how to make midi files

Standard MIDI-File Format Spec. 1.1, updated

Dorsum

Abstract.

A detailed Specification of the Standard MIDI file format

0 - Introduction
one - Sequences, Tracks, Chunks: File Block Structure
- 1.1 - Variable Length Quantity
- one.ii - Files
- i.3 - Chunks
- i.4 - Chunk Types
2 - Chunk Descriptions
- two.i - Header Chunks
- 2.ii - MIDI File Formats 0,1 and ii
- two.three - Track Chunks
3 - Meta-Events
- iii.ane - Meta Issue Definitions
Appendix 1 - MIDI Messages
- Appendix 1.1 - Tabular array of Major MIDI Messages
- Appendix 1.2 - Table of MIDI Controller Letters (Data Bytes)
- Appendix 1.three - Table of MIDI Note Numbers
- Appendix 1.4 - General MIDI Instrument Patch Map
- Appendix 1.5 - Full general MIDI Percussion Key Map
Appendix 2 - Plan Fragments and Example MIDI Files

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Acknowledgement:

This document was originally distributed in text format by The International MIDI Association. I have updated it and added new Appendices.
© Copyright 1999 David Back.
Email: david@csw2.co.uk
Web: http://www.csw2.co.uk
This document may be freely copied in whole or in function provided the copy contains this Acknowledgement.

0 - Introduction

This document details the structure of MIDI Files. The purpose of MIDI Files is to provide a manner of interchanging time-stamped MIDI data between different programs on the same or different computers. One of the primary blueprint goals is meaty representation, which makes it very advisable for disk-based file format, just which might make it inappropriate for storing in memory for quick access by a sequencer program.

MIDI Files comprise 1 or more MIDI streams, with time information for each event. Song, sequence, and runway structures, tempo and fourth dimension signature information, are all supported. Track names and other descriptive information may be stored with the MIDI data. This format supports multiple tracks and multiple sequences and so that if the user of a plan which supports multiple tracks intends to move a file to another ane, this format can allow that to happen.

The specification defines the 8-fleck binary information stream used in the file. The data can be stored in a binary file, nibbilized, 7-bit-ized for efficient MIDI manual, converted to Hex ASCII, or translated symbolically to a printable text file. This spec addresses what's in the viii-bit stream. Information technology does not address how a MIDI File will be transmitted over MIDI.

1 - Sequences, Tracks, Chunks: File Block Construction

In this certificate, flake 0 means the least meaning flake of a byte, and bit vii is the about significant.

1.1 - Variable Length Quantity

Some numbers in MIDI Files are represented in a form chosen VARIABLE-LENGTH QUANTITY. These numbers are represented vii $.25 per byte, most significant bits offset. All bytes except the concluding have fleck 7 fix, and the final byte has bit seven articulate. If the number is between 0 and 127, it is thus represented exactly every bit i byte.

Some examples of numbers represented as variable-length quantities:

00000000	00
00000040	twoscore
0000007F	7F
00000080	81 00
00002000	C0 00
00003FFF	FF 7F
00004000	81 80 00
00100000	C0 80 00
001FFFFF	FF FF 7F
00200000	81 lxxx 80 00
08000000	C0 fourscore fourscore 00
0FFFFFFF	FF FF FF 7F

The largest number which is allowed is 0FFFFFFF so that the variable-length representations must fit in 32 bits in a routine to write variable-length numbers. Theoretically, larger numbers are possible, but 2 10 10^viii 96ths of a vanquish at a fast tempo of 500 beats per minute is four days, long enough for whatsoever delta-time!

1.two - Files

To any file system, a MIDI File is simply a series of 8-flake bytes. On the Macintosh, this byte stream is stored in the data fork of a file (with file type 'MIDI'), or on the Clipboard (with data blazon 'MIDI'). Almost other computers store eight-bit byte streams in files.

1.3 - Chunks

MIDI Files are made up of -chunks-. Each chunk has a iv-character blazon and a 32-bit length, which is the number of bytes in the clamper. This structure allows futurity chunk types to be designed which may be easily be ignored if encountered by a program written before the chunk type is introduced. Your programs should EXPECT alien chunks and treat them equally if they weren't at that place.

Each clamper begins with a 4-grapheme ASCII type. Information technology is followed by a 32-flake length, most significant byte first (a length of 6 is stored as 00 00 00 06). This length refers to the number of bytes of data which follow: the eight bytes of type and length are not included. Therefore, a chunk with a length of 6 would actually occupy 14 bytes in the disk file.

This chunk architecture is similar to that used by Electronic Arts' IFF format, and the chunks described herein could easily be placed in an IFF file. The MIDI File itself is non an IFF file: information technology contains no nested chunks, and chunks are not constrained to exist an even number of bytes long. Converting it to an IFF file is equally easy as padding odd length chunks, and sticking the whole thing inside a FORM chunk.

1.4 - Chunk Types

MIDI Files contain two types of chunks: header chunks and track chunks. A -header- chunk provides a minimal amount of information pertaining to the entire MIDI file. A -track- chunk contains a sequential stream of MIDI information which may incorporate data for upward to sixteen MIDI channels. The concepts of multiple tracks, multiple MIDI outputs, patterns, sequences, and songs may all be implemented using several track chunks.

A MIDI File always starts with a header chunk, and is followed by one or more track chunks.

MThd <length of header data>
<header information>
MTrk <length of rail data>
<track data>
MTrk <length of runway information>
<track data>
. . .

2 - Chunk Descriptions

two.1 - Header Chunks

The header chunk at the showtime of the file specifies some bones information about the data in the file. Here's the syntax of the consummate chunk:

As described above, <chunk type> is the four ASCII characters 'MThd'; <length> is a 32-bit representation of the number 6 (high byte offset).

The data section contains three xvi-flake words, stored most-significant byte first.

The offset discussion, <format>, specifies the overall organisation of the file. Only 3 values of <format> are specified:

0-the file contains a unmarried multi-channel rail
one-the file contains one or more simultaneous tracks (or MIDI outputs) of a sequence
2-the file contains 1 or more sequentially independent single-track patterns

More data about these formats is provided below.

