tone control
  • Mix in a sub-octave for an octave-divided bass sound
  • Alter tremolo depth to add pulsed tremolo sparingly
  • Increase drive to an amp sim to give more “growl”

Because you’ll likely be playing single notes for bass line, your other hand will be free to work the mod wheel and increase expressiveness even further — and that’s a good thing. 

Want to be a better drummer? There’s a Yamaha DTX app for that!

Yamaha has a number of mobile apps for their DTX  electronic drums to make drumming more fun while helping you to get better! 


DTXM12 Touch

The DTXM12 Touch app not only lets you edit the pads with a touchscreen interface but also adds new features that expand its functionality in live performance situations. When the DTX-MULTI 12 is connected to an iPad or iPhone via USB, drummers can now trigger song playback and backing tracks from their music library using the pads, and then mix the audio through the stereo auxiliary input! Additionally, the app includes a mixer for all the sounds of a kit, including up to four sounds per pad, and access to every parameter of the instrument. It also lets users quickly see what voices are assigned to the pads on the touchscreen.


DTX502 Touch

The DTX502 Touch app lets drummers take control of the DTX502 drum trigger module using their iOS’ touch-screen interface when connected via USB. Now it’s even easier to create custom user kits, layer and cross-fade two different sounds per pad, and program up to 30 click and tempo settings for instant recall. The app also serves as a conduit for downloading new kits in a wide range of styles from YamahaDTX.com. In addition, the app has a unique Hybrid Setup wizard that helps drummers calibrate custom trigger settings quickly for their DTX 502-series kit, or any combination of electronic pads and acoustic drum triggers! 


DTX402

 With the DTX402 touch app, the creative possibilities are nearly limitless. Fine tune your DTX402 series kit to precision. Change the sounds for any of the 10 built in kits or individual pads, set custom tunings, volume settings and more. Access the Trigger setup, Reverb and Pedal settings with a single touch, and adjust the virtual position of the open hi-hat. You can even set the volume for the on board “Voice Guidance” training system. The 402 touch app also has 10 built in play along songs, designed to make you a more well rounded, diversified drummer. Choose to play along with either the pre-recorded drums with those songs as a practice reference, or use the option to mute the pre-recorded drums and take on the show for yourself. The app has a big focus on education ,and offers 10 challenge mode practice exercises, covering a variety of important skills and topics every drummer should strive for.


Song Beats

Song Beats is an iPhone app that supports your drum performance by visualizing which drums to hit and when to hit them while playing along with your favorite songs. The app also allows you to easily create custom accompaniments for drums, putting your drumming at the center of the band. In addition, you can also use 10 built-in demo songs or any MIDI song that you’ve already purchased from Yamaha MusicSoft by using iTunes File Sharing. Register Song Beats with Yamaha, and your first song is free!


DTX700 Touch

 DTX700 Touch app Allows you to easily and intuitively Customize your kit with quick access to editing and layering. Fine tune your sounds with The EQ and add filters with a simple touch and drag. Download free drum kits from YamahaDTX.com or back up a kit or the whole module with an iOS device.


Native Instruments KOMPLETE KONTROL M32 Micro Controller

NI has released their smallest, most portable controller ever! 

Native Instruments Komplete Kontrol M32 Features:  

  • Micro-size keyboard controller with 32 keys for all your virtual instruments and effects
  • Affordable entry point into the NI world
  • Synth-action, custom NI micro-keybed
  • Informative OLED display for at-a-glance navigation
  • 8 touch-sensitive control knobs
  • 2 touch strips for intuitive expression
  • 4-directional push encoder for one-handed sound browsing and project navigation
  • Tag-based preset browsing via the Komplete Kontrol software lets you find sounds quickly and hear instant previews
  • Smart Play lets you stay in key with over 100 scales and modes, play chord progressions and arpeggios with single keys, or map any scale to white keys only
  • Pre-mapped control of Komplete instruments and effects, plus hundreds of Native Kontrol Standard (NKS) plug-ins from leading manufacturers via Komplete Kontrol software
  • Expand your library with loops and samples from Sounds.com
  • Full VSTi and VST FX support
  • Deep integration with Maschine software
  • Intuitive control over Logic Pro X, GarageBand, and Ableton Live
  • TRS pedal input, assignable to sustain
  • USB 2.0 bus powered
  • Can be used as a generic MIDI controller
  • Software bundle included

Comes with all the software you need to get started making music
Included software:

 

KOMPLETE KONTROL SOFTWARE

Ableton Live 10 Lite

Monark — iconic mono synth

Maschine Essentials

Scarbee Mark I — electric piano

Reaktor Prism — polyphonic synthesizer



Komplete : Keyboards : Komplete Kontrol M32 | Products

KOMPLETE KONTROL M32 has everything you could ask for when making music. Great playability and a compact way to express your creativity.

Roland Brings Wireless MIDI to Digital Wind Instruments!

As one of the inventors the Musical Instrument Digital Interface, Roland has continued to push the boundaries of the now 36-year old protocol(!) by continuously developing MIDI-based applications which bring totally new creative opportunities to musicians. One such application is the Roland AE-05 Aerophone GO, a unique digital wind instrument which uses MIDI (and Audio) over Bluetooth to dramatically expand the playing experience.

Connecting to a compatible iOS or Android mobile device using Bluetooth allows the Aerophone GO to interact with a range of apps including Roland’s own Aerophone GO Plus and Aerophone GO Ensemble.  

With Aerophone GO Plus, a player gains 50 new sounds triggered by MIDI over Bluetooth and can jam along to their favorite songs from their smartphone. In addition to an integrated metronome, the app also allows for customizing the connected Aerophone to suit the player’s technique, with all changes being communicated by MIDI over Bluetooth. 

A second app, Aerophone GO Ensemble, connects up to 7 players with a single mobile device for group performance using a common bank of sounds, all facilitated by MIDI over Bluetooth. Whether the application is a lesson with teacher, a duo performance, or a complete ensemble, MIDI over Bluetooth supports a unique wireless playing experience that would have been difficult to imagine 30+ years ago! 


Not only the volume but also the sound itself is dynamically affected by the force with which you blow into the mouthpiece and the strength with which you bite it, providing a natural and richly expressive sound. 

by Roland


The Aerophone has tons of internal sounds and built-in speakers, but it is also a great MIDI controller. Here are some of the parameters you can control on the Aerophone AE-10. The Bite Sensor can control pitch and vibrato. The strength of your breath effects not only volume, but other parts of the sounds 





...

Roland – Aerophone GO | Digital Wind Instrument

Aerophone GO: Digital Wind Instrument – Explore the Inspirational World of Wind Instruments

Ableton Live 10.1- What’s New- Wavetable Synthesis User Waves

Recently Ableton announced a free update to Live – Version 10.1 

There were a number of workflow improvements , but one of the major new features is the Wavetable synthesizer now supports user wavetables. This allows you to import any wavetable or sample  and use it as an oscillator.

Check out this Youtube video of everything that’s new in Live 10.1. 


Wavetable synth architecture

Wavetable has a dual-oscillators plus a sub-oscillator this feeds into a 2-pole lowpass filter with five different types of resonant multimode filters available for each of its two filters: Clean , OSR (based on the Oscar), MS2 (a model of the Korg MS20), PRD (based on the Moog Prodigy) and SMP (a variation of the Sallen-Key topology). The MS2, PRD, SMP, and OSR modes are switchable between lowpass and highpass, with variable Drive for adding grit. 

There are tons of preset wavetables already organized into categories- Basics, Collection, Complex, Distortion, Filter, Formant, Harmonics, Instruments, Noise, Retro, and Vintage. You can pretty much guess what is in the Presets from the category names. 

Wavetable synthesis was used in Ensoniq, Korg, PPG and many other synthesizers. It can also do FM-like synthesis. 


Wavetable synthesis is fundamentally based on periodic reproduction of an arbitrary, single-cycle waveform.[5] In wavetable synthesis, some method is employed to vary or modulate the selected waveform in the wavetable. The position in the wavetable selects the single cycle waveform. Digital interpolation between adjacent waveforms allows for dynamic and smooth changes of the timbre of the tone produced. Sweeping the wavetable in either direction can be controlled in a number of ways, for example, by use of an LFO, envelope, pressure or velocity.

by Wikipedia

FM: This mode applies an FM modulator to the wavetable, with visual feedback so you can see the results. In this mode, the two adjustable parameters are tuning and amount.

You can achieve familiar FM effects by starting with the Sines 1 table in the Harmonics category (with a wave position of zero; pure sine), then adjusting the modulation amount parameter with an envelope. The tuning hot spots, where the FM effect retains harmonic coherence (without dissonant artifacts), are -100%, -50%, 0, 50%, and 100%. These correlate with ratios of 0.25:1, 0.5:1, 1:1, 2:1 and 4:1, respectively. Between those values, the Sines 1 sine wave is a fantastic resource for organic bell and mallet textures. Because FM is more controllable with simple carrier waveforms, complex wavetables will yield results that are more unpredictable.

by Ableton’s Lead preset designer and soundteam member Huston Singletary

Wavetable’s enevelopes give you temporal control over the shape of the sound. Envelop 2 is a very typical acoustic sound that might be used for a Piano. Envelope 3 is a very short percussive sound. 

One of my favorite techniques is to apply velocity to envelope 2 or 3’s peak parameter, which serves to tie that envelope’s modulation amount to the impact of hitting a key or Push pad.

by Ableton’s Lead preset designer and soundteam member Huston Singletary

Of course Wavetables really come alive when you move through the single cycle wave forms which creates timbral changes.  The Prophet VS and PPG were some vintage synths that really showed these capabilities off. 

One of my favorite techniques for adding vintage animation to our wavetables is to modulate the PW parameter gradually for only one oscillator with a very slow triangle or sine LFO playing against a second oscillator, with Osc 2’s PW base value set to none or its FM amount slightly raised.

by Ableton’s Lead preset designer and soundteam member Huston Singletary

Ableton of course added other features to Ableton 10.1 including a Channel EQ. 

There is a new Delay effect with both a the Simple Delay and Ping Pong Delays with controls for Jump, Fade-In, and Pitch.

New automation features

Musicians get a palette of automation shapes to choose from, as well as the ability to stretch and skew automation, enter values with the numerical keypad, and easier access to clip modulation in Session View. Live now also detects curved movements inside automation and can merge multiple breakpoints into C- and S-shapes.

by Ableton



...

New in Live: Discover the new features Ableton Live 10 has to offer | Ableton

New in Live: Explore a broader palette of sounds with a new synth, Wavetable. Shape your music with three new effects, Echo, Drum Buss and Pedal. Edit multiple MIDI clips from a single view and never lose a great idea again, with Capture MIDI.

Jordan Rudess’s Keyfest 2019

KEYFEST RETURNS TO SWEETWATER!

Jordan Rudess of Dream Theater is bringing his KeyFest experience back to Sweetwater! With three days of jamming alongside, hanging out with, and learning from Rudess and guests David Rosenthal (Rainbow, Billy Joel, Cyndi Lauper) and Otmaro Ruíz (solo artist, John McLaughlin, Abraham Laboriel), KeyFest is an event no keys player should miss. 



Call (260) 432-8176 x1993 to register. 




MEET THE ARTISTS

JORDAN RUDESS

Jordan Rudess, best known as the keyboardist / multi-instrumentalist for platinum-selling, Grammy-nominated prog rock band Dream Theater, began his training at the world-renowned Juilliard School of Music at the age of nine. Since then, he has gone on to a distinguished and diverse career, gaining fans and recognition the world over, not to mention being voted Best Keyboardist of All Time (Music Radar magazine).

In addition to playing in Dream Theater, Jordan has also worked with a wide range of artists, including David Bowie, Enrique Iglesias, Liquid Tension Experiment, Steven Wilson, and the Dixie Dregs, among others. And Jordan’s interest in state-of-the-art keyboard controllers and music apps has also led to a successful career with his app development company, Wizdom Music.
For more: jordanrudess.com wizdommusic.com

 DAVID ROSENTHAL

Few musicians have achieved the broad-based success that David Rosenthal has earned as a musical director, keyboardist, synthesizer programmer, producer, orchestrator, and touring professional. Since graduating from Boston’s prestigious Berklee College of Music, David’s talents have been continually in demand with many of the most prominent artists in the world, including his long tenure as Keyboardist and Musical Director for Billy Joel, plus work with Bruce Springsteen, Elton John, Ritchie Blackmore and Rainbow, and Cyndi Lauper.

Besides recording and touring, David also continues to show a strong commitment to educating young musicians at such prestigious music schools as Berklee College of Music, Musicians Institute, and Full Sail University. Accordingly, Berklee has honored David with its Distinguished Alumni Award for Outstanding Achievements in Contemporary Music, and he was voted Best Hired Gun in Keyboardmagazine’s readers’ poll.

OTMARO RUIZ

Known for his versatility and virtuosity, Otmaro Ruíz is considered one of the most important jazz pianists in the scene today. With an intense musical career filled with concerts, workshops, and recordings worldwide, Otmaro has earned multiple Grammy nominations and awards, a Lifetime Special Award for International Exposure from the Venezuelan National Artists Institute (for outstanding career in a foreign country), and even an Honorary Doctorate Degree in Musical Arts from Shepherd University.

The long list of renowned musicians with whom Otmaro works constantly confirms his versatility. Among these amazing artists are John McLaughlin, John Patitucci, Jing Chi, Frank Gambale, Peter Erskine, Dave Weckl, Robben Ford, and Vinnie Colaiuta, making it easy to see why he is regarded as one of the most sought-after keyboardists in the world today. 



Yamaha Soundmondo-Social Sound Sharing using Web MIDI

What is Social Sound Sharing?

Yamaha originally launched the Soundmondo website and mobile app in 2015 for the reface line of keyboards.  It was one of the first major website to utilize Web MIDI. 

Connect your reface keyboard to your computer, iPAD or phone, launch Chrome as your browser and you can browse sounds shared by other reface owners, You can create and share  your sounds with people around the world. 

There are over 20,000 free reface sounds available online. 

“Soundmondo is to sound what photo-sharing networks are to images.It’s a great way to share your sound experiences and get inspiration from others.”

by Nate Tschetter, marketing manager, Synthesizers, Yamaha Corporation of America.

Yamaha has since expanded SoundMondo to include other Yamaha keyboards including the Montage. MODX and CP88/73 stage pianos. 

So exactly how does social sound sharing work?  Well, it’s actually pretty simple. You select your instrument and then you can browse by tags so for example all the sounds that have the tags 2000s, EDM and Piano. 

Select the sound and it is sent from the Soundmondo server to your browser and from your browser to your keyboard where you can play. If the synth or stage piano can store sounds, you can store the sound locally on your keyboard.  Using the SoundMondo iOS app, you can create set lists and organize your sounds for live performance. 

When Yamaha launched Soundmondo compatibility for Montage they produced 400 MONTAGE Performances, including content from the original DX ROM Cartridges, special content from Yamaha Music Europe and 16 original Performances from legendary synthesizer sound designer Richard Devine. 

You can see Richard’s performance using the Montage and Richard’s modular setup at Super Booth 2018.

data-href=”https://www.facebook.com/yamahasynths/videos/1467462910048911/”

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 Richard will be at Super Booth again this year creating amazing sounds with  the new Yamaha MODX. 


6 Tips for Programming More Realistic Sounding Drums

​We’re in a golden age of sampled instruments; these days, you can find realistic-sounding samples of everything, including drums. Back in the day, programmed drums sounded artificial and mechanical. Today, drums only have to sound that way if you want them to — and that sound is perfect for certain tracks! But assuming you want realistic-sounding sampled drums for your productions, here are six tips on how to program your drums to sound more lifelike.


1. Sonic Variation 

 When a drummer attacks the skins, each hit sounds a bit different. He or she hits the drumhead in a slightly different location each time, the sticks hit at different angles, the velocity and power are a bit different, and there are differences between right- and left-hand strokes — even when playing just one drum. All of these things make a difference in the tone that is produced by the drum and contribute to the instrument sounding “live.” To emulate this, make sure that each drum is represented by more than one sample — and while this is critical for preventing “machine-gun drum rolls,” it’s important every time a virtual drum is “hit.” These days, many dedicated drum software instruments will handle mixing up samples automatically. But it can also be done by varying which sample is played based on the velocity of the hit. Many samplers and virtual instruments allow you to set up multiple samples in a round-robin, meaning that the sampler will choose a sample at random for each hit. If your instrument doesn’t support this, you can use an LFO tied to velocity or even to a filter, an EQ, a pitch shifter, or another processor to subtly alter the pitch, tone, or shape of a triggered drum, to add variation.


2. Groovical Variations 

Nothing makes programmed drums sound mechanical more than having every hit land exactly on a quantized grid. It’s an instant recipe for rigid, robotic, metronomic drums with no “groove.” Even the best human drummer playing along with a click track has slight variations in timing, coming in slightly ahead of or behind the beat, etc. — and they’ll often do this intentionally to either drive a part forward or to lay it back. A drummer may even push certain drums forward and pull others back at the same time to create a certain groove. If your drum software has a “humanize” function, that may add just the right amount of slight variation that won’t make any hit sound out of time, but will make it just off the grid enough to sound more alive. If there isn’t a humanize function, you can duplicate the effect manually by pulling individual drums or hits a few clicks ahead or behind the beat. Some DAWs and drum softwarealso offer “groove” functions that allow you to apply a particular “feel” to your MIDI tracks. To make this easy, you might want to break the MIDI tracks that drive the drums out to individual tracks (a separate MIDI track for the kick, one for the snare, one for hi-hat, and so on), so you can adjust them independently. 


3. The Rare and Unique Three-armed Drummer 

 Most drummers have two arms and two feet. That means that at any given point in time, they’re only going to be able to play two hand-struck and two foot-struck drums or cymbals. When you’re going for realism, remember that a drummer can’t be playing a two-handed hi-hat pattern at the same time they’re doing a two-handed tom fill. Or playing a double-kick pattern and a pedaled hi-hat pattern together. They can’t strike two toms and a cymbal simultaneously. Having too many instruments attack at the same time is a dead giveaway that a part is programmed and not “real.” Study the patterns and rhythms of real drummers to see how they’re making the most of their four limbs, and make sure you don’t “improve” on a human drummer by programming an extra arm or foot!


4. Moving in Stereo 

When you hear drums live or record a live drummer, there is a natural stereo field created by the drum set’s physical positioning. Imagine standing dead center in front of the kit; some of the drums will be to the left of the kick drum, others to the right of the kick drum. If you place each drum in the stereo field the way that a real drum kit is set up, it will add a realistic sense of space to the kit. There are two “perspectives” you can use for this: the drummer’s perspective looking at the kit (for a right-handed drummer, the hi-hat will be to the left, the floor toms to the right) and the audience perspective looking at the kit (a right-handed drummer will have the hi-hat on the right and the floor toms on the left). Either perspective is correct and fine; choose the one you prefer or that works best for your song. Also, if you have stereo overheads on the kit, make sure that the panning within those overheads is matched by the panning of the individual drums in the stereo field (if the hi-hat is halfway to the left in the overheads, the hi-hat track should also be panned halfway to the left), otherwise the instruments will not localize correctly in the speakers and may sound “smeared.” 


5. Make Room for the Drums 

Real, physical drums have weight and take up space in the room. When you hit them, the sound bounces around the room, creating a natural ambience. That ambience will certainly be picked up if there are “room” mics, but the ambience is also audible in the overhead mics and even in the close mics on the drums. You may not immediately notice it, but if it’s gone, you can tell the difference. Some drum samples include the ambience of the room they were recorded in or allow you to add it into the final mix. For those that were recorded dry, add a very slight amount of a room-type reverb to the drums, not enough to be heard as an effect, but enough to give the drum sounds a sense of space. Note that this is not the same thing as reverb processing you add for effect. You may, for example, include a room reverb for subtle ambience, and still use a gated reverb or a big plate reverb to create a special effect. 


6. Mix It Up 


ROLI-May is MIDI Month Platinum Sponsor

​Established in 2009, ROLI is creating the future of musical instruments. From next-generation keyboards like the Seaboard to the modular music-making devices of BLOCKS, ROLI instruments are deeply expressive and intuitive to play. They are so versatile that they can sound like anything and be played anywhere. 

Technologically advanced touch interfaces make every movement musical on the Seaboard GRAND, Seaboard RISE, Seaboard Block, Lightpad Block, NOISE app, and ROLI PLAY app — part of a growing family of ROLI products that are extending the joy of making music to everyone.


ROLI Song Maker Kit

The ROLI Songmaker Kit is an incredibly high-powered yet flexible music creation kit — and the newest product from ROLI. Combining the expressive power of the Seaboard Block, Lightpad Block, and Loop Block, it gives you everything you need to make a track anywhere. 

It’s more than the sum of its parts. Play the Blocks together as an integrated controller, or play each Block by itself. Connect the kit to your favorite software, and map effects and functions to the incredibly responsives surfaces of the Lightpad and Seaboard BlockThe huge software package includes Equator, Tracktion Waveform, and Ableton Live Lite (Ableton is also a May MIDI Month platinum sponsor). 


Roli and Ableton Live Lite

Ableton Live, the high-powered digital audio workstation (DAW) and sequencer, is a staple in music production. Combining tools for composing, recording, beat-matching and crossfading, Ableton Live’s versatility has made it a favorite of both producers and performers.
Now all Lightpad Blocks — including the new Lightpad Block M — seamlessly integrate with Ableton Live. And all Lightpad owners get Ableton Live 9 Lite for free! So you can enjoy the dynamism of Ableton Live and control the DAW in a totally new way.


Brothers Marco and Jack Parisi recreate a Michael Jackson classic hit

Electronic duo PARISI are true virtuosic players of ROLI instruments, whose performances have amazed and astounded audiences all over the world — and their latest rendition of Michael Jackson’s iconic pop hit “Billie Jean” is no exception.


Roli and MPE

ROLI has been an important contributor to MIDI and helped to make MIDI Polyphonic Expression (MPE)  a new part of the MIDI standard.  Check out this article as MIDI Association advisory board member and MIDI Month Tip contributor Craig Anderton explains MPE and the links to the MPE coverage on MIDI.org. 


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Craig Anderton: MPE defines the future of electronic music | ROLI

MIDI Polyphonic Expression (MPE) is a technological breakthrough for today’s musicians, and one of the unique aspects of this emerging category that it works interdependently across hardware and software. Built on the original MIDI specification, MPE-compatible software programs provide new ways to define notes and performance gestures. MPE-compatible hardware controllers offer innovative interfaces that let musicians engage with all of the extra expressiveness facilitated by the software.


...

MIDI Polyphonic Expression (MPE) Specification Adopted! –  

One of the biggest recent developments in MIDI is MIDI Polyphonic Expression (MPE). MPE is a method of using MIDI which enables multidimensional controllers to control multiple parameters of every note within MPE-compatible software…

1

May 01 Hum a Few Bars, and I’ll Fake It

Celemony Melodyne has one foot in audio, but the other in MIDI because the analysis that it runs on audio ends up being easily converted to MIDI data. If you can sing with consistent tone and level, Melodyne can convert your singing into MIDI. The same functionality for monophonic tracks exists in many DAWs.

MIDI data has been extracted from the guitar track at the top, and is now being edited in a piano roll view editor.

This has other uses, too. For example if you’re a guitar player and want a cool synth bass part, you can record the bass part on your guitar, extract the MIDI notes using Melodyne’s analysis (how you do this varies among programs, but it may be as simple as dragging an audio track into a MIDI track), transpose the notes down an octave, and drive a synth set to a cool bass sound. You may need to do a little editing, but that’s no big deal. 

Here are some videos on how to do the same thing in our Platinum sponsor’s DAW- Ableton Live. 

Audio to MIDI in Ableton


Here is a link to a more detailed article on how to convert Audio to MIDI in three different DAW-Ableton, Cubase and Sonar.


...

Using 3 Programs to Show You How to Convert Audio to MIDI | Dawsons Music

We show you 3 programs (Ableton, Cubase, and Sonar) that will allow you to convert audio to MIDI and exactly how to go about using this very useful feature.

 

FL Studio- MIDI Recording and Editing

Here are three new videos about how to use MIDI in FL Studio




20% Off Online Video Courses

This month get 20% off any TMA curriculum. Choose a monthly or an annual subscription and save even more! Supercharge your music production skills today.


...

Massive Online Courseware Library : MIDI Association : NonLinear Educating

Nonlinear Educating is an adaptive technology company dedicated to improving the way the world learns. The combination of our powerful and modular video-courseware production & distribution platform and our extensive library of industry leading training courses, has granted us the opportunity to empower a variety of partners from a multitude of industries. The foundationally modular approach to our application infrastructure enables us to rapidly customize instances of our platform to meet the specific needs of our partners. We are agile adaptive and are committed to developing the most efficient and robust video-learning platform on the internet.

Cubase 10 MIDI Recording and Editing

Here are three new videos about how to use MIDI in Cubase 10 




20% Off Online Video Courses

This month get 20% off any TMA curriculum. Choose a monthly or an annual subscription and save even more! Supercharge your music production skills today.


...

Massive Online Courseware Library : MIDI Association : NonLinear Educating

Nonlinear Educating is an adaptive technology company dedicated to improving the way the world learns. The combination of our powerful and modular video-courseware production & distribution platform and our extensive library of industry leading training courses, has granted us the opportunity to empower a variety of partners from a multitude of industries. The foundationally modular approach to our application infrastructure enables us to rapidly customize instances of our platform to meet the specific needs of our partners. We are agile adaptive and are committed to developing the most efficient and robust video-learning platform on the internet.

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.  

DUBLER STUDIO KIT: Your voice, the ultimate MIDI controller.

Dubler Studio Kit is a real-time vocal recognition MIDI controller. 

Vochlea Music recently launched a Kickstarter for Dubler Studio Kit and have raised over double their goal of $53,000 and still have 29 days left in their campaign. 

The Kit consists of both hardware and software. 

  • The Dubler software — a virtual MIDI instrument ( a desktop application for Mac + PC) Compatible with any production software [DAW]. It is not a plugin or VST.
  • The Dubler microphone — a low latency custom USB mic, tuned for the Dubler software.

As musicians we all sing, hum, and record voice memos to track snippets of ideas – but that’s often where that idea ends, never making it into the studio or onto the stage.

Our goal: To help you to release the stems of musical ideas trapped inside your head and get them directly into your production software— simply by vocalising them.

Now anyone can turn their voice directly into MIDI— quickly, easily, intuitively and LIVE.

by Vochlea

Dubler Studio Kit Features 

  • Compatible with any DAW (Ableton/Logic/Reason/FL Studio/ProTools/GarageBand etc).
  • Learns your voice in less than 60 seconds.
  • Allows you to use your voice as a live MIDI controller.
  • Live pitch tracking for synth control.
  • Accurately select between, and trigger, up to 8 samples using your voice.
  • Sustain sounds, samples and notes vocally.
  • Responsive to changes in velocity — takes all the information from exactly how you make a sound.
  • Simultaneously talks to multiple MIDI channels— enabling sample triggering and synth control at the same time.
  • Control up to 4 CC [MIDI mapping] values based on the way you make a sound. Then easily map to anything from synth selection, effects controls, synth blending, filters and more.
  • Additional control of Pitch Bend and Envelope Following.
  • Works with non-vocal sounds too — clap a beat or mic up an instrument.
  • Can be used to control effects and filters on other MIDI devices and instruments.
  • Low latency [10-12ms] enabling real-time, live control.

...

Vochlea Music

Live vocal MIDI control is arriving for artists and producers in 2019. Select, trigger and manipulate samples and instruments with our Dubler microphone and app. Compatible with any DAW. Launching March 2019. ?

Other apps that convert voice to MIDI 

There are other apps that do very similar things to Dubler.  In fact, most DAWs allow you to convert monophonic audio  tracks into MIDI. 


...

How to turn a vocal recording into MIDI in a DAW | MusicRadar

Got a melody in your head but don’t know how to transcribe it as MIDI note data? Your DAW might be able to do it for you…


...

imitone: mind to melody

play any instrument with your voice.
explore and create music with only a microphone.


...

HumBeatz

HumBeatz is the revolutionary music making application that allows you to hum or beatbox and turn it into the musical instrument of your choice. Now you can quickly create musical parts and song sketches with just your mouth!

DrumSpider – MIDI -> Light Interface for beginner drummers


          Group of passion electronics and musicians created DrumSpider – the device to learn how to play the drums in 5 minutes.

They just launched Indiegogo crowdfunding campaign.


DrumSpider is the device which mounted on your drum kit will show you exactly how to play any song you wish. 8 ultra bright LED diodes fixed on flexible legs will highlight the drum kit component which needs to be hit in that time. It comes with application which allows you to play any popular song from MIDI format with possibility to adjust the song tempo to your individual needs. Playing the drums was never so easy before.

Drum Spider is the MIDI – light interface.

You can use it with any DAW program or any application to play MIDI files. When you connect / pair it wireless with your computer, tablet or smartphone it will be recognized as standalone MIDI device.

MIDI is the standardized format to save the music in digital format as notes used e.g. for Karaoke.

You can generate MIDI Files e.g. from tabs.

You can also find hundreds of thousands free MIDI files in internet. There is almost every song there.

You will get free sample database of very popular rock songs with DrumSpider.

It comes also with DrumSpider application which allows you to play MIDI files with possibility to adjust the speed/tempo.

The MIDI file or only selected section of it can be played both on DrumSpider and your headphones at the same time so you can see and hear what to play.

DrumSpider is using different colors to show you what exactly should you do with hi-hat (open/pedal/closed) and ride (middle/bell) .

Ultra bright LED diodes will highlight all of your drum set components very well in proper time. 


If you want to see more information or support the campaign it’s available under link on the top.




MIDIWrist turns your Apple Watch (and soon Siri) into a MIDI Controller

Geert Bevins’ watch app lets you wear your MIDI controller on your wrist

Geert Bevin (who was one of the main people who developed MIDI Polyphonic Expression)  recently released MIDIWrist.  MIDIWrist truns your Apple Watch intoa MIDI controller. 

Here is a pre-release demo using the Moog Model D iPhone app (Geert does a lot of work for Moog).


The Apple Watch has some real advantages as a MIDI controller because it provides  haptic feedback (the use of touch to communicate with users). 

MidiWrist turns your Apple Watch into a wireless MIDI controller.

The tactile feel of the digital crown combined with haptic feedback, gives you control over any MIDI synthesizer by touching your wrist, even when you’re not looking.

MidiWrist makes no sound on its own and requires an Apple Watch to function.

Any CoreMIDI application or device can be controlled by MidiWrist. This includes Virtual MIDI, Network MIDI, Bluetooth MIDI and Physical MIDI Devices through a supported MIDI hardware interface.

Features:

• Four knobs can be controlled with the digital crown

• Macro control over multiple synth parameters from the Digital Crown

• Remotely Play / Stop / Record / Rewind your DAW from your Watch

• Knobs can be controlled individually or simultaneously

• Knobs can be linked to preserve their offsets

• Four buttons can be toggled by tapping the Watch

• Buttons can either be stateful or momentary

• Program changes through the digital crown or by tapping the Watch

• Transport control over MIDI Machine Control (MMC) or Mackie Control Universal (MCU)

• Scrub transport with the digital crown

• Save / Undo / Toggle Cycle / Toggle Click through MCU

• XY pad with individual messages for each axis

• Optional haptic feedback for all Watch interactions

• Optional value display on the Watch

• Configurable colors for all knobs and buttons

• Configurable labels for knobs and buttons

• Configurable MIDI channels and CC numbers

• Hide the Watch pages that aren’t needed

• Save your configurations to preset for easy retrieval

• MIDI learn for easy controller configuration

• MIDI input to sync the state of the controllers with the controlled synths

• Advertise as a Bluetooth MIDI device

• Connect to other Bluetooth MIDI devices

• Monitor the last MIDI values on the iPhone

• Low latency and fast response

2


by Geert Bevin


SIRI voice control coming soon 

Soon MIDIWrist will allow you to control SIRI bringing voice command control of MIDI to your DAW.   We always find it amazing how MIDI adopts to the newest technologies to always stay relevent. 


MIDIWrist Screenshots 



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‎MidiWrist on the App Store

‎Read reviews, compare customer ratings, see screenshots, and learn more about MidiWrist. Download MidiWrist and enjoy it on your iPhone, iPad, and iPod touch.

2019 Winter NAMM Show MIDI Highlights!

The NAMM Show is the pulse of the music industry. The 2019 Winter NAMM Show lived up to expectations with 115,000+ attendees and 2,000 exhibiting member companies. Most notable, there was a 14% increase in international participants, boosting the global importance of The NAMM Show. It’s always a pure delight to attend the Winter NAMM Show. This year’s event from January 24 to 27, exceeded all of my expectations. The expanded Anaheim Convention Center hosted a dynamic array of brands, special events set to live music, celebrity appearances, and interviews with the world’s top musical innovators, artists, and professionals, along with educational sessions tied to today’s trends

I was pleasantly surprised to discover 20+ booths side-by-side featuring an array of new MIDI products and applications. To see 35 photos of these booths and their unique MIDI products, go to: http://jalbum.net/a/1917003. In addition, there were numerous booths located throughout the convention center with MIDI-driven products from prominent manufacturers such as Avid, MakeMusic, Yamaha, Roland and others. Here are some highlights of the new MIDI products presented at this year’s show: 


Bome Software displayed its flagship software, Bome MIDI Translator Pro, and the BomeBox, a MIDI translation and processing box. The box connects and routes MIDI devices connected via its USB host, MIDI DIN, and Ethernet connectors as well as via the built-in wireless network. New firmware adds support for translating computer (HID) keyboards and number pads to MIDI. Bome Software also announced that it has started prototyping the MIDI 2.0 protocol, which is currently being developed by the MIDI Manufacturers Association.

Bome Software GmbH & Co KG
Petra-Kelly-Str. 15
80797 München, Germany
Amtsgericht München HRA95502
http://www.bome.com


AirTurn BT200S is a durable and tactile wireless footswitch for creating proprietary keyboard, audio, and MIDI commands that control your tablet, computer, phone, or other Bluetooth devices.

AirTurn Inc.
1668 Valtec Lane
Unit G
Boulder, CO 80301
http://www.airturn.com


music.iLuv is an augmented-reality social music application for creating, practicing and performing in groups such as classroom, virtual classroom, private or public groups of childrern or adults who want to make music regardless of their background or skill level. The music.iLuv application uses MIDI technology in multiple areas. The software can provide live feedback to users during MIDI instrument practice sessions. Users can merge their MIDI and audio tracks and play with 3D virtual bands, orchestras and ensembles.

music.iLuv
2 N. 1st Street, Suite 500
San Jose, CA 95113
650-704-9457


Mukikim announced their new Studio Piano and New Studio Drums. These MIDI compatible instruments offer more advanced electronics with a built in speaker powered by a lithium rechargeable battery.

MukikiM LLC Robert@mukikim.com
6812 W Calumet
Milwaukee, WI 53223
www.mukikim.com


Piano de Voyage is a digital piano keyboard fully focused on portability. Its modular design makes it the ideal travel companion for keyboardists looking for a full-size keyboard they can carry in a cabin bag or a small backpack.

Piano de Voyage
pianodevoyage.com


KAGURA is a revolutionary digital instrument that lets you make music simply by gesturing. A computer and a web camera are all you need. From professional musicians to beginners, everyone can create original songs and performances easily.

Shikumi Designs
https://www.kagura.cc/


The Counterpoint Calculator is a plugin for all major DAWs. This tool helps composers speed up their compositional process. It allows users to write a short motif, specify the harmonic sequence of the piece of music and, from there the plugin composes the rest of the notes.

Digitrax Entertainment
6520-D; Chapman Hwy
Knoxville, TN 37920
www.DigitraxEntertainment.com


The Effigy Control Pedal is a programmable MIDI controller, playable and responsive enough for keyboardists’ pitch bend and mod wheel work, allowing the player’s comping (left) hand to stay on the keys where it belongs.

Effigy Labs
6005 Pinto Circle
Plano, TX 75023
https://effigylabs.com/effigy-control-pedal/effigy-control-pedal


BandLab is a free, easy-to-use, all-in-one, social music creation platform with more than 5 million active users creating new music and collaborating all over the world. With BandLab for Education, the company is bringing its award-winning music creation features to classrooms in order to empower teachers and their students with everything they need for collaborative and fun learning. Nothing to patch or install – BandLab’s FREE cloud-based platform works on Mac, Windows, Linux, and Chromebooks.

BandLab
www.bandlab.com
https://edu.bandlab.com


Band-in-a-Box is a landmark accompaniment generator since 1988 for authentic sounding backtracks for songwriting, learning and teaching and music production ranging from country to jazz to rock with over 6,500 different musical styles to use, augment, create and perform from. Prominent new features include a 64-bit (32-bit version included) and a VST DAW Plugin. This is a separate application that works directly inside your DAW (Cakewalk, Reaper, Pro Tools PreSonus etc.) to generate styles. RealTracks, RealDrums, Multi-Riffs and more.

PG MUSIC INC.
29 CADILLAC AVE
VICTORIA BC V8Z 1T3
CANADA
https://www.pgmusic.com/


EarMaster improves the way music theory and ear training is learned at home and in music schools by offering musicians interactive daily practice routines. Nominated at the 32nd NAMM TEC Awards, EarMaster is currently available on PC, Mac, and iPad. It includes audio-to-MIDI technology, MIDI I/O and SoundFont playback support. EarMaster Cloud educational solution enables music schools to easily integrate it into teaching programs.

EarMaster ApS
Egaa Havvej 21
8250 Egaa
Denmark
https://www.earmaster.com/



R.C voice is a technology that changes a human’s voice into a specific character’s voice in real time using machine learning. R.C.voice is available for Windows and for macOS.

CRIMSON TECHNOLOGY, Inc.
Phone: +81-50-3816-7190
Fax: +81- 03-6805-2367
email:voice@crimsontech.jp
https://crimsontech.jp/?lang=en


About the Author

John Kuzmich, Jr., Ph.D.

John Kuzmich, Jr. Ph.D. is a veteran music educator, jazz educator and music technologist who has taught on five continents. Dr Kuzmich won five Gold Medals as a band director at the World Music Contest in Kerkrade, Netherlands. His music talents are wide-spread as an accomplished conductor, performer, clinician, author, technologist and educator making him a creative music studio teacher for every level of student.

Ploytec joins the MMA

Ploytec (Ploytec.com) develops chipsets for USB MIDI and audio as well as the PL2, analog synthesizer module and the ONE.2 MIDI CLOCK TAP TEMPO PEDAL. 

PL2 

The PL2 is an analog synthesizer module with a digital (125kHz, state variable) multimode filter, offering unique saturation. That filter’s followed by a second analog lowpass filter. It comes in two versions:

The original black PL2 is MIDI powered via its MIDI input. It works with almost any MIDI equipped keyboard or MIDI interface. The built-in micro USB connector doesn’t contain USB functionality, but can be used for additional power when needed. 


...

Ploytec GmbH — science for sounder sound

Ploytec GmbH does USB Audio drivers (Windows and Mac) and hardware for digital audio via USB1.1, USB2.0 and USB3.0. They do reference designs and a couple of audio and MIDI related products.

Spectrasonics Joins MMA

Founded in 1994 by Los Angeles composer Eric Persing and his wife Lorey, Spectrasonics quickly became a leading developer of world-class sampled sound libraries. As Chief Sound Designer for Roland Corporation since 1984, Eric was already well-known in the music industry for creating many of the most popular sounds in their classic synthesizers, including the ground breaking Roland D-50. By infusing his years of product design expertise, Spectrasonics earned a reputation for setting the standard of excellence in the industry.  

At the Winter NAMM 2019 showed the next steps in their hardware integration initiative. 

Second Sound, Makers of Audio to CV/MIDI chips Joins MMA

Second Sound showcases new ACO160 chip at NAMM 2019

Second Sound is the owner of the technology behind Sonicsmith’s famous audio-controlled synthesizers, the ConVertor+ and Squaver P1+. 

Now Second Sound is developing a new improved audio-controlled oscillator chip, the ACO160, which will bring frequency-tracking synthesizers to a new level of performance.

Second Sound’s new ACO160 chips will have three waveforms to choose from: square, sawtooth, and unbelievably pure sine. They will also have a harmony CV input which can offset the frequency-tracked oscillators over a +/-2 octave range on a 12-tone equal-tempered scale (sorry, just intonation fans!), a hard sync input for those robotic 80’s sounds, a zero-ripple yet fast envelope follower unlike anything you’ve ever seen or heard, and eight harmonic rejection settings to tune performance for fast attack and decay sources like bass guitar or harmonic-rich sources like bowed violin.

The new ACO160 chip will contain hooks to convert audio directly to MIDI with only an additional microcontroller needed to generate the MIDI commands. So soon you’ll be able to control all of your DIGITAL instruments in real time using any audio source. 


...

Home – Second Sound

For more information, check out the link below.

Gewa Joins MMA

Gewa was founded in 1925 by Georg Walther in a region in Saxony famous for its musicians and manufacturers of musical instruments), 

Today, the GEWA company not only has subsidiaries in all important export markets but also holds substantial shares in Asian factories of musical instruments that enable a world-wide marketing of lots of GEWA products.

Currently, GEWA GmbH employs more than 250 qualified members of staff in the areas of production, product management, sales, purchasing, administration, accounting, marketing and logistics. 

The GEWA GmbH counts on a long-lasting relationship with its customers and suppliers based on mutual trust. The planning and implementing of strategic and operational goals is always executed in consideration of tradition coupled with contemporary thinking.

by GEWA

Gewa makes digital pianos and  and electronics drums that feature MIDI.

East West, Producer of virtual software instruments joins MMA and wins Tec Award

EASTWEST (soundsonline.com) is one of the largest virtual (software) instrument companies in the world. With clientele that spans the who’s who of the music, film, television, games, multimedia and performing arts, EASTWEST has led the industry for 30 years and provides professionals with the very best music creation tools available.

They recently joined the MIDI Manufacturers Association and attended the NAMM 2019 MMA Annual General Meeting. 

At the 2019 NAMM show, East West won Best Musical Instrument Software at the 34th Annual NAMM TEC AWARDS for Hollywood Choirs.

Our goal has always been to make the best virtual instruments possible and I am truly honored to receive this year’s TEC AWARD. I’d like to thank my co-producer Nick Phoenix, our amazing production team, and the choir for making this level of perfection possible,

by EastWest producer Doug Rogers

East West MIDI Guitar Series

East west teamed up with another MMA member Fishman to develop a series of virtual instruments specifically for MIDI guitarists, optimized and designed to take advantage of the complex and unique waveforms produced by a guitar’s vibrating strings. Currently, the company offers five volumes: Orchestra, Ethnic & Voices, Soundscapes, Guitar & Bass, and Keys & Percussion. 

The EastWest MIDI Guitar Series opens up a whole new world for guitar players who have been waiting for technology allowing them to use their guitar like a synth without having to compromise playability or sound quality. It’s a break-through technology, and we are honored to be nominated for this innovation,” s

by  EastWest producer Doug Rogers

East West Composer Cloud 

Recently, East West released Composer Cloud. Composer Cloud is not a library, but access to the entire vast collection of East West sounds.  


...

EastWest Sounds – Award Winning Virtual Instruments

With over 100 international awards to its credit, EastWest virtual instruments are widely considered to be the best available and are used by today’s top working composers in all media. 

For more information], click the link below.

 

Blokas, EastWest, Gewa, Ploytec, Second Sound and Spectrasonics Join MMA

Six New Companies Join the MIDI Manufacturers Association (MMA) at Winter NAMM 2019 

 

With the MIDI 2.0 specification moving forward, more and more new companies are joining the MMA. 

Blokas (https://blokas.io/)  is the team behind PiSound, an ultra-low latency high-quality sound card and MIDI interface specially designed for Raspberry Pi pocket computer and Midihiub, a stand-alone MIDI event processor, router & MIDI interface.

 EASTWEST (soundsonline.com) is one of the largest virtual (software) instrument companies in the world. 

Gewa (Gewamusic.com/) makes digital pianos and electronic drums that feature MIDI.

Ploytec (Ploytec.com) develops chipsets for USB MIDI and audio as well as the PL2, analog synthesizer module and the ONE.2 MIDI CLOCK TAP TEMPO PEDAL. 

Second Sound (secondsound.com) makes chips for audio-to-synth technology that have analog synth components and translate audio into CV or MIDI signals to control pitch. 

Spectrasonics ( Spectrasonics.net ) makes Omnisphere, Stylus, Trillian and Keyscape- some of the most popular virtual software synths in the market. 

Blokas.io, Makers of PiSound and Midihub join the MMA

PiSound

Pisound is an ultra-low latency high-quality sound card and MIDI interface specially designed for Raspberry Pi pocket computers. It is equipped with 192kHz 24-bit Stereo Input and Output driven by the legendary Burr-Brown chips, DIN-5 MIDI Input and Output ports, user-customizable button and bundled software tools. Using Pisound you can turn your Raspberry Pi into a music instrument or effect, audiophile network player, portable recording studio, internet radio station or anything you can think of as long as it’s audio related!

Pisound works great with Raspbian, ArchLinux, Pixel, Ubuntu Mate, Audacity, Pure Data, Sonic Pi, SuperCollider, Volumio and any other Linux software!


Midihub 

Midihub is a Stand-Alone MIDI Event Processor & Router. It has classic DIN-5 MIDI input and output ports, 4 of each, as well as a USB port for power and/or communicating with your computer and the Midihub Editor software.

Within the device all MIDI data flows through customizable MIDI Processing Pipelines, sort of MIDI effects, with extremely low latency and without involving any processing on your computer allowing you to integrate Midihub to your computer-less setup.

Midihub can be used as a standard USB-MIDI interface too and it comes equiped with The Button which can send MIDI utility messages such as ‘Reset All Controllers’ or ‘All Notes Off’. 

Blokas – The Team Behind Pisound & Midihub

For more information, check out the link below.

The MIDI Manufacturers Association (MMA) and the Association of Music Electronics Industry (AMEI) announce MIDI 2.0™ Prototyping

For more details on MIDI 2.0, see this article on the site. 


...

Details about MIDI 2.0™, MIDI-CI, Profiles and Property Exchange –  

Core MIDI 2.0 specifications now available. Click here to download You must be logged in as a TMA member to download the spec. Clicking on the link will take you to the signup page to either create an account or log in. On Sunday, January 19, 20

FOR IMMEDIATE RELEASE

The MIDI Manufacturers Association (MMA) and the Association of Music Electronics Industry (AMEI) announce MIDI 2.0TM Prototyping

Los Angeles, CA, January 18, 2019 – The MIDI Manufacturers Association (MMA) and AMEI (the Japanese MIDI association) have finalized the core features and name for the next generation MIDI protocol: MIDI 2.0. Member companies are currently working together to develop prototypes based on a jointly developed, feature-complete, draft specification. A members-only plugfest to test compatibility between some early MIDI 2.0 prototypes is planned for Winter NAMM 2019. Participating companies include Ableton/Cycling ’74, Art+Logic, Bome Software, Google, imitone, Native Instruments, Roland, ROLI, Steinberg, TouchKeys, and Yamaha.

As with MIDI 1.0, AMEI and the MMA are working closely together and sharing code to streamline the prototype development process. Prototyping is planned to continue during 2019 as the associations work together on MIDI 2.0 launch plans, including exploring the development of a MIDI 2.0 logo and self-certification program for MMA and AMEI member companies.

During the prototyping phase, the proposed MIDI 2.0 specification is available only to MMA and AMEI members, because the prototyping process may trigger minor enhancements to the specification. Once a final specification is adopted, it will join the current MIDI specifications as a free download on www.midi.org.

The MIDI 2.0 initiative updates MIDI with auto-configuration, new DAW/web integrations, extended resolution, increased expressiveness, and tighter timing — all while maintaining a high priority on backward compatibility. This major update of MIDI paves the way for a new generation of advanced interconnected MIDI devices, while still preserving interoperability with the millions of existing MIDI 1.0 devices. One of the core goals of the MIDI 2.0 initiative is to also enhance the MIDI 1.0 feature set whenever possible.

All companies that develop MIDI products are encouraged to join the MMA to participate in the future development of the specification, and to keep abreast of other developments in MIDI technology.

About the MIDI Manufacturers Association (MMA)

The MIDI Manufacturers Association is an international group of hardware and software companies working together to develop new MIDI specifications and promote MIDI technology. For more information on the MMA corporate membership, please visit www.midi.org/about-the-mma.

The MMA also supports The MIDI Association, a growing, global community of over 18,000 people who work, play, and create with MIDI technology at www.midi.org. To stay up to date with the latest MIDI news and stories, and to access current MIDI specifications and receive the MIDI Association’s MIDI Message newsletter, sign up for free at: www.midi.org/midi-signup.

Press Contact: Tom White, press@midi.org 

Roland GO:PIANO with Alexa Voice Controlled MIDI

World’s First Alexa Controlled Digital Piano Translates Alexa Skills to MIDI Commands

At CES 2019, Roland announced the first MIDI digital musical instrument able to be controlled by the Amazon Alexa. 

Like all Roland GO products, the Roland GO:PIANO features both audio and MIDI Bluetooth connectivity.  With built-in speakers, battery power and built-in Bluetooth, the GO:PIANO lets you connect to your smartphone, store your performances to the cloud and practice and perform music on the GO. 

The Roland GO:PIANO with Alexa Built-In was one of the “Top Innovations” of #CES2019. 

By combining the GO:PIANO with Alexa Built-in digital piano with Roland’s powerful Alexa Skill, aspiring musicians at any level can enjoy simple voice operation of their instrument while their hands play music. Additionally, Alexa Built-in and Roland’s Alexa skill open up a world full of cloud-based creative possibilities, from enjoying libraries of play-along music across the widest variety of genres to sharing recorded personal performances with family and friends around the world. Moreover, Roland will continue to update and expand the capabilities of the Alexa Skill to embrace new instruments and new benefits for novice and experienced musicians alike.

by Roland


GO:PIANO, Alexa Skills and MIDI 

At CES 2019, we caught up with Corey Fournier, Market Development Mgr. at Roland and he shared how Alexa and MIDI work together to provide hands free, voice controlled MIDI. 


Roland is also looking at updating their Piano Partner app to utilize Alexa skills and translate those Skills into MIDI commands. 

Piano Partner 2 Smart Phone App 

The Piano Partner 2 app for iOS and Android mobile devices has a host of features to help you practice and record music. 

DigiScore Lite show the piano’s internal music collection on your device’s display,

Rhythm and Flash Card help you build your musical skills. 

Recorder and Diary functions store your practice times to the cloud and help you evaluate your performances and keep track of your daily practice activities.

Audiobus 3 adds MIDI Learn feature

Audiobus 3 update adds MIDI learn functionality

Last year Audiobus added MIDI pipelines to Audiobus 3 to allow MIDI data to be routed between apps in three different ways as inputs, effects or outputs. 



The new MIDI learn function will make it easier to create really complex routings to external MIDI controllers. 



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Audiobus-compatible apps

Here is a list of MIDI apps that are compatible with AudioBus

Google’s Music Transformer- State of the Art in Music AI?

Google has been doing amazing work in music AI and recently they posted demos created by their Music Transformer. The goal was to generate longer pieces of music that had more coherence because the model was using relative attention. 

We found that by using relative attention, which explicitly modulates attention based on how far apart two tokens are, the model is able to focus more on relational features. Relative self-attention also allows the model to generalize beyond the length of the training examples, which is not possible with the original Transformer model.

by  Cheng-Zhi Anna Huang, Ashish Vaswani, Jakob Uszkoreit, Noam Shazeer, Ian Simon, Curtis Hawthorne, Andrew M. Dai, Matthew D. Hoffman, Monica Dinculescu and Douglas Eck.

 The following three examples were created by Music Transformer, an attention-based neural network.  We won’t even get into the question of who owns the copyright to these pieces of music because it makes our head hurt. Remember all of this comes from the neural networks being trained by MIDI files from the e-competition recorded on Yamaha Disklaviers. 


Artist Name

relatively_jazz.mp3


Artist Name

classical_favourite_sample.mp3


Artist Name

transformer_nice.mp3

To explain how this relative attention works Google created a video displaying the relative attention as “arcs showing which notes in the past are informing the future.” 

There are other possibilities for Music Transformer.   Here are two versions  of Twinkle Twinkle Little Star. 

Here we trained a Music Transformer model to map heuristically-extracted melody to performance, and then asked it to play the Twinkle Twinkle Little Star melody (with chords unspecified):

 by Cheng-Zhi Anna Huang, Ashish Vaswani, Jakob Uszkoreit, Noam Shazeer, Ian Simon, Curtis Hawthorne, Andrew M. Dai, Matthew D. Hoffman, Monica Dinculescu and Douglas Eck.


Artist Name

twinkle_1.mp3


Artist Name

twinkle_3.mp3

In this next case, the AI model was given the chords to Hotel California.  You can see the core technology has tons of potential for helping musicians to be creative in the future.   Artificial Intelligence will soon be another tool in our creative palette. 


Artist Name

transformer_hotel_california.mp3

 For more technical details you can read the actual paper or go to the original blog post. 


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Music Transformer: Generating Music with Long-Term Structure

Generating long pieces of music is a challenging problem, as music containsstructure at multiple timescales, from milisecond timings to motifs to phrases t…

The Top 5 MIDI to CV Converters in 2018

If you want to use MIDI with either pre-MIDI analog synths or with modular Eurorack analog synth systems, you need to convert digital MIDI signals into analog voltages.  Fortunately, there are lots of options. 

We’ve selected the top 5 MIDI to CV convertors, but there are tons of choices.  The first three are Eurorack solutions.  So you’ll need to a Eurorack to use them.  The Kenton PRO SOLO Mk3 MIDI To CV Converter​ is a standalone box so it can be used with pre MIDI monophonic anlaog synths as well as in other studio situations. 


Polyend Poly MIDI and USB to CV/Gate Eurorack Module

 The Polyend Poly module is a polyphonic MIDI to CV converter Eurorack module and is one of the most complete MIDI to CV converters on the market.  It has USB and 5 Pin DIN MIDI inputs and lots of CV outputs

It has three performance modes. First and Next mode are designed for use with an external controller while Channel mode is designed for use with external sequencers or your DAW

  • Polyphonic universal MIDI to CV converter Eurorack module
  • Supports the MPE standard for use with innovative controllers like the LinnStrument, the Seaboard series, and more
  • Inputs include MIDI DIN, USB A (5-volt), and USB B
  • 8 Gate outputs (0–12 volts)
  • 8 Pitch outputs (0–12 volts, V/oct)
  • 8 Velocity outputs (0–12 volts)
  • 8 Modulation outputs (0–12 volts, CC value can be set 0–127 via dip switches on back panel)

Pittsburgh Modular Lifeforms MIDI 3 Eurorack MIDI-to-CV Converter Module

 

The Midi 3 Midi to CV converter has mono and duophonic midi response modes, assignable CC and dedicated velocity outputs.  Monophonic has several different keyboard modes – Last note priority, low note priority, and high note priority and all are available with and without gate retriggering.

Ir also has a built-in Arpeggiator that can be clocked using tap tempo, midi clock, or external gate.with lots of features. . Speaking of the clock, the Midi 3 Module has 3 Clock Modes:

Internal Clock – The Midi 3 clock has a tap tempo button to change the tempo of the internal clock.

External Midi Clock – The external midi clock responds to midi start/stop messages and midi tempo from an external midi clock source. 

External Gate Clock – The external gate clock responds to gate signals patched into the CLOCK jack. The external gate clock is used to clock the arpeggiator. 

ADDITIONAL FEATURES OF THE MIDI 3:

Assignable Midi Channel – The Midi 3 can be assigned to respond to all channels or any individual midi channel.

Assignable Pitch Bend Range – The range of pitch bend can be set to +/- 2 notes, +/- 5th, +/- 1 octave, +/- 2 octaves.

Control Change Output – CC response of 0-5v.

Assignable Control Change Channel Assign – Assign the midi CC channel the Midi 3 responds to.

Velocity Output – Velocity response of 0-5v based on active note. 


Doepfer A-190-4 Eurorack USB/MIDI to CV/Gate/Sync Interface Module

The A-190-4 module offers MIDI In, MIDI Out, USB, CV1, CV2, Gate, Clock, and Reset ports. 


Kenton PRO SOLO Mk3 MIDI To CV Converter 

If you are looking for something standalone that doesn’t need a Eurorack ( for example if you just want to control and pre MIDI mono analog synth.  The Kenton PRO SOLO Mk3 may fit the bill. 

Here are the features from the Kenton website.​

  • Designed to control all types of mono-synth
  • Super-fast response time
  • Rugged brushed aluminium case
  • CV output uses high specification 16 bit D/A converter for rock-steady pitches
  • Runs from standard 9 volt power supply, 2.1mm centre positive
  • CV/Gate/Aux outputs on 3.5mm jack sockets (3.5mm to 1/4″ cables are available in our cables section)
  • MIDI IN socket
  • MIDI THRU socket can be switched to become Sync 24
  • Any MIDI channel can be selected
  • Switchable for V/oct & Hz/V & 1.2V/oct scaling systems
  • Fine tune & scale are controllable using the edit buttons & settings can be stored
  • Transpose (coarse tune) – up & down 12 semitones
  • Adjustable pitchbend range
  • Programmable Gate V-trig (up to 15v) or S-trig (with or without pull-up)
  • Multiple and single trigger modes
  • Note priority selection – newest / lowest / highest
  • Old notes are remembered to facilitate trill effects and increase playability
  • Portamento – fixed rate or fixed time modes
  • Auto Portamento mode selectable (where legato playing turns on Portamento)
  • Portamento Controller is selectable
  • Three programmable Aux variable analogue outputs, controllable by any MIDI controller
  • Programmable LFO – 9 wave shapes inc. random
  • LFO can modulate pitch &/or Aux 1 output
  • Separate Controllers for LFO to CV and LFO to Aux 1
  • LFO can be synchronised to MIDI clock
  • LFO sync point can be selected
  • Key-on can reset LFO
  • Aux outputs can output clock, with two individual dividers to choose from
  • All parameters are controllable in real-time by SysEx
  • 32 setups can be stored in non-volatile memory for easy recall
  • MIDI Analyser mode – for easy MIDI troubleshooting
  • Power supply included – UK / EU / USA / Australian types available

What’s new or different about the Mk3?

  • Aux 2 & Aux 3 are now continuously variable analogue outputs and are presented on 3.5mm jack sockets
  • Expanded selection of Controllers available for the Aux outputs
  • The Aux outputs now have adjustable slew rate (rise/fall time) to enable you to smooth out any controller jumps
  • Built-in ADSR envelope generator (the controls for which can be assigned to MIDI CCs)
  • Drum Trigger mode – Aux outputs can be set to produce a velocity-variable trigger pulse for drum synths, each with its own dedicated trigger note
  • Dual clock dividers, which can be used simultaneously on different outputs, including the DIN socket when not used as MIDI out
  • Variable gate-off time for re-trigger (multiple trigger)
  • 32 program memories which can store and recall setups
  • MIDI Program Changes can be used to recall setups
  • Pre-loaded setups for many of the most popular synths
  • Pitchbend range increased to 48 notes up & down
  • Flash upgradable using SysEx when updates become available
  • 32 bit ARM processor
  • Brushed aluminium case with black text

DIY MIDI to CV

If you want the least expensive MIDI to CV option and you’ve got some DIY chops, you can build one yourself.  There are many DIY MIDI to CV projects on Maker and other DIY sites, but we found this DSP synth site from Jan in Sweden.


...

DIY USB-MIDI to CV Board | DIY Synthesizer

The preprogrammed Digispark DIY USB-MIDI to CV board is now available in the webshop. http://webshop.dspsynth.eu

 The blog tells you how to build it yourself and provides all the code and details you need. 

But if you want to just focus on music,  you can also buy it from the store. 

OceanSwift Xbox Midi Controller

Main Features

VST 32/64BIT & STANDALONE WINDOWS ONLY CONTROLLER

 

 Officially supports Xbox 360, PS3, PS4 and Aimpad controllers

Standalone and VSTi in 32 and 64 bits
Run it Standalone or in your DAW or choice.

Control any MIDI-capable Hardware or Software

Control your favourite hardware and software, simply and easily! Control Music software, hardware instruments, your favourite VST plug-ins, Light system, you name It…

Improved looks, code, functionality and compatibility

 v2.5 is now more powerful than ever, now supports Xbox, PS and even Generic* *Support in Generic controllers is NOT Guaranteed

Clean, clear, simple and focused


midiBeam v2 ADVANCED WIRELESS MIDI TRANSMISSION SYSTEM


pandaMidi Solutions announces midiBeam v2

 

This two-box system connects any controller having a standard 5-pin MIDI Out socket to any of the following devices:

  • any synthesizer, sound generator, effect device, computer having a standard MIDI In socket,
  • any laptop or desktop computer having a USB connector,
  • any iOS 7+ device (iPhone, iPad) with a Camera Kit.

New MMA Members and New MMA Specs

Planned Major Update to MIDI Technology Attracts New Members to the MIDI Manufacturers Association (MMA)

Los Angeles, CA, November 6, 2018 – The MIDI Manufacturers Association (MMA) announced that Ableton, Aodyo, Audio Modeling, Art+Logic, Jammy Guitar, Melodics, MIND Music Labs, Native Instruments, OnSong, and TouchKeys have joined the MMA to collaborate with other hardware and software developers on extending the power of MIDI technology. The planned update to the MIDI specification will support new levels of musical expression and make electronic instruments easier to configure and use.

Standardized in 1983, MIDI 1.0 has adapted over the years to support all operating systems and communication protocols, but its core specifications have stayed the same. This initiative updates MIDI with in-demand options: auto-configuration, new DAW/Web integrations, extended resolution, increased expressiveness, and tighter timing — all while maintaining a high priority on backward compatibility. This major update of MIDI will support the development of a new generation of interconnected devices and preserve the relevance of existing MIDI 1.0 devices.

“Our goal is to assemble a diverse group of companies of different sizes and business models and help them come to consensus on how to make their products interoperable using MIDI technology,” explained Tom White, President of the MMA.

Any company can join the MMA to participate or keep abreast of the development of MIDI technology. 

                                                                   JOIN THE MMA

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 

Zivix now shipping the Jamstik 7 Smart Guitar, a new guitar tool and MIDI controller built for learners and music creators

The Jamstik 7 is a guitar, lessons, and MIDI controller all-in-one

 

Zivix, the makers of the Jamstik smart guitars, is now shipping the Jamstik 7, a portable MIDI guitar bundled with interactive software for budding guitarists and music makers.

At an MSRP of $249.99, the newest 7-fret Jamstik boasts brand new patented technology, including Zivix’s FretTouch™ finger sensing fretboard and Infrasense™ optical pickup—providing real-time feedback so players can see their fingers on the screen of their device.

The Jamstik 7 smart guitar is built for:

Learners: Take guitar lessons into your own hands with free interactive teaching software. In addition to its existing Jamstik and JamTutor apps built for iOS, Zivix has created a web-based playing experience for the Google Chrome browser, Play.jamstik.com. The Play Portal can be accessed from PC, Mac, or Chromebook, expanding the platforms available for learners. Zivix’s bundled learning software equates to over 6-months of traditional guitar lessons and will expand with regular updates.

Guitarists & Producers: Create and compose full tracks using the Jamstik in your favorite digital audio workstation (DAW). The Jamstik is a class-compliant MIDI controller in an interface that makes sense to guitar players. Set aside the MIDI keyboard and pad controllers and use your guitar skills to play everything from synths to saxophone.

Travelers: At just over 18 inches long, the new design of the Jamstik 7 stays true to the portable size of the Jamstik+ while adding more frets for improved playability and ergonomics. Wireless connectivity over Bluetooth means you can connect to your favorite devices and start playing in no time.

The Jamstik 7 is a third generation model of the Jamstik Smart Guitars. Since the initial launch of the Jamstik+ in 2015, Zivix has worked to streamline the manufacturing process, further the technology, and put in place a supply chain which allows the new products to be officially Made in the USA. The Jamstiks are compatible with a growing number of apps and software, including Apple’s GarageBand, Spotify’s Soundtrap, and Guitar Pro from Arobas Music. With intuitive software and a price-point of $249.99, the Jamstik 7 empowers more people to learn guitar and use their skills to create, produce, and compose music.

The Jamstik 7 has begun shipping to Indiegogo backers, and hundreds more will be shipped to backers and pre-orders from jamstik.com in the coming weeks. The brand new smart guitars will be available and in stock (pending demand) for Black Friday and holiday shoppers on Jamstik.com, and Amazon.com.

About Zivix

Based in Minneapolis, Zivix builds innovative electronic instruments and connected software to inspire, educate and empower musicians and creative professionals. Since the launch of the original Jamstik in 2014, Zivix has made huge strides in modernizing the MIDI guitar while making it more affordable and approachable for beginners.

MIND Music Labs and Steinberg have announced ELK integration in VST starting from version 3.6.11

With the release of version 3.6.11, Steinberg‘s Virtual Studio Technology plug-in format will natively support the integration of MIND Music Lab‘s ELK operating system, allowing VST-based plug-ins to run seamlessly in ELK-powered musical instruments and audio processors (source).

ELK, an Operating System designed specifically for use in embedded systems such as hardware musical instruments and audio processors, was presented at 2017’s NAMM, and will be the first such platform to officially support all plug-ins developed under VST 3 specification. This will allow embedded hardware manufacturers who develop products with the ELK OS to offer their customers access to an enormous range of VST instruments and processors, and make it easy for software developers to release VST-based software, sounds and effects on Powered by ELK hardware musical instruments.

Here is how Steinberg and MIND Music Labs commented this news:

“We were very impressed by the performance and stability that the ELK Music Operating System has to offer. And this is the prominent reason that we decided for it to become the first platform for hardware musical instruments within the VST domain.”

Yvan Grabit, senior developer and tech lead – Steinberg

“It is an honor for us to be officially recognized as partners for embedded use by Steinberg. For the past 20 years, VST plug-ins have been the de-facto standards for desktop-produced music, and we are ready to help VST become the standard for smart musical instruments and audio processors as well.”

Michele Benincaso, CEO – MIND Music Labs


MIDI Bag Pipes

It always amazes us that you can find a MIDI version of almost any instrument. So we decided to look at what’s available for MIDI bagpipes.

There are actually a good number of choices.  

The technochanter

The Technochanter is portable and fits its in your pocket. It’s also battery powered and runs on one standard AAA 1.5V alkaline battery or one AAA 1.2V NiMH rechargeable battery. It includes authentic onboard bagpipes sounds including drones sound with different drone configurations

You can listen to the sounds and built-in metronome via the headphone output so you can practice bagpipes anywhere without disturbing anyone. 


Redpipes 

The drones, the chanter and the overblowing function of the Redpipe are pneumatically controlled by pressing the bag. The leather bag is stuffed with filling material.


Sounds:

Scottish Great Highland Bagpipes

Smallpipes

Medieval Bagpipes

Gaita

Fingering: 
Open
Half open (GHB)
Extended (chromatic)
Renaissance
Medieval Bagpipe in minor
Gaita


Other features:

    • Metronome.
    • Pitch adjustment.
    • MIDI output so you can control software instruments such as Studio Piper.
    • The capability to switch from just scale to the well tempered scale.
    • Ability to overblow by 1/2 Octave by opening the upper thumb hole or by putting more pressure on the bag.
    • Realistic vibrato playing has been implemented.
    • Switchable between the mixolydic and the ionic mode.
    • Runs on two AA 1,5 V Akali-Mangan-Batteries.


MIDI Bagpipes Control Surface 

 

This app is a Irish/Scottish Bagpipes fingering based MIDI control surface for the iPad that can be used to play your hardware MIDI synthesizer/sampler modules or other MIDI apps.

The chanter fingerings are based on either those used for the Irish Uilleann or Scottish Highland bagpipes.

The app doesn’t produce any sound on its own, it is designed for playing hardware and software VST-style MIDI synthesizers via a CoreMIDI compatible interface connected to the dock connector or virtual MIDI instruments like Roland Sound Canvas for iOS, Universal Piper, or Sonosaurus ThumbJam running on your iPad.

The app supports sending data on two independent MIDI channels, one for the chanter and the other for the drones. 


Universal Piper 

Universal Piper is a software synth dedicated to bagpipe that claims to have the largest bagpipe library available. It’s available as  OSX Audio Unit and VST and Windows VST 32 and 64 bit as well as on iOS.  You can try it for free and one license allows you to use the software on any platform. 

  • A library of 15 bagpipes
  • Natural tuning of every bagpipe
  • Genuine drones start
  • Chanters and drones recorded note by note
  • Extended two octaves range for every bagpipe

BEGINNERS

ADVANCED

  • Build your own bagpipe
  • VST and Audio Unit Plugin with automation
  • Advanced midi setup

Universal Piper list all the MIDI bagpipe hardware that is available and comes pre-configured to work with most of these. 

MIDI INSTRUMENTS

Universal Piper is compatible with every MIDI instruments.

For quick start, Universal Piper is provided with pre-configuration for most of the MIDI practices and bagpipes with their corresponding fingerings:

  • Degerpipe : standard, extended,
  • Degerpipe II : standard, extended,
  • Degerpipe II+ : baroque, bechonnet, medieval, gaita, gaita extended,
  • E-Pipe 15 : standard,
  • Master Gaita : standard, asturian, french, GHB, galician, galician extended,
  • OpenPipes : Bb3=MIDI 60,
  • Redpipe : GHB standard, GHB minimal, GHB extended, France, gaita extended,
  • Technopipe : GHB, asturian, galician closed, galician open, french half-closed, veuze, welsh, SSP, baghet, biniou, belarus, swedish, estonian, medieval, northumbrian, bulgarian, english
  • Trino : Standard,
  • Hevia : Standard
  • P2chanter : GHB and smallpipes
  • Generic Midi Chanter : Bb3=MIDI 70
  • Blair chanter : this chanter is not yet included by default in Universal Piper installation. 

If your MIDI chanter is not in the following list, you still can configure Universal Piper to use it.

Not compatible with technochanter, which is NOT a MIDI chanter. 

Jammy-A MIDI controller with real steel strings and authentic tone.

 New MIDI Manufacturer Association member RnD64 funded their development of the Jammy MIDI controller via Indiegogo and raised $218,872. 

Jammy is a super portable steel string digital guitar that fits in your backpack. – 15-fret extensive sound range – Onboard guitar FX – ¼” and ⅛” direct audio outputs to your headphones or an amp. 

It’s also a MIDI controller. You can connect MIDI via USB or via a wireless Bluetooth connection. 

The Jammy won Best of Show at the Summer NAMM 2018 show. 


...

Jammy – Portable Guitar with Real Strings & Audio Output

Jammy is a digital guitar with the realistic look and feel. It can be disassembled into two parts which makes it an ultimately portable guitar.


...

Jammy – Super Portable Digital Guitar | Indiegogo

Just take it out of your backpack, plug your earphones in and play—no additional equipmen | Check out ‘Jammy – Super Portable Digital Guitar’ on Indiegogo.

TouchKeys: expressive multi-touch sensing on the piano keyboard

TouchKeys is a new musical instrument transforming the piano-style keyboard into an expressive multi-touch control surface. 


The TouchKeys are touch sensors that can be added to the surface of any keyboard, measuring the location of the fingers while retaining the familiar keyboard action. 

TouchKeys lets you add vibrato, pitch bends, timbre changes and other expressive effects to your playing, just by moving the fingers on the key surfaces. 


The TouchKeys are thin sensor overlays that attach to any standard-sized keyboard. Each key uses capacitive touch sensing — the same technology used in smartphones and trackpads — to precisely measure the location of each finger touching the keyboard. Because the TouchKeys attach to an existing keyboard, they retain the familiar keyboard shape and action while enabling new expressive playing techniques.

Here are a few of the main features:

High Resolution

The sensors measure over 1500 points of resolution on the long axis of each key and 256 points on the narrow axis. That’s sub-millimetre accuracy!

Low Latency
The sensors are measured every 5 milliseconds for a natural, low-latency interaction.

Intuitive Mappings
Mappings between touch and sound are designed to be there when you need them and stay out of your way when you don’t. Mappings are fully customisable.

Your Keyboard, Your Size
The sensors fit any keyboard with full-sized keys, from a 2-octave portable keyboard to a 97-key Boesendorfer Imperial Grand piano. Choose from Classic or Inverted colouring.

XY Position
Every key, white or black, senses the horizontal and vertical position of the finger. (The narrow part of the white keys senses on the long axis only.).

Multi-Touch

Each key measures up to 3 touches, enabling new multi-finger techniques on the keyboard.

Contact Area
Contact area measurement distinguishes between the tip and the pad of the finger, which can be used as an additional control dimension.

Connected and Compatible

TouchKeys works with any MIDI synth or instrument, software or hardware. Connect TouchKeys to your computer (Mac, Windows, Linux) or choose the optional standalone hardware kit. 



 Touchkeys started as Kickstarter in 2013 and raised £46,682 of their £30,000 goal. 

TouchKeys is based on research by Andrew McPherson in the Centre for Digital Music at Queen Mary University of London. You can find more information about the technology behind TouchKeys, including links to research papers, on Andrew’s research website.

Touchkeys recently joined the MIDI Manufacturers Association (MMA) and is participating in prototyping the next generation protocol being worked in the MMA. 



Oddball- A bouncing ball MIDI controller

Kickstarter has been a place where some of our favorite MIDI controllers started whether it’s Mogees or the Artiphon (one of the most successful Kickstarter campaigns of all time). 

Our friends at A3E, the  Advanced Audio + Application Exchange sent us a link to this new Kickstarter about Oddball,  a ball you cab bounce with a purpose-built app that also can be used as a Bluetooth MIDI controller. 

Making music is an incredibly powerful way to use your imagination. Musicians are very lucky in this sense, but not everybody has the opportunity to make music.

We wanted to give everybody the opportunity to create music the same way musicians do. With OddBall, making beats is easy, intuitive, fun and can be done where ever you are.

To get all the experimental musicians excited, we made it possible to use Oddball as a velocity sensitive Bluetooth MIDI controller, so you can connect it to any DAW software on your laptop (such as: Ableton, Logic Pro, Pro Tools, etc.) and control your favourite plugins.

2


by The Oddball Team


...

This bouncy ball is a MIDI controller you can use to make beats – The Verge

A new Kickstarter called Oddball is aiming to put a new spin on making music. Comprised of a ball about the size of a lacrosse ball and an accompanying app, the ball behaves as a percussion trigger, making noise whenever it’s bounced off a surface.

