In the 1990s, many PC games used
MIDI (Musical Instrument Digital Interface) to handle music playback. Unlike digital audio (e.g., MP3 or WAV), MIDI does not contain actual sound recordings. Instead, it consists of
a sequence of instructions—such as "play middle C on channel 1 using an electric piano instrument"—which are interpreted and rendered by the computer’s
MIDI synthesizer hardware or software.
Why MIDI Was Used
MIDI was attractive to game developers because:
- It required very little storage space compared to sampled audio.
- It allowed for complex, multi-voice music playback using minimal CPU and memory.
- It was already widely supported by common PC sound hardware.
How MIDI Sound Varied by Hardware
Because MIDI is
not audio, the actual sound of a MIDI track depended entirely on how the MIDI messages were interpreted. This meant that
the same MIDI file could sound dramatically different depending on the sound card or MIDI module.
Sound Blaster 16 (SB16)
- Released by Creative in 1992.
- Included a Yamaha OPL3 FM synthesizer for MIDI playback.
- FM synthesis is a method of sound generation that uses frequency modulation of waveforms to approximate instrument sounds.
- Result: Instrument sounds were often harsh, synthetic, and unrealistic. It was suitable for simple game music but lacked nuance.
Roland Sound Canvas (e.g., SC-55)
- A standalone MIDI sound module or add-in card, based on sample-based synthesis.
- Contained high-quality recordings (samples) of real instruments.
- Supported the General MIDI (GM) standard with excellent fidelity.
- Result: Music sounded rich, nuanced, and much closer to what the composer intended, especially when games were composed with the Sound Canvas in mind.
Example: Doom (1993)
- Composed by Bobby Prince using a Roland Sound Canvas.
- On a Sound Canvas: Guitar riffs, drums, and melodies sounded full and expressive.
- On a Sound Blaster 16: The same tracks sounded hollow, with drums and guitars sounding artificial or comically wrong.
Summary Comparison Table
| Feature | Sound Blaster 16 | Roland Sound Canvas SC-55 |
|---|
| Synthesis Method | FM synthesis (Yamaha OPL3) | Sample-based synthesis |
| MIDI Support | Limited General MIDI | Full General MIDI + GS extensions |
| Instrument Quality | Approximate, synthetic | Realistic, high-fidelity |
| Cost | Low | High |
| Composer Target Device | Rarely | Frequently |
Conclusion
The significant variation in MIDI playback quality was a result of
delegating sound generation to the playback hardware. A game’s soundtrack could sound basic or spectacular depending on the hardware used. Roland’s Sound Canvas became a reference device for many game composers, leading to a divide between the intended and actual audio experience for most players who used more affordable cards like the Sound Blaster 16.
Jovec
had it covered 