The next word, <ntrks>, is the number of track chunks in the file. It volition ever be one for a format 0 file.

The 3rd word, <partition>, specifies the pregnant of the delta-times. It has two formats, one for metrical time, and one for time-code-based time:

bit 15	bits 14 thru eight	bits 7 thru 0
0	ticks per quarter-notation
1	negative SMPTE format	ticks per frame

If bit 15 of <division> is zero, the $.25 xiv thru 0 correspond the number of delta time "ticks" which brand up a quarter-note. For instance, if segmentation is 96, and so a time interval of an eighth-note betwixt 2 events in the file would exist 48.

If flake xv of <sectionalisation> is a ane, delta times in a file correspond to subdivisions of a second, in a mode consequent with SMPTE and MIDI Fourth dimension Code. $.25 xiv thru 8 comprise one of the four values -24, -25, -29, or -30, corresponding to the 4 standard SMPTE and MIDI Time Code formats (-29 corresponds to 30 driblet frame), and represents the number of frames per second. These negative numbers are stored in ii's compliment form. The 2d byte (stored positive) is the resolution within a frame: typical values may be 4 (MIDI Time Code resolution), viii, 10, eighty (fleck resolution), or 100. This stream allows verbal specifications of fourth dimension-lawmaking-based tracks, only also allows millisecond-based tracks by specifying 25 frames/sec and a resolution of 40 units per frame. If the events in a file are stored with a bit resolution of thirty-frame time code, the division word would be E250 hex.

2.2 - MIDI File Formats 0,one and 2

A Format 0 file has a header chunk followed by one track clamper. It is the most interchangeable representation of data. It is very useful for a elementary unmarried-track player in a plan which needs to make synthesisers make sounds, but which is primarily concerned with something else such as mixers or sound effect boxes. It is very desirable to be able to produce such a format, even if your program is track-based, in order to work with these uncomplicated programs.

A Format 1 or ii file has a header clamper followed by one or more track chunks. programs which support several simultaneous tracks should be able to salve and read information in format 1, a vertically i dimensional form, that is, as a collection of tracks. Programs which support several independent patterns should be able to save and read information in format 2, a horizontally one dimensional course. Providing these minimum capabilities will ensure maximum interchangeability.

In a MIDI arrangement with a calculator and a SMPTE synchroniser which uses Song Pointer and Timing Clock, tempo maps (which depict the tempo throughout the rails, and may also include time signature information, so that the bar number may be derived) are generally created on the computer. To use them with the synchroniser, it is necessary to transfer them from the figurer. To make information technology like shooting fish in a barrel for the synchroniser to extract this data from a MIDI File, tempo information should always be stored in the kickoff MTrk chunk. For a format 0 file, the tempo will be scattered through the runway and the tempo map reader should ignore the intervening events; for a format 1 file, the tempo map must exist stored as the first track. It is polite to a tempo map reader to offer your user the power to make a format 0 file with just the tempo, unless you tin can use format i.

All MIDI Files should specify tempo and fourth dimension signature. If they don't, the fourth dimension signature is assumed to be 4/4, and the tempo 120 beats per minute. In format 0, these meta-events should occur at least at the beginning of the unmarried multi-channel track. In format 1, these meta-events should exist contained in the first rail. In format 2, each of the temporally independent patterns should comprise at to the lowest degree initial time signature and tempo data.

Format IDs to back up other structures may be defined in the future. A programme encountering an unknown format ID may still read other MTrk chunks information technology finds from the file, equally format 1 or two, if its user can make sense of them and arrange them into another structure if advisable. Also, more parameters may be added to the MThd chunk in the future: it is important to read and laurels the length, even if information technology is longer than 6.

2.3 - Rails Chunks

The track chunks (type MTrk) are where actual vocal data is stored. Each track chunk is simply a stream of MIDI events (and non-MIDI events), preceded by delta-time values. The format for Rails Chunks (described below) is exactly the same for all three formats (0, 1, and two: see "Header Chunk" above) of MIDI Files.

Here is the syntax of an MTrk clamper (the + means "one or more": at least one MTrk event must be nowadays):

<Track Chunk> = <chunk type><length><MTrk event>+

The syntax of an MTrk event is very simple:

<delta-time> is stored as a variable-length quantity. It represents the amount of time before the following event. If the first event in a track occurs at the very first of a rails, or if two events occur simultaneously, a delta-time of zero is used. Delta-times are always present. (Not storing delta-times of 0 requires at to the lowest degree two bytes for any other value, and most delta-times aren't zero.) Delta-fourth dimension is in some fraction of a beat (or a second, for recording a track with SMPTE times), as specified in the header chunk.

<MIDI event> is any MIDI channel bulletin Run into Appendix 1 - MIDI Messages. Running condition is used: status bytes of MIDI channel messages may be omitted if the preceding upshot is a MIDI channel bulletin with the same status. The first event in each MTrk clamper must specify status. Delta-time is not considered an upshot itself: it is an integral part of the syntax for an MTrk event. Notice that running status occurs across delta-times.

<sysex event> is used to specify a MIDI organization sectional message, either as 1 unit or in packets, or as an "escape" to specify any arbitrary bytes to be transmitted. See Appendix 1 - MIDI Messages. A normal consummate system sectional message is stored in a MIDI File in this mode:

F0 <length> <bytes to be transmitted after F0>

The length is stored as a variable-length quantity. It specifies the number of bytes which follow it, non including the F0 or the length itself. For example, the transmitted message F0 43 12 00 07 F7 would exist stored in a MIDI File as F0 05 43 12 00 07 F7. It is required to include the F7 at the stop so that the reader of the MIDI File knows that information technology has read the entire message.

Some other grade of sysex event is provided which does non imply that an F0 should exist transmitted. This may be used as an "escape" to provide for the transmission of things which would not otherwise be legal, including system realtime messages, song pointer or select, MIDI Fourth dimension Code, etc. This uses the F7 code:

F7 <length> <all bytes to be transmitted>

Unfortunately, some synthesiser manufacturers specify that their system exclusive messages are to exist transmitted as little packets. Each parcel is simply part of an unabridged syntactical system exclusive bulletin, but the times they are transmitted are of import. Examples of this are the bytes sent in a CZ patch dump, or the FB-01's "system exclusive way" in which microtonal information tin can exist transmitted. The F0 and F7 sysex events may exist used together to break up syntactically complete organization exclusive messages into timed packets.

