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Here’s the new MIDI 2.0 logo and sonic signature: look and sound inspired by “musical forms”

We’ve already been told a fair bit about MIDI 2.0’s specs and what it will enable you to do, and now we know what it’s going to look and sound like, too.

We’re referring to the fact that The MIDI Association has unveiled a new visual and sonic logo in anticipation of the arrival of the standard, influenced by “musical forms”.

Created by funky design studio Pentagram, the logo takes inspiration from a visual representation of the Stuttgart pitch - a frequency of 440Hz which is recognised as the standard tuning for the A above middle C.

There are also nods to the shapes of Lissajous curves: “Graphs of a system of parametric equations used to describe complex harmonic motion,” says Pentagram. 

“The finalised design represents a modulation shape between 440Hz - 880Hz which is globally recognised as a tone for tuning instruments,” continues the designer.

The sonic signature plays on the same theme, with the pitch starting out at 440Hz then rising to 880Hz with subtle wave shaping and stereo modulation. “There is an anticipatory feeling to the sonic identity, similar to that of an orchestra tuning to 440Hz,” says Pentagram.

We’re also told that “the simplicity and power of these pitches can create a Pavlovian response. Minimal orchestral strings complement the sine waves.”

Whatever the motivation for its design, we think the new logo looks pretty slick, and you can expect to see it on MIDI 2.0 ports and cables in the future.

MIDI 2.0 logo

(Image credit: Pentagram/The MIDI Association)

MIDI 2.0 logo

(Image credit: Pentagram/The MIDI Association)

Now you’ve just got to work out how you’re going to use it…

In other news, the MIDI Association has also released a new Introduction to MIDI 2.0 explainer video, which will bring you up to speed with the new standard in less than five minutes.

Ben Rogerson

I’m the Group Content Manager for MusicRadar, specialising in all things tech. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 20 of which I’ve also spent writing about music technology. 

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