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MPE

MIDI Polyphonic Expression (MPE) is a communications protocol that extends the MIDI 1.0 standard to enable independent control of pitch, timbre, loudness, and other parameters for each note in polyphonic performances on electronic musical instruments.^[1] It allows performers to apply multidimensional gestures, such as per-note pitch bend, aftertouch, and modulation, making digital instruments more expressive and akin to acoustic ones.^[2] MPE was developed by the MIDI Manufacturers Association (MMA) and the Association of Musical Electronics Industry (AMEI) as a recommended practice to overcome limitations in traditional MIDI's channel-based expression. The specification was officially released in January 2018.^[3] It uses standard MIDI messages—note on/off, pitch bend, control change (CC74 for timbre, CC2 for aftertouch)—but assigns a unique MIDI channel to each active note (typically up to 15 notes across 16 channels, with one for global control).^[1] Since its introduction, MPE has gained adoption in hardware controllers like the ROLI Seaboard and LinnStrument, and software from Ableton Live, Bitwig Studio, and plugin developers, fostering growth in expressive music production tools.^[4]

Overview

Definition and Core Concept

MIDI Polyphonic Expression (MPE) is a specification for the MIDI protocol that enables independent control of expression parameters for each note in a polyphonic musical performance. It achieves this by assigning a dedicated MIDI channel to each active note, allowing performers to manipulate parameters such as pitch bend, aftertouch (pressure), and modulation (timbre) on an individual basis rather than applying changes globally across all notes. This approach leverages standard MIDI 1.0 messages to facilitate multidimensional expression between controllers and synthesizers.^[5]^[1] At its core, MPE operates using MIDI channels organized into one or two "zones," where each zone consists of a master channel for zone-wide control messages and multiple member channels for per-note expressions. In the standard lower zone configuration, channel 1 serves as the master channel, handling global parameters like overall pitch bend (default range of ±2 semitones) and sustain pedals, while channels 2 through 16 act as member channels to support up to 15 simultaneously active notes. MPE employs MIDI Mode 3 (polyphonic mode), which permits multiple notes per channel without the restrictions of monophonic modes, ensuring that expression data for a specific note remains tied to its assigned member channel for the duration of that note's lifetime. This zoned structure allows for efficient channel allocation within the 16-channel limit of MIDI 1.0.^[5] In contrast to standard MIDI, where expression controls like pitch bend and modulation are channel-wide and thus affect all notes uniformly on that channel, MPE decouples these controls to the note level, overcoming the limitations of global polyphonic application that restrict nuanced, independent articulation in multi-note contexts. This per-note granularity supports greater musical expressiveness, particularly for instruments requiring simultaneous variation in pitch, dynamics, and timbre across chords or arpeggios.^[5]^[1]

Purpose and Expressive Advantages

MIDI Polyphonic Expression (MPE) was developed to enable multidimensional, continuous control over individual notes in polyphonic performances, allowing electronic instruments to achieve the nuanced expression found in acoustic instruments such as strings or winds.^[1] This protocol addresses limitations in traditional MIDI by dedicating separate channels to each note, facilitating real-time adjustments to parameters like pitch, pressure, and timbre on a per-note basis, which enhances the simulation of natural articulations and dynamics in digital music production.^[5] The expressive advantages of MPE stem from its support for independent control of key parameters per note, including pitch bend with a default range of ±48 semitones on member channels (compared to the traditional MIDI default of ±2 semitones), channel pressure for aftertouch to modulate volume and other effects, and timbre variation via Control Change message #74 (brightness).^[5] These capabilities enable more lifelike polyphonic expression, such as applying vibrato or slides to specific notes without affecting others, creating richer articulations like individual string bends in a chord or varied breath pressures on wind-like timbres.^[6] By leveraging these per-note controls, performers can achieve subtle variations in dynamics and tonal color that mimic the continuous, multidimensional gestures of acoustic playing.^[1] MPE improves interoperability between diverse controllers and software by standardizing the use of existing MIDI 1.0 messages, ensuring that expressive data from compatible hardware translates seamlessly into digital audio workstations and synthesizers without necessitating entirely new protocols.^[5] This backward compatibility allows higher-resolution expression—such as finer pitch deviations and pressure gradients—while maintaining broad ecosystem support, ultimately democratizing advanced performance techniques across electronic music tools.^[6]

