Re: [Finale] The ARCHIVE Password
OK, I concede that most of the algorithm-based CC's are to my junk account with Hotmail etc., where there's going to be a higher hit-rate for randomly generated addresses. Simon Troup wrote: That's odd, because when I see an email with a lot of addresses CC'd at my ISP, the addresses are all real addresses (I've checked by viewing the USR directory of my ISP's server). That shows that the addresses really *are* harvested, not made up by algorithm. This is not to say that there aren't plenty such spammers using algorithmically created spam lists, just that harvesting is real. It's *very* real. I agree. If Owains theory was correct (that email addressed to simon.troup is random) I should also be getting some stuff addressed to [EMAIL PROTECTED] and [EMAIL PROTECTED] This is clearly not the case. I've got catch all email setup on my server, so I see every every message. There's next to no random stuff on there except when people try to spoof my address for sending spam and I get the message undeliverable notices. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] No Sound
I teach at a college where we have purchased a number of Fastlane MIDI interfaces. They are used mainly with Macs. However, I have WinXP laptop that I'm trying to use at the college for a lengthy, urgent project with the following equipment: * Fastlane interface * Fatar Studio 90 master controller with no internal sounds * Proformance/1 16-bit piano module * Amplified speakers * Finale 2005 This all works fine at home with a Roland MPU64 USB interface which I've updated with an XP driver. I'd prefer to be able to use the MOTU with Finale at the college (so I don't have to disconnect everything daily), but can get no sound through the Proformance module using the MOTU. The MOTU in/out lights come on appropriately, but there's no sound. We have tried every possible configuration with no luck. Could anyone tell us how to make this work as soon as possible? (Dr.) Patricia Spedden ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: I want to pay a GS3 person in Australia for wav files.
Hello. I hope I may be excused by posting a slightly off topic message here. I have posted at the GS3 forum but without any success, so am trying here. There are some folkhere using Finale who have Tascam's GS3. I quite urgently need to employ someone from Australia, who has GS3, to create some Wav files from my midi files. If you are from Australia and have GS3, and want to earn extra income, please contact me. Thank you. Paul Copeland [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
I'd like to put my 2 cents in on this playback issue. I've been using MOTU's Performer (now Digital Performer) for sequencing and recording since 1990. I bought MOTU's Mosaic at the NAMM show the weekend that it was released. I hoped that I could use Performer as a writing tool, which would also give me a decent demo of my work, and then open the SMF in Mosaic, and quickly print my music to be played by live players. I quickly discovered that the SMF looked terrible in Mosaic, even after quantizing everything perfectly. It required so much fixing that it was actually faster to start over in Mosaic, entering the entire arrangement from scratch. This was a big disappointment for me, because it meant doing all of my work twice. After MOTU failed to support Mosaic through upgrades, I moved to Finale. This was in 2000. I continued to work the same as before, sequencing my music in Digital Performer, then starting over from scratch in Finale in order to print my music out. Only now I had to learn a completely new (to me) notation program, with a pretty high learning curve. And I was still doing my work twice. MOTU began to add some notation features to DP's Quickscribe editor, I assume in order to appease those of us who wanted better notation--alto and tenor clefs, transposed parts, dynamics, repeats, etc. But the last couple of upgrades of DP had no new notation features, and I think that MOTU just decided that they'd leave notation to Finale and Sibelius. And let's face it--DP's Quickscribe will never give us all the notation features that a dedicated notation program like Finale offers. So I was still stuck doing all of my work twice. Now Finale begins to add playback features that seem to have quite a few people excited. Human Playback, plus the ability to use a sample player, such as GPO, may mean that someone like me can just do all of his/her work in Finale, and create a decent demo without having to go into another program to do it. As long as it's a demo you're going for, I mean, how good does it really have to be? If you make it TOO good, the client might just use IT, instead of hiring all those players. And at least I wouldn't have to do my work twice! BTW, I've tried saving a Finale file, with Human Playback applied, as an SMF and opening it in DP, where I have access to MOTU's Mach-5 sample player. It only takes a few minutes to record the music and save it as a burnable audio file. And it sounds pretty organic. I tried selecting Romantic as my Human Playback style, and the tempo fluctuated all the way through the piece, which showed up in DP, making playback even more organic. But if I can access a sample player in Finale, why even go to DP at all? Now, we're still talking demos here. As to Hiro's story about losing his gig because the company got sued by the union for replacing players with sequenced parts--all I can say is that they deserved to get sued, and I hope the union won. I'm sorry you lost work, Hiro, but however great your sequences were, they couldn't have been as good as having real players, and what about putting those players out of work? Our union here in LA is currently picketing the Pantages Theatre for using a virtual orchestra. I mean no offense to you, Hiro. I just hate to see musicians losing work to samplers. Perhaps in the (hopefully very far!) future people will forget what real instruments sound like. I hope I'm dead and gone by then, because that will be a very sad day. All the best to all, Lon Lon Price, Los Angeles [EMAIL PROTECTED] [EMAIL PROTECTED] http://hometown.aol.com/txstnr/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