An F0 sysex event is used for the showtime bundle in a series -- it is a message in which the F0 should be transmitted. An F7 sysex upshot is used for the rest of the packets, which do not begin with F0. (Of course, the F7 is non considered part of the system exclusive message).

A syntactic system sectional message must always cease with an F7, even if the real-life device didn't send 1, so that y'all know when you've reached the end of an unabridged sysex message without looking ahead to the adjacent event in the MIDI File. If information technology's stored in one consummate F0 sysex event, the last byte must be an F7. At that place also must not be any transmittable MIDI events in between the packets of a multi-packet system exclusive bulletin. This principle is illustrated in the paragraph below.

Hither is a MIDI File of a multi-bundle organisation exclusive message: suppose the bytes F0 43 12 00 were to be sent, followed by a 200-tick delay, followed by the bytes 43 12 00 43 12 00, followed by a 100-tick filibuster, followed past the bytes 43 12 00 F7, this would be in the MIDI File:

F0 03 43 12 00
81 48	200-tick delta time
F7 06 43 12 00 43 12 00
64	100-tick delta time
F7 04 43 12 00 F7

When reading a MIDI File, and an F7 sysex event is encountered without a preceding F0 sysex event to start a multi-packet organisation sectional message sequence, it should exist presumed that the F7 event is being used as an "escape". In this case, information technology is not necessary that information technology end with an F7, unless it is desired that the F7 exist transmitted.

FF <type> <length> <bytes>

All meta-events begin with FF, then have an event type byte (which is e'er less than 128), and so have the length of the data stored as a variable-length quantity, and then the data itself. If there is no information, the length is 0. As with chunks, future meta-events may exist designed which may not exist known to existing programs, and so programs must properly ignore meta-events which they do not recognise, and indeed should expect to encounter them. Programs must never ignore the length of a meta-effect which they do not recognise, and they shouldn't be surprised if information technology's bigger than expected. If then, they must ignore everything by what they know virtually. However, they must non add anything of their own to the cease of the meta- outcome. Sysex events and meta events cancel any running status which was in effect. Running status does not utilise to and may not be used for these letters.

3 - Meta-Events

A few meta-events are defined herein. Information technology is non required for every program to support every meta-issue.

In the syntax descriptions for each of the meta-events a set of conventions is used to describe parameters of the events. The FF which begins each outcome, the type of each upshot, and the lengths of events which do non have a variable amount of data are given directly in hexadecimal. A notation such every bit dd or se, which consists of two lower-instance letters, mnemonically represents an eight-bit value. Four identical lower-case letters such equally wwww mnemonically refer to a 16-bit value, stored most-significant-byte beginning. Six identical lower-case letters such as tttttt refer to a 24-chip value, stored nearly-significant-byte first. The notation len refers to the length portion of the meta-event syntax, that is, a number, stored equally a variable- length quantity, which specifies how many bytes (possibly text) data were just specified by the length.

In general, meta-events in a track which occur at the same fourth dimension may occur in any order. If a copyright event is used, it should be placed as early equally possible in the file, so it will be noticed easily. Sequence Number and Sequence/Rail Name events, if present, must announced at time 0. An stop-of- rail event must occur as the concluding event in the track.

3.1 - Meta-Event Definitions

FF 00 02 Sequence Number
This optional event, which must occur at the beginning of a track, before whatsoever nonzero delta-times, and before any transmittable MIDI events, specifies the number of a sequence. In a format 2 MIDI File, it is used to identify each "design" so that a "song" sequence using the Cue bulletin can refer to the patterns. If the ID numbers are omitted, the sequences' locations in lodge in the file are used as defaults. In a format 0 or 1 MIDI File, which simply contain one sequence, this number should be contained in the kickoff (or merely) track. If transfer of several multitrack sequences is required, this must be washed as a group of format one files, each with a different sequence number.

FF 01 len text Text Event
Any amount of text describing anything. It is a good thought to put a text event correct at the beginning of a track, with the name of the track, a description of its intended orchestration, and any other information which the user wants to put there. Text events may also occur at other times in a runway, to exist used as lyrics, or descriptions of cue points. The text in this event should be printable ASCII characters for maximum interchange. Still, other graphic symbol codes using the high-order bit may be used for interchange of files between unlike programs on the same computer which supports an extended character prepare. Programs on a figurer which does not support non-ASCII characters should ignore those characters.

Meta-event types 01 through 0F are reserved for various types of text events, each of which meets the specification of text events (higher up) simply is used for a dissimilar purpose:

FF 02 len text Copyright Notice
Contains a copyright observe equally printable ASCII text. The find should incorporate the characters (C), the year of the copyright, and the possessor of the copyright. If several pieces of music are in the same MIDI File, all of the copyright notices should be placed together in this outcome and so that it volition be at the start of the file. This issue should exist the commencement result in the rail clamper, at time 0.

FF 03 len text Sequence/Runway Name
If in a format 0 track, or the first runway in a format 1 file, the proper noun of the sequence. Otherwise, the proper name of the track.

FF 04 len text Instrument Name
A description of the type of instrumentation to be used in that track. May be used with the MIDI Prefix meta-event to specify which MIDI channel the clarification applies to, or the channel may be specified equally text in the consequence itself.

FF 05 len text Lyric
A lyric to be sung. More often than not, each syllable will be a dissever lyric issue which begins at the event's time.

FF 06 len text Marker
Normally in a format 0 runway, or the start rails in a format 1 file. The name of that bespeak in the sequence, such as a rehearsal alphabetic character or section name ("Outset Verse", etc.)

FF 07 len text Cue Point
A description of something happening on a movie or video screen or stage at that point in the musical score ("Automobile crashes into house", "curtain opens", "she slaps his face", etc.)

