MIDI 2.0 FAQ

1. What is MIDI 2.0?
MIDI 2.0 is the first major update to the Musical Instrument Digital Interface (MIDI) standard in decades. It extends the original MIDI 1.0 specification (it doesn’t replace it) and builds on the same foundations. The goal is to retain compatibility with existing MIDI gear while introducing new capabilities. In short, MIDI 2.0 is “the biggest advance in music technology in 4 decades,” offering many improvements like higher resolution control, two-way communication between devices, automatic configuration, and greater expressiveness.

2. How is MIDI 2.0 different from MIDI 1.0?
MIDI 2.0 adds several important features beyond what MIDI 1.0 offered. First, it greatly increases the resolution of MIDI data – instead of values ranging 0–127, many messages can now have tens of thousands or even millions of steps for much finer control. Second, it enables bi-directional communication, meaning devices can talk to each other (not just one-way from controller to synth) to auto-configure and synchronize features. It also expands the number of MIDI channels from 16 to 256 (organized in 16 groups of 16) for more complex setups. Additionally, MIDI 2.0 improves timing precision and expressiveness, allowing more nuanced performances. All of these changes are designed to overcome MIDI 1.0’s limitations while remaining backward compatible with older gear.

3. Why was MIDI 2.0 introduced after so many years?
MIDI 1.0 served musicians well for over 35 years, but it had some limitations inherited from early-1980s technology. Original MIDI was constrained by slow 5-pin cables and 7-bit data values (only 128 steps), which were fine in 1983 but now hold back modern gear. Manufacturers and users long resisted any change that would obsolete existing equipment, so the industry took time to agree on a new standard. MIDI 2.0 was finally developed as a careful evolution: it addresses the need for higher precision, better timing, and expanded features in today’s music production, without making old MIDI gear obsolete. In short, it was introduced to bring MIDI up to speed with modern music technology while preserving the huge ecosystem of MIDI 1.0 devices.

4. Is MIDI 2.0 backward compatible with my existing MIDI 1.0 gear?
Yes – maintaining backward compatibility was a core design goal of MIDI 2.0. MIDI 2.0 devices can seamlessly work with MIDI 1.0 devices by “talking” in the old protocol when needed. In practice, a MIDI 2.0 instrument will detect if the other connected device supports only MIDI 1.0 and then simply revert to using MIDI 1.0 messages. This means your current keyboards, controllers, and sound modules won’t be left behind – new MIDI 2.0 gear will still understand and send MIDI 1.0 data when connected with older equipment. You can have a mixed setup of old and new devices; the MIDI 2.0 units will use the new features among themselves, and gracefully fall back to standard MIDI with legacy gear.

5. Will I need to replace my current MIDI devices to use MIDI 2.0?
No, you don’t have to replace all your existing gear. Your MIDI 1.0 devices will continue to work as they always have, and they can coexist with MIDI 2.0 devices in your setup. When you add a MIDI 2.0 controller or synth to your rig, it won’t disrupt anything – it will simply communicate in MIDI 2.0 with other 2.0 devices, and use MIDI 1.0 protocol to talk to older devices. To benefit from the new features of MIDI 2.0, you will eventually need devices (or firmware updates) that support those features. However, nothing will stop working; older instruments and controllers will still function normally (just without the new 2.0 enhancements). In summary, you can adopt MIDI 2.0 at your own pace – new gear for new capabilities, while keeping beloved older gear in use via standard MIDI.

6. Do I need new cables or interfaces for MIDI 2.0, or can I use my old ones?
You can use your existing MIDI connections. MIDI 2.0 doesn’t mandate a new cable type – it is “transport agnostic,” meaning it can work over the same 5-pin DIN cables, USB connections, or other links that MIDI 1.0 used. In practice, many MIDI 2.0 devices will use USB (since it allows two-way communication on a single cable), but standard MIDI DIN cables can still carry MIDI 2.0 messages if the devices on both ends support it. No new special cable is required; a MIDI cable is a MIDI cable. However, to fully use MIDI 2.0’s two-way features over 5-pin DIN, you would need two MIDI cables (one for each direction) or another bidirectional transport. Most commonly, devices will use USB or other modern connections to simplify this. Overall, your existing MIDI interface or USB MIDI connection will continue to work – the wiring and physical hookup remain unchanged.

