Before diving into the code, let's address the why. Why would anyone endure the headache of converting a polished MIDI sequence into a cryptic string of &, |, >>, and %?
This is the most academic method. A script reads a Standard MIDI File (SMF) and compiles it into a single Bytebeat formula.
How it works:
Example pseudocode output:
// Generated from MIDI file "melody.mid"
char *bytebeat = "t/1000%4==0? (t%256) : (t*sin(440*t/44100))";
Result: You get a hybrid: the exact rhythmic timing of the MIDI file with the raw digital texture of Bytebeat. midi to bytebeat work
Before we get into code and converters, we need to understand why converting MIDI to Bytebeat isn't a simple "Save As..." function.
The conversion problem is essentially: How do we map discrete musical events onto a continuous mathematical stream?
The core technical challenge in midi to bytebeat work is frequency generation. MIDI note numbers are logarithmic; Bytebeat requires linear oscillation.
The formula for converting MIDI note number to Bytebeat frequency: Before diving into the code, let's address the why
frequency = 440 * 2^((note_number - 69) / 12)
Once you have the frequency, you must implement an oscillator using integer math only (true Bytebeat). Here are common Bytebeat oscillators:
Now, to play a MIDI sequence, your Bytebeat code must switch between these frequencies based on t. A simplified version looks like:
// Pseudo-bytebeat for MIDI note C4 (262Hz) for 1 second, then D4 (294Hz)
char *song =
"t < 44100 ? (t*262%256) : "
"(t < 88200 ? (t*294%256) : 0)";
Of course, this grows exponentially with longer sequences. Advanced tools use loop compression and modular arithmetic to pack entire songs into 100 characters.
MIDI files usually have multiple tracks or channels. In a standard synthesizer, you mix these tracks by adding their audio signals. You cannot do that in Bytebeat. Example pseudocode output: // Generated from MIDI file
Adding two signals in Bytebeat causes clipping and distortion. Instead, the smart converters use bitwise OR (|) or XOR (^) to combine voices. If Track A generates bits 1001 and Track B generates bits 0110, the OR result is 1111. This creates a unique, crunchy "channel stacking" effect that sounds like a vintage arcade machine.
If you want to start your own MIDI to Bytebeat work, here is the modern toolkit:
For producers who don't want to code, this is the most practical. You render the Bytebeat formula as a WAV file, then treat it as a sample in a DAW. Conversely, you can render a MIDI performance as a standard sine wave, then apply Bytebeat-style bit-crushing and rate reduction. While not pure Bytebeat, it mimics the aesthetic.