Cubasis 2.6 adds new MIDI features/Roli Blocks integration

Cubasis 2.6 Overview

Synonymous with ease of use, Cubasis 2 is a powerful and fully featured iOS-based music production system that pushes the creative envelope. Whether you’re capturing simple ideas or musical masterpieces, Cubasis comes with outstanding, touch-optimized tools for recording, editing, mixing and sharing your music with the world right away. With its second iteration, Cubasis boasts many additions such as real-time time-stretching and pitch-shifting, a studio-grade channel strip, pro- sounding effects, massive instrument refills, a refreshed MIDI Editor and many other great features. Put your hands on three onboard instruments, numerous loops and instrument sounds to creatively lift your music to perfection, together with the included mixer and effects. Once recorded, transfer it directly to Cubase or share your music directly with the world. 

But what’s really interesting is how many new MIDI features Cubasis 2.6 has. 

New features in Cubasis 2.6 

Audio Unit full-screen support*

Tweak sounds and parameters with utmost accuracy, using Cubasis’ super-sized full-screen support for Audio Unit instruments and effects plug-ins. Enjoy maximum productivity, creativity and flexibility, switching between the available screen sizes at lightning speed with only a few taps.

ROLI NOISE Seaboard and Drum Grid visualizer support*

Experience a new approach to making music, using ROLI’s free downloadable NOISE app within Cubasis. Create inspiring drum and melody parts through intuitive gestures, using the unique Seaboard and Drum Grid visualizers, now directly accessible via Cubasis’ Audio Unit full-screen mode.

MIDI CC support for compatible Audio Unit effect plug-ins*

Easily remote control your favorite compatible Audio Unit effect plug-ins via external controllers. No matter if you’re moving effect knobs via MIDI Learn or switching presets via program change — if your Audio Unit effects plug-in supports it, it can be done in Cubasis with great ease. 

*Requires iOS 11 


Check out what you can do with Cubasis 2.6 and Roli. 


Here is an in-depth tutorial on Cubasis and Roli Blocks 


...

‎Cubasis 2 on the App Store

‎Read reviews, compare customer ratings, see screenshots, and learn more about Cubasis 2. Download Cubasis 2 and enjoy it on your iPhone, iPad, and iPod touch.


...

Start | Steinberg

Get fascinated by the brand new features that Cubasis 2 comes with such as real-time time-stretch and pitch shift, a studio-grade channel strip, Spin FX, massive instrument refills and many more powerful features.

Audioswift-Your Trackpad As A MIDI Controller

Control · Improve · Create





Slider

Divide the trackpad in 1 to 4 virtual sliders and send CC or Pitch Bend MIDI messages. Add expressiveness to virtual instruments or automate plugins parameters easily with a trackpad. Edit photos faster in Lightroom.





XY

Use your trackpad as an XY pad to control several parameters at the same time, using one, two and three fingers configurations. A great MIDI tool for mobile producers and sound designers. 




Mixer

Control one or two faders at the same time using simple touches. Move the panning, set the send’s levels, use your trackpad as a jog wheel, and write automation in a quick and easy way. It’s currently supported in Logic Pro, Pro Tools, Ableton Live, Reaper, Cubase and Studio One.





Trigger

Make quick beats using your trackpad as trigger pads. Play audio clips by tapping your fingers. Up to three fingers can be used at the same time. 




Scale

Choose a tonic note and then select a scale. Slide your fingers from left to right to play notes in the selected key. Apply pressure to the trackpad and it will send aftertouch MIDI messages. (Aftertouch requires a trackpad with Force Touch). 


AudioSwift (US$24) requires macOS 10.11 or newer. Get 50% discount using coupon GOLDENFROG50 for a limited time. 

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



...

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.


SoulPedal® Beta Testing Begins – A Wearable Expression Controller with MIDI in your Shoe?

SoulPedal® (SP) is a wearable controller that slips inside your shoe (as an insole) and wirelessly controls effects for musicians. In this YouTube demo, local Beta Tester and Musician, Kody Raine of Chandler Arizona, explains how he’s using MIDI Change Control messages from SP’s wireless controller to modulate his own gear. Not so obvious in the video is that he’s a Guitarist (with a great voice). And I thought MIDI was for keyboards… what do I know.

SP isn’t likely going to market until 2019, but we’ve got a couple functional Beta units on hand if you’re the right people in the neighborhood, as these are still mostly hand built at home. It’s all about usability and engaging with other creative types who like to move around on stage or add a new degree of control to their show. (Musicians don’t like control, do they?) But don’t think of this as just another MIDI controller or another thing just made wireless because we could. I honestly believe every band member could up their game on stage here, and that’s not just another cliché marketing comment as you might be thinking. I can’t wait to see what vocal artists will do with this (and the crowd won’t even know they’re in control). Really, any automation is fair game. The combination of Control, Expression, and Mobility are what what makes this unique.

This whole project started one day in 2011 because my old 120 VAC Morley Wah fried a light bulb and I couldn’t find a replacement in time for band practice. So I wired in an FSR (Force Sensing Resistor) to replace the light sensor, taped it inside my shoe, and it worked! So then Jimmy, our rhythm guitarist said… “That’s cool, you should make it wireless!” (Sometimes I wish he hadn’t encouraged that thought.) As inventor, my original goal was to move away from a rocker type pedal to allow for improved expression on stage… anywhere on stage. It just made sense to lean into a string bend or volume swell, and it turned out to be a very easy and natural movement for a better show. Oh, and with MIDI of course. 

True story, when we designed the Alpha unit in 2014, there were three keyboardist friends that insisted on MIDI. I had no idea why, so I contacted the founders at Source Audio but they couldn’t really tell me what features I should include either. It was almost like everyone had it, just in case. I thought, why would any keyboard player need a wireless pedal when standing right there at their keyboard? Perhaps a Keytarist? And what guitarist used MIDI? But we had already hacked out the code so it became an experiment. Creator Brockett Parsons of the Piano Arc (with Lady Gaga)… ya, he liked it. REO’s keyboardist Neal Doughty – nope, but he was curious. My keyboard friend thought it would might nice because his pedals could annoyingly slide away, but then someone came out with a clamp for that. MIDI just had that standard format to hook up to whatever. I was up for “whatever” and this demo was just my first result. I also didn’t expect the comment “I love that I don’t have to look down to find my pedals when I’m getting into a groove.” I didn’t expect that either, so the experiment continues.

In the beginning, the prototype was a total hack using a Texas Instrument Chronos Watch encapsulated by an insole made from a glue gun, a torch, and a putty knife. (Arduino wasn’t mainstream and I just wanted a CPU and Radio in a single chip to make it small. So it’s still in the Sub-1 GHz radio frequency, and may eventually have Bluetooth for configuration management. Turns out lower frequencies have better range so we’ll see.) For now, it’s got some cool knobs that shape the control response “feel” (offset and curve), along with some unique analog features on the Wah (thanks to posts from Anderton). I’m now redoing the Wah PCB by adding Buffered Drive, Volume Swells, and Exp Out as a 10K pot (and all analog is opto-isolated). It uses foot gesture recognition to turn on/off but I can’t wait to open that capability up for some real integration like tap control for Tempo. Foot tracking is something I’ve experimented with several times so multi-pedal control is definitely possible, but it’s too soon for that just yet.

Funny thing, I first engaged with this MIDI organization at NAMM in 2015 where I sat down with President Tom White who liked the idea and had this advice: “In the music industry, it’s got to work really well and you probably won’t make any money.” The Indiegogo crowd-funding launch later that year was our first clue that he was right, but then Shark Tank called me up for an Audition. Having a lack of sales made it a tough road for that stage without at least an emotional story and we had neither. Since that “learning experience”, our team went from seven members to just three with only myself actually working on it. I did take two years off to create other stuff at Tech Shop, but I kept coming back to SP with a few more tools in my chest.

What’s different is this whole time, we never actually had someone use it outside our circles, and willing to pay for it. That’s mostly because it had to work really well as one hick-up on stage and it could be game over. After all, what could possibly go wrong with a wireless product while jumping up and down on the electronics? Not to mention a good fit that’s also lightweight and low cost. I think the only reason this isn’t already on the market is because of these Engineering challenges and associated risk with big change. Plus it’s just not for mass market (yet) because we all know people love their gear and a $69 Wah or Effects Controller is just fine for most, or is it? Who woulda thunk people would trade-in their Honda Accord or Civics for a $59K Model 3 Tesla? Ya that just happened – in numbers. (Ya, I’m Elon inspired.)

You can check out some SoulPedal® history and updates on Facebook and visit SoulPedal.com to hook up. It’s just way too cool to quit now. If all goes well, the plan is that Kody will be using SP on stage next weekend (Sept  2018), MIDI controlling a Boss DD-500 for delay at will. We can figure this out together. 

SoulPedal® is “The Pedal that Moves with You! “™, CleanStage LLC, Patented, Copyright 2014, all rights reserved. 



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! 

Specification for TRS Adapters Adopted and Released

The MIDI Manufacturers Association (MMA) has released a Specification for use of TRS Connectors with MIDI Devices. It is available for free download by MIDI Association members.

The document defines how to wire “TRS” (tip-ring-sleeve) connectors for use with MIDI devices, and describes the necessary device circuitry and cable specifications to support MIDI communication over the TRS connection.

The inclination towards smaller hardware devices has made it increasingly difficult to make use of DIN connectors for MIDI In/Out in the past few years. Many manufacturers have chosen to use 2.5mm or 3.5mm “TRS” connectors instead. But since there was no specification for wiring a TRS MIDI connection, the situation exists where two devices may not have chosen the same wiring scheme, so compatibility between devices is not known. By specifying the pin-out for the TRS connection, and also the connectors for the adapter cable, we can ensure greater interoperability between TRS and DIN-MIDI devices. 

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.

XT Synth

XT Synth-The expression of a violin, the playability of a guitar, with the power of a MIDI controller that shines. 

“The XT Synth is a mix of guitar, violin and midi controller. My inspiration was to make an instrument that could be played like a guitar, with the expression of a violin, with the sounds of a synthesizer. The neck has 4 soft potentiometers that can be played similar to an string instrument. They can be tuned however the player wants. Because instead of strings it has soft pots, the instrument is not tempered, like a violin, allowing vibratos, portamentos, and microtones.”

The XT Synth was a finalist at the Guthman New Instrument Competition 2018.

2


by Gustavo Silveira


...

XT Synth

Music, programming, electronics and other nerd musical related stuff.

Frank Zappa and the Synclavier.

​In 1986 Frank Zappa  released his final studio album  in his lifetime; for the remaining seven years of his life, he would only release live concert albums.
Jazz from Hell is an instrumental album whose selections were all composed and recorded by Frank Zappa. It was released in 1986 by Barking Pumpkin Records on vinyl and by Rykodisc on CD.
Zappa won a 1988 Grammy Award for Best Rock Instrumental Performance for this album.
.

What is a “Synclavier” ?

The Synclavier was an early digital synthesizer, polyphonic digital sampling system, and music workstation manufactured by New England Digital Corporation of Norwich, Vermont, USA. It was produced in various forms from the late 1970s into the early 1990s. The instrument has been used by prominent musicians.

The original design and development of the Synclavier prototype occurred at Dartmouth College with the collaboration of Jon Appleton, Professor of Digital Electronics, Sydney A. Alonso, and Cameron Jones, a software programmer and student at Dartmouth’s Thayer School of Engineering.

The system evolved in its next generation of product, the Synclavier II, which was released in early 1980 with the strong influence of master synthesist and music producer Denny Jaeger of Oakland, California. It was originally Jaeger’s suggestion that the FM synthesis concept be extended to allow four simultaneous channels or voices of synthesis to be triggered with one key depression to allow the final synthesized sound to have much more harmonic series activity. This change greatly improved the overall sound design of the system and was very noticeable. 16-bit user sampling (originally in mono only) was added as an option in 1982. This model was succeeded by the ABLE Model C computer based PSMT in 1984 and then the Mac-based 3200, 6400 and 9600 models, all of which used the VPK keyboard.

Synclavier II (1980): 8-bit FM/additive synthesis, 32-track memory recorder, and ORK keyboard. Earlier models were entirely controlled via ORK keyboard with buttons and wheel; a VT100 terminal was subsequently introduced for editing performances. Later models had a VT640 graphic terminal for graphical audio analysis (described below)

Original Keyboard (ORK, c.1979): original musical keyboard controller in a wooden chassis, with buttons and silver control wheel on the panel.[10]
Sample-to-Disk (STD, c.1982): a first commercial hard disk streaming sampler, with 16-bit sampling at up to 50 kHz.
Sample-to-Memory (STM): later option to sample sounds and edit them in computer memory.
Direct-to-Disk (DTD, c.1984): a first commercial hard disk recording system.
Signal File Manager: a software program operated via VT640 graphic terminal, enabling ‘Additive Resynthesis’ and complex audio analysis.
Digital Guitar Interface
SMPTE timecode tracking
MIDI interface

5


by Wikipedia..

What is interesting for us is the fact that the Synclavier was a very advanced and elaborate midi-instrument which revolutionized the music industry.

 After two decades of depending on the skills, virtuosity, and temperament of other musicians, Zappa all but abandoned the human element in favor of the flexibility of what he could produce with his Synclavier Digital Music System.

The selections on “Jazz from Hell” were composed, created, and executed by Zappa with help from his concurrent computer assistant Bob Rice and recording engineer Bob Stone. Far from being simply a synthesizer, the Synclavier combined the ability to sample and manipulate sounds before assigning them to the various notes on a piano-type midi keyboard.

At the time of its release, many enthusiasts considered it a slick, emotionless effort. In retrospect, their conclusions seem to have been a gut reaction to the methodology, rather than the music itself.

 


by AllMusic

As I am since a few years an avid amateur of making midi based music, I took the challenge to revive some tracks of this groundbreaking album on put them on my youtube channal.

I will present one track here which is made with commercial available DAW’s and midi files which are available on the web.

“G-Spot Tornado” is a musical composition created by Frank Zappa for his album Jazz from Hell in 1986.He thought that the composition was so difficult to play that it could not possibly be performed by a human therefore he initially recorded the song using a Synclavier DMS. Zappa was later proven wrong when the song was performed live on The Yellow Shark. The piece, one of, “Zappa’s most successful Synclavier releases in the tonal idiom…,

Frank Zappa’s music keeps inspiring me since I bought my first Zappa record in 1968 and I was lucky to see him perform on several occasions live on stage.

It’s hard to find an actual Synclavier these days, but you can find information on the Synclavier at Vintagesynth.com and Arturia released a softhsynth reproduction of the Synclavier V in 2016. 


...

Arturia – Details

The Synclavier V faithfully recreates the elite digital synthesizer/workstation that started it all, powering some of the biggest hits and film soundt…

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


Federation Bells in Birrarung Marr, Melbourne

We recently sent out a MIDI Message newsletter and asked people to describe their favorite MIDI project.  Harry Williamson from the Federation Bells in Melbourne, Australia sent us this message. 

Favorite MIDI Project-
The Federation Bells, Birrung Marr, Melbourne. 39 Bronze up-turned bells play compositions 3 times daily from a MAX/MSP driven schedule from playlists comprising works composed and sent in by the public, and professional composers alike. I chose MIDI as the final driver language because its ubiquitous, simple and hard to crack. We designed and built the 16 channel bell controllers, the fft audio analysis program that listens to bells and tells us if they are working well or not, and many many other specialised functions in Python and other public domain languages. The free Federation Bells app for iOS and Android allows the user to play the bells locally via WiFi (and down the chain, MIDI) when schedules are not playing. It’s a world first interactive musical instrument/sculpture. Check it out. Write something on the app’s sequencer/player and send it to us. If we like it we will play it publicly.

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by Harry Williamson

So here is our challenge to MIDI Association members.  Download the free app and compose a song for the Federation Bells.  The app let’s you share your MIDI file via email so you can send it to us at info@MIDI.org.  We’ll collect up all the entries from The MIDI Association and send them to the people who run the bells and maybe your composition will be played live in Australia!

Here is the links from the Federation Bell website. 

Download for Apple

The App for iPhone and iPad is now working well (make sure you update to Version 1.5)

An Android version of the app is Beta. 

Download for Android

The Fed Bells iOS App

Here’s the explanation of how the Federation Bells work from the FAQ on their website –  http://federationbells.com.au

How does it play by itself?

The bells are controlled by a computer located on-site. Musical compositions composed via this website are coded in MIDI (Musical Instrument Digital Interface). Each composition is a computer file that is scheduled to play at an allocated time. The MIDI data is converted into a series of electronic pulses that are delivered to each of the 39 bells. Within each bell is a solenoid that triggers a hammer to strike the inside of the bell.

Are there any others like this?

There are many sets of bells throughout the world. Typically called carillons these sets of bells are played by a single player via a keyboard. However, the Federation Bells are unique as a set of public bells that are played via a computer. The Federation Bells can also be played via a smartphone or tablet (from 2015), or by plugging in a MIDI keyboard.

Check out the Federal Bells in action!

Telemidi – Creating music over The Internet in real-time

What is Telemidi?

A system of connecting two DAW environments over the internet, to achieve real-time musical `jamming’.
The product of Masters research by Matt Bray.


“…a musician’s behaviour at one location will be occurring at the other location in a near synchronous manner, and vice versa, thus allowing for a `jam’ like atmosphere to be mutually shared.”

Matt Bray (Telemidi creator)

Telemidi is an approach to Networked Music Performance (NMP) that enables musicians to co-create music in real-time by simultaneously exchanging MIDI data over The Internet.  Computer networking brings with it the factor of latency (a delay of data transfer), the prevalent obstacle within NMP‘s, especially when attempting to match the interaction of traditional performance ensembles.  Telemidi accommodates for latency via the use of numerous Latency Accepting Solutions (LAS – identified below) embedded within two linked DAW environments, to equip performers with the ability to interact in a dynamic, interactive and ongoing musical process (jamming).  This is achieved in part by employing RTP (Real Time Protocol) MIDI data transfer systems to deliver performance and control information over The Internet from one IP address to another in a direct P2P (peer to peer) fashion.  Once arriving at a given IP address, MIDI data is then routed into the complex DAW environment to control any number of devices, surfaces, commands and performance mechanisms.  Essentially, a musician’s behaviour at one location will be occurring at the other location in a near synchronous manner, and vice versa, thus allowing for a `jam’ like atmosphere to be mutually shared.  As seen in the video listed below, this infrastructure can be applied to generate all manner of musical actions and genres, whereby participants readily build and exchange musical ideas to support improvising and composing (`Comprovising’).  Telemidi is a true Telematic performance system. 


What is Telematic Performance?

Telematic music performance is a branch of Network Music Performance (NMP) and is a rapidly evolving, exciting field that brings multiple musicians and technologies into the same virtual space. Telematic Performance is the transfer of data and performance information over significant distances, achieved by the explicit use of technology. The more effective the transfer the greater the sense of Telepresence, the ability of a performer to “be” in the space of another performer.  Telematic performances first appeared when Wide Area Networking (WAN) options presented themselves for networked music ensembles via technologies such ISDN telephony, and options increased alongside the explosion of computer processing and networking developments that gave rise to The Internet.  Unfortunately in this global WAN environment, latency has stubbornly remained as a constant and seemingly unavoidable obstruction to real-time ensemble performance.

Telematic performance has been thoroughly explored by countless academic, commercial and hobby entities over the last four decades with limited successes. The musical performances have taken many forms throughout the exponential development of computing technologies, yet have been more-or-less restricted by latency at every turn.  For example, there is the inherent latency of a CPU within any given DAW, the additional processing loads of soft/hardware devices, the size and number of data packages generated in a performance, and the delivery of this data over The Internet which in turn presents issues regarding available bandwidth, data queuing, WiFi strength etc.. This is but one side of the engagement as we also have the DAW requirements of the reciprocating location, and of course the need for synchronous interplay between the two. Real-time NMPs suffer at the whim of network jitter, data delays and DAW operations.


How Telemidi Works

Telemidi works by exchanging MIDI data in a duplex fashion between the IP addresses of two performers, each of whom are running near-identical soft/hardware DAW environments.  A dovetailed MIDI channel allocation caters for their respective actions while avoiding feedback loops, in a system with the potential to deliver performance information to and from each location in near real-time (10-30ms).

To achieve this musical performance over The Internet, the Telemidi process employed:

1 – Hardware – a combination of control devices

2 – Softwaretwo near-identical Ableton Live sets

3Latency Accepting Solutions (LAS) – ten examples

4 – RTP MIDI facilitating the delivery of MIDI data to a WAN.  

Click on the tabs below for a summary of items used at each node location during the research stage of the Telemidi research (for more information and to download the Masters thesis go to www.telemidi.org): 

 Below is a list of hardware used at each location in the Telemidi research:

Lap-top Computers:  + Mac and Windows computers used, demonstrating Telemidi accessibility.


Novation SL Mk II

Novation SL Mk II MIDI controller keyboard


+ High capacity for customised MIDI routing (both control and performance data)

+ Traditional musical interface (keyboard)


Novation LaunchPad Pro

Novation LaunchPad Pro


+ Native integration with Ableton Live

+ Contemporary `Grid-based’ composition process 

 Software

 LAS

Ableton Live 

Near-identical Live sets (duplex architecture)
7 pre-composed songs (each split into four sections, A, B, C & D)
54 additional percussion loop patterns
12 x Synth Instruments (Native and 3rdparty)
Synths: 4 each of Bass/Harmony/Lead
16 DSP effects processers (with 2 or more mapped parameters)
286 interleaved MIDI mappings within each Live set
13 of 16 MIDI Channels used for shared performance and control data
Tempo variation control
Volume & start/stop control for each voice (Bass, Harmony & Melody)
Record and Loop capacity for each voice (Bass, Harmony & Melody)

LATENCY ACCEPTING SOLUTIONS (LAS):

The following processes adapt to and overcoming (cumulatively) the obstacle of latency.  They are ranked in order of efficiency from 1 (most efficient) to 10 (least efficient).

LATENCY ACCEPTING SOLUTION JUSTIFICATION
1 – One Bar Quantisation All pre-composed, percussive and recorded loops are set to trigger upon a one bar quantization routine, allowing time (2000ms @ 120bpm) to accommodate for network latency between song structure changes (most commonly occurring on a 4 to 8 bar basis).
2 – P2P (Peer ) Network Connection: Direct delivery of MIDI data from one IP address to the other. A simple direct delivery. No third party `browser-based’ servers used to calibrate message timing.
3 – Master Slave Relationship:  One node (Alpha) was allocated the role of Master and the other (Beta) the role of slave, allowing for consistent, shared tempo and a self-correcting tempo alignment following any network interference.
4 – Pulse-based music (EDM) as chosen genre for performance:

A genre without reliance on a strict scored format, rather a simple and repetitive pulse.
5 – Floating Progression (manner of Comprovising ideas) Each performer initiates an idea or motif, the other responds accordingly and vice-versa (jamming), any artefacts of latency only play into this process.
6 – 16thNote Record Quantize

Inbuilt Ableton function ensuring any recorded notes quantized to the grid.
7 – MIDI Quantize

3rdparty Max4Live device (16th note) puts incoming WAN MIDI onto the grid of the receiving DAW.
8 – Manual Incremental Tempo Decrease In the event of critical latency interference, tempo can be reduced incrementally, thus extending the time between each new bar and granting time for the clearance of latency issues.
9 – Kick drum (bar length loops) During a period of critical latency interference, a single bar loop of ¼ note kick drum events is triggered to maintain the “genre”.
10 – Stop Buttons During any period of critical latency interference, each voice (beats, percussion, bass, harmony or melody) can be stopped individually to reduce the musical texture, or to stop harmonic dissonance and stuck notes.

RTP MIDI

+ MacOS – AppleMIDI accessed through `Audio MIDI Setup’

+ Windows – rtpMIDI software used (created by Tobias Erichsen)

Success of Performance

Two performances were undertaken in the Telemidi research, the first with each performer 7.5km (4.6 mi) apart, and the second 2,730km (1,696 mi) apart.  Both were recorded and then analysed in detail (see video below), whereby aspects of performance parameters and methods were identified alongside several fundamental principles of Telematic performance.  A stream of audio is generated from each node and each has been analysed in the video to identify the interplay between the two musicians, highlighting any variations in the music created and to recognize artefacts of network performance.  It was noted that the music generated at each node was strikingly similar, although subtle variations in the rhythmic phrasing of bass, harmony and melody were common.

The Telemidi system ably accommodates all but the most obtrusive latency yet provides each musician with the capacity to co-create and Comprovise music in real-time across significant geographic distances.  These performances showed constant interplay and the exchange of musical ideas, as can be seen in the 16 minute analysis video below, leaving the door open for many exciting possibilities in the future.


16min Video Analysis


Future Plans

The principles of Telemidi were the focus of Matt Bray in his 2017 Masters research.  Now the Telemidi process has been proven to function, the landscape is open to allow for musicians to create and interact with each other in real-time scenarios regardless of their geographic locations.

The next steps are to:

+ Recruit keen MIDI-philes from around the globe to share and exchange knowledge in regards to the potentials of the Telemidi process (if this is you, please visit www.telemidi.org and leave a message)

+ Identify the most stable, low latency connections to The Internet available, to begin test performances across greater geographic regions

+ Refine and curate the infrastructure to suit various genres (from EDM to contemporary, also including live vocalists/musicians at each location)

+ Produce and promote simultaneous live performance events in capital cities, first nationally (Australia) and then internationally.

If you are at all interested in contributing to, or participating in the Telemidi process, please contact me, Matt Bray at www.telemidi.org, I’d love to hear from you and see what possibilities are achievable. 

Thanks for checking out Telemidi!!

Matt Bray


The Glitch Mob’s Blade 2.0-The world’s most complex MIDI controller?

The Glitch Mob has started touring with what may be one of the most complicated MIDI controllers every built. 

The Blade 2 .0 was designed by Martin Phillips also who has done work for Deadmau5, Kanye and Daft Punk. Dell partnered with the Glitch Mob to provide Dell Alienware 15s computers that run Intel Core i7-7820HK quad-core processors. The Blade 2.0 has three Dell Canvas 27-inch touchscreens that are programmed as MIDI controllers for melodies and kick and snare drum patterns. An Alienware 17 plugged in via a MIDI HDMI cable connects the whole show together. 

“We have all these crazy turbine-looking drum things and inside of those are Roland PD-125X V-Drum Mesh Snares. We hook all those up to a Roland Octapad, which all three of us have sitting about 10 feet behind us.”

by Edward Ma from an article on Music Radar

Nerdmatics is the LA-based tech team that wrote the Max patches to drive the show. They also have done some other projects we’ve covered like the Intel CES keynote. 

Here’s some more of the Glitch Mob and the Blade in action.


Here links to some other articles about the Blade 2.0

MPE MIDI Live! Chat Podcast

On May 26, we held the very first  MIDI Live! chat with a panel of MPE specialists. 

We recorded the session and it is presented here as a podcast. 

Listeners were not only able to send in questions via text but were able to actually join the discussion and interact directly with the panelists. Roger Linn demoed his Linnstrument live from his studio in Los Altos.

DIscussions included the differences between the original MPE spec and the final MMA specification, MPE checklists, and test sequences, and the requirements for obtaining an MMA MPE logo that is under development.

We’ve already started planning for the release of the MIDI-CI speciffications so stay tuned to the MIDI Live! channel for future events!



Roger Linn-Roger Linn Design

Geert Bevin-Moog Music

Ben Supper-ROLI

Athan Billias-Yamaha

Pat Scandalis from moForte demonstrates GeoShred

Geert Bevin’s software checker for MPE

 MoForte MPE compliance check list


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. 

May 31-And the Tips Keep Coming!

We hope you enjoyed these daily tips during MIDI Month—but that’s not the end of it, because there will be plenty more tips to come when you join the The MIDI Association. TMA is an all-volunteer organization that believes in TMA’s mission: to nurture an inclusive global community of people who create music and art with MIDI. Our strength is our community, and your response has been powering TMA since its inception. We have click rates, open rates, and engagement that are way above the industry average—thank you for your involvement.

MIDI is poised to make some major leaps forward this year. Actually it already has, with MIDI Polyphonic Expression and MIDI-CI having been ratified. However there’s more to come, and this web site is the place to find out the latest advances, how to make the best use of MIDI, become inspired by new possibilities, and share ideas with others.

If you haven’t already joined The MIDI Association, now’s the time. It’s free, and membership provides an all-access pass to the site. Welcome!

MIDI Tool Integrates Real and Virtual Synths

The Live Performance Challenge

The challenge for me as a performing musician has always been not being able to readily access desired sounds and sound layers during a live performance in an effective way. The tools given to us on modern stage keyboards are difficult to manage on the live stage, and even if you take the time and make the effort to program your performance, you are always restricted to controlling only what is inside each of the two or more keyboards you bring to the gig. It is difficult to get them to talk to each other, especially since every song might require a different setup. So being a hardware and software engineer by trade, I set out to solve some of these problems the last time I was gigging, and came up with a solution I love, that I will describe for you in this post. Better yet, my company just released the latest version of this jewel, including a freeware version for those minimalists that just need the basics. Let’s dig into what this app can do.

Familiar Tools – a Different Way

As performing keyboardists, we are familiar with the concept of layering multiple sounds (patches) to produce a phatter sound, splitting patches over your keys (keyboard split) to play different sounds on sections of your keyboard, and combinations and variations of these techniques, including velocity layering, transposition and more. These types of capabilities have been around since the early days of digital synthesis back in the 1980’s, and the modes that allow you to create and save these settings are referred to by different names depending on the instrument manufacturer. Common names are “Combination” (combi) or “Scene”, so let’s use the name “scene” on this post. Once you have programmed and saved a scene that has the mix of sounds you want on your instrument, you can easily call it up using a keypad, a touch screen, or some other means.

Without these functions you are limited to calling up single patches on each keyboard synth. This may be enough for you if you play using a small set of sounds like piano, organ and strings on your entire performance. However, in my opinion, these functions are essential in a live performance, allowing you to produce fresh, more complex and greater variety of sounds on each song, to come closer to the sound of your cover songs – if you’re in a cover or tribute band – or closer to your original sound if you recorded originals in a studio.

The Tools Have Hard Boundaries 

The problem with that is that you can only create scenes within the confines of an integrated instrument. You cannot easily accomplish this if you need to mix sounds from different synths, especially if some of these are virtual instruments on a computer or tablet. Each discrete instrument must be set up individually, either manually or through some external control, in order to call up scenes during a live performance, and this challenge can overwhelm a performer. This discourages the keyboard musician from using all the capabilities available from her instrument when playing live, often resulting in a duller performance.

When I go out to listen to musicians around town, no matter how great the musicians are, I often notice that, because of the limitations I eluded to, they just keep reusing the same sounds on every song, not even changing the tone of the guitar(s). After a while, every song sounds like the previous, and the performance descends into complacent drudge. And the reality is that when you are performing live, especially in a club where music must go on without breaks, it’s difficult to manage complex changes to your gear on the fly to address this issue. It’s somewhat easier in a concert where the audiences may be more forgiving and can be satisfied with some chit-chat between songs.

Breaking Down the Barriers – The Matrix 

Having encountered these problems and frustrations myself, I set out to resolve them when I joined a band again about ten years ago after a long career in electronics and software development. The solution was to design a software-driven MIDI matrix of inputs and outputs, such that you can totally separate the control signals from the inputs of the synths. By connecting the MIDI output of each of your controllers (keyboards, trigger pads, control surfaces, etc.) to the MIDI inputs of the matrix and then also connecting all your sound sources’ MIDI inputs to the outputs of the matrix, you can reconfigure the routing of your playing from any of your keyboards onto any of the synths connected to the matrix, including virtual instruments in your computer, instantaneously and on the fly.With this type of setup we can add functionality to the software-driven matrix to facilitate features such as transpositions, chord mapping, note followers, interval generators, continuous controller (CC) filtering, CC translation, and the like, to create a central device where you can set up scenes that use, not one instrument or synth, but any and all synths you have available on your setup, including virtual ones in your notebook or mobile device. The illustration shows the apparent simplicity of the concept.

Of course the matrix alone does not solve the problems until you couple it with a smart and well-thought-out user interface that can, to start with, allow you to save and recall the configurations you create for the matrix. Once you have established these configurations, this is where the fun begins, as you are now able to create layers, splits and transpositions from ANY of your synths, not just within a keyboard workstation, and you can treat your entire setup as if it were a single digital instrument.

You Decide… The Blue Pill or the Red Pill

In the movie The Matrix, if Neo takes the blue pill, he wakes up in his bed. If he takes the red pill, Morpheus shows him “how deep the rabbit hole goes” in the Matrix. Did I get this backwards? It doesn’t matter. If you want to keep the status quo in your performances, take the blue pill, and this blog post goes away. If you want to learn more about the possibilities, let’s take the red pill and examine the matrix!

So how do we realize this MIDI matrix and all its capabilities? Well, today’s computers can process audio at breakneck speed with virtually unnoticeable latency. If a computer can process audio this efficiently, it certainly can run circles around MIDI data. So a laptop, such as many musicians take to the gig, or even a tablet, is an ideal environment to create the most flexible and feature-rich MIDI matrix you can imagine. Dedicated hardware is not necessary. All you need is a MIDI interface (or several MIDI interfaces) with enough ports to connect each of your multitimbral synths, keyboard controllers and control surfaces to your laptop, and optionally, an internal MIDI bridge utility to route MIDI to the virtual synths that you want to use live on the same laptop. If all your devices use class compliant MIDI over USB, you may not even need a separate MIDI interface to do this.

To fully integrate your already integrated workstations to this type of setup, you simply need to put the workstation in LOCAL: OFF mode, at which point the keyboard becomes just another controller on the matrix, and the internal synth engine becomes another engine available for you to use in your integrated setup. In case that confused you a bit, I really mean that, with the matrix, you can set up scenes where you control instrument B from the keyboard of instrument A.

Convinced yet? Where is that red pill?

Midi~Kuper – The Red Pill 

After several years of prototyping, field testing and improvements, my company (mu-C Kuper) finally released the first commercial version of this concept. We call it Midi~Kuper.

Midi~Kuper implements the matrix I discussed, including the ability to split, layer and transpose sounds from any of your synth engines onto a single controller, or a multiplicity of controllers. It allows you to use as few keyboards as you are comfortable with on stage without the concern you will need a sound on a certain keyboard that you cannot put there otherwise. Remember, this product integrates all your synths into a single point of control and the boundaries between synths and controllers fade away.

In order to make you feel like you are dealing with a single instrument made up of all of your available synth engines, the user interface was designed to be streamlined and intuitive, with bubble help everywhere. While constructing scenes, the interface looks like a rack of processors, with the most common controls one click away, and expandable sections for more advanced features. Each control strip in the rack establishes a connection from any of your MIDI controllers to any of your synth engines. You can connect multiple engines to each controller, as well as merge signals from different controllers into a single engine. So for example, if you want to use your control surface sliders as Hammond B3 drawbars, you can merge signals from the control surface with the signals from the desired keyboard into the B3 emulator, virtual or otherwise, to achieve this result. For multitimbral engines, each control strip can send MIDI from any controller to a particular MIDI channel on the given engine, so you can take full advantage of the multitimbrality of your instruments.But the difference is that Midi~Kuper will be able to assign patches to each of these channels on the fly based on the scene you construct. More on scene construction later.

Scene construction view

When you put Midi~Kuper into live performance mode, the interface presents a touchable/clickable transport control strip, with additional buttons for scene selection while playing. The app is designed to receive commands wirelessly from any mobile device running Lemur (we are currently working on a proprietary, free remote control add-on for mobile devices). So during performance, you can just tap a big button on your iPhone or iPad to advance to the next scene in your song, or the next song in your performance. If you need click and backing tracks too, it also provides transport control, including song indexing for your DAW, with included configurations for Ableton Live and SONAR.

Performance control strip

Assigning scenes to songs and making set lists out of a song list is achieved through simple drag and drop operations. The layout of Midi~Kuper’s windows is such that they always try to occupy the least amount of screen space possible, allowing room for other programs you may want to operate in parallel, such as a DAW, a virtual instrument host program, or the virtual instruments’ UI’s. To do this, we abandoned the concept of a multiple document user interface with a single window within which all other windows must fit. From personal experience, this is not practical for this type of app. Instead, Midi~Kuper uses floating windows we call control strips that you can place anywhere in your workspace, including multiple monitors. It always “remembers” where you last placed these windows so you get a repeatable experience every time you launch the app.

In addition to the general things described above, Midi~Kuper has lots of features to help you during your performance, displaying lyrics and song cues that can be placed on any monitor at any position desired. This can assist the entire band to achieve repeatable consistency in song tempos and, if you have a large repertoire, present the key and other stats for the song that you may want to share with your audience. If you frequently have musicians that fill in, the song key display will assist them keeping up with the performance. It will also help that one member that plays in other bands and can’t remember what key this band plays the song in. (That’s me).

Song cue strip

Down the Rabbit Hole

Midi~Kuper is loaded with features to enhance and assist your performance. Let’s get into some of this detail.

Velocity Layering

We already discussed the ability to create splits and layers on a single keyboard using any of your available synth engines hooked to the Midi~Kuper matrix. In addition to normal layering, Midi~Kuper has the ability to construct velocity layers, again using any group of synth engines desired. For those not familiar with the concept, velocity layers allow you to determine which patch (sound) will be produced depending on how hard you play a key. So for example, a common velocity layer setup might be to have a string pad that is layered with a brass section when your playing exceeds a certain velocity threshold. So if you play softly, you will only hear the strings, but if you start playing harder the brass section will start to come in. Normally you can only produce this effect within the same physical instrument if it has that feature. Midi~Kuper allows you to create this type of layering mixing sounds from any of your available synths.  

Achieving Huge Multitimbrality

Midi~Kuper has the ability to send program change commands to the synth engines. In addition, it lets you leverage the capabilities of your multitimbral synths by seeing each MIDI channel as a path to an individual synth engine. Because some synths, especially the virtual ones, can produce undesirable glitches in the sound when executing program changes, it is best to pre-configure your multitimbral devices with the sounds you always use on all but one channel, and leave one channel for patches you may need to change. So for example, if your synth can handle 16 multitimbral parts, one on each MIDI channel, you would set up your most used 15 patches on the first 15 channels, and leave the last channel as one that you will change on the fly via MIDI program change. On the other hand, if you are using virtual analog emulations such as emulated Mini-Moogs or say a Z3TA+ virtual synth, you can set up multiple simultaneous instances of these in your computer to avoid the need for program changes in the middle of your performance. With the exception of these possible conditions, Midi~Kuper will always switch seamlessly between scenes without hung notes or notes cutting out prematurely.

Continuous Controllers Management 

Midi~Kuper also provides continuous controller (CC) processing so that you can filter out, translate or scale or even invert CC data on the fly. For example, I find that Expression (CC 11) control does a better job on certain B3 emulations than Volume (CC 7). However, my controller puts out Volume (CC 7) when I move the volume pedal. Midi~Kuper easily translates CC 7 to CC 11 in my B3 scenes. I only have to set this up once and problem solved. Another handy feature is filtering, where supposing you have a controller that is constantly putting out channel pressure signals to a synth that does not respond well to these, or gets messed up if there are too many. Midi~Kuper gives you the ability to block or filter any CC such as channel pressure on any track in your scenes to get around this issue.

Note Processors – Playing with 3 Hands

Midi~Kuper also supports note processors that can help you get more out of your playing. Currently it supports a Note Mapper and an Interval Generator, with more processors coming in future releases. The best way to illustrate how these can help your performance is to use a specific example – the piano intro of Minute by Minute by the Doobie Brothers and Michael McDonald. Yes, it’s an old one, but a great example. The intro has a left hand bass walk-up in octaves with full chords on the right hand for every two bass notes of the left. A skilled keyboard player can play this readily. However, many players with less than optimal chops may have trouble with this progression. But even if you are a skilled player that can handle the intro without trouble, this intro occurs again in the song at the same time a lead is played on an analog synth. Unless you have 3 hands or a second keyboardist in the band, your skills will not help you here. However, with Midi~Kuper’s Note Mapper, you can map the chords the right hand is supposed to play onto the bass notes played with your thumb on the left hand, and that frees up your right hand to play the lead on a second keyboard or on a split section of the same keyboard. For those players with less chops, this feature allows you to play the intro with just two fingers! I will have a demo video on this in our YouTube channel shortly.

The other processor currently available, the Interval Generator, can produce intervals that follow a set scale (chromatic, major, harmonic minor, Dorian minor, etc.) to help you do similar things. For example, it’s great for salsa piano riffs and accompaniments, jazz bass progressions, as when Oscar Peterson plays in 10ths that my hand cannot reach, and other special effects.

The Possibilities

Now stop and think about that for a moment. You now have an app that can create layers, splits, transpositions and other useful functions using ALL your synths. These magic scenes or combis that you could only create within the confines of a single instrument can now be created using sounds from any and all of your stage synths. You are no longer confined to do this from a single instrument. It is now possible as an example to split an 88 note keyboard into three sections, one with a piano coming from a physical synth or say Spectrasonics’ Keyscape on the computer, another with a B3 coming from an emulator box, and the third section with a layer of horns from another channel on the first physical synth and string from a Kontakt sampler in your computer. And you can call up such scenes on the fly without any delays or glitches because Midi~Kuper makes sure that the transitions between scenes are handled seamlessly.

A Note about Virtual Instrument Use on Stage

 One of the reasons I designed Midi~Kuper was that I wanted to be able to use the same virtual instruments I love in my computer when I am composing, but in a live stage. The usability of virtual instrument hosts I have looked at is limited, and while using a DAW like SONAR or Ableton Live as virtual instrument hosts has its great advantages, they are not set up to be particularly friendly managing changes during a live performance unless you are playing DJ style.

Midi~Kuper is a great complement to these hosts because of its ability to leverage virtual instruments in such a way as to achieve multitimbrality. Suppose you have to reproduce the sound of three simultaneous Mini-Moog patches, but you cannot afford to put three of them on stage (they are expensive). Well, if you have a good virtual version of the Mini-Moog or a great virtual synth like Z3TA+, you can run three or more instances of these synths simultaneously using different patches and Midi~Kuper can combine them, layer them, split them, transpose them by way of a scene setup, send program changes, and then combine them with all your other synths without consideration for physical boundaries.

The possibilities are endless, allowing you to even control devices such as voice processors and guitar pedals based on the song you are performing. Here is an example diagram of a setup I have used on stage.

Notice that Midi~Kuper now has the ability to not only manage my synths and controllers, but also to change the sound on my guitar, and settings on the vocal processor, as well as sending chord information for the voice processor to follow.

Managing your Performance

Midi~Kuper is not only capable of creating these instantly callable, very complex scenes using any or all of your available synth engines, but it provides this capability in pursuit of its primary goal, which is to elevate the quality, professionality and variety of your live performance while at the same time, simplifying your workflow. Let’s examine these details further.

Midi~Kuper can maintain your song lists, as well as data associated with each of these songs. As you create scenes (single selections or combinations of selections from any of your synths mapped onto your selected controllers), you can assign them to one or more songs. Each song can have one or more scenes in sequence assigned to it. Scenes can be repeated within the same song if you want to select them sequentially and they do in fact repeat. For example, two verses with one scene, a bridge with another scene and back to the verse scene. If your song performance is more free-flow, Midi~Kuper allows you to randomly call up any of the scenes assigned to the song as you perform at the touch of a button on your remote control device or touch screen.

Scenes can be assigned to more than one song. The separation of song and scene was made to give you this flexibility.

Once you have assigned at least one scene to every song, you can create set lists of songs. When you are ready to perform a given set, you can put Midi~Kuper in performance mode, and then just step through the scenes in your songs at the tap of a big button on your remote device or on your touch screen. In the meantime, Midi~Kuper will display on its cue strip the name of the song, its key, its tempo (with a blinking indicator), its author and release date if you have entered this data for the song. If you entered lyrics for the song, a separate window will pop up at your designated monitor, size and location, to display the lyrics.

Supported Environments and Future Plans

Don’t quit reading on me yet, but currently, Midi~Kuper works only on Windows 7 or above in most processors that run this operating system. I have run it on a $170 tablet with an Atom processor running Windows 10, taking advantage of its touch screen capability.

We are keenly aware of the fact that most musicians prefer the Mac environment, so we are working diligently to release both Mac and iOS versions. We do not have a firm release target date at the time of this writing, but we fully expect to complete the effort in 2018. We also just released a freeware version that will have all features except note and CC processing. The full version (Midi~Kuper Pro) gives you a fully functional 30-day free trial, after which you can purchase a license to activate the product permanently. You can get your copies at 

Putting it All Together

Midi~Kuper is an application that allows you to create a flexible MIDI matrix that will reconfigure your gear’s MIDI routing on the fly, with features that were only previously possible within the confines of synth workstations. Midi~Kuper allows you to break these boundaries and limitations and treat all your gear as an integrated set of synth engines that can be combined, split, layered and controlled as if they were a single instrument. It also manages your live performance, drastically changing your sound seamlessly and instantly, using any or all your available synth engines and controllers in any configuration you desire. So give it a try, and let me know what you think.



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Home Page – µC Kuper

Read more about Midi~Kuper and get your free trial or freeware copy at our website. 

May 30-Hands-On Fader Control

In the tip for May 22, we covered how to control effects and virtual instrument parameters with a footpedal hooked into a synthesizer or other controller. But what if you don’t have a synthesizer or other controller…and would rather use a 100 mm fader than a footpedal?

No problem, if you’re willing to do a little soldering. Take a 1/4″ phone jack, and wire the tip to the fader’s wiper (center terminal), the ground to the fader’s terminal that connects to the wiper when the fader is all the way down, and the ring to the fader’s terminal that connects to the wiper when the fader is all the way up.

Wire up a phone jack to a long-throw fader, and you can have fader control over MIDI parameters.

If you do have a keyboard or similar MIDI controller, you can use the fader instead of an expression pedal by patching a stereo cable between the fader jack and an expression pedal jack. A more versatile option is to use MIDI Solutions’ Pedal Controller, because you can program it to output any controller number (as well as aftertouch , pitch bend, or system exclusive), and alter the potentiometer’s curve to, for example, have a linear potentiometer give a logarithmic response.

Be a slave to the mouse no more—find out how some serious hands-on control can add more expressiveness.

May 29-Rendering MIDI to Audio

MIDI has lasted over 30 years, so the MIDI data you entered in a sequencer back in the 80s can still drive today’s virtual instruments (which is pretty amazing, come to think about it). However virtual instruments, computers, and operating systems don’t have, shall we say, quite the same kind of longevity. You’ll be reminded of this when Steven Spielberg calls to say he heard your great song by accident, wants to use it as the theme song for an upcoming blockbuster, and could you please make a few tweaks to the mix…but when you open the project, you see “Plug-in not found.”

Ooops. And then you find out that the plug-in was never updated, it works only with Mac System 7, you lost your authorization code, and the company that made it went out of business years ago. Double oops.

And that’s why it’s a good idea to render your MIDI-driven tracks into audio files. Although you can’t totally future-proof a project, the odds are extremely good that programs of the future will be able to read WAV of AIF files. 

The MIDI track on the bottom has been rendered to create an audio version above it

Rendering usually just involves selecting the MIDI track, then choosing an option like “bounce” or “transform to audio.” Now you’ve captured your instrument as an audio file. As an added bonus, you can now save the instrument preset and then delete the instrument so it no longer takes power from the CPU. However, leave the MIDI track because it requires virtually no CPU power. If you later decide you need to edit the part, re-insert the instrument, call up the preset, and re-do the part.

May 28-Manual Vibrato for Keyboards

The way most keyboard players add vibrato is to turn up the mod wheel, and inject some LFO to change the oscillator pitch periodically. That’s fine, but consider guitar players—they add vibrato by moving their fingers on strings, which gives a more human quality than using an LFO.

So, try your hand (get it?) at doing vibrato with your fingers instead of using the LFO. This also frees up the mod wheel to do other, perhaps more interesting changes (see the tip from May 9, “Get Imaginative with the Mod Wheel.”

Here’s what finger vibrato looks like after it follows an upward bend.

For the most realistic guitar-style bending, remember to bend up, not down—strings can only bend up, unless you’re using a vibrato tailpiece that can shift the pitch up or down.

May 27-Polyrhythmic MIDI Echoes

There’s more to life than audio echo—like MIDI echo. Although the concept of MIDI echo has been around for years, early virtual instruments often didn’t have enough voices to play back new echoes without stealing voices from previous echoes. With today’s powerful computers and instruments, this is less of a problem so let’s re-visit MIDI echo.

It’s simple to create MIDI echo: Copy your MIDI track, and then drag the notes for the desired amount of delay compared to the original track. Repeat for as many echoes as you want, then bounce all the parts together (or not, if you think you’ll want to edit the parts further).

The notes colored red are the original MIDI part, the blue notes are delayed by an eighth note, and the green notes are delayed by a dotted-eighth note. The associated note velocities have also been colored to show the velocity changes for the different echoes.

But wait—there’s more! You can not only create polyrhythmic echoes, but also change velocities on the different notes. The later echoes can have different dynamics, but there’s also no law that says all the changes must be uniform. Nor do you have to follow the standard “rules” of echo—consider dragging very low-velocity notes ahead of the beat to give pre-echo. There are many, many possibilities with MIDI echo…check them out.

May 26-Why ReWire Is Very Cool

ReWire is a software protocol that allows two (or sometimes more) software applications to work together as one integrated program. For example, suppose you wish your DAW of choice had Propellerhead Reason’s roster of way cool virtual instruments, but you don’t want to learn a different DAW. No problem: use ReWire with your DAW, and get Reason into the mix.

ReWire requires a client application (also called the synth application) that plugs into a ReWire-compatible host program (also called the mixer application) such as Cakewalk, Cubase, Digital Performer, Live, Logic, Pro Tools, Samplitude, Studio One Pro, etc. In the host, you’ll have an option to insert a ReWire device. The process is very much like inserting any virtual instrument, except that you’re plugging in an entire program, not just an instrument. You usually need to open the host first and then any clients, and close programs in the reverse order. You won’t break anything if you don’t, but you’ll likely need to close your programs, then re-open them in the right order. 

ReWire sets up relationships between the host and client programs.

Here’s how the client and host work together.

  • The client’s audio outputs stream into the host’s mixer.
  • The host and client transports are linked, so that starting or stopping either one starts or stops the other.
  • Setting loop points in either application affects both applications.
  • MIDI data recorded in the host can flow to the client (excellent for triggering soft synths).
  • Both applications can share the same audio interface.

Rewire is an interconnection protocol that doesn’t require much CPU power, but note that you’ll need a computer capable of running two (possibly powerful) programs simultaneously. Fortunately most modern computers can indeed handle ReWired programs, so find out for yourself what this protocol can do.

May 25-“Proofing” MIDI Sequences

Sometimes you hit notes you don’t want to hit, particularly if you’re playing MIDI guitar or some other alternate controller (although this tip is most relevant to MIDI guitar, even with keyboards you may end up brushing against some keys accidentally and creating notes you don’t want). Here are some ways to clean up your data stream.

Delete pressure data. Your controller may generate pressure (aftertouch) and your sequencer might record it…but does your synth preset respond to it? If not, the pressure data is just taking up space. If you didn’t filter it out on the way in, delete it now.

Short note glitches. Sometimes you’ll find notes with extremely short durations, and you have no idea how they got there. You’ll usually find these because you experience some kind of problem during playback, but can’t see the notes because they’re so short. So, use your sequencer’s data filtering option (it’s called different things in different programs, like Logical Edit, Find and Replace, etc.) to select only notes shorter than a certain number of ticks—the best number depends on the sequencer’s resolution, but it’s a pretty safe bet notes with durations shorter than 10 ticks aren’t intentional).

Cakewalk’s Deglitch menu weeds out notes, velocity, and duration that don’t meet particular characteristics.

Abnormally low velocities. Just as some “ghost” notes have unusually short durations, some will have unusually low velocities. Again, use whatever feature your software offers to remove all notes with velocities under 5 to 10.

May 24-Tempo Track Tweaks

In the days before click tracks, tempos varied because musicians are humans, not crystal-controlled clocks. However, these changes were far from random. While researching an article for Sweetwater’s inSync web publication, I analyzed the tempo changes for several hits from the past that didn’t use a click track and noticed a common element of most songs: the tempo would accelerate up to a crucial point in the song, then decelerate during a verse or chorus. This type of change was repeated so often, in so many songs I analyzed, that it seems to be an important musical element that’s almost inherent in music played without a click track. It makes sense this would add an emotional component that could not be obtained with a constant tempo.

As one example, here’s what the tempo looks like for the Beatles “Love Me Do.” Their tempo variations are quite premeditated. 

While the tempo changes in the Beatles’ “Love Me Do” may appear random, they follow a pattern.

Note the dramatic pause at “so please, love me do” around measure 16 and again at 49, and the natural increase in tempo when it went into the “Love, love me do” verse. They also sped up a bit over the course of the track, which happens a lot in songs recorded without a click track.

If you start a song with MIDI tracks, it’s easy to experiment with tempo variations because the sound of the instruments won’t change. Once you’ve nailed a good feel for the tempo, then you can start adding audio tracks that follow the tempo changes.

May 23-Don’t Get Tripped Up by Local Control

Sometimes you don’t need an external, dedicated MIDI controller—the one on your favorite synth may be all you need, and the synth even has built-in sounds. The keyboard usually feeds data to the synth’s MIDI out, but also to its internal sounds (called “local control.”) But if your sequencer echoes its interface’s MIDI in to the interface’s MIDI out, then the MIDI data from your synth will re-enter your synth’s MIDI in and cause “double triggering” because both the keyboard and the interface’s MIDI out trigger the same notes. To prevent this, disable the synth’s local control (typically a synth setup or preference option). Or, create a track in your DAW that transmits a value of zero on continuous controller 122, which turns off the synth’s local control.

Enter your text here …

Turning off local control is important if you’re using a synthesizer as a controller for your host software.

Another gotcha is that some sequencers try to be considerate—they default to sending a local control off command to prevent double-triggering, because they assume that if you’re using a synth as a controller, you don’t want double triggering. But this means that if the sequencer isn’t echoing the MIDI input to the output, you won’t hear the synth when you play until you turn on local control—or boot up your sequencer.

May 22-Parameter Control with Footpedals

Some virtual instrument and effects parameters just cry out for footpedal control—too bad you don’t have a pedal that outputs MIDI data…or do you?

If you have a keyboard synthesizer or controller, it will probably have an expression pedal jack. The standard MIDI controller for expression is controller #11, and unless your keyboard or controller is really old, the odds are good that plugging an expression pedal into the pedal jack, then moving the pedal, will send controller #11 messages out the keyboard or controller’s MIDI out. A floor multieffects for guitar that has a pedal may also transmit controller messages.

The Yamaha FC-7 Expression Pedal can control more than just parameters inside a hardware synthesizer.

Assuming the target parameter you want to control has MIDI Learn, enable it (often done by right-clicking or shift-clicking on a control and choosing MIDI Learn), wiggle the footpedal, and now the parameter has “learned” to respond to your footpedal motion. Note that if another parameter is already controlled by controller #11, you’ll probably want to click on it and call up “MIDI Forget.”

May 21-Leading and Lagging the Beat for Feel

You can “humanize” sequences that have been quantized too rigidly by tweaking the start times for individual notes or phrases. Ignore any menu item called “humanization,” because this usually just adds randomness—that’s not what makes timing human (unless the human in question had too much to drink). Instead, alter note timings manually or use a “slide” editing function; note that any “snap” function needs to be turned off, and these changes should be subtle.

Mixcraft’s MIDI editing can move selected notes early or late, as well as add randomization.

For example:

  • Jazz drummers often hit a ride cymbal’s bell ahead of the beat (earlier) to “push” a song.
  • Rock drummers frequently hit the snare behind the beat (later) for a “big” sound.
  • For electronic dance music, move double-time percussion parts (shaker, tambourine, etc.) slightly ahead of the beat for a more urgent feel.
  • With tom fills, delay each subsequent note of the fill a tiny bit more. This can make a tom fill sound gigantic.
  • If two percussion sounds or staccato harmony lines hit on the same beat, try sliding one part ahead of or behind the beat to keep the parts from interfering with each other.
  • Move a crash cymbal ahead of the beat to highlight it, or behind the beat to have it mesh more with the track.
  • If a bass note and kick hit on the same beat, delay the bass slightly to emphasize the drum (hence the rhythm), or advance the bass a tiny bit to emphasize melody.

May 20- All Rexed Up

REX files chop digital audio into “slices,” each of which is associated with a MIDI note. Playing a MIDI note triggers its associated slice, which is why REX files can follow tempo variations—slices can trigger at a faster or slower rate as you speed up or slow down a MIDI sequence. However, what really makes this fun is that you can also re-arrange the MIDI notes in a different order to trigger slices at times other than their original timings, or transpose the notes to trigger a different slice than the one the MIDI note would normally trigger.

In Propellerhead Software’s Reasons, the slices driving a rhythm guitar part have been moved around in a phrase’s final measure to create a musically useful variation.

This kind of slicing and dicing is particularly effective with drum loops, because owing to the nature of REX files, each slice tends to be a single hit consisting of one or more drums. If you move these hits around, you can create a totally different drum pattern.

Complimentary Summer NAMM registration for TMA members!

Complimentary Summer NAMM registration for TMA members!
Thanks to NAMM (the National Association of Music Merchants), we have complimentary registration through June 13 for MIDI Association members
to the Summer NAMM show which happens this year in Nashville from June 28-30. 

Summer NAMM is open to all NAMM members as well as professionals and buyers from non-member companies, seeking products, solutions, and services in music, sound, and event technology.

To register to attend Summer NAMM at no charge, log in the site as a TMA member and click here to get The MIDI Association Summer NAMM code.

To learn more about the benefits of attending visit:
https://www.namm.org/summer/2018/attend

As we get closer to the show, we’ll be talking more about MIDI events at Summer NAMM.

The MIDI Association Summer NAMM code

Complimentary Summer NAMM registration for TMA members!
Thanks to NAMM (the National Association of Music Merchants), we have complimentary registration through June 13 for MIDI Association members
to the Summer NAMM show which happens this year in Nashville from June 28-30.

To register to attend Summer NAMM at no charge, go here and use the code: SN18MIDI

Summer NAMM is open to all NAMM members as well as professionals and buyers from non-member companies, seeking products, solutions and services in music, sound and event technology.

To learn more about the benefits of attending visit:
https://www.namm.org/summer/2018/attend

As we get closer to the show, we’ll be talking more about MIDI events at Summer NAMM.


May 19-Programming Synths for MIDI Guitar

Part of making MIDI guitar feel “right” when triggering synths has nothing to do with the guitar and its tracking, but with editing the synth presets so that they’re guitar-friendly instead of being optimized with keyboards in mind.

Separate channels. The guitar will most likely send data from each string over a different channel. So, use synths in multitimbral mode, where each voice has its own channel. Depending on the synth, the fastest way to do this is to optimize a voice for one string on one channel, then copy over to the other channels.

Polyphony. Set each voice for one-note polyphony. Think about it—with any guitar, you can’t play more than one note at a time on a given string. MIDI guitar feels more realistic when it responds in the same way (and may even appear to track better).

Native Instruments’ Kontakt has six Clavinet voices, set to channels 1-6, for MIDI guitar. Note how maximum polyphony is set to 1.

Legato mode. If there’s a legato mode, consider using it. Then if you slide up the neck, you won’t retrigger a note at every fret along the way…then again, maybe that’s the effect you want.

If you don’t want to program the sounds yourself East West has released a series of sounds specifically programmed for MIDI guitar.


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EastWest MIDI Guitar Series Volume 1 Orchestra | Sweetwater

Only at Sweetwater! ✅  Instant Delivery and ✅  FREE Tech Support for your EastWest MIDI Guitar Series Volume 1 Orchestra!

May 18-Processing Audio with MIDI Control

Some MIDI instruments, particularly those from Arturia, include an external input for processing audio signals through the synthesizer’s filter, VCA, and effects modules. That’s cool enough, but of course, what’s even cooler is that is that you can then use MIDI to trigger filter and VCA envelopes, turn filter resonance up high and use a keyboard to “play” the filter frequencies as the audio goes through it, and more—the only limit is the extent to which elements within the synthesizer can interact with the input signal.

Arturia’s Mini V can also serve as a signal processor by feeding audio into the External Input. A volume control (highlighted in red) determines the level of the audio going through the synthesizer.

May 17 Non-Rigid Quantization

One of the complaints about “MIDI music” is that quantizing everything to the beat sucks the life out of a song by eliminating the kind of timing variations humans make. But that’s not the fault of MIDI— the problem is the person doing the quantization. So, here are three ways to make quantization more human-sounding.

Quantization strength. Instead of quantizing to the beat, quantize with 50% strength. This moves the note closer to the beat. If the timing still isn’t tight enough, quantize again by 50%. You’ll find that often, notes that are ahead of or behind the beat are intended to contribute feel, but the player isn’t precise enough with the timing—so the timing variations are too “loose.” Tightening up the timing can preserve the intent, but sound less sloppy.

Cubase’s quantize panel includes iQ (interative Quantize), set here for 50% and outlined in red. A little bit of swing has been added as well, but randomization is set to 0.

Groove quantization. This feature allows you to quantize to a humanized groove. For example, someone might have converted the audio from a percussion part played by a human into MIDI data, and you can use that as a template to quantize a percussion part instead of quantizing to the grid.

Swing. Even just a little bit of swing, like a couple percent (like 52% or 2%, depending on how the program chooses to calibrate swing), can add a less rigid, more flowing feel to a piece of music.

Here is a link to more details from Cubase expert Matt Hepworth


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Advanced MIDI Quantizing in Cubase 7 : Ask.Audio

Quantizing MIDI doesn’t need to make for a rigid, lifeless performance. Using the advanced MIDI tools in Cubase you can improve the timing and keep the groove s

 

May 16-The Advantages of Starting Songs with MIDI

When you’re songwriting, you want nothing to get in the way of your creativity, and you want as fast a workflow as humanly possible—so for those reasons, you’re better off starting the songwriting process with MIDI rather than recording audio (if not you’re not a keyboard player, even a simple MIDI guitar controller like the Jamstik+ or You Rock guitar will do the job). Here are the two main advantages.

Transposition. You can transpose MIDI instruments quickly, while retaining sound quality. When you’re looking for the right key for your voice, you can find it in seconds.

Tempo changes. There’s a tendency when writing to play a bit more slowly because you’re feeling your way around the chord progressions, lyrics, etc. Once you’ve established the song’s framework, then you can experiment with different tempos until you find one that feels right.

This multi-timbral setup contains 16 different instruments to provide a palette for songwriting.

To get started, my tool of choice is a multitimbral synth like IK Multimedia’s SampleTank, with a preset that contains the kind of instruments needed for songwriting. Then it’s possible to lay down multiple tracks quickly to create the song’s overall shape, which makes choosing the key and tempo just that much easier.

May 15-Arpeggiation Meets Percussion

Most people of think of arpeggiation solely in melodic terms, but arpeggiation has additional uses.

General MIDI instruments include drum kits where the top notes are percussion sounds, and many virtual instruments include percussion presets. Setting up an arpeggiator in a random mode to trigger various percussive sounds can create a really cool effect. The wider the octave range, the more instruments the arpeggiator will play—which you may or may not want, if there are some annoying percussion sounds in the mix. Restricting the range, or using a non-random arpeggiator setting, can create a more “compact” set of sounds.

The arpeggiator in Cakewalk by BandLab is generating random arpeggiation over three octaves based on the notes held down to trigger percussion sounds.

This can also work well with multi-sampled instruments. Instead of stacking the multi-samples on one key and triggering with velocity, spread the multi-samples across multiple keys and use an arpeggiator to trigger them. You can end up with some delightful surprises this way. Just make sure that your program is always in record mode, because if a pattern is truly random—good luck duplicating it.

May 14-Why MIDI Plug-Ins Are Cool

When audio plug-ins entered the mainstream, MIDI plug-ins took somewhat of a backseat because they weren’t the “shiny new toy” in town. However with MIDI’s resurgence, companies are paying more attention to MIDI plug-ins. For example Cubase has always had a great roster of MIDI effects, Ableton Live almost gives parity with MIDI and audio plug-ins, Logic added several in an update, Studio One has Note Effects, Digital Performer has various MIDI processors, and so on.

Top to bottom: Ableton Live Arpeggiator and Scale Constrain, Apple Logic Chord Trigger, and Steinberg Cubase Step Designer.

The great thing about MIDI plug-ins is that they can do non-destructive editing. Suppose you have a MIDI plug-in for quantization; when you lay down a drum part and don’t want to take the time to edit it to perfection, slip a MIDI plug-in into the drum’s MIDI track, and set it for 16th notes. The part will be quantized so you can play along with it easily as you lay down other parts. Once the song has developed sufficiently, then you can go back and do the needed timing edits to make the drum part really shine, and remove the plug-in.

MIDI plug-ins can also do other tricks like arpeggiation, velocity control, chord detection, snapping to scale, and even do “effects” like polyphonic echoes—ignore MIDI plug-ins at your own risk, because they’re really cool. 


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MIDI Generator Tips for Cubase : Ask.Audio

Cubase has always been one of the most powerful DAWs when it comes to MIDI programming, but did you know you don’t even need a keyboard to create beats and melo

May 13-Why You Need a Controller with More Octaves

If you think of a keyboard as playing only notes, four or five octaves may be sufficient. However, many virtual instruments (e.g., FXpansion Geist, Native Instruments Kontakt, EastWest’s Play engine, etc.) use MIDI keys not only to play specific notes but also to trigger articulations or variations on a basic sound. If your main USB MIDI controller doesn’t have enough notes, no worries—trade it in for that deluxe 88-note weighted keyboard you’ve always wanted (hey, you only live once). But if you lack the space or finances, add a second USB MIDI controller for doing switching—even if it’s just something like a little Korg plastic keyboard designed for mobile applications. Your sequencer probably won’t be able to merge incoming MIDI streams, but no worries there either: MIDI Solutions’s Merge will merge two data streams to a single output. There are also several DIY circuits for MIDI mergers on the web.

When you need more notes than a single keyboard can provide, merge the data streams from two keyboards with a MIDI Merger.

May 12-Get Your Groove On

Quantizing MIDI notes to precise rhythmic values on a grid can sound “mechanical.” This isn’t necessarily a bad thing, particularly with techno, electro, etc. But for musical genres that aren’t quite as rigid in terms of tempo, overly tight quantization can sound stiff. Enter groove quantization: instead of quantizing to a grid, you can call up a particular groove—for example, a hi-hat riff played by a real drummer, or a hand-percussion part—and quantize to that instead, forcing the MIDI notes to conform to the beats in the groove.

Ableton Live makes it easy to apply grooves to clips for different feels—you drag and drop the groove from the browser (upper left) on top of a clip.

Different programs handle this differently; some come with a bunch of preset grooves (like shuffles, humanized percussion grooves, swing, and grooves that lag or lead the beat), others let you extract grooves from existing audio or MIDI clips, and still others combine both options. In fact, this might be time for a bonus tip—sequencers come with documentation. It may be an intimidating amount of info, but read a little bit at a time, and you might find some real nuggets of useful information.

May 11-The Keyboard MIDI Control Surface for Mixing

When it comes to mixing, a lot of engineers will tell you there’s nothing quite like a good piece of hardware with real faders. Some synthesizers nclude faders for real-time control over the sound you’re playing, however you may be able to program these to control the faders in a recording program’s mixer. Several keyboards, such as Nektar’s Panorama series or M-Audio’s Advance controllers, have templates you can load so all the various hardware controls (which may also include rotary controls and switches) are pre-mapped to useful functions in various pieces of software.

Nektar’s Impact LX88+. LX61+, and LX49+ keyboards can also function as control surfaces for Cubase, Digital Performer, FL Studio, Garageband, Logic, Nuendo, Reaper, Reason, Sonar, and Studio One.

Or, your program may have a MIDI Learn function that makes it easy to map controls to mixer functions. Either way, you’ll find that being able to move a physical fader can be a lot more fun, and improve workflow, compared to constantly clicking and dragging on a screen.

May 10-Create Dramatic Pauses with Tempo Track Tweaks

One of the main differences between music recorded in the past and today’s recordings is the use of click tracks to maintain a constant tempo. We can debate whether this is a good idea or not, but here’s an easy-to-do tempo track tweak that can add a lot of impact to a song.

To add a pause, don’t move audio around—just add a very short, very deep tempo cut.

Short, subliminal pauses can create a fleeting sensation of tension and anticipation that results when the music comes back in on the beat. These can be very short and still have the desired effect. For example, suppose you want to add a short, almost subliminal “dramatic pause” at some point, like just before some booming snare drum hit signals the start of the chorus. Although you could shift your tracks over a bit or insert some space, it’s much easier to do a radical tempo drop (e.g., from 120 to 50 bpm) for a fraction of a beat where you want the dramatic pause. This sloooooows everything down enough to add the pause. (Ideally, you’d want something that sustains over the pause—silence, a pad, held note, etc.—but often, that’s what will be happening anyway.)

Give this technique a try in your music, because you just might find that it lets a song “breathe” more.

May 09-Get Imaginative with the Mod Wheel

Despite rumors to the contrary, Congress did not pass a law saying that mod wheels could be used only to add vibrato. Granted, the periodic vibrato a mod wheel adds is something only a synth can do, but try adding vibrato with the pitch wheel instead—it will sound more human, and more like the vibrato guitarists use. Now that you’ve freed up your mod wheel, here are some other uses for it.

You can use the mod wheel for a lot more than just vibrato.

  • Tone control. With bass patches, program the mod wheel to roll off high frequencies, like an electric bass’s tone control. When you want the “bass” to lay back a little further, roll off the highs.
  • Morph among patches. If you can assign multiple parameters to the mod wheel, that may allow for enough change to morph between completely different sounds.
  • Add a suboctave. This is another fun trick for bass when you want to shake the floor.
  • Increase drive/distortion. This is one of my favorite mod wheel applications. Sometimes adding a little “grit” can really increase a part’s intensity.
  • Control the hard sync effect. Assign the mod wheel to the oscillator that when swept, produces the hard sync effect.
  • Detuning. Sweep the fine tuning between oscillators for chorusing-like effects that you control.
  • Vary decay time. This is handy for percussive parts, where you want a staccato effect for emphasis, and a longer decay for the release part of the tension/release equation.

May 08 How to Use Jamstik+ as MIDI Guitar

Jamstik+ from Zivix is an interesting solution for guitarists who want to play MIDI instruments. While it’s not a guitar, it feels mostly like a guitar because it has real strings, a neck, and frets—but it doesn’t make any sound. On the plus side, you don’t have to change or tune the strings. Also, the basic version has only five notes, so it’s more of a “first-position chords” guitar. You can’t go much past a barre G or first position A played as C, and of course, playing leads high up on the “neck” is not possible, although you can transpose the range over which it plays.

Although invented more as a way to learn guitar, the Zivix Jamstik+ can also trigger virtual instruments via MIDI.

Because it’s physically small you’ll need to use the included strap, and it’s a little harder to work your way around the neck than a guitar. However, it doesn’t take long to acclimate yourself and if you want to lay down a MIDI part based on playing rhythm guitar, you’re good to go. Just remember a few tips:

  • Jamstik+ generates controller data that’s not relevant to what we’re doing. So, in your host of choice you can disable everything except notes to help thin out the data stream.
  • Glitches really aren’t an issue, because the Jamstik uses infrared sensors to detect when your finger is on a fret. However, you can generate sub-20 ms notes that while not problematic, aren’t needed. Your recording software may have a function that lets you delete all notes below a certain duration or velocity with a couple mouse clicks.
  • Jamstik+ can work wirelessly with Bluetooth LE MIDI as well as with a wired USB MIDI connection.
  • For best results with synths, use Jamstik in its multi-timbral mode, so each string goes to its own channel in a multitimbral synthesizer. This not only sounds more realistic, but plays more like a guitar. If your synth has a legato mode, that can give even better results for some types of musical material. 

Here is a video on how to use Jamstik+ with Ableton with a free instrument download. 

May 07 “Strum” Your MIDI Notes

If you’re a keyboard player using chords to define a chord progression, it’s easy enough to have chords hit on, for example, the beginning of a measure. But “strumming” the chord can add interest and a more guitar-like quality (note that the intention here isn’t to replicate a program that emulates strummed rhythm guitar parts, but to add interest to individual chord). Although you can edit the chord so that successively higher notes hit slightly later compared to earlier notes, that’s pretty time-consuming. Fortunately, step recording provides an easier way.

These notes were originally step-recorded with a step interval of 64th notes, but were quantized with 50% strength to tighten up the “strum.”

Step-record the chord notes using a step interval of 64th notes. This will probably separate the notes a bit too much, so select the notes, set quantization as appropriate to move the strummed notes closer to the first note (e.g., a half-note if the chord starts on the beginning of a measure), and then set the quantize strength to 50%. Because you’re moving the notes closer to the first note, but maintaining a delay among them, this speeds up the strum.

May 06 Macros, Baby!

A macro lets you string together multiple keyboard shortcuts into a single keyboard shortcut. For example, suppose you often quantize to 1/16th notes, with 50% strength, and like to add a swing factor of 52%. You can set up a macro so that after selecting your data, you do a single keyboard command and voilà—all three editing operations occur. Keyboard Maestro is probably the most common macro creator for the Mac, while AutoHotKey owns that distinction for Windows. However, you may not need a third-party program; some recording software (e.g., Cubase and PreSonus Studio One) let you create macros within the program.

Keyboard shortcuts save a lot of time, but creating some macros for your most-used repetitive operations will save you even more time.


Here are links to an article on how to create Macros in Cubase .


...

Creating Macros In Cubase : Ask.Audio

Macros are chains of actions that you can trigger with a single click or key command, and that can save you a bunch of time. Here’s how to create them in Cubase

 

May 05 Let MIDI Save the Day When Doing a Commercial Video

A company asked me to do a video for a reverb plug-in they were introducing, and I wanted to demo it with a variety of instruments. Drums? It’s easy to find good acoustic drum loops. Guitar? I play guitar. Vocals? The company provided me with a vocal I could use. But I really wanted an acoustic piano piece, like something from Debussy, to demo the hall reverb sound. Spoiler alert: Not only is Claude Debussy dead, I don’t play like him.

However, the website http://www.yamahaden.com/midi-files has thousands of public domain classical music files in Yamaha Disklavier format, but also as Standard MIDI Files. I downloaded three sets of classical music files, auditioned them through the Waves Grand Rhapsody piano, and found the perfect Debussy piece for the demo.

The blue notes show the original velocities. The green notes show what happens after applying the changes described in above, including subtracting 17 from the limited notes so that the highest-level green note is the same as the highest-level blue note.

There are many public-domain, royalty-free standard MIDI files on the internet.

Not only that, but the performance and sound were extremely convincing—it sounded like I had gone to great expense to hire and mic an accomplished piano player. The company was happy, so once again—MIDI to the rescue. 


...

Signature MIDI Collection

The Signature MIDI Collection currently features close to a thousand high quality performances of classical piano literature. The initial collection is based on a library of recordings that have been captured over the years during the various rounds of the International Piano-e-Competition.

May 04 Create Realistic MIDI Bass Parts

Don’t Let Notes Overlap. Most bass lines are single notes, and because bassists lift fingers, mute strings, and pick, there’s going to be a space between notes. Go through your MIDI sequence note by note, and make sure that no note extends over another note’s attack.

The orange notes have overhanging decays and attacks. The gray notes to the left and right have had their lengths trimmed to prevent overhang.

Limit MIDI velocity. Really great bass players are known for their “touch”—the ability to play notes consistently, in terms of timing and dynamics. In some ways, it can be harder to play keyboard notes consistently than bass strings, but the MIDI velocity limiting technique presented in yesterday’s tip is a fine solution.

Use slides. Real bass players use a lot of slides in their playing, and using pitch bend to create slides can benefit MIDI bass as well. Set the bass synth’s pitch bend range to plus and minus a fifth or an octave, depending how much of a slide you want—I use plus and minus one octave.

Take advantage of synth parameters. Use velocity not only to control dynamics, but brightness—have the filter cutoff lower at lower velocities, and higher at higher velocities so that hitting the keys harder creates a brighter sound. 

For really realistic bass parts, check out the IK Multimedia MODO bass.

May 03-How to Limit MIDI Velocity

Audio compression can give more consistent levels, but it doesn’t give a more consistent touch; that has to happen at the source, when the instrument plays. Some recording software programs have either MIDI FX or editing commands to compress data by raising low-level notes and/or or reducing high-level notes. But if your program doesn’t have velocity compression, there’s an easy solution: simply add a constant to all velocity values for “MIDI limiting.”

For example, suppose an instrument’s softest note velocity is 70, and the highest is 110—a difference of 40. Add 35 to all values, and now your softest velocity is 70+35=105, and your highest is 110+35—which can’t go any higher than 127 regardless, so now your highest-velocity note is 127 and there’s only a difference of 22 between the highest and lowest notes. If you want to go back to making sure the highest-level note is 110, then subtract 17 from all values. Your highest-level note is now at 110, but the lowest-level note is 88—still a difference of 22 instead of 40. 

The blue notes show the original velocities. The green notes show what happens after applying the changes described in above, including subtracting 17 from the limited notes so that the highest-level green note is the same as the highest-level blue note.

This doesn’t preclude adding audio compression, but you’ll find you need to add less of it, and the sound will be more natural. 

MIDI Association Partners at Super Booth 2018

Super Booth has been growing rapidly over the past few years, but this year there will be a record 227 companies exhibiting at the synth extravaganza held at the Fez in Berlin. May is MIDI Month Platinum sponsors Ableton, IK Multimedia, Moog, Roli and Yamaha will all be there. Here are their booth locations in the Fez

Ableton (O132)

IK Multimedia (W430)

Moog Music (H410)

ROLI (H306)

Yamaha (H310)

There are also a lot of smaller MIDI controller companies at Super Booth that we have covered here on the site including Enhancia, Genki, Sensel, Joue and more. 


IK Multimedia announces UNO mono analog synth at Super Booth 2018

 Beneath its miniature exterior, UNO Synth packs a powerful, fat and rich-sounding synthesis engine with a full analog audio path on par with professional synthesizers costing much more.

  • All-analog audio path with 2 VCOs, noise generator, resonant multimode VCF and VCA
  • 2 independent VCOs with Saw, Triangle, Pulse waveforms with continuously variable shape including PWM of the square wave plus a separate white noise generator
  • A 2-pole OTA-based analog resonant sweepable multimode filter with LPF, HPF and BPF
  • Custom-designed, dual-stage overdrive that provides filter input overdrive for classic synth saturation tone, from subtle warming to aggressive distortion
  • LFO with Sine, Triangle, Square, Up Saw, Down Saw, Random and Sample-and-Hold to modulate Pitch, Filter, Amp and continuous oscillator wave shapes including PWM

Yamaha Live Streaming Schedule at Super Booth 2018

Join the Yamaha international team of product specialists for a series of livestreams from the YamahaSynths page on Facebook.  


This year Yamaha is proud to feature legendary synthesist and sound designer Richard Devine for a live performance and Q&A! 

May 02 How to Adapt DIN 5 Connectors to USB

The original MIDI protocol specified a five-pin DIN connector (DIN stands for Deutsche Institut für Normung, a German standards organization), which is what you’ll find on older legacy MIDI gear (anything made before 1999). 

5-pin MIDI out and MIDI in jacks were the original MIDI connectors, and are still in use. However, today most MIDI gear sends and receives data to computers over USB. A single USB cable can not only carry 16 channels of MIDI IN and 16 Channels of MIDI Out on a single cable, but even multiple ports (1 Port=16 MIDI channels In and Out).

You can’t connect five-pin DIN connectors directly to your computer. So what do you do?


Use a newer device with both USB and five-pin DIN connectors as a bridge

Some modern devices have only USB (so you can only connect them to a computer), but many have both USB and five-pin DIN. If your newer device has both, you can connect your older non-USB gear to your computer by connecting your older device to the newer one. The newer device will allow you to route MIDI to and from your computer to the five pin DIN In and Out.

Get a MIDI Interface or an Audio/MIDI interface with five-pin DIN connectors

Many audio interfaces have a USB connection to the computer that also includes sending and receiving MIDI data. So you should look for an audio/MIDI interface that has five-pin DIN connectors on it. There are also simple MIDI interfaces with just a USB connection and a pair of five-pin DIN connectors.

Get a USB to MIDI Cable or a Wireless Adapter

There even MIDI interfaces which look like simple cables, which makes them very convenient if you have an instrument or two that you need to connect to your computer via USB. But don’t be fooled if you look closely, you’ll see that there are small circuit boards in them. You cannot simply wire a USB cable to a pair of five-pin DIn connectors and expect that it will work.  

 You can even go wireless with the Yamaha Wireless MIDI Adaptor MD-BT01

Simple and easy wireless connection of instruments with MIDI IN/OUT terminals to iOS devices and Mac makes it easy to use a wide range of music applications wirelessly for even more enjoyable performing and composing.


...

MIDI Interface Buying Guide – inSync | Sweetwater

Check out the MIDI Interface Buying Guide – inSync page at Sweetwater — the world’s leading music technology and instrument retailer!

ROLI-May is MIDI Month Platinum Sponsor

The Seaboard, our award-winning musical instrument, revolutionized the piano keyboard by replacing white and black keys with a continuous, touch-responsive surface that combines the expressive capabilities of many instruments in one interface.

Our range of hardware and software products has grown since the Seaboard launched in 2013. And everything we make — from our NOISE app to our Equator software — is designed to let music-makers be more expressive. Our products connect to others in our ecosystem and to many outside of it, because we want music creation to be as conveniently seamless as other digitized areas of life. By inventing new, connected tools we are extending the joy of music-making to everyone.


ROLI Song Maker Kit

The ROLI Songmaker Kit is comprised of some of the most innovative and portable music-making devices available. It’s centered around the Seaboard Block, a 24-note controller featuring ROLI’s acclaimed keywave playing surface. It’s joined with the Lightpad Block M touch controller, and the Loop Block control module, for comprehensive control over the included Equator and NOISE software. Complete with a protective case, the ROLI Songmaker Kit is a powerful portable music creation system.

The Songmaker Kit also includes Ableton Live Lite and Ableton is also a May MIDI Month platinum sponsor. 


...

ROLI Songmaker Kit | Sweetwater

Only at Sweetwater! ✅  0% Financing, ✅  FREE Shipping, and ✅  FREE Tech Support for your ROLI Songmaker Kit!


Roli and Ableton Live Lite

Ableton Live, the high-powered digital audio workstation (DAW) and sequencer, is a staple in music production. Combining tools for composing, recording, beat-matching and crossfading, Ableton Live’s versatility has made it a favorite of both producers and performers.
Now all Lightpad Blocks — including the new Lightpad Block M — seamlessly integrate with Ableton Live. And all Lightpad owners get Ableton Live 9 Lite for free! So you can enjoy the dynamism of Ableton Live and control the DAW in a totally new way.


Brothers Marco and Jack Parisi recreate a Michael Jackson classic hit

 

Electronic duo PARISI are true virtuosic players of ROLI instruments, whose performances have amazed and astounded audiences all over the world — and their latest rendition of Michael Jackson’s iconic pop hit “Billie Jean” is no exception.

Google Magenta-Making Music with MIDI and Machine Learning

In January 2018, we covered Intel’s Keynote pre-show which prominently featured Artificial Intelligence and MIDI.  

But one of the leaders in the AI and Machine Learning field is Google.  Their Magenta project has been doing a lot of research and experimentation in using machine learning for both art and music. The great thing about Google is that they share the details of their research on their website and even their code on Github.

Magenta is a research project exploring the role of machine learning in the process of creating art and music. Primarily this involves developing new deep learning and reinforcement learning algorithms for generating songs, images, drawings, and other materials

 


by magenta.tensorflow.org

In this article, we’ll review the latest Google music research projects and provide links to further information. We’ll also show how MIDI is fundamentally involved in many of these projects.  

MusicVAE is a hierarchical recurrent variational autoencoder for learning latent spaces for musical scores. It is actually not as complex as it sounds and Google does an incredible job of explaining it on their site. 

When a painter creates a work of art, she first blends and explores color options on an artist’s palette before applying them to the canvas. This process is a creative act in its own right and has a profound effect on the final work.

Musicians and composers have mostly lacked a similar device for exploring and mixing musical ideas, but we are hoping to change that. Below we introduce MusicVAE, a machine learning model that lets us create palettes for blending and exploring musical scores.

by magenta.tensorflow.org

 


Beat Blender by Creative Lab.

 Beat Blender uses MusicVAE and lets you put 4 drum beats on 4 corners of a square and then uses machine learning and latent spaces to generate two-dimensional palettes of drum beats that are morph from one dimension to the other.   You can manually select the patterns with your mouse and even draw a path to automate the progression of the patterns from one dimension to another.  You can select the “seeds ‘ for the four corners and Beat Blender will output MIDI (using Web MIDI) so you can not only use Beat Blender with its internal sounds, but with any MIDI device you have connected to your computer.  


Latent Loops, by Google’s Pie Shop

Latent Loops uses MusicVAE to auto-generate melodies, You can then put them on a timeline to build more complex arrangements and finally move them over to their DAW of choice. It also has MIDI output using Web MIDI. 


Onsets and Frames: Dual-Objective Piano Transcription

Onsets and Frames is our new model for automatic polyphonic piano music transcription. Using this model, we can convert raw recordings of solo piano performances into MIDI.

by magenta.tensorflow.org

Although still not perfect,  Google has made significant progress in extracting MIDI data from polyphonic audio files. 

Here is the original audio input file.


Artist Name

moz331-ground.mp3

Here is the output from Google’s transcription.  


Artist Name

moz331-ours.mp3


Performance RNN – Generating Music with Expressive Timing and Dynamics

 Performance RNN recurrent neural network designed to model polyphonic music with expressive timing and dynamics.  Google feed the neural network recordings from the Yamaha e-Piano Competition dataset which contains MIDI captures of over 1400 performances by skilled pianists. The Performance RNN demo website has both MIDI input and MIDI output. 

Our performance representation is a MIDI-like stream of musical events. Specifically, we use the following set of events:

  • 128 note-on events, one for each of the 128 MIDI pitches. These events start a new note.
  • 128 note-off events, one for each of the 128 MIDI pitches. These events release a note.
  • 100 time-shift events in increments of 10 ms up to 1 second. These events move forward in time to the next note event.
  • 32 velocity events, corresponding to MIDI velocities quantized into 32 bins. These events change the velocity applied to subsequent notes.

by magenta.tensorflow.org

Here is an example of the output from the neural network.  You can listen to more anytime here


Artist Name

Neural Network Created Piano Performance.mp3


N-synth- Neural Audio Synthesis

Google trained this neural network with over 300.000 samples from commercially available  sample libraries.  

Unlike a traditional synthesizer which generates audio from hand-designed components like oscillators and wavetables, NSynth uses deep neural networks to generate sounds at the level of individual samples. Learning directly from data, NSynth provides artists with intuitive control over timbre and dynamics and the ability to explore new sounds that would be difficult or impossible to produce with a hand-tuned synthesizer.

by magenta.tensorflow.org

Google even developed a hardware interface to control N-Synth. 


Where is musical AI and Machine Learning headed?

We could well be on the edge of a revolution as big as the transition from the electronic era to the digital era that occurred in the years between 1980 and 1985 when MIDI was first born.  

In the next 3-5 years musical AI tools may well become standard parts of the modern digital studio. 

Yet somehow its seems that like the softsynth revolution of the early 2000s, MIDI will once again be at the center of the next technology revolution. 

Historical Early MIDI Documents Uncovered

MIDI 1.0 Specification From August, 1983 Uncovered at Yamaha US offices in April, 2018. 

 

In November of 2018 we uncovered some unique historical MIDI documents.  These were discovered in a file cabinet at Yamaha Corporation of America’s headquarters in Buena Park, California.  These documents pre-date the formation of the MIDI Manufacturers Association and give us a truly remarkable look into the the early development of MIDI. There were three key documents. The first is a very early version of the MIDI 1.0 specification from August 1983. We also uncovered two issues of the IMA bulletin- one from June 1985 and another from June 1987. 

The early MIDI 1.0 specification is a very short 14 page document. Compare this to the 58 page MIDI 1.0 specification document published in 1995 which also included 7 pages of Appendixes pages and 13 pages of Tables.  

The copyright of this early MIDI 1.0 specification is assigned to the International MIDI Association based in Sun Valley. 

The MIDI specification first saw the light of day at the 1981 AES, when Dave Smith of Sequential Circuits presented a paper on the “Universal Synthesizer Interface.” It was co-developed with other companies (an effort driven principally by Roland’s Ikutaro Kakehashi, a true visionary of this industry), and made its prime time debut at the 1983 Los Angeles NAMM show, where a Sequential Circuits Prophet-600 talked to a Roland keyboard over a small, 5-pin cable. I saw Dave Smith walking around the show and asked him about it. “It worked!” he said, clearly elated—but I think I detected some surprise in there as well.

by Craig Anderton for Harmony Central

This document clearly shows that even in August of 1983 the MIDI specification was still in flux and had not been fully flushed out. For example, Continuous Controllers 64-95 are defined simply as Switches (On/Off). 

This also shows that at this stage, there was clearly a desire for 14 bit resolution of continuous controllers in MIDI 1.0.

Here is a list of the orginal 14 companies that were involved with MIDI at the time.  Notice that both Big Briar (Bob Moog’s company after he left Moog) and Moog Music (owned at the time by Norlin) are listed.  Many people underestimate Bob Moog’s role in MIDI gaining acceptance. 

 This version of the MIDI spec also featured a MIDI logo that was never used in later official specifications from the MIDI Manufacturers Association.  

The second IMA News Bulletin published in June of 1985 and announced a variety of new MIDI products including the Simmons SDS-9 electronic drum kit.

The same issue announced the first publicized meeting of the MIDI Manufacturers Association at the upcoming New Orleans Summer NAMM show on June 24, 1985. What’s most interesting about this announcement is that announces a “new MIDI 1.0 specification” that was authored by the Japan MIDI Standards Committee and translated from the Japanese by the MMA, and the creation of the standardized MIDI implementation chart. This is a full two years AFTER the initial public demo in January of 1983 and the first version of the MIDI spec was distrubuted by the IMA. 

The new “detailed” MIDI specification was created to solve problems that companies had understanding the initial specification. The original MIDI 1.0 Specification was written by companies collaborating outside of any organization, and though JMSC, MMA, and IMA all formed to help manage the development of MIDI, they all formed independently, and it took a few years before they all figured out how to move forward in “unison”.

The International MIDI Association (“IMA”) (a.k.a. “MUG or MIDI Users Group” and “IMUG” International MIDI User Group), was the first to form. It was a self-appointed organization to manage the development and promotion of MIDI.  The IMA MIDI Spec document dated August 5 1983 is the one that was registered with the United States Copyright Office by the IMA as the official MIDI 1.0 Specification. IMA got the initial spec from Sequential, who had also been distributing prior versions of the spec.

The Japanese companies who were building MIDI products at that time realized when they started implementing the MIDI initial 1.0 Spec that more detail was needed, and took on the task of producing an addendum document.. They formed the JMSC, which officially launched in Nov. 1983. Originally JMSC included end-users, but they abandoned that idea within the 1st year. By June of 1984 they informed the IMA that they were working on a “detailed explanation” which they would share when it was completed. They also recommended “US and European” manufacturers have their own association, separate from end-users. 

The decision to form the MMA was made at the June 1984 NAMM show in Chicago by Roland US, Yamaha US, Sequential, and Oberheim, and a meeting “of all interested companies” that was held. The MMA’s legal documents (articles of incorporation and bylaws) did not get completed and filed until 1987, but the association’s organizers used the name “MMA” starting from June 1984. At the February 1985 Winter NAMM Show the organizers of MMA (now about 14 companies in total) met and declared one of MMA’s goals to be to “prepare and release an official and complete documentation to the MIDI 1.0 Specification, including the specification, detailed explanations, and a guide to creating implementation charts”. They also decided the policies and procedures for membership, and began subscribing new members. The IMA Bulletin refers to June 1985 as the “first MMA meeting” because that is how the meeting was announced by MMA to prospective MMA members.

The “detailed explanation” they refer to is the work that JMSC had created. At that same meeting Chris Meyer was appointed Chairman of the MMA “Technical Standards Board”, and one of the TSB’s tasks was to work with JMSC to finish the “1.0 Explanations”. The document received input from both JMSC and MMA members, although it was written in Japanese by JMSC, which is why it needed to be translated. After that experience, it was agreed that all future specifications (including updates) would be authored in English, so they could be more easily shared during development.  

It is pretty hard to follow all the three letter acronyms and the time line so here is a simpifed version. 

  • Summer NAMM June
    1981- Tom Oberheim
    mentions to Dave Smith that Kakehashi is thinking about a Universal
    Synthesizer Interface
  • AES
    October 1981 –

    Dave
    Smith and Chet Woods present a Universal Synthesizer Interface running at 19.2 kBaud and using regular 1/4″ jacks

  • Winter NAMM
     February 1982-

    A big
    meeting with all synth manufacturers (Synclavier, Arp, Moog, Oberheim, Crumar, Voeytra)
    that didn’t end well. After the meeting the Japanese approach Dave and
    Sequential, Roland, Yamaha, Korg, and Kawai agree work together on MIDI   

  • Winter NAMM January 1983- First Public demonstration of MIDI- Prophet 600 is connected to Roland Jupiter 6
  • June 1983- Japan MIDI Standard Committee (JMSC) is formed 
  • June 1983- JMSC starts creating the detailed addendum to the MIDI 1.0 specification and consulting with American manufacturers 
  • August
    1983- International MIDI Association incorporated and initial MIDI 1.0 specification is available from IMA (and Sequential Circuits)
  • November
    1983- Katsuhiko (Karl) Hirano is appointed head of MIDI Standard Investigating Committee  
  •  Winter NAMM January 1984- MIDI Evolutionary Committee

    formed with Robert Moog (Big Briar), John Bowen (Sequential) , Curt Simmons, Jim Smerdel (Yamaha US), Anne
    Graham (Oberheim)  Brian Vincik (Hewlett Packard)  Roger Clay (IMA) 

  • June 1984- JMSC informs the IMA that there are problems with the spec and recommends that there should be a manufacturer organization to standardize MIDI
  • June 1984 Summer NAMM show in Chicago- The decision to form the MMA was made at the by Roland US, Yamaha US, Sequential, and Oberheim, and a meeting “of all interested companies” was held. 
  • September 1984- JMSC Addendum in Japanese sent to the MMA for translation
  • Winter NAMM show February 1985 – First meeting of the MMA with Roland US, Yamaha US, Sequential, and Oberheim, and a meeting “of all interested companies”
  •  February 1985 -MMA incorparated in California as an organization
  • Summer NAMM show in New Orleans June 1985 – Second meeting of the MMA and the The MIDI 1.0 Detailed Specification” (Addendum) is published
  • 1987- The MMA is incorporated as a tax exempt non-profit organization in the US

The International MIDI Association eventually closed its doors and there was no place of MIDI end users to congregate and discuss MIDI until The MIDI Association was born in 2016.  

It seems that there has always been a need for the people who work, play and create with MIDI to have a way stay in touch with the MIDI companies who push the specifications forward.  We encourage our MIDI Association members to express their opinions about where MIDI should go in the future.

Nektar-May is MIDI Month Platinum Sponsor

Since Nektar Technology, Inc was founded in 2009, we have been passionate about our mission to bridge the gap between powerful music software and controller hardware. With software continuously evolving, a plethora of instruments and effects have become available. Able to run even on modest computers, music creation has become more accessible to the many and not just the privileged few. The evolution of computer music hardware unfortunately has not matched the progress of software so our mission was born: To create transparent and intuitive tactile products that allows musicians to control and operate music software, as if its hardware.

 Impact LX49+ and LX61+ USB MIDI controllers 

More Control. More Creativity. More LX+

The Impact LX49+ and LX61+ USB MIDI controllers are jam-packed with intelligent and expressive performance control not even available on many premium products. Ever wanted a controller that hooks up automatically to your DAW? Impact LX+ does exactly that.Nektar DAW Integration custom designed for Bitwig, Cubase, Digital Performer, FL Studio, GarageBand, Logic, Nuendo, Reaper, Reason, Sonar and Studio One takes Impact LX+ way beyond functionality normally offered by a USB MIDI controller keyboard. With Impact LX+ the hard work is done, so you can focus on your creativity.


PACER – Hands-free DAW and MIDI Control

PACER boosts your creativity by providing hands-free control of your DAW, MIDI guitar soft- or hardware as well as channel and FX switching on your trusted analog amp. All integrated into one rugged and stage-ready foot pedal with 10 programmable LED foot switches, 4 switching relays and connections for up to 4 external foot switches and 2 expression pedals. That’s a lot of switching power right at your feet: With just one press of a button, you can send up to 16 MIDI and relay messages to reconfigure a setup instantly. Step up your pace with this powerful MIDI DAW Footswitch Controller!


Panorama P1

 

Andrew Huang has done a lot with MIDI. His GLORIOUS MIDI UNICORN has 3,313,153 views on YouTube.  He invented the hashtag #MIDIFLIP and made YouTube videos on how to make your own own MIDI Controller. He is also a dedicated user of Ableton Live and Push.

Yamaha-May is MIDI Month Platinum Sponsor

Yamaha has been intimately involved with the development of MIDI since the very beginning. We pioneered groundbreaking technology by making the first all digital FM synthesizer, the epoch making DX7. Yamaha synths like the Motif and the Montage have been the standard for touring and studio professionals for the past 2 decades.  Recently Yamaha has been innovating with Web MIDI by developing the first social sound sharing community- SoundMondo.  At the 2018 NAMM, the MIDI-CI specification initiaitive which was spearheaded by Yamaha was adopted by the MMA paving the way for a new MIDI protocol in the near future. Yamaha makes more MIDI-enabled musical instruments than any other company on the planet.

 Montage 

Welcome to the new era in Synthesizers from the company that brought you the industry-changing DX and the hugely popular Motif.

Building on the legacy of these two iconic keyboards, the Yamaha Montage sets the next milestone for Synthesizers with sophisticated dynamic control, massive sound creation and streamlined workflow all combined in a powerful keyboard designed to inspire your creativity.

If you liked the DX and Motif, get ready to love Montage.


Reface and Soundmondo

For keyboardists, music creators and sound designers – reface Mobile Mini Keyboards are reimagined interfaces of classic Yamaha keyboards.

reface CS

Analog modelling synth: simple control, complex sound, endless possibilities.

reface DX

FM synth: from nostalgia to trendsetter with modern control.

reface CP

Electric piano: retro control, classic sound and incredible response.

reface YC

Draw bar organ with rotary speaker.


                    SoundMondo Social Sound Sharing Site

Soundmondo is a social sound-sharing website and one of the first sites to implement WebMIDI, a W3C (API) pioneered by Google in Chrome. WebMIDI connects MIDI devices to your browser allowing musical instruments to play online synthesizers, as well as save or share sounds with Soundmondo. Because WebMIDI is part of the Chrome, Soundmondo works on Mac, PC, and Android devices. There is also a Soundmondo iOS application. 

The reface Soundmondo iOS app lets you store, recall reface Voices on iOS and share them on Soundmondo. Each stored Voice can be rated, named and given a custom image from your photo library.

There are over 10,000 sounds available for browsing and sharing. 


The Disklavier MIDI Acoustic Piano

 

The Yamaha Disklavier is one of the most amazing MIDI instruments in the world. 

The Yamaha Disklavier E3 combines technology with tradition to open up a whole new world of musical possibilities to explore.The E3’s innovative features help you find your own customized way to relax. When you pick up the remote control, you are instantly ready to enjoy new music over the Internet or listen to an old favorite from your personal CD collection.The E3 also comes with built-in speakers as well as exclusive Yamaha CD’s, allowing you to start listening right away without a complicated set-up process. And no matter where you live, when you connect the E3 to the Internet, you gain access to a treasure trove of musical performances from the finest musicians in the world.

The history of the piano is a history of technological change and innovation, starting over 300 years ago with the escapement action of Bartolomeo Cristofori and continuing with knee levers, pedals, action modifications, cast iron frame, and so much more. This dynamic history has been the result of the passionate interaction between keyboard players, composers, and instrument makers.

In the 1970s, solenoid-based player systems were added to pianos for the first time. In 1987, Yamaha took that concept to a new level of quality and ease of use by introducing the Disklavier reproducing piano to North America.

The term Disklavier is a clever combination of the words disk (as in floppy disk) and Klavier, the German word for keyboard. At the time that the Disklavier was introduced, recordings were stored on 3 ½ inch floppy disks.

The Disklavier is fundamentally a traditional, acoustic piano with a built-in record-and-playback system. The record-and-playback system and its related features have changed substantially over the years, but one aspect of the Disklavier has remained constant: The Disklavier system has always been offered as a factory-installed system—never as a retrofit for existing pianos

by George Litterst- The History of the Disklavier on the Disklavier Educational Network

                     
                     Dan Tepfer uses the Yamaha Disklavier and MIDI to create unique compositions

Dan Tepfer is a jazz musician who has developed software to allow him to “improvise” with his computer. When Tepfer plays a note on his Disklavier,  MIDI is sent to Super Collider, an open source tool for programming algorithmic music.  Tepfer has created different algorithms to augment his playing for example retrogrades to invert whatever he plays, or echoing notes in different octaves. He can even trigger cascades of notes based on harmonic patterns.

 For more details on Dan Tepfer’s work, check out these two articles from Engadget and NPR.


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Reprogramming the piano

Dan Tepfer is an acclaimed jazz pianist and composer who has played venues from Tokyo’s Sumida Triphony Hall to New York’s Village Vanguard. He also has a degre…

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Fascinating Algorithm: Dan Tepfer’s Player Piano Is His Composing Partner : NPR

Tepfer sees jazz as the pursuit of freedom within a framework — a premise that underlies his work with improvisational algorithms and a Yamaha Disklavier. He unpacks the project in this video.

For many years, Yamaha has sponsored the piano e-competition. Classical pianists from all over the world come to have the opportunity to perform on Yamaha CFX concert grand pianos equipped with state-of-the-art Disklavier Pro recording technology. This system, which was pioneered by Yamaha, is the fusion of the acoustic piano and computer electronics and allows all solo rounds of the competition to be downloaded via MIDI to be enjoyed anywhere in the world.  This year Google also joined as piano e competition sponsor and is using the e-competition’s classical MIDI files to train their Music AI engine. 

Check out our articles on Google Music AI initatives and on the e piano competition. 

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.

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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.   


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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. 

My Body is MIDI Controller by Daði Freyr

When we saw this YouTube video of Daði Freyr using the Genki wave MIDI controller, we knew we had to post it right away. 

The Wave MIDI controller from Genki has been …. well making waves.  

Wave adds a new dimension to musical creativity… It’s a cool tool for all creatives and I can definitely recommend adding it to your workflow, whether you use it to replace your old techniques or invent new ones.”

 


by Bergur Þórisson, recording engineer, producer, and live musician (Björk, Sigur Rós, Damien Rice, Ólafur Arnalds, Jóhann Jóhannson)

It’s a great example  of how a new MIDI specification ( BTLE MIDI) can spark a new generation of innovation. 


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Genki Instruments Wave Controls Sounds with Motion –  

MIDI Bling with wireless rings There are a number of MIDI rings on the market. IK Multimedia makes one and so does Enhancia . Here are links to articles on those.  The Enhancia Ring MIDI Controller was at CES 2018. ; The newest entry is Genki Wave Ring. 

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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 




AIR DJ controls Music, Visuals, and Lights with Motion

Air DJ displays new MIDI Controller at SXSW

There were some interesting new MIDI products introduced at SXSW.  One of them was the wireless BTLE MIDI controller for DMET Product Corporation. 

It can control sound, DJ Video software, and lights. Of course, it is all done by mapping MIDI signals and in some cases translating them to different protocols. 

Here is a video of the Air DJ in action at SXSW.




 It’s amazing how many Bluetooth MIDI products have been developed since the new BTLE MIDI spec was made official a few short years ago.





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AirDJ by Dmet Products

AirDJ, a wearable controller that will change the style of performance.Simply by your motion, this palm sized device lets you control music, visual and lights.See you at SXSW 2018!

Genki Instruments Wave Controls Sounds with Motion

MIDI Bling with wireless rings

There are a number of MIDI rings on the market. IK Multimedia makes one and so does Enhancia. Here are links to articles on those. 



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The Enhancia Ring MIDI Controller at CES 2018 –  

For the past several years a MIDI product has always been in the Best of CES product list including the Roli Seaboard and the Zivix JamStick.  It seems that MIDI and innovation naturally go together.  2018 was no exception with a number of

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Wearable MIDI controllers –  

​One of the most interesting types of MIDI controllers are ones that you can wear.  From pants to jackets to rings and watches, get your MIDI fashions here in a roundup of wearable technology.  The iRING from IK Multimedia IK Multimedi


But there are a number of unique things about the new Genki Instruments  Wave.  It was designed in Iceland and was first used on stage at the at the Iceland Airwaves music festival. Genki is also the only Icelandic music company with a Japanese name (Genki means healthy in Japanese!). 

Wave is an Indiegogo project and has already passed it’s funding goal.  It’s scheduled to ship in December 2018. 


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Wave – control sounds with motion | Indiegogo

Wearable MIDI controller to control sounds, effects and send commands with the motion of your | Check out ‘Wave – control sounds with motion’ on Indiegogo.

 


Here are two Youtube videos showing what the Wave can do.  


Google Releases Song Maker with Web MIDI

Google Creative Lab, Use All Five, and Yotam Mann launched a new browser-based music sequencer called Song Maker. 

It’s a classic grid style sequencer and allows anyone to easily create simple grooves on the web.  You can even connect your MIDI keyboard or other controllers to input notes via Web MIDI. 

When you’re finished you can save your Song Maker groove, share it on Facebook and Twitter or even get the embed code to embed Song Maker on your website.  Check it out below!


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2018 Winter NAMM Show MIDI Highlights

It’s a pure delight to attend the Winter NAMM Show. You get to bask in the warm Southern California sun, in the middle of winter, next to Disneyland, while your family enjoys a mini-vacation. The annual Winter NAMM Show in Anaheim California puts you at the global crossroads of the music products industry. This year’s event, which took place January 25-28, exceeded all my expectations. The newly-expanded Anaheim Convention Center hosted a dynamic array of 7,000+ brands, special events set to live music, celebrity appearances, dozens of educational sessions tied to today’s trends, and interviews with the world’s top musical innovators, artists, and professionals.

To my pleasant surprise, there were 26 booths side-by-side featuring a host of new MIDI products and applications. Here are some highlights of the new MIDI products presented at this year’s show:


Audiofusion

Audiofusion(TM) software by Audio Fusion Systems, LLC turns your smartphone into a wireless in-ear monitoring (IEM) system. Their core technology, delivering real-time audio over Wi-Fi, gives each musician a complete multichannel monitor mixer and wireless IEM on their iOS device at a fraction of the cost of hardware-based systems. And, since it is a software-based solution, the makers of Audiofusion plan to add lots of great features, such as MIDI-driven controls, in future updates.


Blipblox

Blipblox

The Blipblox is a full-featured synthesizer and beatbox designed for anyone three years old and up. Large, colorful, easy-to-use knobs and buttons, and a synchronized LED light show make playing music fun for youngsters and non-musicians. MIDI input, Audio output, eight unique oscillator schemes, integrated drum machine, a filter, LFOs, envelope generators, and special performance modes (like Sequencer Freeze and Sequencer Off modes) make it ready for professional music production.

Playtime Engineering
1459 18th St., #357
San Francisco, CA 94107


BomeBox

Bome Software

Bome Software presented their MIDI products at NAMM 2018. Bome MIDI Translator Pro, a versatile MIDI translation and MIDI routing software program for Windows and MacOS, and the hardware BomeBox, which embodies the same translation and routing power of the software in a small and robust box. Florian Bomers, CEO of Bome Software, demonstrated an example preset which made an MPE keyboard work with a non-MPE synthesizer.

Bome Software GmbH
1459 18th St., #357
San Francisco, CA 94107


Rollup Studio Piano & Studio Drum

Mukikim Rollup-Pianos and Drums

For the professional pianist on the go the Studio Piano features 61 keys, 127 multiple keyboard tones and rhythms, demo songs, drum kit, record and playback feature with Midi out function and powered with a rechargeable lithium battery. The Studio Drum for the professional drummer with three-dimensional drum pads, multiple instrument tracks, record and playback, built-in speaker and MIDI out function. Includes drumsticks, two foot pedals, and runs off USB or rechargeable lithium battery power.

Mukikim
6812 W Calumet Rd.
Milwaukee, WI 53223
(414) 395-7850 | (414) 357-3997
Email: info@mukikim.com


Kilpatrick Audio

Kilpatrick Audio helps musicians explore the world of electronic music creation by combining the best of analog and digital technology in their live performance devices, Eurorack modules, Kilpatrick format modular synthesizers, and limited edition accessories. Nearly all of their products use embedded processors for a modern experience, and most of them employ MIDI for control from computers and other instruments..

Kilpatrick Audio


Polyend Perc Pro

Polyend Seq

Polyend Poly

Polyend

Polyend showcased three products. Each of them have implemented the MIDI protocol. Polyend Perc Pro is a Drumming Machine that is a Midi operated, one of its kind, state of art robotic tool. Polyend Seq is the ultimate MIDI sequencer. Polyend Poly is a MIDI to CV Converter. 

Polyend
Olsztyn, Poland


Sensorpoint Jambe

Jambe

Jambe is an electronic percussion instrument from Sensorpoint that uses an iPad for sound and control.

Sensorpoint, Inc.
1901 Las Plumas STE 10
San Jose, CA 95133


R.C Voice

R.C. Voice from Crimson Technology is a free, real-time voice morphing app for iPhone.

Crimson Technology, Inc.
2-37-2 Ikejiri Setagaya-ku
Tokyo, 154-0001 Japan
Tel : +81-50-3816-7190


SMASHmouse

The Bluetooth or USB-connected SMASHmouse enables mouse control and audio/video playback toolbar functions out of the box. In addition, SMASHmouse will offer consumers additional low-cost software applications that offer page turn, beat machine, MIDI expression, DAW functionalities, and more providing musicians a universal solution for hands-free control.

SMASHmouse USA
3525 Piedmont Center. Building 7, Suite 300
Atlanta, GA 30305
(404) 931-0677


Synesthesia Pipes

Synesthesia Pipes

Imagine a device that outperforms any sample playback device and out-horsepowers a laptop for less than the cost of a current smartphone. That’s what Synesthesia built, and they call it Pipes, an all-new hardware audio engine. It includes Effects, MIDI Tweakers, and an onboard sound library, or load your own WAV, AIF, MDA, EXS, SFZ, GIG and NKI files.

Think of Pipes as a powerful touchscreen portable computer devoted solely to high quality audio control and manipulation. Pair Pipes with MIDI controller–keyboards, pads, drum triggers, etc.– and you have a powerful music creation and performance tool. Pipes outperforms any sample playback instrument and even out-horsepowers a laptop. Best of all, Pipes costs less than half of what you’d pay for the latest fancy smartphone.

Synesthesia Corp.
Email: mandala@syntesthesiacorp.co

Art+Logic Announces Launch of New Software Incubator Lab.

 Art+Logic Announces Launch of New Software Incubator Lab.

Software innovation company will design and develop a working prototype of selected music technology or pro-audio app.

Pasadena, CA: January 24, 2018, Art+Logic, a premier software innovation firm in the United States, announces the launch of a new software incubator called Art+Logic Labs. This incubator will focus on developing a working prototype of a selected software project. Art+Logic will begin accepting submissions for this Lab at the A3E, Advanced Audio + Applications Exchange Summit at the NAMM show in Anaheim in January. This first iteration of the lab will target the music technology and professional audio community, offering individuals, companies, and organizations an opportunity to have their application created by Art+Logic developers and designers.

Paul Hershenson, co-founder of Art+Logic, wants this competition to be “open to anybody, whether they have a compelling pitch deck to submit or just a vague idea that can be built enough to get additional funding. We‘ve been involved in music technology since the early days of MIDI and Digital Audio Workstations. We‘re happy to be in a position to help a talented artist or entrepreneur create something their industry needs, maybe even something the industry has never seen before.”

The selected project will receive:

A working prototype created by Art+Logic’s talented team of designers and developers (valued at over $50,000).

Ongoing support during the capital raising process.

An opportunity to have the full-featured version of their concept built by Art+Logic.

The winner will have the opportunity to work with A+L strategists to refine their concept and marketing strategy.

A progress report will be shared at the A3E Summit at Summer NAMM in Nashville in June 2018.

Submissions will be accepted through artandlogic.com/incubator (after 1/25/2018). The deadline is 4/1/2018.

About Art+Logic: Art+Logic, Inc. has been creating custom software for many of the world’s most successful companies since 1991. The company’s thoroughly vetted team of designers and engineers are all North American. Client projects are never outsourced or sent overseas. Art+Logic employs their own proprietary Agile/Lean-inspired software development methodology to nurture clients’ software products and digital experiences from concept to maturity. In addition to their in-house talent, the company partners with select leading innovators in emerging fields.

Top Ten MIDI Products of Winter NAMM 2018

Best New MIDI Products of Winter NAMM 2018

 

The Washington Post coverage of NAMM was all about MIDI controllers (you can skip the ad after 15 seconds)

DISCOVER ELK’S KEY FEATURES

ELK is a Music Operating System (MOS).

It allows musicians to:

  • UPGRADE their instruments adding new sounds and features
  • CONNECT musical instruments to external hardware and to the broader Internet
  • SHARE instantly their performances online

ELK also allows hardware companies to move away from dedicated chips and use standard CPUs with no compromise in terms of low-latency, performance and scalability.

ELK makes it incredibly easy for software developers to port existing software for use in embedded environments, essentially allowing them to run the same code on desktop, mobile and embedded systems.

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by MINDMusicLabs


Camelot Software- Booth 10502- In our quick poll, Camelot Pro won Best of Show!

 The website doesn’t provide a lot of information yet, but we got a sneak preview and Camelot is pretty awesome.  It integrates hardware synths, softsynths plugins and allows you to integrate everything you need for live performance in one piece of software including lyrics, Chords and Music.

Our favorite feature? Take any multi-timbral 16 channel tone generator( like a Yamaha Montage), press one button and you can play the Montage as a fully functional MPE tone generator! Camelot is developed by Fatar and Audio Modeling. 


Expressive E TOUCHÉ -Booth 11007

Control your sound with a sensitive approach.

Play intuitively with any synthesizer.

Explore as yet undiscovered sonic territories.

Touché is the next step on your creative journey.

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by Expressive E

 Although the Touche has been out for awhile, it’s hard to get your hands on one.  If you are at Winter NAMM 2018 this is your chance!


MIDI Manufacturers Association  Booth 10200, 9701

Maybe we are biased, but we think there are a bunch of really innovative MIDI products at the MMA booth.  Here is the list of companies that were at the MMA booth in 2018. 

Sensel Morph at CES 2018

Sensel was at CES 2018 and we were excited to get a chance to play with the Sensel Morph and check out its capabilities. 

Here is a brief overview of what the Sensel Morph does. 

Digital artists rely on more than just one tool to tell their story. Until now, almost all those tools are bulky, take a lot of power, and don’t capture the full range of human touch. The Morph puts all those tools into one mobile, versatile package. Easily swap between wireless keyboard, making a melody, or cutting up your video. The Morph puts creative power in your hands where you need it when you want it. 

 


by Sensel

 The very cool thing about the Sensel Morph is that you can get different overlays and instantly change what MIDI messages the Pressure Grid™ sends.

We got a chance to get with Scott Isaacson from Sensel and have him explain exactly what makes the Sensel Morph one of the most sensitive and innovative MIDI controllers around. 

Here is a performance by Henry Strange and Suniel Fox showing off what the Morph can do in a musical context. 

The Enhancia Ring MIDI Controller at CES 2018

For the past several years a MIDI product has always been in the Best of CES product list including the Roli Seaboard and the Zivix JamStick.  It seems that MIDI and innovation naturally go together.  2018 was no exception with a number of unique new controllers introduced at the CES show. 

The Enhancia Ring MIDI Controller

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The Enhancia Ring is one of the generation of controllers that use advanced sensors with accelerometers to allow more natural control of MIDI via gestures.  Enhancia is part of that trend as new sensors  provide more data to control MIDI  with several different gestures at once.  For example, wiggling from side to side will produce vibrato and moving up and down can mapped to control volume or filter cutoff. 

We wanted to create the shortest path between musical intention and musical creation

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by Damien Le Boulaire, CEO and one of Enhancia’s four co-founders from Grenoble, France.from an article in Engadget. 


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The Enhancia ring turns your gestures into musical effects

Enhancia consists of a rubber ring that you wear while playing the keyboard, connected to a larger hub. Its purpose is to augment whatever tune you’re playing w…

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Enhancia | MIDI Ring Controller

Enhancia is developing a connected ring that revolutionizes your relationship with music. It interprets the subtlest movements of your hand in order to enhance control of your digital instrument

MIDI Rocks the Park at the CES 2018 Intel® Pre-Show

MIDI (the Musical Instrument Digital Interface) was an integral part of the Intel CES 2018 Keynote “Rock The Park” pre-show entertainment.

The pre-show started with the world’s first Data only band, Algorithm and Blues. Want to guess what kind of data it was? 

MIDI, of course ! 

Using Intel’s Intel® RealSense™ Technology, a band performed without any physical instruments using only sensing technology to trigger MIDI notes and contoller data.  Musical Director Kevin Doucette performed on what is affectionately known as “the Dragon Fly” which can use positional sensing to send different MIDI CC messages.

Performers danced on a giant musical keyboard on the stage of the Monte Carlo Park Theatre to trigger MIDI notes.  

Kevin played a Yamaha DCF4 Disklavier sending MIDI data in real time to an Intel Movidius Neural Compute Stick™ where AI algorithms processed the data and created new MIDI notes that were played by two 80 ft. tall avatars named Ella and Miles. 

Indeed, MIDI rocked the Park as the MIDI Association was credited in the playbill for helping to make the Intel CES Keynote pre-show possible.  

So why is MIDI, a 35 year old protocol that was first adopted in 1983, still alive and well and the perfect fit for future-forward AI music applications? 

The Musical Instrument Digital Interface (MIDI) is an abstract data representation of a musical performance and the industry standard way to connect digital musical instruments to computers and processors. Record a trumpet in audio and you simply have a recording of a trumpet. Record a trumpet performance in MIDI and after the fact, you can change the trumpet into a trombone, a guitar or a piano or change the key and timing of the notes. This flexibility for rendering and processing is perfect for AI applications and one of the reasons MIDI continues to be a major force in modern music production. MIDI lends itself to innovative data manipulation and real-time musical interactivity whether that is by people using unique new multi-dimensional physical controllers or by AI applications (or both).

In 2018, MIDI is poised to be at the musical center of a data-driven world of voice assistants, AI, advanced sensors, drones and robotics. Music AI may still be in its infancy, but in the next few years, we anticipate an explosion of music AI applications utilizing MIDI. 

2018 Intel CES Pre Show Video

 The first 12 minutes is all music driven by MIDI data!

Intel drones perform in sequence with the Fountains of Bellagio 

The Intel Shooting Star drones weren’t controller by MIDI (yet!), but the Bellagio Fountains have always been controlled by MIDI Show Control so the fountains can spray and play in time with the music. 

From the Monte Carlo Park Theatre to the Fountains at the Bellagio, MIDI was behind some of the biggest events at the 2018 CES

New MIDI Products at CES 2018

CES 2018 hasn’t even started and there is already buzz around some new MIDI products. For the past several years a MIDI product has always been in the Best of CES product list including the Roli Seaboard and the Zivix JamStick.  It seems that MIDI and innovation natrually go together. 

The Enhancia Ring MIDI Controller

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The Enhancia Ring is one of the generation of controllers that use advanced sensors with accelerometers to allow more natural control of MIDI via gestures.  The CES theme this year is that we have moved from the connected era to the data era.  Enhancia is part of that trend as accelerometers provide more data to control MIDI  with several different gestures at once.  For example, wiggling from side to side will produce vibrato and moving up and down can mapped to control volume. 

We wanted to create the shortest path between musical intention and musical creation

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by Damien Le Boulaire, CEO and one of Enhancia’s four co-founders from Grenoble, France.from an article in Engadget. 


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The Enhancia ring turns your gestures into musical effects

Enhancia consists of a rubber ring that you wear while playing the keyboard, connected to a larger hub. Its purpose is to augment whatever tune you’re playing w…

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Enhancia | MIDI Ring Controller

Enhancia is developing a connected ring that revolutionizes your relationship with music. It interprets the subtlest movements of your hand in order to enhance control of your digital instrument

Hermmutt Lobby

We just recently did an article on Hermmutt Lobby and they are displaying at CES2018.  They will have their CapCom and other projects on display.  Tomorrow we will be visiting all the MIDI related booths at CES and providing more information on what’s happening for MIDI at CES2018.   Again we recommend that everyone watch the Intel Keynote January 8 at 6 PM  PST.


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Herrmutt Lobby –

We got several entrees for suggested content from the December 2017 MIDI Association newsletter.  One was for an article on  CTRLCap from Edwin Joassart. We did a little more research and decided to do an article on everything that Hermutt Lobby does. 

 

Herrmutt Lobby

​We got several entrees for suggested content from the December 2017 MIDI Association newsletter.  One was for an article on CTRLCap from Edwin Joassart. We did a little more research and decided to do an article not just on CNTRLCap, but on the developers behind it -Herrmutt Lobby. 

Herrmutt Lobby has created not just music, but hardware and apps to allow people to interact with music. After all, their mission is Empowering Real-Time Electronic Music. 

They have four major projects- 

  • Playground-Music At Your Fingertips
  • BEATSURFING-The Organic MIDI Controller Builder
  • Le U (20syl)-The Interactive Skateboarding Ramp
  • CTRLCap, the cap you squeeze to control FX

Founded in 2003, Herrmutt Lobby is a collective of musicians, handymen, and programmers. Since 1997, the individual members of the group have released music on various labels – DUB, Studio !K7, Vlek, Eat Concrete, Thin Consolation, Catune – and across genres.

Alongside music, they’ve also devised and built various softwares, controllers, and apps that help musicians perform live with the freedom to express at the moment’s inspiration/instinct.

Their ever-changing musical universe grows through encounters with musicians from diverse horizons, most recently the Belgian jazz player Stéphane Mercier and UK rapper Lord Rao.

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by Herrmutt Lobby Website


CNTRLCAP-The cap you squeeze to control FX

Ever tried to add FX while scratching without breaking your flow? With both hands busy controlling the fader and the record, it’s pretty much mission impossible…
Unless you own a CTRLCap.

With its cutting edge technology, CTRLCAP adds an expressive touch to your fingertips!




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CTRLCAP – Pressure-Sensitive Cap For Next Level Control – ctrl-cap

Control FX, signal shaping, sound triggering and more by a simple pressure with CTRLCAP, the most advanced fader cap ever.


PlayGround • Organic Remix




RHETTMATIC World Famous Beat Junkies



BEATSURFING The Organic MIDI Controller Builder

 

This Application lets you to draw a 3-dimensional controller which you can use, like any other, by tapping. But Beatsurfing allows more: you design your own paths until they suit you, follow routes, take turns and cuts with your fingers and collide with objects along the way, triggering melody, beats, effects . Movement is what it’s all about.

It can control any MIDI-enabled device (Software, Hardware, or even selected iPad apps), features a very intuitive in-app editing system and integrates seamlessly in any existing Studio or Live setup.
Objects Behaviours can be set to link objects together and multiply the available commands on the surface of the iPad.


LE U – Interactive Skateboarding Ramp by 20syl

Skateboard culture and electronic music, those are the two mail components of 20syl’s artistic construction. He has practiced these disciplines for twenty years or so and has never stopped building bridges between them. Today, along with La Région des Pays de la Loire and les salles de musiques actuelles(places dedicated to modern music­ VIP, Stereolux, Chabada, Fuzz’Yon, 6par4, Oasis), he presents a project which could be the achievement of this crossbreed: a Sound Ramp, a “U” turned into a sensitive and visual surface allowing the skater to perform music that the artist has composed.




We want to thank Edwin Joassart from Herrmutt Lobby for reaching out to us and hopefully you enjoyed this quick tour of the many Herrmutt Lobby MIDI projects.  MIDI is often at the heart of these kinds of innovative projects. 

Using MIDI in the OnSong App

“I can consolidate my foot pedals down to just a few that let me move through my song and set list. Then OnSong acts as a controller using Bluetooth MIDI and reconfigures my pedal board and keyboards specifically for each song.”

 


by Jason Kichline

MIDI or “Musical Instrument Digital Interface” is a powerful digital communications protocol that ushered in the age of electronic music. Even though it was first released in 1984, it’s use is still prevalent in modern computing. Apple has built CoreMIDI into iOS, making the iPad and iPhone great tools for musicians on-stage. In addition, MIDI is now being used to communicate between music apps on the device, as well as external devices.

Setting Up MIDI

The first step in using MIDI on an iOS device is connecting the standard MIDI or USB cable to the device. This can be accomplished with:

  • MIDI Adapters are devices that connect to your 30-pin or Lightning port and provide traditional MIDI “DIN-5” connections.
  • USB with Camera Connection Kit allows MIDI devices with a USB port to be connected directly to the iOS device.
  • MIDI over WiFi can also be used as long as you have a computer or host device to create the MIDI network session.

Triggering Actions from MIDI

Once you have a MIDI device connected, you can map MIDI signals to OnSong actions. This can be used to scroll the chord chart, navigate your set, or trigger backing tracks. Any action that can be performed in OnSong can be mapped to MIDI in the MIDI Triggers screen.

*Note: MIDI devices may send signals differently depending on their intended use. For instance, the iRig Blueboard device becomes a latching pedal with control changes. OnSong has advanced MIDI Settings to handle some of these differences.

Sending and Receiving MIDI

OnSong can also be used to send MIDI commands to other MIDI devices when songs are viewed or when sections are selected. You can configure these commands by tapping and holding the title of the song or a section of your song to use the Section Mapping Menu.

In addition, you can have OnSong switch to a song by listening for specific MIDI commands. These are typically set up using Metadata with the Metadata Editor in the Song Editor.

Virtual MIDI

We typically think of MIDI as having to do with wires that connect instruments together. MIDI could also use wireless networking like WiFi or Bluetooth. But MIDI can also operate directly between apps with Virtual MIDI.

Virtual MIDI has all of the power of MIDI but travels between apps. You can configure which apps can send and receive MIDI with OnSong using Sources and Destinations in the MIDI Settings Menu.






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OnSong | Chord Chart Management for Musicians

Chord chart management for musicians for use on tablets and mobile devices

Meet You At NAMM – Face to Face or Virtually on Horn®

The MIDI Association Face to Face Meet Up-
MMA booth (Hall B, #9701) at 5:45 PM on Saturday, January 27

 

We’d like to invite all our MIDI friends to meet up at the NAMM show. Just come to the MMA booth (Hall B, #9701) at 5:45 PM on Saturday, January 27.  We’ll be there and we’d like to get a picture of all the MIDI Association member at the show to share on the site.   There are now 15,000 MIDI Association members worldwide! 


Introducing Horn®- A Channel for MIDI Association Conversations

 Some of you may have noticed that that on the left hand side of the Forum page, there is something inviting you to join the conversation. 

Clicking on >MIDI  or on Join the conversation will take you to screen where you create a Horn™ account using your Google, Facebook, Twitter, Reddit, Yahoo, Github or Weibo credentials.  If you are logged in to those social media platforms you will be logged in to Horn® immediately. 

​When you first log in your microphone will be turned off. 

Click on the image of the Microphone to turn it on.  

Horn® has a lot of features.  You can share your video camera, share your screen,  chat via text, adjust the volume to your mic and basically all the things you’d expect from a fully functioning Internet meeting app.  As long as you have an Internet connection, you can chat with MIDI friends around the world. 


We are planning on a series of webinars at NAMM and either broadcasting them live on Horn® or recording them for playback later (depending on WiFi capabilities at NAMM).  

Here are the NAMM events we plan to broadcast/capture using Horn®.


EXECUTIVE ROUNDTABLE: MIDI—THE FORCE AWAKENS
January 25, 1:00 PM Avila Room (Level 4), Anaheim Hilton Hotel 

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There’s a lot happening in the world of MIDI, and this panel will be an update from the executive roundtable folks, all leaders in the music electronics industry, about the implications of MIDI extensions. There will be opposing viewpoints and probably some controversy, so come and get the inside scoop. Industry guru Craig Anderton holds court here. 

Presenters


THE WIRELESS MUSICIAN: WILL THE FUTURE OF MUSIC BE CABLE FREE?
January 25, 2:00 PM El Capitan (Level 4), Anaheim Hilton

 

Wireless technology is part of our everyday business lives, and gradually becoming part of every musician’s life. Bluetooth, Wifi, WLAN, Wireless MIDI, and NFC are just some of the ways musicians continue to break free from cables. A3E brings together a panel of wireless experts to discuss the pros and cons of wireless technology integration for your future product lines.

Panel:

  • Tom White-President, MIDI Manufacturers Association
  • Gabor Gerenyi
  • Mark Ethier
  • Marcus Ryle
  • Mark Powell

  • AN INTRODUCTION TO MIDI POLYPHONIC EXPRESSION (MPE)
    January 25, 4:00 PM San Simeon (Level 4), Anaheim Hilton

     

     This session will be an introduction to a new feature of musical instruments called MIDI Polyphonic Expression (MPE). Panelists will describe and demo products compatible with the MPE Specification that work together and give players the ability to change the pitch and tone of individual notes while playing polyphonically.

    Presenters



    Visit the MIDI Manufacturers Booth and see Unique and Innovative MIDI Products

     

    The MIDI Manufacturers Association booth (Hall B, #9701) will showcase truly unique and cutting-edge MIDI hardware and software from these companies.  Click on the image to go to the company’s website.  



    Educational Programs at Winter NAMM

     

    The Advanced Audio + Applications Exchange (A3E) is all about the Future of Audio + Music Technology .TM

    A3E has a very simple mission: to create an Exchange of ideas, information and intelligence between audio developers, professional musicians, audio personnel, the manufacturers, creators and innovators of music technologies, instruments and software applications (both established and emerging), along with the professional organizations, associations, publications and social networks that support that same mission.

    View the complete A3E Sessions Schedule.


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    EC Tracks offers 70-plus free sessions for sound, studio and stage professionals. These big-picture sessions feature industry thought leaders presenting innovative ideas in recording, live sound, event technology and music business. Sessions on MIDI include:

    View the complete TEC Tracks Session Schedule

    Special NAMM Show Attendance Offer for MIDI Association Members

    Attend the NAMM Show at a special discounted price for MIDI Association Members!

    The NAMM Show is open to professionals that manufacture, distribute, or utilize music, sound and event technology products and services.  

    Normally you have to be a NAMM Member (or a guest of one) to attend the NAMM Show, but we’ve made arrangements for up to 100 MIDI Association Members to attend at a 50% discounted price of just $25 (payable to NAMM). 

    We have sent out a promo code in our monthly newsletter so look there for details on how to register for the discount. 



    Visit the MIDI Manufacturers Booth and see Unique and Innovative MIDI Products

     

    The MIDI Manufacturers Association booth (Hall B, #9701) will showcase truly unique and cutting-edge MIDI hardware and software from these companies.  Click on the image to go to the company’s website.  


    Educational Programs at Winter NAMM

     

    The Advanced Audio + Applications Exchange (A3E) is all about the Future of Audio + Music Technology .TM

    A3E has a very simple mission: to create an Exchange of ideas, information and intelligence between audio developers, professional musicians, audio personnel, the manufacturers, creators and innovators of music technologies, instruments and software applications (both established and emerging), along with the professional organizations, associations, publications and social networks that support that same mission.

    View the complete A3E Sessions Schedule.


    T
    EC Tracks offers 70-plus free sessions for sound, studio and stage professionals. These big-picture sessions feature industry thought leaders presenting innovative ideas in recording, live sound, event technology and music business. Sessions on MIDI include:

    View the complete TEC Tracks Session Schedule. 

    Audiopedia 109 MIDI from Ask Audio

    AudioPedia 109: MIDI

    Ask Audio’s AudioPedia series is a comprehensive video dictionary of audio terminology. Created by audio expert Joe Albano, this encyclopedia of technical terms is the ultimate audio reference tool. Here are the topics covered and defined in the ninth installment of this authoritative series:

    MIDI:

    • MIDI | Musical Instrument Digital Interface (preview below)
    • DIN (Cable) | USB (MIDI)
    • MIDI In | Out | Thru
    • Channel Voice Messages (preview below)
    • Velocity (preview below)
    • Pitch Bend
    • Aftertouch | Pressure
    • Control Change | CC
    • System Exclusive | SysEx

    MIDI – Operation | Applications:

    • Quantization (MIDI)
    • Sound (Drum) Replacement
    • MIDI Controller
    • Touch | Velocity Sensitivity
    • Weighted | Unweighted Keyboard
    • Keyboard Split | Layering
    • Alternative MIDI Controller
    • MIDI Drum Kit
    • General MIDI | GM | SMF
    • MIDI Sequencer | Step Sequencer
    • Arpeggiation, Arpeggiator

    Almost everyone who works with music encounters MIDI at some point, and many people use it every day. But aside from plugging in your USB keyboard, how much do you really know about what MIDI is and how it works? In the course AudioPedia 109: MIDI, Joe Albano gets to the heart of the MIDI protocol and explains it in a way that’s friendly and enlightening.

     


    by Ask Audio

    MIDI Channel messages

     

    There are 7 MIDI channel voice messages.

    • Note on
    • Note Off 
    • Mono Pressure 
    • Poly Pressure
    • Program Change 
    • Pitch Bend 
    • Control Change 


    Velocity

     

    Velocity is the force with which a note is played, and essential to making MIDI expressive. 


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    AudioPedia Course: MIDI by Joe Albano : AskVideo

    The NLE AudioPedia series, our video-based audio encyclopedia, is an invaluable resource for sound engineers, musicians, students, educators and all audio enthusiasts. This ninth installment is about MIDI terminology.

     

    Wiggle Kit: A Motion Controlled Effect Instrument for Singers

    Tech company OWOW just launched a new wireless motion controlled instrument for singers. Named the Wiggle Kit, it consists of a mobile App and a small white remote controller which turns gestures into vocal effects. By twisting and moving the Wiggle in different directions, singers can add digital effects to their voice and control the intensity.


    For home use, the Wiggle Kit comes with a dedicated app. By simply holding the Wiggle close to a phone or tablet, it automatically connects to the app via Bluetooth. Users can pick one of the 20 plus built-in effects, ranging from simple reverbs and delays to the most complex auto-tune and vocoder effects, sing into the built-in mic of a phone or headset and share their creation with the world.

    The Wiggle Kit is now available on Kickstarter and already reached 75% of its funding goal. With only 8 more days to go, there’s still some time left to get your Wiggle Kit for an Early Bird price of €79,-. 


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    Wiggle Kit – A New Instrument For Singers by OWOW —Kickstarter

    OWOW is raising funds for Wiggle Kit – A New Instrument For Singers on Kickstarter! The first truly wireless instrument which enables singers to control effects on their voice through expressive movements.

    MIDI Capability Inquiry Presentation at ADC

    New MIDI Possibilities Outlined at ADC 2017

    At the Audio Developers Conference in London, Ben Supper from Roli outlined a new MIDI proposal called MIDI Capability Inquiry ( MIDI-CI) which outlines a path to future expansions of MIDI.  

    Almost exactly a year ago AMEI (the Association of Music Electronic Industries and the Japanese MIDI standards organization) announced that they had established a working group to look at new possibilities for future MIDI expansions. The initial ideas for what AMEI calls MIDI-CI were developed by Mike Kent of MK2image working as a consultant for Yamaha.  Mike worked for many years for Roland R&D where he helped craft the USB-MIDI specification that is still in use today.  He is also a former Chairman of the MIDI Manufacturers Association Technical Standards Board (MMA TSB).

    At the ADC meeting last week, Ben Supper presented the basic outline of MIDI-CI  and then Amos Gaynes, current Chairman of the MMA TSB hosted a panel discussion on possible future MIDI expansions. On the panel, were Tom White, MMA president, Jean Baptiste Thiebault from Roli (an MMA Exec Board member), Phil Burk from Google (an MMA Exec Board member), Florian Bomer from Bome (an MMA TSB member). 

    Here is a non-technical overview of MIDI-CI. 


    The Three P’s of Capability Inquiry

     

    MIDI-CI features three main capabilities: 

    Profile Configuration, Property Exchange, and Protocol Negotiation

    Profile Configuration

    Profiles allow both current MIDI 1.0 devices and next-generation devices to auto-configure themselves (think MIDI learn on steroids).  A good example is drawbar organs.  For example, Yamaha has three different drawbar organs currently on the market- reface YC, a hardware piece, YC-3B Yamaha soft synth and the Steinberg Model C soft synth. They all have nine drawbars, Leslie effect and yet all three use different CC numbers for control of the drawbars and effects. A Profile would standardize the controllers used so there would be much greater interoperability between devices. 

    This is from the proposed specification.

    “Profiles define specific implementations of a set of MIDI messages chosen to suit a particular instrument, device type, or to accomplish a particular task. Two devices that conform to the same Profile will have generally have greater interoperability between them than devices using MIDI without Profiles. Profiles increase interoperability and ease of use while lowering the need for manual configuration of devices by users.”

    Parameter Exchange

    Property Exchange is used to Inquire, Get, and Set many properties including but not limited to device configuration settings, a list of controllers and resolution, a list of patches with names and other metadata, manufacturer, model number, and version. It allows transmission of human-readable text for patch names and metadata.

    Parameter Exchange would allow a standardized way for getting a list of patch names and metadata form a hardware synth and store it in a DAW. Parameter Exchange has a tremendous amount of power and again will work with current MIDI 1.0.

    Protocol Negotiation

    The final part of MIDI-CI is Protocol Negotiation. This defines how to start in MIDI 1.0 and negotiate to a new protocol. So MIDI-CI clarifies how MIDI 1.0 devices and next-generation devices can live together in one system.

    MIDI-CI itself does not define the new protocol just the way to negotiate to it. 

    However, for the past year, the MMA has been looking at brand new next-generation protocols that are close to the current MIDI 1.0 specification but allow for expansion of channels, resolution, and expressiveness.

    The next-gen protocol is planned as an extension of MIDI 1.0. MIDI 1.0 architectural concepts and semantics remain the same as MIDI 1.0 and compatibility for translation to/from MIDI 1.0 is given high priority in the design. 

    Some of the features that are under consideration are: 

    • Per Note Controllers and Per Note Pitch Bend
    • More channels
    • More controllers
    • Higher resolution for controllers
    • Simplification of NRPN/RPN (atomic messages)
    • Simplification Bank and program changes (atomic messages)
    • Articulation messages 
    • Expanded tuning capabilities

    The goal of the next-gen protocol proposal is to extend MIDI and make it as easy as possible to translate back to MIDI 1.0 so that MIDI 1.0 and next-generation devices can live together in the same ecosystem. 

    Of course as to exactly when the MMA adopts MIDI-CI is not a question that can be answered.  However although the initial ideas for Capability Inquiry were developed by Yamaha, Roland, and Korg, there are over 35 individual members in the MMA CI working group who have been working diligently (and meeting weekly) over the past year to provide feedback and ideas to improve the CI specification.  This close cooperation and communication between MMA and AMEI should make it much smoother to get to a final specification and adoption. 

    What’s even more exciting is that MIDI-CI opens the door to a whole new world of possibilities with Profile Configuration, Property Exchange and Protocol Negotiation. 

    That is really the most important point. The MMA is currently looking at some of the most significant MIDI improvements in 33 years and those improvements will spur further MIDI innovations for years to come.

    If you are a manufacturer or software developer, you should join the MMA  and get involved NOW to have input and influence the future direction of MIDI. 

    If you are an individual who uses MIDI, please join The MIDI Association (becoming a member is free) and you can express your opinions on The MIDI Association forums and join live chats to discuss what’s coming next.

    Game Design Angles: How To Become A Designer

     Game design is an incredibly exciting creative industry that ties together many different disciplines, including graphical design, audio engineering and coding. Audio specialists in particular have one of the more lucrative positions in the industry, with sound designers earning $51k on average for using systems like MIDI to create epic soundtracks and sound effects. Game designers like John Romero and Gabe Newell have gone on to become genuine celebrities.

    It’s not all about cash, of course, and game design is a fantastic vocation that gives near limitless avenues for creative and technical minds. You’ll find yourself working with cutting-edge stuff, whether that’s the latest graphics engine or art direction, or bespoke computer-led sound systems. So – how can you get into game design? What skills do you need, and how do you apply them?

    Qualifications

    Before you look down what skills you might have to offer to the games design industry, you need to consider how you’ll find exposure.

    There are generally two major ways to get into the game design industry. You can become part of an indie studio, or design on your own (if you’re a jack of all trades) and work hard via platforms like Steam to grab the attention of consumers. You can also use services like DeviantArt to attract admirers of your work, or SoundCloud for audio work. The other, more straightforward route is to opt for college education. There are a range of colleges for game design. Some will take on students on an all-rounder education style, whilst others will be hoping to see students with a specific specialization.

    Creative Arts

    Every game design studio needs high quality creative workers, usually working under production staff or creative leads. What this means is people who have a good imagination and the skills to be able to illustrate, digitally or not, their ideas. This can also mean being able to properly vocalize what they’re imagining, through pitches to the lead designers or written prompts.

    Remember, too, that creative design is a transferable skill that finds value in many different markets.

    Audio Designers

    Audio designers can come in various formats. There are engineers, who are often employed to work with MIDI interfaces to micro-engineer in important aspects of the overall audio design, such as equalizer optimization and balancing. There are audio designers, too, employed to creatively design new sounds and music for the product. Like creative art, the key here is thinking outside of the box. To take an example from film, did you know the famous TIE fighter engine noise from Star Wars was made by combining an elephant’s call and a car driving on wet pavement?

    Programmers

    The framework behind every game and the creative design put into it is the coding and framework, used by the engine that the developer has chosen. Computer developing is an incredibly varied and wide-ranging profession that you can find numerous opportunities in and game design is a lucrative and creatively minded one.

    Game design is a fantastic profession, full of creativity and the remit to really think outside of the box to create new titles. With lucrative earnings and the ability to tackle the latest technology, it’s a way of staying ahead of the times. If you’re dedicated, you could be a game designer.

    MICROTUNING AND ALTERNATIVE INTONATION SYSTEMS

    MICROTUNING VIRTUAL AND ELECTRONIC HARDWARE INSTRUMENTS: AN OVERVIEW OF FORMATS AND METHODS FOR USING ALTERNATIVE INTONATION SYSTEMS

    For those electronic hardware synthesis enthusiasts, as well as computer based musicians and composers who wish to explore the vast expressive possibilities, new harmonies and melodic potentials of using alternative intonation systems in their music creation processes (just intonation, temperaments, non-octave, historical microtunings, etc.), they will inevitably face the complexity of dealing with the different kinds of popular microtuning formats, including: various types of tuning tables, MIDI SYSEX, scripts, etc., required for retuning their hardware and software instruments.

    Since there currently are no universal methods for changing the intonation of electronic musical instruments, the task for microtuning ensembles of virtual or hardware instruments to a single intonation system, much less a dynamic intonation environment, can often be a daunting chore for newcomers to the field of xenharmonic and microtonal music composition.

    The primary concern of this short article are music software and hardware developers who offer products that feature what is often referred to as full-controller, or otherwise, full-keyboard microtuning, and some of the currently popular methods for changing their underlying intonation to tuning systems other than the well-worn and ubiquitous 12-tone-equal-temperament that has been the defacto standard in Western music since the 19th century.

    Essentially, full-keyboard microtuning gives musicians and composers complete, unrestricted control over how the pitches of intonation systems are directly mapped to MIDI Notes on their controllers, and enables mappings that can have less, or greater than 12 notes that repeat across the range of the instrument, as well as allowing the use of systems that have repeat intervals other than the typical 2/1 octave at 1200 cents.

    Starr Labs Microzone U-648 Generalized Keyboard

    Among the ways that the complexity of microtuning ‘format overload’ may manifest for electronic musicians and composers are as follows:

    Buyer beware and be informed: There are a bewildering number of different microtuning implementations…

    12 Note Octave Repeating Microtuning

    Some virtual and hardware instruments, as well as some DAWs (for example, Alchemy, and the other virtual instruments featured in Apple Logic), may only permit retuning 12 pitches within a 2/1 octave boundary of 1200 cents. It’s important to recognize that although these instruments may be capable of generating a huge range of amazing timbres and sound-designs, this restricted kind of tuning implementation is not capable of full-controller, or full-keyboard microtuning, and therefore has far less utility for serious microtonal and xenharmonic music composition, since their design remains locked into thinking about musical instrument intonation in terms of 12 octave-bound notes repeated across the musical range, and are therefore incapable of being used for intonation systems that feature more or less than 12 notes, or otherwise ones that may not repeat at the interval of octave at all.

    Among the many possible examples, 12 Note Octave Repeating Microtuning would prohibit the use of such popular microtunings as Bohlen-Pierce, which divides the 3rd harmonic into 13 equal parts and has a repeat interval of a 3/1 at 1901.955 cents:

    Bohlen-Pierce: ED3-13 – Equal division of harmonic 3 into 13 parts

    0: 1/1 0.000000 unison, perfect prime

    1: 146.304 cents 146.304230

    2: 292.608 cents 292.608460

    3: 438.913 cents 438.912690

    4: 585.217 cents 585.216920

    5: 731.521 cents 731.521150

    6: 877.825 cents 877.825390

    7: 1024.130 cents 1024.129620

    8: 1170.434 cents 1170.433850

    9: 1316.738 cents 1316.738080

    10: 1463.042 cents 1463.042310

    11: 1609.347 cents 1609.346540

    12: 1755.651 cents 1755.650770

    13: 3/1 1901.955001 perfect 12th

    The restriction of 12 Note Octave Repeating Microtuning would also preclude the use of the famous Wendy Carlos, Alpha (78 cents step size), Beta (63.8 cents step size) and Gamma (35.1 cents step size) systems, none of which feature a repeat interval of a 2/1 (Tuning: At the Crossroads, Computer Music Journal, Vol. 11, No. 1, Microtonality, Spring, 1987).

    There are countless other such examples of historical and contemporary musical instrument intonation systems that would be able to easily illustrate the glaring shortcomings of being restricted to only 12 notes repeating at the 2/1. For musicians and composers to be able to encompass the full range of expression and compositional possibilities of using alternative intonation systems in their music – including, but not limited to, 12 Note Octave Repeating Microtunings – it is advised to support those visionary developers who have implemented full-keyboard microtuning in their instruments. With correctly implemented full-keyboard microtuning functionality, there is no compromise in the way that one may microtune their hardware or virtual instruments.

    Xfer Records Serum supports full-keyboard microtuning with the TUN format

    The Scala SCL/KBM Specification

    Some microtuning implementations may allow retuning instruments with more or less than 12 tones, but provide no uniform method for independently configuring the Key For 1/1 (the MIDI Note on which the microtuning will start) and Reference Frequency (the MIDI Note on which the reference pitch will be mapped, for example, the concert standard of 69.A at 440 Hz). Such is the case with the widespread implementation of the Scala SCL format, where the linear KBM (keyboard mapping) part of the standard has been omitted, a topic which we will explore more in depth ahead.

    Native Instruments Kontakt Script Language: KSP

    Native Instruments Kontakt, which in theory enables full-controller microtuning, may have encrypted commercial sample libraries that strictly prohibit changing the intonation with its KSP scripting language. Moreover, KSP scripts may be used for sophisticated key-switching, or other such articulation schemes, that might prevent using a full-keyboard microtuning KSP script at the same time. Users of Kontakt should be fully prepared and equipped to program their own KSP scripts, sample instruments and libraries to ensure that they can be fully microtuned, as many developers of Kontakt libraries may not be empathetic to the requirements of microtonal and xenharmonic music composition, and very well may have designed their instruments with no, or extremely limited, ability for full-keyboard microtuning with the KSP language. In other words, they may be entirely ’12-locked’, and incapable of rendering music with intonation systems other than 12-tone-equal-temperament.

    Full-Keyboard Microtuning: TUN and MTS Formats

    Virtual instruments that can more easily achieve high-precision full-controller microtuning are those where developers have implemented the use of either the TUN or MTS (MIDI Tuning Standard) microtuning formats, which enable saving all of the microtuning mapping information into a single tuning data file that may be loaded directly into the instruments, or in the case of MTS, also be transmitted from the timeline of DAWs that allow transmitting SYSEX, such as for example REAPER and Bitwig.

    Microtonal music software developers may have their own unique data-management strategies for working with microtuning files.

    Some developers may have designed their microtonal software synthesizers and samplers so that microtuning format files may be loaded into their virtual instruments from any directories on the user’s computers, which empowers computer musicians and composers to use and maintain a single centralized global microtuning directory for all virtual instruments, while others may require that the microtuning data files be stored within the plugin’s directory.

