No, though it is *not sufficient.* Both conditions must be met (for backward compatibility).

You mean the electrical layer, the 5-pin DIN connectivity? I'm with you, it's pretty much irrelevant at this point. My (so called?) MIDI controller doesn't even have DIN plugs, strictly USB.

BTW, what specifically attracts you to MIDI2 (that MIDI1 lacks)?

 

Ain't broke, don't fix it.
As simple as that.

 

Yeah, there's MIDI spec for FW for instance, but MIDI2 pretty much obsoletes this, because there's no transport (apart from the above mentioned backwards compatible ones) requirements for the link layer.

Let's start with the obvious, CI (capability inquiry). This actually is a big thing regarding the backwards compatibility, fire off a CI message, if you get a green light back, use MIDI2 if not fall back to MIDI1. Also this opens the door for all kinds of autoconfiguration possibilities without having to resort to third party solutions, like NKS or whatever.

Unified message format is a massive bonus (regarding parsing midi streams and/or files), then the possibility of proper timestamps per message (this makes handling files so much easier, no need for the previous relative format or possible conversion from/to it). Then high-res controls/16k CC#s etc, but I consider these a bonus. Also having MPE-like capabilities built in instead of an extension is good for control, but this might not be everybody's thing.

*edit:* I fully admit that I've not kept up with MIDI1.0, there might be some new improvements, my knowledge is as of spec document version 96.1/third edition.

 

I DO have a pair of them perfectly working with my oldies but goldies Mackie Control. Plug it in - works - period.

 

Easy Tim Cook.. It ain't broke though...

 

Are we talking ~~old~~ vintage gear? AFAIK, my DAW (Ableton) doesn't even deal with SysEx. Could be wrong.

And Esperanto is a great language. The only thing that stands in the way of it being a real language is no one speaks it: no incentive to learn it & English's good 'nuff.

AFAIK, DAWs record MIDI "as it comes in," so internally, MIDI timing granularity is sample-perfect (whatever aud. sample rate the project's at). Not 100% sure, and not all DAWs - Fruity Loops uses PPQ, but only for lighter CPU load.

The timing of MIDI coming into a DAW is as accurate as your OS's handling of real-time data (Win/macOS aren't real-time operating systems like, say, RTLinux). A project file (again, AFAIK) stores MIDI data in its proprietary (not MIDI) format, so I don't really get just where this accuracy would be important. MIDI players?

Same here, DAWs/software instrument use pretty basic stuff, VST/AAX/AU standards (which I know nothing about) take it from there

 

You're not wrong. Ableton's MIDI handling is average at best. Last time (this was a couple of versions back though, maybe it has improved) I had hell of a time even getting basic clock sync going. But old gear what? I didn't quite get that.

At least it's a goddamn language instead of a several dozen pidgins and creoles. I don't expect this to happen anytime soon, but this time at least there's an industry backing, like when then original MIDI spec was created back in the day.

This depends on the DAW, but you'd imagine it's mostly internally fairly granular, maybe not sample perfect but something like 960 PPQn.

And having timestamped events makes it possible to go further than your MIDI polling rate, maybe it's overkill, but when you've got a lot of these bad boys it counts. Also makes it easier to talk to plugins, basically the event information (at least VSTs, can't remember how AUs or others do it) has to be timestamped so it can be passed to plugins per buffer.

But yeah, it's proprietary per sequencer, yet we still use MIDI files. These are still in 1.0 in that annoying relative "event-per-tick" format. Having proper event definitions also helps with that.

 

Hmmm... Think of the possibility to instantly fully control any midi device with another. Auto-config and device communication. Sounds intriguing doesn't it.

You get out much mate? Go to any concerts? You ever play live maybe? Them Din connectors are very much used alright, perhaps not by millenials but that's ok. We 'll live to see another day. MIDI is actually transferred with 3 of the 5 pins. "They" left those two for "future" implementations, like err... hmm... MIDI 2.0
Cheers

 

not broke, but not perfect either

 

I wish there were details about midi2 here

 

But I hardly control ONE Midi device at a time

But you embezzled the most important part:"... for me, pesonally..."

What I don't get is, why they can't just implement better resolution into Midi. This whole Midi1> Midi2 reminds me a bit of IPv4>IPv6. No practical use for the normal people so far.

 

Last edited: Jan 17, 2020

My grandfather said the same thing about wax cylinder recording.

 

Higher resolution is the best feature of MIDI 2.0. The Euphonix/Avid protocol is too proprietary, and HUI doesn't have enough resolution. MIDI 1.0? fugetaboutit if your controlling automation. 256 increment resolution is sh!t. I look forward to controllers for faders with MIDI 2.0 that don't have miscomunication issues like the aforementioned. I want the reliability of MIDI with the resolution of the priced out of reach for the average guy equipment available now. Avid S3 clone for $500 not $5000? count me in.

 

SG -> JMP50 -> 4x12.

Thought they just went with an off-the-shelf part because why wouldn't they? Thanks for that bit of MIDI trivia though, Flock of Seagulls

*128. MIDI values are 0-127.

If your mixer's encoders generate higher resolution (they don't), and your software understands it (it doesn't), you still won't be able to tell the difference without matched studio-grade thermio-cryogenically treated triple-virgin analog colloidal silver power cables.

 

"MIDI 2 is too perfect! It's souless. MIDI 1 has that organic feel."

 

That is just a MAC thing. Avid stuff don't work too well outside ProTools universe.

 

128 is even shitter

 

Fun fact: The faintest sound an average human ear can register is 0dB SPL, the loudest (before hearing damage) is about 120dB SPL, (a million times louder).

The *smallest change* in sound pressure (loudness) a human ear can detect is about 1dB (about 12% change in loudness, roughly double that in power). If we accept this (we don't have to, all them so-called "scientists" who study acoustics/human hearing, with their so-called "studies" and "facts," could be wrong), we're left with just 120 distinguishable sound pressure levels. Ye Olde MIDI lets us choose between 128.

 

YAMAHA HAS MIDI WIRELESS Adapters , receiver.... , isn't it more logic is there any evolution on midi should be the midi wireless with no latency ?

 

I already have wireless MIDI. Triple Play from Fishman is a guitar to MIDI converter that is a wireless transmitter and pickup with a USB stick receiver. Almost 0 latency. F'n AWEsome. The software lacks though.