Midi Full Form In Usb

[Mirtha Hinrichs]

MIDIˈmɪdi/; Musical Instrument Digital Interface) is a technical standard that describes a communication protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music.[1]

A single MIDI cable can carry up to sixteen channels of MIDI data, each of which can be routed to a separate device. Each interaction with a key, button, knob or slider is converted into a MIDI event, which specifies musical instructions, such as a note's pitch, timing and loudness. One common MIDI application is to play a MIDI keyboard or other controller and use it to trigger a digital sound module (which contains synthesized musical sounds) to generate sounds, which the audience hears produced by a keyboard amplifier. MIDI data can be transferred via MIDI or USB cable, or recorded to a sequencer or digital audio workstation to be edited or played back.[2]

Before the development of MIDI, electronic musical instruments from different manufacturers could generally not communicate with each other. This meant that a musician could not, for example, plug a Roland keyboard into a Yamaha synthesizer module. With MIDI, any MIDI-compatible keyboard (or other controller device) can be connected to any other MIDI-compatible sequencer, sound module, drum machine, synthesizer, or computer, even if they are made by different manufacturers.

MIDI technology was standardized in 1983 by a panel of music industry representatives, and is maintained by the MIDI Manufacturers Association (MMA). All official MIDI standards are jointly developed and published by the MMA in Los Angeles, and the MIDI Committee of the Association of Musical Electronics Industry (AMEI) in Tokyo. In 2016, the MMA established The MIDI Association (TMA) to support a global community of people who work, play, or create with MIDI.[4]

In the early 1980s, there was no standardized means of synchronizing electronic musical instruments manufactured by different companies.[5] Manufacturers had their own proprietary standards to synchronize instruments, such as CV/gate, DIN sync and Digital Control Bus (DCB).[6] Ikutaro Kakehashi, the president of Roland, felt the lack of standardization was limiting the growth of the electronic music industry.[6] In June 1981, he proposed developing a standard to the Oberheim Electronics founder Tom Oberheim,[5] who had developed his own proprietary interface, the Oberheim System.[7]

Kakehashi felt the Oberheim System was too cumbersome, and spoke to Dave Smith, the president of Sequential Circuits, about creating a simpler, cheaper alternative.[7] While Smith discussed the concept with American companies, Kakehashi discussed it with Japanese companies Yamaha, Korg and Kawai.[5] Representatives from all companies met to discuss the idea in October.[5] Initially, only Sequential Circuits and the Japanese companies were interested.[8]

At the 1983 Winter NAMM Show, Smith demonstrated a MIDI connection between Prophet 600 and Roland JP-6 synthesizers. The MIDI specification was published in August 1983.[5] The MIDI standard was unveiled by Kakehashi and Smith, who received Technical Grammy Awards in 2013 for their work.[15][16][17] In 1983, the first instruments were released with MIDI, the Roland Jupiter-6 and the Prophet 600. In 1983, the first MIDI drum machine, the Roland TR-909,[18][19] and the first MIDI sequencer, the Roland MSQ-700, were released.[20]

The MIDI Manufacturers Association (MMA) was formed following a meeting of "all interested companies" at the 1984 Summer NAMM Show in Chicago. The MIDI 1.0 Detailed Specification was published at the MMA's second meeting at the 1985 Summer NAMM Show. The standard continued to evolve, adding standardized song files in 1991 (General MIDI) and adapted to new connection standards such as USB and FireWire. In 2016, the MIDI Association was formed to continue overseeing the standard.[8] An initiative to create a 2.0 standard was announced in January 2019.[21] The MIDI 2.0 standard was introduced at the 2020 Winter NAMM Show.[22]

Synthesizers and samplers contain various tools for shaping an electronic or digital sound. Filters adjust timbre, and envelopes automate the way a sound evolves over time after a note is triggered.[31] The frequency of a filter and the envelope attack (the time it takes for a sound to reach its maximum level), are examples of synthesizer parameters, and can be controlled remotely through MIDI. Effects devices have different parameters, such as delay feedback or reverb time. When a MIDI continuous controller number (CCN) is assigned to one of these parameters, the device responds to any messages it receives that are identified by that number. Controls such as knobs, switches, and pedals can be used to send these messages. A set of adjusted parameters can be saved to a device's internal memory as a patch, and these patches can be remotely selected by MIDI program changes.[a][32]