    Where developers have employed the latter method of requiring users to store microtuning files within the plugin’s directory only, and do not permit loading them from any directory on the computer; this will require that users of the software maintain multiple concurrent microtuning archives for each plugin that uses this method, such as in the case of the excellent u-he virtual instrument line (Diva, Zebra, Bazille, ACE), thereby adding another layer of complexity for working with microtunings and managing the tuning file data.

    u-he Zebra 2 Tunefiles directory

    Microtuning Formats: A Closer Look

    Let’s more closely consider here some of the currently popular methods for microtuning computer music based virtual instruments and some hardware instruments, with this brief overview of their features and benefits:

    TUN

    The TUN format, invented by visionary developer, Mark Henning, is currently among the most popular and widely used microtuning formats for computer music virtual instruments. He is also the developer of the AnaMark VSTi synthesizer, which was first published with TUN support on February 19, 2003, making it among the earliest VSTi supporting full-controller microtuning tables. The TUN format is an elegant solution for retuning MIDI controlled virtual instruments to alternative intonation systems, because both the MIDI Note Number on which the 1/1 starting note of the microtuning will be placed, as well as the MIDI Note Number on which the Reference Frequency will be mapped, can be freely and independently specified, and is embedded within a single text file that is read by the instrument.

    Mark Henning invented the TUN microtuing format and introduced it in his Anamark VSTi in 2003

    Pros:

    • TUN is a high precision microtuning-table text format that includes the scale and MIDI Note mapping information in cents.
    • Users can specify both the Key For 1/1 (the MIDI Note on which the microtuning will start) and Reference Frequency (the MIDI Note on which the reference pitch will be mapped, for example, the standard concert pitch of 69.A at 440 Hz). Typically these critical parameters are configured and the data exported using dedicated microtuning applications such as Scala, which enables users to save versions of scales with different mappings as required of the music at hand.
    • Virtual instruments can be fully microtuned using a single TUN file.
    • Human readable with a text editor.


    Cons:

    • No dynamic, real-time microtuning.
    • To change to other intonation systems, a new TUN file must be manually loaded by the user for every instrument being used in a composition that requires it.


    Some virtual instrument software developers that have implemented the TUN microtuning format in their products: Big Tick, Linplug, MeldaProduction, Plugin Boutique, Rob Papen, Robin Schmidt, Spectrasonics, TAL Software, u-he, VAZ Synths, Xfer Records.

    Scala SCL/KBM

    Also popular is the SCL/KBM format from the developer of the versatile Scala microtuning application, Manuel Op de Coul, and is an excellent and flexible text based format that is ideal for archiving intonation systems, which may be expressed in ratios and or cents.

    Scala: The musical instrument intonation analysis and microtuning format file creation application by Manuel Op de Coul

    Pros:

    • Virtual instruments can be fully microtuned using both the SCL and linear KBM files. SCL is the part of the standard that contains the intervals of the scale, while the linear KBM part is what determines how the pitches are mapped directly to MIDI Notes on the controller.
    • Human readable with a text editor.
    • The Key For 1/1 (the MIDI Note on which the microtuning will start) and Reference Frequency (the MIDI Note on which the reference pitch will be mapped, e.g., the standard concert pitch of 69.A at 440 Hz) can be independently specified and freely changed using the linear KBM (Keyboard Mapping File).

    Cons:

    • No dynamic, real-time microtuning.
    • To change to another intonation system, a new SCL and a linear KBM file must be manually loaded by the user for every instrument.

    An important note regarding the Scala SCL/KBM format

    Both the SCL and linear KBM parts of the Scala specification are required to achieve full-controller microtuning and provide users the ability to fluidly change how intonation systems are mapped to their controllers. The reality is that very few developers have correctly implemented both SCL and linear KBM functionality, so where instruments are only able to load the SCL file, without the linear KBM part, it may not always be possible to independently change the Key For 1/1 (the starting MIDI Note of the microtuning) and the Reference Frequency (the MIDI Note on which the reference pitch will be mapped, e.g., the standard concert pitch of 69.A at 440 Hz).

    Often, without the ability to load the linear KBM files, such as in the case of the Cakewalk and Image Line virtual instruments, Reveal Sound‘s Spire, and all of the Applied Acoustics VSTi (sadly, their great sounding Chromophone physical modeling instrument included), which use only the SCL part of the Scala specification without the linear KBM, the Key For 1/1 and the Reference Frequency are often treated as one in the same. Other such worst-case-scenario implementations of SCL may map any loaded microtunings to start on middle C (MIDI Note 60.C), and provide no convenient method for changing the mapping of an intonation system at all.

    For example, it would be virtually impossible in these virtual instruments to load a Scala SCL microtuning and have the Key For 1/1 start on MIDI Note 60.C, and at the same time have the Reference Frequency on MIDI Note 69.A @ 440 Hz, because, without the KBM file, the Key For 1/1 and Reference Frequency are configured by a single parameter: set the reference note to 69.A 440 Hz, and both the Key For 1/1 and Reference Frequency are mapped on MIDI Note 69.A @ 440 Hz. Likewise, when setting the reference note to 60.C @ 261.625565 Hz, both the Key For 1/1 and Reference Frequency for the microtuning are mapped on 60.C @ 261.625565 Hz. This may be all well and fine for many Equal Temperaments, but with a universe of other types of intonation systems that feature different step sizes and intervals under modal rotation (MOS, just intonation, microtonal-modes-of-limited-transposition, etc.), the SCL-without-KBM microtuning mapping paradigm immediately fails to be able to accurately render microtunings with discrete Key-for-1/1 and Reference Frequency parameters, and will not sound in tune with ensembles of instruments that are microtuned this in this manner.

    As we can see, in cases where developers have naively omitted the linear KBM part of the Scala specification, this causes a huge complication for musicians and composers endeavoring to easily microtune ensembles of virtual instruments to a common intonation system, where the requirements of specialized MIDI controller mappings, as well as the music at hand, are that the Key For 1/1 and Reference Frequency need to be independently specified for all of the instruments being used in a particular microtonal or xenharmonic compositional scenario.

    The ability to freely map these two parameters of microtunings becomes especially critical when working with various kinds of hexagonal array keyboards, such as the Starr Labs Microzone U-648 Generalized Keyboard, C-Thru Music AXis-64 and AXis-49, as well as grid-based MIDI controllers like the excellent Roger Linn Design LinnStrument and the Novation LaunchPad Pro. It would also be crucial for mapping microtonal tunings to Elaine Walker’s Vertical Keyboards, which feature Halberstadt-style MIDI key-beds with customized key arrangements that are designed to accommodate a wide range of microtonal tunings and ergonomic fingering requirements.

    There is hope: Modartt Pianoteq gets it right

    Among the most elegant (and correct) implementations of the Scala SCL and linear KBM microtuning format, is found in the excellent physical modeling Modartt Pianoteq virtual instrument, which enables musicians and composers to directly load both Scala SCL microtunings and the KBM Keyboard Mapping files from its user interface.

    Modartt Pianoteq 5 correctly implements the Scala SCL and linear KBM specification

    Below are a couple of linear KBM file examples to illustrate the microtuning mapping flexibility embodied in the Modartt Pianoteq implementation of the Scala SCL/KBM specification:

    60-440-69.kbm | This KBM file would place the Key For 1/1 on MIDI Note 60.C, while mapping the Reference Frequency to MIDI Note 69.A at a frequency of 440 Hz:

    ! 60-440-69.kbm

    !

    ! Size of map:

    0

    ! First MIDI note number to retune:

    0

    ! Last MIDI note number to retune:

    127

    ! Middle note where the first entry in the mapping is mapped to:

    60

    ! Reference note for which frequency is given:

    69

    ! Frequency to tune the above note to (floating point e.g. 440.0):

    440.000000

    ! Scale degree to consider as formal octave:

    0

    ! Mapping.

    52-262-60.kbm | Here the KBM file would place the Key For 1/1 on MIDI Note 52.E, while mapping the Reference Frequency to MIDI Note 60.C at a frequency of 261.625565 Hz:

    ! 52-262-60.kbm

    !

    ! Size of map:

    0

    ! First MIDI note number to retune:

    0

    ! Last MIDI note number to retune:

    127

    ! Middle note where the first entry in the mapping is mapped to:

    52

    ! Reference note for which frequency is given:

    60

    ! Frequency to tune the above note to (floating point e.g. 440.0):

    261.625565

    ! Scale degree to consider as formal octave:

    0

    ! Mapping.

    When advocating for the Scala microtuning format…

    Let’s hope that this information will help to illuminate the issues around full-keyboard microtuning with Scala files, as well as to inspire musicians and composers advocating for the Scala SCL format to include the crucial KBM part in their advocacy, and that developers will see how critically important the combination and correct implementation of both the SCL and linear KBM parts of the Scala specification are to serious microtonal and xenharmonic music composition.

    Some virtual instrument software developers that have correctly implemented the Scala SCL/KBM format in their products: Modartt Pianoteq, ZynAddSubFX 2.4.1, amSynth (Linux), UVI.

    MTS (MIDI Tuning Standard)

    The MIDI Tuning Standard is an ultra-high-resolution specification for microtuning MIDI instruments agreed upon by the MIDI Manufacturers Association, and was developed by visionary microtonal music composers Robert Rich and Carter Scholz. The standard includes both Bulk Dump and Single Note microtuning with a resolution of 0.0061 cent, which essentially divides the octave into 196,608 equal parts. It remains among the best and most flexible real-time microtuning formats available today.

    Dave Smith Instruments excellent synthesizer line features MTS full-keyboard microtuning support

    Pros:

    • Virtual instruments can be fully microtuned using single MTS files.
    • Has been a part of the MIDI Specification since the 1990s.
    • Single, as well as entire ensembles of virtual instruments, can be fully and dynamically microtuned in real-time within DAWs, or using sequencers, that support the transmission of MIDI SYSEX data to instruments, without the need to manually load new microtuning files by hand in the manner required with TUN and SCL/KBM.


    Cons:

    • The format is MIDI SYSEX data, and therefore is not human-readable.


    Some virtual instrument software and hardware developers that have implemented the MTS microtuning format in their products: Dave Smith Instruments, E-mu, Ensoniq, Native Instruments, MOTM, Synthogy, Tubbutec, WayOutWare, Xen-Arts, Yamaha.

    An important consideration and current reality for the MTS format, is that not all DAWs (Digital Audio Workstations) allow the transmission of MIDI SYSEX to plugins from their timelines, although some, such as REAPER and Bitwig do. Also, the new VST3 format has tragically dropped a lot of the MIDI functionality that was among the most fascinating possibilities of the VST 2.4 SDK, rendering VST3 a huge unknown factor in the future of microtuning virtual instruments.

    Xen-Arts IVOR2 (x86) VSTi for Windows features full-keyboard microtuning with the MTS format


    MIDI Note Number-Hertz-Cents and Octave Table



    MIDI
    Note Number
    Hz Cents MIDI Standard ISO 16:1975 Cakewalk
          Middle C: C3 Middle C: C4  Middle C: C5
    0 8.176 0 C -2 C -1 C 0
    1 8.662 100 C#, Db -2 C#, Db -1 C#, Db 0
    2 9.177 200 D -2 D -1 D 0
    3 9.723 300 D#, Eb -2 D#, Eb -1 D#, Eb 0
    4 10.301 400 E -2 E -1 E 0
    5 10.913 500 F -2 F -1 F 0
    6 11.562 600 F#, Gb -2 F#, Gb -1 F#, Gb 0
    7 12.25 700 G -2 G -1 G 0
    8 12.978 800 G#, Ab -2 G#, Ab -1 G#, Ab 0
    9 13.75 900 A -2 A -1 A 0
    10 14.568 1000 A#, Bb -2 A#, Bb -1 A#, Bb 0
    11 15.434 1100 B -2 B -1 B 0
    12 16.352 1200 C -1 C 0 C 1
    13 17.324 1300 C#, Db -1 C#, Db 0 C#, Db 1
    14 18.354 1400 D -1 D 0 D 1
    15 19.445 1500 D#, Eb -1 D#, Eb 0 D#, Eb 1
    16 20.602 1600 E -1 E 0 E 1
    17 21.827 1700 F -1 F 0 F 1
    18 23.125 1800 F#, Gb -1 F#, Gb 0 F#, Gb 1
    19 24.5 1900 G -1 G 0 G 1
    20 25.957 2000 G#, Ab -1 G#, Ab 0 G#, Ab 1
    21 27.5 2100 A -1 A 0 A 1
    22 29.135 2200 A#, Bb -1 A#, Bb 0 A#, Bb 1
    23 30.868 2300 B -1 B 0 B 1
    24 32.703 2400 C 0 C 1 C 2
    25 34.648 2500 C#, Db 0 C#, Db 1 C#, Db 2
    26 36.708 2600 D 0 D 1 D 2
    27 38.891 2700 D#, Eb 0 D#, Eb 1 D#, Eb 2
    28 41.203 2800 E 0 E 1 E 2
    29 43.654 2900 F 0 F 1 F 2
    30 46.249 3000 F#, Gb 0 F#, Gb 1 F#, Gb 2
    31 48.999 3100 G 0 G 1 G 2
    32 51.913 3200 G#, Ab 0 G#, Ab 1 G#, Ab 2
    33 55 3300 A 0 A 1 A 2
    34 58.27 3400 A#, Bb 0 A#, Bb 1 A#, Bb 2
    35 61.735 3500 B 0 B 1 B 2
    36 65.406 3600 C 1 C 2 C 3
    37 69.296 3700 C#, Db 1 C#, Db 2 C#, Db 3
    38 73.416 3800 D 1 D 2 D 3
    39 77.782 3900 D#, Eb 1 D#, Eb 2 D#, Eb 3
    40 82.407 4000 E 1 E 2 E 3
    41 87.307 4100 F 1 F 2 F 3
    42 92.499 4200 F#, Gb 1 F#, Gb 2 F#, Gb 3
    43 97.999 4300 G 1 G 2 G 3
    44 103.826 4400 G#, Ab 1 G#, Ab 2 G#, Ab 3
    45 110 4500 A 1 A 2 A 3
    46 116.541 4600 A#, Bb 1 A#, Bb 2 A#, Bb 3
    47 123.471 4700 B 1 B 2 B 3
    48 130.813 4800 C 2 C 3 C 4
    49 138.591 4900 C#, Db 2 C#, Db 3 C#, Db 4
    50 146.832 5000 D 2 D 3 D 4
    51 155.563 5100 D#, Eb 2 D#, Eb 3 D#, Eb 4
    52 164.814 5200 E 2 E 3 E 4
    53 174.614 5300 F 2 F 3 F 4
    54 184.997 5400 F#, Gb 2 F#, Gb 3 F#, Gb 4
    55 195.998 5500 G 2 G 3 G 4
    56 207.652 5600 G#, Ab 2 G#, Ab 3 G#, Ab 4
    57 220 5700 A 2 A 3 A 4
    58 233.082 5800 A#, Bb 2 A#, Bb 3 A#, Bb 4
    59 246.942 5900 B 2 B 3 B 4
    60 261.626 6000 C 3 C 4 C 5
    61 277.183 6100 C#, Db 3 C#, Db 4 C#, Db 5
    62 293.665 6200 D 3 D 4 D 5
    63 311.127 6300 D#, Eb 3 D#, Eb 4 D#, Eb 5
    64 329.628 6400 E 3 E 4 E 5
    65 349.228 6500 F 3 F 4 F 5
    66 369.994 6600 F#, Gb 3 F#, Gb 4 F#, Gb 5
    67 391.995 6700 G 3 G 4 G 5
    68 415.305 6800 G#, Ab 3 G#, Ab 4 G#, Ab 5
    69 440 6900 A 3 A 4 A 5
    70 466.164 7000 A#, Bb 3 A#, Bb 4 A#, Bb 5
    71 493.883 7100 B 3 B 4 B 5
    72 523.251 7200 C 4 C 5 C 6
    73 554.365 7300 C#, Db 4 C#, Db 5 C#, Db 6
    74 587.33 7400 D 4 D 5 D 6
    75 622.254 7500 D#, Eb 4 D#, Eb 5 D#, Eb 6
    76 659.255 7600 E 4 E 5 E 6
    77 698.456 7700 F 4 F 5 F 6
    78 739.989 7800 F#, Gb 4 F#, Gb 5 F#, Gb 6
    79 783.991 7900 G 4 G 5 G 6
    80 830.609 8000 G#, Ab 4 G#, Ab 5 G#, Ab 6
    81 880 8100 A 4 A 5 A 6
    82 932.328 8200 A#, Bb 4 A#, Bb 5 A#, Bb 6
    83 987.767 8300 B 4 B 5 B 6
    84 1046.502 8400 C 5 C 6 C 7
    85 1108.731 8500 C#, Db 5 C#, Db 6 C#, Db 7
    86 1174.659 8600 D 5 D 6 D 7
    87 1244.508 8700 D#, Eb 5 D#, Eb 6 D#, Eb 7
    88 1318.51 8800 E 5 E 6 E 7
    89 1396.913 8900 F 5 F 6 F 7
    90 1479.978 9000 F#, Gb 5 F#, Gb 6 F#, Gb 7
    91 1567.982 9100 G 5 G 6 G 7
    92 1661.219 9200 G#, Ab 5 G#, Ab 6 G#, Ab 7
    93 1760 9300 A 5 A 6 A 7
    94 1864.655 9400 A#, Bb 5 A#, Bb 6 A#, Bb 7
    95 1975.533 9500 B 5 B 6 B 7
    96 2093.005 9600 C 6 C 7 C 8
    97 2217.461 9700 C#, Db 6 C#, Db 7 C#, Db 8
    98 2349.318 9800 D 6 D 7 D 8
    99 2489.016 9900 D#, Eb 6 D#, Eb 7 D#, Eb 8
    100 2637.02 10000 E 6 E 7 E 8
    101 2793.826 10100 F 6 F 7 F 8
    102 2959.955 10200 F#, Gb 6 F#, Gb 7 F#, Gb 8
    103 3135.963 10300 G 6 G 7 G 8
    104 3322.438 10400 G#, Ab 6 G#, Ab 7 G#, Ab 8
    105 3520 10500 A 6 A 7 A 8
    106 3729.31 10600 A#, Bb 6 A#, Bb 7 A#, Bb 8
    107 3951.066 10700 B 6 B 7 B 8
    108 4186.009 10800 C 7 C 8 C 9
    109 4434.922 10900 C#, Db 7 C#, Db 8 C#, Db 9
    110 4698.636 11000 D 7 D 8 D 9
    111 4978.032 11100 D#, Eb 7 D#, Eb 8 D#, Eb 9
    112 5274.041 11200 E 7 E 8 E 9
    113 5587.652 11300 F 7 F 8 F 9
    114 5919.911 11400 F#, Gb 7 F#, Gb 8 F#, Gb 9
    115 6271.927 11500 G 7 G 8 G 9
    116 6644.875 11600 G#, Ab 7 G#, Ab 8 G#, Ab 9
    117 7040 11700 A 7 A 8 A 9
    118 7458.62 11800 A#, Bb 7 A#, Bb 8 A#, Bb 9
    119 7902.133 11900 B 7 B 8 B 9
    120 8372.018 12000 C 8 C 9 C 10
    121 8869.844 12100 C#, Db 8 C#, Db 9 C#, Db 10
    122 9397.273 12200 D 8 D 9 D 10
    123 9956.063 12300 D#, Eb 8 D#, Eb 9 D#, Eb 10
    124 10548.082 12400 E 8 E 9 E 10
    125 11175.303 12500 F 8 F 9 F 10
    126 11839.822 12600 F#, Gb 8 F#, Gb 9 F#, Gb 10
    127 12543.854 12700 G 8 G 9 G 10

    THE TOP EDUCATIONAL MIDI RESOURCES ON THE WEB

    We collected up links to the top MIDI educational resources from around the web. Links are embedded in the logos, the pictures and the text in blue. Clicking on a link in a picture takes you to directly to what is pictured. 

    Link to Berklee Online

    Berklee Online is the online extension school of Berklee College of Music, delivering access to Berklee’s acclaimed curriculum from anywhere in the world. Berklee Online’s award-winning online courses, multi-course certificate programs, and Bachelor of Professional Studies degree are accredited and taught by the college’s world-renowned faculty, providing lifelong learning opportunities to people interested in music and working in the music industry.

    Berklee Online has a huge number of videos on Youtube which are of course free to view. 

    Berklee Online offers 12 week online courses with instructors. You can take them for collegiate credit or non-credit. As they are actual Berklee College courses with accreditation, they are similar in price to other college courses. 

    Download the free Music Production Handbook Featuring lesson content from Berklee Online’s 12-week courses 



    We have partnered with NonLinear Educating to integrate video tutorials on MIDI and music production directly into the MIDI.org site. For less than $17 a month, you can watch as many videos as you want and take certification tests. 

    Knowledge is power and whether you want to learn more about MIDI, improve your ear training, or increase your skills with the DAW of your choice including Pro Tools, Cubase, Logic, Ableton, GarageBand and many more, MIDI.org’s online videos provide it all. 

    NonLinear Educating has created a unique business model that donates a portion of the revenue for courses back to the The MIDI Association. As the MIDI Association is an all volunteer, nonprofit organization we take whatever revenue we receIve from the courseS and put it back into improving member services. 

    So when you sign up for a subscription for video courses, you are not only getting a great deal on some of the best video training on the planet, you are also helping The MIDI Association bring more services to all it’s members. 

    The MIDI Association courses

    You can either purchase a monthly or annual pass to view all of the hours and hours of videos or purchase single courses. 


    Our mission at Dubspot Online is to help you expand your knowledge of music and technology so you can bring your creative visions to life. We offer programs in Music Production, Sound Design, Mixing and Mastering, DJing, and Music Foundations.

    Our innovative curriculum helps you learn how to create and perform your music using state-of-the-art software such as Ableton Live, Logic Pro, Maschine, and Traktor, with a top-notch faculty of professional DJ/producers, musicians and engineers to help guide your journey

    by DubSpot Online

    Like Berklee, DubSpot has tons of Youtube videos you can view at no charge.  


    The MISSION of TI:ME
    The mission of TI:ME is to assist music educators in applying technology to improve teaching and learning in music. The initial goals stated in 1995 were:

    • To codify music technology into a cohesive set of standards.
    • To develop a certification process to recognize the achievement of in-service music teachers in music technology.
    • To develop an organization, national in scope and focused on the subject of teacher training in music technology.

    THE TOP MIDI FILM SCORING RESOURCES ON THE WEB

    Here are links to some of the best MIDI film scoring resources. Any text in blue is a link. 

    Of course, we have some great resources right on our site from Nonlinear Educating. Peter Schwartz has put together not only the core DeMystifying MIDI course, but advanced video courses in MIDI Orchestration.

    The MIDI Orchestra Music

    These courses are designed to get you up-to-speed with the tools and techniques of creating orchestral mockups using MIDI. You learn the techniques of how to make MIDI instruments sound “real”. You see how to set up orchestral templates and get a comprehensive look at compositional tools you can use to create different moods and styles.

    You can preview chapters from the videos to see if it has the information you need. 

    VI Control

    V.I. Control Forum is a virtual-instruments-applications-oriented-community that has some of the most highly experienced post contributors in real time. VI Control Forum has become an important resource for thousands of musicians and composers all over the world. Many of these contributors are experts in their field.

    Fantastic MIDI Mockups

    Fantastic MIDI Mockups is a collection of the best orchestral scores, orchestrations, and arrangements that use sample libraries. They are graded by members of VI Control Forum which supports a large community of those using samples in digital orchestrations.

    The Film Music Society

    The Film Music Society is a non-profit organization established by professionals in the film and music communities. The FMS promotes the preservation of film and television music in all of its manifestations, including published and unpublished scores, orchestrations, recordings and all related materials. It is the leading organization for film and television music preservation in the world, with members in eighteen countries.

    Hans Zimmer Master Class


    Scorecast

    SCOREcast Online is a resource community of working film, television, video game and mixed media music professionals that is dedicated to providing relevant news, commentary, and education for the professional media production community. Its core aim is to inform and educate anyone interested in the re-sophistication of the business and craft of making music for all visual media applications.

    MIDIfilmscoring.com 

    Midi Film Scoring is a resource site for TV, film, and game composers who work primarily with virtual instruments and MIDI sequencers. Here you’ll find film scoring tips and tutorials, news about free VST instruments and the best sample libraries, and industry news.

    MFS has also put together a pretty comprehensive list of online film scoring resources.

    Film Scoring Books

    Online Film Scoring Courses 

    www.midi-orchestration.net
    Virtual Orchestration Facebook group and tutorials on using MIDI

    Filmtracks- Reviews of Film Tracks

    Covering the best and worst of original film and television music since 1996, Filmtracks is a spirited home for comprehensive, humorous, and controversial soundtrack reviews. 

    THE TOP SONGWRITING RESOURCES ON THE WEB

    HERE ARE LINKS TO SONGWRITING RESOURCES ON THE WEB.  

    We collected up links to the top songwriting resources from around the web. Links are embedded in the logos, the pictures and the text in blue.


    Free Book on Songwriting from Berklee Online
    Download the free Songwriting Handbook from Berklee Online featuring lesson content from Berklee Online’s 12-week courses.


    Broadjam
    At Broadjam you can submit your songs to music industry pros who will give you real feedback, get your songs heard by the people that license music for films and TV shows or create a professional website in minutes. No HTML knowledge required.


    Songwriters Resource Network

    This page on the Songwriters Resource Network has a very comprehensive list of songwriters resources. 


    Taxi Songwriting Resources

    TAXI helps independent Songwriters, Artists, and Composers get their music to Record Labels, Film & TV Music Supervisors, Music Libraries, Music Publishers, Music Licensing Companies, Ad Agencies, and Video Game Companies.


    Songs Alive

    Songsalive! is a is a grassroots, philanthropic, volunteer managed charity organization run by songwriters for songwriters and is dedicated to nurturing, support, education and promotion of songwriters and composers worldwide.


    ASCAP

    ASCAP is home to more than 625,000 music creator members across all genres – the greatest names in music, and thousands more in the early stages of their careers.


    BMI

    BMI is the bridge between songwriters and the businesses and organizations that want to play their music publicly. As a global leader in music rights management, BMI serves as an advocate for the value of music, representing nearly 12 million musical works created and owned by more than 750,000 songwriters, composers and music publishers.

    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. 

    Creating a MIDI Collaboration App using Express.js & Socket.io

     Want to make music with your friends on Internet. This tutorial  from Andrew Bales will show you how to build an app that allows you to collaborate with friends to make music in real-time! 

    Try out a live demo: https://midi-collaboration.herokuapp.com/

    Check out the code: https://github.com/agbales/web-midi-collaboration

    by Andrew Bales

    As you can see, playing a note lights up a key in pink and displays the input data in the list. If another user joins the session, their input will light up blue and their data will appear in the list as blue entries.

    We’ll break the process into 5 parts:

        1. Creating an App with Express.js
        2. Connecting a Midi Controller
        3. Adding Socket.io for Collaboration
        4. Styling
        5. Deploying to Heroku

    Step 1: Creating an Express.js App

    We’ll get started by making a directory and initializing the project with these three terminal commands:

    mkdir midi-collaboration
    cd midi-collaboration
    npm init

    The NPM utility will ask for a bit of information to set up the package.json file. Feel free to provide that info or just hit enter to leave these fields blank for now.

    Next, add Express:

    npm install express --save

    In package.json, you will now see Express included as a dependency.

    In the root folder, make server.js with:

    touch server.js

    In server.js, add the following:

    var express = require('express');
    var app = express();
    const port = process.env.PORT || 8080;
    var server = app.listen(port);
    app.use(express.static('public'));

    This creates an instance of Express and sets the port that defaults to 8080. app.use instructs express to serve up files from the ‘public’ folder. If you ran the server now, you’d get an error. That’s because we don’t yet have a public folder!

    Public folder

    Let’s make that public folder:

    mkdir public
    cd public

    Inside, we’ll make index.html, index.js, and a CSS folder containing style.css:

    touch index.html
    touch index.js
    mkdir css
    cd css
    touch style.css

    The ‘public’ folder should look like this:

    public
    --> index.html
    --> index.js
    css
    --> style.css

    Index.html should link to style.css and index.js. So let’s add the following:

    <!-- /public/index.html -->
    <html>
    <head>
    <title>Midi Collaboration</title>
    <link rel="stylesheet" href="/css/style.css">
    </head>
    <body>
    <div>
    <h1>MIDI Collaboration</h1>
    <ul id="midi-data">
    </ul>
    </div>
    </body>
    <script src="/index.js" type="text/javascript"></script>
    </html>

    This makes a simple header followed by an empty unordered list — this is where we’ll log our midi data. After the body, it references index.js. For now, let’s add a simple console.log to index.js so that we’re sure it’s working properly:

    // public/index.js
    console.log('index.js is connected!');


    Update package.json

    Finally, we want to update package.json so that we can run our server with the terminal command ‘npm start’. Add the following line to “scripts”:

    "start": "node server.js"

    Your package.json should look like this:

    {
    "name": "remaking-midi-maker",
    "version": "1.0.0",
    "description": "",
    "main": "index.js",
    "scripts": {
    "test": "echo \"Error: no test specified\" && exit 1",
    "start": "node server.js"
    },
    "author": "",
    "license": "ISC",
    "dependencies": {
    "express": "^4.15.3"
    }

    Make sure you’re in the midi-collaboration folder and start up your app:

    npm start

    Great! It’s now hosted at http://localhost:8080/

    Step 2: Connecting your Midi Controller

    We’ll use the Web Midi API to connect a USB midi controller to the app. If you’re seeing ‘index.js is connected!’ in your console, let’s replace the console.log with:

    // public/javascript/index.js
    var context = new AudioContext();
    var oscillators = {};
    var midi, data;
    if (navigator.requestMIDIAccess) {
    navigator.requestMIDIAccess({
    sysex: false
    }).then(onMIDISuccess, onMIDIFailure);
    } else {
    console.warn("No MIDI support in your browser");
    }
    function onMIDISuccess(midiData) {
    console.log(midiData);
    midi = midiData;
    var allInputs = midi.inputs.values();
    for (var input = allInputs.next(); input && !input.done; input = allInputs.next()) {
    input.value.onmidimessage = onMIDImessage;
    }
    }
    function onMIDIFailure() {
    console.warn("Not finding a MIDI controller");
    }

    If your midi controller is hooked up, you should see the console.log for the MIDIAccess object:

    In onMIDISuccess(), a for loop listens for midi messages. Right now it should be causing an error in the console. Why? Because we haven’t defined what to do when it receives a midi message.

    Let’s create the onMIDImessage function referenced in the loop:

    function onMIDImessage(messageData) {
    var newItem = document.createElement('li');
    newItem.appendChild(document.createTextNode(messageData.data));
    newItem.className = 'user-midi';
    document.getElementById('midi-data').prepend(newItem);

    This function creates a new <li> element. It appends a text node with our midi data. It adds a css class of user-midi (this will be important later). Finally, it adds that new list item to the unordered list with the id “midi-data”. 

    Pretty cool, eh?

    But what do these numbers mean? Also: where’s the sound?

    MIDI Protocol

    MIDI Protocol is a rabbit hole all its own, but for our purposes you can understand the numbers with a simple chart:

    On / Off → 144 / 128

    Pitch → 0–127

    Velocity → 0–127

    When working with this data, we’ll treat the first number like an on/off switch. 144 = on, 128 = off. The second number is the range of pitches. The final velocity input could also be understood as volume in our usage here.

    If you’d like a more in-depth look at midi, here’s a good place to start.

    Sound

    The MIDI data is not the sound, but a set of directions: ON/OFF, PITCH, VELOCITY. We’ll need to make our own synth that can turn this information into musical tones.

    First, let’s convert those value sets from an array into a ‘note’ object that we can pass to our sound player. In onMIDImessage function, add:

    var d = messageData.data; // Example: [144, 60, 100]
    var note = {
    on: d[0],
    pitch: d[1],
    velocity: d[2]
    }
    play(note);

    Above, the variable ‘d’ is assigned the incoming data: an array of three numbers. Those three values are accessed by their index and assigned as values for the object properties. The note object is then passed to the play function. Let’s write that function:

    function play(note){
    switch(note.on) {
    case 144:
    noteOn(frequency(note.pitch), note.velocity);
    break;
    case 128:
    noteOff(frequency(note.pitch), note.velocity);
    break;
    }
        function frequency(note) {
    return Math.pow(2, ((note - 69) / 12)) * 440;
    }
       function noteOn(frequency, velocity) {
    var osc = oscillators[frequency] = context.createOscillator();
    osc.type = 'sawtooth';
    osc.frequency.value = frequency;
    osc.connect(context.destination);
    osc.start(context.currentTime);
    }
       function noteOff(frequency, velocity) {
    oscillators[frequency].stop(context.currentTime);
    oscillators[frequency].disconnect();
    }
    }

    This function checks to see if the note is on (144) or off (128) and triggers the appropriate command. Both noteOn and noteOff reference two global variables that we established at the top of index.js to handle the starting and stopping of sound.

    The frequency function is used to convert the midi note number into a hertz frequency. If you’re curious, you can read more about it here.

    Your app should now play like a synth. Huzzah!

    Step 3: Adding Socket.io for Collaboration

    Now it’s time for the fun stuff: syncing multiple users in a session! Socket.io will help us do that by enabling ‘real-time bidirectional event-based communication.’ That means we can send and receive midi messages as they’re triggered on any browser as they occur. Add Socket.io to the project:

    npm install socket.io --save

    You’ll also need to add this inside the head of index.html:

    <!-- public/index.html -->
    <script src="/https://cdnjs.cloudflare.com/ajax/libs/socket.io/2.0.3/socket.io.js"></script>

    Note: I’m using version 2.0.3 — be sure your versions of Socket.io match your package.json and html script. You might want this link to the CDN.

    For Socket.io to connect users we need to assure that:

    1) Users can both send and receive notes

    2) The server listens for user input and broadcasts it to other users

    User send/receive

    First, let’s make sure the user emits a signal every time they play a note. This can be accomplished by opening index.js and adding a single line to the function onMIDImessage. Be sure to add this after the note object has been defined.

    // public/index.js (inside onMIDImessage)
    socket.emit('midi', note);

    We also want to play any external notes that come in from other users. Inside index.js, add the following:

    // public/index.js
    var socket = io();
    socket.on('externalMidi', gotExternalMidiMessage);
    function gotExternalMidiMessage(data) {
    var newItem = document.createElement('li');
    newItem.appendChild(document.createTextNode('Note: ' + data.pitch + ' Velocity: ' + data.velocity));
    newItem.className = "external-midi";
    document.getElementById('midi-data').prepend(newItem);
     playNote(data);
    }

    When we receive an ‘externalMidi’ message from the server, it triggers gotExternalMidiMessage. This function should look familiar — in fact, we could refactor this later, but for now we’ll repeat code for clarity. It displays the external note in the view in a manner that’s almost identical to how we treat midi input from our own keyboard. However, we’ve given the <li> a class name ‘external-midi’. This will be important in a moment when we add styles to differentiate between our midi input and that of outside users.

    Finally, the note is passed to the player to trigger a sound.

    Server

    Now let’s make a bridge between users. We want to handle any incoming signals and pass them to any other sessions.

    In server.js, require Socket.io and add the function newConnection. This will be triggered when the server gains a new connection.

    // server.js
    var socket = require('socket.io');
    var io = socket(server);
    io.sockets.on('connection', newConnection);
    function newConnection(socket) {
    console.log('new connection from:' + socket.id);
     socket.on('midi', midiMsg);
    function midiMsg(data) {
    socket.broadcast.emit('externalMidi', data);
    }
    }

    The newConnection console.log will appear in the terminal every time a new connection is made. We also have socket.on listening for messages from any user and then triggering midiMsg, which broadcasts that data to every user except the original user.

    With that, we’re all set!

    Step 3: Styling

    If you’re just interested in seeing your notes differentiated from other players, you can take a shortcut here and simply add these classes to your style.css:

    // public/css/sytle.css
    .user-midi {
    color: green;
    }
    .external-midi {
    color: blue;
    }

    That’s it! Now you will see your own input in green and any external signal in blue. Feel free to skip to the next step and deploy your app to Heroku!

    If you’d like to create a keyboard interface, let’s keep rolling:


    Build a keyboard

    This keyboard we’ll make builds off of @baileyparker’s CodePen project. We’ll make some design and functionality changes to fit our usage. To start, open up this pen in a separate window:

    HTML

    The div with the class ‘piano’ houses all of our keys, which are labeled with a variety of selectors. Follow the html structure in the pen and paste the piano div and all its keys into your document (/public/index.html).


    CSS

    This is a big update for our styles. We’re importing a google font, assigning a background image to the body, and finally giving colors to differentiate between .user-midi (pink) and .external-midi (blue) signals. The ul and li elements have been styled so that they’ll slant back at a pleasing angle.

    The keyboard styling takes up the remainder of the CSS. Worth noting here are the ‘active’ classes like ‘.piano-key-natural:active’ or ‘.piano-key-natural-external:active’. These are triggered by the Javascript when a note is played. If it matches the data number, the CSS will activate that key to be pink for your notes and blue for any external input.

    When you copy the CSS from the pen into your project’s style sheet (/public/style.css), be sure to follow the notes included inside. Most importantly, you’ll need to update the path to the background.

    JS

    You’ll do the same thing for the Javascript: cut and paste it into /public/index.js below the code we’ve written. Again, it is important to read and follow the few comments within the code.

    This code will manage midi controller connections. But you’ll want to focus in on two functions: onMidiMessage & updateKeyboard. The former handles local input and applies the appropriate class to light up the keys. The latter does the same thing (but with a different class) for external messages.

    To get external notes to light up the keyboard, we need to return to the function gotExternalMidiMessage. After we call play(), add the following code:

    var msg = { }
    msg.data = [];
    msg.data.push(data.on);
    msg.data.push(data.pitch);
    msg.data.push(data.velocity);
    updateKeyboard(data);

    The keyboard needs a specific kind of object data structure to update, so we create msg and fill it with data from our note. That msg object is passed to updateKeyboard which lights up the keys in blue for that external signal.

    You should now see your keys light up pink for your own input! When we connect to Heroku add more users, you’ll see those external midi messages light up in blue!

    Step 4: Deploy to Heroku

    Instead of walking through each step here, I’ll direct you towards the comprehensive documentation at Heroku. They’ve done a great job reviewing options for deployment:

    Deploying with Git | Heroku Dev Center
    Git is a powerful decentralized revision control system, and is the means for deploying apps to Heroku.devcenter.heroku.com


    Summary

    If all went well, you should now have an app that passes signals from one user to the next and plays notes from every user. The keyboard should light up with different colors for your input and that of external sources. 

     I’m excited about this collaborative app. It has been a real thrill hooking it up and inviting friends from other states to log on and play music! Looking back, I also see ways that the data could be passed more efficiently and areas where the design could be enhanced — it’s not friendly to smaller screens, for instance.

    I’d love to hear how you’re using the app, and I hope it has given you a better understanding of how to combine Express.js, Socket.io, and the Web MIDI API!

    Mind To MIDI

    What if you could control MIDI with your brain? Does that sound like science fiction? Actually there are lots of people who have been exploring how to connect brain waves Electroencephalography (EEG) to MIDI. 

    Let’s take a look at how that works. 

    Electroencephalography (EEG) is a method to record electrical activity of the brain. Typically electrodes are placed on the scalp to measure voltage fluctuations caused by ionic current within the neurons of the brain.

    • Delta is the frequency range up to 4 Hz. It is usually the highest in amplitude and the slowest  It is seen normally in adults in deep sleep and in babies. EEGs are different for different ages, but we are focused on adults

    Delta wave

    Beta is the frequency range from 15 Hz to about 30 Hz. Beta activity is related to movement and  beta waves with multiple  frequencies is associated with busy thinking and active concentration.

    Theta wave

    Theta is the frequency range from 4 Hz to 7 Hz. Theta is  associated with relaxed, meditative, and creative states in adults

    Beta wave

    • Alpha is the frequency range from 7 Hz to 14 Hz. Alpha waves are directly related to  relaxation, and attenuate with mental exertion. 

    Alpha wave


    So what does all this have to with MIDI.  Years ago EEG machines were really expensive, but recently there are wireless EEGs like the Mindset and the Muse that are inexpensive and wireless 

    Brain2MIDI convert brainwaves into MIDI signals. Apply filters and algorithms to the frequencies and generate MIDI to control your favourite music production software, synthesizer or visual effects software.Brain2Midi is an Android software that produce Midi notes and controls change signals using brainwaves. Midi is transmitted from an Android 4.4 device using either a USB to MIDI cable to any compatible physical input, or using Wifi or Bluetooth to a computer on the Windows 7 platform. The Muse headband from InteraXon is used as an input source for brainwaves, then informations are analyzed and converted into melodies or CC parameters. Brain2Midi can be used to create music that is influenced by the state of mind of the person wearing the headband or it can be used to create visual animations in any Midi compatible VJ software.

    by Brain2MIDI


    The OpenEEG project is a website with resources for making plans and software for do-it-yourself EEG devices available for free (as in GPL). It is aimed toward amateurs who would like to experiment with EEG.


    MindMIDI is a revolutionary way of making music, with your brainwaves, in real-time. Brainwaves are like radio stations, with each station working on a different layer, and all the stations are always playing. MindMIDI works like a radio, allowing you to hear your brain’s amazing electrical symphony. The music can be influenced with intention, and you can hear the immediate musical feedback. The MIDI can be routed to any DAW so you can have realistic sounding sampled musical instruments, or synthesizers. You can have multiple instruments, and each instrument can be controlled by a different band of the brainwave spectrum. For example, your Delta and Theta waves could be controlling a cello, Alpha waves could be controlling a piano, and your Beta and Gamma waves could be playing a violin. Best thing is MindMIDI is free!

    by Aaron Thomen, MindMIDI



    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&amp;nbsp;is a site which hosts DIY&amp;nbsp;projects and&amp;nbsp;is a platform for people&amp;nbsp;to share what they&amp;nbsp;make through words, photos, video and files. We have gone through the many MIDI&amp;nbsp;DIY projects &amp;nbsp;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&amp;nbsp;MIDI Manufacturers Association. MIDI Processing, Programming, and Do It Yourself (DIY) Components These are just examples of such products — we make n


    MIDI Polyphonic Expression (MPE) Specification Adopted!

    One of the biggest recent developments in MIDI is MIDI Polyphonic Expression (MPE). MPE is a method of using MIDI which enables multidimensional controllers to control multiple parameters of every note within MPE-compatible software. 

    In normal MIDI, Channel-wide messages (such as Pitch Bend) are applied to all notes being played on a single MIDI Channel. In MPE, each note is assigned its own MIDI Channel so that those messages can be applied to each note individually.

    The newly adopted MIDI Polyphonic Expression (MPE) specification is now available for download by MIDI Association members.



    Update Feb. 5 2019 -ROLI launches MPE website 

    The ROLI Seaboard GRAND, Seaboard RISE, and BLOCKS – including the Seaboard Block and Lightpad Block – send standard MIDI messages and can be used with any software or hardware instrument that responds to these messages.

    To take advantage of the five dimensions of touch the GRAND, RISE, and BLOCKS use MPE – MIDI Polyphonic Expression. This page lists MPE-compatible synthesizers and links to guides on using them with the Seaboard RISE, Seaboard GRAND, and BLOCKS. 

    Check out all the information that ROLI has assembled on over 100 products from different companies that support MIDI Polyphonic Expression. 


    Update Sept. 14, 2020 -KVR launches MPE forum



    MIDI Manufacturers Association (MMA) Adopts New MIDI Polyphonic Expression (MPE) Enhancement to the MIDI Specification 

     

    Los Angeles, CA, January 28, 2018− Today marks the MIDI Manufacturers Association’s (MMA) ratification of a new extension to MIDI, MPE (MIDI Polyphonic Expression). MPE enables electronic instruments such as synthesizers to provide a level of expressiveness typically possible only with acoustic instruments.

    Prior to MPE, expressive gestures on synthesizers—such as pitch bending or adding vibrato—affected all notes being played. With MPE, every note a musician plays can be articulated individually for much greater expressiveness.

    In MPE, each note is assigned its own MIDI Channel, so that Channel-wide expression messages can be applied to each note individually. Music making products (such as the ROLI Seaboard, Moog’s Animoog, and Apple’s Logic) take advantage of this so that musicians can apply multiple dimensions of finger movement control: left and right, forward and back, downward pressure, and more.

    MMA President Tom White notes that “The efforts of the members (companies) of MMA has resulted in a specification for Polyphonic Expression that provides for interoperability among products from different manufacturers, and benefits the entire music industry.”

    Jean-Baptiste Thiebaut of ROLI concurs. “The MPE specification paves the way for a new generation of expressive controllers and music software, providing many creative opportunities for live musicians and producers. MPE remains fully compatible with MIDI.”

    The MPE specification will be available for download in the coming weeks. To obtain a free copy, join the MIDI Association, the global community of people who work, play and create with MIDI, at www.MIDI.org. 

    MPE Press Release Downloadable PDF

    The Basic Features of MPE

    (Reprinted from the MIDI Manufacturers Association MPE Specification document’s Background Section)
    (Note: not all devices may support all features)

    The MPE specification aims to provide an agreed method for hardware and software manufacturers to communicate multidimensional control data between MIDI controllers, synthesizers, digital audio workstations, and other products, using the existing framework of MIDI 1.0.

    These proposed conventions define a way of distributing polyphonic music over a group of MIDI Channels, making multiple parameters of different notes separately controllable. This will enable richer communication between increasingly expressive MIDI hardware and software.

    Briefly, what is defined is as follows:

      — Wherever possible, every sounding note is temporarily assigned its own MIDI Channel between its Note On and Note Off. This allows Control Change and Pitch Bend messages to be addressed to that particular note.

      — A Registered Parameter Number is used to establish the range of Channels used for sending or receiving notes. Two messages control the division of MIDI Channel space into sub-spaces called Zones, so that multi-timbral playing is still possible using only one physical MIDI interface.

      — When there are more active notes in a Zone than available Channels, two or more notes will have to share the same Channel. Under such circumstances, all notes will continue to sound, but will no longer be uniquely controllable.

      — Each Zone has a dedicated extra Channel, called the Master Channel, which conveys common information including Program Change messages, pedal data, and overall Pitch Bend. These messages apply across the entire Zone.

    (The MPE specification also defines how to handle Pitch Bend, Aftertouch and CC messages to provide maximum interoperability.)

    The full MPE MIDI specification is available for download in the Specs section of the site. 


    MPE Live Chat 

    On May 26, 2018, we held the very first MIDI Live! chat with a panel of MPE specialists.

    We recorded the session and it is presented here as a podcast.

    Listeners were not only able to send in questions via text but were able to actually join the discussion and interact directly with the panelists. Roger Linn demoed his Linnstrument live from his studio in Los Altos.

    DIscussions included the differences between the original MPE spec and the final MMA specification, MPE checklists, and test sequences, and the requirements for obtaining an MMA MPE logo that is under development.


    ...

    MPE MIDI Live! Chat Podcast –  

    On May 26, we held the very MIDI Live! chat with a panel of MPE specialists. We recorded the session and it is presented here as a podcast.

    1


    Here is a collection of Youtube videos showing off how expressive MPE enabled instruments can be. 












    Links to online MPE resources


    ...

    Multidimensional Polyphonic Expression – Synthtopia

    Posts about Multidimensional Polyphonic Expression written by synthhead, Elisabeth, and Darwin Grosse


    ...

    Bitwig | The Future of MIDI

    Bitwig Studio is a multi-platform music-creation system for production, performance and DJing, with a focus on flexible editing tools and a super-fast workflow.

    Copy of MIDI Polyphonic Expression (MPE) Specification Adopted!


    One of the biggest recent developments in MIDI is MIDI Polyphonic Expression (MPE). MPE is a method of using MIDI which enables multidimensional controllers to control multiple parameters of every note within MPE-compatible software. 

    In normal MIDI, Channel-wide messages (such as Pitch Bend) are applied to all notes being played on a single MIDI Channel. In MPE, each note is assigned its own MIDI Channel so that those messages can be applied to each note individually.

    The newly adopted MIDI Polyphonic Expression (MPE) specification is now available for download By MIDI Association members.


    MIDI Manufacturers Association (MMA) Adopts New MIDI Polyphonic Expression (MPE) Enhancement to the MIDI Specification 

     

    Los Angeles, CA, January 28, 2018− Today marks the MIDI Manufacturers Association’s (MMA) ratification of a new extension to MIDI, MPE (MIDI Polyphonic Expression). MPE enables electronic instruments such as synthesizers to provide a level of expressiveness typically possible only with acoustic instruments.

    Prior to MPE, expressive gestures on synthesizers—such as pitch bending or adding vibrato—affected all notes being played. With MPE, every note a musician plays can be articulated individually for much greater expressiveness.

    In MPE, each note is assigned its own MIDI Channel, so that Channel-wide expression messages can be applied to each note individually. Music making products (such as the ROLI Seaboard, Moog’s Animoog, and Apple’s Logic) take advantage of this so that musicians can apply multiple dimensions of finger movement control: left and right, forward and back, downward pressure, and more.

    MMA President Tom White notes that “The efforts of the members (companies) of MMA has resulted in a specification for Polyphonic Expression that provides for interoperability among products from different manufacturers, and benefits the entire music industry.”

    Jean-Baptiste Thiebaut of ROLI concurs. “The MPE specification paves the way for a new generation of expressive controllers and music software, providing many creative opportunities for live musicians and producers. MPE remains fully compatible with MIDI.”

    The MPE specification will be available for download in the coming weeks. To obtain a free copy, join the MIDI Association, the global community of people who work, play and create with MIDI, at www.MIDI.org. 

    MPE Press Release Downloadable PDF



    The Basic Features of MPE

    (Reprinted from the MIDI Manufacturers Association MPE Specification document’s Background Section)
    (Note: not all devices may support all features)

    The MPE specification aims to provide an agreed method for hardware and software manufacturers to communicate multidimensional control data between MIDI controllers, synthesizers, digital audio workstations, and other products, using the existing framework of MIDI 1.0.

    These proposed conventions define a way of distributing polyphonic music over a group of MIDI Channels, making multiple parameters of different notes separately controllable. This will enable richer communication between increasingly expressive MIDI hardware and software.

    Briefly, what is defined is as follows:

      — Wherever possible, every sounding note is temporarily assigned its own MIDI Channel between its Note On and Note Off. This allows Control Change and Pitch Bend messages to be addressed to that particular note.

      — A Registered Parameter Number is used to establish the range of Channels used for sending or receiving notes. Two messages control the division of MIDI Channel space into sub-spaces called Zones, so that multi-timbral playing is still possible using only one physical MIDI interface.

      — When there are more active notes in a Zone than available Channels, two or more notes will have to share the same Channel. Under such circumstances, all notes will continue to sound, but will no longer be uniquely controllable.

      — Each Zone has a dedicated extra Channel, called the Master Channel, which conveys common information including Program Change messages, pedal data, and overall Pitch Bend. These messages apply across the entire Zone.

    (The MPE specification also defines how to handle Pitch Bend, Aftertouch and CC messages to provide maximum interoperability.)

    The full MPE MIDI specification will be available soon for download in the Specs section of the site. 


    Digital
    audio workstations (DAWs) 
    Company Link
    Bitwig 8-Track & Studio Bitwig https://www.bitwig.com/en/home.html
    GarageBand
    macOS
    Apple https://www.apple.com/mac/garageband/
    Logic Pro X Apple https://www.apple.com/logic-pro/
    Reaper Reaper https://www.reaper.fm
    Steinberg
    Cubase
    Steinberg https://new.steinberg.net/cubase/
    Steinberg
    Cubasis 2 
    Steinberg https://www.steinberg.net/en/products/mobile_apps/cubasis/start.html
    Tracktion
    Waveform
    Steinberg https://www.tracktion.com/products/waveform
    Cakewalk BandLab https://www.bandlab.com/products/cakewalk
       
    Software synthesizers  Company Link
    crusher-x accSone https://www.accsone.com
    Poly-Ana Admiral Quality http://www.admiralquality.com/product/poly-ana/
    Logic Pro X
    Instruments
    Apple https://www.apple.com/logic-pro/plugins-and-sounds/
    MainStage
    Instruments
    Apple https://www.apple.com/mainstage/plugins-and-sounds/
    Quanta Audio Damage https://www.audiodamage.com/collections/plugin-instruments/products/ad046-quanta
    Max (and any
    MPE instruments created in Max)
    Cycling 74 https://cycling74.com/products/max/
    “Play
    5″ Sample Engine
    East West Sounds http://www.soundsonline.com/Play-Software-Download
    Strobe2 Fxpansion https://www.fxpansion.com/products/strobe2/
    Cypher 2 Fxpansion https://www.fxpansion.com/products/cypher2/
    Sektor Initial Audio https://initialaudio.com/product/sektor/
    Audio
    SynthMaster
    KV331 https://www.kv331audio.com
    Aalto Madrona Labs  https://madronalabs.com/products/aalto
    Kaivo Madrona Labs  https://madronalabs.com/products/kaivo
    Kontakt Native Instruments https://www.native-instruments.com/en/products/komplete/samplers/kontakt-6/
    Reaktor (and
    any MPE instruments created in Reaktor)
    Native Instruments https://www.native-instruments.com/en/products/komplete/synths/reaktor-6/
    WaveMapper 2 PPG http://wolfgangpalm.com/wm2.html
    WaveGenerator PPG http://wolfgangpalm.com/wg.html
    Phonem PPG http://wolfgangpalm.com/phonem.html
    Infinate Pro PPG http://wolfgangpalm.com/infinitepro.html
    Equator ROLI https://roli.com/products/software/equator-synth
    Softube
    Modular
    Softube https://www.softube.com/index.php?id=modular
    Omnisphere Spectrasonics https://www.spectrasonics.net/products/omnisphere/index.php
    Trillian Spectrasonics https://www.spectrasonics.net/products/trilian.php
    BT Phobos Spitfire Audio https://www.spitfireaudio.com/shop/a-z/bt-phobos/
    Addiction
    Synth
    Stagecraft Software http://www.stagecraftsoftware.com/products/addictionsynth/
    Infinity Synth Stagecraft Software http://www.stagecraftsoftware.com/products/infinitysynth/
    Cubase (5
    instruments)
    Steinberg https://new.steinberg.net/cubase/
    Kyma 7 Symbolic Sound https://kyma.symbolicsound.com
    The Legend Synapse Audio https://www.synapse-audio.com/thelegend.html
    Bazille U-He https://u-he.com/products/bazille/
    Ace U-He https://u-he.com/products/ace/
    Diva U-He https://u-he.com/products/diva/
    Hive U-He https://u-he.com/products/hive/
    Repro-5 (5
    instruments, downloadable sound files)
    U-He https://u-he.com/products/repro/
    Falcon UVI https://www.uvi.net/falcon.html
    Auras Slate and Ash https://slateandash.com/products/auras
    HALion Steinberg https://www.steinberg.net/en/products/vst/halion_und_halion_sonic/halion.html
       
    Mobile apps  Company Link
    GarageBand iOS Apple https://www.apple.com/ios/garageband/
    Quanta Audio Damage https://www.audiodamage.com/products/ad046-quanta
    SpringSound Ankorage http://www.anckorage.com/spring-sound/
    Gestrument Gestrument AB https://gestrument.com
    SynthMaster
    Player
    KV331 Audio https://www.kv331audio.com/synthmasterplayer.aspx
    GeoShred moForte Inc (Wizdom) http://www.moforte.com
    Minimoog Model
    D
    Moog https://www.moogmusic.com/products/minimoog-model-d-app
    Moog Model 15 Moog https://www.moogmusic.com/products/model-15-app
    AniMoog Moog https://www.moogmusic.com/products/animoog
    iFretless Bass Blue Mango http://ifretless.com/ifretless.php
    Sax Blue Mango http://ifretless.com/ifretless.php
    iFretless
    Guitar
    Blue Mango http://ifretless.com/ifretless.php
    Volt Numerical Audio http://numericalaudio.com/volt/
    Arctic
    ProSynth
    One Red Dog Media http://www.onereddog.com.au/arcticpro.html
    WaveGenerator PPG http://wolfgangpalm.com/iwg.html
    WaveMapper PPG http://wolfgangpalm.com/iwm.html
    Phonem PPG http://wolfgangpalm.com/iphonem.html
    Infinate PPG http://wolfgangpalm.com/iinfinite.html
    NOISE Roli https://noise.fm
    Seaboard 5D Roli https://itunes.apple.com/us/app/seaboard-5d/id1173937855?mt=8
    ThumbJam Sonosaurus https://thumbjam.com
    DrumJam Sonosaurus https://drumjamapp.com
    GeoSynthesizer Wizdom http://www.wizdommusic.com/products/geo_synthesizer.html
    SampleWiz Wizdom http://www.wizdommusic.com/products/samplewiz.html
    Tardigrain HumbleTune http://www.humbletune.com/tardigrain/
    Le Sound
    Reshape
    Le Sound https://lesound.io/product/reshape/
       
    Hardware synthesizers and
    Controllers
    Company Link
    Artiphon INSTRUMENT 1 Artiphon https://artiphon.com/
    MicroMonsta Audiothingies https://www.audiothingies.com/product/micromonsta/
    Axoloti Axoloti http://www.axoloti.com
    Kijimi Black Corporation https://www.deckardsdream.com/product/kijimi-built-preorder-run1
    Deckard’s
    Dream
    Black Corporation https://www.deckardsdream.com
    Endorphin.es
    Shuttle Control
    Endorphin.es http://endorphin.es/endorphin.es–shuttle.html
    Expert
    Sleepers FH-2
    Expert Sleepers http://www.expert-sleepers.co.uk
    Futuresonus Parva Futuresonus https://futureson.us
    Haken
    Continuum
    Haken https://www.hakenaudio.com
    MOD Duo MOD https://www.moddevices.com
    Modal
    Electronics 001
    Modal Electronics http://www.modalelectronics.com
    Modal
    Electronics 002
    Modal Electronics http://www.modalelectronics.com
    Modal
    Electronics 002R
    Modal Electronics http://www.modalelectronics.com
    Modor NF-1
    / NF-1m
    Modor http://www.modormusic.com
    Polyend Poly Polyend http://polyend.com/product/poly/
    Snyderphonics
    MantaMate
    Snyderphonics https://snyderphonics.com/mantamate.htm
    Percussa SSP Percussa https://www.percussa.com
    Seaboard Rise
    Grand
    Roli https://roli.com/products/seaboard
    Blocks Roli https://roli.com/products/blocks/
    LinnStrument Roger Linn Design http://www.rogerlinndesign.com/linnstrument.html
    Expressionist EncoreElectronics http://www.encoreelectronics.com/cont_expres.html
    Vermona:
    PerFOURmer
    Vermona https://www.vermona.com/en/products/synthesizer/product/perfourmer-mkii/
       
    These
    DAWs and synthesizer plugins can be used with certain MPE Controllers by
    following the setup guides provided by the MPE Controller maker:
    Company Link
    Ableton Live Abelton https://www.ableton.com/en/live/
    Audio Modeling
    SWAM Engine
    Audio Modeling https://audiomodeling.com
    Digital
    Performer
    MOTU http://www.motu.com/products/software/dp/
    FL Studio Image Line https://www.image-line.com/flstudio/
    iZotope Iris 2 iZotope https://www.izotope.com/en/products/create-and-design/iris.html
    Pro Tools Avid https://www.avid.com/pro-tools
    Studio One PreSonus https://www.presonus.com/products/Studio-One
    Kurzweil
    V.A.S.T. Synthesizers
    Kurzweil http://www.vintagesynth.com/kurzweil/k2000.php
    Roland JV-80
    (keyboard)
    Roland http://www.vintagesynth.com/roland/jv80.php
    Roland  JV-1080 Roland http://www.vintagesynth.com/roland/jv1080.php
    Roland Integra
    7
    Roland https://www.roland.com/us/products/integra-7/
    Roland JD-800
    (keyboard)
    Roland http://www.vintagesynth.com/roland/jd800.php
    Roland JD-990
    (rack module)
    Roland http://www.vintagesynth.com/roland/jd990.php
    Roland XP-50 Roland http://www.vintagesynth.com/roland/xp50.php

    The following products support one or more of the features of MPE:

     

    Digital audio workstations (DAWs) 

    • Bitwig 8-Track & Studio
    • GarageBand macOS
    • Logic Pro X
    • Reaper
    • Steinberg Cubase
    • Steinberg Cubasis 2.6
    • Tracktion Waveform

    Software synthesizers 

    • Admiral Quality Poly-Ana
    • Cycling ’74 Max
    • Equator / Equator Player
    • FXpansion Strobe2
    • KV331 Audio SynthMaster
    • Madrona Labs Aalto
    • Madrona Labs Kaivo
    • MainStage
    • Native Instruments Reaktor
    • Softube Modular
    • Spitfire BT Phobos
    • Stagecraft Addiction and Infinity
    • Symbolic Sound Kyma
    • UVI Falcon
    Mobile apps 
    • NOISE
    • Seaboard 5D
    • GeoShred
    • GarageBand iOS
    • Moog Model 15
    • AniMoog

    Hardware synthesizers 

    • Artiphon INSTRUMENT 1
    • Audiothingies MicroMonsta
    • Axoloti
    • Deckard’s Dream
    • Endorphin.es Shuttle Control
    • Expert Sleepers FH-1
    • Futuresonus Parva
    • Haken Continuum
    • MOD Duo
    • Modal Electronics 001 / 002 / 002R
    • Modor NF-1 / NF-1m
    • Polyend Poly
    • Snyderphonics MantaMate

    These DAWs and synthesizer plugins can be used with certain MPE Controllers by following the setup guides provided by the MPE Controller maker:

    • Ableton Live
    • Audio Modeling SWAM Engine
    • Digital Performer
    • FL Studio
    • iZotope Iris 2
    • Native Instruments Kontakt
    • Pro Tools
    • Spectrasonics Omnisphere and Trillian
    • Studio One
    • U-he Diva
    • Le Sound Reshape

      MPE Live Chat 

      On May 26, 2018, we held the very first MIDI Live! chat with a panel of MPE specialists.

      We recorded the session and it is presented here as a podcast.

      Listeners were not only able to send in questions via text but were able to actually join the discussion and interact directly with the panelists. Roger Linn demoed his Linnstrument live from his studio in Los Altos.

      DIscussions included the differences between the original MPE spec and the final MMA specification, MPE checklists, and test sequences, and the requirements for obtaining an MMA MPE logo that is under development.


      ...

      MPE MIDI Live! Chat Podcast –  

      On May 26, we held the very MIDI Live! chat with a panel of MPE specialists. We recorded the session and it is presented here as a podcast.

      1


      Here is a collection of Youtube videos showing off how expressive MPE enabled instruments can be. 












      Links to online MPE resources


      ...

      Multidimensional Polyphonic Expression – Synthtopia

      Posts about Multidimensional Polyphonic Expression written by synthhead, Elisabeth, and Darwin Grosse


      ...

      Bitwig | The Future of MIDI

      Bitwig Studio is a multi-platform music-creation system for production, performance and DJing, with a focus on flexible editing tools and a super-fast workflow.

      MIDI and the Surface Pen

      Pens and stylus’ have been employed as computer interaction devices for quite some time now. Most commonly they were used along with peripheral graphics tablets to give a more natural flow to the artist or designer than a mouse could muster. With the release of the Surface Pro hybrid laptop by Microsoft in 2012 they brought a digital pen along to party that could work directly on the screen. It was intended to bridge the gap between the demands of desktop software and the tablet touch screen form factor. In a mouse and track-pad free computing environment how better to access the finer details that your thick fingertips couldn’t manage. 

      The advantages for the artist become quickly apparent. As the Surface Pro has evolved the graphical power has gotten to the point where it’s a completely competent sketching, drawing and design platform. But there’s another group of artists for whom the digital pen has an awful lot of potential, and that’s the musician. 

      This is probably most joyously demonstrated by the Windows 10 app Staffpad. Staffpad takes the idea of writing music completely literally and presents you with a blank sheet of manuscript paper and asks you to start writing. Combining the digital pen with hand writing recognition Staffpad is able to interpret your hand written notes into digital MIDI information directly onto a score. It can then be played back through a virtual orchestra. It’s a stunning piece of work and remarkably fluid and creative to use. 

      Most of us approach music creation in a more sequenced format. The pen has a lot to offer here as well. Entering notes into a piano roll immediately comes to mind, as does the editing of notes, the trimming of clips or moving blocks in an arrangement. Consider drawing in track automation, with a pen rather than a mouse. How much more fluid and natural could that be?

      In many ways the pen feels like it’s simply replacing the actions of a mouse – but it doesn’t quite work like that. The Surface Pen works through a combination of technology in the pen and a layer of corresponding technology on the screen. It’s not just touch-screen technology, you can’t take the Surface Pen and use it on another brand of screen, it will only work on Surface products. While that affords the technology a great deal of power it can also trip up software that isn’t able to interpret the technology properly. In many cases the pen works just like a mouse replacement, but in others it can cause weird or no behaviour at all.

      When PreSonus first released their new touch-enabled version 3 of Studio One the reaction to the Surface Pen when running on the Surface Pro 3 was to get quickly confused and then lock up. In Cakewalk Sonar, again touch-enabled, there were areas in the software that completely refused to acknowledge the presence of a pen on the screen. Both of those DAWs have far better support for it now. Ableton Live appeared to work with both touch and the pen without any trouble except that when grabbing a fader or knob control the value would leap between the maximum and minimum making it impossible to set it accurately. Adding support for “AbsoluteMouseMode” in a preferences file cured that particular oddity. 

      Where it’s been most unflinchingly successful is within Steinberg’s Cubase and Avid’s Pro Tools neither of which has expressed any interest in touch or pen interaction – but it simply works anyway. From entering and editing notes to drawing in long wiggly lines of modulation and automation the pen becomes a very expressive tool.

      However, for the full immersion that the pen can offer, this tends to mean eschewing the keyboard. When you are leaned in, as I mentioned earlier, having to then pull back to use a keyboard shortcut can be rather jarring and interrupting to your workflow. There’s a certain amount you can do with the on-screen virtual keyboard but it can completely cover what it is you’re trying to edit, so it’s not ideal. This highlights what I see as being the current flaw in the Surface Pen workflow – the lack of a relevant, customisable toolbar.

      When editing notes or an arrangement with the pen the ability to do simple tasks such as copy and paste become cumbersome. You can evoke a right-click with the squeeze of a button and then select these task from the list, or you can glide through the menu system but neither of these options are as elegant as a simple Ctrl-C and Ctrl-V. You can quickly extend that to other actions – opening the editor, or the mixer, duplicating, setting loop points there’s a whole raft of commands that are hidden away behind menus or keyboard shortcuts that are annoying to reach with just the pen for input. Adding a simple macro toolbar with user definable keyboard shortcuts would greatly enhance the pen’s workflow. It’s possible to do this with third party applications but it really needs support at the OS level.

      This is something Dell have considered with their Canvas touch-screen and digital pen system. They have incorporated floating “palettes” that are little toolbars to access useful keyboard shortcuts. Some DAWs, such as Bitwig Studio and PreSonus Studio One, have fingerable toolbars that can perform a similar function – but something more global would be helpful.

      With the release of the Surface Pro (2017) Microsoft have introduced an improved Surface Pen with 4 times the resolution of the previous version. Although more relevant to the artist who draws, it’s interesting to see pen support improving in many DAWs. It’s usefulness is becoming more apparent and if you consider the Dell Canvas and the iPad Pro Pencil, along with the development of the Surface into the larger Surface Studio and laptop form factors, it’s also becoming more widespread.

      At the time of writing only one DAW manufacturer has stepped up to push the digital pen into more than just emulating mouse tasks. Bitwig Studio has some special MPE (Multidimensional Polyphony Expression) functionality that allows you to map the pen pressure to parameters on MPE compatible virtual instruments. More on that in another article, but hopefully more creative uses will emerge as this gains popularity.

      The digital pen offers many creative opportunities. It unhinges you from the mouse/keyboard paradigm and pushes you into a more natural and fluid way of working. It lacks support in some software and there’s some work to be done on optimising the workflow by combining it with a toolbar, but it offers a different and creative approach to musical computer interaction.

      Here’s a video of me reviewing the Microsoft Surface Book for music production which has a lot of pen use and examples in it. There’s plenty more on the YouTube channel:

      Bluetooth MIDI is here to stay

      This is an article that was originally posted on the Cakewalk blog and they kindly gave us permission to excerpt it here on MIDI.org and link to the full article. The cover photo is courtesy of Pete Brown from Microsoft. 

      There are dozens of wireless data standards today. So why is Bluetooth so popular?
      Wireless standards may be grouped into a few classes:

      Optimized for short-range communications (Bluetooth),
      Wide area communications (801.11g/n/a, DECT etc, 802.11 over AVB),
      Nationwide or global coverage (cellular networks 3G, 4G LTE, etc)
      Personal area networks (Bluetooth LE, UWB, etc).

      By far the most ubiquitous wireless protocol in use for audio devices is Bluetooth. This is primarily due to low-cost of Bluetooth hardware, ease of use, widespread adoption and availability of devices with built-in Bluetooth support – cars, cellular phones, headphones, speakers, even door locks are equipped with Bluetooth functionality today.

      AVB (Audio Video Bridging) is one of the more promising networking technologies for audio due to its high bandwidth capabilities and scalability, and has also generated a lot of buzz in the audio community. Although wired AVB has gained a fair amount of traction with many pro audio interfaces as well as the automotive industry, wireless AVB unfortunately has been slow to develop.

      Bluetooth may have gotten a bad rap in the past for error prone device discovery and pairing, high latency and glitchy audio playback. With the adoption of more recent Bluetooth standards such as BT 4.0 and higher, stability has greatly increased and the latency is much improved. With the addition of MIDI data transmission via the Bluetooth LE specification, Bluetooth is now a complete media streaming solution. Bluetooth 5 continues to evolve, adding 4X the range, 2X the speed, and 8X the data broadcasting capacity compared to Bluetooth 4. Longer range powers whole home and building coverage, for more robust and reliable connections.

      by Noel Borthwick [Cakewalk]Chief Technology Officer

      MIDI APIs

      The most widely used MIDI programming interface is the classic MME (Multimedia extensions) API that has been in existence since 1991. DirectMusic was another somewhat lesser-used, higher-level API for MIDI. MME has been in use by DAW applications for decades. While audio support in Windows has progressed a lot from MME via ASIO, WDM, and WASAPI, MIDI support in Windows has seen no updates until recently.

      In Windows 10, Microsoft introduced the new UWP MIDI API. The idea was to provide a more modern and extensible way for UWP applications to communicate with MIDI devices and provide support for newer MIDI protocols / interfaces. Since this API was designed for UWP applications, it was not adopted by most DAW vendors who are building Win32 applications.

      Recently, in Sept 2016 Microsoft released a UWP wrapper to allow Win32 applications to also use the UWP MIDI API through a translation layer. Cakewalk evaluated this API and found it viable. Details about this announcement and more info about UWP MIDI can be found in this Microsoft blog post.

      Advantages of UWP MIDI

      • UWP is the new API platform so any changes to MIDI functionality will be available only via UWP and not the older MIDI APIs
      • Can be used by both UWP apps as well as Win32 apps (using the Win32 wrapper)
      • Supports Bluetooth LE MIDI (BLE-MIDI) protocol
      • Handles multi-client access to MIDI ports
      • Much simpler API to use overall

      Bluetooth LE MIDI support

      The Windows 10 Anniversary Edition, includes in-box support for Bluetooth LE MIDI (BLE-MIDI) that was developed by an MMA working group. Bluetooth Low Energy (BLE) is a wireless connection specification supported by the majority of mobile computing devices. BLE can extend battery life for mobile devices using connected accessories (such as MIDI keyboards and controllers) that don’t continuously stream data.

      Bluetooth MIDI can be used by any application via the Windows 10 UWP MIDI API. As long as the PC has a Bluetooth LE capable radio, no additional hardware is necessary to talk to Bluetooth MIDI peripherals such as keyboards, pedals and controllers. Note that the PC itself can’t be a Bluetooth peripheral as of now, since Microsoft hasn’t implemented that yet.

      For the full article by Noel Borthwick, please click on the link below. 


      ...

      Wireless Audio and MIDI in SONAR – The Cakewalk Blog

      With the proliferation of Bluetooth enabled devices, IoT (internet of things), wireless technology is one of the hottest trends today with wide-reaching applications to audio, automotive, medical and other industries. Gibson R&D is actively involved with wireless technology both in the hardware and software space and a member of the Bluetooth SIG, responsible for the…

      BLE-MIDI, Sonar and Zivix Jam Stick- A New Way to Enter MIDI into your DAW

      This is an article that was originally posted on the Cakewalk blog and they kindly gave us permission to excerpt it here on MIDI.org. 

      Greetings! My name is Mike Green, Music Product Specialist at Zivix, we make the jamstik+ portable SmartGuitar & PUC+ wireless MIDI link. I’m primarily a guitar player, and in my 15+ years of musical composition, MIDI has enabled me to write and record quickly. In full disclosure; I’m a lousy keyboardist. The jamstik+ and Bluetooth MIDI’s availability for Windows 10 has revolutionized what used to be a point-and-click endeavor. Now I can use virtual instruments in Cakewalk’s SONAR software controlled by the jamstik+ digital guitar so I can enter in data wirelessly via Bluetooth MIDI – using the guitar skills that come most naturally to me.

      by Mike Green, Music Product Specialist at Zivix


      Make Sure Your PC is Bluetooth 4.0 Compatible.

      With recent updates in the Windows 10 OS, SONAR’s DAW takes advantage of using Bluetooth 4.0 Low Energy (BLE) to connect Bluetooth enabled MIDI devices. Now, almost all operating systems have this capability, so the performance is only going to get better from here, and more controllers will start “Roli” ‘ing in (haha). Check the specs on your PC (look for Bluetooth in Device Manager) to see if your PC is Bluetooth 4.0 compatible. If not, you can always try various BLE Dongles like this one by Asus.

      Connecting is easy

      1. Pair to Windows 10
      2. Open SONAR
      3. Enable your MIDI Device In/Out Check-boxes in Preferences
      4. Select your Soft-Synth
      5. Play!
      For more on Sonar, Zivix and BLE-MIDI, check out the full article below and look for links to special deals. 

      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

      Music, Plants, MIDI and the founder of the CIA Polygraph Unit!

      MIDI gets used for so many different things and one interesting MIDI application is plant music. 