FF 20 01 cc MIDI Channel Prefix
The MIDI channel (0-fifteen) independent in this event may be used to acquaintance a MIDI channel with all events which follow, including Arrangement exclusive and meta-events. This channel is "constructive" until the next normal MIDI event (which contains a channel) or the next MIDI Channel Prefix meta-event. If MIDI channels refer to "tracks", this message may exist put into a format 0 file, keeping their non-MIDI data associated with a track. This capability is likewise present in Yamaha's ESEQ file format.

FF 2F 00 Stop of Rails
This event is not optional. Information technology is included so that an exact ending point may be specified for the rails, so that an exact length is defined, which is necessary for tracks which are looped or concatenated.

FF 51 03 tttttt Set Tempo (in microseconds per MIDI quarter-notation)
This upshot indicates a tempo change. Another way of putting "microseconds per quarter-note" is "24ths of a microsecond per MIDI clock". Representing tempos as time per beat instead of trounce per fourth dimension allows absolutely exact long-term synchronisation with a time-based sync protocol such every bit SMPTE time code or MIDI time code. The amount of accuracy provided by this tempo resolution allows a iv-infinitesimal slice at 120 beats per minute to exist authentic within 500 usec at the cease of the slice. Ideally, these events should merely occur where MIDI clocks would be located -- this convention is intended to guarantee, or at to the lowest degree increase the likelihood, of compatibility with other synchronisation devices so that a time signature/tempo map stored in this format may hands be transferred to another device.

FF 54 05 hour mn se fr ff SMPTE Offset
This event, if present, designates the SMPTE fourth dimension at which the rail clamper is supposed to start. Information technology should be present at the beginning of the track, that is, before any nonzero delta-times, and earlier any transmittable MIDI events. the hour must exist encoded with the SMPTE format, just as it is in MIDI Time Code. In a format 1 file, the SMPTE Offset must be stored with the tempo map, and has no meaning in whatsoever of the other tracks. The ff field contains fractional frames, in 100ths of a frame, fifty-fifty in SMPTE-based tracks which specify a different frame subdivision for delta-times.

FF 58 04 nn dd cc bb Time Signature
The fourth dimension signature is expressed as four numbers. nn and dd stand for the numerator and denominator of the time signature equally it would be notated. The denominator is a negative power of two: 2 represents a quarter-note, 3 represents an eighth-annotation, etc. The cc parameter expresses the number of MIDI clocks in a metronome click. The bb parameter expresses the number of notated 32nd-notes in a MIDI quarter-note (24 MIDI clocks). This was added considering there are already multiple programs which permit a user to specify that what MIDI thinks of as a quarter-annotation (24 clocks) is to be notated every bit, or related to in terms of, something else.

Therefore, the complete upshot for 6/8 time, where the metronome clicks every three eighth-notes, merely there are 24 clocks per quarter-notation, 72 to the bar, would be (in hex):

FF 58 04 06 03 24 08

That is, six/viii time (8 is 2 to the 3rd power, so this is 06 03), 36 MIDI clocks per dotted-quarter (24 hex!), and eight notated 32nd-notes per quarter-note.

FF 59 02 sf mi Key Signature
sf = -seven: 7 flats
sf = -1: 1 apartment
sf = 0: primal of C
sf = i: one sharp
sf = vii: 7 sharps

mi = 0: major fundamental
mi = 1: pocket-size key

FF 7F len information Sequencer Specific Meta-Event
Special requirements for particular sequencers may apply this event type: the starting time byte or bytes of data is a manufacturer ID (these are ane byte, or if the showtime byte is 00, iii bytes). Every bit with MIDI System Exclusive, manufacturers who define something using this meta-issue should publish it then that others may be used by a sequencer which elects to use this as its simply file format; sequencers with their established feature-specific formats should probably stick to the standard features when using this format.

See Appendix two - Program Fragments and Case MIDI Files for an instance midi file.

Appendix one - MIDI Messages

A MIDI bulletin is made up of an eight-flake condition byte which is by and large followed by i or ii data bytes. There are a number of different types of MIDI letters. At the highest level, MIDI messages are classified as being either Channel Letters or System Messages. Aqueduct messages are those which apply to a specific Channel, and the Aqueduct number is included in the condition byte for these messages. Organisation letters are not Channel specific, and no Channel number is indicated in their status bytes.

Channel Letters may be further classified equally existence either Aqueduct Vocalism Messages, or Fashion Messages. Channel Vocalisation Letters carry musical performance information, and these messages comprise most of the traffic in a typical MIDI information stream. Channel Mode messages affect the mode a receiving instrument will reply to the Aqueduct Voice messages.

MIDI System Messages are classified as beingness System Mutual Messages, System Real Time Letters, or System Sectional Messages. System Mutual letters are intended for all receivers in the organisation. Organization Real Time messages are used for synchronisation between clock-based MIDI components. Organisation Exclusive messages include a Manufacturer's Identification (ID) code, and are used to transfer any number of data bytes in a format specified by the referenced manufacturer.