Well, my account for mailing lists is [EMAIL PROTECTED], and most of the spam on that address is clearly addressed to exactly that address, which is not exactly a very common address, both before and after the @. Some spam is addressed to [EMAIL PROTECTED], but none is addressed to any random names (which I would receive as well). I am afraid I put the blame on the Finale archives. When I google for this address, all that shows up is a few results from the archive. Surprisingly few, (4) but it's enough to generate quite an amount of Spam. As far as I know the Finale list archives have been obscuring email addresses for some time, but it seems it didn't always work. That's bad enough and for that reason I am happy that the archives are going to be private in the future. Johannes Owain Sutton wrote: OK, I concede that most of the algorithm-based CC's are to my junk account with Hotmail etc., where there's going to be a higher hit-rate for randomly generated addresses. Simon Troup wrote: That's odd, because when I see an email with a lot of addresses CC'd at my ISP, the addresses are all real addresses (I've checked by viewing the USR directory of my ISP's server). That shows that the addresses really *are* harvested, not made up by algorithm. This is not to say that there aren't plenty such spammers using algorithmically created spam lists, just that harvesting is real. It's *very* real. I agree. If Owains theory was correct (that email addressed to simon.troup is random) I should also be getting some stuff addressed to [EMAIL PROTECTED] and [EMAIL PROTECTED] This is clearly not the case. I've got catch all email setup on my server, so I see every every message. There's next to no random stuff on there except when people try to spoof my address for sending spam and I get the message undeliverable notices. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
Just one more addition: If I enter lists-at-musikmanufaktur in google I get a lot of results, almost all of them from the Finale lists. Anyone should know that the spiders are intelligent enough to find lists at musikmanufaktur.com and translate it back into an email address (simple enough to find places that contain at and .com in the same line). That's precisely where most of my spam on that lists originates. The only way such archives should be allowed public is by simply hiding email addresses completely. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
David W. Fenton wrote: If that's the kind of obfuscation to be used, then the archive should not be public. If email addresses are obfuscated, they should be wholly obfuscated, and not available to either human or software viewers of the page. to which I would observe that with the processor speed these days, it's probably trivial to harvest email addresses out of the body of the message, not only those which are not obfuscated, but those which have been self-obfuscated. The heuristic for this would be simple: find every instance of net, com, c., and take the characters immediately preceding, discard any spaces, convert any instances of dot to a period, check the string immediately preceding that against a list of known domains, and convert any instances of at before the domain to the @ sign, and consider the characters preceding that to be a user name. Personally in my view, the most expedient solution to Spam, virii, and worms, is to do as I have done: next time you get a new computer, save the old one, remove everything from it except the OS, a browser, and internet related plug ins, and use only the Iomega network for transferring files from your internet machine to any other. Also, learn to use the filtering capabilities of your browers, create your own spam traps. Finally, regularly back up the email archives you wish to save. Then, in the worst case, your internet machine is infected with a virus, it becomes trivial to low-level format the HDD, reinstall the OS and plug-ins, and restore archives. If you really want to have your main machines connected to the internet, set up a local server, and put in two firewalls, one between the internet connection and your bread-and-butter machines, and one between the internet connectiona dn your ISP's server. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
Simon Troup wrote: I tire of this belief that all spam is from harvested emails. A good proportion of the spam I receive (on several different accounts) is also CCed to endless permutations of my surname - all it takes is a list of first names, a list of surnames, a list of top level domains, and software. Much easier than bothering to trawl the web. Nearly all my spam is directed directly at that email address, please don't presume that I'm deluded in linking the two events. But now that your e-mail is out there on the marketed spam lists, nothing any archive is going to do will change that. And it still remains to see how much spam is generated by spiders trolling archives such as the ones as SHSU. I've been using this address for over 2 years now (almost 3) on this list and I receive perhaps 10 spams per day. I still have the old e-mail address active (it's from my ISP) which was active on this list for the past 4 years, and it gets about 5 spam e-mails a day. So if we compare our two experiences, I would feel safe in claiming that your spams are NOT coming as a result of your e-mail being posted in the formerly-public archives at SHSU. Mine certainly hasn't been, and I include mine in the signature of every e-mail I send to the list, so it'll be in each archived message twice. And goodness knows I post quite a lot to this list, so if anybody was a target of spam from spider trolling, I would be a primary target. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Adobe Reader 7