      The story of MIDI and plants starts quite naturally with the CIA.  Yes, that’s right “that” CIA,  the Central Intelligence Agency. Grover Cleveland “Cleve” Backster (which you must admit is a great name for an interrogation specialist for the CIA)  founded the CIA’s polygraph unit shortly after World War II. In the 50’s he reportedly was involved with the CIA’s experimentation with LSD.  In 1960, he left the CIA and founded his own polygraph school teaching police how to use and administer polygraph test. He was a lifelong member of the American Polygraph Association (APA) and in 2006 the APA Board of Directors established the Cleve Backster Award. This award is to be presented annually honoring an individual, or group, that advances the polygraph profession through tireless dedication to standardization of polygraph principles and practices.

      Considered by many at the time to be the top polygraph expert in the world, Cleve connected his lie detection instrumentation to the leaf of a dracaena cane plant on February 2, 1966. 

      Thirteen minutes into the experiment Cleve threatened to harm the plant and an electrochemical reaction occurred on the lie detector instrument. The reaction was similar to when a human responds to stress or a threat. The field of bio-communication was born and Cleve moved to San Diego to further his research and locate his polygraph school in a warm climate. Author Peter Tompkins and Christopher Bird wrote about Cleve’s extensive test results in the book titled The Secret Life of Plants. Tompkins and Bird earned thousands if not millions of dollars while Cleve earned no financial benefits from the book.

      by Brian David Andersen

      Original Plant Polygraph


      ...

      The Secret Life of Plants – Peter Tompkins – Google Books

      The world of plants and its relation to mankind as revealed by the latest scientific discoveries. “Plenty of hard facts and astounding scientific and practical lore.”–Newsweek

      Now there are a lot of skeptics about both whether plants can “hear” music or sense vibrations.  Check out this detailed article about music FOR plants


      ...

      The Effect of Music on Plant Growth | Dengarden

      Do plants like music? It’s a controversial topic: Studies have supported the claim that music can result in better growth, but many disagree with those findings. Hear both sides & decide for yourself.

      Stevie Wonder’s Journey Through “The Secret Life of Plants”  was released in 1979 as the soundtrack to the documentary The Secret Life of Plants, a film based on the book by Peter Tompkins and Christopher Bird. It featured Syreeta Wright (Stevie’s wife at the time) and Michael Sembello who wrote the song “Maniac” a huge hit from the blockbuster film Flashdance. So already plants were having an effect on the music scene. 

      Since the 1970s, Damanhur—a Federation of Communities with its own constitution, culture, art, music, currency, school and uses of science and technology (www.damanhur.org)—has researched communication with the plant world. As part of this research, they created an instrument able to perceive the electromagnetic variations from the surface of plant leaves to the root system and translated them into sound.Science increasingly supports the concept that plants operate with an innate intelligence and logic diverse from our own. Music of the Plants has taken this research into plant intelligence and plant perception to another level. By deciphering and registering the impulses and interactions of plants, they have developed a device that uses a MIDI interface to transform the impedance from a leaf to the root system of a plant into music. Extensive research continues today as we become conscious of the innate ability of nature to communicate with us when we have the instrument to listen.

      by Music of the Plants

      In the following video, Simone Vitale explains the tech behind the MIDI interface for plants. 

      In this video I reply to all those who asked me how the music of the plants work and more specifically whether the sound in the recordings come directly from the pants.The U1 device allows plants to produce sounds and to make music. It does so by measuring the electrical resistance of vegetable tissues and transducing it into a MIDI signal (Musical Instruments Digital Interface). The MIDI signal then controls a synthesizer that produces the actual sound.At first, it might be difficult to assimilate the idea that in the end the music produced by the plant is not only an automatic outcome of this electrical connection, rather a sort of “awareness” of the plant was also involved.This is what the researchers in Damanhur (the developers of the U1 device) have found out in their forty years research. They say that after some time of being exposed to their own sounds, plants seem to become aware that the sound is coming from them and they start modulating it intentionally.I witnessed this myself years ago, while rehearsing for a live performance. I found myself spending hours playing piano together with a plant and I was witnessing the slow development of the process. The subtle changes in the plant’s music in response to the sound of the piano and its own sound was becoming more and more evident to me.

      by Simone Vitale

      In the next video, Simone improvizes with the U1 MIDI interface and a plant. 

      But there are others who are exploring this intersection of mysticism, science, music and MIDI. 

       Mileece is another sonic artist who uses plants to generate music. 

      This is a close up of the UI MIDI Interface and synthesizer

      The MIDI Sprout Biofeedback device


      ...

      Electricity for Progress

      A link to electricity for progress with Kits to do MIDI biofeedback. 


      ...

      MIDI Sprout

      MIDI Sprout is an instrument that translates biodata from plants into music. We lead workshops on connecting to intuition through deeply listening to plant music and stream live plant music from around the globe on Plants FM.

      To be honest, we are not sure if any of this biofeedback “science” is real, but any story that starts with CIA and ends up in a “Federation of Communities with its own constitution, culture, art, music, currency, school that uses of science and MIDI technology to research communication with the plant world” seemed like something we should cover here at The MIDI Association, the community of people (and perhaps plants!) who work, play and create music with MIDI.  

      “Let’s” Makes You Want to Play Music with Art

      LET’S is a team of Seattle multi media artists (Andy Arkley, Courtney Barnebey and Peter Lynch) who create interactive sculptures that combine art and sound using MIDI. 

      In their latest installation , We, now on at MadArt gallery in Seattle, the LET’s team uses DIY controllers and an in-depth knowledge of MIDI to allow up to 12 people to easily collaborate (even without any musical background) to create music and art. 

      A similar installation FINGER POWER! was created for the Seattle Bumbershoot 2014 

      Lynch sets up Ableton such that it sends MIDI notes to the VJ software Resolume, which controls the projected video elements. Ableton also sends MIDI notes to DMX, a piece of software that triggers the sculptures light bulbs.

      by DJ PANGBURN
      Apr 16 2017, 4:55am
      creators.vice.com

      SWEEP was another immersive interactive installation of sound and over 250 small scale light sculptures that were synchronized with MIDI developed by Lets for Gallery4Culture in 2015.

      Another interesting project done by Lets is Library Science which recorded three albums between three albums:

      High Life Honey (2004)
      The Chancellor (2007)
      Dolphin (2009)

      They even included a video on the process of creating Library Science music. Add Echo!

      For more information on Lets, check out their website below. .


      ...

      Let’s Presents

      LET’S is a collective of Seattle artists consisting of Courtney Barnebey, Peter Lynch, and Andy Arkley.

      Ikutaro Kakehashi, the driving force behind MIDI

      Ikutaro Kakehashi was certainly one of the most influential figures in electronic music in the 20th century.  He influenced music and technology throughout his lifetime.  He overcame many challenges in his early life to become the head of one of the most influential electronic musical instruments companies in the world, Roland Corporation.

      Kakehashi-san was born in 1930 and both of his parents passed away when he was only two years old.  He grew up with relatives in Osaka, Japan.  During World War II (as was typical during the war), he started working at the Hitachi shipyards in Osaka when he was only 14 years old.  There he started to learn about mechanical engineering. 

      At the end of the war, the Japanese economy was devastated and when Kakehashi-san tried to get into Osaka University, he was rejected because of his poor health. 

      So he moved to the southern Japanese island of Kyushu when he was 16 and he found a job there as a geographical survey assistant.  While in Kyushu he noticed that there were very few resources in early post war Japan for clock and watch repair. 


      A young Ikutaro Kakehashi in front of his watch shop in Kyushu circa 1946


      After being refused an apprenticeship at the watch shop he was working part time (or maybe not wanting to wait 7 years until the apprenticeship would be over!),  Kakehashi bought a book on watch repair and taught himself the skills that he needed to set up his own business- the Kakehashi Watch Shop pictured above.

      Soon he expanded his skills and business to repair broken radios as well as watches and clocks. 

      Kakehashi worked to grow his business for 4 years and his plan was to liquidate the business and go back to university as he was still only 20 years old.  Just as he was planning to do this, he contracted tuberculosis in both lungs and was hospitalized. 

      He remained in the hospital for three years with his condition gradually getting worse. Imagine how hard it must have been for the this young man to be stuck in the hospital knowing both of his parents had died of the same disease. 

      In what was actually a huge stroke of luck Kakehashi was selected as a guinea-pig to test a new drug, Streptomycin. This was an expensive experimental drug and the three years in the hospital had drained away all of the money that Kakehashi-san had saved from his watch company. However the new “miracle” drug soon started working and within a year, Kakehashi was able to leave the hospital and start on his life’s work – changing the face of electronic music forever. 

      In 1955 he started experimenting with monophonic electronic musical instruments and founded Ace Electronic Industries. 

      Kakehashi originally attempted to build his own Theremin because he was fascinated by Dr. Bob Moog’s work.  But he found the Theremin was difficult to play and decided it probably was not going to be a huge commercial success, 

      In 1960,  Ace Electronic Industries changed their name to Ace Tone, 

      Ace Tone had several successful products distributed by other companies. 

      Kakehashi started a relationship with Matsushita and designed an organ that became the National SX-601.  Matsushita is one of the largest companies in Japan. They have made products under the Matsushita brand name, the National brand name and they are known worldwide under the Panasonic brand name.  They didn’t adopt the Technics brand name for their line of keyboards until the late 1970s.

      Kakehashi-san’s main collaborator at National was Kenji Matsumoto. They remained lifelong friends until Kenji’s death.



      In 1964, Kakehashi made his first trip to the NAMM show with the Ace Electronics R1 Rhythm Ace and although he didn’t get any orders he did make connections with some people at the Hammond Organ company and learn about the latest in electronic designs. 

       People seem to forget that many of the early electronic music pioneers were strongly influenced by home organs of the late 1950’s and early 60s.

      Kakehashi-san with the Technics SX601


      In 1971 Kakehashi helped Hammond develop the Piper Organ, which was the world’s first single-manual organ to incorporate a rhythm accompaniment unit . 


      Eventually, with Ace’s success doing almost $40 million dollars a year in business, more investors came into the company until finally Kakehashi was only a minority shareholder in his own company.  The majority of shareholders sold Ace to a huge industrial company, Sumitomo Chemical, that had no real interest in electronic musical instruments. 

      So never afraid to face a challenge head-on, Ikutaro Kakehashi left Ace and in 1972 started a new company with only $100,000 in capital.  That company was Roland and the rest is indeed history.   

      The story of Kakehashi-san and MIDI is covered on in our MIDI History Series, but we wanted to give you the very early history of one of the pioneers of electronic musical instruments and one of the founders of MIDI. 


      For more information about Kakehachi-san and Roland,
      check out these informative web pages




      ...

      The History Of Roland: Part 1

      The Roland name is almost synonymous with music technology — there can’t be an SOS reader who has not made use of their instruments at some time. As founder Ikutaro Kakehashi approaches his 75th birthday, we begin a journey through the company’s extraordinary history…


      ...

      The History Of Roland: Part 2

      This month, we see how Roland survived some tricky times at the start of the 1980s, and how founder Ikutaro Kakehashi ensured that they were well-placed to take advantage of technological developments over the following few years.


      ...

      The History Of Roland: Part 3

      Roland made their name with analogue synths and effects, but by the mid-1980s, they needed to go digital to remain competitive. It was a leap into the unknown for the company, but it ushered in a golden era…



      ...

      Redefining Rhythm: A History of Roland Drums – Roland Articles

      Explore ground-breaking Roland drums—starting from the early days and looking to the future with D-Flux, the 50th anniversary concept model.


      Ikutaro Kakehashi | NAMM.org

      Ikutaro Kakehashi, the founder of Roland Corporation, created more than a successful business with a host of important innovations in electronic musical instruments; he has also paid tribute throughout his career to those who first inspired him. Mr. Kakehashi was born in Japan and formed Ace Electronics in 1964 with the goal of improving the electronic organ, following up on the work of his heroes, Mr. Hammond and Mr. Leslie. With the expansion of electronics in the late 1960s, he formed the Roland Corporation, which soon became one of the leaders in the industry. Perhaps the only thing more impressive than Mr.



      ...

      The life and times of Ikutaro Kakehashi, the Roland pioneer modern music owes everything to

      It’s almost impossible to imagine what modern music would sound like had Ikutaro Kakehashi not been born in an Osaka hospital on February 7, 1930.


      These MIDI Generated Video Soundscapes Make You Feel The Future Is Now!

      Paul Prudence is an audio-visual performer who uses MIDI to create live-cinematic visual-music experiences.

      His weblog Dataisnature explores the relationships between natural processes, computational systems and procedural-based art practices. He also writes for Neural and HOLO magazines.

      The screen-shot below shows the complete Ableton Live arrangement view for Chromophore. The of top half of the tracks represent sound design material, while some of the bottom half are responsible for sending Midi data to VVVV for precise synchronisations. Midi Data also flows in the opposite direction, from VVVV to Ableton Live. Triggered by generative objects in a 3D visual system, Midi is sent to top track, in Live, which is a Sampler. In this way multiple instruments/sounds/samples and filters can be accessed by tweaking the visuals during a performance.

      by Paul Prudence from his website


      Paul’s work combines four things we love here at the MIDI Association beautiful artistic design, amazing sonic soundscapes, data and of course….MIDI. 


      ...

      Paul Prudence

      You can find more of Paul’s amazing work here..

      Now THAT’s a Horn Solo

      Music is a visual language, too. Composer Andrew Huang used the piano roll editor in his MIDI sequencer to create sound from a picture of a unicorn. Each dot and line outlining the mythical creature triggers a MIDi note. To make the notes harmonize, Huang had to think both visually and musically. See his creative approach in the video.

      (Hat tip to CMUSE.)

      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 from Remix Magazine (now running djtechtools) wrote an article “Music Maneuvers: Discover the Digital Turntablism Concept, Controllerism, Compliments of Moldover”  in the October 2007 issue of Remix Magazine. This helped Moldover found a whole musical movement and create Controllerism.com.  Of course, Moldover uses MIDI as the control language so without MIDI controllers, there is no controllerism. 

      Controllerism definition from 2007 Remix Magazine Article

      Moldover is one of those rare artists who not only creates music, but also creates the instruments to make that music. He has built his own MIDI controllers and interactive installations called Jam Boxes.

      Moldover’s Controllers

      Moldover has designed a lot of different MIDI controllers, but there are some that are core parts of his musical life,  The MOJO pictured below is featured prominently in Moldover live performances. 

      Photo by Laura Lea Nalle

      A guitar player and songwriter since childhood, Moldover’s early influences included Tool, Nirvana, and Pink Floyd – influences that would ultimately touch his work as a DJ. To pursue music professionally, Moldover decided to hone his chops at Boston’s Berklee College of Music.

      by Moldover Website

      Moldover combined his love for guitar and unique MIDI Controllers in designing the Robocaster. 


      JamBoxes and Moldover’s Octamasher

      Moldover has always pushed the limit on musical interactivity. 

      We like jamboxes and we think that
      Music is a universal language
      Music is a social experience
      Music technology provides exciting new ways to collaborate

      by JamBoxes.net

      Moldover explains the concept behind JamBoxes in this video.


      Moldover’s Music

      So what do you get when you put this all together into a musical performance?  Here are some examples of Controllerism at its finest from the man who invented the word. 

      Always pushing the limits of technology, Moldover provided a 360 degree music video preview of “Not Your MIrror” and a physical version of his new song that was not just a USB drive that looks like a cassette tape, but is also a musical instrument called the Voice Crusher. 

      “A musician at heart, inventor born of curiosity, and innovator by necessity, I believe the world calls him the ‘Godfather of Controllerism’ for damned good reasons.” – 
      .

      by John Tackett, Crowd Wire

      The most important lessons from our MIDI survey

      We recently sent out our first MIDI Message newsletter and our goal was to do a survey to find out more about who MIDI Association members are, what their level of MIDI experience is and what kind of content and service they want The MIDI Association to provide.  

      We sent the survey to over 8000 members. We wanted to share all of the results of the survey as this is your community and we always want to provide complete transparency about the makeup of the community, what the community feels about MIDI and why we are focusing on certain kinds of content. The MIDI Association is a member-focused community so it should be our members who guide us in developing new resources. 

      You can still take the survey here. The MIDI Association Survey

      If you’d like to comment on the survey or newsletter,  we started a forum thread here. 


      ...

      The MIDI Message #1-The Survey Says!

      We just posted an article on the results of the first MIDI Association Newsletter and the survey we sent to members.

      First, here is chart of the members that were sent the survey segmented by how they had registered their MIDI Experience on the site .

      So how do the results of the survey compare to the balance of users in the registration process? We thought that maybe some people didn’t bother to change the level and so their profile says “Newbie”, but they may actually have more experience. 

      Also it’s natural that members who are developers and experts are more invested in MIDI and so more likely to fill out a survey. Even taking that into account the survey results are a bit surprising. 

      The percentage of Newbies in the responses to the survey is very small compared to the percentage of Newbie Profiles and percentage of experts is high. 

      So if you are NOT a Newbie and just didn’t bother to change the level when you registered, please do it when you get a chance.  We are also looking at changing the Profile section to include more information so we can tailor and customize content for different members profiles. We’d like to include the following questions in the registration profile. 

      Which one of the following best describes how you use MIDI.

      The result for this question also jumped out at us in looking at the survey results. 

      23% of the people who answered the survey indicated they were developers.  So we know that there are at least 222 MIDI developers who have registered as members. 

      So what kind of content did members want. It’s not surprising that given the profiles of the people who filled out the survey, there were lots of recommendations for programming resources, detailed in-depth articles and specifications.  On the other hand, there were a lot of members who needed much more basic  and practical how to’s on MIDI. Here is the summary of the content question. 

      As this question was a ranking, the lower the mean number, the more important the content was. Given the number of experts and developers who answered the survey, it’s not surprising that most important content was information on new specifications, then in-depth articles. 

      So where do we go from here.  

      First, we are looking in detail at the hundreds of detailed comments.  Here are some word clouds from those comments. Later on we plan on doing articles and forum posts on specific topics. 

      Q10 – Please tell us anything you’d like to say about The MIDI Association.

      Q11 – Please tell us anything you’d like to say about MIDI itself.

      What kind of content would you like to see provided

      MIDI and Music AI

      Google’s Duet AI (with Web MIDI)

       Google Creative Lab recently released A.I. Duet, an interactive AI Music experiment that lets you use your laptop keyboard or a MIDI keyboard (using Chrome’s Web MIDI feature) to make music and experiment with artificial intelligence . 

      Duet was built by Yotam Mann and the Magenta and Creative Lab teams at Google using Tensorflow, Tone.js, and open-source tools from the Magenta project.

      The cool thing about this project is that you can not only play music with it, it’s all open source code so that if you are into coding you can get the actual code to experiment with it.  Tensorflow is  an open source software library for numerical computation using data flow graphs. 

      Tone.js is a Web Audio framework for creating interactive music in the browser. The architecture of Tone.js aims to be familiar to both musicians and audio programmers looking to create web-based audio applications. On the high-level, Tone offers common DAW (digital audio workstation) features like a global transport for scheduling events and prebuilt synths and effects. For signal-processing programmers (coming from languages like Max/MSP), Tone provides a wealth of high performance, low latency building blocks and DSP modules to build your own synthesizers, effects, and complex control signals.

      by Yotam Mann

      Yotam also worked on another really interesting AI musical experiment called the Infinite Drum Machine,

      Last year at MoogFest, Google announced their plans for Magenta. Doug Eck explained that one of Magenta’s goals is to create an open-source tool to bring together artists and coders looking to make art and music in a collaborative space. As part of the initiative, Google will provide audio and video support, tools for MIDI users and platforms that will make it easier for artists to connect with machine learning models.

      The Magenta project generated it’s first song (available below) after being fed only a few notes of input.


      Artist Name

      Google_-_Magenta_music_sample.0.mp3


      Here is a link to all of the Google AI experiments.


      ...

      A.I. Experiments

      AI Experiments is a showcase for simple experiments that let anyone play with artificial intelligence and machine learning in hands-on ways, through pictures, drawings, language, music, and more.


      Sony’s Flow Machines help us be more creative

      Google is not the only company that has created musical artificial intelligence experiments. Sony’s Flow Machines goal is to “research and develop Artificial Intelligence systems able to generate music autonomously or in collaboration with human artists.”  

      Here is an example of Bach harmonization generated using deep learning. 

      By turning music style into a computational object, Sony’s research project funded by the European Research Council (ERC) can create songs in different styles.  Here is a song generated by Flow Machines in the style of the Beatles. 

      So what does all this musical artificial intelligence have to do with MIDI.  Most of these learning machines are fed MIDI as their input because MIDI is the musical instrument digital interface. For example, the Magenta artificial intelligence engine was fed 8000 MIDI files that the neural network analyzed for patterns. 

      For even more information about musical artificial intelligence check out this excellent article from @hazelcills Hazel Cills on the MTV website


      ...

      Can AI Make Musicians More Creative? – MTV

      Google and Sony want to change the way artists think about artificial intelligence

      5 MIDI Quantization Tips

      Make quantization work for you, not against you 

      Quantization is the process of moving MIDI data (usually notes, but also potentially other data) that’s out of time to a rhythmic “grid.” For example, if a kick drum is slightly behind the beat, quantization can move it right on the beat. Quantization was controversial enough when it was limited to MIDI, but now that you can quantize audio, it’s even more of an issue. Although some genres of music—like electro and other EDM variants—work well with quantization, excessive quantization can compromise a piece of music’s human feel. 

      Some people take a “holier than thou” approach to quantization by saying it’s for musical morons who lack the chops to get something right in the first place. These people, of course, never use quantization…well, at least while no one’s looking. But quantization has its place; it’s the ticket to ultra-tight grooves, and a way to let you keep a first and inspired take, instead of having to play a part over and over again to get it right—and lose the human feel by beating a part to death. Like any tool, quantization can be used or misused, so let’s concentrate on how to make quantization work for you—and avoid giving an overly rigid, non-musical quality to your work. 

      TRUST YOUR FEELINGS, LUKE 

      Computers are terrible music critics. Forcing music to fit the rhythmic criteria established by a machine is silly—it’s real people, with real emotions, who make and listen to music. To a computer, having every note hit exactly on the beat may be desirable, but that’s not the way humans work. 

      There’s a fine line between “making a mistake” and “bending the rhythm to your will.” Quantization removes that fine line. Yes, it gets rid of the mistakes, but it also gets rid of the nuances. 

      When sequencers first appeared, musicians would often compare the quantized and non-quantized versions of their playing. Invariably, after hearing the quantized version, the reaction would be a crestfallen “gee, I didn’t realize my timing was that bad.” But in many cases, the human was right, not the machine. I’ve played some solo lines were notes were off as much as 50 milliseconds from the beat, yet they sounded right. Tip #1: You dance; a computer doesn’t. You are therefore much more qualified than a computer to determine what rhythm sounds right. 

      WHY QUANTIZATION SHOULD BE THE LAST THING YOU DO 

      Some people quantize a track as soon as they’ve finished playing it. Don’t! In analyzing unquantized music, you’ll often find that every instrument of every track will tend to rush or lag the beat together. In other words, suppose you either consciously or unconsciously rush the tempo by playing the snare a bit ahead of the beat. As you record subsequent overdubs, these will be referenced to the offset snare, creating a unified feeling of rushing the tempo. If you quantize the snare part immediately after playing, then you will play to the quantized part, which will change the feel. 

      Another possible trap occurs if you play several unquantized parts and find that some sound “off.” The expected solution would be to quantize the parts to the beat, yet the “wrong” parts may not be off compared to the absolute beat, but to a part that was purposely rushed or lagged. In the example given above of a slightly rushed snare part, you’d want to quantize your parts in relation to the snare, not a fixed beat. If you quantize to the beat the rhythm will sound even more off, because some parts will be off with respect to absolute timing, while other parts will be off with respect to the relative timing of the snare hit. At this point, most musicians mistakenly quantize everything to the beat, destroying the feel of the piece. Tip #2: Don’t quantize until lots of parts are down and the relative—not absolute—rhythm of the piece has been established. 

      SELECTIVE QUANTIZATION 

      Often only a few parts of a track will need quantization, yet for convenience musicians tend to quantize an entire track, reasoning that it will fix the parts that sound wrong and not affect the parts that sound right. However, the parts that sound right may be consistent to a relative rhythm, not an absolute one. 

      The best approach is to go through a piece, a few measures at a time, and quantize only those parts that are clearly in need of quantization—in other words, they sound wrong. Very often, what’s needed is not quantization per se but merely shifting an offending note’s start time. Look at the other tracks and see if notes in that particular part of the tune tend to lead or lag the beat, and shift the start time accordingly. Tip #3: If it ain’t broke, don’t fix it. Quantize only the notes that are off enough to sound wrong. 

      BELLS AND WHISTLES

      Modern-day quantization tools, whether for MIDI or audio, offer many options that make quantization more effective. One of the most useful is quantization strength, which moves a note closer to the absolute beat by a particular percentage. For example, if a note falls 10 mlliseconds ahead of the beat, quantizing to 50% strength would place it 5 milliseconds ahead of the beat. This smooths out gross timing errors while retaining some of the original part’s feel (Fig. 1)

      Fig. 1: The upper window (from Cakewalk SONAR) shows standard Quantization options; note that Strength is set to 80%, and there’s a bit of Swing. The lower window handles Groove Quantization, which can apply different feels by choosing a “groove” from a menu.

      Some programs offer “groove templates” (where you can set up a relative rhythm to which parts are quantized), or the option to quantize notes in one track to the notes in another track (which is great for locking bass and drum parts together). Tip #4: Study your recording software’s manual and learn how to use the more esoteric quantization options.

      EXPERIMENTS IN QUANTIZATION STRENGTH

      Here’s an experiment I like to conduct during sequencing seminars to get the point across about quantization strength.

      First, record an unquantized and somewhat sloppy drum part on one track. It should be obvious that the timing is off.

      Then copy it to another track, quantize it, and play just that track back; it should be obvious that the timing has been corrected. Then copy the original track again but quantize it to a certain strength—say, 50%. It will probably still sound unquantized. Now try increasing the strength percentage; at some point (typically in the 70% to 90% range), you’ll perceive it as quantized because it sounds right. Finally, play back that track along with the one quantized to 100% strength and check out the timing differences, as evidenced by lots of slapback echoes. If you now play the 100% strength track by itself, it will sound dull and artificial compared to the one quantized at a lesser strength. Tip #5: Correct rhythm is in the ear of the beholder, and a totally quantized track never seems to win out over a track quantized to a percentage of total quantization.

      Yes, quantization is a useful tool. But don’t use it indiscriminately, or your music may end up sounding mechanical—which is not a good thing unless, of course, you want it to sound mechanical!

      Brockett Parsons and the Piano Arc

       Brockett Parsons is a keyboard player from Summit, New Jersey.  Brockett studied at Bucknell University and played both piano and trumpet. He went on to study further at Berkelee College of Music in Boston. 

      In 2009 Brockett then became a winner of the MTV reality show “Making His Band” featuring P Diddy. The show was an intense 12-week competition for musicians to become part of Diddy’s touring band. Out of thousands who auditioned, Brockett was one of seven winners personally chosen by Diddy. A few months later in January of 2010, Brockett then auditioned and accepted the position as keyboardist for Lady Gaga, a position he currently still holds.

      by Reverb Nation

      But Brockett is more than just an incredibly talented  keyboard player, he also designed his own MIDI controller. He wanted contacted an old friend from college and they put together a team to build the Piano Arc, a completely circular keyboard. Here’s an overview of the Piano Arc from Cosmos Music in Canada.  Chuck Johnson, Dave Starkey of MIDI 9 and Steinway technician Rich Fell have worked to put together the unique MIDI controller that features multiple zones and customer LED displays. 

      Brockett featured the Piano Arc in his solo release – Three Point One Four

      Geoshred 2 with MIDI and MPE Released!

      Whizdom Music and Moforte announced the release of Geoshred 2 this week with tons of new MIDI features including Multidimensional Polyphonic Expression.  

      GeoShred, Winner of a 2017 Electronic Musician Editor’s Choice Award as “one of the most innovative, groundbreaking products to emerge in the past twelve months”, has been enhanced with unprecedented MIDI/MPE I/O control, new effects, and additional model control parameters.

      by Whizdom Music

      Whizdom Music was founded by Jordan Rudess, keyboardist for Dream Theater who we have covered in an exclusive interview for MIDI.org. 


      ...

      MIDI Artist Interview with Jordan Rudess –

      WHEN DID YOU FIRST GET INVOLVED WITH MIDI? That was so long ago. One of my first exposures to MIDI was an Atari compute;I have very fond memories of those days …..

      We also covered the release of Geoshredlast year at the NAMM show. 


      ...

      The MIDI Association at Winter NAMM 2016 –

      There were several demonstrations at the Annual General Meeting of the MIDI Manufacturers Association. Here are a few of the highlights. Jordan Rudess of Dream Theatre showed how expressive MPE could be in the right hands at the MIDI Manufacturers Association afternoon sessions on Sunday.

      Here are links to some Youtube videos of Geoshred Version 2 in action. 

      November MIDI Association Social Media

      Here is a summary of our social media activities for the past  month. 

      Does MIDI Have an Image Problem?

      What do you think of when you first hear the word MIDI?

      In a few weeks, MIDI will have been around for 34 years.  For the first 10 years after MIDI was developed it was on the cutting edge of technology. If you look at a Keyboard Magazine from 1989, you’ll see tons of ads for MIDI software and hardware. Remember at that time  “Sequencers” only recorded MIDI.  There was no audio recording on early computers and MIDI was at the center of music production. 

      Also in the first 10 years of MIDI, there were a lot of additions to MIDI’s core capabilities,  The initial MIDI specs was only 7 pages. For an inside look at the early  days of MIDI, take a look at this article by Jeff Rona, the first president of the MIDI Manufacturers Association.

      Then in 1991, the MMA announced General MIDI.  GM was a big step forward for MIDI, It allowed interoperability of song files between different devices.  It created a whole new industry of companies that made General MIDI Standard MIDI Files.  Roland released the Sound Canvas and Korg released the M1R both of which were hugely successful. But there was also another side to General MIDI. 

      “Several years ago, Roland Corporation and Passport Designs spearheaded an effort to establish a new minimum “industry standard” for MIDI instruments. The basic idea was to create a universal, specific preset instrument and drum setting that any manufacturer could easily include within their synthesizers. This new specification became known as “General MIDI.” If this idea was accepted, GM could eliminate several of the problems and complexities that the MIDI composer had previously faced. In other words, there would finally be reasonable assurance that his or her composition would play back properly with the intended instrument and drum sounds, regardless of the brand of synthesizer being used. More importantly, this would also establish a “consumer level” MIDI standard that would require far less effort to master for those without a great deal of technical expertise.”

       


       by Michael Tyler
      Computer Music Products

      The above is a quote from Michael Tyler and it points out the other side of GM. Here is a link to his full article explaining details of the General MIDI spec. 

      Article3 – General MIDI, Why You Need It!

      The General MIDI Standard is vitally important for compatibility with musicians all over the world. Music software and hardware makes it possible to share your compositions with practically anyone, anywhere.


      If you look at this quote, you’ll find the words minimum, general, standard and consumer level. The early 90’s was the start of the first big computer technology boom based on MultiMedia. There was a period where Roland, Yamaha and other musical instrument companies were selling technology to larger computer companies and there was a lot of attention on MIDI. But it also meant that a lot of people’s first introduction to MIDI was not through pro level sounds, but lowest common denominator computer sound cards.

      In 1988 a panel of computer-game CEOs stated at the Consumer Electronics Show that the PC’s limited sound capability prevented it from becoming the leading home computer, that it needed a $49–79 sound card with better capability than current products, and that once such hardware was widely installed their companies would support it. Sierra On-Line, which had pioneered supporting EGA and VGA video, and 3 1/2″ disks, that year promised to support AdLib, IBM Music Feature, and Roland MT-32 in its games; the cards cost $195 to $600, A 1989 Computer Gaming World survey found that 18 of 25 game companies planned to support AdLib, six Roland and Covox, and seven Creative Music System/Game Blaster.

      by Wikipedia

      See a link to the full article below,


      ...

      Sound card – Wikipedia

      For some years, most PC sound cards have had multiple FM synthesis voices (typically 9 or 16) which were usually used for MIDI music.

      Now 20 years later, years, unfortunately many people associate “MIDI music” with low quality computer “beeps and blips”.  There are a number of websites that take a nostalgic look at older websites and they always mention animated GIFs and MIDI. 

      Maybe nothing sums up MIDI’s image problem better than this video  about “The Cinco MIDI Organizer” from the Tim and Eric Awesome Show on Adult Swim. 


      There are also some new hobbies that are MIDI based like the very popular Black MIDI sites that we covered in an earlier article on the site. People like to hack things with MIDI , for example taking MP3s and converting them into MIDI, then back to MP3s. 

      These all contribute to the image that “MIDI Sounds Bad”.  In fact , MIDI doesn’t sound at all. It simply controls things.  

      Also MIDI has become more and more transparent.  In a recent survey of MIDI users some younger MIDI users actually said, “I don’t use MIDI, I use USB”.  

      The reality is that when you play a software synth from an external keyboard or use something like a Push controller, you are connected to your computer via USB, but what is being sent over USB are the same types of MIDI messages that made those awful sounding beeps and blips 20 years ago. 

      That’s the beauty of MIDI , it’s an abstract control language so it can adapt to whatever new sound technologies and products are developed.

      Black MIDI is a strange combination of music, visuals created by notation or often with the use of a music learning game called Synthesia.  The idea is to put so many notes in the pieces that the notes themselves become a type of synthesis and also create stunning visual effects. 

      This original video has over 220,000 views, but that’s small compared to something like Bad Apple from the Blacker -SuperMariobros2.  This video has over a million views and over 8 million notes!.

      by The MIDI Association

      So when you think of MIDI, do you think of these?


      ...

      Old Web Advent Calendar

      Titled the ‘Old Web Advent Calendar,’ the webpage features 24 doors counting down to the big day. Behind each is another page from that early web goodness. Those unforgettable MIDI songs. Those precious, teeny tiny animated gifs. Behind the second day’s door is a wall of intrusive pop up windows, heralding from a time when that stuff wasn’t sponsored by Audi.

      Or things like these innovative new MIDI controllers?


      Whichever of these MIDI related items you think of first, it’s okay,  but remember they are all MIDI.  
      MIDI never gets old because it always connects to the newest products and technologies available. 

       

      A Web Developer’s Tale of the Octapad Revival

      Two months ago, I was tasked with presenting a talk on the Web MIDI API to an amazing crowd of music-loving web developers. Obviously, I wanted the presentation to be exciting, so my first idea was to find a cool MIDI controller that I could use to demo the API with. What kind of controller could fit the bill? What about an old… keytar? Yes, that would be awesome! Nobody’s using those anymore so they will be dirt cheap, right? So I hit eBay and here’s what I found…

      An original Yamaha KX-5 carefully laid out on purple velvet. It couldn’t get any more perfect than that, could it? But wait, are they really asking 350$ for it? Plus 130$ for shipping! That’s 500$ US dollars… which means about 630$ in Canadian dollars! Whoaaa, there is no way I’m spending that kind of money on a 45-minute presentation.

      What then? Hmmmm.

      This is when I remembered the era before I became a web developer when drumming was my whole life. More importantly, I remembered that I already had a cool MIDI controller in my possession: my good old Roland Octapad II. The Octapad is an eight pad percussion controller made by Roland starting in the 80s. How about using that for the demo? That would be cool. But where on Earth did I put this thing? After a few hours of searching, I finally found it hidden in the garage. I plugged it in and it powered up. Oh yeah! I started playing it and then I realized that time had taken its toll. No matter how hard I stroked the pads, the hits barely registered. Damn, this thing is busted. Should I be surprised? After all, this device is at least 25 years old and has been sitting in a damp garage for over 10 years.

      But still, it would be so cool to use it for the conference demo. So I started digging around on the Internet to see if this thing could be revived somehow. After an hour or so of reading outdated forum posts and barely-related blog articles, I stumbled upon a post from this guy who said the problem is easy to fix. The piezos are dead he said. Just get new ones and you will be good to go. What have I got to lose, right?

      A bit of Googling tells me that piezos are simple vibration-sensitive sensors, precisely the kind you would expect in a percussion controller. Because I had no idea what kind or size of piezos I should buy, I decided to open the unit up. Surprisingly, this was very simple. All it took was a Phillips screwdriver and I was in.

      I soon realized that it was a good idea to first check inside. Being an 8-pad controller, I was expecting to buy 8 piezos. However, as you can see on the picture above, 10 piezos are needed. I’m guessing the extra 2 are used to counter any crossover that could happen between the pads through the casing. Furthermore, opening it allowed me to measure the size of the piezos. In the end, I ordered twelve 35mm piezos from Digikey. I bought an extra 2 to be on the safe side.

      While getting inside the unit wasn’t hard, getting to the piezos was a little bit harder. As you can see, two of the piezos are hidden under a board which needs to be removed in order to gain access to them. As a matter of fact, the whole unit pretty much needs to be dismantled to be able to extract the old piezos and put in the new ones. If you are attempting this operation, I urge you to do as I did and take pictures all the way through the operation. This way you will know which screws (there are various types and lengths), connectors and daughterboards go where. I’m soooo glad I did!

      The dismantling operation wasn’t hard but I was extra careful in the way I handled all the various pieces. I didn’t want to lose anything or forget where something was going. Then, at one point, I realized that the only way to go further was to actually desolder the piezos from the central board strip (a.k.a. Pad-8 Sensor Board). This was the point of no return. As you can see in the picture below, in order to remove the sensor board and get to the pads, you must desolder the piezos, there’s no way around it. So I did. 

      Note that all the white wires are connected to the board’s center strip while the black wires have their own strip leading to separate cables on the left side. This makes sense: one common ground for all and separate signal wires for each pads.

      Once the sensor board is removed, you can unglue the piezos from the pads. This can be quite scary. Especially when all you are left with is a pile of dead piezos and the conviction that you are never going to be able to put all this back together…

      As you can see above, the piezos are affixed to the pads using some sort of double-sided tape. I had no idea which kind of tape was appropriate so I bought Scotch-Brand 3M 1″ Permanent Mounting Squares (cat. 111C). If you use them, you will want to trim the corners of the squares so they fit snuggly inside the center circle of the piezo. The idea is for the outer ring to vibrate freely.

      Obviously, you also need to solder the new piezos to the sensor board. The piezos I bought came with short and flimsy wires which I did not trust. So I opted to use sturdier wiring. I had some speaker wires on hand so I used that. Just be sure to make the right connections. The inside ring of all piezos should be connected to the shared central strip on the sensor board while the outer rings of each piezos should be connected to their own individual strip. In the end, my soldering job was a bit messy but I made sure the connections were solid and not touching other conductive strips (this is very important!).

      I then put the Octapad back together, plugged it in and crossed my fingers… Guess what? It worked. In fact, it might now be working better than ever before. Nice.

      Obviously, I used it during my talk and I had a blast. Attendees also had a great time witnessing how a 25 y/o piece of hardware (brought to this world before the Internet was even invented) could trigger sounds and visuals inside a web page running in Google Chrome.

      The moral of the story, I guess, is that well-designed and proven technologies can, and often do, withstand the test of time. They might need a little love along the way but don’t we all?

      If you are musician paying the bills doing web development work, I urge you to dust off your old MIDI devices and hook them up to your browser. You will be amazed at what can be done with the Web MIDI API. If you are curious to know how this is possible, check out the library I created that makes it very easy to use the Web MIDI API. You can also take a look at the slides from my presentation.

      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

      MIDI Enhancements in Windows 10

      Recently Pete Brown from Microsoft posted a very informative blog post about MIDI Enhancements in Windows 10. 

      The blog post covers a number of topics including 

      • UWP MIDI Basics – using MIDI in Windows Store apps
      • New Bluetooth LE MIDI support in Windows 10 Anniversary Update
      • The Win32 wrapper for UWP MIDI (making the API accessible to desktop apps)
      • MIDI Helper libraries for C# and PowerShell


      “We’re happy to see Microsoft supporting the Bluetooth MIDI spec and exposing it to Windows developers through a simplified API. Using the new Win32 wrapper for the UWP MIDI API, we were able to prototype Bluetooth MIDI support very quickly.   At Cakewalk we’re looking ahead to support wireless peripherals, so this is a very welcome addition from Microsoft.”

      by Noel Borthwick, CTO, Cakewalk

      There is also a nice explanation in Pete’s article of how RPNs and NRPNs work and their data structure. 

      With the release of Windows 10, all three of the major operating system companies (Apple, Google and Microsoft) have all developed support for the MIDI Manufacturers Association standard for MIDI over Bluetooth Low Energy that can be found in the specs section of this site and is available for download by MIDI Association members at no charge. 

      Claude Woodward- The Sonic Manipulator

      If you have never run across Claude Woodward, The Sonic Manipulator while searching the web then you really have to start with his own description of his origins. 

      Greetings Earthlings,

      I have had many interesting adventures on my way to becoming a spaceman, such is the nature of the convolutions of life.
      After taking a spin out from Mars one day, many years ago, a blown ion drive forced me down to a little orchard outside Perth where, under the alias of Claude Woodward, I was raised by a pair of horticulturalists. I grew up in amongst a million different species of fruit, nuts and flowers; an idyllic little haven, but my brown thumb hastened me into a career as a keyboard player/sonic manipulator.

      by Claude Woodward

      So what exactly does this Martian stuck on earth do.  Well, he has been busking and creating weird, eccentric dance music for years. Here is an older video of him busking on the street and warning people that the Martian’s are coming ( and may drink all your beer!)

      But for all his quirkiness, he actually develops some really cool DYI MIDI devices.  Check out his description of his home made keyboard set up. 

      So if you hear that the Martian’s are coming, don’t worry they are MIDI Martians and very friendly!

      Love Props creates an incredible MIDI powered Daft Punk Guy Manuel helmet

      There have been fan-created Daft Punk helmets before the Love Props’ GM01.  You could buy a Halloween mask/prop for around $200 like this one pictured below.  

      In 2010, Volpin Props did a YouTube video  about “How to make a Daft Punk helmet in 17 months” that got over 4 million views. 

      But Love Props has taken the Guy Manuel helmet recreation to the next level and what really sets it apart are two things. The level of detail of the design and what else, but MIDI.   In the past week (Sept 4-11, 2016) , this helmet has gotten a tremendous amount of attention on the Web, but we decided to focus on the MIDI implementation which usually just gets passing coverage in the wider press. 

      First, let’s take a look at a gallery of Love Prop’s photos of the helmet. 

      Here’s a video of the Love Props GM01 in action.

      But this isn’t a prop, this is a fully function MIDI-driven device. Let’s take a look at some of the details of the design. 

      The helmet can receive MIDI from a number of different sources- MIDI files off an SD card reader, Wireless MIDI from the WiFi connection and wired MIDI.  

      Comunications
      The system has an IN/OUT USB MIDI that allows the user to execute real time MIDI sequences. This wire connection allows, at the same time of the MIDI, a based on IP Telnet communication, which makes possible the interaction between the code system and the applications executed on a PC or Tablet.There is a RF WiFi module included that allows wireless communication between the system and a Smartphone, Tablet or PC for wireless real time MIDI transmission, to access the system via user IDE or to communicate with PC/Tablet application. The Wifi module (ESP8266) has its own dedicated local code and processor for the Wifi TCP/IP communications, which sets the Teensy free for processing the main code of the unit.

      The SigmaFW is a creative and artistic tool that makes easier to custom animate led setups without programming knowledge. Using our custom MIDI library, the user can plug the unit via USB to the computer and live compose new LED animations in any music/midi production software or workstation. This MIDI library gives the user absolute control of the color, brightness, saturation and timing without coding, making possible to create LED animations in a more expressive and artistic way. Also, is intended to auto-generate real time animations based on customizable parameters and responding to multiple hardware/user inputs.

      The 1.0 version, features a built from scratch Beat Detection algorithm that determinates the tempo or BPM of incoming music from the mic/line input and modifies the BPM of the MIDI animation being played, to match the tempo and rhythm of the external music. Also the BPM of the MIDI animation can be set by motion, following the rhythm with the head just like a TAP Tempo.The user can control the status of the system with the Menu displayed on the inner 2″ LCD of the unit and navigate through the options with the control knob, or can remotely control the system menu with a smartphone via Wifi or RC.

      by Love Props

      We always have a hard time deciding which is the coolest MIDI maker project of the year, but the Love Props GM01 has to be in the running.


      ...

      Love Props | Prop Makers

      LoveProps is a maker team to develop prop-making projects and electronics/software dedicated to props/cosplay and unique objects.


      ...

      Taking Daft Punk’s helmets to the next level

      The team at LoveProps has just given the classic Daft Punk helmet a makeover and this is far more than just a replica.

      MIDI Artist Interview with Jordan Rudess

      WHEN DID YOU FIRST GET INVOLVED WITH MIDI?

      That was so long ago. One of my first exposures to MIDI was the Hybrid Arts sequencer with an Atari computer, I have very fond memories of those days and somehow that older software seemed more stable then some software these days, maybe because today every program is trying to do so much.

      Hybrid Arts MIDI Track ST

      My first keyboard was a MiniMoog synth, but of course that didn’t have MIDI.

      The first time I used MIDI was when I bought a Seil keyboard and rack and took a 5 PIN Din cable and connected them together. It was like magic back then. 

      SEIL Opera 6

      Where did you learn about MIDI ?

      A Music Store in Maryland. I was there all the time playing on the latest gear.

      My first experience doing sequencing with 4 Casio CZ101s MIDIed together. Iwas recreating Debussy and Bach on the Atari. 

      Casio CZ-1

      ​ Then I moved on to MOTU Performer and a Roland D50. I wrote this big 20 minute prog rock piece and my goal was to use every feature in the DAW. I remember doing a lot copying and pasting of MIDI tracks, assigning different sounds and delay and detuning tracks or changing octaves.

      How Does MIDI allow you to do what you do

      MIDI has been with a huge part of everything I do in the studio. When I do any work in the studio even today I do it the MIDI space.

      I still find that recording in MIDI is better because of the control being able to change velocities and tweak sounds after the fact. It’s much more flexible than audio.

      Not to mention my work writing and orchestrating , I’ll get inspired and do 4 measure off the cuff and can then go back and look at it in notation. This helps me do the orchestration based on the MIDI notes.

      One interesting thing about my work with MIDI was years back like all of us I was sending MIDI all around the room I remember getting up and going over to every synth, checking global pages and loading data. Steve Horelick from Non Linear Educating and Ask.Audio walks into my studio and says “Why are you doing that?How can you babysit all these keyboards.I just work in the virtual world.”So Steve introduced me to the world of virtual synths and now a lot of physical keyboard are not getting as much attention in the studio. A lot what I do in the studio is virtual. But I’m still using MIDI. I use MIDI more than ever going to virtual destinations. MIDI seems to adapt to the new ways people work.

      But going into my Dream Theatre world where a lot is audio. My live life is different than my studio life.I have always tried to basically use one main keyboard which is a pretty unique approach in prog rock .Mostly live I am using MIDI for when I play the Seaboard, Continuum or the Zen Riffer keytar connected wirelessly by MIDI to my rack. 

      Jordan with the Zen Riffer in Argentina

      But that reminds me someone built a MIDI compass for changing the tilt of my mechanized keyboard stand. Let me see if I can find some documentation on that for you. (Later, Jordan sent us prototype designs of the MIDI compass product concept to share on the site)

      Jordan has always been into experimenting with unique and different controllers like the NuMotion curved keyboard pictured below. 

      In this next clip, Jordan uses the AXIS 64 which has a unique Harmonic Table note arrangementThere are 192 keys, so it’s like having three 64-note keyboards all in one.

      Jordan uses the Continuum with Dream Theatre to show off its expressive capabilities. 

      Jordan doesn’t stick to just keyboards either. It’s hard to say exactly what the Eigenharp is, but it definitely is not a keyboard!

      All these controllers have something in common which is very important which is to have independent control on every note. Trying to bring it all together.I have been using it for years now even early on with prototypes of MorphWiz MIDI.
      MIDI carries on to my work with my app-Geoshred.

      by Jordan Rudess

      MPE (Multidimensional Polyphonic Expression) which allows for per note control is something I am really excited about and glad the MIDI Association is working on standardizing because I have been using that a lot.

      by Jordan Rudess

      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!

      Peter James-Stephen-#DigMyRig Top Ten

      #DigMyRig Photos

      RemixxMe Productions

      Gear List

      I Started recording with midi back in 1985. Over the years I have amassed a great selection of gear. I have owned most samplers and synths and still have a huge EMU collection including Emulator 2,3,4,emax plus others mostly korg stuff and roland synths also a Chroma polaris (my 3rd) around about 100 midi synths,samplers & Expanders. all piped in to 3 MX9000 Euro Desks chained together to produce 144 inputs! all fed in to a Mac Pro and logic plus a Tascam 2488 for back up.

      The MIDI Association Artist Interview

      Tell us about yourself briefly.

      Studio owner

      1987-1989 was part of the electronic band Athena with Andrew Hughes and Keith Larkworthy.

      Recorded the album DREAM ODDISSY using 2 X korg poly 800’s , Elka soloist 505 Casio pt20 Casio ct102 , Casio Vl , Yamaha dd10 drum machine.

      All down to a tascam porta one.

      Second solo album THIS LAND recorded between March 1992 and March 1994 and the first to be released on the Sincity Records label.

      The album was recorded in a new purpose built studio- Worlds End.

      Equipment used for the album was..

      Roland D20 ,Roland TR505 , Casio cz5000 , Yamaha DX21, Korg Wavestation , Emu Emulator 2 ,Emu Emax 2, mixed with a tascam mm1 sequenced with dr T running on a mega Atari ST. This was the first recording we did going straight to digital tape (Philips Dcc)

      The vocals were recorded through an Shure sm58 direct to a digitech compressor and effects.S1998 saw the release of the album MASQUERADE 88-98

      This album was a 10 year compilation of the last 3 albums plus previously unreleased material.

      It included the track tiger lily which used over 500 samples of sounds captured out and about on location with a Sony minidisc.

      The next album to be released on the Sincity records label was Dangerous LOVE

      this album introduced other vocalists and we went on to form the Pop group The Final Demand.

      The Final demand were KELLY WIGGINS KEITH LARKWORTHY AND PETER JAMES-STEPHEN.

      In late 1998 the double a side single SOMEONE/OVERDRIVE was released this sold very well and had a considerable amount of AirPlay .

      In 1999 the album FRESH FROM THE BOTTLE was released. This album was mainly written using the emulators and a korg wavestation and trinity.

      By August 1999 the band had split and Worlds end studios relocated.

      2000 -2005 Director of Athena Music Systems

      Studio rack mount computer systems

      ATHENA/EMU SYSTEMS VAMPIRE RACK

      SEE MUSIC PRESS OF THE TIME

      The Vampire Rack PC was the worlds first dedicated 2 unit 19 inch sampler PC. It could import and export any sample in any format and had a 6 tray raid hard disk system . It was the first dedicated rack mount sampler to use the Emu Systems Emulator X software and 1212 hardware.

      In October 2004 edition of music tech magazine there was a centre page review of the vampire rack where it scored 7 stars…

      Athena systems also manufactured liquid cooled systems for the construction industry

      The Lighting system built using the shuttle bare bone shells

      2005-Present

      Owner of label and Polaris studios (previously known as WORLDS END STUDIOS

      POLARIS STUDIOS is the current base for Peter James-Stephen’s music output

      Currently working on the 7th and 8th studio albums

      Titled OLYMPUS AND BREAKING THE SOUND BARRIER.

      Also working on film and music video to accompany new albums and will be touring towards the beginning of 2017.

      What was your first encounter with MIDI?

      1985 was the first time I used midi with a CASIO cz5000 joined to a Sequential Prophet 600 with an Atari ST

      Never looked back since!

      How do you use MIDI today?

      The studio is split into 4 midi zones

      Each midi zone has 2 Philip Reese v10 midi through ports allowing 20 instruments to be connected in each zone without chaining them.

      Each zone is then fed in to my master keyboard which is a CME VX8 this has 4 midi outs.

      The CME VX8 is them connected to a apple pro running logic via usb.

      The beauty of this system is o only have to switch on the synth or sampler I want to use at the time

      This reduces unwanted noise in to the system.

      All of the instruments are always connected to my 3 behringer mx9000s which are joined together using the X pander ports to give 144 inputs at mixdown

      How has MIDI allowed you to do what you do?

      Without Midi I wouldn’t have been able to record or tour with my rig!

      Anything else you’d like to add?

      More information and Photo’s at my Linkedin Page

      http://linkedin.com/in/peter-james-stephen-510778124

      mothhaven-#DigMyRig Top Ten

      #DigMyRig Photo

      mothaven

      Saxapahaw, North Carolina

      Gear List

      Hi, Like most of us, my setup is always evolving, but this is its current state. I work mostly OOTB (Out of the Box), but once I’ve got something going I’ll record into the computer for rearrangement and editing (esp. for length!). I have two main MIDI work stations, with a BeatStep Pro and a Squark Pyramid as the respective controlling sequencers. I also have multiple MIDI-synced stereo loopers for guitar and whatever else calls for it. Here’s a breakdown of the two MIDI stations (left-right): 

      Station 1: 
      Korg MS2000
      Roland HPD-15
       KAOSS pad quad
      Beatstep Pro
      Samson SM10 mixer (under the BSP)
       iPad 2/Alesis IO dock
      Electro-Harmonix Epitome
      Moog Minitaur
      TC Ditto x4 (on floor, obscured by table). 
      Other than the MS2K and HPD-15, this is all mounted in a Furman road case for portability. 
      Station 2: 
      Top – Novation Impulse controller
      Middle – DSI Evolver, Boss DR-770, Squark Pyramid, Blofeld, Behringer mixer, SP-404SX; 
      Bottom – Matrix-6R, Yamaha MJC8, Roland MKS-7. The rest of the gear belongs


      The MIDI Association Artist Interview

      •Tell us about yourself briefly.

      I’ve been playing music most of my life; I got started in the 70s as a guitar player via a healthy infatuation with progressive rock and fusion. Today I spend most of my time earning a living outside of music, but playing, writing, and recording music are still my obsessions.

      •What was your first encounter with MIDI?

      My first exposure to MIDI was in the mid-80s when the bass player I played with, a guy named David Garza, got a DX7. So I would say he turned me on to MIDI. A couple more keyboards came through our hands including a Korg DSS-1 and a PolySix. It was incredible that they could be stacked and synced via MIDI; we incorporated sequenced keys into our live performances starting in 1986, which was great for doing Peter Gabriel and David Bowie covers as well as our original tunes. Around 1987 I got an Alesis HR16 and a couple of midiverbs to support my 4-track recordings. By ’89 I had a PC with Cakewalk 2 (DOS) and a MIDI interface, which I synced to the 4-track via SMPTE. Next came an MKS-7, Matrix 6R, Peavey SP/SXII (yep, that’s right), SY77, ADAT, Yamaha O1V and a MIDI-based guitar rig centered around a Marshall JMP-1 MIDI-controlled preamp plus Quadraverb GT. This is way too much detail I’m sure but writing it makes me realize how central MIDI has been to my musical life.

      •How do you use MIDI today?

      These days, due to the limitations I have in terms of time, I mostly do improvised music and jamming, and MIDI is as important as ever. I use an iConnect MIDI 4+ in my live rig along with thru boxes to plumb MIDI wherever it needs to go. For my guitar rig, MIDI is used to keep things in sync, but I also have a MIDI pickup that I use to double up guitar lines w/synths. I use MIDI-synced loopers (Pigtronix) and effects on guitar, and keep them in sync with my table-top synths and effects. With this setup I can create solo soundscapes all day long, or fill out a duo or trio to make it sound much bigger and deeper. I have various keyboards, sequencers and controllers as well. I’ve upgraded to an O1V96i for my main desk. I’d incorporated a laptop into my rig for the last 5 or 6 years, but lately I’m drawn to staying OTB.

      •How has MIDI allowed you to do what you do?

      Very little of what I do in a live setting would be possible without MIDI. I do like to “just play” whether it’s acoustic or electric guitar, but I quickly hear additional parts that I want to add, and it would be frustrating not to be able to do that if I didn’t have MIDI.

      •Anything else you’d like to add?

      I’ve probably said enough! I don’t have a lot of published output but I occasionally put stuff up on SoundCloud as Mothhaven (https://soundcloud.com/mothhaven). I’m glad the MIDI association exists and wish you guys the best.

      Justin3am-#DigMyRig Top Ten

      #DigMyRig Photos

      RemixxMe Productions


      Gear List

      My rig is focused on Modularity. In addition to the Eurorack Modular synthesizers, I employ a modular MIDI setup which consists of two Alyseum AL-88C MIDI>Ethernet interfaces. These MIDI Interfaces connect to a high-speed switch which is part of my larger home network. This means that any computer on my network can access the MIDI ports. The MIDI Interfaces can operate stand-alone (without a computer) or with the Copperlan software, to route MIDI in and out of my computers and even between the two MIDI interfaces. This allows me to route MIDI data from any keyboard or sequencer to any MIDI compatible sound source. Here is a list of MIDI equipment I use: 

      Roland V-Synth GT 

      Elektron Analog Four 

      Elektron Octatrack 

      Mutable Instruments Ambika 

      Nord Drum 

      Nektar Panorama P6 

      Nektar Panorama P1 

      Arturia MicroBrute 

      Arturia BeatSetp Pro 

      Novation Launch Pad I

      ntellijel uMIDI (MIDI>CV Interface) 2x 

      Alyseum AL-88c 

      E-RM MultiClock 

      The Multiclock is a very important part of my rig.

      The MIDI Association Artist Interview

      Wow, I’m totally surprised and honored!

      Well, my name is Justin Sullivan, I’m also known as justin3am in various online communities. I work with sound and attempt to make music. 😉 I don’t know, I always have trouble talking about myself… on the other hand I can talk about gear all day!

      My first experience using MIDI was with a Yamaha PSR keyboard, a parallel port>MIDI adapter and a MIDI sequencer that I got from the local computer store (remember those?). I think it was Magix Music Maker; whatever it was, it came on a bunch of floppy disks. I didn’t have any experience playing the keyboard… but that did’t matter as I was fascinated by the way it communicated with my computer.

      Today, MIDI is an integral part of my approach to music. I’m just a single person, so the ability to control multiple instruments from a single controller opens a lot of possibilities. Sequencers allow me to compose compositions that I wouldn’t be able to achieve otherwise. Combining the two via a computer gives me freedom to make a dynamic performance out of static sequences and phrases.

      Many modern music applications have features to get very complex results from simple control messages (CCs, notes, Program Changes). For example, using a single physical control to adjust several parameters at once or scripting routines of events which can change depending on variables and logical arguments to make generative compositions, which are still controllable. Most of that is not made up, I promise!

      Since I’ve started using MIDI over my studio’s network, I’m able to pass messages between multiple computers. I use one mainly as a tape machine and the other as the primary MIDI sequencer. MIDI over LAN allows me to keep both machines in sync. Of course you can do the same with a USB MIDI interface but I find it much easier to manage complex MIDI routing using the CopperLAN software with my 2 Alyseum AL-88Cs. Both interfaces are connected to a high speed switch, which enables me to sed MIDI between either computer and the instruments/effects in my studio.

      I’m very interested in using MIDI with easily programmable micro controllers (i.e. Arduino) to drive motors, solenoids and other stuff. I’ve found that there are many tools out there which allow me to use MIDI to control instruments which primarily speak the language of voltage (modular synths) or physical force (acoustic instruments). It’s a fantastic time to be a synth nerd/sound junkie! Ha!

      Boy, that’s a bunch of words!

      I’m totally stoked to be a part of this contest and to share my enthusiasm for music technology!

      Here are some links which may be of interest. 

      GoldBaby-#DigMyRig Top Ten

      #DigMyRig Photo

      Goldbaby’s Studio

      Gear List

      ​ Dave Smith P6 and Pro2, Elektron Rytm and Analog 4, Kurzweil PC3x, Maschine, Push, Logic, Live…

      The MIDI Association Artist Interview

      •Tell us about yourself briefly.

      My name is Hugo and I run Goldbaby, a studio in Auckland, New Zealand that focuses mainly on sound design. I sell my sample packs from my website: www.goldbaby.co.nz.

      I have been using music technology since the mid 80s. It’s gone from a childhood hobby to a full time dream job!

      •What was your first encounter with MIDI?

      That would probably be in the late 80’s when I bought a Roland MC300 to sequence an X7000 and then a Kawai K4. I loved that set-up!

      •How do you use MIDI today?

      It has multiple uses. I have an extensive hardware synth and drum machine collection, so it’s essential. Not only for sequencing but for saving banks of patches. It also helps with programming synths like my Kawai K3m. Instead of using buttons to program it I have it hooked up via midi to a hardware patch editor with sliders and knobs… much more enjoyable!

      •How has MIDI allowed you to do what you do?

      I like to layer synths and drum machines when I’m doing sound design and I do that using Midi. A three synth stack sounds huge! I know it would probably be easier to do layering in a DAW with samples of the individual units… however my sound design techniques require lots of gain staging experiments with real hardware pre-amps and a valve mixer.

      •Anything else you’d like to add?

      I’m still amazed at how long we have had MIDI and it’s still totally relevant today after over 30 years of service.

      Best Regards

      Hugo

      Goldbaby

      Purveyors of quality sample based instruments

      www.goldbaby.co.nz

      Facebook

      Twitter

      Mailing List

      Here is a video of my studio as it was 3 years ago. The music in the video was made with a combination of hardware and software and wouldn’t have been possible without midi.

      HUGO HAS HAD AN AMAZING COLLECTION OF DRUM MACHINES THROUGH HIS STUDIO, CHECK OUT THIS GALLERY FROM HIS FLICKER ACCOUNT!

      Jeremy Sharp-#DigMyRig Top Ten

      #DigMyRig Photo

      The Monolith

      Gear List

      The Monolith The Moog Sub37, Moog Minitaur and Minimoog VoyagerXL all sync to the midi clock generated by Ableton Live. The two customized Arturia Beatstep Pro sequencers also sync to the clock, while sending their sequences back to Ableton, which distributes the midi to the synths as well as the Roland TR-8 Drum Machine. This method allows for capturing of the midi data and the printed audio separately in Ableton, rather than have the sequencers route directly to the synths. One of the Beatstep Pros sends CV and drum gates to the modular synthesizer to sync the analog sequencers as well as trigger envelopes and sync LFO’s to the midi clock. There are two midi keyboard controllers, a CME xkey25 which is dedicated to the Moog Minitaur, as well as the global transpose functions of the two Beatstep Pro sequencers. There is also a Nektar iX49 which is dedicated to the Waldorf Streichfett string synthesizer. There are three hardware delays, which all sync to midi. 


      The MIDI Association Artist Interview

      •Tell us about yourself briefly.

      I am a commercial photographer and cinematographer and I use my synthesizers to record scores and backing music for the films I make for my clients, and as a way to relax at the end of the day.

      •What was your first encounter with MIDI?

      I started with midi in 1986 when my family purchased a Casio CZ-1 phase distortion synthesizer. Using midi to notate into and from our Apple 2 just opened up a whole new world to me. Flash forward to 2002 when I started using Ableton Delta 1.0 and discovered soft synths. I didn’t even use control voltage until 2015, so I have worked my way backwards.

      •How do you use MIDI today?

      I use midi to sequence and sync three hardware synthesizers, analog and digital delays, hardware sequencers and a six foot tall, Moog format modular synthesizer. I use Beatstep pro sequencers (two of them) to sequence and clock my gear via midi and CV/gate. I know people associate MIDI with “music made by computers, not people” but for me, it has allowed me to step away from the computer and get hands on with hardware.

      •How has MIDI allowed you to do what you do?

      MIDI allows me to keep everything sync, automate parameters and get equipment made in different decades, thousands of miles apart, to speak the same language in real time, so I can focus on what’s important, making music.

      •Anything else you’d like to add?

      Thanks for the opportunity to share my love for midi and synthesizers.

      Jeremy Sharp

      www.jeremysharpphotographer.com

      Navi Retlav-#DigMyRig Top Ten

      #DigMyRig Photo

      Gear List

       This is my “Battery powered studio” currently unplugged since I’m missing the multi channel audio interface that could handle most of my synths at once for live play. I’m also hoping to record the new CD with all of them and make some live gigs in local clubs. I’m trying to limit my self only to battery powered hardware to not spend the fortune on the audio and get as many instruments as I can. My biggest dream is to buy the Suiko ST-50, TB-303 and OP-1, I’m also hoping to get the cash for Roland Boutique series, and I’m 100% sure that I will get the upcoming Volca FM. My main DAW of choice is the Propellerhead Reason, which helps me well to run the Sound Design and Soundware testing company ( www.naviretlav.com ). 

      Here is the full list of the gear included in photos: Suzuki Electric Taisho Koto, Korg Electribe, Gakken NSX-39 ( Pocket Miku ) ,Stylophone, Mixtape Alpha, Korg Volca Beats, Korg Volca Bass, Korg Volca Sample, Korg Volca Keys, iPad 4 GEN (mostly for Animoog), Korg SQ-1, Teenage Engineering Pocket Operators, Novation Circuit, Yamaha QY70, Yamaha SU200, Yamaha QR10, iConnect midi2+, Korg Monotron and Monotron Delay, Zoom MS-50G, Behringer BCR200, Line 6KB37, Zoom H2n, Korg Kaoss Pad and Kaossilator, Sennheiser HD380 headphones and two notebooks running Propellerhead Reason.


      The MIDI Association Artist Interview

      •Tell us about yourself briefly.

      So, here I am, young sound designer and owner of Navi Retlav Studio, a small sound design studio that focuses on direct collaboration with Propellerhead Software, Rob Papen, Blamsoft, Synapse Audio, FXpansion and many more less known VST developers. In general me and my team, we work as freelancers with top of the line VST developers and our sounds can be found in over 30 products. My personal goal is to be well known like Richard Devine, and set new standards in the music industry, especially if I could switch from VST to hardware sound design at some point of my career. Recently I’m also experimenting a lot with convolution reverb engines, and developing our own custom impulse responses that could easily be used like brand new effect devices rather than just the average reverbs. Hopefully in upcoming months I will finish coding our first VST/RE effect for commercial release. Meanwhile I also plan to record new CD and a set of video live performances with all my gear.

      •What was your first encounter with MIDI?

      If I remember correctly, the first time ever when I saw the MIDI pin connector was in the old Yamcha workstation/arranger style keyboard in my aunt’s house. She was learning the basics and I always liked to play a bit with that keyboard. Where it comes to the software, I have a very short memory about playing with tracker style DAW on AMIGA 500. Than the first proper midi interface that I bought was the legendary BCR2000 which I still have and use up to this day.

      •How do you use MIDI today?

      Today, I use midi with iPad thanks to iConnectivitiy midi2+, sync all my gear to Propellerhead Reason DAW by linking it from by old BCR2000 and the new Korg Electribe, than I also use the pulse signal to sync with my KORG Volcas and Pocket Operators, and finally using Korg SQ-1 sequencer I play live sequences with Yamaha QY70. On top of it my BCR2000 is mapped in reason as controller for all the FX devices, and my Line 6 KB37 is the master keyboard for all synths. It’s really surprising how many synths you can chain together with midi and audio sync.

      •How has MIDI allowed you to do what you do?

      I use midi every day in my job. Without it I wouldn’t be able to control RE and VST instruments that I work with, and adjust parameters on the fly without reaching for the mouse. I plan to do way more live gigs in near future, and if possible turn it all into successful entertainment platform by streaming them live on twitch and youtube. For example some of them you can watch here. 

       It’s funny that some people think that MIDI is the relic of the past, but to be honest it’s essential tool for all of us and I can’t see the future of music without midi.

      •Anything else you’d like to add?

      Recently I found that in some of my gear the classic midi 5pin connector was replaced with the audio jack and adapter, it’s a nice move, until you realise that there is no standardisation for it yet and the adapter from Korg Electribe doesn’t work with the Novation Circuit. In general I wish that hardware developers could agree and keep it all the same across all the devices. Even more, I think that the idea of audio jack midi could be expanded, and the new synths could also have the option to send the audio sync pulse into that port, so we could easily sync our volcas and other gear to that clock or use midi adapter if desired. I’m also waiting for the announcement of the first ever synthesizer with the new MIDI 2.0 protocol that is still under development and might finally bring some new light and options for the musicians.

      To finish it all with the good vibe, here is the quick song that I made to bring back the retro style to our hearts.

      Cheers.

      Navi Retlav

      Steve Fields-#DigMyRig Top Ten

      #DigMyRig Photo

      RemixxMe Productions

      Gear List

      From left table around to right; Roland VT3, Scarlet 2i4 (1), Macbook Pro (1), Novation Launchkey 25, Akai MPK49, Ableton Push 2, Macbook Pro (2), Scarlet 2i4 (2), KRK Rokit 5 (x2), Pioneer receiver w/ 12″ sub, Native Instruments Maschine, Pioneer CDJ800 (x2), Technics 1200 (x2), Behringer 12″ PA monitor (x2).


      The MIDI Association Artist Interview

      I grew up listening to all different forms of music. Everything from folk, blues, and jazz, up to hip-hop, R&B, and electronic dance. I played some alto saxophone in middle school, then gradually inched towards a passion for electronic music. I picked up my first set of Technics 1200’s when I was 15 years old and began playing parties all over the west coast (and continue this today). In 2011 I returned from being injured in Iraq and began playing around with different DAW software programs (mainly Ableton).

      In 2012 I started to gather some different MIDI gear, and started learning the basics; quantization, mapping, etc. This is around the time I began getting some work signed by different labels around the globe (USA, Canada, Switzerland, France, and Germany). In the autumn of 2015, I began classes at Full Sail University, to receive my bachelor’s in music production, and one of the opening classes was on MIDI and the basics of working with MIDI, and different DAW’s.

      These days when I’m making music for personal betterment, and fun, I’ve been using the new, Ableton “Push 2”, and absolutely loving its features. I also use Native Instruments’ Maschine along with the Traktor Scratch A10 setup. This allows me to use both Technics 1200’s, both Pioneer CDJ’s as well as add some personal flavor to each mix with the Maschine. When I’m doing school work, I’m mostly using my AKAI MPK 49, and the Novation 25 key, keyboards. Much of what we’ve been working on thus far is scales, chords, progressions, and other basic “musicianship” techniques.

      Using MIDI has definitely broadened my technique when using different DAW’s. In school we use it daily in both Logic Pro X, and in Pro Tools. It has made time management when working on tracks a breeze; something that would otherwise make piecing together a rhythm, or melody/harmony, hours to come up with. MIDI has made sitting down in the studio each day, and coming up with something “fresh and new” each time, much easier.

      Bio:

      Doc Manny (AKA Steve Fields), hails from Oregon and has represented the Northwest house music scene since 1995. Doc has spent much of his DJ career living and playing in such cities as Portland, Vancouver, Seattle, Boise and San Francisco. Over the last couple of years Doc has headlined with such artists as DJ Mes (OAK), Johnny Fiasco (SEA), CZBoogie (CHI), Choco (1200 Warriors) (NYC), Mikey Valesquez (LA), Lurob (SF) and JT Donaldson (NYC), just to name a few. Doc resided in Honolulu, Hawaii from August of 2009 until April 2013 where he played such clubs as “Asylum Afterhours” which is regularly noted as one of the top 10 nightclubs in the world in DJ Magazine.These days Doc Manny has built up his label affiliation by producing tracks and working with such chart topping labels as, Jack Locker, Midwest Hustle, Wetsuit Records, Home Again Recordings Digital (HARD), Caboose Records, O.X.O Recordings, Spins & Needles as well as Sutra Sounds. In the summer of 2012 Doc started the record label that has blown up on Beatport, Traxsource, Juno, iTunes and many other digital download sites all over the Globe. This label is known as “House Call Records” and has already built up a list of affiliations by signing such names as Corduroy Mavericks, Tim Rella, Trevor Vichas, Forrest Avery, Louie Gomez, HapKido, Nic-E, the 1200 Warriors, CEV’s, 4 Peace, J. Caprice, Nick Jagger, Lipp Trixx, Marc Fairfield, Jason Wolfe, UC Beatz and the list keeps growing and growing. Pushing the envelope even further with his passion for, “tech-house”, and “downbeats”, Doc started a sister label to House Call in the winter of 2014 known as, “Double Wide Recordings”, which is already lining up the heat from some of the heaviest hitters in the electronic music industry.Wanting to further his career in the audio industry, Doc began his journey to receive his bachelor’s degree in Full Sail University’s, online Music Production Program where the curriculum covers everything from A&R to mastering/engineering a production. After completion of the program in 2018 you should start looking for “Steve Fields” compositions and “Doc Manny” production works to be showing up everywhere from TV commercials to your favorite music streaming service… Stay tuned!

      FuturTone-#DigMyRig Top Ten

      #DigMyRig Photo

      FuturTone Productions

      Gear List

      The goal of my rig has always been – it must be compact and convenient for electronic music live playing supporting flexible multichannel midi routing and multitimbrality. My first MIDIsystem was centered around my own DIY MidiBox hardware sequencer project kindly shared by developer Thorsten Klose.

      An 8 midi ports Miditemp midi router/processor and Doepfler MMR4 midi/merger/switcher are what allowed me flexibly to connect number of midi controllers and route them independently to any of connected synthesizers through fantastic MidiBox arpeggiators or directly as appropriate for particular situation. Unfortunately even 4U based this setup was not that easy to carry around due to the  involved synthesizers and controllers. So luckily after iConnectMidi4+ midi matrix router/processor and Squarp Pyramid midi became available I was able to squeeze my rig into something more portable – single 4U space + brilliant LinnStrument

      The MIDI Association Artist Interview

      * Tell us about yourself briefly.

      Working as designer, I’m also passionate about electronic live music… as much live as possible 🙂

      * What was your first encounter with MIDI?

      Early 90-ties with Yamaha QY-20 sequencer connected to midi controller keyboard (RMIF TI-5 synthesizer) – that was my first MIDI setup

      * How do you use MIDI today?

      Mostly to control sound engines from controllers while playing/jamming live, programming drum and rhythm tracks and occasionally to capture performances and musical ideas

      * How has MIDI allowed you to do what you do?

      MIDI means everything to me while creating and playing music live, without MIDI I would probably still be stuck at prepared piano level and occasional synth jamming

      * Anything else you’d like to add?

