Maury Postal

MIDI,” Lanier wrote, of the digitizing program that chops up music into one-zero binaries for transmission, “was conceived from a keyboard player’s point of view…digital patterns that represented keyboard events like ‘key-down’ and ‘key-up.’ That meant it could not describe the curvy, transient expressions a singer or a saxophone note could produce. It could only describe the tile mosaic world of the keyboardist, not the watercolor world of the violin.