History

Origins and Early Development

The concept of MIDI Polyphonic Expression (MPE) originated around 2015, driven by the need for enhanced expressive control in electronic musical instruments, particularly those featuring continuous-touch surfaces. ROLI, the developers of the Seaboard, played a pioneering role in its inception, collaborating with other MIDI innovators like Roger Linn to address the constraints of standard MIDI, which limited expression to channel-level parameters rather than individual notes in polyphonic playing.^[7]^[8]^[3] Early development efforts centered on adapting existing MIDI 1.0 messages—such as pitch bend, channel pressure, and control change—for per-note expression, avoiding the need for a complete protocol overhaul. ROLI released prototype implementations between 2013 and 2015, beginning with the Seaboard GRAND, unveiled in late 2013 and commercially launched in September 2014 as an integrated controller-synthesizer with multidimensional touch capabilities.^[9]^[8] This was followed by the more accessible Seaboard RISE, previewed in September 2015 and revealed in full at NAMM 2016, which further demonstrated polyphonic gesture control using multiple MIDI channels.^[10] These prototypes fostered community discussions among developers and musicians, culminating in whitepapers and presentations that outlined MPE's potential, including ROLI's Ben Supper's 2016 Audio Developers Conference talk on enhancing MIDI expressivity.^[11] Key milestones occurred in 2016 and 2017, when initial drafts of the MPE specification were submitted to the MIDI Manufacturers Association (MMA) by the dedicated working group, chaired by Supper from ROLI.^[12] Extensive testing with early hardware, notably the Seaboard RISE, validated the use of 15 dedicated MIDI channels for independent note control within a single performance zone, setting the foundation for broader adoption without venturing into full protocol revisions.^[3]^[13]

Standardization Process

The MIDI Manufacturers Association (MMA) received a formal proposal for MIDI Polyphonic Expression (MPE) in 2017, initiating a review process that involved a dedicated working group comprising hardware manufacturers such as ROLI and Keith McMillen Instruments, alongside software developers from companies like Bitwig.^[14]^[12] This collaborative effort focused on standardizing the use of existing MIDI channels to enable per-note expressive control, ensuring interoperability across devices and applications.^[6] On January 28, 2018, the MMA officially adopted MPE as Recommended Practice RP-53, marking its integration into the MIDI specification as an enhancement to MIDI 1.0.^[6] The resulting published document, RP-53, precisely defines how standard MIDI messages—such as note on/off, pitch bend, and control change—can be allocated across multiple channels to support polyphonic expression without requiring new message types.^[5] In the months following adoption, the MMA promoted awareness through educational initiatives, including hosting live chats and converting them into podcasts; notably, the inaugural MIDI Live! chat on May 26, 2018, featured a panel of MPE specialists discussing implementation and benefits.^[6] Complementing these efforts, ROLI launched an MPE compatibility website in early 2019, cataloging initial supporting hardware and software products to facilitate adoption among developers and users.^[15]

Technical Specifications

Channel Allocation and Zones

MPE organizes MIDI channels into one or two zones to enable polyphonic expression, where each zone consists of a master channel for global controls and multiple member channels for individual notes.^[5] The lower zone uses channel 1 as the master channel, with member channels allocated sequentially from 2 to 16, while the upper zone employs channel 16 as the master and assigns member channels in reverse from 15 downward to 1, allowing for split keyboard configurations without channel overlap.^[5] This structure supports up to 16 MIDI channels per zone, with the master channel handling zone-wide messages such as program changes or sustain pedals, and the remaining channels dedicated to per-note controls.^[5] Zones are configured using the MPE Configuration Message, transmitted as Registered Parameter Number (RPN) 00 06, which specifies the number of member channels (from 0 to 15 hexadecimal) for each zone; a value of 0 deactivates the zone entirely.^[5] For the lower zone, the configuration message targets master channel 1, and for the upper zone, it targets master channel 16, ensuring that unused master channels in one zone can function as member channels in the other if needed.^[5] This setup operates within MIDI Mode 3 (polyphonic mode), where the system remains maximally polyphonic until available channels are exhausted.^[5] The polyphony limit per zone is 15 simultaneous notes, as each active note requires its own unique member channel to maintain independent expression without conflicts.^[5] Notes are assigned to member channels sequentially or via a circular method, prioritizing unoccupied channels and reusing those with the fewest active notes or the oldest note-off events to optimize channel availability.^[5] This allocation strategy prevents channel contention, allowing for smooth polyphonic performance while adhering to the 16-channel MIDI constraint.^[5]

