-Evolution: From MIDI to XG-



IDI, the Musical Instrument Digital Interface, is a world-standard communication interface that allows musical instruments and equipment to share musical information and control one another. The standards for MIDI were laid down in 1983, through unprecedented cooperation between musical instrument makers from all around the world. MIDI makes it possible to create systems of MIDI instruments and equipment that offer far greater versatility and control than is available with isolated instruments.



he birth of MIDI coincided with the appearance of a range of innovative synthesizers which dramatically changed the way artists approached music production and performance. One of these the Yamaha DX7 rapidly became a standard item in recording studios and on stages throughout the world, its FM tone generation system providing unprecedented sound quality and musical versatility. The DX7 was one of the first generation of MIDI-equipped synthesizers, and served as a launching point for all MIDI-based professional musical equipment.



n a very short time the demands placed on the MIDI standard began to outgrow its capabilities. MIDI commands were used to change effect settings, control lighting systems, and perform many other tasks for which they were not originally designed. Further, the appearance of sequencers, rhythm machines, and other new types of music equipment resulted in increasingly complex systems that strained MIDI to the limit.



he appearance of the Apple Macintosh in 1983, with mouse-based operation and an intuitive user interface, brought the power of computing within reach of just about everyone. Macintosh-based sequence software was quickly embraced by music professional everywhere. Other strong contenders in the computer-music arena were the Atari computer and, particularly in Japan, the NEC PC98 series computers.



usic software was also developed for the IBM and compatible computers, but did not have nearly as much impact as the programs produced for the Atari and Macintosh machines. It was a time when, musically speaking, personal computers did nothing but beep. But then sound cards equipped with the Yamaha FM tone generator chip began to appear, and all of a sudden personal computers were not only making musical sound, but actually making music as well. When game developers became aware of the fact that with MIDI even a modest machine could produce outstanding sound synchronized with graphics, the rush to integrate high-quality sound and music into computer games was on.



oing back in time just a bit: as musical instruments were connected to computers via MIDI, and high-performance microprocessors were often built right into the instruments themselves, the progression to digitally recording and playing back music data was only natural. Thus the MIDI sequencer was born. Music data could be recorded to floppy disk and easily transported and used on other compatible systems.




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