-Evolution: From MIDI to XG-



he transportability of MIDI sequencer data broke down many of the limitations previously imposed by time and distance. There was, however, still the problem of incompatibility between data formats and recording/playback hardware. Necessity is usually the mother of invention, and in 1988 a standard file format was developed which allowd sequence data produced on any system to be accurately reproduced on any other system - the SMF (Standard MIDI File) format.



s music technology progressed, and music itself followed suit, performance and recording systems became more and more complex, usually including a number of different tone generator and sampler units. This allows for great flexibility, but when the performer selected, say, voice number 1, a completely different voice would be accessed depending on the tone generator addressed. There was absolutely no consistency in the voice allocations used by different equipment and manufacturers. Even with the compatibility provided by the Standard MIDI File format, an SMF file cannot play back properly unless the right voices are used. General MIDI was created in 1991 to solve this problem by providing consistency in the voice allocations between different tone generators from different makers.



eneral MIDI (commonly referred to as "GM") specifies a standard arrangement of 128 voices and a basic percussion map nothing more. The actual voices and effects themselves are left up to the individual manufacturers so as not to limit musical variety. Just as the sound of each acoustic violin is different, so the voices in different tone generators retain their individual character. GM thus achieved greater compatibility while retaining the flexibility that is so important to musical expression.



ith the advent of the Standard MIDI File format and General MIDI, there was a sudden surge in the production and marketing of music data that could be played on any equipment from any manufacturer: music data that could be used for accompaniment, minus-one practice, "karaoke", and a range of other applications. In other words SMF and GM laid the foundations for a whole new music software business.



ince MIDI files are basically digital data, multiple copies can be easily made. This is a merit in many ways, but a serious problem when seen in terms of copyright protection. Freedom is a basic human right, but protection of the artist's intellectual property is of the utmost importance, and considerable energy is being directed at this problem throughout the music and computer industries.



hile a record or CD is basically packaged music that the "user" can enjoy, MIDI-based music data can be controlled by the user, allowing participation in addition to simple listening enjoyment. This new "active" dimension is drastically changing the way people interact with music and there's obviously much more to come.




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