7. What do I need to start using MIDI 2.0 in my setup?
To use MIDI 2.0 features, you need at least one device (or software) that supports MIDI 2.0, and something to connect it to that also supports MIDI 2.0. For example, this could be a MIDI 2.0–compatible controller keyboard connected to a computer DAW that supports MIDI 2.0, or to another MIDI 2.0 synth. There’s no external “MIDI 2.0 adapter” required – support is built into the devices/softwares themselves. Ensure your computer’s operating system is up to date, since modern OSes (Windows, macOS, etc.) are adding support for MIDI 2.0 data. In fact, as of 2023, major operating systems have updates “included or coming very soon” that enable MIDI 2.0 on computers. So, to get started: use your existing MIDI cables or USB, connect a MIDI 2.0 capable instrument to a MIDI 2.0 capable host (or another instrument), and they will handle the rest. If only one side is MIDI 2.0, it will simply fall back to MIDI 1.0 communication.

8. How do I set up a MIDI 2.0 device in my studio or live rig?
Setting up a MIDI 2.0 device is meant to be as simple as setting up a MIDI 1.0 device. You plug in and connect your gear exactly as you normally would – for instance, connect your new MIDI 2.0 keyboard to your computer or sound module using USB or MIDI cables. From the user’s perspective, there are no special steps or configuration menus just for MIDI 2.0. If both your gear and software support MIDI 2.0, they will automatically detect each other’s capabilities and switch into MIDI 2.0 mode behind the scenes. If not, they’ll just communicate using MIDI 1.0. In other words, you don’t have to do anything fancy – just hook up your devices and start playing. The devices and your DAW/OS will handle negotiating the protocol and auto-configure themselves if possible. If they succeed, you’ll be using MIDI 2.0 features; if not, everything will still work using standard MIDI without you needing to change any settings.

9. Which MIDI controllers or instruments support MIDI 2.0 right now?
MIDI 2.0 is still new, but a few hardware products have begun supporting it. One of the first was Roland’s A-88MKII keyboard controller, which was “MIDI 2.0 ready” at launch and received a firmware update in late 2023 to fully enable MIDI 2.0 features. Native Instruments released the Komplete Kontrol S-Series MK3 keyboards, which support MIDI 2.0 via USB and implement the new Universal MIDI Packet format and other 2.0 features. Korg has introduced the Keystage controllers with MIDI 2.0 support as well. Aside from these, more manufacturers are announcing MIDI 2.0 compatibility in upcoming products. As of now, the selection is limited to some high-end controllers and keyboards, but the list is growing. It’s expected that many new MIDI devices released in the next couple of years will be MIDI 2.0 capable, either out-of-the-box or via firmware updates.

10. Do DAWs and music software support MIDI 2.0 yet?
Software support for MIDI 2.0 is just beginning. Some digital audio workstations have started laying the groundwork for MIDI 2.0. For example, Apple’s macOS (since macOS 12 Monterey) actually uses MIDI 2.0 data formats internally, and Apple’s Logic Pro is reported to support high-resolution MIDI data behind the scenes. Other major DAWs like Steinberg Cubase, Presonus Studio One, and MOTU Digital Performer have signaled support or are in the process of updating for MIDI 2.0. The MIDI Manufacturers Association has noted that integration with DAWs should improve workflow — meaning your DAW (Logic, Ableton, etc.) will eventually handle MIDI 2.0 gear more seamlessly. Plugin formats are ready too: VST3 instruments and effects already handle higher-resolution control data, so they are essentially “MIDI 2.0 ready” in terms of precision. In summary, full MIDI 2.0 support in software is emerging: a few platforms have partial support now, and more updates are expected soon as operating systems and DAWs catch up to the new standard.