MIDI events can be sequenced with computer software, or in specialized hardware music workstations. Many digital audio workstations (DAWs) are specifically designed to work with MIDI as an integral component. MIDI piano rolls have been developed in many DAWs so that the recorded MIDI messages can be easily modified.[33][better source needed] These tools allow composers to audition and edit their work much more quickly and efficiently than did older solutions, such as multitrack recording.[citation needed] Compositions can be programmed for MIDI that are impossible for human performers to play.[34]

Some composers may take advantage of standard, portable set of commands and parameters in MIDI 1.0 and General MIDI (GM) to share musical data files among various electronic instruments. The data composed via the sequenced MIDI recordings can be saved as a standard MIDI file (SMF), digitally distributed, and reproduced by any computer or electronic instrument that also adheres to the same MIDI, GM, and SMF standards. MIDI data files are much smaller than corresponding recorded audio files.[citation needed]

In 2015, Retro Innovations released the first MIDI interface for a VIC-20, making the computer's four voices available to electronic musicians and retro-computing enthusiasts for the first time.[44] Retro Innovations also makes a MIDI interface cartridge for Tandy Color Computer and Dragon computers.[45]

Chiptune musicians also use retro gaming consoles to compose, produce and perform music using MIDI interfaces. Custom interfaces are available for the Nintendo Entertainment System (NES)/Famicom,[46] Game Boy,[47] Game Boy Advance[48] and Sega Genesis (Mega Drive).[49]

The Standard MIDI File (SMF) is a file format that provides a standardized way for music sequences to be saved, transported, and opened in other systems. The standard was developed and is maintained by the MMA, and usually uses a .mid extension.[56] The compact size of these files led to their widespread use in computers, mobile phone ringtones, webpage authoring and musical greeting cards. These files are intended for universal use and include such information as note values, timing and track names. Lyrics may be included as metadata, and can be displayed by karaoke machines.[57]

SMFs are created as an export format of software sequencers or hardware workstations. They organize MIDI messages into one or more parallel tracks and time-stamp the events so that they can be played back in sequence. A header contains the arrangement's track count, tempo and an indicator of which of three SMF formats the file uses. A type 0 file contains the entire performance, merged onto a single track, while type 1 files may contain any number of tracks that are performed synchronously. Type 2 files are rarely used[58] and store multiple arrangements, with each arrangement having its own track and intended to be played in sequence.

Microsoft Windows bundles SMFs together with Downloadable Sounds (DLS) in a Resource Interchange File Format (RIFF) wrapper, as RMID files with a .rmi extension. RIFF-RMID has been deprecated in favor of Extensible Music Files (XMF).[59]

Sequencing software allows recorded MIDI data to be manipulated using standard computer editing features such as cut, copy and paste and drag and drop. Keyboard shortcuts can be used to streamline workflow, and, in some systems, editing functions may be invoked by MIDI events. The sequencer allows each channel to be set to play a different sound and gives a graphical overview of the arrangement. A variety of editing tools are made available, including a notation display or scorewriter that can be used to create printed parts for musicians. Tools such as looping, quantization, randomization, and transposition simplify the arranging process.

The roots of software synthesis go back as far as the 1950s, when Max Mathews of Bell Labs wrote the MUSIC-N programming language, which was capable of non-real-time sound generation.[75] Reality, by Dave Smith's Seer Systems was an early synthesizer that ran directly on a host computer's CPU. Reality achieved a low latency through tight driver integration, and therefore could run only on Creative Labs soundcards.[76][77] Syntauri Corporation's Alpha Syntauri was another early software-based synthesizer. It ran on the Apple IIe computer and used a combination of software and the computer's hardware to produce additive synthesis.[78] Some systems use dedicated hardware to reduce the load on the host CPU, as with Symbolic Sound Corporation's Kyma System,[75] and the Creamware/Sonic Core Pulsar/SCOPE systems,[79] which power an entire recording studio's worth of instruments, effect units, and mixers.[80] The ability to construct full MIDI arrangements entirely in computer software allows a composer to render a finalized result directly as an audio file.[30]

Early PC games were distributed on floppy disks, and the small size of MIDI files made them a viable means of providing soundtracks. Games of the DOS and early Windows eras typically required compatibility with either Ad Lib or Sound Blaster audio cards. These cards used FM synthesis, which generates sound through modulation of sine waves. John Chowning, the technique's pioneer, theorized that the technology would be capable of accurate recreation of any sound if enough sine waves were used, but budget computer audio cards performed FM synthesis with only two sine waves. Combined with the cards' 8-bit audio, this resulted in a sound described as "artificial"[81] and "primitive".[82]

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