Thanks fro the heads up about Acrobat 7. It works much better for me. Last year I couldn't get the first Ac 6 to work smoothly with Finale's online manual and tried a number of things, but eventually when the update to Ac 6 came along, I could click on the online manual button and it began to work. But this new version 7 is fast and works better with other programs,too. I only heard about it, here, so thanks Harold! David McKay www.davidmckay.info [christmas present] __ Do you Yahoo!? The all-new My Yahoo! - What will yours do? http://my.yahoo.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
On Jan 28, 2005, at 7:28 PM, Simon Troup wrote: They'll hit on simon+troup fairly often. Hi Owain, I didn't mention google, a mail spider will connect to the first page of a site such as suse.com and spider the site from there, google probably has nothing to do with it as you suggest. Only a very small proportion of mail I receive is the result of randomly generated names. I enabled a new address a few months ago, but didn't use it, or even configure it, for a couple of weeks. The first time I entered all my information into Mail and went to check that it was operational, I had two pieces of spam waiting for me, dated one week previously and two weeks previously (remember that I hadn't given this email address to ANYONE yet!) I was a little taken aback, to say the least! Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [Fwd: Baroque ornamentation]
Larry Kent wrote: You might have your friend check out Ansgar Krause's fonts at http://www.ansgarkrause.de/fonts.htm I do a lot of editing and typesetting of baroque scores, and don't know how I got along before being pointed toward these plugins. Larry Kent Tampa, FL [EMAIL PROTECTED] From: Herb Pettersen [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: Finale finale@shsu.edu Subject: [Finale] [Fwd: Baroque ornamentation] Date: Fri, 28 Jan 2005 15:41:19 -0500 Joined this group recently to learn anything I could about Finale. Not having grown up in the computer age (being well into my 8th decade now), the learning curve on Finale for the past two years has been slow, by fits and starts. I am mostly doing big band arrangements/missing parts. My first call for help is on behalf of a music professor in town. He is interested in finding any plug-in for WinFin that could help on Baroque Ornamentation. Any suggestions? Thanks, Herb Pettersen ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Larry, Johannes and Dennis, thanks for your comments/suggestions on my question. I will be forwarding these to my friend and believe that you are correct in saying that the selection of an appropriate font would do the trick. Herb Lexington, KY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] up grade advice
On Jan 28, 2005, at 2:24 PM, Allen Fisher wrote: As far as what Mac to buy, I always tell people to buy the maximum they can afford. I recommend buying the second-most advanced model available. Why? Because the most recent model has just made its immediate predecessor obsolete, and the price of the latter will therefore have been knocked down. You'll end up with a computer that would have cost maybe $1K more 6 months ago, and is just as good now as it was then. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
At 10:24 AM 01/29/2005, Noel Stoutenburg wrote: leads me to the speculate a bit. When you set up an email account, your ID is placed in some table. Now if a person, not necessarily associated with your ISP knows the address of that table, and how to access it's contents, it would be trivial to read the table on a routine basis, and find out the new user names, and determine which are no longer in the table. I'm not sure how this is done technically, but I know for a fact that there is a certain amount of spam delivered by a method similar to this. For a couple of years, mail for sherber.com was handled by Everyone.net. At the beginning of January, I switched all hosting to a new hosting service. Even today, when there are presumably no MX records anywhere on the Internet linking sherber.com to Everyone.net, I am still receiving a trickle of spam in the box at Everyone.net (the account is still active there). The only way this could happen is if someone accesses the SMTP server at Everyone.net and gets a list of all accounts on the server (or marks a message for delivery to all existing accounts, or some such thing). Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] up grade advice
On Jan 28, 2005, at 3:11 PM, Johannes Gebauer wrote: you will quickly find that it [OSX] is much better than OS 9 That has most emphatically *not* been my experience. OSX is a fix for something that was not broken, and that has forced all of us to buy thousands of dollars of new software, and waste weeks of time installing and configuring it, simply to continue doing business as usual. If we're lucky. IMO the whole thing is highway robbery, pure and simple. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] up grade advice
Hi Andrew, I'm not sure here if you are referring to buying the second-fastest option in the current generation or PowerMacs, or the fastest model from the previous generation. Recent history suggests that the latter is not always a very good bang-for-the-buck strategy -- for instance, when the PowerMac G5s were first announced, it would have been foolish to buy a dual 1.42 GHz G4 instead of a single 1.8 GHz G5 (the #2 model of G5). Apple updates its PowerMac lineup infrequently -- often 9-12 months go by without an upgrade -- that the previous generation is usually getting pretty long in the tooth by the time the next one is announced. The next generation usually represents a significant leap in bang-for-your-buck compared to the older models. And when the new models *are* released, the price drops are often not as significant as you'd expect. For instance, the previous generation's top-of-the line PowerMac was a dual 2 GHz G5. When the current generation was announced, the close-out price of the _old_ dual 2 GHz G5 didn't drop significantly below the price of the _next-generation_ dual 2 GHz G5 (now the #2 model), even though the next-gen model had better specs. Don't get me wrong -- sometimes, buying previous-gen models when the next-gen machines are announced can get you a good deal. But I wouldn't recommend it as a general strategy, especially when dealing with Apple hardware. You have to evaluate things on a case-by-case basis. (And, of course, check http://dealmac.com/ religiously.) - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 29 Jan 2005, at 10:26 AM, Andrew Stiller wrote: On Jan 28, 2005, at 2:24 PM, Allen Fisher wrote: As far as what Mac to buy, I always tell people to buy the maximum they can afford. I recommend buying the second-most advanced model available. Why? Because the most recent model has just made its immediate predecessor obsolete, and the price of the latter will therefore have been knocked down. You'll end up with a computer that would have cost maybe $1K more 6 months ago, and is just as good now as it was then. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