11. What benefits does MIDI 2.0 offer to musicians (performers)?
For musicians and performers, MIDI 2.0 can make electronic instruments feel more responsive and expressive. One big benefit is the dramatically increased resolution for things like velocity and control changes – your keyboard or drum pad can sense and transmit much finer gradations of how hard or softly you play, capturing subtle nuances that MIDI 1.0 might miss. This translates into more dynamic and natural performances; for example, pianos can truly reflect the most delicate playing techniques or very detailed variations in how notes are struck. Another benefit is greater expressiveness through per-note control (each note’s pitch bend, timbre, etc., can be adjusted individually), allowing for guitar-like string bends or wind-instrument-like expression on electronic keyboards. Additionally, because MIDI 2.0 devices communicate both ways, a synthesizer or controller can automatically configure itself with your setup – so on stage or in rehearsal you spend less time fiddling with settings and more time performing. Finally, improved timing accuracy means that when you play in a band or with backing tracks, your MIDI gear will respond more tightly and predictably, which is crucial for live performers.

12. How does MIDI 2.0 benefit music producers in the studio?
In the studio, MIDI 2.0 offers producers more precision, better integration, and streamlined workflow. The higher resolution of MIDI 2.0 means that when you record automation or MIDI CC movements (for volume swells, filter sweeps, etc.), you get smoother, more precise control. No more “stepping” or jagged jumps in your recorded MIDI automation – it can capture extremely fine adjustments, which is great for detailed mixing and sound design. Another huge benefit is easier hardware/software integration. MIDI 2.0 introduces Property Exchange, which lets devices and software query and share parameters with each other. In practical terms, your DAW can ask a MIDI 2.0 synthesizer what presets or settings it has, and even get the patch names or controller mappings. This makes using hardware synths more like using plug-ins – you could see parameter names and values in your software, and store or recall hardware settings as part of your project. Profiles (another MIDI 2.0 feature) also help by standardizing how certain instruments communicate (e.g., a “drawbar organ” profile ensures any organ and controller speak the same language for drawbars and switches). All of this saves time for producers: less manual configuration, easier recall of setups, and more musical control when editing MIDI. Overall, MIDI 2.0 helps bridge the gap between hardware and DAW, making hybrid studios more efficient and creative.

13. How does the increased resolution of MIDI 2.0 improve control and expression?
MIDI 1.0 messages (like velocity or knob movements) were limited to 7-bit values, which means 128 possible steps (0–127). MIDI 2.0 blows past that limitation – for instance, note velocity in MIDI 2.0 can have 65,536 different values, and some parameters use full 32-bit ranges (over 4 billion values). In simple terms, this higher resolution means your controllers and instruments can register extremely fine differences in playing and knob movements. A slight change in pressure or movement that might have been rounded off or skipped over in MIDI 1.0 can now be captured. This leads to smooth, continuous transitions instead of noticeable jumps. For example, a volume fade or filter sweep can be executed with ultra-fine gradation, resulting in a very fluid sound. For keyboard players, the difference is like moving from a 128-step volume control to a high-precision one – you can play much more expressively because MIDI 2.0 divides the range into many tiny increments. Overall, the increased resolution makes MIDI instruments respond more naturally to your input, closely resembling the analog or acoustic counterparts in terms of sensitivity.