Appendix i.1 - Tabular array of Major MIDI Messages

Channel Vocalization Letters
Condition D7----D0 nnnn is the MIDI channel no.	Data Byte(s) D7----D0	Description
1000nnnn	0kkkkkkk 0vvvvvvv	Note Off event. This message is sent when a note is released (concluded). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
1001nnnn	0kkkkkkk 0vvvvvvv	Note On event. This message is sent when a annotation is depressed (start). (kkkkkkk) is the key (note) number. (vvvvvvv) is the velocity.
1010nnnn	0kkkkkkk 0vvvvvvv	Polyphonic Key Pressure (Aftertouch). This message is nearly often sent by pressing down on the key afterwards it "bottoms out". (kkkkkkk) is the central (note) number. (vvvvvvv) is the pressure value.
1011nnnn	0ccccccc 0vvvvvvv	Command Change. This message is sent when a controller value changes. Controllers include devices such every bit pedals and levers. Sure controller numbers are reserved for specific purposes. See Channel Mode Messages. (ccccccc) is the controller number. (vvvvvvv) is the new value.
1100nnnn	0ppppppp	Programme Alter. This bulletin sent when the patch number changes. (ppppppp) is the new programme number.
1101nnnn	0vvvvvvv	Channel Pressure (After-touch). This message is nigh oftentimes sent by pressing down on the primal afterward information technology "bottoms out". This message is different from polyphonic after-touch on. Utilize this message to ship the single greatest pressure value (of all the electric current depressed keys). (vvvvvvv) is the force per unit area value.
1110nnnn	0lllllll 0mmmmmmm	Pitch Cycle Modify. This message is sent to signal a modify in the pitch wheel. The pitch wheel is measured by a fourteen bit value. Center (no pitch alter) is 2000H. Sensitivity is a function of the transmitter. (lllllll) are the least meaning seven bits. (mmmmmmm) are the most pregnant 7 bits.
Channel Mode Letters (See as well Control Change, above)
1011nnnn	0ccccccc 0vvvvvvv	Aqueduct Mode Messages. This the same code equally the Control Modify (above), but implements Fashion command by using reserved controller numbers. The numbers are: Local Control. When Local Control is Off, all devices on a given channel will respond only to data received over MIDI. Played data, etc. volition be ignored. Local Command On restores the functions of the normal controllers. c = 122, v = 0: Local Control Off c = 122, five = 127: Local Control On All Notes Off. When an All Notes Off is received all oscillators will plough off. c = 123, 5 = 0: All Notes Off c = 124, v = 0: Omni Style Off c = 125, v = 0: Omni Mode On c = 126, v = M: Mono Mode On (Poly Off) where K is the number of channels (Omni Off) or 0 (Omni On) c = 127, v = 0: Poly Fashion On (Mono Off) (Note: These iv messages too cause All Notes Off)
System Common Messages
11110000	0iiiiiii 0ddddddd .. .. 0ddddddd 11110111	Arrangement Sectional. This message makes upwards for all that MIDI doesn't back up. (iiiiiii) is usually a seven-flake Manufacturer's I.D. lawmaking. If the synthesiser recognises the I.D. code as its own, information technology will listen to the rest of the message (ddddddd). Otherwise, the bulletin will be ignored. System Sectional is used to ship bulk dumps such equally patch parameters and other non-spec information. (Note: Real-Time letters ONLY may be interleaved with a Organization Exclusive.) This message likewise is used for extensions called Universal Sectional Messages.
11110001		Undefined.
11110010	0lllllll 0mmmmmmm	Song Position Arrow. This is an internal 14 fleck register that holds the number of MIDI beats (i beat= vi MIDI clocks) since the get-go of the song. fifty is the LSB, m the MSB.
11110011	0sssssss	Vocal Select. The Song Select specifies which sequence or song is to exist played.
11110100		Undefined.
11110101		Undefined.
11110110		Tune Request. Upon receiving a Tune Request, all analog synthesisers should tune their oscillators.
11110111		Cease of Exclusive. Used to terminate a System Sectional dump (see above).
System Real-Time Messages
11111000		Timing Clock. Sent 24 times per quarter notation when synchronisation is required.
11111001		Undefined.
11111010		Starting time. Outset the electric current sequence playing. (This message will be followed with Timing Clocks).
11111011		Continue. Continue at the point the sequence was Stopped.
11111100		Stop. Stop the current sequence.
11111101		Undefined.
11111110		Active Sensing. Use of this message is optional. When initially sent, the receiver volition await to receive some other Active Sensing message each 300ms (max), or information technology will be presume that the connection has been terminated. At termination, the receiver volition turn off all voices and return to normal (non-active sensing) performance.
11111111		Reset. Reset all receivers in the organisation to power-up status. This should be used sparingly, preferably under manual control. In item, it should not be sent on power-up. In a MIDI file this is used as an escape to introduce <meta events>.

Appendix 1.2 - Tabular array of MIDI Controller Messages (Data Bytes)

The post-obit table lists the MIDI Controller messages in numerical (binary) lodge.