Per-Note Expression Controls

In MPE, per-note expression is achieved through standard MIDI 1.0 messages applied individually to each note's assigned member channel, enabling independent control of pitch, dynamics, and timbre without introducing new message types.^[5] The primary controls include Pitch Bend for horizontal movement (typically X-axis on controllers), Channel Pressure for vertical pressure (aftertouch), and Control Change #74 (CC #74) for a third dimension like timbre or filter cutoff (often mapped to Y-axis).^[5]^[16] Pitch Bend operates per-note on member channels with a default range of ±48 semitones, allowing wide expressive detuning for each active note, while the master channel's Pitch Bend defaults to ±2 semitones for zone-wide adjustments.^[5] This range is configurable from 0 to ±96 semitones using Registered Parameter Number (RPN) 0, sent on either the master channel for all notes in a zone or individually on member channels.^[5] Channel Pressure, ranging from 0 to 127, conveys polyphonic aftertouch per-note for dynamic control such as volume modulation, simulating the nuance of acoustic instruments, and is required to be supported by all MPE receivers at both note and zone levels.^[5] CC #74, also 0-127, provides per-note timbre variation, defaulting to an initial value of 64 (center position), and can be combined with zone-level messages from the master channel for layered effects.^[5] Beyond these primaries, MPE supports additional per-note Control Changes on member channels, such as CC #11 for overall expression or volume, allowing further customization of parameters like modulation without affecting other notes.^[5] The master channel, in contrast, handles global zone parameters including Program Change, sustain pedals, and other non-per-note messages that apply uniformly to all active notes in the zone.^[5]^[16] For message flow, Note On and Note Off events are transmitted on the respective member channels to initiate and terminate individual notes, while subsequent expression messages like Pitch Bend, Channel Pressure, and CC #74 follow on the same channel as the active note, ensuring precise tracking of each note's gestures.^[5] To minimize artifacts, expression controls are recommended to precede Note On messages, preventing unintended sweeps or jumps in sound.^[5] All operations remain within the MIDI 1.0 protocol, leveraging polyphonic mode (Mode 3) for channel-per-note assignment.^[5]