14. Can MIDI 2.0 make performances more expressive (like bending individual notes in a chord)?
Yes. MIDI 2.0 introduces per-note control capabilities and other features that significantly enhance expressiveness. In MIDI 1.0, there were workarounds like MPE (MIDI Polyphonic Expression) to allow individual notes to be articulated separately, but MIDI 2.0 builds this in at the protocol level. For example, with MIDI 2.0 a synthesizer could allow per-note pitch bends or modulation, meaning if you play a chord, you could bend one note in the chord without affecting the others (something guitarists or violinists do naturally). The new protocol supports per-note controllers, effectively a high-resolution version of what MPE offered. This, combined with higher resolution data, means more nuanced expression: velocities aren’t just loud or soft in 128 steps, but can vary in 65k steps for each note, capturing tiny differences in how each key is struck. It even allows micro-tuning adjustments and detailed articulation messages for individual notes. In practical terms, musicians will find their electronic instruments responding with a new level of detail – you can impart vibrato or timbral changes to a single note, have very smooth aftertouch pressure transitions, and generally convey more emotion through performance gestures. All of this makes the performance feel more organic and expressive, closer to real acoustic instruments or human voice nuances.

15. What is bi-directional MIDI (two-way communication) and why does it matter?
Bi-directional MIDI means that MIDI devices can both send and receive data, creating a two-way conversation. In MIDI 1.0, communication was essentially one-way – for example, a keyboard sent messages and a synth module received them, with no feedback channel. MIDI 2.0 changes this: now devices can act as both transmitter and receiver. This matters because it enables auto-configuration and negotiation between devices. When you connect two MIDI 2.0 devices, they can handshake and agree on the best way to work together. For instance, your controller can ask a sound module “Do you speak MIDI 2.0?” and if yes, they’ll use the new protocol; if not, they’ll drop to MIDI 1.0 so everything still works. Two-way communication also allows devices to exchange info like what features or controllers they have. This means a smart keyboard could configure its knobs and displays based on the synth it’s connected to, without manual setup. In summary, bi-directional MIDI makes MIDI gear smarter and easier to use: devices talk to each other to set themselves up, synchronize settings, and confirm capabilities. It’s like plug-and-play for musical instruments – a big improvement from the old days of manually matching channels and CC numbers.

16. Does MIDI 2.0 improve timing or reduce latency in performances?
MIDI 2.0 introduces features to improve timing accuracy, specifically addressing jitter (the slight timing variations in message delivery). One new feature is Jitter Reduction Timestamps: MIDI 2.0 devices can time-stamp their messages with high precision and send them slightly ahead of when they should play. The receiving device uses the timestamps to play notes or events exactly on time. This means if you have a fast sequence or multiple notes meant to hit together, they’ll be more tightly aligned, even if there were minor delays in transmission. In other words, MIDI 2.0 can make the timing of events more precise and consistent. It’s worth noting that the overall latency (delay) of MIDI is still largely determined by the connection type (USB, DIN, etc.) – MIDI 2.0 itself doesn’t magically speed up the physical link. But by reducing jitter, MIDI 2.0 ensures that timing is steady and predictable. Musicians will notice that drums feel tighter and layered synths phase together better, especially in complex setups. Essentially, MIDI 2.0 can help get rid of the “sloppy timing” often experienced in MIDI 1.0 systems, making the musical performance lock to the beat more reliably. This is optional technology (devices can use MIDI 2.0 in real-time without timestamping), but when employed, it greatly enhances timing precision.

17. Can MIDI 2.0 send more data like instrument settings or patch names between devices?
Yes. One of the enhancements in MIDI 2.0 is the ability for devices to exchange detailed information about themselves. This is achieved through something called Property Exchange (part of MIDI 2.0’s MIDI-CI, or Capability Inquiry). It allows devices to discover, retrieve, and set properties of each other using special System Exclusive messages. In practical terms, a MIDI 2.0 device can ask another device: “What presets do you have? What is the name of the current patch? What is the full list of your parameters?” and so on. For example, a hardware synthesizer could send its patch names and categories to your DAW, so that you can browse and select sounds by name from your computer. Or your DAW could request the state of a controller (knob positions, etc.) when you open a project, ensuring the hardware matches the saved session. This two-way exchange makes hardware feel much more integrated – almost as if the synth or controller is a software plug-in with parameters exposed to the DAW. In MIDI 1.0, such synchronization was limited and often proprietary; with MIDI 2.0’s Property Exchange, it’s standardized. So yes, beyond just notes and control changes, MIDI 2.0 gear can communicate metadata and settings, which greatly simplifies complex setups. Musicians and producers will spend less time manually setting up hardware or recalling presets, because the devices can share that data automatically.

