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Most of the controllers are 32-bit now, meaning vastly more resolution.” “Velocity is moving up from 7-bit to 16-bit - so a lot more resolution. What can MIDI 2.0 offer us that MIDI 1.0 couldn’t? One of the most obvious upgrades to a modern digital communication system would be increased resolution. It makes it very obvious if something is being sent in error.” Higher resolution for velocity and control messages Basically, it allows you to create any MIDI 2.0 message and send it under controlled circumstances so you can be sure that your synth responds correctly. My contribution was a debugging and development tool we call MIDI 2.0 Scope. You can find some footage from 2019’s Plug Fest at the MMA website. This was the first time all of us on the prototyping group were in the same room.”
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“A Plug Fest is exactly what it sounds like - everybody runs around with what they have, connecting stuff together and checking what happens.
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At Winter NAMM, companies including Ableton, Google, Roland, Steinberg, Yamaha and Native Instruments came together for the MIDI 2.0 ‘Plug Fest’, echoing the event that had taken place in the creation of MIDI 1.0. I think so much of what we’ve seen over the last 35 years, so much of what people are doing with MIDI now, wasn’t imagined when MIDI 1.0 was created in the early 80s.” The very first MIDI 2.0 instrumentsĮarly 2019 saw the first MIDI 2.0 synth and controller prototypes come together to see if they could communicate effectively based on the draft specification at the time. “It’s kind of like we’ve been designing a box of Lego bricks, and now somebody else has got to make something cool out of it. The new protocol offers a whole field possibilities, but it’s up to manufacturers and developers to make creative use out of them. We should be as un-sensationally upfront as possible here because, as Brett explains, the implications of MIDI 2.0 are hard to pin down right now. We’re not doing this to try and sell a product - we’re involved because what makes the musical instrument industry bigger is obviously good for us.”
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“What we brought to the table was that we didn’t have an agenda.
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“That was really the first public-facing presentation of a lot of the material in that kind of detail,” says Brett, whose company, Art+Logic, is an audio software developer for hire. When we talk to Brett, he’s recently returned from London’s ADC 2019 conference, where he was presenting more about MIDI 2.0.
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GI20Editor is available now in the Mac App Store at $13.99.With the completion of MIDI 2.0 looking iminent (at least when compared to the 35-year lifespan of version 1.0) - and Roland having recently announced the A-88MKII, its first MIDI 2.0-compatible controller - MusicRadar talked to Art+Logic’s Brett Porter, one of the players involved in the crafting and implementation of the standard.
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The new version has a revised interface and a comprehensive user manual is available.
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Auxiliary MIDI system exclusive, bank select and program change messages, for a more accurate setup of the synthesizer when selecting a patch.Emulation of GI-20 MIDI messages, to quickly try different sounds without the need of a “bulk load”.A “paste special” command to apply only selected changes, possibly extending them to all patches at once.While still giving clear access to all the GI-20 parameters, driving a synthesizer directly and doing the usual editing and file operations, version 2 introduces the following new features: I have just completed version 2.0 of GI20Editor.īesides being the only alternative to programming the device through a knob, a two digit display and a few buttons, GI20Editor can greatly simplify the guitar/synthesizer connection experienced through the GI-20. Developer Amedeo Farello sent word about his Mac software editor for the Roland GI-20 GK-MIDI guitar interface: