If you hang around music makers long enough, you'll eventually hear the term MIDI (short for Musical Instrument Digital Interface). MIDI was revolutionary when it came out, and it has enabled musicians to connect digital instruments for more than 40 years. While still very much useful, an update has allowed MIDI to adapt to some interesting emerging technologies. This also opens the door to further possibilities with modern MIDI makers/generators, and a new generation of AI Instruments. I'll get into this a bit more below.
What is MIDI exactly?
MIDI was created in the early 1980s when there was a need for a standardized way for electronic music devices (keyboards, sound modules, etc.) to talk and synchronize with each other. One cool aspect of MIDI is that no one owns it. Instead, several organizations, including The MIDI Association (TMA) and the Association of Musical Electronics Industry (AMEI), came together to create and maintain the standard based on common rules.
At its core, MIDI is essentially a computer language. It allows for digital music devices to essentially talk to each other and work together to make music. These devices could include a Yamaha DX7 Keyboard, a Nord Rack which generates sound but does not have a keyboard, digital audio workstations (or DAWs, like Logic Pro), MIDI controllers (such as an M-Audio Keystation, or the newer Roland A-88 MKII) and software instruments (such as Native Instruments Kontakt or any of the instruments in Arturia’s V Collection, for example).
MIDI is not audio. MIDI itself does not make a sound. Instead, it is a set of protocol messages, basically instructions telling a device that makes the sound (such as the DX7 or Kontakt): “Play this pitch, or MIDI note, at this current time, with this velocity, at this volume and for this duration”.
This MIDI data can be recorded into a DAW through a controller (such as the M-Audio Keystation) or an instrument that has a keyboard (such as the DX7). The DAW can then play the recorded part using that controller’s digital sounds (if they are built in) or any other MIDI device that can generate sounds from MIDI. This allows a user to suddenly have a virtual symphony or rock band in their room, without having to purchase several different instruments.
An upgrade after 40 years: What Musicians & Artists need to know about MIDI 2.0
MIDI 1.0 has been the standard for a long time. With the coming of MIDI 2.0, it’s important to note that MIDI 1.0 is not being replaced. One of the most significant upgrades is its backward compatibility with MIDI 1.0, ensuring that existing devices can still communicate effectively. With many different MIDI-enabled instruments and hardware still being used today, it would be a shame for it all to be rendered obsolete through this change in MIDI. Luckily, MIDI 1.0 will not be going anywhere. This version of MIDI allows musicians to transition to MIDI 2.0 without having to replace their entire setup. If two devices cannot communicate via MIDI 2.0, they will automatically default to MIDI 1.0, maintaining the benefits of MIDI.
MIDI 2.0 introduces a wealth of new features that enhance the capabilities of musicians and artists. What we now have is a series of upgrades to the MIDI protocol that increase the connectivity between devices, and provide a deeper level of expression for the performer.
Bidirectional Communication:
Alongside this backward compatibility, MIDI 2.0 changes MIDI from a monologue to a dialog, allowing devices to talk to each other and auto-configure themselves
Higher Resolution:
MIDI 2.0 offers a higher resolution data transmission, allowing for more nuanced control over individual notes, which is particularly beneficial for expressive performances.
Increased Expressiveness:
New features such as enhanced articulation controls and control change messages enable musicians to manipulate sound in ways that were previously unattainable, fostering creativity and expanding artistic possibilities.
The evolution of MIDI ensures that higher resolution data and new universal MIDI packet format enhance performance without rendering existing hardware obsolete.
Connections made easy
With MIDI 1.0, the flow of byte stream data only went one way, from the MIDI Out side to the MIDI In side. So, if, you wanted to use your DX7 with Logic Pro, you would need to connect the MIDI Out of the DX7 to the MIDI In of the Clarett.
However, if you want Logic Pro to send information back to the DX7 (perhaps to use its own digital sounds), you now need a separate connection between the MIDI Out of the Clarett to the MIDI In of the DX7. These connections became more sophisticated with multiple devices, requiring several MIDI cables and various configurations on each device to achieve the desired setup.
MIDI 2.0 solves this issue through a two-way serial port data stream via a single connection point, utilizing interfaces like Cat5, Thunderbolt, Bluetooth, and most commonly, USB. This advancement allows devices such as the M-Audio Keystation to be bus-powered, eliminating the need for a wall plug and simplifying the overall setup. Additionally, the introduction of more flexible MIDI channels allows for better management of multiple instruments and devices within a single setup, enhancing the overall efficiency and organization of a musician’s rig.
A dialogue between devices
The two-way stream of data also allows different devices to share information about each other. This is done through a protocol called MIDI Capability Inquiry (MIDI-CI). This allows the devices to see if they can communicate in MIDI 2.0, exchange information about each other (capabilities, features, etc.) and even auto-configure themselves to a standard set of parameters.
For example, let’s say you’re using a controller that has a keyboard and a set of sliders. This device is connected to your computer and you open a drawbar organ virtual instrument. If both the controller and software are MIDI 2.0 compliant, and the controller has certain functions, the virtual instrument can automatically configure the controller. This allows the drawbars to be automatically assigned to the sliders without the player needing to configure anything, as they would have had to do with MIDI 1.0.
the New MIDI Capability Inquiry (MIDI-CI)- Version 1.2
MIDI Capability Inquiry (MIDI-CI) is a pivotal component of MIDI 2.0 that facilitates communication between devices, reducing the need for manual configuration of devices and making it a crucial part of MIDI. It empowers devices to discover each other's capabilities and engage in profile configuration and protocol negotiation for a set of MIDI messages in their communication protocols, incorporating new features that enhance functionality. Below is a summary of key aspects of MIDI-CI:
Capability Discovery:
Devices can automatically identify and declare their MIDI capabilities.
Profiles:
A set of standardized profiles is a defined set of rules that allows devices to configure themselves based on specific use cases.
Property Exchange:
Enables the sharing of preset names, parameter settings, and other device features.
This inquiry mechanism streamlines the setup process and enhances user experience by minimizing manual configuration. By leveraging MIDI-CI, musicians can ensure their devices work harmoniously, adapting to each other’s specifications in real time, whether in a world of music setting or a particular application.
More steps for more expression
Due to the technologies available at the time of its creation, MIDI 1.0 had what appeared to be a wide range of value over different controls, though its resolution was only 7 bits. This limited the control range of any parameter to 127 steps.
For example, the velocity of a key press was assigned a value between 0 and 127, affecting the volume. While adequate for certain parameters, it limited controls like pitch bending, often resulting in abrupt transitions rather than smooth glissandos.
One of the standout features of MIDI 2.0 is its significantly higher resolution for data transmission, moving from a previous 7-bit system to a remarkable 32-bit architecture. This leap allows for a staggering number of values for each parameter, providing musicians with thousands of discrete steps for controls such as velocity and pitch bend, including program change messages for improved control.
This increased resolution means that individual notes can be expressed with far greater nuance, enhancing the “analog” feel, allowing for smoother transitions and more expressive performances. Features like MIDI polyphonic expression allow individual notes to be articulated with unprecedented precision, emulating the expressive qualities of traditional acoustic instruments.
Additionally, improvements in articulation enable musicians to manipulate their sounds with unprecedented precision, incorporating channel voice messages and voice messages that emulate the expressive qualities found in traditional acoustic instruments. With MIDI 2.0, performers have access to a level of detail that empowers them to convey their artistic vision more effectively than ever before.
Future AI applications
With MIDI-CI’s information sharing abilities, MIDI makers and generators (that are increasingly commonplace online) now have access to way more information about the instrument it’s creating a part for, including essential details like the SysEx ID.
Imagine a scenario where you have an AI-based MIDI generator and it’s’ paired with a software instrument that is MIDI 2.0 compliant within Logic Pro. You want it to generate a part for a drawbar organ. You load up a drawbar organ patch on the software instrument, which automatically feeds information to the generator through MIDI-CI, such as the parameters for the rotary speaker speed and the various drawbars.
The user feeds the MIDI generator with information about what it wants it generate: an organ part that would make Booker T. Jones proud. The generator would not only generate the chords and the rhythm but also when to speed up and slow down the rotary speaker, when to move the drawbars, etc.
With this information, the MIDI generator creates the part with notes, rhythm and actions with the rotary speaker and drawbars. This information is then inserted in a MIDI track in Logic Pro, where the end user can see the moves made and make further edits if desired.
Considering the 32-bit data resolution of MIDI 2.0, the MIDI generator could even create the slightest of moves as a human player would do, going beyond the original protocol’s 127 steps.
Implications of MIDI 2.0 in Modern Music Production
The arrival of MIDI 2.0 is set to revolutionize modern music production, particularly through its integration with digital transport systems and control surfaces. Features like the standard MIDI file and MIDI clip file specification allow producers to enjoy a more streamlined workflow when handling MIDI data in their DAWs. Data bytes transmission improvements, including bank select and byte stream enhancements, contribute to faster and more reliable communication between devices, reducing latency and enhancing overall performance.
An eventual arrival
MIDI 2.0 has been gradually integrating into everyday music creation. Controllers such as the Roland A-88 MKII are now widely available and being incorporated into various DAWs, with Logic Pro already supporting it and other programs following suit. Experts agree that MIDI 2.0 will eventually become the standard, fully integrated into modern music-making, supported by the MIDI manufacturers association and showcased by influential figures like Athan Billias in the world of music.
FAQ
What is MIDI 2.0?
MIDI 2.0 is an extension of MIDI 1.0 that offers significant improvements in digital music technology and adheres to current core specifications. It features bidirectional communication between devices, higher resolution (32-bit), more controllers, better timing, and auto-configuration capabilities.
When is MIDI 2.0 coming out?
MIDI 2.0 specifications were released in 2020, but widespread adoption is still ongoing. As of 2025, major operating systems like Windows 11 are incorporating native MIDI 2.0 support. Hardware manufacturers are releasing MIDI 2.0-compatible devices, with Roland’s A-88MKII receiving a MIDI 2.0 update in 2023. Full industry implementation is expected to continue throughout 2025 and beyond.
Are there any MIDI 2.0 devices?
Yes, there are several MIDI 2.0 devices available as of 2025. Notable examples include Roland’s A-88MKII keyboard controller, which received a MIDI 2.0 update in 2023, Korg’s Keystage controller, and Native Instruments’ Kontrol S-Series MK3. Additionally, some software products like Apple’s Logic, Steinberg’s Cubase 13, and MultitrackStudio now support various MIDI 2.0 features. The adoption is ongoing, with more products expected to incorporate MIDI 2.0 capabilities.
What is the difference between MIDI and MIDI 2?
MIDI 2.0 is an extension of MIDI 1.0 that offers significant improvements. Key differences include bidirectional communication, higher resolution (32-bit), more controllers (32,000), better timing, and auto-configuration capabilities. MIDI 2.0 maintains backward compatibility while providing enhanced expressiveness, improved timing, and more detailed control over musical parameters. It also introduces features like per-note articulation and the Universal MIDI Packet for easier integration with digital transports.
What's difference between MIDI Manufacturers Association and the MIDI Association?
The MIDI Manufacturers Association (MMA) and The MIDI Association are now unified under “The MIDI Association” name. Founded in 1985, the MMA developed MIDI standards. In 2016, it created The MIDI Association as a public-facing community. The unified organization continues to develop standards and promote MIDI technology globally.
Kevin Daoust - Guitarist, Guitar Educator, Writer
Kevin Daoust is a guitarist, guitar educator, and writer based in Gatineau, Quebec, Canada.
When not tracking guitars for artists around the world, or writing music-related articles around the internet, he can be seen on stage with Accordion-Funk legends Hey, Wow, the acoustic duo Chanté et Kev, the funky Sh-Boom, as well as a hired gun guitarist around Quebec and Ontario. He holds a Bachelor of Music in Guitar Performance from Carleton University in Ottawa, Ontario, Canada.