Implementation

Hardware Controllers

Hardware controllers for MIDI Polyphonic Expression (MPE) enable musicians to send multidimensional control data, allowing per-note manipulation of parameters such as pitch bend, pressure, and timbre in real-time. These devices typically feature touch-sensitive surfaces or keys that detect multiple dimensions of gesture, transmitting MPE-compliant MIDI messages to synthesizers and software. Pioneering examples emerged in the early 2010s, driven by innovators seeking to overcome the limitations of traditional MIDI keyboards. The ROLI Seaboard series, introduced in 2013, popularized MPE through its continuous silicone surface that supports five dimensions of touch (5D Touch), including strike velocity, pressure, lateral glide for pitch bend, vertical slide for modulation, and release velocity.^[17] Models like the Seaboard RISE 2 (2021) connect via USB MIDI and support zone configuration to divide the playing area into multiple MPE zones, each using a dedicated set of MIDI channels for polyphonic expression.^[17] Keith McMillen Instruments contributed early MPE adoption with the QuNexus (2013), a compact 25-key keyboard controller featuring per-key pressure and tilt sensing for multidimensional input, outputting MPE data over USB MIDI and CV/Gate for modular integration.^[18] Complementing this, the QuNeo (2013) offers a pad-based interface with 16 touch-sensitive pads that detect velocity, pressure, and X-Y position, enabling grid-style performance with MPE messaging suitable for drum programming and expressive sequencing.^[19] Both devices emphasize intuitive gesture capture, with firmware updates enhancing MPE compatibility, including arpeggiators that sequence per-note expression data. The LinnStrument, designed by Roger Linn and released in 2014, stands out as a grid-based controller with up to 200 velocity- and pressure-sensitive pads arranged in an isomorphic layout, supporting per-pad polyphonic aftertouch and Y-axis gestures for MPE pitch slides.^[20] It transmits MPE messages via USB MIDI or 5-pin DIN outputs and allows zone splits for layering multiple instruments, with Linn's designs prioritizing high-resolution poly aftertouch to mimic acoustic instrument responsiveness.^[21] By 2025, MPE hardware has evolved toward hybrid designs, exemplified by the Expressive E Osmose (2022 release), a 49- or 61-key keyboard that integrates traditional key action with MPE gesture controls like per-note bend and pressure, outputting via USB MIDI while supporting zone-based configurations for both classic and polyphonic modes.^[22] Recent developments include the Osmose 61 (announced November 2025), expanding the keybed for broader performance range;^[23] Korg's new line of MPE/PolyAT/Midi 2.0 controllers (2025);^[24] and the Embodme ERAE2 (shipping 2025), a versatile MPE controller with looper integration.^[25] This progression reflects broader integration of MPE into versatile controllers that bridge conventional and expressive playing techniques.

Software and Plugin Support

Software applications and plugins have increasingly incorporated support for MIDI Polyphonic Expression (MPE), enabling the interpretation and generation of per-note control data to enhance expressive capabilities in digital audio workstations (DAWs) and synthesizers. This involves processing MPE messages, where each note's pitch, pressure, and other parameters are handled independently across multiple MIDI channels.^[6] Among DAWs, Ableton Live version 11 and later offers full MPE support, including per-note modulation for pitch bend, aftertouch, and continuous controller data, allowing users to record and edit multidimensional performances directly in the MIDI editor. Bitwig Studio has provided native MPE integration since version 2, facilitating seamless playing, recording, and editing of polyphonic expression data with intuitive per-note controls. Logic Pro introduced partial MPE compatibility starting with version 10.5 through its MIDI FX plugins, supporting per-note expression in select software instruments like Alchemy and Sculpture, though it requires specific routing for full functionality.^[26]^[27]^[28] Synthesizer plugins exemplify MPE's application in sound design, mapping incoming per-note data to individual voices for dynamic control. Xfer Records' Serum supports MPE, enabling per-note modulation of parameters such as LFO rates and filter cutoffs via its modulation matrix, which responds to channel-specific pitch bend and CC messages for polyphonic timbral variation. Similarly, Vital, a spectral warping wavetable synthesizer, fully integrates MPE, allowing per-note LFO assignments and filter adjustments to create evolving textures from multidimensional input. ROLI's Equator stands out as an MPE-focused synth, featuring comprehensive per-note controls across its hybrid engines, including granular and wavetable synthesis optimized for 5D touch interfaces. iZotope's Iris 2, a sample-based spectral synthesizer, accommodates MPE input for modulating grain parameters and filters on a per-note basis, though its mono-timbral design limits full polyphonic expression without additional routing.^[29]^[30]^[31]^[32] In 2025, new MPE-compatible plugins include Pitch Innovations' Fluid Chords 2 and Synapse Audio's Dune 3, enhancing real-time expressive MIDI control in sound design workflows.^[33] In MPE implementation, software typically maps member channels within a zone to distinct polyphonic voices, treating each as an independent note instance for parameter control, while the master channel broadcasts global messages like program changes. Zone switching is handled by configuring lower (channels 1-15) and upper (channels 16-1, via channel 16 as master) zones, allowing devices to alternate between monophonic and polyphonic regions dynamically. By 2025, free tools like LMMS have expanded MPE support through native output handling and plugin integration, enabling basic per-note expression in open-source workflows via compatible VSTs and LV2 formats.^[34]^[35]