18. Does MIDI 2.0 increase the number of MIDI channels available?
It does. MIDI 1.0 has a limit of 16 channels per MIDI connection (or “port”). MIDI 2.0 expands this to 256 channels by introducing the concept of groups. Specifically, MIDI 2.0 messages include a Group number (1–16) and a Channel number (1–16) within that group. This effectively means 16 groups × 16 channels = 256 distinct channel addresses on a single link. In practice, you can think of it as having up to 16 virtual MIDI ports over one cable, each with 16 channels. This doesn’t mean you’re forced to use all 256, but the extra space is there for more complex rigs. For most musicians, 16 channels per device has been sufficient (e.g., one channel per instrument sound in a multitimbral synth). However, as setups grow (especially with computer hosts and large templates), it can be useful to have more channels available on one connection. For example, a single USB MIDI link from your computer could address 32 or 64 virtual instruments independently without running out of channels. The way this appears in software might be via group selectors or extended channel ranges, but it’s designed to be backwards compatible with the old scheme. Many USB MIDI implementations already allowed multiple “ports” over one cable, so think of MIDI 2.0’s 256 channels as a built-in and standardized way to do what used to require multiple virtual ports. It gives advanced users more flexibility, but if you’re used to 16 channels, MIDI 2.0 will just work without requiring you to manage the extra channels unless you need them.

19. Will MIDI 2.0 make it easier to set up and configure my gear?
Absolutely. A big philosophy behind MIDI 2.0 is to “work harder so you don’t have to” when it comes to setup. With MIDI 1.0, musicians often have to manually configure devices – setting MIDI channels, mapping knobs/sliders, using MIDI learn, etc. MIDI 2.0 aims to simplify or even eliminate a lot of that manual work. Thanks to two-way communication, devices can auto-negotiate their features and settings. For instance, if you connect a control surface to a synthesizer or DAW, they can automatically figure out each other’s capabilities and map controls appropriately. MIDI 2.0 introduces Profiles, which are essentially agreed-upon sets of controls for specific types of instruments (like a “Mixer Profile” or a “Drawbar Organ Profile”). If both your controller and your instrument support the same Profile, they can instantly configure all the relevant knobs, faders, and switches to match, without you doing a thing. This means no more tedious manual MIDI mapping for each new piece of gear – it can happen instantaneously. Even without explicit Profiles, the fact that devices can query and understand each other (via Capability Inquiry) means your gear will take the best possible settings automatically. In short, setting up a MIDI 2.0 rig should be more plug-and-play: connect your devices, and watch them self-configure or at least communicate what settings they need, saving you time and headache and letting you focus on making music.

20. Will MIDI 2.0 eventually replace MIDI 1.0 completely?
MIDI 2.0 is designed as an extension, not a replacement, of MIDI 1.0. In fact, the MIDI Association explicitly says “MIDI 1.0 is not being retired... MIDI 2.0 is just more MIDI”. What this means is that MIDI 1.0 and 2.0 will coexist for a long time. All MIDI 2.0 devices fully support MIDI 1.0, so as long as there are legacy devices and simple MIDI needs, MIDI 1.0 will still be in use. We can expect that over the coming years, new products and software will increasingly use MIDI 2.0 features, especially in high-end or pro equipment. But older MIDI gear and basic MIDI tasks (like simple note playing or program changes) don’t need MIDI 2.0 to function, and those won’t suddenly stop working. Think of MIDI 2.0 as a backward-compatible upgrade. Eventually, if one day all gear in someone’s studio supports 2.0, they might not deal with MIDI 1.0 at all – but globally, given the enormous installed base of MIDI 1.0 devices (from the 1980s to now), MIDI 1.0 will live on. So, there’s no cutoff or forced replacement. It’s more of a gradual adoption: MIDI 2.0 will become the norm in new gear, but MIDI 1.0 messages and devices will remain part of the ecosystem indefinitely, with translators and compatibility modes ensuring they work together.