2d Byte Value			Function	3rd Byte
Binary	Hex	Dec		Value	Employ
00000000	00	0	Bank Select	0-127	MSB
00000001	01	1	* Modulation wheel	0-127	MSB
00000010	02	2	Breath control	0-127	MSB
00000011	03	iii	Undefined	0-127	MSB
00000100	04	four	Pes controller	0-127	MSB
00000101	05	v	Portamento fourth dimension	0-127	MSB
00000110	06	6	Data Entry	0-127	MSB
00000111	07	vii	* Aqueduct Volume (formerly Main Volume)	0-127	MSB
00001000	08	eight	Residual	0-127	MSB
00001001	09	9	Undefined	0-127	MSB
00001010	0A	x	* Pan	0-127	MSB
00001011	0B	11	* Expression Controller	0-127	MSB
00001100	0C	12	Effect command 1	0-127	MSB
00001101	0D	13	Effect control 2	0-127	MSB
00001110	0E	xiv	Undefined	0-127	MSB
00001111	0F	xv	Undefined	0-127	MSB
00010000	10	16	General Purpose Controller #1	0-127	MSB
00010001	eleven	17	General Purpose Controller #2	0-127	MSB
00010010	12	xviii	Full general Purpose Controller #3	0-127	MSB
00010011	xiii	19	General Purpose Controller #4	0-127	MSB
00010100	14	20	Undefined	0-127	MSB
00010101	15	21	Undefined	0-127	MSB
00010110	16	22	Undefined	0-127	MSB
00010111	17	23	Undefined	0-127	MSB
00011000	18	24	Undefined	0-127	MSB
00011001	nineteen	25	Undefined	0-127	MSB
00011010	1A	26	Undefined	0-127	MSB
00011011	1B	27	Undefined	0-127	MSB
00011100	1C	28	Undefined	0-127	MSB
00011101	1D	29	Undefined	0-127	MSB
00011110	1E	30	Undefined	0-127	MSB
00011111	1F	31	Undefined	0-127	MSB
00100000	20	32	Bank Select	0-127	LSB
00100001	21	33	Modulation bike	0-127	LSB
00100010	22	34	Breath command	0-127	LSB
00100011	23	35	Undefined	0-127	LSB
00100100	24	36	Foot controller	0-127	LSB
00100101	25	37	Portamento fourth dimension	0-127	LSB
00100110	26	38	Data entry	0-127	LSB
00100111	27	39	Channel Book (formerly Principal Volume)	0-127	LSB
00101000	28	forty	Remainder	0-127	LSB
00101001	29	41	Undefined	0-127	LSB
00101010	2A	42	Pan	0-127	LSB
00101011	2B	43	Expression Controller	0-127	LSB
00101100	2C	44	Effect control 1	0-127	LSB
00101101	2d	45	Effect command 2	0-127	LSB
00101110	2E	46	Undefined	0-127	LSB
00101111	2F	47	Undefined	0-127	LSB
00110000	thirty	48	General Purpose Controller #1	0-127	LSB
00110001	31	49	General Purpose Controller #2	0-127	LSB
00110010	32	50	General Purpose Controller #iii	0-127	LSB
00110011	33	51	General Purpose Controller #4	0-127	LSB
00110100	34	52	Undefined	0-127	LSB
00110101	35	53	Undefined	0-127	LSB
00110110	36	54	Undefined	0-127	LSB
00110111	37	55	Undefined	0-127	LSB
00111000	38	56	Undefined	0-127	LSB
00111001	39	57	Undefined	0-127	LSB
00111010	3A	58	Undefined	0-127	LSB
00111011	3B	59	Undefined	0-127	LSB
00111100	3C	threescore	Undefined	0-127	LSB
00111101	3D	61	Undefined	0-127	LSB
00111110	3E	62	Undefined	0-127	LSB
00111111	3F	63	Undefined	0-127	LSB
01000000	40	64	* Damper pedal on/off (Sustain)	<63=off	>64=on
01000001	41	65	Portamento on/off	<63=off	>64=on
01000010	42	66	Sustenuto on/off	<63=off	>64=on
01000011	43	67	Soft pedal on/off	<63=off	>64=on
01000100	44	68	Legato Footswitch	<63=off	>64=on
01000101	45	69	Hold 2	<63=off	>64=on
01000110	46	70	Sound Controller 1 (Sound Variation)	0-127	LSB
01000111	47	71	Sound Controller 2 (Timbre)	0-127	LSB
01001000	48	72	Audio Controller three (Release Time)	0-127	LSB
01001001	49	73	Sound Controller 4 (Set on Time)	0-127	LSB
01001010	4A	74	Sound Controller v (Brightness)	0-127	LSB
01001011	4B	75	Sound Controller 6	0-127	LSB
01001100	4C	76	Audio Controller seven	0-127	LSB
01001101	4D	77	Sound Controller eight	0-127	LSB
01001110	4E	78	Sound Controller 9	0-127	LSB
01001111	4F	79	Sound Controller ten	0-127	LSB
01010000	l	fourscore	General Purpose Controller #v	0-127	LSB
01010001	51	81	General Purpose Controller #6	0-127	LSB
01010010	52	82	General Purpose Controller #7	0-127	LSB
01010011	53	83	General Purpose Controller #8	0-127	LSB
01010100	54	84	Portamento Control	0-127	Source Note
01010101	55	85	Undefined	0-127	LSB
01010110	56	86	Undefined	0-127	LSB
01010111	57	87	Undefined	0-127	LSB
01011000	58	88	Undefined	0-127	LSB
01011001	59	89	Undefined	0-127	LSB
01011010	5A	xc	Undefined	0-127	LSB
01011011	5B	91	Effects 1 Depth	0-127	LSB
01011100	5C	92	Furnishings 2 Depth	0-127	LSB
01011101	5D	93	Effects 3 Depth	0-127	LSB
01011110	5E	94	Furnishings four Depth	0-127	LSB
01011111	5F	95	Effects 5 Depth	0-127	LSB

01100000	60	96	Information entry +ane	Northward/A
01100001	61	97	Information entry -1	N/A
01100010	62	98	Not-Registered Parameter Number LSB	0-127	LSB
01100011	63	99	Not-Registered Parameter Number MSB	0-127	MSB
01100100	64	100	* Registered Parameter Number LSB	0-127	LSB
01100101	65	101	* Registered Parameter Number MSB	0-127	MSB
01100110	66	102	Undefined	?
01100111	67	103	Undefined	?
01101000	68	104	Undefined	?
01101001	69	105	Undefined	?
01101010	6A	106	Undefined	?
01101011	6B	107	Undefined	?
01101100	6C	108	Undefined	?
01101101	6D	109	Undefined	?
01101110	6E	110	Undefined	?
01101111	6F	111	Undefined	?
01110000	70	112	Undefined	?
01110001	71	113	Undefined	?
01110010	72	114	Undefined	?
01110011	73	115	Undefined	?
01110100	74	116	Undefined	?
01110101	75	117	Undefined	?
01110110	76	118	Undefined	?
01110111	77	119	Undefined	?

01111000	78	120	All Sound Off	0
01111001	79	121	* Reset All Controllers	0
01111010	7A	122	Local control on/off	0=off	127=on
01111011	7B	123	* All notes off	0
01111100	7C	124	Omni mode off (+ all notes off)	0
01111101	7D	125	Omni mode on (+ all notes off)	0
01111110	7E	126	Poly mode on/off (+ all notes off)	**
01111111	7F	127	Poly mode on (incl mono=off +all notes off)	0

* Equipment must respond in order to comply with General MIDI level 1.
** This equals the number of channels, or zero if the number of channels equals the number of voices in the receiver.

Appendix ane.3 - Table of MIDI Notation Numbers

This table lists all MIDI Notation Numbers past octave.

The absolute octave number designations are based on Middle C = C4, which is an arbitrary but widely used assignment.

Octave #	Note Numbers
	C	C#	D	D#	E	F	F#	G	Chiliad#	A	A#	B
-i	0	i	ii	3	4	5	6	vii	8	9	10	11
0	12	13	14	15	16	17	18	xix	20	21	22	23
one	24	25	26	27	28	29	xxx	31	32	33	34	35
2	36	37	38	39	40	41	42	43	44	45	46	47
3	48	49	50	51	52	53	54	55	56	57	58	59
4	threescore	61	62	63	64	65	66	67	68	69	70	71
5	72	73	74	75	76	77	78	79	fourscore	81	82	83
six	84	85	86	87	88	89	90	91	92	93	94	95
7	96	97	98	99	100	101	102	103	104	105	106	107
8	108	109	110	111	112	113	114	115	116	117	118	119
9	120	121	122	123	124	125	126	127

Appendix ane.4 - Full general MIDI Instrument Patch Map

The names of the instruments indicate what sort of sound volition exist heard when that instrument number (MIDI Program Alter or "PC#") is selected on the GM synthesizer.
These sounds are the aforementioned for all MIDI Channels except Channel 10, which has only percussion sounds and some sound "effects". (Come across Appendix 1.5 - General MIDI Percussion Cardinal Map)

GM Instrument Families

The General MIDI musical instrument sounds are grouped past families. In each family unit are eight specific instruments.