Adoption and Impact

Growth in Music Production

Since its formal adoption by the MIDI Manufacturers Association (MMA) in 2018, MIDI Polyphonic Expression (MPE) has seen significant market expansion, with a growing number of compatible software and hardware products, including synthesizers, controllers, and digital audio workstations (DAWs). By 2025, MPE integration has become standard in major DAWs such as Ableton Live, Logic Pro, and Bitwig Studio, enabling seamless polyphonic control for expressive performances. Hardware support has grown to include dozens of models, such as the ROLI Seaboard RISE 2, Expressive E Osmose, Roger Linn LinnStrument, and Ableton Push 3, facilitating its use in genres like electronic music for dynamic sound design and film scoring for nuanced orchestral textures.^[36]^[37]^[38]^[39]^[40] Professional musicians have increasingly adopted MPE for both live performances and studio work, enhancing emotional depth in compositions. Keyboardist Jordan Rudess of Dream Theater has incorporated MPE controllers like the ROLI Seaboard and Expressive E Osmose in his setups, demonstrating techniques for polyphonic expression in progressive rock and experimental pieces during live shows and recordings. Similarly, composer Hans Zimmer utilized the Osmose's MPE capabilities extensively in scoring Dune: Part Two (2024), blending electronic and acoustic elements to create immersive, otherworldly soundscapes that pushed the boundaries of film music expression. Tutorials and MPE-optimized presets have proliferated on platforms like Splice, where creators share resources for integrating per-note pitch bend, pressure, and modulation into productions. In 2025, new controllers like the ROLI Piano have further expanded options for performers.^[41]^[22]^[42]^[43]^[44] The MPE community has fostered widespread education and adoption through dedicated forums and MMA-backed initiatives, driving accessibility for amateurs and professionals alike. Online hubs like Poly Expression provide discussions, setup guides, and user experiences that demystify MPE implementation, while the MMA's specifications and resources promote standardization and innovation. Post-2020, the broader MIDI market has experienced steady growth, reflecting increased demand in electronic and hybrid music production amid rising interest in expressive control.^[45]^[46]^[47]

Challenges and Future Directions

One significant limitation of MPE is its restriction to a maximum of 15-note polyphony per zone, stemming from the allocation of 16 MIDI channels where one is reserved for global controls, thereby constraining simultaneous expressive notes in dense musical passages.^[3]^[48] Legacy MIDI devices, designed for traditional monophonic channel assignments, are incompatible with MPE's per-note messaging without dedicated conversion hardware or software, which can introduce latency or incomplete feature translation.^[49]^[50] Additionally, the paradigm shift from standard MIDI's uniform control to MPE's multidimensional per-note adjustments presents a steep learning curve for traditional musicians, requiring adaptation to controllers that demand nuanced gesture-based performance rather than simple key presses.^[3]^[51] Compatibility challenges further complicate adoption, as MPE requires explicit enabling in supporting software—such as through dedicated modes in digital audio workstations—otherwise, the protocol may default to standard MIDI interpretation, treating per-note data as separate monophonic channels and losing intended expressive intent like individual pitch bends or timbral variations.^[28]^[52] Some synthesizers process MPE signals as multi-channel MIDI without fully recognizing per-note controllers, resulting in diminished expressivity or unintended artifacts in sound design.^[50]^[53] Looking ahead, MIDI 2.0 offers promising enhancements for MPE by increasing control resolution from 7-bit (128 steps) to 32-bit (over 4 billion steps), enabling finer per-note pitch bends, modulation, and expression while supporting higher polyphony through improved bandwidth and up to 128 virtual channels in USB MIDI implementations.^[3]^[54] As of early 2025, MIDI 2.0's bidirectional communication and property exchange features are beginning to facilitate broader MPE integration, allowing dynamic negotiation of capabilities between controllers and instruments to overcome legacy constraints.^[55]^[56] Emerging proposals within the MIDI Association explore extensions to MPE, potentially incorporating additional control dimensions beyond the standard pitch bend, CC1, and CC74, to accommodate evolving controller designs.^[6] Furthermore, MPE's framework is poised for integration with immersive technologies, such as VR and AR controllers, where gesture-based multidimensional input could translate spatial movements into per-note expressions for virtual performance environments.^[57]^[58]

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