21. Should I wait for MIDI 2.0 gear before buying new equipment?
Not necessarily. While MIDI 2.0 brings exciting improvements, MIDI 1.0 gear is not suddenly obsolete (and may not be for quite a long time). If you need new musical equipment now, it’s perfectly fine to buy something that is MIDI 1.0 – it will still work in any setup that eventually includes MIDI 2.0 devices, because of backward compatibility. However, if a device you’re considering already advertises “MIDI 2.0 ready” or has MIDI 2.0 features and it fits your needs and budget, it could be a good way to future-proof your setup. In the next couple of years, more instruments and controllers will come with MIDI 2.0 capabilities. But at the moment (circa 2024), the number of MIDI 2.0 products is limited, and the ecosystem (DAW support, etc.) is still catching up. There’s no urgent need to replace gear you love just for MIDI 2.0 – as one expert put it, ask “Is this important to me? Are the new capabilities compelling enough to justify a change?”. For many musicians, the current benefits might be subtle until more software and hardware support is widespread. So, the advice is: buy gear based on its overall functionality and quality. If it happens to support MIDI 2.0, that’s a plus for longevity. If not, you can still use it and maybe upgrade or add MIDI 2.0 gear later when the standard is more mature. Rest assured that any investment you make in MIDI 1.0 gear today won’t be wasted, since it will work alongside MIDI 2.0 devices just fine.

22. Will MIDI 2.0 make my music sound better or more realistic?
MIDI 2.0 can indirectly help your music sound more expressive and nuanced, but it doesn’t change the audio generation or the samples themselves – it improves the control over sound. With the finer resolution and per-note control, your performances can be more detailed and natural, which often translates to a more realistic or emotive sound. For example, when using a high-quality piano plugin or synthesizer, a MIDI 2.0 controller can capture very subtle differences in how you strike each note and how you move the pedals, resulting in the piano responding much closer to a real acoustic instrument. Orchestral virtual instruments can feel more “alive” because MIDI 2.0 allows for smoother dynamics and articulation changes (no abrupt jumps due to 128-step limits). One expert described the change as giving performances “more fluidity, more expressivity” – controllers can make smaller changes than what humans could perceive as steps, so the result is extremely smooth transitions. Also, improved timing (jitter reduction) can make tight rhythmic parts lock together better, which makes the music groove more and avoids the muddiness that sloppy MIDI timing can cause. So while MIDI 2.0 itself doesn’t generate sound, it lets musicians control their sound-generating devices in a way that can absolutely enhance the musical outcome. In short, if both your controller and your synth/sampler make use of MIDI 2.0, you’ll find it easier to make the music feel right – which listeners interpret as better or more realistic sound.

23. How will MIDI 2.0 impact recording and sequencing MIDI tracks?
When recording MIDI performances, MIDI 2.0 will allow your sequencer/DAW to capture a lot more detail from your playing. Every nuance of velocity, every slight joystick or pedal movement, can be recorded with high resolution. This means when you play back the MIDI, it will reproduce your performance more faithfully than before. For sequencing, you’ll have the ability to edit with finer granularity – you could adjust a controller value in tiny increments that were not possible under the 0–127 scale. Also, MIDI 2.0’s per-note data means sequencers can record per-note expression natively. For example, if you have a synth where each note has its own filter cutoff modulation, the sequencer can record that without hacks. In practical terms, composers using sample libraries will benefit: previously, to get different articulations (like pizzicato vs legato strings) you might use key switches or separate tracks. With MIDI 2.0, articulation or variation data can be recorded on the note itself as part of the performance. This simplifies MIDI arrangements because you don’t need as many workaround techniques; your single MIDI track can contain richer information. Additionally, editing becomes more intuitive – instead of dealing with cryptic keyswitch notes or multiple lanes, you’ll see one note carrying everything (pitch, articulation, expression). Another impact is on automation drawing: producers who draw MIDI automation in the DAW will have a higher-resolution lane to draw on, resulting in smoother changes. And if you have high-res MIDI controllers, you might rely less on painstaking drawing, since you can capture expressive sweeps live. Overall, MIDI 2.0 makes recorded MIDI data more detailed and expressive, which elevates the quality of the resulting music when played back through instruments. It might also mean new MIDI file formats (Standard MIDI File has an updated version for 2.0 data) but DAWs will handle that behind the scenes. The main takeaway is better fidelity from performance to recording to playback.