      My full story with embedded links follows below –

      My connection to music is rather based on texture rich multi-timbral orchestral classical arrangements than guitar rock, so aside from occasional prepared piano experiments, my musical journey started in late 80-ties, when I studied at Riga Technical University and got hands on my first synthesizer – RMIF OPUS (http://www.ruskeys.net/eng/base/opus.php ) – bi-timbral polyphonic analogue monster – functionality hardly available these days. It was lot of fun layering sounds on analogue tape, but unfortunately the result after numerous overdubbing through analogue delays and reverb was very noisy and, of course, there was no MIDI, no synchronization, no pre-sets, what made quite hard for me to reproduce anything.

      In early 90-ties I discovered MIDI with Yamaha QY-20 sequencer. MIDI sequencing and multi-timbrality finally allowed to create clear sounding music and soundscapes, but then for long time I was not happy with the sound generated by digital sound engines. Later, switching to computer with Yamaha SW PCI SW1000XG made sound design and production more pleasant (like this production below called elektrogans-virtual-love), but limited sequencing options upset me again, because at that time only linear sequencing was available on computers, whereas I wanted to play/jam live combining MIDI with dynamic loops and live arpeggiators.

      Next MIDI milestone for me was Korg M3 workstation with KARMA engine, what allowed dynamic live MIDI sequences and arpeggios, but was quite hard to program and required computer software to do so effectively. At the same time I also found amazing MidiBox project ( http://www.ucapps.de ) developed by Thorsten Klose and kindly offered to everyone as DIY project. I learned that MidiBox Sequencer perfectly fits into my MIDI usage concept and took a challenge and successfully built one myself also utilizing my engineering and design background and again had lot of fun playing live MIDI at my home studio. This soundtrack is an example of such live performance without overdubbing.  

      However involvement of MidiBox sequencer, MIDI controller keyboards, and hardware sound modules raised another challenge – how do you connect and synchronize them together? So I had to build my first 4U rack-mount MIDI rig which I built around MidiTemp PMM88 matrix and Doepfer MMR4/4 MIDI processor allowing quite flexible MIDI routing and processing so that with simple touch of a button I could easily route MIDI signals from any of my controllers to any of sound engines, through or bypassing MidiBox sequencer at any time while keeping everything in sync – yet pretty hard to set everything up.

      So far great for studio, but not so great for live rehearsals, when I joined to Charisma (https://charismalv.bandcamp.com ) helping them with computers and synth sounds. Carrying that all equipment around (music is my passion and not job) on regular basis still seems rather impossible. The introduction of iConnectMIDI4plus and Squarp Pyramid sequencer allowed me to build new, more mobile self contained 4U rack  which is compact enough, weights around only 15 kg, and doesn’t require external connections other than simple audio and USB (MIDI via USB), but I had to sacrifice midi routing flexibility because iConnectMIDI4plus unfortunately doesn’t allows flexible enough reconfiguration on the fly from remote controller, also beautifully programmable arpeggios from MidiBox sequence are not there any more. Thus I still find missing essential full featured connection/link between MIDI controllers and sound generators and sadly I can’t code, so this remains in my vision and layout drafts.

      Desire for multi-timbrality combined with lack of computing/storage resources determined my choice in favour of MIDI based work-flow opposed to common audio layering/overdubbing approach. So MIDI means everything to me to create live layered multi-timbral electronic music while at the same time I’m really impressed with emerging MPE. When playing LinnStrument, for example, I frequently feel that there is much less need for arpeggios and preprogrammed sequences, because MPE brings such a sparkling inspiration and breathtaking experience to me. I would definitely say that with MPE MIDI has come to whole new level, making electronic instruments more alive than ever before. I’m looking forward. Future is optimistic!

      Additional social links:

      Soundclound (some demo tracks) – https://soundcloud.com/gjrix

      Youtube (some MPE demo videos) – https://www.youtube.com/channel/UCQUsTHWPkI8Pq9F7H1AgVdQ/videos?shelf_id=0&view=0&sort=dd

      Moonwerk-#DigMyRig Top Ten

      #DigMyRig Photo

      Moonwerk Labs Space Station

      Gear List

      Moonwerk Labs Space Station was created 5 years ago by two aspiring musicians with a passion for Electronic music. We implement the use of MIDI with the help of MOTU’s MIDI Express 8×8 units. Dane Blaesing (the other 1/2 of moonwerk) is the mastermind behind the visual design of the studio, using LEDs to showcase EVERYTHING. 


      The MIDI Association Artist Interview

      Moonwerk consists of two people; Dane Blaesing and Zac Pescetto. We started our studio around six years ago, slowly accumulating gear as time went by. We were introduced to MIDI right from the start when Dane purchased a Dave Smith Mopho. Fast forward; we are now using two MOTU MIDI Express’ to control everything in our studio. There are sixteen synths we have full control over through MIDI. From triggering notes, to controlling all parameters with cc messages and automation in Ableton Live. We also have a road setup to implement MIDI on the go, which includes a Motu Micro Lite and numerous portable synth modules. We hand-solder all of our audio cables routed to our MIDI and outboard gear. In addition, we’ve built our Black Lion summing mixers and make all of our own repairs/upgrades/modifications to our gear. Moonwerk does everything in house, from sound design to mixing & mastering, photography & graphics, lighting, and even hand building our gear stands and modular synth cases.

      Swirve/Lawrence Buck-#DigMyRig Top Ten

      #DigMyRig Photo

      Lawrence Buck’s Studio

      Gear List

      ** Computers & Recording ** 

      Mac Pro 2014 6-core w/64Gb RAM, 1Tb Flash[Main DAW] 

      iMac 27″ 3.4Ghz quad-core i7 w/32Mb RAM [Office Mac] 

      Philips 40″ 4k Display x2 

      32″ LED TV 2 x 

      3Tb Drives in thunderbolt chasis RAID 0 

      Focal cms65 Monitors 

      KRK Rokit 8 Monitors w/sub 

      Apple iPad 2 x2 

      UAD-2 Thunderbolt Octo x2 

      Behringer X-32 Rack 

      Behringer S16 

      Native Instruments 

      Komplete 61 

      Motu Midi Express 128 

      Motu Midi TimePiece 2 USB 

      Native Instruments Maschine mk2 

      Akai MPC Touch 

      Neumann U87

      ** Hardware Synths ** 

      Korg KronosX 88 

      Dave Smith Prophet 12 

      Dave Smith Prophet 6 

      Dave Smith OB-6 

      Dave Smith Pro-2 

      Moog Voyager Performer XL 

      Access Virus T-2 

      Novation Morodernova 

      Roland Integra-7 

      Roland System 1-m (with all 5 plugouts) 

      Roland JD-XA 

      ** Software Synths ** 

      Native Instruments Komplete 10 

      Arturia Collection 

      Arturia Analog Factory 

      Output REV Output Signal Waves Diamond Waves Codex Waves Element 

      UAD Plugins (numerous) 

      Xfer Serum

      Propellerhead Reason 6 

      U-he Diva 

      U-he Braille 

      U-he Zebra 2 

      Motu Ethno Instrument

      The MIDI Association Artist Interview

      • Tell us about yourself briefly.

      I’ve been making music and dealing with Music Technology since the late 80s. I was a sound developer for Eye&I Voice Crystal (Yamaha, Ensoniq, Korg, Roland soundcards), LA RIOT (AKAI, Ensoniq Sample CDs) and Alesis (Quadrosynth) back in the early 90s. I taught Synthesis/Sound Design at UCLA for a semester in 96 (very cool gig I must say) and had various other studio gigs throughout LA and SF in the 90s. I did the score for Libertarian Presidential candidate Andre Marrou back in 1992. I worked at Opcode for a bit in the mid 90s (great people and products) and had two record deals, three records released and some movie scores to my credit. I am now known as Swirve and besides producing Dance records I am a partner in RemixxMe Productions here in Kansas City.

      • What was your first encounter with MIDI?

      Wow, I’d have to say it was in 1987-88. (I’m getting old) I had a Juno 106, Ensoniq Mirage, Alesis HR16 and had just got the Roland Mks-50. I needed to trigger the Mks-50 from the Mirage. I remember working on an album back in the 90’s where we had a few Opcode Studio 5s connected to over 40 synths at the same time. MIDI sure was fun back in the day, still is.

      • How do you use MIDI today?

      I use MIDI a lot still, not so much with MIDI cables, it’s all mostly through USB, save for the Voyager. The hard part about having so much hardware versus the software is keeping it all ready to go the moment the project loads. I use SoundTower (I Highly recommend it) to control most of my hardware synths either as a librarian or even plugin in LOGIC. MIDI allows for the gear to send various MIDI data to the units in addition to patch information, making project recall and patch perusing much better and even on par with some soft synths I have.

      • How has MIDI allowed you to do what you do?

      I know I covered a lot of this in the previous answer. In electronic music, I’m constantly evolving the sounds, either through plugins or through MIDI data. Being able to connected to all this various gear, with a standard such as MIDI, allows for me to be in a project, change a sound source and be able to use the exact same MIDI data on the new sound source without a hiccup. I am sure I am one of the few that keeps my event list open in LOGIC the entire time I am recording.

      • Anything else you’d like to add?

      It is a privilege and an honor to be chosen in the top ten for this contest, I’ve seen some amazing rigs out there. As for MIDI, It’s a testament to the standard that it has been widely used this many years later even after the rest of the music industry has changed so dramatically. MIDI is still MIDI and that’s a good thing. As for my wall, I got the idea from several music stores, and figured “why not”. So I had my contractor reinforce the wall to support the weight of 8-10 synths. Thanks to the folks at Gear Sluts for the great idea on where to find the adjustable keyboard arms.

      June 2016 MIDI Association Tweets

      Here is a summary of news we sent out via our social media channels in June 2016.


      ...

      midi (@midiassociation) | Twitter

      The latest Tweets from midi (@midiassociation). The MIDI Association’s mission is to nurture an inclusive global community of people who create music and art with MIDI. 

      MIDI Artist Interview with Richard Devine and Michael Loh

      TMA:

      When were you first introduced to MIDI?

      Richard Devine:

      It was during high school when I was about 16 years old so maybe 1991. I had started buying a bunch of analog and digital keyboards at second hand shops. I had Jupiter 6 (one of the two first instruments to have MIDI), a Roland TR909, and I noticed that it had these jacks on the back- MIDI In and Out,

      I started researching ways to connect things together. I initially started out with CV/gate connections on my Arp-2600. I began experimenting with CV and controlling the Arp-2600 with the Arp sequencer. Learning the basics about sequencing. Shortly after this I was decided to integrate MIDI into my workflow, and began researching how build my setup around a MIDI sequencer. I got a computer, and also bought two Alesis MMT8 midi sequencers. I spent several months learning this setup, and discovered that MIDI was going to play a big role in my musical productions.

      At that time there wasn’t a big Internet presence. So I would read magazines like Future Music and Electronic Musician and they used cover a lot of midi setups of artists that I was heavily following at the time. I learned a lot about how to work with bigger MIDI setups, and soon after this bought my first MIDI interface by MIDIman. 

      TMA:

      You mentioned CV and Gate, it is amazing that there was never a standard for such a simple interface protocol, There were two ways to do it and they both still exist. How important is it to you that MIDI products from 20 years still work with your newer gear?

      Richard Devine:

      For my work in particular it’s extremely important, I need access to both old and new technology at the drop of a hat. I never know what the client will ask for. I do a lot editing with piano roll editor, and MIDI CC automation. Almost every job that I have worked on has used MIDI extensively, in controlling Virtual Instruments or hardware units in the studio. It’s become the central communication system to all my instruments.

      I don’t know what I’d do if it went away. Without MIDI I’d be totally screwed. 

      by Richard Devine

      Sometimes I have to turn in stuff within an hour. I’m working with Google on a pretty hefty virtual reality project and the turn around times and deadlines are incredibly tight and hectic. So in designing my studio I have two setups, the mixing area and editing station. Both areas are completely MIDI’ed together and ready to go. Everything is always armed and ready to record.

      I’m really excited because after this Google project is finished I am going to rewire the entire studio and use the new iConnectivity MIO10 systems. I have Cat5 wiring on both the rear and back walls of my studio. I use them now for connectivity to my digital console and to my personal cloud storage work drives. I am going to make the leap to network MIDI, and use the Ethernet connections on my Mac Pro and Macbook Pro. The goal is to have either computer be the controller of all my MIDI devices. With the built in software I can map out different port configurations/filtering very quickly and also store and recall presets. I thank god a company like iConnectivity has stayed up with the latest trends in technology. I haven’t found any other company that is currently addressing MIDI interface design with more modern computers and hardware. 

      It’s great time to making music with MIDI now.

      by Richard Devine

      Article Update

      Our Friends at Synthtopia let us know that Richard created a free sample library  based on samples of the Mysterious Ringing Rocks of Montana.

      The Ringing Rocks are a unique geological formation that features rocks that ring musically, when taped with a hammer. They are natural lithophones – instruments that are struck.

      TMA:

      What was motivation for starting iConnectivity.

      Michael Loh Founder and CTO at iConnectivity:

      A little over 7 years, when we started we were going to be gas and oil services company. The original idea was allow people to use a iPhone to take data from oil fields. We pivoted and thought about products and product that would connect to an iPhone. One of the people in the company was a professional musician. So we decided would be a good place to start because MIDI is from an engineering point of view it’s pretty simple. We ended up having a distribution channel and manufacturing in the music channel so we decided to stay. It’s been a constant evolution of building our brand. Last year at NAMM was the first time that we really started to have brand recognition where people would come to our booth at NAMM and say “hey, we know you and you can solve our problems.”

      We think the new MIO series is really the culmination of our goal of developing the most sophisticated MIDI devices on the planet. 

      We sent Richard two MIO10s because you can connect two MIO10s together and control all the mapping and filtering for both.

      All our products have our core MIDI Data management system. One of the advantages of that system is we can send System Exclusive messages to change all the channel and port mappings and filtering. It’s amazing because we use MIDI to control the MIDI managment in our devices so our products are completely MIDI centric.

      Another advantage is how efficient MIDI is. In our MIDI management system we process everything within 200 nanoseconds. 

      Check out this video about using the iOS app iMIDIPatchbay with iConnectivity devices.  It’s got lots of great tips about MIDI routing.


      ...

      iConnectivity mio Series USB/MIDI Interfaces Overview by Sweetwater – YouTube

      Michael Loh from iConnectivity gives a brief overview of the mio series of USB/MIDI interfaces. Not only can you connect multiple computers to mio interfaces…

      Ask.Audio Article on MIDI Messages

      Ask.Audio and Non Linear Educating

      Ask.Audio is one of our favorite technology websites and has been a great partner to The MIDI Association. We have worked with Ask.Audio’s parent company, Non Linear Educating to provide extensive video training right here on the MIDI.org website in our courses section.  Here’s a brief description on what NonLinear Educating is all about. 

      Nonlinear Educating is an adaptive technology company dedicated to improving the way the world learns. The combination of our powerful and modular video-courseware production & distribution platform and our extensive library of industry leading training courses, has granted us the opportunity to empower a variety of partners from a multitude of industries. The foundationally modular approach to our application infrastructure enables us to rapidly customize instances of our platform to meet the specific needs of our partners. We are agile adaptive and are committed to developing the most efficient and robust video-learning platform on the internet.

      by  Non Linear Educating

       The MIDI Association collaborates with many of the top technology websites including Ask.Audio, Electronic Musician, Harmony Central, Hispasonic, Keyboard Magazine, SonicState, Sound On Sound and more by mutually sharing information and stories about MIDI. 

      Joe Albano, a well known author on Ask.Audio recently put together a great article on MIDI messages. We have Ask.Audio’s permission to summarize the content of their articles and then include a link to the full article.

      Fig 1 The wonderful world of MIDI

      M.I.D.I.—Musical Instrument Digital Interface—shook up the industry when it was introduced in 1983, by separating the player’s performance from the sound of the instrument, and this powerful digital communication protocol has been going strong ever since.

      by Joe Albano

      Joe’s article covers the basics about the most common MIDI messages

      Channel Voice Messages

      The bulk of the musical performance data of a MIDI recording falls into the message category of “Channel Voice Messages” (I’m going to ignore the old-school “Channel” designation here). The 7 Voice Messages are:

      • Note-On

      • Note-Off

      • Monophonic (Channel) Pressure/Aftertouch

      • Polyphonic (Key) Pressure/Aftertouch

      • PitchBend

      • Program Change

      • Control Change (or Continuous Controller) messages, a.k.a. CC messages, of which there 127 

      Fig 3 Strings of continuous (streaming) MIDI messages

      Below is a link to the full article on Ask.Audio’s website. 


      ...

      Everything You Need To Know About MIDI Messages But Were Afraid To Ask : Ask.Audio

      MIDI. There’s a lot of musicians and producers who don’t know how to use this protocol to improve their musical performances and add more expression to their in

      Here is a link to our collection of MIDI and Audio curriculums developed in cooperation with Nonlinear Educating. 


      ...

      Massive Online Courseware Library : The MIDI Manufacturers Association : NonLinear Educating

      Nonlinear Educating is an adaptive technology company dedicated to improving the way the world learns. The combination of our powerful and modular video-courseware production & distribution platform and our extensive library of industry leading training courses, has granted us the opportunity to empower a variety of partners from a multitude of industries. The foundationally modular approach to our application infrastructure enables us to rapidly customize instances of our platform to meet the specific needs of our partners. We are agile adaptive and are committed to developing the most efficient and robust video-learning platform on the internet.

      Check out our MIDI & Audio courses. Sign up at NLE to get access to hours of free preview videos or take it to the next level and get MIDI Certified.

      Fun with MIDI

      Here’s a collection of articles about some of the more entertaining MIDI projects we have covered on the site.


      ...

      MIDI and Robots –

      ​We have a soft spot for robots…….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.


      ...

      Novalia Partners with Bud Light and McDonalds: Bluetooth MIDI Happy Meals –

      MMA member Novalia has recently had two very successful partnerships to bring interactive conductive ink installations to SXSW and McDonald’s locations in the Netherlands.


      ...

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

      Okay, I admit it. ‘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 visuals, 


      ...

      ALMA Sound: True Music of the Spheres –

      There has always been a connection between astronomy and music. In fact, if you go all the way back to the ancient Greeks, Pythagoras first identified the relationship between musical pitch and numerical ratios. He discovered the ratio, 2:1, of the o


      ...

      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 composer and his relationship to Black MIDI. 


      ...

      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 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.


      ...

      MIDI Electronic Light Scape Device (“eLSD”) –

      Manipulate the state of your mindusing Light Scape sequences. Enjoy the psychedelic color experience that the eLSD is inducing. It gently pulses light and color in front of your eyes, influencing your brain waves and the state of your mind. 


      ...

      MIDI’s Not Scary — Unless it’s Halloween! –

      It’s the week before Halloween, and a line stretches down around a corner. Muffled sounds of screams drown out the nervous laughter of the people in line as it creeps forward. As you round the corner and head towards the house, the light in the trees

      MIDI Contest Photo Previews

      In a few weeks the #DigMyRig contest submissions end (on June 30, 2016) and then there will be a 30 day period for peer voting.  We thought  you’d like to get a preview of some of the entries we have received so far.  

      There are some really sweet MIDI setups out there.  Don’t worry if you don’t see your entry, this is just a random sampling of a few of the contest entries. 

      ALMA Sound: True Music of the Spheres

      There has always been a connection between astronomy and music. In fact, if you go all the way back to the ancient Greeks, Pythagoras first identified the relationship between musical pitch and numerical ratios. He discovered the ratio, 2:1, of the octave. That means a string and a string with exactly half the length will sound in perfect consonance. In fact the Greek word for ratio is logos. A perfect fifth has the ratio (logic) of 3:2. A perfect fourth sounds in the ratio of 4:3. So if you look at many popular songs, they are still based on the the same logic or ratios.

      In a philosophic theory known as the Harmony of the Spheres, Pythagoras suggested that celestial bodies emit their own unique vibrations based on their orbits,

      “As the eyes, said I, seem formed for studying astronomy, so do the ears seem formed for harmonious motions: and these seem to be twin sciences to one another.

      by Plato- Republic VII.XII

      ALMA Sounds combines radio astronomy captured by the Atacama Large Millimeter/submillimeter Array (ALMA) and music. Astronomers Antonio Hales and Universidad de Chile engineer, Ricardo Finger determined a way to interpret the electromagnetic spectra of the Orion Nebula and transform them into digital sounds.

      “The ALMA sound bank is made up of a series of drum shots created from the sound pattern of electromagnetic spectra from the Orion Nebula. The emission lines of molecules present in the Orion Nebula were transformed into musical notes, transposing the ‘chords’ from the skies into sound chords. The sound bank is, as its name implies, a digital library of sounds available to the musical community.”

      by Astronomer Antonio Hales

      At the  Sónar+D festival in Barcelona, Spain between 6 and 18 June 2016, the ALMA sounds project will have a stand with digital instruments with MIDI interfaces enabling the audience to interact directly with the ALMA Sounds cosmic sound bank . The Chilean collective Trimex will also present an artistic representation of the planets in the Solar System.

      Here is a selection of songs that were done using the ALMA Sounds sound bank.  

      The sound bank is is available for free download here.

      The MIDI Association Announces #DigMyRig Contest

      Thousands in Prizes Open to All TMA Members

      The MIDI Association (TMA), a global community of people who use MIDI to create music and art, has announced the first #DigMyRig contest. Sponsored in cooperation with media partner Broadjam, the contest is a celebration of more than 30 years of MIDI, and its impact on modern music.

      The contest brings together MIDI users of all backgrounds and levels of experience and expertise, offering an opportunity to share their stories and their setups, and a chance to win prizes worth thousands.

      The #DigMyRig Contest is open to all TMA members. Membership is free — join online for information on entering a photo or video of your MIDI rig. Info and entry instructions can be found on The MIDI Association’s website at www.midi.org. Prizes have been donated by TMA members including Roland, Yamaha, Gibson, iConnectivity, and many more.

      The first prize winner will take home a selection of MIDI gear worth over $3000, including a Roland JP-08 synthesizer, Yamaha DTX Multi 12 controller, Cubase Pro 8.5 workstation software, Steinberg UR44 interface, and much more. 

      Second prize, worth more than $2000, includes a Yamaha Reface CS synth, Roland TR8 Rhythm Performer, Steinberg UR242 interface, and more. 

      The third place winner will be awarded over $1000 in gear, including a Zivix Jamstick, Steinberg 22 Mk 2 interface, and Yamaha UD-BT01 MIDI Bluetooth interface.All three winning bundles also include an NVidia Shield Tablet, Korg NanoKONTROLStudio and NanoKEYStudio, and a free Broadjam membership.

      To enter the #DigMyRig Contest, simply go to http://www.midi.org and register as a member of The MIDI Association (it’s free to join). The member portal page contains details on how to submit your photo and text showing off your MIDI gear to the contest. Winners will be selected by peer-to-peer voting. The contest will run from March 1 to June 30th. Prize details and photos can be found here- prize details.

      Help us celebrate MIDI by sharing how you use MIDI with other people who share your passion for technology..

      ©2015 MIDI Association /MMA.All Rights Reserved.MIDI, The MIDI Association, and the MIDI Logo are trademarks of the MMA, dba The MIDI Association. All other trademarks herein are property of their owners and do not necessarily reflect participation or association with the MIDI Association.

      The MIDI Association offers free download of the MIDI 1.0 specifications document

      The MIDI Association, the global community of people who work, play and create with MIDI, is offering the MIDI 1.0 specifications for download at no charge to their members at www.midi.org. Until now, 300+ page document has only been available at a charge of $60 to cover the cost of printing and shipping.

      The MIDI 1.0 Detailed Specification is an important resource for developers, hobbyists, technicians, and others who want to know about the inner workings of MIDI. The document includes sections on the following topics:

      • MIDI 1.0 (Electrical Specification and Protocol)
      • General MIDI 1 (including GM Developer Guidelines)
      • Standard MIDI Files
      • MIDI Show Control
      • MIDI Machine Control
      • MIDI Time Code

      Also available on the website are all the additions to the MIDI Specification developed since the document’s completion in 1996, up to and including the recently-added specification for transmission of MIDI data over Bluetooth Low Energy (BLE). Also included are reference tables to make it quick and easy to research a particular MIDI message number, locate a Manufacturer ID number, find international standards that incorporate MIDI, and more.

      To access the specifications, go to www.midi.org and register for free as member of the MIDI Association. Members get access not only to the downloadable specifications, but a wealth of member-only premium content, including a wide range of information on how to get the most out of MIDI. The member portal also provides the gateway to members-only contests, including the current #DigMyRig contest, featuring prizes of MIDI gear worth over $3000.

      © 2016 The MIDI Association (TMA), All Rights Reserved. The MIDI Association, TMA, and The MIDI Association logo are trademarks of The MIDI Manufacturers Association (MMA), a California-based Non-Profit Standards Organization that creates and manages the MIDI specification for the music industry. All other trademarks are property of their respective owners. Mention of company names other than The MIDI Association or the MIDI Manufacturers Association does not imply direct involvement in any aspect of The MIDI Association or the MIDI Manufacturers Association. 


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      The MIDI Association Forms Prestigious Advisory Groups

      The MIDI Association (TMA), a global community of people who use MIDI to create music and art, has been founded with the goals of providing education for existing users, as well as creating new music makers by promoting the creative possibilities of connecting digital musical instruments, MIDI controllers, smartphones, tablets and computers. 

      To further these goals, TMA has established an advisory team made up of music industry veterans who bring diverse expertise to the organization. They will participate in various panels dedicated to setting The MIDI Association’s overall direction, developing marketing and social media initiatives, and creating funding opportunities.

      The TMA advisory team will set overall direction for The MIDI Association, develop marketing and social media initiatives, and interface with private and institutional revenue sources.

      The advisory team includes:

      Craig Anderton, Executive Vice President, Evangelist at Gibson

      Athan Billias, Director of Strategic Product Planning at Yamaha

      Roy Elkins, CEO at Broadjam

      Jon Haber, CEO at Alto Music and former NAMM board member and CEO of Alto Music

      Dendy Jarrett, Director at Harmony Central

      Gene Joly, former Guitar Center executive and past NAMM Board member

      Daniel Keller, CEO at PR firm Get It In Writing

      Robin Kelly, Director of Channel Management at Roland

      Kevin LaManna, Principle at the digital marketing agency SocialRaise

      Bryan Lanser, Director of Marketing at Muse Research

      Paul Lehrman, Director of Music Engineering at Tufts University

      Lawrence Levine, Principle at Comet Capital

       Gerson Rosenbloom, Vice President of Strategic Management at Sweetwater and former NAMM Chairman.

      “Over 30 years after the industry came together to create MIDI, it’s encouraging that it’s coming together again to help consumers as well as musicians take advantage of all that MIDI has to offer,” remarked Craig Anderton EVP at Gibson.

      “The new MIDI website, (www.midi.org) has been completely revamped,” offered Roy Elkins,CEO of Broadjam. “It’s now mobile friendly and features video streaming, interactive forums, and easy searches of the hundreds of articles on MIDI available on the site. It’s a great site that will support the whole global MIDI community.”

      “In a world with billions of MIDI-enabled mobile computing devices, our goal is to create more music makers by promoting the vast MIDI capabilities offered when those devices are interfaced with musical instruments,” observed Gerson Rosenbloom. “We look forward to the active participation and support of companies and foundations in our industry in helping us to bring awareness to the masses.” .

      ©2015 MIDI Association /MMA.All Rights Reserved.MIDI, The MIDI Association, and the MIDI Logo are trademarks of the MMA, dba The MIDI Association. All other trademarks herein are property of their owners and do not necessarily reflect participation or association with the MIDI Association. 


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      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

      Novalia Partners with Pizza Hut to make the world’s first playable DJ pizza box

      Not to be outdone by McDonald’s or Bud Light, Pizza Hut in the UK has worked with TMA member Novalia and released a limited edition DJ Pizza box. DJ Vectra 

      Novalia creates paper thin self adhesive touch sensors from printed conductive ink and attached silicon micro controller modules. Their control modules use bluetooth MIDI connectivity. 

      May MIDI Association Tweets

      We thought it might be a good idea to put up a summary of news we sent out via our social media channels. 

      https://www.facebook.com/TheMIDIAssociation/

      https://twitter.com/midiassociation?lang=en

      Novalia Partners with Bud Light,McDonalds and Yo Gabba Gabba: Bluetooth MIDI Happy Meals

      TMA member Novalia has recently had three very successful partnerships to bring interactive conductive ink installations featuring BTLE MIDI to SXSW, McDonald’s locations in the Netherlands and Moogfest 2016. 

      Novalia creates paper thin self-adhesive touch sensors from printed conductive ink and attached silicon microcontroller modules. Their control modules use Bluetooth MIDI connectivity. 

      Novalia’s technology adds touch, connectivity and data to surfaces around us. We play in the space between the physical and digital using beautiful, tactile printed touch sensors to connect people, places and objects. Touching our print either triggers sounds from its surface or sends information to the internet. From postcard to bus shelter size, our interactive print is often as thin as a piece of paper. Let’s blend science with design to create experiences indistinguishable from magic.

      by Novalia


      DJ QBERT: INTERACTIVE DJ DECKS

       

      One of Novalia’s first big projects came about when they worked with DJ Qbert to create the world’s first interactive DJ Decks in an album cover.

      QBert’s Kickstarter funded Extraterrestria album featured a set of working Bluetooth MIDI decks and controls that connect to iOs and OSx. Touching the paper connects to the Algoriddim DJAY app, allowing the user to scratch, mix and fade any songs they load into the software.
      Complete with two decks, a cross fader and an array of SFX buttons beautifully printed onto paper using printed electronics and artwork designed by Morning Breath for QBert, the decks demonstrate the possibilities for interconnectivity between the physical and digital in a way that can enhance user experience.


      Bud Light Interactive Wall at SXSW

       

      At SXSW, Novalia partnered with SXSW sponsor Bud Light and Mediacom, to create interactive music walls that connected people to music  through touch, connectivity, and data. Up to 15 people could interact with the music simultaneously. 


      Novalia shared a video of the SXSW Bud Light Interactive Wall with us that we are happy to premiere here. 

      ​McDonald’s McTrax

      Perhaps the Novalia project that got the most press was the Mcdonald’s McTrax project. 


      ...

      McDonald’s Turns Placemats Into Little Music Production Stations Connected to Your Phone | Adweek

      Wasn’t it fun when we were kids to doodle on restaurants’ paper placements with crayons? Well, McDonald’s has introduced a high-tech, musical version of that sort of play with McTrax—a snazzy placemat that acts like a little music production station. TBWA\Neboko in the Netherlands created McTrax.

       

      However there was very little explanation of how MIDI enabled all of this cool technology. The placemat, developed with This Page Amsterdam and Novalia uses conductive ink, a small battery and a thin circuit board with 26 digital touchpoints. The Novalia board sends MIDI signals via BTLE MIDI to a smartphone that has the McTrax music app downloaded on it. The contains audio loops, synths and musical effects and you even sample your own voice.

      Recently  Kate Stone, CEO of Novalia ,was at Moogfest where she presented some Novalia controllers with DJ Lance Rock (Yo Gabba Gabba!), Mark Mothersbaugh (Devo), Bootsy Collins (Parliament/Funkadelic), Malcolm Mooney (Can), Peter Conheim (Negativland), Dr. Kate Stone (Novalia), Van Partible (Johnny Bravo), and DJ Nanny.

      Bud Light, McDonald’s, Yo Gaba Gaba, Devo, Parliament, Novalia conductive ink and BTLE MIDI.

      Now that’s what we call a Happy Meal!

      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 our favorite projects.  To see all the MIDI projects that are available on the site, just click here. 


      ...

      What is MIDI?

      MIDI (Musical Instrument Digital Interface) is a protocol developed in the 1980’s which allows electronic instruments and other digital musical tools to communicate with each other.  The advantages of MIDI include: compact -an entire song can be stored within a few hundred MIDI messages (compared to audio data which is sampled thousands of times a second) easy to modify/manipulate notes -change pitch, duration, and other parameters without having to rerecord change instruments -remember, MIDI only describes which notes to play, you can send these notes to any instrument to change the overall sound …


      ...

      Intro to MaxMSP

      MaxMSP is a visual programming language that helps you build complex, interactive programs without any prior experience writing code. MaxMSP is especially useful for building audio, MIDI, video, and graphics applications where user interaction is needed. This Instructable is part of a 3-part workshop I’m running at Women’s Audio Mission, it’s part one of three Instructables that I’ll be publishing over the course of the next week. (Part 2 – intermediate MaxMSP) (Part 3 – getting Max to talk to hardware) MaxMSP is split into several parts – Max handles discrete operations and MIDI, this is the easiest place to start getting familiar with the tool. MSPdeals with signal processing and audio. ;And Jitter is for graphics rendering and video manipulation. This course will cover Max and MSP. Here are some examples of awesome things you can do with Max.


      ...

      Intermediate MaxMSP

      This Instructable is a continuation of Intro to MaxMSP, a three part workshop I’m teaching at Women’s Audio Mission here in San Francisco.This Instructable build upon the topics discussed in Intro to MaxMSP and introduces some ways to work with audio in Max. Part 3 of the workshop focuses on how to get Max to talk to hardware.; First off, here are some examples of the types of things you can do with audio in Max: Fornant synthesis – using filters to recreate human vocal sounds Audio to MIDI, Granular Synthesis- cutting up a sample into tiny grains and pieces the grains together to make new sounds


      ...

      Draw MIDI

      Draw your own musical keyboard with pencil on paper, using Arduino and capacitance sensing. Here is a demo and explanation of a finished project: More on this project (and paper circuits in general) can be seen here at the Science of Music blog. 


      ...

      Laser Midi Controller – (Laser Triggered Midi Keyboard)

      Project goal:Construct a laser triggered midi controller, using standard electric components and a recycled midi keyboard.
      ;Step 1.Find a recycled midi keyboard / controller.
      Step 2.Construct a laser triggered switch.
      Step 3.Connect midi device, measure components (shorts), and test device.
      You can now play instruments, beats, loops and samples by interrupting the laser.- have fun


      ...

      Arduino MIDI Controller

      A MIDI controller is any piece of equipment that generates and transmits MIDI data to MIDI-enabled devices. In short, if you have buttons on your MIDI controller, you can program those buttons to any sound you want through musical software (ex.: Ableton, Garage Band, etc.). You can also program potentiometers to control effects, volumes, etc..This instructable will show you how to create your own MIDI Controller using Arduino. With a MIDI controller, you are rarely limited with what you can do. There is endless possibilities and endless fun.


      ...

      Musical Melodyian MIDI Robot

      Greetings Earth! This Instructable will show you how to build your very own Melodyian – an Arduino-based, 3D-printable robot that can move around, light up, and make music! It’s also a MIDI robot, and can be wirelessly controlled via MIDI over Bluetooth.This robot is part of a larger transmedia production called The Musical Melodyians. The Melodyians are musical aliens who eat music and travel through space to save the universe’s musics. Visit our webular portal to watch videos featuring these Melodyian robots, listen to Melodyian music, read our graphic novel, and more! NOTE: This project is suited for makers with at least an intermediate amount of experience with Arduinos, soldering, general electronics, and at least a basic familiarity with MIDI. 


      ...

      Flame Controlled MIDI Controller

      One huge issue in the world of digital music production is keeping that analog warmth (that resonated from reel-to-reel systems and tubes) in modern day digital music. Many swear that analog systems have a sound that can never be replicated by bits, and hope is lost for digital music to match that analog quality. Virtual Studio Technologies (VSTs) have tried to replicate the authentic analog sound, but they (being entirely digital) cannot give you the true sound. In this instructable, I’ll share with you how we can bridge the gap between digital and analog music production by creating a Flame Controlled MIDI Controller using an Arduino micro-controller.Fire is awesome. Flames sway, crackle, and waver which makes them a perfect medium to capture a room’s atmosphere, and ultimately to create a great analog signal. These characteristics are optimal because even when the signal is converted into digital MIDI signals, it will …


      ...

      Sugarcube MIDI Controller

      This project is a portable, Arduino-powered, grid-based MIDI controller that boots up into a variety of apps to do lots of things with sound. It has 16 backlit buttons, used as both inputs and outputs to give the controller some visual feedback. 2 potentiometers give analog control, depending on the app the pots are assigned to tempo, MIDI velocity, pitch, and scrolling (making the avaible grid space larger than 4×4). An x/y accelerometer and an x/y gyroscope add some playful, gestural control to the device; most of the apps implement a “shake to erase” control and several respond to tilt in various ways. It boots up into 7 different apps (described below), though it has the potential to boot up into 16 total. This device is primarily a MIDI controller, but I’ve also written an app that allows you to pull the button and analog data into MaxMSP and to …


      ...

      13 Note MIDI Laser Harp

      The laser harp is an electronic instrument that is played by blocking laser beams. Several laser beams are produced, and a note is played when one of the beams is blocked by the player, similar to plucking a stick on a real harp. The device must therefore produce a laser beam for each note and also have a sensor for determining when a beam is blocked.I constructed a MIDI laser harp controlled with an Arduino for Spectra, an optics group at Washington University in Saint Louis. This instructable goes over the commercial parts used, design of electronics, mounting parts that were 3D printed, and the frame. This project is also listed on my website with other projects


      ...

      Build MIDI Bass Pedals for About $150

      MIDI bass pedals, similar to pedals organists use to play bass notes, but instead used to play a MIDI synthesizer or sound module, have been popular for the last few decades. In addition to keyboard players, many electric bass players, such as Geddy Lee of Rush, have used them to expand the palette of bass sounds they use. But they can be quite expensive.These were my main costs for building a set of bass pedals:$35 Bass pedals from a Conn organ bought on eBay$35 Shipping for the bass pedals$44 Arduino Mega 2650 R3 controller board$20 Sparkfun MIDI Shield$7 9V 1000 mA AC adapter for Arduino boards_______________________________________________$141 TOTALIn addition to these I used some miscellaneous stuff like wire, solder, contact cleaner, tie wraps and cables I already had. A good place to to get the Arduino components and the MIDI Shield is the Robot Shop.


      ...

      Antique Light Bulb Organ – MIDI/OSC Controlled

      Create your own antique light bulb organ to add nostalgic ambiance to any midi instrument! 12 light bulbs correspond to the 12 notes in an octave (minus the octave note). The rectangular box unfolds to position the light bulbs vertically for display, while at the same time providing a platform for the keyboard in use. Playing a note on the keyboard directly via midi, or through the usb port illuminates the light bulb for a particular key. Releasing the note, releases the key. Pedal presses are also recognized and keep the bulb maintained. The bulbs can be controlled without a computer by using the front mounted midi port, or via computer which allows for remote control via midi or osc messages. More about that later… The light organ was built for and is currently in use by the band Future Dancing , see the video below to see it in action! 


      ...

      Arcade style DJ MIDI controller

      &gt;&gt;&gt;This isn’t quite finished yet as I cocked a bit of the circuit up. I’ll update the instructable and upload a video when it’s sorted&lt;&lt;&lt; I’ve been DJing for about 10 years now, and for the last couple I’ve swapped good old fashioned vinyl for virtual vinyl in the form of Serato. This allows me control mp3’s using timecode vinyl on the turntables. However, like a lot of DJ’s, this led me down the dark path of spending gigs staring at my laptop – aka – Serato Face. I needed to find an interface that would keep my eyes off the screen, but all the ones in my price range weren’t laid out in a way that worked for me. Having seen some great Instructables from other people that made their own arcade style MIDI controllers, a bespoke controller became something I needed to add to my DJ arsenal. However, …


      ...

      Converting a rescued toy into a MIDI controller

      In this Instructable, I will walk you through the process of converting a rescued noise-making children’s toy into an actually useful musical instrument using MIDI! Take a moment to just glance over the titles of the steps in this Instructable and familiarize yourself with the general process, so you know what to expect when you’re complete, and whether or not this Instructable is what you’re looking for. I’ll help you pick out a good toy to rescue, and then guide you through the process I used to successfully hack all of the buttons and switches to make something really cool and useful. We’ll rip out the old, useless guts of the toy and replace it with a cheap microcontroller that is capable of sending and receiving MIDI messages to a PC, which will do the actual sound synthesis for us. I’ll discuss the ins and outs of how to do …


      ...

      Dub Cadet: Holographic MIDI & LED Controller for Arduino – Part 1

      I believe holographic musical instruments will be commonplace in the future, showing up everywhere from schools (for education), to homes (for fun), to media offices (for creativity), and in music studios (for production). The reason is simple: The holographic musical instrument takes a complex process and radically simplifies it: see another demo video here. I’m using the term ‘holographic music’ to mean multidimensional musical structures mapped to 3d surfaces to be decoded through rotational motion. Just as optical holograms modulate light based on the 3D viewing angle, we can modulate sounds based on the relative 3D orientation of an object. This is Part 1 of a 3-part series on a technology that I am calling the Dub Cadet: a holographic musical instrument. Part 1 will discuss theory and technical strategy, Part 2 will provide an arduino-based hardware solution, and Part 3 will explain the programming code that makes it work. …

      [Updated] How to Make Your Own 3.5mm mini stereo TRS-to-MIDI 5 pin DIN cables

      Editors note:

      This article was written before the MMA published an official standard for using TRS adapters with MIDI devices, and simply describes the TRS connectors that exist in the market. Future products should use the MMA Specification if they want to be interoperable. 

      In the past few years, MIDI hardware products have become smaller and smaller, especially as many of them are meant to be used with mobile computing devices. But this has caused some issues, as 5 Pin DIN MIDI plugs are pretty big. No one wants an accessory that’s 10 times the size of the smartphone it connects to!

      So recently many products have used a stereo 3.5mm minijack connector on the product itself, with a breakout cable to a female 5 Pin DIN MIDI connector. This allows you to plug a regular male to male 5 PIN DIN MIDI cable into the female MIDI breakout connector and the other end can connect to a MIDI Out or MIDI In on a MIDI keyboard or MIDI interface.

      3.5 mm mini stereo to 5 pin DIN MIDI breakout cable


      How 3.5 mm Tip Ring Sleeve Mini jacks are wired to 5 Pin DIN MIDI connectors 

      It turns out that there are at least two different variations of wiring for TRS to MIDI. We will call the main two TRS “Type A” and TRS “Type B” in this article. The first product to use TRS breakout cables was the Line 6 MIDI Mobilizer in 2010. We call the Line 6 method Type A because the MIDI Mobilizer was the first TRS MIDI product on the market.

      The number of products in the marketplace is pretty evenly split between Type A and Type B because very popular Arturia and Novation products use Type B wiring. Of course, both wiring methods work, you just need to know which version your product uses, so you can make/buy the right cables or connect to another product via a straight TRS cable. 


      TRS To MIDI Male Type A

      Akai Pro, IK Multimedia, Korg, Line 6, littleBits, Make Noise 

      Pin 5-Tip (Current Sink)
      Pin 4- Ring (Current Source)
      Pin 2 – Sleeve (Shield)

      Here is the wiring diagram for the Line 6 MIDI Mobilizer.

      Korg_littleBits-MIDI-Adapter-Diagram


      The pin-out for all IK Multimedia products implementing MIDI I/O via 2.5mm

      TRS jacks is as follows:

      TRS<-> 5pin DIN

      ——————-

      Tip<-> Pin 5

      Ring <-> Pin 4

      Sleeve <-> Pin 2

      MIDI Out (ring / Pin 4) pull-up resistor, connects to a 3.3V power rail. 



      TRS to MIDI Type B 

      Arturia, Music1010, Novation

      Pin 5 – Ring (Current Sink)
      Pin 4 – Tip (Current Source)
      Pin 2 – Sleeve (Shield)

      Revised MIDI/Clock adapter pin out for Beat Step Pro

      Introduction

      This document describes the breakout cables for BeatStep pro.

      There are two such cables:

      • A MIDI one, suitable for both MIDI in and MIDI out plugs of BeatStep pro
      • A Clockone, suitable for both clock in and clock out plugs of BeatStep pro

      Both have a 3.5mm male jack at one end and a 5-pin 180° DIN female socket at the other end.

      New MIDI adapter wiring for Beat Step Pro

      Connections:

      • Jack tip to pin #4
      • Jack ring to pin #5
      • Jack sleeve (earth/ground) to DIN pin #2

      There should be no connection whatsoever to neither pin #1 nor pin #3 of DIN socket

      Colors:

      • DIN socket: white
      • Wire insulator: white
      • Jack plug: Pantone Cool Grey 3 C (same as the light grey on the front panel)


      New Clock adapter wiring for Beat Step Pro

      Connections:

      Jack tip to pin #3

      Jack ring to pin #1

      Jack sleeve (earth/ground) to DIN pin #2

      There should be no connection whatsoever to neither pin #4 nor pin #5

      Colors:

      DIN socket: white

      Wire insulator: white

      Jack plug: Black 


      This Youtube video shows you how to make a DIY MIDI cable for the Arturia Beatstep Pro. Notice that the wiring is different than the above Type A as Pin 5 and Pin 4 are flipped. 


      The BeatStep pro comes with a variety of cables  and they are all a little bit different. We found a really good article on a blog called Theatre of Noise. 




      When you purchase an Arturia Beatstep Pro, you get two white
      adapters as pictured below. (A black male MIDI connector is included for
      comparison.)

      Both of the white adapters have a female MIDI DIN plug, so
      it can be coupled with a standard MIDI DIN cable. The other ends are
      colour-coded because they are meant for entirely different purposes.

      The grey cable is designed for MIDI output. DIN pin 4
      connects to the Tip and pin 5 connects to the Ring. (I have confirmed this with
      a multimeter.)

      This is the standard adopted by Novation, Arturia, and IK
      Multimedia. Do not be surprised when I tell you that Korg has done the
      opposite! So if you were going out of a 3.5mm MIDI socket on a Korg device, you
      would need a different adapter to MIDI DIN-5. It would look the same, but have
      different internal connections.

      So what the heck is the Arturia adapter with the black 3.5mm
      termination? Near as I can tell it’s for sync output. Tip and Sleeve are wired
      to pins 1 and 3. This means they don’t conflict with MIDI in any way. This is a
      smart solution. Or would be, if you think that repurposing the same cable
      adapter a third time is a good idea.

      The mind boggles.

      by Robin Parmar from Theatre of Noise


      The 1010Music MX4

      MX4 Buffered MIDI Multiple for Eurorack copies one MIDI signal to four outputs

      The MX4 uses TRS minijacks for handy connection directly between the following devices:

      All 1010music modules, including MX4, bitbox, and fxbox

      The Arturia BeatStep Pro

      Novation products, including the Launch Pad Pro

      The MX4 includes two MIDI adapters to connect with any equipment using the MIDI standard, 5-pin DIN connector, two TRS cables for MIDI patching and a standard power ribbon cable for connecting to your eurorack.

      Products Compatible with the Stereo Minijack Cables

      • 1010music products
      • Arturia BeatStep Pro
      • inMusic (Akai) products
      • Novation products (such as Launchpad Pro)

      Products that use an alternative signal mapping for the minijack connections cannot use standard patch cords/stereo minijack cables. Instead, these products can be connected by means of a pair of MIDI adapters. Use the black and white MIDI adapters provided with the MX4 to connect to the MX4 jacks, then use the appropriate MIDI adapter to connect to the external device.

      The following products are known to require a MIDI adapter:

      Products that Require a MIDI Adapter:

      • Korg products
      • Make Noise 0-Coast
      • Arturia BeatStep (not to be confused with the BeatStep Pro)
      • ADDAC System products

      See the Technical Specifications below for more details about the connectors used by 1010music products.

      If your device isn’t listed above, how can you tell if the stereo minijack connector on your MIDI device is compatible? Compare the technical specifications below with those provided with the external device, or just try it out. Either it will work or it won’t. Attempting to connect with incompatible cables should not damage devices designed in accordance with the MIDI spec.



      by Music1010

      The 1010Music Bit Box also supports TRS MIDI

      “Bitbox is a 26HP Eurorack module that delivers recording, clip launching, and looping in a musically intelligent way. With a 24-bit audio path, you can capture and play samples with impeccable audio quality. With clock and MIDI inputs, you can create loops pre-cut to bars or beats and launch clips with similar synchronization. Bitbox has a capacitive touch screen that makes easy work of tweaking, browsing, and loading sounds from your microSD card.” 

      1010Music 

      Keith McMillen combines Leap Motion and Web MIDI

      Keith McMillen Instruments shared this short demo of gestural mixing, using their K-Mix programmable mixer, a Leap Motion controller and Web MIDI.

      MIDI Gestural control really seems to be taking off recently enabled by wireless BTLE MIDI, improvement in gesture recognition technology and advances in sensors. In this case, KMI is using a Leap Motion controller and Web MIDI to do gestural mixing. 

      Leap Motion allows you to get a staggering amount of detail and data from the movement of your hands, fingers, and joints, but in this project, we’re only interested in three things:
      1. which hand we’re using
      2. what finger we’re using
      3. is our hand is closed to a fist

      by ANDREJ HRONCO

      KMI has a great series of blog articles about Web MIDI.  Here is a summary and links to that series. 


      ...

      K-Mix API, Part 2 – Controlling K-Mix with Leap Motion and the Web MIDI API | Keith McMillen Instruments

      If you’ve ever fantasized about mixing with your hands similar to how you control a Theremin or in the movie Minority Report, your dreams are now closer to reality! With the latest K-Mix update, which enables sending MIDI message to fully control K-Mix, combined with the the K-Mix API and the incredible Leap Motion controller, I’ll demonstrate how you can control K-Mix with only your hands and fingers, without touching K-Mix at all!. K-Mix used with the K-Mix API brings a new meaning to the term ‘Programmable Mixer’


      ...

      K-Mix API, Part 1 – Web MIDI Control Surface | Keith McMillen Instruments

      One of K-Mix’s most powerful features is its ability to be programmed and controlled from any DAW. With the power of Web MIDI in your browser and the K-Mix API, K-Mix becomes the first audio mixer that’s fully controllable with JavaScript. In Part 1, I’ll go over the basics of using the K-Mix API and using K-Mix as a control surface for a web app.


      ...

      Making Music in the Browser: Web Audio/MIDI – Amplitude Modulation | Keith McMillen Instruments

      Amplitude Modulation is a simple concept that can yield harmonically rich and bizarre timbres not easily achieved via other methods. In this article we’ll expand on the topics introduced in Simple Synthesis – Amplitude Modulation and play around with the concepts behind AM Synthesis. Modulation sources do not need to be low-frequency oscillators or envelope generators.


      ...

      Making Music in the Browser: Web Audio/MIDI – Envelope Generator | Keith McMillen Instruments

      In our first Simple Synthesis Addendum we learned how to connect a VCO to a VCA and control their ‘frequency’ and ‘gain’ AudioParams using a MIDI controller via the Web MIDI API. Good stuff! We now have a simple synth we can play. In this post we’ll learn how to shape our notes by building a Envelope Generator with configurable attack, decay, sustain and release using the Web Audio API’s scheduling methods. We’ll also give our Envelope Generator a ‘Mode’ setting, which will give us the ability to create some really long envelopes to play with.


      ...

      Making Music in the Browser: Web Audio/MIDI – VCO/VCA | Keith McMillen Instruments

      Emmett Corman has a great introductory series on the basics of synthesis (using modular synths), called Simple Synthesis. I thought it would be of value to those without access to the hardware to be able to explore and interact with the concepts that Emmett covers directly in the browser, using the Web MIDI and Web Audio APIs.


      ...

      Making Music in the Browser – Web MIDI API | Keith McMillen Instruments

      This opens up a huge variety of possibilities for not only art and music in the browser, but also allows any hardware that uses MIDI as its communication platform to control and be controlled by your browser. MIDI.org itself says “the Web-MIDI API is the most significant advancement of MIDI since… MIDI itself!”


      ...

      Manipulating MIDI with Pure Data | Keith McMillen Instruments

      Working in technical support for KMI, I am often confronted with requests for functionality from some of our devices that we didn’t include for one reason or another. There’s a variety of tools that you can use for this task, such as Max, Bome’s MIDI translator or Pure Data. All of these software environments can do wonderful creative things with MIDI information, but one of them has a defining characteristic; Pure Data is free, open-source, cross platform software. This means that you can make a solution by yourself, today, for free, that can run on Mac, Windows, Linux and even on a Raspberry Pi. In this article (and maybe more) we’ll look at the basics of manipulating MIDI in Pure Data to give the SoftStep2 four triggers on each pad.


      ...

      Sequencing the SEM: MIDI to CV Conversion | Keith McMillen Instruments

      The best way to unlock the hidden potential of any semi-modular synthesizer is by sequencing. This post will describe the necessary steps to use the QuNexus as a MIDI-to-CV converter along with Ableton Live to control the legendary Oberheim Synthesizer Expander Module.
      Before you begin, make sure you have an SEM


      ...

      Interfacing with MIDI Hardware Using M4L: The Meeblip Anode | Keith McMillen Instruments

      With the advent of small, portable, MIDI enabled analog synthesizers, computer musicians now have the option of controlling a lot more than VSTs. If you have a USB MIDI interface (or other means of getting MIDI from your computer to 5 Pin MIDI connections), you can leverage the sequencing power of Live to control all of the MIDI enabled parameters on your synth. In this article, we’ll look at how to create a MIDI device using M4L that allows us to access all of the parameters on the Meeblip Anode, as well as how to add modulation sources to allow for more sonic options.

      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 From The Inside


      This post was contributed by the well known film composer, Jeff Rona. Jeff was the first president of the MIDI Manufacturers Association and ran the MMA from 1983 until 1992 . Jeff was  instrumental (pun intended) in getting MIDI started and gives us an inside look at the beginnings of MIDI. 

      We recently did an exclusive interview with Jeff where he talks about how he uses MIDI today in his film composition and why “the studio is his instrument”. 


      In 1982
       I was a young composer writing music for theater, dance, and programming synthesizers for a few recording artists to earn money. But an unexpected and odd opportunity came to me that seemed right to try at the time. I was really one of the first people in Los Angeles experimenting with linking desktop computers (a very new thing at the time) with synthesizers. I had a computer mentor of sorts, a scientist from Jet Propulsion Laboratories whose hobby was developing hardware and software to make music. All very experimental – but amazing things were possible with some effort. I learned just enough about writing computer code to be dangerous. It was all purely musical. I was by no means a software expert. But I had a good aptitude for it. I was eventually invited to speak about computers and music at the first TED conference.


      There I am at the TED Conference (circled) with the group, courtesy of PANTONE.

      I was at a local music store in Hollywood and struck up a casual conversation with a couple of guys from Roland who happened to be there at the time. When I told them what I was doing with synths and desktop computers, they got very excited. Within a couple days I found myself in the office of Tom Beckman, the president of Roland US, explaining my work and background. When he asked me if I wanted a job and could I write code for music software. I lied, basically, and said yes. I became a programmer and instrument designer for Roland that day.Within a few weeks of starting (I quickly got a programming coach to help me get up to speed fast) I had my first official meeting with some of Roland’s top engineers and designers, who were in LA from Roland headquarters in Japan. We hit it off very well right from the start. I had learned a few words of Japanese and did my best to express my deep admiration for their work (one of my guests had designed the TR-808 drum machine!). They brought me two prototype keyboards. They showed me a 5 pin jack on the back each and said “we think this is very useful…we want you to devote all your time to writing software for this.” These were likely the first 2 MIDI instruments in the country. The plan was to develop software to show what could be done with combining keyboards and sequencing. I was blown away. I had already written some software to sequence analog synthesizers with a pre-MIDI computer interface. This was a whole new world.

      A few months later I was asked to represent Roland at a small private meeting at the NAMM show to discuss how American musical instrument companies might be able to coordinate their efforts in making MIDI a true standard that was useful, functional, and consistent. I can’t remember everyone at that meeting, but I do remember Bob MoogTom OberheimDave SmithRoger Linn, as well as engineers and designers from Yamaha, Roland, Akai, Casio, Korg, and a few other companies that had gotten a start on MIDI. (This was also the 1983 NAMM show where MIDI was shown to the public for the first time by my Roland US cohort Jim Mothersbaugh).

      The agreement around the table was that a strong need existed to create a coalition of all interested parties to help get MIDI off the ground and into wider use by as many musical instrument manufacturers as possible. The issue then was to find someone willing to get this technical cooperative started. Silence. No one had any interest in taking on the rather monumental task of figuring out how to form an organization for musical instrument companies – competitors – to disseminate, share, develop and test this brand new technology on a grand scale. As the newest member of this group I had the least amount of work responsibility. And the idea of bringing all this together was absolutely compelling to me. I spoke up and said I would take on the responsibility to try and get an official MIDI governing body together. I remember Tom Oberheim, who I’d never met before, saying “Fantastic! And who are you?”

      Over the next several weeks, the enormity of the task became clearer. While Dave Smith, head of Sequential Circuits, was the man who initially conceived of a universal protocol for all musical instruments, a lot of the nuts and bolts of MIDI happened in Japan – primarily with one engineer at Roland working with one engineer at Yamaha. I had already become close to both of them, and had started helping on the design of Roland’s first MIDI/computer interface, called the MPU-401. So I began an ongoing dialogue with them both to discuss the challenges of making MIDI a universally accepted technology by every interested instrument company in the world. Several companies had already vowed to never touch MIDI for a variety of reasons both technical and political. Some were bigger players in the industry. And a lot of companies simply hadn’t heard about our work yet.

      I went to a lawyer in Los Angeles to set up an official not-for-profit corporation to be the official entity for MIDI’s development. It would collect dues (tax free), generate the official technical documents for engineers to follow, and oversee further development to the hardware and software layers of MIDI. I had to think of a name for the group for the incorporation papers, and came up with the MIDI Manufacturers Association – The MMA. By mid 1983 we were off to a good start with about 10 or 12 members. We made a pact to work in tandem with our Japanese counterpart, the Japanese MIDI Standards Committee (the JMSC or just “MIDI Committee” for short).

      Most technical standards are overseen by sanctioned governmental committees and highly rigorous legal procedures. All the various digital audio specifications, broadcast standards, time code formats, video formats, the Compact Disc, were all technologies started with the cooperation of private companies working with government standards groups and protocols, and these all took years to complete before they made their way to the public. Many technologies are half obsolete before they even make it to into stores. We didn’t want that, and so we decided to do what we could to steer clear of any governmental oversight. It did cause problems. For example, if MIDI were to have an official logo (like compact discs did), who would decide that a company had implemented MIDI fully and correctly and could display the logo? And what if they didn’t? Could we stop them? Who would make the call, and would it stand up in court? How would future added MIDI protocols be ratified as ‘official’? Would we grant licenses to companies for a fee? Who owned MIDI? While this made some people a bit nervous, we set all those potential worries aside to focus on the best ways to just get MIDI out into the world. The companies there at the beginning had a sense that MIDI would help sell a lot more keyboards – a good incentive to move quickly. Little did anyone know at the time how explosive the success of this technology would be. It was seen then as little more than a technique to help higher end musicians work with multiple keyboards on stage or in the studio. Nothing radical – just easier.

      The NAMM show takes place twice per year. Winter NAMM is in Anaheim California, across the street from Disneyland an hour south of Los Angeles. The summer NAMM was usually in Chicago. But this particular year the event had been moved to New Orleans. As the newly appointed head of the MMA (more a coin toss than an election) I gave myself the task of organizing a private meeting there and inviting instrument companies from around the country and throughout Europe to attend a meeting to show what MIDI was, and to try and get the MMA moving forward. Members of the JMSC offered to attend to officially recognize the MMA for all companies using MIDI outside of Japan. There was also at the time a new users group for interested musicians to learn about this cool new MIDI thing. It was run by an LA-based musician named Lachlan Westfall, and we had become good friends. He was also an adept print layout artist, and I was in the midst of translating and editing the 1st edition of the official “MIDI Specification 1.0″ from Japanese to English for MMA members to use as a reference. Lachlan helped me put that together and we agreed to continue helping each other out in different ways. We both spent days poured through music magazines looking for any company we thought might be interested in using MIDI and I sent invitations to come to NAMM to be a part of this new MIDI and MMA movement. Getting rivals and competitors to sit down together was unheard of. Before MIDI there was never a need to discuss anything of mutual benefit. I was hoping to double the size of the organization and maybe get up to 20 or so members that summer.

      Uncertain anyone would even attend, I booked a small private meeting room at the New Orleans Hilton, got refreshments, printed up copies of the new MIDI Spec, and put together an itinerary for the meeting. I was incredibly nervous this being the first time I used MMA money for anything. Not only was a lot riding on this, but there were still a number of detractors who didn’t see the MMA getting off the ground. I walked into the room to begin the meeting, and instead of the 20 or 30 people I expected, there were over a hundred – engineers and executives from every instrument company, audio company, and music magazine I’d ever heard of. This was far beyond anything I could have hoped for.

      I’d invited Karl Hirano, Yamaha’s chief engineer at the time (and developer of the DX7), who was also the president of the JMSC, to say a few words. He graciously spoke to acknowledge the MMA as the only technical group with the power to develop and ratify new MIDI protocols outside of Japan. By the end of the meeting, all the major instrument companies, as well as young startups were on board. MMA, and MIDI’s development, was in full swing. Some of those little startups there went on to be some of the most successful music and audio companies in the business. 

      Karl Hirano | Oral Histories | NAMM.org

      Karl Hirano was a synthesizer engineer for Yamaha in Japan during the great MIDI boom of the early 1980s. In fact, Karl was a member of the team that gathered at the 1983 NAMM Show to discuss the MIDI

      https://www.namm.org/library/oral-history/karl-hirano

       There were plenty of kinks along the way, but we developed a working method for rapidly proposing, amending, and approving new elements to MIDI. And while many new and improved implementations for MIDI came from Japan, the one person in my opinion who pushed MIDI forward more than anyone was a young engineer (also from Sequential Circuits) named Chris Meyer. Chris is a full-tilt genius with an incredibly low tolerance for egos, errors, wasted energy, or bullshit of any kind. Serious on the outside, delightful on the inside, he was absolutely incredible to work with, and he kept the rest of the MMA, myself especially, on its toes at all times.

      Obviously, MIDI has been a runaway hit far beyond anyone’s wildest expectations at the start. It is ubiquitous. Eventually we did get called up by one of the US governmental technical bodies to tell us that if we didn’t slow down and do things by the book, MIDI was heading for nothing but lawsuits and eventual destruction. We agreed to meet and discuss the option of changing to a different method. It would involve dissolving the MMA and allowing an organization such as AES or SMPTE to take over and run things “properly”. It was an odd meeting – again in a back room at another NAMM show. It was a rather stodgy, unnamed member of that governmental body (wearing two pairs of coke bottle thick glasses – legally blind I imagine, and utterly geekish), Bob Moog, Chris Meyer, one other engineer, and myself. And it was actually a rather brutal meeting. We were lectured like we were children about to crash our bicycles over a cliff, with all the potentially dire consequences listed out for us.

      But afterward it was clear to all of us at MMA that we simply had to stay “rogue” or we would have to stop all the amazing change going on right then for the entire music industry. MIDI instrument development had still only been in full swing a few years, but already we were introducing protocols for synchronizing video machines, multi-track systems, lighting boards, automation of all kinds, samplers, patch editors and librarians, and especially computer interfacing and sequencing – and it was really going well. In all of that early rapid development and deployment only a tiny handful of products ever made it to market with real flaws in their MIDI support, which was a major coup for the MMA.

      Regardless of how things “should” have been done, we were doing things right, and the music industry was going crazy for it. MIDI brought synthesizers so much further into the mainstream of music production and live performance. In my estimation, no other digital technology, maybe no other technology of any kind, has ever succeeded at the pace and with the success of MIDI on a global scale.

      I ran the MMA for 7 years. In the middle of my time there I took a break for a couple years to focus more on my music, but returned to keep things moving as smoothly as possible. But as my work as a musician in recording studios and eventually my composing for film and TV took off, I had to give up my role in the MMA. It was incredibly sad for me to leave, but I was no longer an active developer, having left my job at Roland a few years earlier. Those wonderful geeky people that started the whole thing, virtually all superb musicians in one way or another, had become some of my close friends and favorite people.

      These days I attend NAMM shows to find the best new hardware and software for my studio, and I am fortunate enough to still run into a lot of the people that were there from the start. Some of the smartest people I’ve ever met. And we share a smile for something that we can all be very, very proud of.

      I know I am. 

      Updated with a Youtube Interview by Orchestral Tools

      We found this excellent Youtube interview by Orchestral Tools and thought it would be a great addition to this article with the first President of the MIDI Manufacturers Association, Jeff Rona. 

      Jeff Rona | Oral Histories | NAMM.org

      Jeff Rona played a critical role in the coming together of the minds and companies that would agree on the MIDI specs back in the 1980s.

      https://www.namm.org/library/oral-history/jeff-rona

      Becoming an author for MIDI.org

      It’s easy to become an author for The MIDI Association. Simply join the MIDI Association as a member and then use the Contact form to tell us your username, a bit about your background and the MIDI topics you’d like to cover. 

      We can then enable you as an author and give you access to our content management system which makes it easy to upload photos, embed Youtube videos and format your web article.

      After you become an author, you can go sign into the site with your member name and password and then go to https://www.midi.org/create-blog-post

      There are several templates available or you can start with a blank post.

       Here is a short video about how easy it is to use our Content Management System. 

      Once you’re done creating your article you can submit it for approval.

      Once your first article is approved, you can send us a photo and bio and we’ll create an author profile for you on the site. Join Craig Anderton, Mark Vail, Paul White and many other respected music journalists in contributing to the official webpage for the MIDI.

      The MIDI Association and Bluetooth MIDI at 2016 SXSW

      For the past few days we have been at the SXSW Music Expo.  It turns out that Austin now only has a vibrant synth scene, but there are a lot of Austin based startups doing some pretty cool things with MIDI. Also at the show we got to meet with some companies from around the globe and from all over the US doing cool things with Bluetooth MIDI. It seems that BTLE MIDI has inspired a number of companies to create unique new ways to control MIDI wireless and MIDI gestural control really seems to trending in 2016. 

      So here is a quick report on MIDI at the 2016 SXSW Music Expo. 

      Austin Based Futuresonus shows off the Parva Poly Analog Synth

      We got to interview Designer Brad Ferguson to talk about his new synth, the Futuresonus Parva, a polyphonic analog synthesizer.  Just as refresher here are the Parva’s key features:

      • Eight voice polyphonic synthesizer with flexible voice assignment
      • Three oscillators per voice
      • Flexible dual filters
      • 4 LFOs
      • 100% analog signal path
      • Digital patch management and control
      • USB master port so you can connect USB MIDI controllers directly to it
      • Aluminum case and knobs

      Brad talks about the Parva and how MIDI is used for control. ​

      The Parva has some unique MIDI features including a USB Host port so you can connect your USB controller directly to the Parva module,  the use of 14 bit RPNs to get double bit precision for control of most of the analog parameters . FYI, RPNs (Registered Parameters)  and NRPNs (Non-Registered Parameters) have been a part of the MIDI spec form the very beginning).   Also (although not mentioned in the video) Futuresonus is workingto make Parva the first hardware synth that uses the new Multidimensional Polyphonic Expression (MPE) standard the MIDI Manufacturers Association is working on.  

      Here is Brad’s take on what MIDI means. 

      Zivix show off Jam Stik 2 and new Air Jamz

      The Jamstik made it easy to learn to play guitar, Jamstik 2 added more features and there is more content and apps.

      Air Jamz goes ‘playing” guitar even simpler and is just plain fun. Check out this Engadget article. 


      ...

      AirJamz is a wristband that turns air guitar into wear guitar

      The tagline reads: “AirJamz is the wearable Air Guitar that you have to see to believe.” To be fair, you probably can believe it, especially if you’re familiar…

      OWOW – the Omnipresent World Of Whizkids

      OWOW was showing off their truly unique Bluetooth controllers called midis and named Wiggle, Scan, Drum and Wob. They say a picture is worth a thousand words and a video must be worth even more so check them out. The OWOW team has some very intriguing designs that are both simple and elegant ways to do interesting and creative things with MIDI. 

      Here is Dirtcaps showing how to use the midis in the studio. 

      The ReMIDI T8 MIDI Glove

      There have been MIDI gloves around for awhile, like Imogen Heap’s which we have featured on the site before, but ReMIDI is the first attempt to deliver a product that can be manufactured in quantity and also the first to use Bluetooth MIDI.  We were able to catch up with Andrea Baldereschi, CEO and Marco Casolati, Product Specialist at ReMIDI to talk about where the T8 project is at and their thoughts on the future of MIDI gestural control. 

      Here is a video of the ReMIDI T8 in action. Andrea told us they have fully functioning prototypes and on track to start production around September. 

      Zoom also had a booth at SXSW and were showing off their ARQ™ BTLE wireless MIDI controller and Yamaha had their UD-BT01 and UM-BT01 BTLE adapters so it was pretty clear that the Bluetooth MIDI is going mainstream in 2016. 

      Alternative Controllers: Part 5 Hand-Held and Struck Controllers, and Controllers for Microtonal Tunings

      Hand-Held Controllers

      Electronic MIDI controllers that you hold in your hands and shake or move about to make music date back to 1986. That was the year Palmtree Instruments introduced Airdrums, a tabletop MIDI controller wired to two tubes that contain sensors for detecting motion in any of six directions. The control box transmits six triggers per tube for playing notes, starting sequences, and generating other MIDI data depending on user assignments. Airdrums started the ball rolling in the development of controllers such as the Nintendo Wii, which some contemporary performers use as a softsynth controller.

      Also in 1986, computer-music pioneer Max Mathews (1926-2011) introduced the Radio Baton, which consists of a pair of mallets with built-in radio transmitters and a table surface beneath which are five antennas. As a computer loaded with Max’s conductor software follows movements of the mallets above the table, it generates MIDI output for controlling the volume, timbre, and rhythm of a sequencer playing music.

      Don Buchla introduced Lightning in 1991. It has two wireless wands that contain infrared transmitters, a remote infrared-tracking head that can be mounted on a mic stand and senses positions of and gestures made with the wands, and the third component, a half-rack-sized box that contains electronic circuits. You can program the receiver that tracks wand movements to perform actions such as note selection, pitchbends, stereo panning, and volume. Originally Lightning only transmitted MIDI, but the newer version — the Buchla Lightning III — transmits MIDI and also has a built-in 32-voice synthesizer.

      Imagine if the batons held by a member of the ground crew to safely direct an aircraft into a gate at an airport controlled the pitch, timbre, and other aspects of sound generated by a synthesizer. That’s essentially what Don Buchla’s Lightning does. This is the Lightning II system, complete with the triangular, optic-sensing head, a pair of wireless, infrared-transmitting wands, and the half-rack control module, which housed a 32-voice synthesizer. Lightning II was introduced in 1996, later to be replaced by the Lightning III. (courtesy of Buchla & Associates)

      Synthesizer pioneer Don Buchla — proudly clad in his pin-laden fedora — prowls the Anaheim Convention Center at Winter NAMM 2012. (Mark Vail)

      ​Struck Controllers

      Numerous individuals and companies have made electronic controllers and instruments for drummers and percussionists since Joe Pollard developed the Syndrum in 1977. Soon to follow were the U.S.-built Star Instruments Synare series from 1975 to 1983 and the British-made Simmons pads and sound generators.

      Plenty of drum and percussion controllers and systems have come and gone since MIDI arrived in 1983. Among the manufacturers to develop full-fledged electronic kits are Alesis, 2Box Music Applications, Roland, and Yamaha. All of them make modules to go with the drum pads and related controllers — cymbals, too — but of course since they’re MIDI controllers you can trigger any MIDI sound generator(s) of your choice.

      Drum controllers don’t have to look like drum sets. Over the years there have been many great percussion controllers and instruments, whether you hit them with sticks — Roland’s Octapad series comes to mind — or your hands — i.e., Roland’s Handsonic series. As of November 2015 Roland’s current Octapad is the SPD-30 (http://www.rolandus.com/products/octapad_spd-30), which contains built-in sounds and can function as a percussion instrument on its own. If you’d prefer an electronic percussion instrument/controller that allows you to sample your own sounds, Roland offers the SPD-SX (http://www.rolandus.com/products/spd-sx). Both SPD models have MIDI I/O for playing other instruments or responding to controller and note data from other MIDI devices, as well as trigger inputs for responding to analog gear that output trigger signals.

      Continuing the historic line of Octapads, Roland’s SPD-30 sports features including eight pads, four inputs for triggers from external sources, a backlit LCD, 670 internal sounds, built-in effects, and a three-part phrase-loop sequencer that allows overdubbing. (courtesy of Roland Corporation)


      Roland’s SPD-SX allows you to sample and play sounds using its nine velocity-sensitive pads, six square and three across the top. It provides 2GB of internal sample memory, effects processing, a backlit LCD, MIDI and USB connectors, and two external trigger inputs. The SPD-SX comes with computer software for importing, assigning, and organizing samples. (courtesy of Roland Corporation)


      Although I’m a poor percussionist and never came close to mastering the drums, Roland’s introduction of the HPD-15 Handsonic at the 2000 NAMM show immediately attracted me thanks to its built-in sounds and controller implementation. Its 15 pads, arranged within a circle and sized between about a quarter of the circle and a few square inches, sense how hard you strike them with your hands and fingers — drumsticks aren’t recommended — as well as how hard you push down afterward. In fact, each Handsonic transmits its own aftertouch data, which means it will work with MIDI devices that detect polyphonic aftertouch — a rare but very effective means of imparting vibrato or a bit more volume to individual notes within a chord. In addition, the HPD-15 has two ribbon controllers — one on each side of the pad circle — that can trigger notes or transmit controller data. Finally, the HPD-15 has a D-Beam controller, a motion-sensing detector placed above the pad circle; it too can trigger notes or send controller data.

      While the original HPD-15 Handsonic has been discontinued, as of late 2015 Roland’s flagship Handsonic, the HPD-20 (http://www.rolandus.com/products/handsonic_hpd-20), offers the same pad configuration and D-Beam, although not the side ribbons — which makes it less wide and a bit more portable than the HPD-15. Along with 850 internal sounds, the HPD-20 allows you to import up to 500 of your own WAV-format samples.

      Thanks to its responsive silicone rubber pads, great sounds, and extensive programmability, the Roland HPD-20 serves as an outstanding electronic percussion instrument. Hitting it with drumsticks isn’t recommended; use your hands, please. (courtesy of Roland Corporation)

      The configuration of pads on John Worthington’s Jambé (http://getjambe.com) reminds me of those on a Roland Handsonic, except that you can hit the Jambé’s with your fingers, hands, or drumsticks and it’s intended mainly as a percussion controller for an iPad or iPhone. Activity on Jambé’s pads transmit controller data including aftertouch. The latest developments in Jambé’s software and sounds are due to be announced at Winter NAMM 2016, from January 21 to 24. It’s a beautiful controller that might work perfectly for you.

