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“From at least Louis and Bebbe Barron’s soundtrack for The Forbidden Planet onwards, electronic music—in specific artificial timbre—has impersonated alien worlds in film” (Norman 2004, p. 32). In 1980, a group of musicians and music merchants met to standardize an interface that new devices could use to communicate control directions with different instruments and computer systems. This commonplace was dubbed Musical Instrument Digital Interface and resulted from a collaboration between leading producers, initially Sequential Circuits, Oberheim, Roland—and later, different additional hints participants that included Yamaha, Korg, and Kawai. A paper was authored by Dave Smith of Sequential Circuits and proposed …
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