PC#	Family unit	PC#	Family
1-8	Piano	65-72	Reed
ix-16	Chromatic Percussion	73-80	Pipe
17-24	Organ	81-88	Synth Lead
25-32	Guitar	89-96	Synth Pad
33-forty	Bass	97-104	Synth Effects
41-48	Strings	105-112	Ethnic
49-56	Ensemble	113-120	Percussive
57-64	Brass	121-128	Audio Effects

GM Instrument Patch Map

Note: While GM does not define the bodily characteristics of whatever sounds, the names in parentheses after each of the synth leads, pads, and sound furnishings are, in particular, intended only as guides.

PC#	Instrument	PC#	Instrument
one.	Acoustic Thousand Piano	65.	Soprano Sax
ii.	Bright Acoustic Piano	66.	Alto Sax
3.	Electric Grand Pianoforte	67.	Tenor Sax
4.	Honky-tonk Piano	68.	Baritone Sax
v.	Electrical Piano i (Rhodes Piano)	69.	Oboe
6.	Electric Pianoforte 2 (Chorused Pianoforte)	70.	English Horn
7.	Harpsichord	71.	Bassoon
8.	Clavinet	72.	Clarinet
9.	Celesta	73.	Piccolo
10.	Glockenspiel	74.	Flute
11.	Music Box	75.	Recorder
12.	Vibraphone	76.	Pan Flute
xiii.	Marimba	77.	Blown Bottle
14.	Xylophone	78.	Shakuhachi
15.	Tubular Bells	79.	Whistle
16.	Dulcimer (Santur)	fourscore.	Ocarina
17.	Drawbar Organ (Hammond)	81.	Lead one (square wave)
18.	Percussive Organ	82.	Lead ii (sawtooth wave)
19.	Rock Organ	83.	Lead 3 (calliope)
20.	Church Organ	84.	Lead 4 (chiffer)
21.	Reed Organ	85.	Lead v (charang)
22.	Piano accordion (French)	86.	Lead 6 (phonation solo)
23.	Harmonica	87.	Atomic number 82 7 (fifths)
24.	Tango Piano accordion (Band neon)	88.	Lead eight (bass + lead)
25.	Acoustic Guitar (nylon)	89.	Pad 1 (new age Fantasia)
26.	Acoustic Guitar (steel)	90.	Pad two (warm)
27.	Electrical Guitar (jazz)	91.	Pad 3 (polysynth)
28.	Electric Guitar (clean)	92.	Pad 4 (choir space phonation)
29.	Electric Guitar (muted)	93.	Pad five (bowed drinking glass)
30.	Overdriven Guitar	94.	Pad 6 (metallic pro)
31.	Distortion Guitar	95.	Pad 7 (halo)
32.	Guitar harmonics	96.	Pad 8 (sweep)
33.	Audio-visual Bass	97.	FX 1 (pelting)
34.	Electrical Bass (fingered)	98.	FX 2 (soundtrack)
35.	Electrical Bass (picked)	99.	FX 3 (crystal)
36.	Fretless Bass	100.	FX iv (atmosphere)
37.	Slap Bass 1	101.	FX 5 (brightness)
38.	Slap Bass 2	102.	FX half-dozen (goblins)
39.	Synth Bass one	103.	FX 7 (echoes, drops)
40.	Synth Bass ii	104.	FX 8 (sci-fi, star theme)
41.	Violin	105.	Sitar
42.	Viola	106.	Banjo
43.	Cello	107.	Shamisen
44.	Contrabass	108.	Koto
45.	Tremolo Strings	109.	Kalimba
46.	Pizzicato Strings	110.	Purse pipe
47.	Orchestral Harp	111.	Fiddle
48.	Timpani	112.	Shanai
49.	String Ensemble i (strings)	113.	Tinkle Bell
50.	String Ensemble 2 (slow strings)	114.	Agogo
51.	SynthStrings ane	115.	Steel Drums
52.	SynthStrings 2	116.	Woodblock
53.	Choir Aahs	117.	Taiko Drum
54.	Voice Oohs	118.	Melodic Tom
55.	Synth Voice	119.	Synth Drum
56.	Orchestra Hit	120.	Reverse Cymbal
57.	Trumpet	121.	Guitar Fret Noise
58.	Trombone	122.	Breath Noise
59.	Tuba	123.	Seashore
60.	Muted Trumpet	124.	Bird Tweet
61.	French Horn	125.	Telephone Ring
62.	Brass Section	126.	Helicopter
63.	SynthBrass 1	127.	Adulation
64.	SynthBrass 2	128.	Gunshot

Appendix one.v - Full general MIDI Percussion Cardinal Map

On MIDI Channel 10, each MIDI Note number ("Key#") corresponds to a different drum audio, as shown beneath. GM-compatible instruments must have the sounds on the keys shown here. While many electric current instruments too have additional sounds above or below the range evidence hither, and may fifty-fifty accept boosted "kits" with variations of these sounds, only these sounds are supported by Full general MIDI.