      Mounted on a drum stand above an Apple iPad is a Jambé percussion controller. You can order a Jambé with its wooden rim stained light or dark. According to the Jambé website, “Within a sustainable hardwood rim sits a ten geometric play zone interface which transforms actions registered by its sensors into dynamic sounds via software running on an iOS device.” (courtesy of John Worthington)

      Taking a slightly different controller approach is Titan Reality, whose Pulse 3D music controller (https://titanreality.com) responds not only to direct contact on its surface, but also to movement and hand gestures the performer makes above that surface. You can play Pulse with your fingers or hands, as well as mallets, drum sticks, brushes, and other objects such as a ball. As stated on the Titan Reality Kick Starter site, Pulse is “the musical instrument platform of the future, for everyone to discover and play music at any level. … Pulse is the most expressive music controller ever made, it works in 3D, at very high resolutions and speeds. When connected to a free Titan Reality app you can play instruments with incredible detail and performance. Simply discover thousands of high-resolution musical instruments in a one-click app using our Explore cloud platform. The system is also compatible and fully programmable with all standard music software using MIDI.”

      The site describes Explore as “a new digital platform that brings the simplicity of cloud distribution to music makers. Browse, listen, choose, and download any item instantly, so you can setup your ideal music rig in a few clicks.

      “You can download any of the new 100+ instruments coming to Explore each month. Discover and play rare, luxury and handmade instruments from private collections or cutting edge electronic instruments in your home, at a fraction of the price. Combine these state of the art virtual instruments with the control of Pulse and play musical history. Explore will be available after our Kickstarter campaign.”

      A Titan Reality Pulse controller set up in place of a snare drum with a clear-shelled drum set. (courtesy of Titan Reality)

      Another exciting new instrument/controller going through an IndieGoGo Crowdfunding campaign as of November 2015 is the Synesthesia Mandala Drum V3 System (http://www.MandalaDrum.com). It’s an advanced drum-pad controller system co-developed by engineer/inventor Vince De Franco — maker in 1997 of the Interactive Light Dimension Beam, which Roland subsequently licensed and incorporated as the D-Beam controller in the HPD-15 Handsonic and other electronic instruments — and drummer Danny Carey of the band Tool. So sensitive is the Mandala V3 pad at tracking the position and force of individual hits on its surface and rim that you can trigger and control thousands of samples from a single pad.

      You can connect up to seven V3 pads to a single V3 Module. Synesthesia’s V3 Virtual Brain Software — which can function as a stand-alone application or as a plug-in for Ableton Live, Logic, ProTools, Cubase, Digital Performer, and MainStage — allows you to assemble and trigger non-proprietary MDA sound files consisting of a single to thousands of location, velocity-switched, and round-robin samples. Mandala Drum V3 System creators incorporate a patented membrane switch that reportedly detects the position and velocity of any touch on the surface or rim with no false triggers. They intend the Mandala Drum V3 System to expand a drummer’s creative, compositional, and performance capabilities with integrated hardware, software, and included MDA sound-file library, as well as additional MDAs available from the company’s online library.

      A close-up look at a Synesthesia Mandala Drum V3 pad. (courtesy of Synesthesia Corporation)

      Included here to his left in Tool drummer Danny Carey’s drum kit are two Synesthesia Mandala Drum V3 pads. Carey worked with Vince De Franco to develope the Mandala Drum and plays seven Mandalas in his official Tool drum kit. (courtesy of Synesthesia Corporation)

      This graphic depicts the process Synesthesia conducts to create an MDA based on a snare-drum sound from late Led Zeppelin drummer John Bonham for assignment to a Mandala Drum V3 pad. (courtesy of Synesthesia Corporation)

      A visual layout of a Mandala Drum V3 system. What’s referred to here as the Mandala MIDI Module corresponds to the Mandala V3 Module. (courtesy of Synesthesia Corporation)

      One manufacturer has been making percussion controllers since the mid 1980s in Chicopee, Massachusetts, originally as Kat and now as Alternate Mode (http://www.alternatemode.com). Their ten-pad drumKat is an expressive controller that has gone through numerous updates since its early ’90s introduction. The bigger and more extensive trapKat provides 24 trigger pads across its 41.5″ by 19″ surface. Both supply user memories and lots of programmability in a single unit that’s far easier to tear down, transport, and set up than an entire electronic drum kit.

      Alternate Mode’s programmable drumKat controller allows you to trigger MIDI synths to play drum, percussion, or whatever sounds you choose. You can program individual pads to transmit single notes, melodic lines, or up to eight notes at a time. If you’d prefer a complete instrument, there’s the drumKat Turbo KS, which has a built-in Kurzweil synthesizer. (courtesy of Alternate Mode, Inc.)

      Trigger pads are spread out wide on the Alternate Mode trapKat controller. How many pads? If you count — be sure to include the skinny ones around the perimeter and across the front — you’ll get up to 22, but there are actually 24. The pads to the extreme left and right are actually spit in half to serve as two pads each. Connected to one or more capable MIDI sound generators, you can assign up to 16 sounds to each pad and trigger them individually by velocity switching among them, layer them all together, or sequence through them one at a time. Also available is the trapKat 5KS, which includes a built-in Kurzweil synth engine. (courtesy of Alternate Mode, Inc.)

      Steel drums have always fascinated me, as well as the music played with them. How would you like to have one that you can play any sounds you’d like on? Introducing the panKat MIDI controller from Alternate Mode. It gives you 128 memory locations to store your assignments of its 30 trigger pads. (courtesy of Alternate Mode, Inc.)

      Alternative Mode’s malletKat Pro provides three octaves of trigger pads arranged like the bars of a marimba. The malletKat is also available in two- and four-octave models — the Express and Grand, respectively — and you can get any of them with a built-in Kurzweil synth engine. You can also buy a single-octave pad expander to increase the note range of any malletKat. (courtesy of Alternate Mode, Inc.)

      Another marimba-style controller came from Don Buchla, who teamed with percussionist/programmer Mark Goldstein and marimbist/sound designer Joel Davel to create the Marimba Lumina mallet MIDI controller/instrument — Buchla’s final 20th century product. It was available in two sizes, responds independently to as many as four different mallets for gestural control, and features a built-in synth engine for stand-alone performance.

      Controllers for Microtonal Tunings

      The 12-notes-per-octave equal-tempered scale we’re accustomed to hearing in Western music is in truth a compromise in tuning, adopted during the early 19th century mostly to allow easy transposition into different keys. Whereas such a division of the octave results in unnatural tuning beats in intervals such as a major third or fifth because frequency ratios between the low and high notes are sharp or flat, tunings based on frequency ratios such as 5:4 for a major third and 3:2 for a perfect fifth in Just intonation result in pure, beat-free interactions between the low and high notes. Explorations of Just Intonation and other microtonal tunings — including equal-tempered scales in which the octave is divided into increments such as 53, 41, 31, or 7 — can be fascinating, rewarding, and potentially never-ending.

      Not only are Just intonation and other non-equal-tempered and microtonal tunings infinitely easier to do with synthesizers — many of which support different tunings, some more flexibly and easier to program than others — than with acoustic instruments, but there’s also a variety of controllers and instruments specifically tailored for playing microtonal music. The widest variety appears among the offerings in the Tonal Plexus lineup from Hπ/H-Pi Instruments (http://hpi.zentral.zone/tonalplexus). Invented and hand-made by Aaron Andrew Hunt, these complex, colorful instruments range from two to six octaves with blue, green, red, or yellow edge keys. The keyboards are part of a complete system of microtonal music theory that is quite unique, historically speaking (http://musictheory.zentral.zone/huntsystem1.html). A Tonal Plexus can have either MIDI I/O or a USB connector (the U-Plex line), and some are available with built-in General MIDI sound generation and a stereo sound system with internal speakers and a headphone jack. Every Tonal Plexus instrument comes with cross-platform editing software and a ¼” sustain pedal input jack.

      The MegaPlex from Hπ/H-Pi Instruments is an experimental version of the Tonal Plexus series with 256 velocity-sensing keys per octave covering six octaves. Built-in are a Mac Mini with all of its connections — HDMI, Ethernet, mic input, two USB ports, and Firewire 800 — accessible on the back panel, a 1,024 by 768 TFT LCD single-touch screen, and a built-in stereo sound system with line-level input and output and a headphone jack. Alongside the MIDI in, out, and thru connectors are six ¼” jacks for foot controllers. Although you can run the Macintosh music applications of your choice, H-Pi’s microsynth comes installed on the MegaPlex’s internal Mac Mini, which requires a USB keyboard and mouse to boot up, but the built-in touch screen works directly with the Mac. (© 2012 H-Pi Instruments)

      A close-up look at the built-in touch screen on the H-Pi Instruments Tonal Plexus MegaPlex. (© 2012 H-Pi Instruments)

      A view from behind an H-Pi Tonal Plexus MegaPlex. As of April 2015, H-Pi’s Aaron Andrew Hunt reports that he’s taking a break from hand-assembling Tonal Plexus keyboards, which he did from 2006 through 2014. Other than finding a Tonal Plexus on the used market, alternative-tuning enthusiasts who seek a Tonal Plexus keyboard might still be able to purchase one directly from H-Pi in the form of a DIY project (http://hpi.zentral.zone/diy) or prototype (http://hpi.zentral.zone/prototypes). Partially assembled units may also be available (http://hpi.zentral.zone/assembled). You can contact the inventor through the H-Pi website (http://hpi.zentral.zone/email) or on Facebook (https://www.facebook.com/hpiinstruments). (© 2012 H-Pi Instruments)

      H-Pi Instruments also offers numerous cross-platform (Mac and PC) computer applications. Custom Scale Editor is an editor for tuning individual MIDI keys to a specific pitch using ratios, Hertz values, decimals, constants and functions, code snippets, user-definable algorithms, and more. CSE also allows you to import Scala and .tun files, automatically tune specific temperaments, and export tunings in a variety of tuning formats. H-Pi’s microsynth is a microtonal, 16-part multitimbral SoundFont synth and sequencer designed for composing microtonal music. You can also train your ear to recognize microtonal tunings and explore pitches, intervals, chords, notations, and melodies using Xentone. ScalaVista is a microtonal database that contains over 4,000 scales that you can import into microsynth, CSE, and Xentone. H-Pi’s MIDI Tapper (http://hpi.zentral.zone/miditapper), currently available in beta form for Mac with a Windows version under development, reminds me of the two One Key Play buttons on the Casio VL-Tone VL-1 and other Casio instruments. After you have inserted into a step sequencer the notes you want played, you can trigger them with the nuances you prefer by playing one or two keys on a MIDI keyboard or other controller. MIDI Tapper allows you to import and export Standard MIDI Files; enter into a sequence patch changes and CCs for volume control and panning; edit MIDI data graphically and in list format; loop-rehearse specific passages; and do much more.

      If microtonal tunings interest you, note that John Loffink maintains the extraordinary Microtonal Synthesis Web Site (www.microtonal-synthesis.com) with tips, links, and information about working with microtonal scales on different synthesizers, a recommended listening list, and coverage of microtonal composer Harry Partch (1901-1974).

      “What is MIDI” Guide by Paul Lehrman

      Join the MIDI Association and download the 21 page booklet “What is MIDI” excerpted from “MIDI for the Professional” by Paul Lehrman and Tim Tully. 

      {edocmanlink 52} 

      Paul Lehrman showing Herbie Hancock the joy of MIDI.

      Paul D. Lehrman, PhD, composer, author, consultant, and educator, is one of the world’s leading experts on MIDI and computer music.

      He was the creator of the first all-MIDI album, The Celtic Macintosh (1986), and has had compositions commissioned by Newcomp, the Boston Computer Society, the Society for Small Computers in the Arts, the Audio Engineering Society, and UMass Lowell.

      He has written over 500 articles on music technology for publications including Wired, New Media, Keyboard, Electronic Musician, EQ, Piano & Keyboard, Sound on Sound, the Boston Globe, the Boston Phoenix, Technology Illustrated, Studio Sound, Oui, High Times, Millimeter, and Recording Engineer/Producer, and from 1996 to 2008 was the “Insider Audio” columnist for Mix magazine. He was also the web editor for the Technical Excellence and Creativity (TEC) Awards from 1997 to 2015.

      He served three terms as executive director of the MIDI Manufacturers Association during which time he contributed to the development of MIDI Time Code, MIDI Machine Control, and General MIDI. 

      Paul Lehrman is the Director of the program in Music Engineering at Tufts University.

      Paul worked with Eric Singer from the League of Electronic Musical Urban Robots (LEMUR) 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. 


      Links to more information on Paul Lehrman on the web


      ...

      Nintendo’s Wii Remote As A MIDI Controller |

      Nintendo’s ultra-affordable Wii Remote controller can sense movement in every direction, and even knows at what angle you’re holding it. Its potential as a music controller is unlimited, and you don’t even need a Wii console to use it!


      ...

      Metal Machine Music |

      George Antheil’s Ballet Mécanique is all but impossible for human musicians to play. So for his latest presentation of it, Paul D. Lehrman built an orchestra of robots…

      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


      ...

      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!


      ...

      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. 

      Winter NAMM 2016 MIDI Minutes

      If you had a minute to tell us what MIDI means to you, what would you say?

      At the Winter NAMM show 2016, we wanted to capture what people felt about MIDI.  Thanks to Lawrence and Mick Levine we were able to capture people’s instant reaction to the question- What does MIDI mean to you?  It is amazing how articulate and passionate people are about MIDI.  Check out some random people at NAMM talking about MIDI.  Make sure to check out former Keyboard editor Stephen Fortner in MIDI Minute 3!

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      iConnectivity iConnectMIDI4+ $199.99

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      Korg NanoKONTROLStudio $149.99

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      KRK KNS-8400 headphones $249.99

      Cakewalk Rapture Pro virtual instrument $199.99

      Gibson Bass Collection expansion pack $49.99

      One Year Broadjam Primo Membership $199.95

      How to Find MIDI Sequencer “Gotchas”

      Fix those little “gotchas” before they make it into the final mix

      by Craig Anderton

      MIDI sequencing is wonderful, but it’s not perfect—and sometimes, you’ll be sandbagged by problems like false triggers (e.g., what happens when you brush against a key accidentally), having two different notes land on the same beat when quantized, voice-stealing that cuts off notes abruptly, and the like. These glitches may not be obvious when other instruments are playing, but they nonetheless can muddy up a piece or even mess up the rhythm. Just as you’d “proof” your writing, it’s a good idea to “proof” sequenced tracks.

      Begin by listening to each track in isolation; this reveals flaws more readily than listening to several tracks simultaneously. Headphones can also help, as they may reveal details you’d miss over speakers. As you listen, also check for voice-stealing problems caused by multi-timbral soft synths running out of voices. Sometimes if notes are cut off, merely changing note durations to prevent overlap—or deleting one note from a chord—will solve the problem. But you may also need to dig deeper into some other issues, such as . . .

      NOTES WITH ABNORMALLY LOW VELOCITIES OR DURATIONS

      Even if you can’t hear these notes, they still use up voices. They’re easy to find in an event list editor, but if you’re in a hurry, do a global “remove every note with a velocity of less than X” (or for duration, “with a note length less than X ticks”) using a function like Cakewalk Sonar’s DeGlitch option (Fig. 1).

      Fig. 1: Sonar’s DeGlitch function is deleting all notes with velocities under 10 and durations under 10 milliseconds.

      Note that most MIDI guitar parts benefit greatly from a quick cleanup of notes with low velocities or durations.

      UNWANTED AFTERTOUCH (CHANNEL PRESSURE) DATA

      If your master controller generates aftertouch (pressure) but a patch isn’t programmed to use it, you’ll be recording lots of data that serves no useful purpose. When driving hardware synths, this can create timing issues and there may even be negative effects with soft synths if you switch from a sound that doesn’t recognize aftertouch to one that does.

      Note that there are two types of aftertouch—channel aftertouch, which generates one message that correlates to all notes being pressed, and polyphonic aftertouch, which generates individual messages for each note being pressed. The latter sends a lot of data down the MIDI stream, but as there are few keyboard controllers with polyphonic aftertouch, it’s unlikely you’ll encounter this problem.

      Steinberg Cubase’s Logical Editor (Fig. 2) is designed for removing specific types of data, and one useful application is removing unneeded aftertouch data.

      Fig. 2: In this basic application of Cubase’s Logical Editor, all aftertouch data is being removed.

      Note that many recording programs disable aftertouch recording as the default, but if you enable it at some point, it may stay enabled until you disable it again.

      OVERLY WIDE DYNAMIC VARIATIONS

      This can be a particular problem with drum parts played from a keyboard—for example, some all-important kick drum hits may be much lower than others. There are two fixes: Edit individual notes (accurate, but time-consuming), or use a MIDI edit command that sets a minimum or maximum velocity level, like the one from Sony Acid Pro (Fig. 3). With pop music drum parts, I often limit the minimum velocity to around 60 or 70.

      Fig. 3: Sony’s Acid Pro makes it easy to restrict MIDI dynamics to a particular range of velocity values.

      DOUBLED NOTES

      If you “bounce” a key (or drum pad, for that matter) when playing a note, two triggers for the same note can end up close to each other. This is also very common with MIDI guitar. Quantization forces these notes to hit on the same beat, using up an extra voice and producing a flanged/delayed sound. Listening to a track in isolation usually reveals these flanged notes; erase one (if two notes hit on the same beat, I generally erase the one with the lower velocity value). Some programs offer an edit function that deletes duplicates automatically, such as Avid Pro Tools’ Delete Duplicate Notes function (Fig. 4).

      Fig. 4: Pro Tools has a menu item dedicated specifically to eliminating duplicate MIDI notes.


      NOTES OVERLAP WITH SINGLE-NOTE LINES

      This applies mostly to bass and wind instruments. In theory, with single-note lines you want one note to end before another begins. Even slight overlaps make the part sound more mushy (bass in particular loses “crispness”) but what’s worse, two voices will briefly play where only one is needed, causing voice-stealing problems. Some programs let you fix overlaps as a Note Duration editing option.

      However note that with legato mode, you do want notes to overlap. With this mode, a note transitions smoothly into the next note, without re-triggering an envelope when the next note occurs. Thus in a series of legato notes, the envelope attack occurs only for the first note of the series. If the notes overlap without legato mode selected, then you’ll hear separate articulations for each note. With an instrument like bass, legato mode can simulate sliding from one fret to another to change pitch without re-picking the note.

      Craig Anderton is an Executive Vice-President at Gibson Brands, and Editorial Director of Harmony Central. He has played on, mixed, or produced over 20 major label releases (as well as mastered over a hundred tracks for various musicians), and written over a thousand articles for magazines like Guitar Player, Keyboard, Sound on Sound (UK), and Sound + Recording (Germany). He has also lectured on technology and the arts in 38 states, 10 countries, and three languages. This article is reprinted with the express written permission of HarmonyCentral.

      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)

      The MIDI Association at CES 2016

      ​We were really surprised to see so much MIDI activity at the Intel booth at CES 2016. There were two presenters on their main demo stage that have direct connections to The MIDI Association. 

      DJ RaviDrums was there showing off the combination of a DJ MIDI controller and electronic drums with sophisticated video processing

      Ravi is always at the cutting edge of tech, check out a short bit of his performance here. 

      Intel has also been working on some very interesting MIDI Controllers with Kevin Doucette and AJ Rahman (who was the composer for Slum Dog Millionaire). 

      There is a lot of MIDI going on at the Intel CES Keynote as many of the performers are wearing Curie sensors and triggering sounds via MIDI. 

      You could try it out of yourself at the Intel booth where there were people strapping on Curie sensors and playing ari drums all throughout the 4 days of the show.

      The MIDI Association at Winter NAMM 2016

      We had a great NAMM show  in 2016.  The MMA booth was really busy with constant demos by Quicco, Bome and Kagura from Shikumi Designs.

      All of the Tec Track panels we hosted were well attended.  The  Executive Roundtable: Keyboards and Virtual Instruments — with Craig Anderton, Jordan RudessMike Martin, Jimmy Landry, Roger Linn, Ralph Goldheim, Athan Billias and Stephen Fortner featured a lot of people who were instrumental (pun intended) in moving MIDI forward. 

      There were several demonstrations at the Annual General Meeting of the MIDI Manufacturers Association. Here are a few of the highlights. Jordan Rudess of Dream Theatre showed how expressive MPE could be in the right hands at the MIDI Manufacturers Association afternoon sessions on Sunday.

      The MMA has established an MPE working group and is planning on moving forward quickly to define the specification. MPE is also featured in the GEOShred, the OS application developed by Jordan and MoForte. We also got a quick private demo of that from Jordan at the show.

      Unique MIDI Controllers at NAMM 2016

      There were a lot of very unique MIDI controllers at NAMM this year.  One of the trends was products using the new Bluetooth Low Energy MIDI specification that the MIDI Manufacturers Association finalized this year.

      Korg’s nanoKONTROL is a light-weight and compact mobile MIDI controller and the nanoKEY a keyboard that both feature BTLE MIDI and are  battery operated and can connect wirelessly with your iPhone/iPad or Mac/Windows.

      Yamaha showed two products that let you add BTLE MIDI to your current MIDI products.

      • The UD-BT01 adapter lets you connect devices with a USB TO HOST terminal to iOS devices and Mac.
      • The MD-BT01 adapter lets you connect instruments with MIDI IN/OUT terminals to iOS devices and Macs
      These should also work with Android Marshmallow devices as Marshmallow supports BTLE MIDI. At the MIDI Matters panel at 2016, Pete Brown from Microsoft also mentioned that it is on the roadmap for Windows 10.

      There were some really unique MIDI Controllers at the show.  Here is one that got a lot of attention, Tribal Tools’ Kadabra..

      “KADABRA Is a smart innovative wireless musical instrument that makes the impossible – intuitive. There are 24 capacitive copper pipe keys carved into the lower part of the body, flanked by smart multicolored LED lighting. The upper section is home to 12 control buttons, three thumb buttons and three pressure sensors, six utility buttons and a wheel encoder. Up to 16 different sounds can play simultaneously and motion sensors allow the player to control different parameters or produce specific sounds/effects with sharp or flowing movements. Kadabra has A long range wireless technology with zero latency, Dedicated software for computers which can sync with stand-alone VST instruments, MIDI devices or digital audio workstations over MIDI.
      Tribal Tools aims to release the Kadabra in the second half of 2016”

      Zoom showed the ARQ Sequencer, Drum Machine & Synthesizer.  ARQ is a drum machine, sequencer, synthesizer, looper, and MIDI controller with a built-in accelerometer. It’s wireless Bluetooth Ring Controller let’s you control the internal sounds and sequences as well as other MIDI devices.

      We’d like to thank all our media partners including Sonic State, Harmony Central, Synthtopia, New Bay Media and Sound on Sound for all the great coverage of The MIDI Association launch.

      The History Of MIDI

      We put together a series of articles about the history of electronic music and MIDI. Here are links to the series.


      The History of MIDI from 850 AD to the present


      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.
      https://midi.org/midi-historychapter-1-850-ad-to-1850-ad

      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

      Continue reading

      MIDI at Winter NAMM 2016

      MMA Booth #1086 Hall E

      Winter NAMM 2016 is going to be a busy one for The MIDI Manufacturers Association (MMA), the non-profit trade organization that develops and protects the MIDI specification and the brand new MIDI Association, the global community of people who work, play and create with MIDI. 

      The MMA Booth #1086 (Hall E) will feature displays of innovative MIDI Products from:

      Bome http://www.bome.com

      Quicco http://www.quicco.co.jp

      Shikumi (Kagura) http://www.kagura.cc

      Sensorpoint (Jambe) http://www.getjambe.com

      TEC Track and A3E Panels

      We are also producing 3 TEC Tracks (formerly HOT Zone) sessions (in

      the TEC Tracks area on level 2 of the convention center) which are:

      https://www.namm.org/nammu/midi-everywhere

      https://www.namm.org/nammu/making-money-game-audio

      – <https://www.namm.org/nammu/wearable-instruments-cutting-edge-tech-fashion>

      We also worked with the producers of A3E on these sessions which feature

      MMA members:

      – <https://www.namm.org/nammu/futuristic-control-surfaces-multidimensional-realm>

      – <https://www.namm.org/nammu/new-technology-traditional-instruments>

      Alternative Controllers: Was Part 5

      Hand-Held Controllers

      Electronic controllers that you hold in your hands and shake or move about to make music date back to 1986. That was the year Palmtree Instruments introduced Airdrums, a tabletop MIDI controller wired to two tubes that contain sensors for detecting motion in any of six directions. The control box transmits six triggers per tube for playing notes, starting sequences, and generating other MIDI data depending on user assignments. Airdrums started the ball rolling in the development of controllers such as the Nintendo Wii, which some contemporary performers use as a softsynth controller.

      Also in 1986, computer-music pioneer Max Mathews (1926-2011) introduced the Radio Baton, which consists of a pair of mallets with built-in radio transmitters and a table surface beneath which are five antennas. As a computer loaded with Max’s conductor software follows movements of the mallets above the table, it generates MIDI output for controlling the volume, timbre, and rhythm of a sequencer playing music.

      Don Buchla introduced Lightning in 1991. It has two wireless wands that contain infrared transmitters, a remote infrared-tracking head that can be mounted on a mic stand and senses positions of and gestures made with the wands, and the third component, a half-rack-sized box that contains electronic circuits. You can program the receiver that tracks wand movements to perform actions such as note selection, pitchbends, stereo panning, and volume. Originally Lightning only transmitted MIDI, but the newer version — the Buchla Lightning III — transmits MIDI and also has a built-in 32-voice synthesizer.

      Imagine if the batons held by a member of the ground crew to safely direct an aircraft into a gate at an airport controlled the pitch, timbre, and other aspects of sound generated by a synthesizer. That’s essentially what Don Buchla’s Lightning does. This is the Lightning II system, complete with the triangular, optic-sensing head, a pair of wireless, infrared-transmitting wands, and the half-rack control module, which housed a 32-voice synthesizer. Lightning II was introduced in 1996, later to be replaced by the Lightning III. (courtesy of Buchla & Associates)

      Synthesizer pioneer Don Buchla — proudly clad in his pin-laden fedora — prowls the Anaheim Convention Center at Winter NAMM 2012. (Mark Vail)

      ​Struck Controllers

      Numerous individuals and companies have made electronic controllers and instruments for drummers and percussionists since Joe Pollard developed the Syndrum in 1977. Soon to follow were the U.S.-built Star Instruments Synare series from 1975 to 1983 and the British-made Simmons pads and sound generators.

      Plenty of drum and percussion controllers and systems have come and gone since MIDI arrived in 1983. Among the manufacturers to develop full-fledged electronic kits are Alesis, 2Box Music Applications, Roland, and Yamaha. All of them make modules to go with the drum pads and related controllers — cymbals, too — but of course since they’re MIDI controllers you can trigger any MIDI sound generator(s) of your choice.

      Drum controllers don’t have to look like drum sets. Over the years there have been many great percussion controllers and instruments, whether you hit them with sticks — Roland’s Octapad series comes to mind — or your hands — i.e., Roland’s Handsonic series. As of November 2015 Roland’s current Octapad is the SPD-30 (http://www.rolandus.com/products/octapad_spd-30), which contains built-in sounds and can function as a percussion instrument on its own. If you’d prefer an electronic percussion instrument/controller that allows you to sample your own sounds, Roland offers the SPD-SX (http://www.rolandus.com/products/spd-sx). Both SPD models have MIDI I/O for playing other instruments or responding to controller and note data from other MIDI devices, as well as trigger inputs for responding to analog gear that output trigger signals.

      Continuing the historic line of Octapads, Roland’s SPD-30 sports features including eight pads, four inputs for triggers from external sources, a backlit LCD, 670 internal sounds, built-in effects, and a three-part phrase-loop sequencer that allows overdubbing. (courtesy of Roland Corporation)

      Roland’s SPD-SX allows you to sample and play sounds using its nine velocity-sensitive pads, six square and three across the top. It provides 2GB of internal sample memory, effects processing, a backlit LCD, MIDI and USB connectors, and two external trigger inputs. The SPD-SX comes with computer software for importing, assigning, and organizing samples. (courtesy of Roland Corporation)


      Although I’m a poor percussionist and never came close to mastering the drums, Roland’s introduction of the HPD-15 Handsonic at the 2000 NAMM show immediately attracted me thanks to its built-in sounds and controller implementation. Its 15 pads, arranged within a circle and sized between about a quarter of the circle and a few square inches, sense how hard you strike them with your hands and fingers — drumsticks aren’t recommended — as well as how hard you push down afterward. In fact, each Handsonic transmits its own aftertouch data, which means it will work with MIDI devices that detect polyphonic aftertouch — a rare but very effective means of imparting vibrato or a bit more volume to individual notes within a chord. In addition, the HPD-15 has two ribbon controllers — one on each side of the pad circle — that can trigger notes or transmit controller data. Finally, the HPD-15 has a D-Beam controller, a motion-sensing detector placed above the pad circle; it too can trigger notes or send controller data.

      While the original HPD-15 Handsonic has been discontinued, as of late 2015 Roland’s flagship Handsonic, the HPD-20 (http://www.rolandus.com/products/handsonic_hpd-20), offers the same pad configuration and D-Beam, although not the side ribbons — which makes it less wide and a bit more portable than the HPD-15. Along with 850 internal sounds, the HPD-20 allows you to import up to 500 of your own WAV-format samples.

      Thanks to its responsive silicone rubber pads, great sounds, and extensive programmability, the Roland HPD-20 serves as an outstanding electronic percussion instrument. Hitting it with drumsticks isn’t recommended; use your hands, please. (courtesy of Roland Corporation)



      The configuration of pads on John Worthington’s Jambé (http://getjambe.com) reminds me of those on a Roland Handsonic, except that you can hit the Jambé’s with your fingers, hands, or drumsticks and it’s intended mainly as a percussion controller for an iPad or iPhone. Activity on Jambé’s pads transmit controller data including aftertouch. The latest developments in Jambé’s software and sounds are due to be announced at Winter NAMM 2016, from January 21 to 24. It’s a beautiful controller that might work perfectly for you.

      Mounted on a drum stand above an Apple iPad is a Jambé percussion controller. You can order a Jambé with its wooden rim stained light or dark. According to the Jambé website, “Within a sustainable hardwood rim sits a ten geometric play zone interface which transforms actions registered by its sensors into dynamic sounds via software running on an iOS device.” (courtesy of John Worthington)


      Taking a slightly different controller approach is Titan Reality, whose Pulse 3D music controller (https://titanreality.com) responds not only to direct contact on its surface, but also to movement and hand gestures the performer makes above that surface. You can play Pulse with your fingers or hands, as well as mallets, drum sticks, brushes, and other objects such as a ball. As stated on the Titan Reality Kick Starter site, Pulse is “the musical instrument platform of the future, for everyone to discover and play music at any level. … Pulse is the most expressive music controller ever made, it works in 3D, at very high resolutions and speeds. When connected to a free Titan Reality app you can play instruments with incredible detail and performance. Simply discover thousands of high-resolution musical instruments in a one-click app using our Explore cloud platform. The system is also compatible and fully programmable with all standard music software using MIDI.”

      The site describes Explore as “a new digital platform that brings the simplicity of cloud distribution to music makers. Browse, listen, choose, and download any item instantly, so you can setup your ideal music rig in a few clicks.

      “You can download any of the new 100+ instruments coming to Explore each month. Discover and play rare, luxury and handmade instruments from private collections or cutting edge electronic instruments in your home, at a fraction of the price. Combine these state of the art virtual instruments with the control of Pulse and play musical history. Explore will be available after our Kickstarter campaign.”

      A Titan Reality Pulse controller set up in place of a snare drum with a clear-shelled drum set. (courtesy of Titan Reality)


      Another exciting new instrument/controller going through an IndieGoGo Crowdfunding campaign as of November 2015 is the Synesthesia Mandala Drum V3 System (http://www.MandalaDrum.com). It’s an advanced drum-pad controller system co-developed by engineer/inventor Vince De Franco — maker in 1997 of the Interactive Light Dimension Beam, which Roland subsequently licensed and incorporated as the D-Beam controller in the HPD-15 Handsonic and other electronic instruments — and drummer Danny Carey of the band Tool. So sensitive is the Mandala V3 pad at tracking the position and force of individual hits on its surface and rim that you can trigger and control thousands of samples from a single pad.

      You can connect up to seven V3 pads to a single V3 Module. Synesthesia’s V3 Virtual Brain Software — which can function as a stand-alone application or as a plug-in for Ableton Live, Logic, ProTools, Cubase, Digital Performer, and MainStage — allows you to assemble and trigger non-proprietary MDA sound files consisting of a single to thousands of location, velocity-switched, and round-robin samples. Mandala Drum V3 System creators incorporate a patented membrane switch that reportedly detects the position and velocity of any touch on the surface or rim with no false triggers. They intend the Mandala Drum V3 System to expand a drummer’s creative, compositional, and performance capabilities with integrated hardware, software, and included MDA sound-file library, as well as additional MDAs available from the company’s online library.

      A close-up look at a Synesthesia Mandala Drum V3 pad. (courtesy of Synesthesia Corporation)


      Included here to his left in Tool drummer Danny Carey’s drum kit are two Synesthesia Mandala Drum V3 pads. Carey worked with Vince De Franco to develope the Mandala Drum and plays seven Mandalas in his official Tool drum kit. (courtesy of Synesthesia Corporation)


      This graphic depicts the process Synesthesia conducts to create an MDA based on a snare-drum sound from late Led Zeppelin drummer John Bonham for assignment to a Mandala Drum V3 pad. (courtesy of Synesthesia Corporation)


      A visual layout of a Mandala Drum V3 system. What’s referred to here as the Mandala MIDI Module corresponds to the Mandala V3 Module. (courtesy of Synesthesia Corporation)

      One manufacturer has been making percussion controllers since the mid 1980s in Chicopee, Massachusetts, originally as Kat and now as Alternate Mode (http://www.alternatemode.com). Their ten-pad drumKat is an expressive controller that has gone through numerous updates since its early ’90s introduction. The bigger and more extensive trapKat provides 24 trigger pads across its 41.5″ by 19″ surface. Both supply user memories and lots of programmability in a single unit that’s far easier to tear down, transport, and set up than an entire electronic drum kit.

      Alternate Mode’s programmable drumKat controller allows you to trigger MIDI synths to play drum, percussion, or whatever sounds you choose. You can program individual pads to transmit single notes, melodic lines, or up to eight notes at a time. If you’d prefer a complete instrument, there’s the drumKat Turbo KS, which has a built-in Kurzweil synthesizer. (courtesy of Alternate Mode, Inc.)

      Trigger pads are spread out wide on the Alternate Mode trapKat controller. How many pads? If you count — be sure to include the skinny ones around the perimeter and across the front — you’ll get up to 22, but there are actually 24. The pads to the extreme left and right are actually spit in half to serve as two pads each. Connected to one or more capable MIDI sound generators, you can assign up to 16 sounds to each pad and trigger them individually by velocity switching among them, layer them all together, or sequence through them one at a time. Also available is the trapKat 5KS, which includes a built-in Kurzweil synth engine. (courtesy of Alternate Mode, Inc.)

      Alternate Mode’s panKat has 30 pads primarily arranged in a circular pattern like the playing surface of a steel drum, only on a flat plane instead of being concave. Alternate Mode also offers the malletKat — in versions with two or three octaves of pads — for xylophone, vibe, or marimba players interested in using MIDI. The malletKat 7KS has a built-in Kurzweil synthesizing soundcard, making it a stand-alone instrument.

      Steel drums have always fascinated me, as well as the music played with them. How would you like to have one that you can play any sounds you’d like on? Introducing the panKat MIDI controller from Alternate Mode. It gives you 128 memory locations to store your assignments of its 30 trigger pads. (courtesy of Alternate Mode, Inc.)

      Alternative Mode’s malletKat Pro provides three octaves of trigger pads arranged like the bars of a marimba. The malletKat is also available in two- and four-octave models — the Express and Grand, respectively — and you can get any of them with a built-in Kurzweil synth engine. You can also buy a single-octave pad expander to increase the note range of any malletKat. (courtesy of Alternate Mode, Inc.)

      Another marimba-style controller came from Don Buchla, who teamed with percussionist/programmer Mark Goldstein and marimbist/sound designer Joel Davel to create the Marimba Lumina mallet MIDI controller/instrument — Buchla’s final 20th century product. It was available in two sizes, responds independently to as many as four different mallets for gestural control, and features a built-in synth engine for stand-alone performance.

      Alternative Controllers: Part 1 from The Synthesizer by Mark Vail

      Alternative Controllers


      A keyboard isn’t the only means of playing a synthesizer. Synthesist/multi-instrumentalist/composer Kevin Fortune (http://www.kevinbrahenyfortune.com) is one of many who enjoy using alternative controllers. He believes the kind of controller you use not only directly influences the type of music you create, but it also can lead to “something less habitual and more spontaneous,” Fortune submits, than you’d otherwise play on a standard piano or organ keyboard. Kevin is grateful for manufacturers and individuals who actively create more kinesthetic controllers because they lead to music that is different and more expressive.

      The universe of alternative controllers is vast and the following list is nowhere near comprehensive. It’s intended to get you started on a path of discovery to find the alternative controller(s) with which you’ll enjoy making music. Since the subject of modular synthesizers often comes into play here, I’ll refer you to my favorite modular website — Modular Grid (https://www.modulargrid.net) — where you can learn about the different formats and nearly every module available.

      There are two very popular instruments — guitar and voice — I won’t cover here because players must drastically adjust their performance techniques in order to successfully convert their performance input into reliable MIDI data. Purposeful and essential inflections such as pitchbends and vibrato can significantly confuse a conversion device and lead to unexpected and undesirable results. For example, I’ve tested and reviewed a few voice/pitch-to-MIDI convertors and discovered that, in order to get accurate pitch detection, I had to sing with absolutely no vibrato and even certain vowel sounds can cause problems. In the end, I wouldn’t want anyone to hear the boring voice I had to sing with in order to get accurate results from a pitch-to-MIDI converter, and I’m sure there are similar obstacles with which to deal in guitar-to-MIDI converter systems. That said, many singers and guitar players may still want to try out such devices themselves and might have good or at least acceptable success.

      If you want an expressive MIDI controller that looks and straps on like a guitar, Starr Labs (http://www.starrlabs.com) may have what you’re looking for within its Ztar lineup. Instead of actual guitar strings, their Z6s (http://www.starrlabs.com/product/z6s-in-stock) has what they call “string triggers” that you can pluck and strum to your heart’s content. Where there are frets and strings on a guitar, on the Z6S you’ll find buttons arranged in rows of six on a pseudo-fretboard. The Z6S also sports a joystick, knob, and connectors for MIDI and controllers.

      Musicians who crave a guitar-like instrument capable of more accurate MIDI note generation than many MIDI guitar controllers should check out the Z6S controller from Starr Labs. (courtesy of Starr Labs)

      Lacking the string triggers and looking less like a guitar — unless it’s one of the cigar-box varieties — but sporting 144 velocity-sensitive, backlit, multi-colored LED buttons laid out on a guitar-like fretboard and capable of transmitting MIDI wirelessly is Starr Labs’ Clipper (http://www.starrlabs.com/product/clipper-in-stock). It reportedly works really well with Ableton Live’s Session View mode to record and launch clips and scenes, and its LEDs can display text and images and add visual spark in performance onstage.

      The latest MIDI guitar from Starr Labs, the Z7S (http://www.starrlabs.com/product/z7s-in-stock), looks more like the Clipper than the Z6S, but it features six string triggers along with a matrix of 6×24 touch-sensitive keys on its fingerboard.

      Within Starr Labs’ keyboard series are controllers with various arrangements of non-piano-like keys. For example, the Microzone U-648 Generalized Keyboard (http://www.starrlabs.com/product/microzoneu648) sports a Matrix Hex array of 288 keys arranged so a musician can explore different tonal and fingering systems and microtonal divisions of the octave (more on that below in the Controllers for Microtonal Tunings section). The Starr Labs ZB12 Z-Board (http://www.starrlabs.com/product/zboard) offers a 12-row by 24-column key arrangement that combines the aspects of both the guitar fretboard and piano keyboard. Its little brother, the ZB6 Z-Board Array keyboard (http://www.starrlabs.com/product/zb6), has six rows by 24 columns of keys. Finally, the ZB2424 Z-Board Array controller (http://www.starrlabs.com/product/zboard2424) provides a matrix of 24 rows by 24 columns of keys.

      Starr Labs also carries a variety of other products, including Airpower wireless MIDI systems (http://www.starrlabs.com/product-category/airpower-wireless).

      Don’t forget to explore the DIY controller market. Among the great resources are Eowave Electronic Arts & Sensor Systems (http://www.eowave.com), I-CubeX (http://infusionsystems.com), and Livid Instruments (http://lividinstruments.com/products/builder), all of which offer plenty of tools for exploration in this field. In October 2015, Livid Instruments introduced the Builder Boxes series (http://www.synthtopia.com/content/2015/10/27/livid-instruments-debuts-diy-builder-box-midi-controller-kits/#more-66692), prime DIY kits for soldering-proficient and explorative makers.

      Wind Controllers

      One of the most popular wind controllers, Nyle Steiner’s Electronic Valve Instrument (EVI), has been around since the 1970s, is favored by many brass players who want to play electronic sounds, and is still available in refurbished and occasionally new forms from Patchman Music (http://www.patchmanmusic.com). Nyle has hand-made many EVIs himself and, in 1987, Akai manufactured the EVI1000 controller and EWV2000 synth module, which were based on a custom EVI and synth-in-a-briefcase system called the EVI Steinerphone.

      The prototype of Nyle Steiner’s Electronic Valve Instrument, or EVI, which he assembled in 1973. It took a few years before he started making them to sell to others. (courtesy of David Kean/The Audities Foundation)

      Steiner’s goal was to create an electronic instrument that would play as expressively as a solo acoustic instrument like the violin, trumpet, or oboe, allowing the performer to produce human-influenced vibrato and breath-controlled dynamics. The pre-MIDI EVI functioned so well at translating the performer’s expressions into CVs and gates to drive analog synthesizers that Steiner was initially reluctant to rely purely on MIDI, considering it “an absolutely absurd idea because of the resolution of MIDI,” he admits. “There are only 127 steps, and when you do a crescendo you can hear it zipper. But numerous manufacturers of current sound modules have been able to smooth the response by interpolating between steps, so now I totally embrace the idea of playing using MIDI alone.”

      The original production version of the Steiner EVI was the first synthesizer controller built specifically for trumpet players. While Nyle Steiner designed a model for Akai to produce, those he’s made himself are hand-built and each is in some way unique. Nyle also designed the Electronic Wind Instrument (EWI) for woodwind players. (courtesy of David Kean/The Audities Foundation)

      Besides hosting the Nyle Steiner Homepage (www.patchmanmusic.com/NyleSteinerHomepage.html) and a comprehensive wind-controller website (www.patchmanmusic.com), Patchman Music’s Matt Traum has played, collected, repaired, and programmed synth patches for EVIs since nearly the beginning. He’s quick to share his enthusiasm about the EVI: “In addition to providing a huge pallet of sound possibilities for any brass player, Nyle’s EVI has been a blessing to brass players who simply can’t or don’t want to play its acoustic counterparts.”

      Since 1987, Akai has manufactured several versions of another Nyle Steiner creation, the Electronic Wind Instrument (EWI, http://www.akaipro.com/category/ewi-series), designed for woodwind players who want to explore the electronic-music universe. As of October 2015, Akai offers three models: the EWI USB, which supports plug-and-play functionality on Mac and Windows computers; the EWI4000S, which has MIDI output and a built-in analog-modeling synth engine; and the EWI5000, a sample-playback instrument introduced in 2013 that transmits audio wirelessly and offers MIDI and USB connectors for controlling external gear.

      To provide an expressive voice for his Electronic Wind Instrument, Nyle Steiner designed a portable, two-oscillator, analog synth module during the mid 1980s. Kevin Fortune assembled five prototypes in attaché-sized flight cases for Nyle in 1984, including this one and the EWI that Kevin built for himself. (courtesy of Kevin Fortune, © 2004 Heartcall Music)

      Woodwind players who want to play MIDI instruments should check out Akai Professional’s flagship wind instrument/MIDI controller, the EWI 5000. Besides coming with three gigabytes of sounds, it can transmit audio wirelessly for ultimate onstage mobility. (courtesy of Akai Professional)

      Martin Hurni of Softwind Instruments (http://www.softwind.ch) has been producing a more traditional-looking woodwind controller, the Synthophone MIDI sax, for decades. He converts a Yamaha YAS-275 alto sax into a beautifully expressive and potent MIDI controller by hiding all of the electronics inside the instrument.

      Although now you’ll only find them on the used market, in the past Yamaha made a line of woodwind-style MIDI controllers, including the WX5, WX7, and WX11. Their design was inspired by the pre-MIDI Lyricon. Not only can you buy refurbished WX controllers from Patchman Music, but Matt Traum also programs and sells wind-controller-specific patches for a wide range of synths. He recommends wind-controller players and those interested in taking it up check out the Wind Controller forum at groups.yahoo.com/group/windcontroller

      Touch Controllers

      Some of the earliest alternative controllers came from Don Buchla, who has mostly avoided implementing standard organ-style keyboards on his synthesizers. Beginning with the first modular synthesizer he developed for the San Francisco Tape Music Center (I highly recommend this book: http://www.ucpress.edu/book.php?isbn=9780520256170), Don incorporated some form of touch-plate — two on the original 100 Series. “The input devices were an important aspect to that system,” he explains. “They were all capacitance-sensitive touch-plates, or resistance-sensitive in some cases, organized in various sorts of arrays.”

      Morton Subotnick, co-founder of the San Francisco Tape Music Center with Ramon Sender in 1961, describes Buchla’s original touch-plates as being “pressure-sensitive. One had 12 keys and you could tune it straight across the board. You could get a chromatic scale if you chose to. It had three control voltages per position. The other one had ten keys and one output per key. We often used this one to control the amplitudes of musique concrète tapes during playback. You could literally play ten loops with your fingers.”

      The 1970s-era Buchla Model 219 Compound Touch-Controlled Voltage Source, from Don Buchla’s original Series 200 modular systems, has 48 touch-sensitive surfaces configured like keys on a piano, notes C to B. It can generate control voltages monophonically and polyphonically — up to four voices — and the key pads respond to pressure. The 219 also has a separate eight-key section of independently tunable keys, two joysticks for single-point control of two variables each, three keys with independent pulse and pressure outputs, adjustable portamento, a bipolar CV output applicable for pitchbends and vibrato, and a buffered digital output to interface with external digital processors. (Rick Smith, Buchla Restorations, www.electricmusicbox.com)

      Serge Tcherepnin, who began designing Serge Modular systems in 1974, also avoided organ-style keyboards. The Touch Activated Keyboard Sequencer (TKB) is the biggest and most complicated Serge module. Along with a matrix of 16 columns by four rows of knobs, the TKB sports a couple of switches, 30 banana jacks, and a strip of 16 touch-plates along the bottom of the panel. Not only will the TKB function as an analog step sequencer, but you can also select a specific column by touching one of these 16 buttons, making it a voltage programmer for triggering different notes or selecting a different arrangement of knob settings. Drew Neumann often turns to the TKB in his vintage six-panel Serge Modular system. He finds that not only is its touch-plate pressure sensitive, but it’s also unpredictably mood-sensitive. Its response can vary depending on the humidity, how dry your skin is, or the static-electricity and grounding conditions determined by whether you’re wearing socks or going barefooted. “Sometimes,” says Drew, “if you touch two TKB buttons you’ll get different intervals depending on which buttons you touch; other times you’ll get a garbled response. It depends on your overall resistance, the mood of the machine that day, or whatever.”

      Numerous touch-activated controllers have appeared in the Eurorack modular format. Pressure Points from Make Noise (http://www.makenoisemusic.com/pressurepoints.shtml) is a four-column controller with each column providing a pulse-wave-like squiggle of copper at the bottom that senses finger pressure. There are three knobs to set CV levels to be output by each step. You can chain up to four Pressure Points together and with Make Noise’s Brains module (http://www.makenoisemusic.com/brains.shtml) you can convert one or two Pressure Points into a four- or eight-step analog sequencer. Tony Rolando of Make Noise also created René (http://www.makenoisemusic.com/rene.shtml), described as “the world’s first and only Cartesian Sequencer.” René features two four-by-four matrices on its front panel, one of touch-plate buttons and the other of knobs. It has four clock inputs, two CV inputs, and outputs for quantized voltages, non-quantized voltages, and two gate/pulse streams.

      The Make Noise René Cartesian Sequencer. (courtesy of Make Noise Co.)

      Tony Rolando of Make Noise poses with a Eurorack modular system containing some of his noise toys and controllers at the January 2010 NAMM show. (Mark Vail)

      Synthwerks (http://www.synthwerks.com) offers several varieties of force-sensing touch-plate controller modules for Eurorack. The smallest is the FSR-1N, with a single finger-size pad; the equivalent of four of these make up the FSR-4, available in Classic (through-hole circuitry) and MkII (SMT and thus shallower) versions. Four larger force-sensing squares appear on one of the two modules in Synthwerks’ FSR-4C/B package. You can touch the squares with your fingers or cover them with included rubber pad overlays and strike them with drumsticks without damaging them.

      On display at the January 2011 NAMM was this tabletop Eurorack controller panel filled with Synthwerks modules. Synthwerks designer James Husted and engineer Steve Turnidge both refer to the package as a “skiff” and tell me its enclosure consists of scrap Plexiglas and spare Schroff rails. From left to right you see a custom module that connects via a seven-pin DIN connector to the main modular cabinet for power and to conduct four busses of CV and gate signals; two FSR-4 MkII force-sensing touch-plate modules, clearly the newer version made with surface-mount technology for a shallower profile, not the Classic version with through-hole components and socketed ICs because it would be far too deep to fit in this enclosure; a dual-component FSR-4C/B combo, comprising the output section and a four-pad sensor module; an FSR-1N single-channel Force-Sensing Resistor module; and a Lamp-1 module, which combines a four-way mult with a dimmable gooseneck LED lamp that isn’t visible here. (Mark Vail)

      In August 2015, Sputnik Modular introduced the Multi-Touch Keyboard Controller (http://sputnik-modular.com/multi-touch-keyboard-controller), an 84hp Eurorackable touch-plate instrument with 29 pads laid out in keyboard fashion; Moog-standard one-volt/octave CV output; a pressure-sensitive ribbon for generating control voltages; two-, three-, or four-foice polyphonic and monophonic modes; an arpeggiator that will sync to internal or external clock, up, down, and random note-generation modes, hold, and a trigger input; and all of the necessary CV inputs and outputs in the form of 3.5mm jacks.

      Enter your caption here

      Sputnik Modular’s Multi-Touch Keyboard Controller. (courtesy of Sputnik Modular)

      Within BugBrand’s (http://www.bugbrand.co.uk) version of the FracRak universe — banana connectors instead of 3.5mm jacks — comes the BugBrand CTL1 Touch Panel. It combines four touch-plate “keys” with four-step sequencing and Tom Bugs’ special approach to clock-sync, which involves combining clocking signals from multiple sources to create a clock train that’s synced to a master yet avoids repeating a 4/4 pattern ad nauseam. Tom admits his interest in metric variety comes from his drumming background and says he loves odd polyrhythms.

      The BugBrand CTL1 Touch Panel is a FracRak-format module that combines touchplate and sequencing capabilities. Its four tactile “keys” generate CV output signals whose voltage levels depend on how much skin comes into contact with the keys themselves, also commonly referred to as “pressure.” Touching a key also results in the CTL1 transmitting gate and CV signals to common outputs and activating one of the CTL1’s four stages — identified as Columns A through D. Each stage transmits three CVs out of independent Row 1 through 3 outputs, their voltage levels determined by the corresponding knob in that row. A two-way switch allows you to set Row 3’s knobs to cover a range of either two or ten volts. Pipe in a clock signal and the CTL1 becomes a four-step sequencer, allowing you to switch to left or right playback direction, or stop sequencing altogether. If you touch a stage key while the sequencer is engaged, the CTL1 will stay on that column as long as you keep touching the key. It exclusively bears banana jacks, which is common for nearly all audio, CV, and gate connections throughout the BugBrand module range. (courtesy of BugBrand)

      ​Beyond modular-specific controllers, there’s a wide range of touch-activated alternative controllers from which to choose. Don Buchla extended his application of touch-plates in 1990 with Thunder, which offers serious performance programmability and 25 touch-sensitive performance pads, some of which can be split into two or three different response sections. Its configuration of touch-plates also appeared within the Buchla Series 200e as the Model 222e Multi-Dimensional Kinesthetic Input Port. Since Thunder, Buchla touch-plates have not only been pressure-sensitive, but many of them also track the position of a finger across their surfaces.

      Buchla’s Thunder MIDI controller came out in 1990. You can split 13 of its 25 performance pads to transmit two independent MIDI notes per pad, and you can split another pair three ways, allowing a total transmission of 42 different notes. Every performance pad senses both velocity and pressure and can transmit MIDI control change commands and other data along with a specific note on any of the 16 MIDI channels. There’s internal memory for eight Thunder configurations, and its built-in “riff” function allows the storage of 99 notes divisible into eight riffs. You can create riff sequences ahead of time or capture and loop them improvisationally during performance. (courtesy of David Kean/The Audities Foundation)


      ...

      Alternative Controllers: Part 2 from The Synthesizer by Mark Vail –

      Touch Controllers (continued) If you’d prefer a surface that’s stretched much further, consider the Haken Continuum Fingerboard (http://www.hakenaudio.com/Continuum). Its control surface feels like silk and looks like a wide ribbon with alternating s

      Alternative Controllers: Part 4 from The Synthesizer by Mark Vail

      Touch Controllers (continued)

      Another beautiful and powerful touch controller, this one featuring 150 rectangular walnut keys arranged in a five-row by 30-column matrix laid within a 29″ by 8″ by 1-1/4″ block of Washington alder and weighing 4.6 pounds, is the Madrona Labs Soundplane Model A (http://madronalabs.com). Each key senses velocity, position, and pressure and the controller, which has a USB jack for direct connection to a computer, scans the playing surface with high bandwidth at a rate of 975 samples per second for precise control. Separate modes allow the Soundplane to sense individual key activity or the entire surface as a continuous controller. The Soundplane comes with Mac software that converts performance data into MIDI and OSC, Madrona’s Aalto patchable softsynth, and Max/MSP objects. Software for Windows and Linux are in the works.

      Other than its high-speed pressure sensor, high-bandwidth DSP computer, and related electronic hardware, Madrona Lab’s Soundplane Model A USB controller — shown here connected to a MacBook Pro running calibration software — is made of wood to give it the feel of an acoustic instrument. (courtesy of Madrona Labs)

      Drum-machine pioneer Roger Linn’s LinnStrument is a pressure-sensitive, multi-touch MIDI/USB controller that he intends as an expressive alternative to a typical MIDI keyboard controller (http://www.rogerlinndesign.com/linnstrument.html). LinnStrument’s surface detects the movement of individual fingers polyphonically in three dimensions, left to right, forward and backward, and pressure. Roger contends that learning to play LinnStrument with its sensitive three-dimensional tracking will allow you to replace envelope generators and LFOs with manual control for expressive vibrato, tremolo, pitch bends, timbral variations, and other musical gestures. You can play LinnStrument either as a tabletop unit or using a strap to play it like it’s a guitar. For complete wireless control, Roger recommends Airpower3 from Starr Labs (http://www.starrlabs.com/product/airpower3). He says many LinnStrument users play specially crafted patches for MainStage in Apple Logic Pro.

      Enter your text here …

      Roger Linn’s LinnStrument MIDI/USB controller independently tracks movements of numerous fingers on its surface in three dimensions: pressure, left-right, and forward-backward. These motions are typically assigned to control volume, pitch, and timbre, respectively, providing expressive manipulation for each note independently. (permission to copy freely granted by Roger Linn Design)

      Prepared to reveal the MIDI controller magic inherent in his Linnstrument on the first day of Winter NAMM 2016, here’s Roger Linn. (Mark Vail)

      Front-panel buttons allow you to change sounds, transpose by octaves, vary the output volume, and more, and there are two assignable ¼” pedal inputs. The LinnStrument requires a Mac or Windows computer to generate sounds, connecting to either platform via USB. It comes with sound-generating software that will also generate MIDI data and OSC messages and allow you to customize the LinnStruments organization of virtual keys, configure custom scales, create a virtual pitchbend ribbon, and assign a space that you can rhythmically touch to retrigger guitar strums or arpeggiate notes in a chord.

      In October 2015, Symbolic Sound announced plug-and-play support for LinnStrument in Kyma 7 (http://kyma.symbolicsound.com/latest-press-releases/kyma-7-support-for-linnstrument-and-mpe), which combines the patchability of modular synthesizers and state-of-the-art synthesis, sound-design, DSP, and composition software running on a dedicated, multiprocessor computer platform. Kyma is an environment in which you graphically patch together virtual synthesis and processing modules to create sounds and compose music.

      Another flexible USB pad controller comes in the form of the QuNeo from Keith McMillen Instruments (http://www.keithmcmillen.com/products/quneo). Equal in size to the original Apple iPad, the QuNeo has a controller surface covered with a variety of sensors, each illuminated with an LED capable of glowing in 251 different colors. There are 16 square trigger pads capable of sensing 127 velocity levels along with pressure and location on an X/Y axis. Two rotary sensors measure the angle and pressure of touch. Nine touch-sensitive ribbons function like sliders for controlling fader levels or effects parameters, and each is lit with multiple LEDs to make them work as level meters. Seventeen pressure-sensitive buttons that serve as switches are intelligently located around the other surface controllers. You can program all of the QuNeo’s controllers to respond according to your needs, and it comes with presets, templates, and scripts for applications including Ableton Live, Serato Scratch Live, Native Instruments Traktor and Battery, Apple Logic Pro, and Propellerhead Reason. Add the Rogue, which attaches to the QuNeo’s underside, and you now have a wireless controller with a 60-meter range. It also powers the QuNeo for six to eight hours of continuous operation.

      The QuNeo from Keith McMillen Instrument measures a mere 9.45″ across by 7.28″ deep by 0.39″ high and weighs only 14 ounces. (Tom Ferguson, courtesy of Keith McMillen Instruments)

      For those interested in a controller with pads arranged in the traditional keyboard configuration, Keith McMillen Instruments introduced the QuNexus in 2013 (http://www.keithmcmillen.com/products/qunexus). The affordable, small-footprint QuNexus, measuring 10″ by 3.5″ by 0.5″ and weighing less than a pound, provides two octaves of illuminated, pad-like keys that respond to velocity, pressure, and finger location, plus octave up/down buttons and a pitch-bender button. On-board connectors include micro USB for power and communication, analog gate and CV outputs, a pedal/CV input, and a multi-pin connection for the optional MIDI Expander, which provides standard 5-pin MIDI in and out jacks and also works with QuNeo and other Keith McMillen Instruments products.

      QuNexus, from Keith McMillen Instruments, can function as a USB and analog-output controller, as well as a controller for MIDI hardware units with the addition of KMI’s MIDI Expander. (courtesy of Keith McMillen Instruments)

      The 2010 release of Apple’s iPad, its popularity, and certain iOS applications may have resulted in the JazzMutant Lemur being discontinued. Lemur is a programmable, multi-touch, touch-screen device with multi-tasking capabilities and a gorgeous display, and it complies with the OSC networking protocol. It works really well with Ableton Live, Symbolic Sound’s Kyma, Native Instruments Reaktor, Cycling ’74 Max/MSP, SuperCollider, and many other applications. Fortunately, Liine introduced an iOS version of Lemur for the iPad in late 2011.

      Although it’s been discontinued, the JazzMutant Lemur introduced touch-screen capabilities similar to those later provided by the Apple iPad. (courtesy of Stantum Technologies)

      A screenshot from the JazzMutant Lemur. (screenshot courtesy of Stantum Technologies)

      Within the multitude of alternative controllers developed over the years, one of the more deceptively simple but potent for creating step sequences (among many activities, including lighting control, gaming, and whatever task you want to create via open-source software) is the Monome (http://monome.org). It’s a tabletop box that typically has a grid of 64 or more backlit silicone-rubber buttons — “keypads” in Monome-speak — and a USB port for connection to a computer. Brian Crabtree made the original prototype in 2001 as a controller for Cycling ’74’s Max/MSP (https://cycling74.com). He teamed with his wife Kelli Cain a year later to begin production of Monomes, including models with 128, 256, and 512 keypads and one containing an accelerometer for motion detection.

      Synthesist/composer Gary Chang demonstrates a 16-by-16 Monome. (Mark Vail)

      A variety of Monome clones has also appeared, sometimes fortified with continuous controllers such as LED-encircled rotary encoders that also serve as pushbuttons. Some were specifically designed for Ableton Live (https://www.ableton.com). For example, Livid Instruments offers a lineup that currently includes the Base II (http://lividinstruments.com/products/base). In 2008, Yamaha introduced the Tenori-On, which combines a Monome-like matrix of light-flashing buttons with built-in sound generation, sampling, and transmission of MIDI data for controlling external gear. There’s now an iOS version for iPad, iPhone, and iPod Touch called the TNR-i.

      Not only has Ableton encouraged other companies to design Live controllers with similarities to the Monome, but they’ve even collaborated with two manufacturers to design and make them. Novation’s Launchpad series includes the original, Mini, and Pro versions (http://us.novationmusic.com/launch). Each has a mullti-function, backlit 64-keypad grid, various combinations of assignable and fixed-function buttons, and a USB jack for power and class-compliant operation.

      The second manufacturer is Akai (http://www.akaipro.com/category/ableton-controllers), which has developed numerous Live-focused controllers, most with a grid of buttons, some with sliders, some with knobs, and one with a two-octave mini keyboard. The two original controllers were the APC20 and APC40, both of which are still in production. Measuring 11.61″ by 13.11″ by 2.24″ and weighing 3.8 pounds, the APC20 is slightly bigger and heavier than the Launchpad. While the latter has a bigger grid — eight rows by eight columns to the APC20’s five rows and eight columns — the APC20 includes nine faders, one for each column plus a master level fader, along with a Cue Level knob and significantly more function buttons. The APC40 offers a five-by-eight grid of backlit keypads alongside gobs of knobs, buttons, sliders, and a DJ-style fader. It measures 16.88″ by 13.13″ by 2.62″ and weighs 5.8 pounds.

      An Akai APC40 controller connected to an Apple MacBook Pro running Ableton Live software in Gary Chang’s studio. (Mark Vail)

      Numerous other controllers have emerged for Ableton Live, including the new-as-of-2015 Push 2 from that company itself. Ableton’s Push 2 (https://www.ableton.com/en/push) is a table-top unit measuring 14.88″ x 11.96″ x 1.65″ and measuring 6 pounds. Not only does the Push 2 have 64 backlit, multi-colored silicone trigger pads, but it also sports dozens of backlit control buttons, eight assignable encoder knobs, a 6.6″ ribbon controller striped with 31 location LEDs, and a beautiful hi-res RGB display for — among many functions — in-the-machine sample editing and complete control of Live running on a Mac or PC. Ableton is marketing Push 2 as an outstanding controller for “hands-on creation of melody and harmony, beats, and song structure.”

      Abundantly clad with multicolored backlit pads, fixed and multifunction buttons, rotary encoders, and a striking high-resolution display, Ableton’s Push 2 may be the most comprehensive control surface for that company’s popular Live music performance and composition software. (courtesy of Ableton AG)

      Here’s a link to the final article in the Alternative Controllers chapter from The Synthesizer by Mark Vail. 

      Alternative Controllers: Part 3 from The Synthesizer by Mark Vail

      Touch Controllers (continued)

      Although it isn’t a dedicated controller, Teenage Engineering’s OP-1 — a tiny (11.1″ x 4.02″ x 0.53″, 1 lb. 4.4 oz.), battery-powered workstation packed with a variety of digital synthesis engines, effects processors, filters, audio recording and sampling, sequencing, and other capabilities — becomes a unique MIDI and CV controller with the addition of TE’s Oplab (4″ x 4″ x 1.25″, 9.5 oz. in its optional aluminum case). Oplab is an open-source “musical experiment board” that connects to the OP-1 via USB; provides MIDI I/O, a DIN-sync output for synchronizing pre-MIDI drum machines, a multi-pin expansion I/O rail, and CV and gate I/O for analog connections; and comes with a wall-wart power supply to run it alongside the OP-1. (The OP-1’s battery reportedly can run the device on its own for up to 16 hours.) The 24 Chiclet-style OP-1 keys don’t respond to velocity or pressure, but engaging any of its various sequencers can work effectively to drive and synchronize MIDI and analog instruments to make impressive sounds and music.

      An overhead view of the Teenage Engineering OP-1. Its graphic display is phenomenal, so much so that I wish the OP-1 had a hi-res video output so an audience could see what’s happening on the screen during a performance. (courtesy of Teenage Engineering)

      A Teenage Engineering’s Oplab, enclosed in its optional case, sits on a glass shelf to the left of an OP-1, beneath a Eurorack modular system, and above an Arturia BeatStep Pro in the author’s studio. Connected to the Oplab is a MIDI cable, the USB cable attached to the OP-1, and three cables connected to Eurorack modules. (Mark Vail)

      You’ll get randomly triggered notes using the OP-1’s Tombola sequencer, a hexagon in which notes you play appear as blips that fall according to the level of gravity you dial in. You also adjust the spinning rate and direction of the hexagon and can open it up to eventually or quickly release all of the notes. Somewhat more conventional is the arpeggiator-oriented finger sequencer, which displays two virtual onscreen players that trigger programmed note patterns when you touch one or two OP-1 keys, plus a drum sequencer with two ape-like characters that play intricate drum patterns. There are also 16-step grid and 99-step digital sequencers, as well as an Etch A Sketch-style sequencer that generates notes according to two-dimensional drawings you make using the OP-1’s four digital-encoder knobs.

      The Tombola spinning sequencer in Teenage Engineering’s OP-1 inserts dots inside the hexagon when you play notes. These fall toward the bottom at a rate determined by the gravity value you set using the OP-1’s green knob. Note masses, which you adjust using the orange knob, determined how hard they bounce off the inside surface of the hexagon, and the harder they bounce the louder the notes. The blue knob adjusts how fast the hexagon spins clockwise or counterclockwise. Enable “crank” mode by holding the OP-1’s shift knob and turning the blue knob; it’s called that because, using the optional crank device that slips over an OP-1 knob, you can manually spin the knob and control how fast the hexagon turns. Turn the white knob opens and closes the hexagon, allowing notes to drop or be thrown out through the openings. (courtesy of Teenage Engineering)


      Two graphic players appear onscreen with the finger sequencer in the OP-1’s synthesizer mode. Play a single white note on the OP-1’s button keyboard and one of the players begins playing a sequence; add another note and the second player accompanies the first. Modes are also available to alternate between the players or have one player perform a fill pattern. You can enter up to 32 notes in finger patterns. (courtesy of Teenage Engineering)

      In the OP-1’s drum mode, the finger sequencer features two gorillas who play drum patterns. In both modes, the green knob sets the level of playback swing, the white knob adjusts the length of the sequencer pattern, and the red knob can turn on hold so that patterns continue playing when you stop holding keys. (courtesy of Teenage Engineering)

      Mono- and polyphonic patterns of up to 16 steps play under your interactive control in the OP-1’s 16-step grid sequencer mode. Using the instrument’s knobs, you can change the length of the playing pattern, shift notes one way or the other, enter and erase notes, change playback direction, and add swing to the playback feel. (courtesy of Teenage Engineering)

      Use the OP-1’s knobs to draw freeform sequence patterns much like you’re using an Etch A Sketch. How do you erase a pattern? Pick up the OP-1 and shake it, just as you’d erase an Etch A Sketch drawing. (courtesy of Teenage Engineering)

      Another groundbreaking alternative controller that offers rewarding musical expressivity is the Eigenlabs Eigenharp (http://www.eigenlabs.com). There are three Eigenharp models to choose from: the original, full-size Eigenharp Alpha, the mid-sized Eigenharp Tau, and the smaller, educational-oriented Eigenharp Pico. Performers can carry any of them around during performance. The larger Alpha and Tau each come with a supportive neck strap and have a “cello spike” if you’d rather stay in-place and play the instrument like a double bass. As for the Pico, it’s small enough to hold like a clarinet. One of the Eigenharp’s controllers is a breath pipe with an interchangeable mouthpiece for shared use. Another is at least one ribbon, depending on the model. You play notes using the Eigenharp’s keys, each of which senses velocity, side-to-side finger movements, and pressure. Pressure sensing is polyphonic for individual note expression. The Eigenharp Alpha and Tau connect via a multi-conductor cable to a Basestation interface, which comes in Standard and Pro versions. The Basestation is where you’ll find all of the interfacing connections.

      Eigenlabs’ flagship Eigenharp Alpha, shown resting on its optional stand. The Alpha sports 120 note keys, 12 percussion-trigger keys, and two ribbons. (courtesy of Eigenlabs.com)

      The most affordable Eigenlabs instrument is the Pico, which has 18 keys, four mode buttons, and a ribbon. Although you can’t tell from the photo, this is a Pink Pico, which costs a bit more than those with silver or black finishes. (courtesy of Eigenlabs.com)

      A host computer — Macintosh or Windows PC — generates sounds for the Eigenharps, each of which comes with physical models of cello and clarinet, synthesis and sample-playback engines, a 6GB collection of multi-sampled Steinway grand piano and Rhodes and Wurlitzer electric pianos, and 1,500 drum and percussion loops. An Eigenharp can also trigger user sounds and software instruments. According to Eigenharp designer John Lambert, most of its players use Ableton Live, Steinberg Cubase, Apple Logic, or another host for AU and VST plug-ins. The Eigenharps allow extensive MIDI control and provide a routing matrix to eke the best out of the MIDI protocol. Lambert has been working with Steinberg so that the Eigenharps can drive their Note Expression feature via MIDI as well, supporting numerous ways of dealing with individual note expressivity including polyphonic aftertouch and channelized notes. Eigenlabs is also working on an extensive Open Sound Control (OSC) networking implementation to go with MIDI I/O. Jordan Rudess raves about Eigenharps, pointing out that they have the most responsive keys of any instrument he’s played and lightening-fast in touch response.

      Eigenlabs’ Eigenharp Tau represents the midrange of their instrument lineup, having 72 note keys, 12 percussion-trigger keys, and one ribbon. The stand shown here is optional. (courtesy of Eigenlabs.com)

      A view of the connection panel of an Eigenlabs Basestation Pro, revealing multi-pin jacks for the Eigenharp and an Extension, MIDI in and out, a USB 2.0 jack for connection to a computer, two ¼” input jacks for footswitches, two sets of ¼” jacks to serve as inputs and outputs for foot pedals, and a grounded IEC AC power jack. (courtesy of Eigenlabs.com)


      ...

      Alternative Controllers: Part 4 from The Synthesizer by Mark Vail –

      Touch Controllers (continued)Another beautiful and powerful touch controller, this one featuring 150 rectangular walnut keys arranged in a five-row by 30-column matrix laid within a 29&quot; by 8&quot; by 1-1/4&quot; block of Washington alder and weighing 4.6 pound

      Alternative Controllers: Part 2 from The Synthesizer by Mark Vail

      Touch Controllers (continued)

      If you’d prefer a surface that’s stretched much further, consider the Haken Continuum Fingerboard (http://www.hakenaudio.com/Continuum). Its control surface feels like silk and looks like a wide ribbon with alternating scarlet and maroon stripes. Designed by Lippold Haken, the Continuum goes beyond two dimensions. Its low-friction surface responds to finger positions from side to side (X-factor) and front to back (Y-factor), as well as the exerted pressure (Z-factor) — polyphonically for up to 16 fingers! The Continuum is available in two sizes — about as broad as four- and eight-octave keyboards — and later models come with a built-in synth chip for stand-alone operation. All Continuums have MIDI I/O. Optionally available is the Continuum Voltage Converter (CVC), which outputs gate and control voltages for the X, Y, and Z coordinates over four voice channels, allowing you to control analog synths that have CV and gate inputs.

      A half-size Haken Audio Continuum and its Control Voltage Converter (top) set up with a Serge Modular Blue Fun Station panel on top of a prototype of the Continuum Stand at the January 2007 NAMM show. (Mark Vail)

      Synthesist/composer Gary Chang is a devoted Continuum user who finds it a very expressive controller that’s easy to play in monophonic mode, but more challenging to control polyphonically when all three axes are simultaneously active. Disabling one of the axes makes its response more manageable. Chang also reports that traditional keyboard fingerings can feel awkward since such gestures on a flat surface offer no physical feedback like a mechanical keyboard does. However, he says the Continuum’s Rounding function, which quantizes the initial pitch, can help. “I especially appreciate the Continuum’s build quality,” Gary adds. “It’s built for the ages, which is important because I see the Continuum as a lifetime commitment.”

      The same Haken Audio Continuum setup viewed from the side. Sarah Dobbin of Fathom Labs and Edmund Eagan of Twelfth Root co-designed the Continuum Stand.  (Mark Vail)

      While the Haken Continuum Fingerboard uses different colors to designate note ranges in widths like the keys of a piano but on a flat surface, Roli’s lineup of Seaboard controller/instruments features three-dimensional keybeds that feel spongy and are arched — Roli describes them as “Keywaves” — but arranged precisely like the keys on a piano (https://www.roli.com). Although there’s no mechanical action, the keybed senses the velocity with which you strike the surface, how hard you press down once you’ve hit a “key” for both aftertouch response and polyphonic pitch-bending, and the individual positions of your fingers on the surface so that you can slide from one note to another like a cellist. In addition, there are horizontal, flat ribbons stretched across above and below the keybed that allow you to smoothly glide pitches up and down in frequency.

      As of October 2015 Roli offers three Seaboard Grand models, each of which comes with Equator and FXpansion Synth Squad Player software instruments for Mac; you can transfer Equator sounds into the Seaboard Grand for stand-alone use. Each model has three ¼” footpedal jacks, ¼” L/R and stereo headphone audio outputs, and USB connectors for interfacing with a computer and MIDI I/O. As for the number of keys, the Seaboard Grand Studio has 37, Seaboard Grand Stage has 61, and Seaboard Grand Limited First Edition has 88. 

