That's called "layoffs" and every industry (including engraving) has undergone them when a new labor-saving technology reaches critical mass and every business has to adopt it or die.
Just as musicians are needed to program those sequencers and play those sounds for the samplers and other musicians are needed to tweak those samples to make them more useful, not all musicians are put out of work by the new technology. Some adapt, others complain and die. -- David H. Bailey [EMAIL PROTECTED] If this were just a labor issue I'd agree with you, but I very, very strenuously disagree with the unspoken underlying assumption that any sequencer or combination of sequencers can, from an aesthetic standpoint, adequately substitute for a human performance on an acoustic instrument. The difference, to any trained ear, is obvious. Several years ago I went to see a Broadway revival of _On the Town_. When we took our seats and found a synth playing the string parts, I felt like demanding my money back, and the more I've thought about it since, the more I feel that I should have. The most disgusting thing, to me, is that this substitution was nowhere mentioned in any of the rave reviews this production received. Yes, yes, I know that they probably had real string players there for the first few nights--but isn't it part of a critic's job to be aware of such bait-and-switch tactics, and to warn the public of them? --Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
