When I woke up last week to hear on the radio that it was MIDI’s 30th birthday I couldn’t help but wonder (a) if it really was thirty years to the very day, and (b) if some beardy geek had a free MOTU wall calendar next to his framed photograph of Peter Zinovieff with the date circled and “1 sleep till MIDI’s birthday!” scrawled on it.
The first time I heard about MIDI was on a radio show 20-odd years ago when some guy from Severed Heads or something was complaining about how you couldn’t do dick with it, and for this flimsy reason I’ve always been a bit suspicious of MIDI. I’m sure there’s a whole subculture of MIDI Malcontents out there but I don’t want any contact with them because I’d prefer working with what I have then complaining about what I don’t have. For me, MIDI is a useful way of sending controller messages between different devices. Just don’t ask me what synching means; that whole concept is beyond me.
What I really dislike about MIDI is that it’s too precise, too specific, especially the way so many people use it as a sequencer. Every note comes out the same, same pitch, same intonation, on the same beat at the same time, all the instruments moving in lock step. It’s boring. You have do a whole lot of extra work and fiddling about to vary all these attributes just a little bit, to make it halfway interesting. It is, in effect, the absolute reverse of every other musical technology that preceded it. When you learn any other instrument you start of very uncoordinated and inaccurate and have to put a lot of practice into getting things somewhat precise. My ideal MIDI system would be very vague about what it did and when it did it, requiring plenty of tweaking and coding to rein it in.
When I do use MIDI as a sequencer, it’s to take advantage of the two things it does well: giving precise control over pitch and rhythm. This is a big reason why a lot of my music involves microtonality and impossible rhythms.