      Introduced in early 2013, the Roli Seaboard Grand provides a soft, three-dimensional surface consisting of ridges — Roli refers to them as “Keywaves” — arranged like the eighty-eight notes on an acoustic piano keyboard along with flat, ribbon-like bands that stretch across above and below the “keys.” Each segment responds to velocity, pressure, and location, allowing the Seaboard Grand to transmit control data for pitch, volume, and timbre through its USB connector. It also provides an input jack for footswitch control. (Juan Trujillo, courtesy of Roli)

      A view from the front of the Keywaves on a Roli Seaboard Grand. (Juan Trujillo, courtesy of Roli)

      Toward the left on the back of the Roli Seaboard Grand are three ¼” footpedal jacks and ¼” left and right audio outputs. On the right are USB connections. (Juan Trujillo, courtesy of Roli)


      Roli developed Equator, shown here running on a Macintosh computer, for producers, performers, and sound designers to create sounds and map them to respond to Roli Seaboard instruments. If it’s a Seaboard Grand, you can upload your sounds into the instrument for stand-alone use. (Juan Trujillo, courtesy of Roli)


      A close-up look at Equator parameters, including those for oscillators, filters, and a parametric equalizer. Access to parameters for controller assignments appear below. (Juan Trujillo, courtesy of Roli)

      Roli introduced the Seaboard Rise USB controller in September 2015. Along with 25 Keywave keys that function precisely like those on a Seaboard Grand, Rise features USB I/O, a foot-controller input jack, and supplemental controls to the left of the keybed. It comes bundled with Equator for Rise, a cross-platform software synthesizer.

      The Seaboard Rise from Roli provides potent USB controller facilities in an affordable package. (Juan Trujillo, courtesy of Roli)

      Located on the left end of the Roli Seqboard Rise (L to R) are an assignable foot-pedal input, USB A and B jacks, and the power input jack. Although you won’t find conventional MIDI connections, the Rise is capable of transmitting MIDI data wirelessly via Bluetooth technology. It can also run on batteries. (Juan Trujillo, courtesy of Roli)

      Roli founder Roland Lamb joyfully plays a Seaboard Grand. (Juan Trujillo, courtesy of Roli)

      Although originally known for their faithful software recreations of renowned vintage synthesizers, Arturia has also developed a variety of music hardware — including the DSP-based Origin Desktop and Keyboard synths, the monophonic analog MiniBrute and MicroBrute synths, the Spark line of drum machines, and the AudioFuse audio interface. Along with their KeyLab series of keyboard-based USB/MIDI controllers, Arturia makes two pad-controller/sequencers that bear the name BeatStep. First came the original, by that name alone, in early 2014 (http://www.arturia.com/products/hybrid-synths/beatstep/overview). Its multi-color, backlit array of 16 velocity- and pressure-sensing pads (two rows of eight), 16 companion rotary encoders, transport/MIDI/channel?memory/mode buttons, tempo/transpose knob, USB connection, and MIDI, CV, and gate outputs — all three 3.5mm, with standard MIDI connector adapter included — introduced flexible controller and interactive step-sequencing capabilities in an affordable and well-built package.

      Arturia’s original BeatStep packs considerably potent controller and step-sequencing functions in compact and well-built package. (courtesy of Arturia)

      By mid 2015, Arturia had developed the follow-up machine, the BeatStep Pro (http://www.arturia.com/beatstep-pro/overview). Whereas the original BeatStep provided a single sequencer with up to 16 steps, 16 memories each for sequences and pad assignments, and two analog outputs, the newer model has two step sequencers with which you can program up to 64-step patterns, a 16-track drum sequencer, and a bevy more. There are analog pitch, velocity, and gate outputs for each step — Arturia also refers to them as “melodic” — sequencers, eight analog drum-gate outputs — all 16 drum sequencer tracks are also transmitted via MIDI, where velocity data will be included with notes — and clock I/O for synchronizing other devices to the BSP or it to an external master clock. All of the analog connectors are 3.5mm, which make the BSP ready to interface with Eurorack and FracRak modular and many patchable synthesizers. The BSP has non-standard 3.5mm MIDI jacks, but the unit comes with adapters to connect MIDI cables. Besides acting as the power input, the USB jack also allows interaction with a computer. The BSP is class-compliant, so Mac and PC will recognized it as a controller and it will readily interact with many digital audio workstations.

      Rotary encoder knobs, pads, buttons, displays, indicators, and the cool Roller/Looper strip cover the surface of the powerful, well-constructed master controller/sequencer from Arturia, the BeatStep Pro. (courtesy of Arturia)

      Like the original BeatStep, the BSP has 16 rotary encoders and 16 pads that sense velocity and pressure. It also sports transport buttons, LED displays for tempo and each sequencer, and an all important Tap Tempo button for immediate changes to playback speed. There’s also the Roller/Looper strip, a touch ribbon that allows you to repeat a note in a sequence associated with a specific pad or repeat a certain section of a sequence — loop it — at a time division that depends on where you’re touching the strip.

      Across the back of Arturia’s BeatStep Pro (L to R): sequencer 1 pitch, velocity, and gate outputs; sequencer 2 pitch, velocity, and gate outputs; drum gate outputs 1 through 8; clock input and output; MIDI in and out; USB port; and power switch. The sequencer and gate outputs are conveniently color-coded. (courtesy of Arturia)

      Arturia intends the BeatStep Pro to function as the main controller for an entire electronic-music system whether or not it’s computer-based. I’ve heard rave reviews and look forward to working with one myself.


      ...

      Alternative Controllers: Part 3 from The Synthesizer by Mark Vail –

      Touch&amp;nbsp;Controllers (continued)Although it isn’t a dedicated controller, Teenage Engineering’s OP-1 — a tiny (11.1&quot; x 4.02&quot; x 0.53&quot;, 1 lb. 4.4 oz.), battery-powered workstation packed with a variety of digital synthesis engines, effects processors

      ​Tutorial: Benefits of MIDI

       Unlike audio file formats like MP3 files and CDs, MIDI files contain individual instructions for playing each individual note of each individual instrument. So with MIDI it is actually possible to change just one note in a song, or to re-orchestrate an entire song with entirely different instruments. And since each instrument in a MIDI performance is separate from the rest, its easy to isolate individual instruments and study them for educational purposes, or to mute individual instruments in a song so that you can play that part yourself. Here are just some of the tangible advantages of using MIDI for active music-making.

      Play with “a band”

      Learning to play a musical instrument is one of the most rewarding things people can do. But why play by yourself when you can play along with a band? Standard MIDI Files are available for many popular songs, and when used with a personal computer or digital piano make it possible to have an entire backing band play along with you at whatever speed (tempo) and in any pitch (key) you desire. MIDI files are perfect for practicing with, as well as for performing when additional musicians are not available.

      Correct Your Performance

      A MIDI sequencer or a ‘Digital Audio Workstation’ can record your performances for listening at a later time, and even save your performance in Standard MIDI File format for playback on other MIDI systems. This is a great way to evaluate your own progress, or even to study how someone else plays.Better yet, because all MIDI data is editable, you can edit out any imperfections! If you play a wrong note, you can just change it using the Sequencer’s editing tools. And if you find you just can’t play fast enough to keep up with the tempo, you can slow it down for recording and speed it back up for playback — without the “Mickey Mouse” effect that normally comes from speeding up a song.

      Play Any Instrument

      When you use MIDI to make music, you aren’t limited to playing just one instrument. No matter what sort of MIDI Controller (keyboard, guitar, wind, drums, etc.) you actually use, you can make it sound like just about any instrument you can imagine (and some that are only in your imagination). Most digital pianos and other MIDI instruments come with hundreds of different sounds (pianos, trumpets, violins, guitars, basses and more) which you can play yourself or play via a MIDI sequencer to create fully orchestrated music. Now software synthesizers add incredible possibilities and most contemporary music is produced on computers and tablets using softsynths controlled by MIDI controllers. 

      Arrange and Orchestrate

      Many people enjoy arranging and orchestrating music as much as performing it. There are MIDI files available for songs from every style of music — as well as software programs that generate the basic rhythm and chord patterns that define specific styles — that you can use to create your own arrangements and orchestrations. Just change the instrumentation, add a verse or chorus here or there, even put in your own original phrase or section — all of this is easy to do with MIDI. You can also share your arrangements with other people, who can then rearrange them to fit their own needs — many people download MIDI files from the Internet and rearrange them to fit their own needs.

      Print Sheet Music

      When you are done creating your own performance or arrangement, if you have a personal computer, you can convert MIDI information into musical notation and print out actual sheet music. Even if you can’t play a note, MIDI Notation programs often make it possible to place notes on a musical staff using your mouse or computer keyboard. There are Notation programs available for every level and pocket book — from professional engraving to casual use.

      Compose Music

      If you’ve ever had an original song idea in your head and wished you could have it performed, MIDI is the way to do it. All you need is a MIDI Sequencer plus a MIDI instrument to enter notes with. (You can also use MIDI Notation software to place notes on a musical staff without playing them at all.) You can start with just a melody and then add backing chords, bass, and rhythm later, or add instruments in any order you like. If you make mistake, you can change it without having to play the part all over again. You can also make entire sections repeat without playing them again. And you can rearrange and re-orchestrate your song as many times as you like.

      Imogen Heap Exclusive Interview

      • Tell us about yourself briefly-


      I write, sing, play various instruments, program drums etc, edit, mix and produce my own work in my home studio or wherever a project takes me.

      I’m now fully independent, with no management, publishing or label! It feels amazing to be completely untethered.

      Over the last 5 years I’ve been developing with a team of now 8 people, a gestural performance system around wireless gloves. We call the system Mi.Mu. To reach inside the technology of the computer and sculpt music. Changing the way creatively we think about sound both at the writing and performance end of the spectrum and closer engagement with the audience.

      I tend to make things where i find gaps in my life, workflow or business. Songs, gloves and recently imagining a Fair Trade Music industry i call Mycelia.

      • What was your first encounter with MIDI?

      A sound module in the cupboard at the music school I went to. In there was an Atari with Notator and the sounds I played were off of this device… but I actually have no idea what it was but it was hooked up via midi! I was 12, this was back in 1990.

      • How do you use MIDI today?

      I use it mainly when mapping my gloves into Ableton live. Choosing the midi channel and note or cc, I can automate anything within the program, wirelessly and fluidly. For example, simply panning a sound from left to right, by moving my arm left to right.

      Or gaining the length of a reverb by One Finger Point, to the top right ‘corner’ of the space before me.

      • How has MIDI allowed you to do what you do?

      The standard is one of the few, where because of it’s elegance and simplicity, has been adopted across the industry and so making it possible to try out all manner of weird and wonderful applications. It just works. We just need someone to sort out wireless a bit better now so we don’t have to have all those darned midi cables!

      • Anything else you’d like to add?

      Just thank you! 

      Sound on Sound MIDI Basics, Part 2: Sequencing

      Paul White’s beginners’ guide to MIDI continues.

      This month, he explains the concept of MIDI sequencing.To anyone used to playing and recording using traditional methods and skills, the MIDI sequencer is sometimes viewed as little short of cheating, but to the sequencer user, MIDI and sequencing are seen as practical tools that make complex multi­part composition and performance a reality. Before MIDI appeared, few people could compose a symphony (or pop song, for that matter) and ever expect to hear it performed; now almost anyone can turn their musical ideas into a performance using affordable technology. Before exploring the mechanics of sequencing, however, I’d like to tackle the idea that sequencing is somehow ‘cheating’ by looking at how things were done before the introduction of MIDI.

      WHAT DID WE DO BEFORE MIDI?

      Having never personally written a symphony, I can’t detail the exact stages involved, but I expect it goes something like this… 

      The composer sits at his or her chosen instrument testing musical ideas, and the ones that make it are then written down on manuscript paper for the various sections of the orchestra to play. The composer visualises (or should it be auralises?) the parts already written down while adding new sections, harmonies and so forth. Then, when the music is nominally finished, the score will be scrutinised and any required alterations or adjustments will be made. 

      Once the score is complete, an orchestra will be hired and given copies of the score, and the music will be played back as written by the composer. The composer, who may not even be able to perform to an acceptable standard on even one instrument, has conceived a piece of music and then written a list of instructions in the form of a musical score in order that a musically proficient orchestra can perform it. But has anyone ever accused Stravinski or Beethoven of being cheats, because they couldn’t play all the orchestral instruments themselves? I think not. 

      In contrast, let’s see how the MIDI composer writes. As with the orchestral composer, the work usually starts at the keyboard, but this time the keyboard is a MIDI instrument connected to a MIDI sequencer. Instead of writing down a score, the composer will record sections of the music into the sequencer against an electronic metronome set to the desired tempo. Instead of scanning a score to verify what’s been done, it’s a simple matter to play back the MIDI sequence to hear exactly what has been recorded. Best of all, you don’t have to hire in an orchestra ­­ a relatively inexpensive multitimbral synthesizer will provide all the sounds for you; each ‘part’ of the multitimbral synth plays one line of your electronic score. 

      In some ways, the sequencer is better than the written score, because it can play back a part exactly as you played it in the first place ­­ it doesn’t necessarily have to ‘quantise’ everything to equal subdivisions of a musical bar, as the written score does. And, just like the written score, if you’re unhappy with something you’ve done, you don’t have to start from scratch; you just erase the unwanted notes and ‘write’ in new ones. 

      When you summarise the way a musician composes using a sequencer, it isn’t really too different from the way a traditional composer works. Both types of composer are likely to edit their compositions to some degree before they’re entirely happy with them, and both bring in performers to play the finished composition. It doesn’t really matter whether the finished piece is played by a bank of synths or by a hired orchestra whose role is simply to reproduce the composer’s original work as faithfully as possible. My verdict, then is that electronic composition is as legitimate as any other form of composition. Note that I have no intention of fuelling the ‘synths versus real instruments’ debate at this point. If you have the talent to write a major symphonic work using synths, you can always get your computer to print out the score and have a real orchestra play it for you later! 

      Having covered the philosophical groundwork, it’s now time to look more closely at the MIDI sequencer. 

      What exactly is a sequencer? It’s often convenient to visualise a sequencer as being analogous to a multitrack tape recorder, and indeed, the ‘layers’ or parts of a sequence are recorded onto tracks, but it is vitally important to understand that what is being recorded is not the sound itself, but the electronic equivalent of a musical score. Just as a musical score is a series of instructions to the musicians, a MIDI sequence holds a series of instructions which tell your synths what to play. In some ways, a better analogy might be the player piano or pianola, where a punched paper roll holds the instructions that make the piano play, except in the case of MIDI, you have a multitrack, a virtual ‘paper roll’ capable of controlling many instruments at the same time. 

      In a typical setup, a MIDI instrument (usually, but not invariably, a keyboard) is connected to a sequencer via a MIDI cable, and when the sequencer is set to record, any notes played on the keyboard are recorded as MIDI data into whichever sequencer track has been selected for recording. In a simple system, you might have 16 MIDI tracks set up so that each is on a different MIDI channel, and if you feed the MIDI output of the sequencer to a 16­part multitimbral sound module, you can play back all 16 tracks at once. If you only have an 8­part multitimbral module, then you can only play back eight different sounds at once, in the same way that a real­life string quartet can only play four lines of music at the same time. 

      To avoid having to switch the MIDI send channel on your keyboard every time you want to record onto a new sequencer track, modern sequencers convert the incoming MIDI data to the appropriate channel for the track you’re recording on. This makes life very easy, because once you’ve completed one track, all you need do is select the next one and carry on playing. 

      The remaining capabilities of a MIDI sequencer bear more resemblance to a word processor than anything else. Like a word processor, you can delete or replace wrong characters (in this case, musical notes) and if you want to use the same phrase more than once, you can copy it and paste copies into new locations to save having to do the same thing lots of times. For example, if a song has the same structure for each chorus, you only need play the chorus once, then copy it to any place in the sequence where you’d like another chorus to appear. 

      Of course, there’s more to MIDI data than notes, and a sequencer will record just about any MIDI data you throw at it, with the exception of MIDI clock ­­ a sequencer has its own timing clock. Nevertheless, you can synchronise a sequencer to an external source if you wish, such as a tape machine (via a suitable sync box) or to a MIDI drum machine. 

      Unless you deliberately filter out certain types of MIDI data, you’ll find that your sequencer captures Note On/Off, Pitch, Velocity, Aftertouch and Controller information as well as MIDI Program Changes and even System Exclusive (SysEx) data. If these terms are unfamiliar, fear not ­­ we’ll be looking at Controllers and Program Change information next month. There’s even less need to worry about the concept of SysEx data at this point, but it is useful to know that it is possible to record a SysEx dump of all your synth sounds at the start of a song, so that when you first play the sequence, your synths are automatically loaded up with the appropriate set of new sounds to play that particular musical sequence. 

      A MIDI Program Change command recorded during the count­in period of a track will ensure that the connected synth switches to the correct sound patch before playback commences, but you can also insert Program Changes part way through a track (as many times as you like) if you want the sound to change for, say, a solo. This is the orchestral equivalent of writing a note on the score at a certain bar number to tell a violin player to put down his violin and play the next part on a flute! This isn’t something you’d usually do in real life, but a MIDI sound module is equally proficient on all instruments and, as yet, MIDI modules don’t have trade unions! 

      When your sequence is played back, the sequencer transmits the MIDI information to the receiving synth(s) ­­ or sampler, drum machine, and so on ­­ in exactly the same order, and with the same timing as you originally played it. If you so wish, you can change the tempo after recording without affecting the pitch (unlike a tape recorder, where you’re dealing with sound rather than MIDI data). If you’re still not sure why the pitch doesn’t increase as the tempo goes up, think back to the orchestra and score analogy; if the conductor asks for a piece to be played faster, the orchestral instruments don’t change in pitch. Similarly, if you pedal a pianola faster, the paper roll will be played faster but the piano’s tuning will remain the same. 

      In reality, MIDI does has a finite timing resolution, because the sequencer or computer sending the MIDI information has to work to an internal timing routine based on an electronic clock. However, in practice, MIDI is far more accurate than a typical human performer, and is capable of resolving a bar of music into at least 960 time divisions, and frequently more.

      SEQUENCER TYPES

      All MIDI sequencers are based on computer technology, but you have a choice of buying a sequencer system that runs on an existing computer (such as an Atari ST, Apple Mac, Apple Power Mac, IBM­ compatible PC or Commodore Amiga) or opting for a piece of dedicated hardware where everything you need is built into one box. The two types work in a similar manner ­­ what tends to vary is the way in which the recorded information is displayed, and how easily it can be edited.

      For those who are relatively accomplished players, hardware sequencers (like the Roland MC500) offer the benefits of simplicity and convenience, but they rarely have the information display capability of a full­size computer screen. And because there’s no computer mouse, editing is generally less comprehensive and more time­consuming than it would be on a computer­based system. However, the recording process is usually just a matter of hitting the Record button and playing. A significant benefit of hardware sequencers is that they are more practical in live performance situations; they are more compact and more rugged than a computer­-plus-­monitor, and you have fewer things to plug in.

      “Has anyone ever accused Stravinsky or Beethoven of being
      cheats, because they couldn’t play all the orchestral instruments
      themselves? I think not.”

      by Paul white, Sound on Sound

      Some MIDI sequencers (including all the compute-r­based ones) lose all information stored in their memory (RAM) when they are switched off, so it is vital to save your work to disk at regular intervals. The MIDI information which makes up a completed song can normally be saved onto either floppy or hard disk in the form of a song data file, and a single floppy disk will hold several songs of average complexity. Many hardware sequencers also have a built­in disk drive, allowing songs to be saved as files on floppy disk, though some of the less expensive models (such as the Alesis MMT8) use battery-­backed-­up memory instead of disks. Once the memory is full, however, you either have to save your work to a MIDI data filer (which has an in­built disk drive) or throw away your old project before you can start a new one. Usually, this kind of sequencer can only store a few songs at a time.

      The computer­-based sequencer is capable of more sophistication than most hardware models, which means there may be a steeper learning curve. However, this is more than made up for in my opinion by the amount of visual feedback available, especially when it comes to tasks like song arrangement.

      Unless you’re using an Atari ST, which has a built­-in MIDI connections, you’ll have to buy an external MIDI interface box, though some of the newer GM synth modules (such as Yamaha’s MU50) come with PC and Mac MIDI interfaces built in. MIDI interfaces for Apple Macintosh computers usually plug into the modem or printer ports on the machine, while PC users need an interface card which goes inside the computer. A basic sequencing setup is shown in Figure 1, and to keep things simple, I’ve depicted a ‘dumb’ master MIDI keyboard; if you have a MIDI keyboard that includes a sound generation section, simply select Local Off and connect it up like any other synth module.

      The majority of the leading software sequencing packages have adopted the style of user interface pioneered by Steinberg in their Cubase software. This typically comprises a main screen page, which handles the basic ‘recording’ and arranging, plus a number of further pages which address various aspects of editing and, where applicable, scoring. The record and playback controls are designed to look something like a tape recorder’s transport control, and the edit pages usually allow you to examine (and change) the recorded data in several ways: (i) as a list of MIDI events; (ii) graphically, in the guise of a ‘piano roll’ display; or (iii) in the case of ‘score’ versions, in the form of a conventional musical score.

      Some software sequencers include sophisticated scorewriting facilities which enable you to print out sheet music for your compositions, in which case you’ll need a printer that is compatible both with your computer and the software package. However, some musical literacy is useful, because the computer doesn’t always interpret what you play in the same way that a trained scorewriter would.

      Editing

      From the editing pages of a typical sequencer, you can change the value, timing, and velocity of any of the notes you’ve played. Alternatively, you can build up compositions manually, by placing new notes onto the quantise grid in non-­real­ time, rather like writing out a manuscript. The non-­real­time entry of note information may also be referred to as step-­time entry.

      A number of related non-­destructive (ie. the operation is not permanent and can be reversed) editing options are sometimes available, including the ability to transpose your music, either as you play or after recording. You also usually have the ability to make the music louder or softer by adjusting the overall velocity. On some systems, you can even compress the dynamic range of your MIDI data to even out the difference between your loudest notes and the quietest ones, as well as delay or advance tracks relative to each other (to make timing adjustments). This is frequently achieved by recalculating the note data during playback, but the real data isn’t changed, so you can always revert to your original performance data.

      MIDI DRUMS

      t is possible to sequence the sounds from your drum machine just as you can any other type of MIDI sound module, but remember to turn off the drum machine’s external MIDI sync first, otherwise every time you start your sequencer, the drum machine’s internal patterns will start to play. Unlike a conventional instrument, where each note on the keyboard plays a different pitch of the same sound, drum machines place different sounds on different keys, allowing access to many varied drum sounds. Because it’s difficult to play a complete drum part in one go via a keyboard, it is common practice to spread the drum part over several sequencer tracks ­­ enabling you to record, say, your bass and snare first, your hi­hats next and finally your fills. This method of working makes it easy to edit your drum tracks later, without having to work out what note corresponds to what drum sound. And once the drum part is completed, of course, you can always merge the drum tracks into one for convenience. Most sequencers offer a suitable track merge function these days.

      SUMMARY

      MIDI sequencers are very powerful tools both for music composition and recording, and because they have grown so sophisticated, there are still a great many features that I haven’t discussed. For example, MIDI allows you to remotely control the volume of your instruments, so by recording MIDI Volume information (Controller 7) in your sequences, you can create automated mixes.

      Wonderful though sequencers are, they are still far from perfect. Aside from the inevitable software bugs that creep in, they tend to force you to work in a way that you probably wouldn’t adopt if you were playing and composing conventionally. Most insidious is the metronome or tempo click that you have to play along to, and although you can turn this off and record ‘freestyle’ regardless of bar positions, you won’t be able to quantise your data (for an explanation of quantisation, see the box elsewhere in this article), and you won’t be able to print out a meaningful score. This means that tempo changes have to be planned ahead rather than being intuitive. Although software designers are now including features to help you in this area (such as re­barring), it takes a lot of determination to move away from the fixed tempo, four-to­the­ bar, music that we’ve all become so accustomed to.

      Despite the pitfalls mentioned, MIDI sequencing still offers far more advantages than disadvantages, and used creatively, it makes many things possible that would have been far too impractical or expensive in the pre­-MIDI era. And finally, don’t think that sequencing is difficult ­­ once you’ve made a start and seen how easy it is to handle the basics, you’ll wonder why the manuals ever needed to be so thick!

      MIDI AND SYNCHRONISATION

      MIDI sync was covered in some depth in Part 1 of this series, but it is useful to recap here on the main points.

      Sequencers with integral hard disk recording facilities offer a great way of combining audio with MIDI, but they still tend to be expensive and there’s also the problem of backing up very large audio data files. Because of this, most people still use multitrack tape, but there’s no advantage in recording your sequenced material to tape if you can find a way of making the sequencer run in sync with your multitrack.

      The easy answer is to record some form of MIDI sync code onto tape. This means you give up one tape track to record the necessary sync code, but you gain as many ‘virtual tracks’ as your sequencer and synth/sound module collection can provide. The simplest way to achieve this is to use a ‘Smart FSK’ MIDI­ to­tape sync box which you can buy for as little as £100. These use both MIDI Clock and MIDI Song Position Pointers to ensure that your sequencer starts at the right time and remains in perfect synchronisation with your multitrack, regardless of whether you play the tape from the start of the song or from half way through. For more on MIDI sync, FSK, and Song Position Pointers, take a look at the article ‘Synchronisation Explained’, starting on page 186 of July ’94’s SOS.

      SEQUENCER FEATURES

      What basic features can you expect from a MIDI sequencer? Obviously every sequencer is different, but all should be capable of the following core functions.

      • REAL­TIME RECORDING: You play in your MIDI data from a keyboard and record just as you would with a tape recorder. Unlike a tape recorder, you can transpose, change tempo and quantise your data after recording. If you want to use the quantise feature, you have to play to the internal metronome track when recording.
      • STEP­ TIME RECORDING: Notes are played in one at a time ­­ it’s rather like typing a letter with one finger! You decide where the notes go and how long they’re going to be, after which you can play back your work at any tempo. Most people mainly use real­time recording with occasional recourse to step-­time when the going gets tough. With a piano­roll type of editing screen, you can also ‘draw’ your notes directly onto the quantise grid and then use the mouse pointer to ‘stretch’ them to the desired note length. 
      • EDIT: A typical sequencer will have a variety of editing tools to enable you to change your composition once you have recorded it. These range from the ability to change individual notes to the ability to change entire arrangements and swap instruments.
      • QUANTISATION: This is the ability to move your notes to the nearest accurate subdivision of a bar (for example, 16ths of a bar). See ‘Quantisation’ box elsewhere in this article for more details. 
      • TRANSPOSITION: Notes can be transposed by any amount without altering their lengths, while entire compositions or sections of compositions can easily be shifted to a different key. 
      • COPY/CUT/PASTE: Any section of music can be copied to different tracks or to different locations in the song. This is useful for duplicating repeated sections, such as a chorus, or for doubling up a line of music on two tracks by assigning them to different instrument sounds. Cut allows unwanted material to be removed. 
      • ARRANGING: This may be implemented in a separate part of the program, as in C­Lab’s Notator/Creator, or it may be handled using Cut/Copy/Paste as in the case of Steinberg’s Cubase, EMAGIC’s Logic and Opcode’s Vision. 
      • MUTE: Most sequencers allow you to mute tracks, or solo a track, so that you can hear it in isolation. • CYCLE: Simply allows you to continually loop around a specific section of music while you record or edit. 
      • UNDO: Computer­-based sequencers, and some hardware sequencers, have an Undo function which, as the name implies, lets you undo the last seemingly permanent thing you did.

      QUANTISATION

      One important feature common to both hardware and software sequencers is the ability to quantise data after recording ­­ a useful feature for those musicians not possessed of a perfect sense of timing. Essentially, when you choose to quantise something, the timing is changed so as to push each note you’ve recorded to the nearest exact subdivision of a bar. For example, if you are working in 4/4 time, and you select 16 as your quantise value, all the notes becomes locked to an invisible grid which in effect divides the bar into 16 equal time slots. Quantise must be used carefully as it can strip all the feel from some types of music; however, if you’re doing dance music where precise timing is essential, the quantise feature is indispensible.

      The most recent computer­-based sequencers allow you to un-quantise data as well as to quantise it, but be aware that some less advanced software sequencers and a number of hardware sequencers perform what is known as destructive quantise. So if you think you might need to go back to the original version, it’s vital that you keep a copy of the sequence.

      Another feature which I find really valuable is what is usually referred to as percentage quantise. Using this, you don’t have to make all your notes snap to the quantise grid; instead, by setting a quantise value of say 50%, you can have your notes moved to a position that’s halfway between where you originally played them and the nearest time slot in the quantise grid. This is great for tightening up your playing without losing all the feel.

      Yet another quantise-­related function is swing, where the quantise grid is moved away from regular slots to alternating longer and shorter slots. This can be used subtly to add feel or used more aggressively to turn a 4/4 track into a 2/4 track, say. It’s now even possible to load in third­party groove templates (such as DNA Grooves) created from the timing of real players.

      HARD OR SOFT?

      Software sequencers have several obvious advantages over hardware sequencers, but that doesn’t mean that they’re better ­­ it all depends on what facilities you need and whether you want your sequencer to be portable.

      SOFT OPTION

      The main pros of software sequencers are as follows:

      •  A good visual interface. 
      • More comprehensive editing facilities. 
      • You can still use the computer for other purposes. 
      • You’re not tied to one manufacturer for software upgrades ­­ if somebody comes out with a better program, you can always move over to it.
      • Most computer sequencers support multiple MIDI output ports via a special multi­port MIDI interface. This means you are not restricted to 16 MIDI channels and a typical system will provide six output ports, giving you up to 96 MIDI channels to work with.
      • The most popular sequencer software packages now allow you to transfer song data from one computer platform to another and, in some cases, even from one manufacturer’s software sequencer to another’s
      • Professional standard score printing is available from many sequencing packages, using either an inexpensive ink­jet printer or a laser printer.

      Hard Option

      Hardware sequencers have their advantages too, the main ones being listed below: 

      • One­-box solution to sequencing.
      • Generally more reliable than computers in live situations or when being moved from studio to studio. 
      • Although they may have fewer editing options than a software sequencer, they also tend to be easier to use.
      • You don’t have to learn to use a computer before you can begin to learn your sequencer software.

      A basic MIDI sequencing setup starts at your keyboard ­­ it’s here that the MIDI information to be recorded originates. The master keyboard is connected via its MIDI Out socket to the MIDI In of your MIDI interface, or directly to the MIDI In of your hardware sequencer or Atari ST. As mentioned earlier, if your keyboard includes a synth section (in other words, if it makes sounds), then turn Local Off and patch a MIDI cable from the sequencer’s MIDI Out to the keyboard’s MIDI In.

      If you have other MIDI modules in the system, you can daisy­chain them in any order by feeding the MIDI Thru of one piece of gear to the MIDI In of the next, as described last month. Up to three modules can normally be chained in this way without problems, but longer chains may cause stuck or missed notes (due to corruption of the MIDI signal), in which case you should use a multiple output MIDI Thru box connected to the output of your sequencer and then feed each module (or short chain of two or three modules) from separate outputs on this Thru box. MIDI Thru boxes were explained in Part 1 of this series, last month.

      f you’ve connected up your system as described but no sound comes out, here are a few things you might want to check before you get into serious panic mode.

      • Check that everything is switched on and that your synth modules are set to Multi or Sequencer mode (assuming you want to use them multi-timbrally).
      • Check your MIDI cable connections and don’t rule out the possibility a faulty MIDI lead. Some modules
        have a combined MIDI Out/Thru socket; if so, ensure MIDI Thru is enabled (see handbook for that piece of
        equipment). To help narrow the problem down, most sequencers have some form of indication that they’re
        receiving MIDI data and many modules have a MIDI light or other indicator that blinks when data is being
        received.
      • Check that you’ve set the MIDI channels correctly on your modules and that Omni mode is switched off on all modules. If two or more instruments try to play the same part, the chances are you’ve either got more than one module set to the same MIDI channel or something’s been left set to Omni. If your master keyboard plays its own sounds when you’re trying to record using the sound of another module, check that Local Off is really set to Off.
      • If playing a single note results in a burst of sound, rather like machine gun fire, or if you get stuck notes or apparently reduced polyphony, the chances are you have a MIDI loop. In a MIDI loop, MIDI data generated by the master keyboard passes through the sequencer and somehow finds its way back to the input of the master keyboard, where it starts its round trip all over again, rather like acoustic feedback. This usually happens when you are using a keyboard synth as your master keyboard and have forgotten to select Local Off.

      If you have one of those rare instruments with no Local Off facility, you’ll probably find that your sequencer allows you to disable the MIDI Thru on whatever channel your master keyboard is sending on (most people leave it set to channel 1).

      If you are unfortunate enough to have neither facility, then all you can do is record with the MIDI In disconnected from your master keyboard and use the sounds from external modules. When you’ve finished recording, you can reconnect the master keyboard’s MIDI In, if you wish, and use it to play back one of the recorded parts or to layer with an existing synth voice.

      Sound on Sound MIDI Basics, Part 1

      Paul White, editor of Sound on Sound wrote a series of articles in 1995 for newcomers to MIDI. 

      You might imagine that most SOS readers already have a pretty firm grasp of MIDI, but new readers are joining us every month. Furthermore, there are those amongst our existing readership who mainly record using traditional multitrack methods, and they too could benefit from a refresher course in MIDI practices. One of the problems is that many of the musicians who could reap the benefits of MIDI are frightened off by the jargon ­­ and there’s also the underlying suspicion that MIDI has something to do with computerising and dehumanising music. Furthermore, it’s not always clear what MIDI can actually help you achieve. But before looking at all the great things you can do with MIDI, is it true that MIDI is complicated? Technically, MIDI is quite complicated ­­ but then the same is true of TV, telephones, cars, and the insides of your hi­fi system. Even so, most of us take these things for granted and use them without giving a second thought to what really makes them tick. The ease of use of something doesn’t necessarily relate to the complexity of the technology that makes it work, and that’s certainly true of MIDI, because although it does provide the scope for you to do complicated things if you wish to, you can choose to approach it on your own terms and make use only of the facilities that you need.

      WHAT IS MIDI?

      MIDI is essentially a communications protocol or common language that enables any MIDI ­equipped electronic instruments to be linked together in a musically useful way. The data that makes this possible is in digital form, hence the acronym MIDI (Musical Instrument Digital Interface). Don’t worry if you don’t know how digital data works ­­ it doesn’t know how you work either, but that doesn’t mean you can’t work together! MIDI compatible instruments and other MIDI devices are connected to each other via standard MIDI cables, with 5­pin DIN plugs on either end. There are a few simple rules determining what should be plugged where, but what would really help at this stage would be to talk more about this mysterious ‘musically useful’ information that MIDI instruments send to each other. In reality, there are many types of MIDI message, and to try to grasp them all at once would probably give you a headache, so what I’m going to do is cover the essentials first (and if I have to bend the truth occasionally to keep things simple, it won’t do you any lasting damage!). Electronic keyboard instruments are, by definition, electronic, which means that the sound is created by circuitry, not by something being hit, bowed, or blown. Whereas a piano key activates a mechanism which hits the string, the keys on an electronic MIDI instrument generate electronic signals to tell the internal circuitry what note to play and how loud to play it. When a key is depressed, a signal known as a Note On message is transmitted, and when the key is released, a Note Off message is sent. The actually key that you depress dictates which musical note will be played, and the loudness of the note depends on how hard the key is hit ­­ which is really the same thing as saying how fast the key is pushed down. This speed, or velocity, is read by circuitry within the keyboard and used to control the volume of the sound being played. The term ‘velocity’ is one piece of MIDI jargon that crops up quite regularly. To recap so far, the main parameters of a musical note played from a keyboard are: which note it is, when it starts, when it stops, and how loud it is. There are other things that you can do to a note, such as bending the pitch or adding vibrato, but they’ll keep for now… If pitch, Note On, Note Off and Velocity information all exists in the form of electronic signals, it must be possible to send these signals along a piece of wire and use them to control the sound generating circuitry in another electronic instrument, and it’s precisely that concept which is at the heart of MIDI. (It might occur to you at this stage that you could send the same signals directly from a computer and cut out the middle man ­­ but that avenue of exploration comes later, when we look at sequencing.) The main point to get across to new users is that MIDI is not a means of transmitting audible sounds ­­ it is a means of transmitting instructions or messages. A good analogy might be to compare MIDI data with a written musical score; the score only tells the performer what to play, it doesn’t have any influence over the sound of the instrument. What’s more, you could read a score written for violin and choose to play it on a piano.

      MIDI allows us to play any piece of music using any sound at our disposal. If we plug the MIDI Out of the keyboard we are physically playing (the Master keyboard) into the MIDI In socket of another MIDI instrument (the Slave), then the slave is able to play the notes as performed on the master keyboard. This simple arrangement is shown in Figure 1. Great ­­ but why would I want to do that? Well, when playing live, the ability to link a second instrument via MIDI means that the sounds of both instruments can be played without changing keyboards. Not so flash as wearing a gold cape and standing in front of tiered banks of Moog synths, perhaps, but far more practical. Indeed, only the master synth needs to have a keyboard at all ­­ the other MIDI devices can simply be sound modules, which certainly saves on space if you have to drive to a gig in a Metro, and it saves money. To understand how the control of multiple modules is possible without them all playing at once, all of the time, the concept of MIDI channels has to be introduced.

      MIDI CHANNELS

      In a basic MIDI system, the way the instruments are linked means they all receive the same MIDI information. In order to allow the master instrument to communicate with the slaves on a more selective basis, the MIDI Channel system was devised. There are 16 MIDI channels available, numbered 1 to 16, and they work in a very similar way to TV channels. Most people in the UK receive four TV channels (forget Sky just for now), yet all four channels arrive at the same aerial and reach the set down the same piece of wire. Which one we actually watch depends on which TV channel we select on the set. With MIDI, the information sent down the MIDI cable can be transmitted on any one of 16 channels selected on the master keyboard; similarly, the sound modules may be set to receive on any of the 16 channels. If we, for example, set the master keyboard to transmit on MIDI channel 1 and connect up three different MIDI modules set to receive on channels 1, 2, and 3, only the first module set to channel 1 will respond. The others still receive the information, but the MIDI data tells them that the information is not on their channel and so they ignore it. Of course, you can set all your modules on the same MIDI channel and have them all playing at once, if you want to. Putting it briefly, by switching channels at the master keyboard end, up to 16 different modules (set to the 16 different MIDI channels) can be addressed/played individually, even though they are all wired into the same system.

      MULTITIMBRAL APPROACH

      We’ve already discovered that a MIDI sound module is essentially a MIDI instrument without a keyboard, but many current MIDI modules actually contain the equivalent of several MIDI instruments, each of which can be addressed on a different MIDI channel. These are known as multitimbral modules, but the instruments inside are not usually quite as independent as they appear; for example, some parameters may affect all the voices globally, or the sounds may all be mixed to a single stereo pair of audio output sockets. Even so, it is always possible to change the relative volume levels of the different instrument voices and to change their left/right pan positions. Why should you want a multitimbral module, after all, you only have one pair of hands? If you’re playing live, then you probably can’t take full advantage of multitimbral modules (though you could use them to assign different sounds to different regions of your keyboard), but if you want to add a sequencer to your setup to allow you to make multitrack MIDI recordings, just one multitimbral module can provide you with a complete backing band or orchestra, including the drums. Before multitimbral sound modules appeared, you needed a different MIDI instrument for each of the parts you wanted to sequence. On top of that, all MIDI sound modules have what is known as a ‘maximum polyphony’ ­­ the maximum number of notes that they can play at any one time. This being the case, if some of the MIDI channels are already playing very busy parts, you might find that trying to play yet another part on top causes some of the notes to drop out or be cut short. The bottom line here is that the more polyphony you have (64­note polyphony is typically the maximum for modern modules), the better ­­ especially if you’re in the habit of writing complex pieces of music where lots of sustained notes overlap. Drum machines may also be used as MIDI modules, even though they have their own built­in rhythm sequencers. It is possible to access their sounds externally over MIDI, each drum sound being ‘mapped’ to a different note on the keyboard. Some MIDI drum modules, such as the Alesis D4, are specifically designed with no internal sequencing capability, just sounds.

      MIDI CONNECTIONS

      Most MIDI instruments have three MIDI sockets, labelled In, Out, and Thru, though some older models may not have all three. The master instrument always sends information from its MIDI Out socket, which must be connected to the MIDI In socket of one of the slaves. The MIDI Thru of the slave is then connected to the MIDI In of the next slave and its Thru connected to the In of the next one, and so on… What we end up with is a daisy­chain and, in theory, this can be indefinitely long. Not so in practice, however, because the MIDI signal deteriorates slightly as it passes through each successive instrument. After passing through three or four instruments, the MIDI messages may start to become unreliable, resulting in notes which stick on or refuse to play at all. A better way to interconnect multiple instruments, in anything other than the smallest MIDI system, is to use a so­called MIDI Thru box. This takes the Out from the master keyboard and splits it into several Thru connections, which then feed the individual modules directly. Figure 2 shows the standard method of daisy­ chaining, followed by the same system using a MIDI Thru box instead. In practice, many people use a combination of MIDI Thru boxes and short daisy­chains of instruments. The MIDI Outs of the slave units are normally unused during performance, but they are useful when you want to hook up your keyboard to a MIDI sound editor or librarian program, running on a MIDI­equipped computer.

      PROGRAM CHANGE

      So far, I’ve explained that MIDI operates on 16 channels and can be used to send note information from a MIDI­compatible master instrument to a MIDI­compatible slave, but there’s a lot more useful information that you can send over MIDI. Today’s synthesizers are programmable, and they have memory banks full of sounds (often called ‘patches’) from which you can choose. MIDI provides direct access for up to 128 patches, sometimes numbered from 0 to 127 and sometimes from 1 to 128. The buttons that are used to select the patches on the master keyboard also enable Program Change information to be transmitted to the slave synthesizer modules, so now we can play the modules remotely and we can select the sound or patch that they will play. These Program Change messages may also be used to switch to different effects patches on a MIDI effects unit that responds to MIDI Program Changes (most units do). In the case of a MIDI instrument that offers more than 128 sounds, the likelihood is that these sounds will be organised into banks, each bank containing no more than 128 sounds. The MIDI protocol now includes the facility to switch from one bank to another, though some older instruments have non­standard bank change systems which are usually explained in their respective operation manuals.

      PERFORMANCE CONTROL

      A typical MIDI synthesizer has two control wheels mounted to the left of the keyboard, and though these are often assignable to allow them to control various different effects, one is generally used to control pitch bend while the other controls vibrato depth. These controls work by generating electronic signals which, in turn, control the circuitry that creates the sound. And, like note information, control information may also be transmitted down a MIDI cable ­­ simply move the control wheel on the master, and the slave instrument will respond. Time to introduce a possible pitfall. MIDI instruments can often be ‘scaled’ so that, for example, the maximum travel of the pitch bend wheel might cause a pitch shift of as little as one semitone or as much as an octave. It is important to ensure that any instruments likely to play at the same time are set with the same scaling values, especially for pitch bend, otherwise when you try to bend a note on the master keyboard, the sound coming from the master keyboard might go up by a third and the sound from the slave by a fourth ­­ clearly not desirable. Similarly when you’re working with a sequencer, it makes sense to set up your instruments so that they all have the same pitch bend range. Another useful MIDI controller is master volume ­­ most modern instruments respond to it while some older ones do not. On an instrument that transmits master volume information, turning up the master volume slider will send the appropriate control information over MIDI and the receiving slave instrument (providing it understands master volume) will respond to it. In fact, when you get into MIDI you’ll find that there’s a whole list of controllers that can be used to add expression to your performance, including sustain pedals, vector joysticks, sostenuto, and so on. You’ll find a list of the controllers to which your MIDI instruments can respond in their respective manuals, and you’ll notice that the controllers are divided into two types: switch controllers which are either on or off, and continuous controllers which allow something to be varied. For example, a sustain pedal is a simple on/off switch, but a volume control is a continuous controller. Because of the structure of MIDI data, you’ll find that the maximum range of any MIDI parameter or controller is usually from 1 to 128. In other words, a continuous controller really provides you with 128 small (but separate) steps.

      MORE ON MIDI

      So far I’ve only touched on the basics of MIDI, and much of what MIDI can do has been left unsaid for the time being. Even so, with what you’ve learned so far, you should be able to start putting MIDI into practice. However, there is time to introduce just one more concept, and that’s the idea of MIDI Clock. Some MIDI instruments, like drum machines, have a built­in sequencer which allows drum patterns to be set up and played back at different tempos. Such instruments both send and receive MIDI Clock data, a series of electronic timing markers which go down the MIDI lead along with the other data. Think of it as the electronic equivalent of the sprocket holes at the edge of a cine film and you’ll soon grasp the idea. MIDI Clock is very useful as it allows us to synchronise two or more MIDI devices together. For example, a drum machine could be slaved to a second drum machine so that both play together, allowing you to use sounds from both machines. And as we shall see later, MIDI Clock is what allows us to synchronise sequencers and drum machines together or to sync sequencers to tape recorders. Also associated with MIDI synchronisation are commands for starting and stopping things like drum machines and sequencers, and these are known as MIDI Real Time messages (see box). There’ll be more about MIDI Clock when we delve into the basics of sequencing next month.”Like note information, control information may also be transmitted down a MIDI cable ­­ simply move the control wheel on the master, and the slave instrument will respond.””…when you get into MIDI you’ll find that there’s a whole list of controllers that can be used to add expression to your performance…””If you want to add a sequencer to your setup to allow you to make multitrack MIDI recordings, just one multitimbral module can provide you with a complete backing band or orchestra, including the drums.”

      MIDI MODES

      Most MIDI instruments can be set to receive on any of the 16 MIDI channels, but there is also a setting called Omni mode, which allows the unit to respond to all incoming data, regardless of its channel. Some MIDI equipment, especially older models, tends to default to Omni mode when first switched on. Although this is a trifle tedious, it isn’t really a problem so long as you remember to reset the instrument to the desired MIDI channel before you continue. If the instrument is set to receive on separate MIDI channels, then it is said to be in Omni Off mode. It is also possible to tell an instrument whether to play polyphonically or monophonically, and while polyphonic operation is by far the most common requirement, mono operation has certain advantages, not least for guitar synth users. In Mono mode, a single polyphonic synth can be made to behave as several single­voice synths, each voice being on a different MIDI channel. If you have a MIDI guitar, it makes sense to set up the system so that each guitar string controls its own single synthesizer voice on its own MIDI channel. Not only does that make the note allocation mirror that of the guitar (where each string can only be played monophonically), but it also allows independent amounts of pitch bend to added to each string. The four possible combinations of Omni On/Off and Poly/Mono operation form the four modes of MIDI operation and are defined as follows: 

      Mode 1: Omni On/Poly 

      Mode 2: Omni On/Mono 

      Mode 3: Omni Off/Poly 

      Mode 4: Omni Off/Mono 

      Most of the time, players using keyboards will use Mode 3, which is the default mode for the majority of MIDI instruments. In Mode 3, the instrument works polyphonically and responds only to notes sent on its chosen MIDI channel (or channels, in the case of a multitimbral instrument). Mode 2 is the least useful mode ­­ indeed, I’ve never met anyone who’s found any use for it at all! Stories abound that it crept into the MIDI specification as the result of a misunderstanding, so if your synth doesn’t support Mode 2, don’t feel you’re missing out.

      MIDI JARGON BUSTER

      • MIDI Musical Instrument Digital Interface.
      • MIDI Clock –Series of tempo ­related electronic timing markers embedded in the MIDI data stream. 
      • Note On- MIDI message sent when note is played (key pressed).
      • Note Off -MIDI Message sent when key is released.
      • MIDI Module- Sound generating device with no integral keyboard.
      • Multitimbral Module-MIDI sound source capable of producing several different sounds at the same time, controlled on different MIDI channels.
      • MIDI Channels-The 16 channels over which MIDI information can be sent.
      • MIDI Mode- MIDI information can be interpreted by the receiving MIDI instrument in a number of ways, the most common being polyphonically on a single MIDI channel (Poly­/Omni Off mode). Omni mode enables a MIDI instrument to play all incoming data regardless of channel setting.
      • MIDI Program Change- Type of MIDI message used to change sound patches on a remote module or the
        effects patch on a MIDI effects unit.
      • MIDI Controller- MIDI message sent in response to movement of certain physical controls on the master
        keyboard (or other master MIDI instrument).
      • MIDI Thru Box- Device which splits the MIDI Out signal of a master instrument or sequencer to avoid
        daisy ­chaining.
      • MIDI In- Socket used to receive information from a master controller or from the MIDI Thru socket of a
        slave unit
      • MIDI Out- Socket on a master controller or sequencer used to send MIDI information to the slave units
      • MIDI Thru- Socket on a slave unit used to feed the MIDI In socket of the next unit in line.

      REAL TIME MESSAGES

      Before MIDI arrived on the scene in 1982/83, attempts were made to provide tempo­ related clock systems to allow devices from different manufacturers to be synchronised together, but quite often they used different numbers of clocks per bar which meant some form of convertor box had to be employed. MIDI uses 96 clock pulses per 4­beat bar (or ‘whole note’, as the Americans like to call it) so any piece of MIDI gear that can send or read tempo information will sync to any other. If the tempo of the master machine is speeded up, its MIDI Clock rate speeds up accordingly, so the slave tempo is forced to follow. Even when the master machine is not playing, it is still sending out MIDI Clock data at the current tempo, which means that any connected slave device knows exactly what tempo to take off at when it receives a Start command. The Stop command will cause both the master and slave machines to stop running, and a further command, Continue, allows the machines to continue playing from wherever in the song they were stopped. Start always causes the master and slave to start from the beginning of the song. If you’re wondering how the machines know whether they’re supposed to be the master or a slave, it’s because they can all be switched for internal sync (master) or external MIDI sync (slave) operation. Any machine switched to external MIDI sync can be used as a slave. As with MIDI note information, the MIDI connection runs from the master’s MIDI Out to the slave’s MIDI In.

      Flight of the Bumble Bee-MIDI Style

      5 Different Sites and 5 different views of the same song, but they are all driven by MIDI. 

      Multimedia artist Andy Fillebrown creates visualizations of classical, public domain musical compositions. His YouTube channel, audiosculptures, is filled with 100+ spellbinding journeys through a tunnel of glowing, pulsing notes.

      by The Kid Should See This


      Our own Eric Singer (Eric is on our educational advisory panel) posted this next video which uses three MIDI driven robots to play the Rimsky-Korsakov piece. 


      Not to be outdone by a machine (pun intended) here is yehezkel raz performing the piece on an Ableton Push.

      3



      Here’s another look at this piece from the Black MIDI point of view.  If you don’t know about Black MIDI check out this post.


      Here is Hollywood Virtual Audio’s Orchestral version highlighting a different way to use MIDI  


      If you want just plain old MIDI, here are links to one of the most popular sites on the web for classical MIDI files. 

       


      ...

      Nikolay Rimsky-Korsakov – Classical Archives

      Nikolay Rimsky-Korsakov (composer 1844-1908) – Play or download MIDI files from Classical Archives (classicalarchives.com), the largest and best organized classical music site on the web.

       

      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 composer who lived most of his life in Mexico and wrote most of his pieces for player pianos because the music was impossible for humans to play.  Here is a really nice overview from Adam Neely. 

      Black MIDI – Is it music, art, both or just kids trying to break their computer?

       

      I2011 a Japanese Youtube named kakakakaito1998 uploaded the first Black MIDI file. 

      Black MIDI is a strange combination of music, visuals created by notation or often with the use of a music learning game called Synthesia.  The idea is to put so many notes in the pieces that the notes themselves become a type of synthesis and also create stunning visual effects. 

      This original video has over 220,000 views, but that’s small compared to something like Bad Apple from the Blacker -SuperMariobros2.  This video has over a million views and over 8 million notes!. 

      Black MIDI continues to rise in popularity, Look at this trend from Google about Black MIDI searches. 

      Below are links to several article about Black MIDI that provided information for this article, links to some of the more famous Black MIDI YouTube channels and a link to the Synthesia game.  Maybe you’d like to try Black MIDI for yourself!


      ...

      TheSuperMarioBros2 – YouTube

      I like to make ridiculously impossible piano MIDIs and then kill my computer with those midis. Me and TheTrustedComputer make the best quality impossible mid…


      ...

      Gingeas – YouTube

      Black MIDI, computer stuff, etc. Senior high school student. Currently in the BMT. I edit my videos. Nobody wants to watch an hour of lag, lmao. I do not rea…

      Serial, Parallel, and Joystick Ports

      Serial, Parallel, and Joystick Ports

      Before USB and FireWire, personal computers were all generally equipped with serial, parallel, and (possibly) joystick ports, all of which have been used for connecting MIDI-equipped instruments (through special adapters). Though not always faster than MIDI-DIN, these connectors were already available on computers and that made them an economical alternative to add-on cards, with the added benefit that in general they already worked and did not need special configuration. The High Speed Serial Ports such as the “mini-DIN” ports available on early Macintosh computers support communication speeds roughly 20 times faster than MIDI-DIN, making it also possible for companies to develop and market “multiport” MIDI interfaces that allowed connecting multiple MIDI-DINs to one computer. In this manner it became possible to have the computer address many different MIDI-equipped devices at the same time. Recent multi-port MIDI interfaces use even faster USB or FireWire ports to connect to the computer.

      About MIDI-Parts 6:The Benefits of MIDI

      Unlike MP3 files and CDs, MIDI files contain individual instructions for playing each individual note of each individual instrument. So with MIDI it is actually possible to change just one note in a song, or to re-orchestrate an entire song with entirely different instruments. And since each instrument in a MIDI performance is separate from the rest, its easy to isolate individual instruments and study them for educational purposes, or to mute individual instruments in a song so that you can play that part yourself.

      Here are just some of the tangible advantages of using MIDI for active music-making.

      Play with “a band”

      Learning to play a musical instrument is one of the most rewarding things people can do. But why play by yourself when you can play along with a band? Standard MIDI Files are available for many popular songs, and when used with a personal computer or digital piano make it possible to have an entire backing band play along with you at whatever speed (tempo) and in any pitch (key) you desire. MIDI files are perfect for practicing with, as well as for performing when additional musicians are not available.

      Correct Your Performance

      A MIDI sequencer or a ‘Digital Audio Workstation’ can record your performances for listening at a later time, and even save your performance in Standard MIDI File format for playback on other MIDI systems. This is a great way to evaluate your own progress, or even to study how someone else plays.

      Better yet, because all MIDI data is editable, you can edit out any imperfections! If you play a wrong note, you can just change it using the Sequencer’s editing tools. And if you find you just can’t play fast enough to keep up with the tempo, you can slow it down for recording and speed it back up for playback — without the “Mickey Mouse” effect that normally comes from speeding up a song.

      Play Any Instrument

      When you use MIDI to make music, you aren’t limited to playing just one instrument. No matter what sort of MIDI Controller (keyboard, guitar, wind, drums, etc.) you actually use, you can make it sound like just about any instrument you can imagine (and some that are only in your imagination). Most digital pianos and other MIDI instruments come with hundreds of different sounds (pianos, trumpets, violins, guitars, basses and more) which you can play yourself or play via a MIDI sequencer to create fully orchestrated music.

      Arrange and Orchestrate

      Many people enjoy arranging and orchestrating music as much as performing it. There are MIDI files available for songs from every style of music — as well as software programs that generate the basic rhythm and chord patterns that define specific styles — that you can use to create your own arrangements and orchestrations. Just change the instrumentation, add a verse or chorus here or there, even put in your own original phrase or section — all of this is easy to do with MIDI. You can also share your arrangements with other people, who can then rearrange them to fit their own needs — many people download MIDI files from the Internet and rearrange them to fit their own needs.

      Print Sheet Music

      When you are done creating your own performance or arrangement, if you have a personal computer, you can convert MIDI information into musical notation and print out actual sheet music. Even if you can’t play a note, MIDI Notation programs often make it possible to place notes on a musical staff using your mouse or computer keyboard. There are Notation programs available for every level and pocket book — from professional engraving to casual use.

      Compose Music

      If you’ve ever had an original song idea in your head and wished you could have it performed, MIDI is the way to do it. All you need is a MIDI Sequencer , plus a MIDI instrument to enter notes with. (You can also use MIDI Notation software to place notes on a musical staff without playing them at all.) You can start with just a melody and then add backing chords, bass, and rhythm later, or add instruments in any order you like. If you make mistake, you can change it without having to play the part all over again. You can also make entire sections repeat without playing them again. And you can rearrange and re-orchestrate your song as many times as you like.

      Basics of USB-MIDI

      USB MIDI 2.0 ADOPTED

      MIDI 2.0 Progress Continues with Updated USB Specification –  

      As computers have become central components in many MIDI systems, USB has become the most widely used protocol for transporting MIDI data. With the introduction of MIDI 2.0, the USB Implementers Forum’s USB MIDI 2.0 working group, headed by members o

       

       

       

      USB and MIDI

       

      MIDI has stayed relevant for over 30 years by adapting to the different ways that computers send information to and from external devices. MIDI can now be sent over 5 Pin DIN, Serial Ports, USB, Firewire, Ethernet, Bluetooth and more. But currently the most prevalent way to connect to computers, tablets and smartphones is USB. This article will cover the basics of USB-MIDI.

       

      Why USB came about

       

      In the early 1990’s, there were far too many types of connectors on computers. There were separate serial ports, parallel ports, keyboard and mouse connections, and joystick ports, It was hard for people to tell whether the peripheral they were buying would actually work with their computer.  So Compaq, Intel, Microsoft and NEC ( joined later by Hewlett-Packard, Lucent and Philips) formed the USB Implementers Forum, Inc, a non-profit corporation to publish the specifications and organise further development in USB. Similar to the MIDI Manufacturers Association, the USB-IF makes sure that there is interoperability between USB devices.

       

      Goals of USB

       

      The USB-IF had some clear goals when first developing the USB specification

      • Standardize connector types: There are now several different types of USB connectors, but they are all standardized by the USB-IF
      • Hot-swappable: USB devices can be safely plugged and unplugged as needed while the computer is running. So there is no need to reboot.
      • Plug and Play: USB devices are divided into functional types (Audio, Image, Human User Interface, Mass Storage) and then operating system software can automatically identify, configure, and load the appropriate device driver when a user connects a USB device.
      • High performance: USB offers low speed (1.5 Mbit/s), full speed (12 Mbit/s) and high speed (up to 480 Mbit/s) transfer rates that can support a variety of USB peripherals. USB 3.0 (SuperSpeed USB) achieves the throughput up to 5.0 Gbit/s.
      • Expandability: Up to 127 different peripheral devices may theoretically be connected to a single bus at one time

       

      USB System Architecture

       

      The basic USB system architecture is actually pretty simple and consists of the following main components:

      • A Host Computer, Smartphone or Tablet
      • One or more USB Devices
      • A physical bus represented by the USB Cable that links the devices with the host 

      The Universal Serial Bus is a host controlled bus. All data transfers are initiated and controlled by the host and USB peripherals are slaves responding to host commands. So for  USB MIDI peripheral devices you need a computer, smartphone or tablet in the system to control and initiate USB communication.

       

      USB Device Classes

       

      USB devices are defined into specific functional classes, for example image, human interface devices (keyboard, mouse, joystick), mass storage, and audio. The operating system can then know what the devices is designed to do and automatically load what is called a class compliant driver for that type of devices. In 1999, the MIDI specification was developed by the USB-IF in cooperation with the MIDI Manufacturers Association and included in the Audio class of devices.  That is why sometimes when you connect a USB-MIDI peripheral, the OS will display a message that says USB-Audio devices connected.  As far as USB is concerned MIDI is an Audio Class Compliant device.

       

      Class Compliant Drivers versus Manufacturer Specific Drivers

       

      Class compliant drivers are convenient because you don’t have to download any external software.  But often manufacturer specific drivers provide added functionality. Let’s use Yamaha has an example.  Because data transfer on USb is much faster than 5 pin DIN it is possible to have multiple ports of MIDI (a port is a group of 16 MIDI channels) on a single USB cable. The dedicated Yamaha USB Driver provides for 8 ports of high speed USB, includes the names of all the devices that are compatible with the driver and has some routing capabilities. These features are only available if you download the driver from Yamaha’s website.  Also many audio interfaces are also MIDI interfaces and audio and MIDI travel over the USb cable.  So if you purchase a MIDI or Audio interface you should always check the product manual and manufacturer’s website to see if there is a dedicated USB driver for your product that provides added functionality. Often even if the manufacturer specific driver is available when connected to a device which don’t allow driver downloads into the operating system (for example iOS devices), the product will still work as a class compliant USB device.

       

      Types of USB MIDI connectors

       

      Over the years, USB has developed and there are now a number of different cable types and USB specifications. Let’s take a look at the different connectors.

       

       

       

       

      Originally most desktop and laptops computers had the standard sized Type A USB connector. A standard USB cable has a Type A connector on one end to connect to the host and a Type B connector on the other end to connect to the peripheral device. This is still the most common cable to connect a MIDI instrument to a computer.

       

       

       

       

      USB Type A host connector

       

       

       

       

      Type B USB peripheral connector

       

       

      The Type A connector has a pin that supplies power to external peripherals so you need to be carefully about trying to connect two hosts via a Type A to Type A cable. This can cause serious damage to your gear so consult the manufacturer and manual before attempting this.

       

      The Type A connector is for host controllers (computers, smartphones, tablets and some digital musical instruments that act as hosts) and USB hubs. A USB hub is a device that expands a single (USB) port into several so that there are more ports available to connect devices to a host system.USB hubs are often built into equipment such as computers, computer keyboards, monitors, or printers. When a device has many USB ports, they all usually stem from one or two internal USB hubs rather than each port having independent USB circuitry. If you need more USB ports, there are also external hubs that you can buy. You need to check to see if your USB peripherals need to be powered by USB and if they do you may need a powered USB hub.

       

       

       

       

      On many digital musical instruments you find two USB connectors – one Type A connector labeled To Device and one Type B labeled To Host .  The To Host is usually used to send MIDI, Audio or both Audio and MIDI to a computer, smartphone or tablet. If your digital music product sends both MIDI and Audio over USB, you will almost certainly need a manufacturer specific driver.

      The To Device is usually used for USB Storage devices like Flash Thumb drives, but it can be used for other things depending on what the Host music product supports for device classes.

       

       

       

       

      USB A-Type

       

      Considered the standard and most common type of connector, A-style connectors are found on the PC or charger side of most cables. This flat, rectangular interface is held in place through friction. Durable enough for continuous connection but easy enough for users to connect and disconnect, this connector type is also available in micro variations.

       

      USB B-Type

       

      Type-B USBs were traditionally used with printer cables but, they’re now found on many popular models of Android smartphones and external hard drives. These USBs feature a square interface and are available as a Micro-USB B, USB Mini-b (5-pin), and USB Mini-b (4-pin).

       

      USB C-Type

       

      The newest type of connector on the market, Type-C is a one-size-fits-all solution. Developed to support devices with a smaller, thinner and lighter form factor. Type-C is slim enough for a smartphone or tablet, yet robust enough for a desktop computer. It also has the advantage of a reversible plug orientation and cable direction, eliminating the guesswork about which direction the connection goes.

       

      The future of USB Connectivity

       

      USB Type-C is designed as a one-size-fits-all solution for data transfer and power supply on any device. Featuring a smaller connector, Type-C fits into one multi-use port to simultaneously charge devices and transfer data and also offers backward compatibility to support previous USB standards (2.0, 3.0, and 3.1).

      Type-C is quickly becoming the new standard for operating systems and hardware providers; Intel’s Thunderbolt recently switched to USB Type-C ports while enabling cross compatibility with USB 3.1. The new Apple MacBooks feature a Type-C port.

      The USB-IF predicts that by 2019, all laptops, tablets, mobile phones, and other consumer electronics will be equipped with USB Type-C.

      In the meantime, if you have a newer computer, you may need an adapter to connect your MIDI gear to your computer.

       

       

       

       


       

       

      MIDI 30th Anniversary Articles from around the world

       How MIDI changed music

       In 2013, MIDI turned 30 and the whole world turned out to celebrate.  In 2023, MIDI will turn 40 and MIDI 2.0 will be three years old.  It’s a fascinating time for MIDI and the people who create music and art with MIDI. 


      ...

      Note on, note off: How MIDI changed music – ABC Melbourne – Australian Broadcasting Corporation

      In the early 1980s five synthesizer manufacturers agree on a common standard for sharing musical information digitally. That standard, known as Musical Instrument Digital Interface, changes music forever.


      ...

      How MIDI changed the world of music – BBC News

      It’s 30 years since the development of technology that allowed synthesisers and drum machines to be connected to computers – and since then MIDI has revolutionised the world of music recording.


      ...

      The MIDI Revolution: Synthesizing Music For The Masses : The Record : NPR

      The language used to translate sound into digital information celebrates its 30th anniversary. Today, MIDI is everywhere, including nearly every pop song on the radio and the fountain at the Bellagio Hotel in Las Vegas.


      ...

      MIDI turns 30, gets year-long birthday bash from daddy

      Whether you’re the next Trent Reznor on a MIDI controller or simply get a warm fuzzy feeling in your tummy when hearing classic video game themes, there’s no de…

      One of tech’s most successful inventors never made a cent – Fortune

      Dave Smith should be a billionaire. He invented the world’s most widely used music technology. Instead, he’s relatively unknown – and it doesn’t bother him.

      MIDI Marks 30! : Ask.Audio

      What is it about MIDI that it has not only endured 30 years of studio and live usage… but continues to thrive in all environments? Peter Schwartz delves deep

      Happy Birthday, MIDI and the New MS Office | Marketplace.org

      A protocol that lets musical instruments talk to and trigger one another turns 30 years old today. MIDI is still used by the likes of dance-punk band !!!. It’s inventor Dave Smith explains its use.


      ...

      In Appreciation of MIDI | Article | Tiny Mix Tapes

      Ableton is making history. In the world of sound recording tools, the German music software company’s name, as well as the name of their flagship product, “Live,” may not be as ubiquitous as names like “Fender Stratocaster,” “Marshall amplifier,” or even “Pro Tools.” But in the world of computer-based music production, Ableton is a giant. Their fresh take on composition has earned their software a place in the arsenals of acts you perhap

      MMA @ The 2013 NAMM Show

      MIDI Creators and Innovators Panel

      Featuring: Dave Smith, George Duke, Tom Oberheim, Alan Parsons, Jordan Rudess, Craig Anderton. For 30 years, MIDI has been at the forefront of music technology even as musical trends change. Watch a star-studded panel of MIDI instrument designers and musicians talk about the past, present, and future of MIDI with MMA CEO/President Tom White.

      MIDI 30th Anniversary Exhibit

      Here’s how we celebrated the incredible history of MIDI at 2013 NAMM:

      • We recreated the 1983 MIDI launch with the first two MIDI keyboards, the Roland Jupiter-6 and Sequential Prophet 600, connected via MIDI.
      • We displayed historical documents about the development of MIDI and the MMA, and some well-known MIDI products from the past.
      • We displayed some of the latest products using MIDI technology, and gave attendees the opportunity to jam with each other.
      • We used a 30 year-old Commodore 64 as a MIDI sequencer for an iPad (running AniMoog)

      C64 meets iPad

      2013 Booth Photo (“Present”)

      2013 Booth Photo (“Past”)

      1983 NAMM Photo

      • We handed out nearly 5000 “MIDI 30 Years” commemorative pins, and five lucky people people seen wearing the pins received prizes, including one Gibson Les Paul Standard Grand Prize.

      MMA Annual General Meeting 2013

      The Annual General Meeting of MMA Members began with a General Session at 9:00 am for members and invited guests, followed by a closed (members-only) Technical Session at 10:00 am.

      MMA Status Report

      MMA President Tom White explained how MMA’s mission is providing for interoperability of MIDI products, and explained the various technical proposals and business development projects being managed by MMA on behalf of the industry.

      • HD Protocol 
      • MMA AVBTP Payload Types – The new IEEE AVB Transport Protocol specification (IEEE-1722) includes a reference to MMA for specifications now under development that define the transport of MIDI and HD Protocol.
      • Updated MIDI Electrical spec – A proposal for MMA to publish a new circuit diagram using current components and practices and allowing for 3.3V power supplies.
      • IEC MIDI Specification – A proposal is under consideration to submit some portion of the MIDI Specification to IEC for standardization, to improve recognition as a standard by emerging countries.
      • Universal SysEX ID for iOS OMAC – A proposal to improve communication among iOS music apps.
      • MIDI Home Control Specification – A proposal to provide interoperability among home A/V devices.
      • Web MIDI API – The web standards organization (W3C) has developed technology to enable browser-based audio apps, including support for MIDI input/output. Florian Bomers (Bome Software) presented an overview of the Web MIDI API, and encouraged MMA members to advocate for browser support.
      • Bluetooth LE – Tom mentioned a few companies interested in using this technology for MIDI.
      • Logo and Trademark Protection – MMA is working with AMEI in Japan and CMIA in China to prevent dilution of the meaning of “MIDI” in China caused by registered marks being used on non-MIDI products.

      Tom also reported on MMA’s “MIDI Makes Music” promotional campaign for 2013, and the Technical Grammy to be awarded February 9th to Dave Smith and Ikutaro Kakehashi for the invention of MIDI.

      Following the General Session the MMA members discussed each active technical proposal in more detail.

      NAMM Museum Of Making Music Celebrates 30th Anniversary of MIDI

      MIDI 30th Anniversary Exhibit Display highlights historical significance of the communication interface in music making

      Carlsbad, CA (December 3, 2013) — Commemorating 30 years of facilitating the creation of music, MIDI technology debuts a display at the Museum of Making Music that will be on exhibit now through 2014 at NAMM headquarters in Carlsbad, CA. The display invites Museum patrons to experience Musical Instrument Digital Interface (MIDI) technology personally, using a touch screen interface and a fun-to-play YouRock Guitar. YouRock donated the interactive instrument, which effectively demonstrates the versatility of MIDI technology when applied to an instrument. The display also incorporates early MIDI-compatible synthesizers, keyboards and MIDI-enabled instruments to illustrate the early manifestations of the technology over the years.

      “The NAMM Museum of Making Music’s mission is to celebrate the accomplishments and impact of the music products industry,” said the Museum’s executive director Carolyn Grant. “Few innovations in recent years have as far-reaching an effect as MIDI has had on our world. We are excited to share its history with our visitors and to encourage them to learn about MIDI not only through words and pictures, but through hands-on experience.”

      This innovative and groundbreaking communication interface protocol that makes music more accessible and gives musicians a vast array of expressive tools, was first demonstrated at the NAMM Show in 1983. Originally developed for composing and creating music, MIDI technology has evolved in the last 30 years to include applications for computers, cell phones, interactive games, and other electronic products. MIDI was awarded a coveted Technical GRAMMY Award in 2013.

      “MIDI dramatically changed music-making 30 years ago when two competing manufacturers enabled their electronic keyboards to ‘talk’ to each other,” said Tom White, President/CEO of the MIDI Manufacturers Association (MMA). “MIDI makes it possible for musicians to do more by giving them control over multiple instruments (and sounds) at one time, and by enabling computers (including some tablets and smart phones) to record, edit, and notate musical performances,” he said. “This exhibit shows the evolution of MIDI products, and demonstrates why MIDI will continue to have a significant impact on the musical instrument business in the future.”

      MIDI applications have become increasingly ubiquitous in the writing and performance of popular recorded music. MIDI-equipped electronic keyboards (aka “synthesizers”), computers using sequencers and digital audio workstations, digital drums, strings, guitars and other MIDI-enabled instruments continue to make creating a broad spectrum of music accessible to more musicians and composers.

      About The Museum of Making Music

      The Museum of Making Music shares the dynamic history of the music products industry from its beginnings at the turn of the 20th century to today. Through unique exhibitions and interactive experiences, it inspires visitors of any age to explore the underlying connections between people, instruments and music, and fosters active music making as a path to enrichment and understanding. Visit the museum’s website at www.museumofmakingmusic.org or call 760-438-5996.

      Media Contact: B.J Morgan
      bjm@museumofmakingmusic.org
      760 438 8007 x170

      55th GRAMMY® Award for MIDI

      Ikutaro Kakehashi and Dave Smith receive Technical GRAMMY Award from the Recording Academy®

      In 1983, Ikutaro Kakehashi, founder of Roland Corporation, and Dave Smith, president of Sequential Circuits, unveiled MIDI (Musical Instrument Digital Interface). The launch of MIDI motivated the cooperation of an entire industry and helped move music technology into a new era. In a nearly unprecedented collaboration between competing manufacturers, what would soon prove an inescapable new technology was born when two competing manufacturers’ electronic keyboards were connected, enabling them to “talk” to one another using a new communication standard. The announcement ultimately revolutionized the music world. Today, MIDI is ubiquitous in the musical equipment industry, and is the de facto standard feature on virtually every electronic music product made by every manufacturer.

      A special invitation-only ceremony was held during GRAMMY Week on Saturday, Feb. 9, 2013.

      About the Technical GRAMMY Award Recipients:
      In 1983, Ikutaro Kakehashi, founder of Roland Corporation, and Dave Smith, president of Sequential Circuits, unveiled MIDI (Musical Instrument Digital Interface). Next year marks the 30th anniversary of the launch of MIDI, a standard that motivated the cooperation of an entire industry and helped move music technology into a new era. In a nearly unprecedented collaboration between competing manufacturers, what would soon prove an inescapable new technology was born when two competing manufacturers’ electronic keyboards were connected, enabling them to “talk” to one another using a new communication standard. The announcement ultimately revolutionized the music world. Today, MIDI is ubiquitous in the musical equipment industry, and is the de facto standard feature on virtually every electronic music product made by every manufacturer.

      by The Recording Academy® (www.grammy.com)

      Technical GRAMMY Award: Ikutaro Kakehashi And Dave Smith | GRAMMY.com

      (In addition to the GRAMMY Awards, The Recording Academy presents Special Merit Awards recognizing contributions of significance to the recording field, including the Lifetime Achievement Award, Trustees Award and

      One day I was going past a music store in Camden Town and there was a crowd inside so I went in and there was a kind of hush whilst someone was explaining that this Sequential Circuits Prophet 600 had MIDI! Once I grasped what they were talking about I felt quite faint, my head spinning with the possibilities. I’ve never been the same since and neither has the rest of the world.

      by  Dave Stewart- As a member of Eurythmics with Annie Lennox,he  won a GRAMMY in 1986 for Best Rock Performance By A Duo Or Group With Vocal for “Missionary Man.” Artists he has collaborated with include Tom Petty, Bob Dylan, Aretha Franklin, Mick Jagger, Alison Krauss, and Stevie Nicks. In 2012 Stewart released his latest solo album, The Ringmaster General.

      Congratulations to the Award Recipients and to the More than 700 Companies that Helped Make MIDI Popular.

      We celebrated the Award by taking out an advertisement in the 55th Annual GRAMMY Awards Souvenir Book (see left, click to enlarge). If you look closely at the ad you will see the names of hundreds of current and former MMA member companies in the background of the ad. Companies that donated funding for the ad are featured via logos.