24. What are MIDI 2.0 Profiles and do they affect me?
MIDI 2.0 Profiles are a new concept designed to make devices instantly compatible for specific use cases. A Profile is basically a standardized set of MIDI messages and behaviors for a certain kind of instrument or application. For example, there might be a “MIDI 2.0 Drawbar Organ Profile” that defines which MIDI messages control the drawbars, percussion, Leslie speed, etc., and how a device should respond to them. If you have a controller and a sound generator that both implement this profile, they can auto-configure to each other and work together with zero manual setup. In essence, Profiles save you from having to do MIDI learn or custom mapping for every combination of gear. Another example is a “Mixer Profile” – a control surface with faders and pan knobs could automatically map to any mixer (hardware or virtual) that supports the same profile, with all faders/knobs doing the expected functions right away. For most everyday users, Profiles mean things “just work” when using gear that adheres to them. It’s especially handy for complex devices; instead of each manufacturer inventing their own MIDI implementation that you have to tweak, they agree on a profile. Initially, profiles being developed include ones for MPE (expressive controllers), orchestral articulations, pianos, and even camera control. As a user, you don’t need to configure a Profile manually – it’s negotiated automatically via MIDI 2.0’s Capability Inquiry. So if both devices support the same Profile, they’ll switch into that mode and speak the same “language” of control. The result is faster setup and more consistent operation across different brands. In summary, Profiles are behind-the-scenes helpers; when you buy a MIDI 2.0 device, you might see logos or notes about supported Profiles (for example, “supports the XYZ profile for instant DAW control”). If your gear shares profiles, you benefit from immediate, hassle-free communication tailored to that gear’s function.

25. When will MIDI 2.0 be widely adopted or become the new standard?
MIDI 2.0 is in its early rollout phase as of mid-2020s. The core specifications have been finalized, and now adoption is dependent on manufacturers and software developers implementing those features. We’ve started to see the first wave of MIDI 2.0 products (late 2023 into 2024), and the MIDI Association is actively tracking new MIDI 2.0 gear releases – for example, they plan to have a searchable database of MIDI 2.0 products by Winter NAMM 2024, indicating that a number of products are already coming out. Likewise, major operating systems are adding support (Windows through new MIDI Services, macOS as of Monterey, etc.), which is paving the way for DAWs and apps to follow. It’s hard to give an exact timeline for “widespread” adoption, but a reasonable expectation is that over the next few years, MIDI 2.0 will become common in new mid-range and high-end MIDI devices (controllers, synths, electronic drums, etc.). As more devices support it, more software will enable the advanced features, and vice versa – it’s a gradual ecosystem build-out. Professionals and tech enthusiasts are likely to adopt it first (especially for the expressiveness and improved workflow), while casual users might not notice a big difference until it’s just built into everything by default. Think of how MIDI 1.0 became universal in the ’80s and ’90s – MIDI 2.0 will likely follow a similar path: a few early adopters, then a growing standard in new gear, and eventually it will be the norm. The good news is, because of backward compatibility, this transition can happen organically. You don’t have to wait to make music; you’ll simply find that in a few years, any new gear you pick up will quietly have MIDI 2.0 under the hood. The “new standard” will arrive not with a big switchover day, but as a steady progression – and we’re at the beginning of that now.