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| MDI (instrument) | |
|---|---|
| Name | MDI |
| Classification | Electronic wind instrument |
| Inventors | Robert Moog, Don Buchla, Paul Tanner |
| Developed | 1970s–1980s |
| Manufacturers | Yamaha Corporation, Roland Corporation, Akai, Korg |
| Related | MIDI, EWI (Akai), Theremin, Hammond organ |
MDI (instrument) is an electronic wind instrument that integrated breath control, fingering interfaces, and digital synthesis to extend woodwind performance into electronic music contexts. It emerged during the late 20th century amid parallel developments by Robert Moog, Don Buchla, and manufacturers such as Yamaha Corporation and Roland Corporation. The instrument influenced performers associated with ensembles like the London Symphony Orchestra, Berlin Philharmonic, and artists such as Herbie Hancock, Jan Garbarek, and Jean-Michel Jarre.
The MDI occupied a niche between acoustic woodwinds and keyboard synthesizers used by Keith Emerson, Rick Wakeman, and Vangelis. It combined sensor technologies pioneered by Paul Tanner and companies like Akai with digital protocols developed by the consortium behind MIDI and standards adopted by IEEE. Early adopters included members of Pink Floyd, King Crimson, and contemporary classical performers at venues such as Carnegie Hall and Wembley Arena.
MDI designs featured a mouthpiece informed by research from Selmer, Buffet Crampon, and Yamaha Corporation wind divisions, with pressure sensors derived from work at Bell Labs and Massachusetts Institute of Technology. The fingering arrays borrowed from systems used by Adolphe Sax-descended instruments and innovations by Ted Nash and Paul Winter to accommodate chromatic and microtonal scales favored by Iannis Xenakis and György Ligeti. Electronics included digital-to-analog converters influenced by designs from Analog Devices, Texas Instruments, and synthesis engines comparable to those in Moog synthesizer and DX7. Connectivity supported MIDI and later USB and IEEE 1394 protocols for integration with sequencers and digital audio workstations used by studios like Abbey Road Studios and Electric Lady Studios.
Although musical in purpose, MDI development intersected with research programs at Stanford University, IRCAM, and CNRS into human-instrument interfaces. Objectives encompassed low-latency gestural control studied by Max Mathews and Curtis Roads, expressive parameter mapping investigated by teams collaborating with IRCAM and MIT Media Lab, and acoustical modeling drawing on work by Helmholtz-inspired laboratories at University of Cambridge and ETH Zurich. Capabilities enabled real-time spectral morphing, continuous pitch control favored by Michael Brecker-style players, and polyphonic layering exploited by producers at Motown and Capitol Records.
Prototype MDI units were field-tested in studios associated with George Martin and in academic settings such as McGill University's Schulich School of Music. Commercial releases saw adoption in progressive rock tours by Yes and Genesis and in soundtrack sessions for films by John Williams and Hans Zimmer. Firmware updates paralleled standards work at MIDI Manufacturers Association and interoperability testing at ITU. Notable performances occurred at festivals including Glastonbury Festival, Montreux Jazz Festival, and concerts broadcast on BBC Radio 3 and NPR.
Signal processing pipelines for the MDI were built upon algorithms from Max Mathews and libraries developed at IRCAM and CCRMA. Output streams conformed to MIDI specification channels and later embraced higher-resolution protocols proposed in forums with Steinberg and Avid Technology. Product ecosystems included sound banks curated by artists like Brian Eno, preset patches sold through retailers such as Guitar Center, and educational materials produced in collaboration with institutions like Juilliard School and Royal Academy of Music. Third-party software support arrived via sequencers from Cubase, Pro Tools, and Logic Pro.
The MDI influenced subsequent instruments including the EWI (Akai), Eigenharp, and modern breath controllers by PEAK, contributing to controller design discussions at NAMM Show and standards committees at the MIDI Manufacturers Association. Its research lineage continued into projects at MIT Media Lab, IRCAM, and startups spun out of Stanford University and ETH Zurich. Museums and collections holding historic units include Museum of Modern Art, Smithsonian Institution, and private archives of musicians such as Miles Davis and John Coltrane-era repositories.
Category:Electronic wind instruments