Key#	Note	Drum Sound	Primal#	Note	Pulsate Sound
35	B1	Audio-visual Bass Drum	59	B3	Ride Cymbal ii
36	C2	Bass Drum 1	threescore	C4	Hullo Bongo
37	C#2	Side Stick	61	C#iv	Low Bongo
38	D2	Audio-visual Snare	62	D4	Mute Hi Conga
39	D#2	Hand Clap	63	D#4	Open up Hi Conga
40	E2	Electric Snare	64	E4	Low Conga
41	F2	Low Flooring Tom	65	F4	Loftier Timbale
42	F#2	Closed Hi Hat	66	F#4	Depression Timbale
43	G2	High Floor Tom	67	G4	High Agogo
44	G#2	Pedal Hi-Lid	68	Grand#4	Depression Agogo
45	A2	Depression Tom	69	A4	Cabasa
46	A#2	Open How-do-you-do-Chapeau	70	A#4	Maracas
47	B2	Low-Mid Tom	71	B4	Short Whistle
48	C3	Hullo Mid Tom	72	C5	Long Whistle
49	C#three	Crash Cymbal 1	73	C#5	Brusk Guiro
l	D3	High Tom	74	D5	Long Guiro
51	D#3	Ride Cymbal 1	75	D#five	Claves
52	E3	Chinese Cymbal	76	E5	Hi Woods Block
53	F3	Ride Bong	77	F5	Low Forest Block
54	F#iii	Tambourine	78	F#v	Mute Cuica
55	G3	Splash Cymbal	79	G5	Open Cuica
56	Thou#iii	Cowbell	80	Yard#5	Mute Triangle
57	A3	Crash Cymbal two	81	A5	Open Triangle
58	A#3	Vibraslap

Appendix 2 - Program Fragments and Example MIDI Files

Here are some of the routines to read and write variable-length numbers in MIDI Files. These routines are in C, and employ getc and putc, which read and write unmarried eight-flake characters from/to the files infile and outfile.

WriteVarLen(value)
register long value;
{
register long buffer;

buffer = value & 0x7f;
while((value >>= seven) > 0)
{
buffer <<= 8;
buffer |= 0x80;
buffer += (value &0x7f);
}

while (Truthful)
{
putc(buffer,outfile);
if(buffer & 0x80) buffer >>= viii;
else
interruption;
}
}

doubleword ReadVarLen()
{
register doubleword value;
register byte c;

if((value = getc(infile)) & 0x80)
{
value &= 0x7f;
do
{
value = (value << 7) + ((c = getc(infile))) & 0x7f);
} while (c & 0x80);
}
return(value);
}

As an example, MIDI Files for the post-obit extract are shown below. First, a format 0 file is shown, with all information intermingled; then, a format 1 file is shown with all data separated into four tracks: one for tempo and time signature, and three for the notes. A resolution of 96 "ticks" per quarter annotation is used. A time signature of 4/4 and a tempo of 120, though implied, are explicitly stated.

The contents of the MIDI stream represented by this case are cleaved down here:

Delta-Time (decimal)	Outcome-Code (hex)	Other Bytes (decimal)	Comment
0	FF 58	04 04 02 24 08	iv bytes; 4/iv time; 24 MIDI clocks/click, 8 32nd notes/ 24 MIDI clocks (24 MIDI clocks = 1 crotchet = 1 beat)
0	FF 51	03 500000	three bytes: 500,000 usec/ quarter note = 120 beats/minute
0	C0	5	Ch.1 Program Modify v = GM Patch half dozen = Electrical Pianoforte two
0	C1	46	Ch.ii Program Change 46 = GM Patch 47 = Harp
0	C2	seventy	Ch.3 Program Change 70 = GM Patch 71 = Bassoon
0	92	48 96	Ch.3 Note On C3, forte
0	92	sixty 96	Ch.iii Note On C4, forte
96	91	67 64	Ch.2 Note On G4, mezzo-forte
96	90	76 32	Ch.one Note On E5, pianoforte
192	82	48 64	Ch.iii Notation Off C3, standard
0	82	lx 64	Ch.3 Notation Off C4, standard
0	81	67 64	Ch.2 Note Off G4, standard
0	80	76 64	Ch.1 Note Off E5, standard
0	FF 2F	00	Track End

The entire format 0 MIDI file contents in hex follow. Outset, the header chunk:

4D 54 68 64	MThd
00 00 00 06	chunk length
00 00	format 0
00 01	i track
00 60	96 per quarter-annotation

And then the rail clamper. Its header followed by the events (notice the running status is used in places):

4D 54 72 6B	MTrk
00 00 00 3B	chunk length (59)

Delta-Fourth dimension	Event	Comments
00	FF 58 04 04 02 18 08	time signature
00	FF 51 03 07 A1 twenty	tempo
00	C0 05
00	C1 2E
00	C2 46
00	92 xxx sixty
00	3C 60	running status
60	91 43 40
60	90 4C twenty
81 40	82 thirty 40	two-byte delta-fourth dimension
00	3C twoscore	running status
00	81 43 40
00	80 4C 40
00	FF 2F 00	end of track

A format ane representation of the file is slightly unlike. Its header chunk:

4D 54 68 64	MThd
00 00 00 06	chunk length
00 01	format 1
00 04	four tracks
00 sixty	96 per quarter note

First, the track chunk for the time signature/tempo track. Its header, followed by the events:

4D 54 72 6B	MTrk
00 00 00 14	chunk length (xx)

Delta-Time	Consequence	Comments
00	FF 58 04 04 02 18 08	time signature
00	FF 51 03 07 A1 20	tempo
83 00	FF 2F 00	terminate of rails

Then, the runway chunk for the starting time music runway. The MIDI convention for note on/off running status is used in this example:

4D 54 72 6B	MTrk
00 00 00 x	clamper length (xvi)

Delta-Time	Event	Comments
00	C0 05
81 forty	90 4C 20
81 40	4C 00	Running condition: annotation on, vel=0
00 FF 2F 00

Then, the runway chunk for the second music track:

4D 54 72 6B	MTrk
00 00 00 0F	chunk length (15)

Delta-Time	Event	Comments
00	C1 2E
60	91 43 twoscore
82 20	43 00	running status
00	FF 2F 00	end of track

Then, the rail clamper for the tertiary music track:

4D 54 72 6B	MTrk
00 00 00 fifteen	chunk length (21)

Delta-Time	Issue	Comments
00	C2 46
00	92 30 60
00	3C 60	running status
83 00	30 00	two-byte delta-time, running status
00	3C 00	running status
00	FF 2F 00	end of track

Return to CSW2 Domicile Folio

Stop.

Source: http://www.music.mcgill.ca/~ich/classes/mumt306/StandardMIDIfileformat.html

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