hello lon, i mean no offense to you either, really, but what do you think about all those real engravers that lost their job? and what about algorithmically composed music? should be banned in favor of flesh-and-bone composers? should i turn off my pc and hire two or three secretarial workers? should i stop using my e-mail program so the post office increments its income? peace, marcelo As to Hiro's story about losing his gig because the company got sued by the union for replacing players with sequenced parts--all I can say is that they deserved to get sued, and I hope the union won. I'm sorry you lost work, Hiro, but however great your sequences were, they couldn't have been as good as having real players, and what about putting those players out of work? Our union here in LA is currently picketing the Pantages Theatre for using a virtual orchestra. I mean no offense to you, Hiro. I just hate to see musicians losing work to samplers. Perhaps in the (hopefully very far!) future people will forget what real instruments sound like. I hope I'm dead and gone by then, because that will be a very sad day. All the best to all, Lon Lon Price, Los Angeles [EMAIL PROTECTED] [EMAIL PROTECTED] http://hometown.aol.com/txstnr/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan
Hi Gary, Great question!!! Gary Griffiths wrote: Im becoming more interested in the standard of my playback in Finale (WinFin2k5) and I am hearing a lot of good things about GPO. However, I cant find anything in the OLM about how to use it with Finale, apart from one section on Human playback that explains about GPO, but not exactly how to use it. There are a number of tutorials and tips on the Garritan web site in their support section... but the short answer is that there is a pretty steep learning curve, or at least there was for me. Does it work seamlessly with Human Playback once installed? Not really... Human Playback uses various MIDI controller messages to try to imbue a score with some animation or human-ness, and GPO uses different MIDI controller messages to attain the same effect. The biggest difference is that GPO is really meant to be played, and the Human Playback feature in Finale is meant to interpret a sequence of events codified in a score. When you stop to think about it, they are two dramatically different approaches!! Do you have to pick different samples for everything (solos, pizz, arco, trem etc. etc. etc.) or does that work seamlessly too? There are a couple of mechanisms for picking different patches/samples, but you have to manage it yourself using either patch change messages or key switching. It works, but seamless would probably be a bit generous. My scores are quite meticulous in their dynamics, articulations etc. Would Finale and GPO pick these up automatically? This is probably the biggest rub... Finale uses MIDI volume messages and GPO uses the modulation wheel. At first I thought it was an odd choice, but after some experimentation I discovered that GPO is changing a lot more than just volume, and it makes for a much more expressive performance. Do I need to export my score in some way into another programme and then process it through GPO? That seems to be about the best way to go today. As this thread demonstrates, there are two camps, and they have rather opposite points of view. Camp #1 thinks that sequencers should sequence and scoring packages should present scores. This is, I believe, a result of technical limitations that existed for most of the life of the MIDI standard. Older computers could do only so much, and older programmers could write only so much code, or even have an appreciation for the finer points of so many topics. If you want a really powerful scoring tool you need to look at Finale, Sibelius, Rosegarden, and a couple of others. None of them provide what most would classify as even meager sequencing capabilities. If you want complete control over the sequence then you need to look at tools like Sonar, Cubase, Logic, Digital Performer, Freestyle, etc. I think all would agree that their scoring tools are weak, but you do have tremendous control over the performance itself, even if you don't have a musical keyboard or other MIDI controller for input. I'm fairly active on a couple of Sonar mailing lists/newservers, and the request for better standard notation tools comes up frequently. Similarly, Finale users want to push the envelope on sequencing within Finale. I don't think either group is going to be completely happy any time soon. I think that the Human Playback feature works well enough for its intended purpose, which is a rough approximation of what humans might do with a score. In fact I think it works really well! I am of the opinion that two tools are still necessary, and I go one step further, if I need an audio file I usually (not always, sometimes I get lazy or don't have time) play the parts in from the keyboard or a MIDI guitar controller. Then, if I'm feeling really ambitious I edit the daylights out of themG! But, I grew up when editing tools could also be used to shave your beard after three long days in the studio. As a rule, I seldom perform edits to audio or MIDI data that I couldn't do with a razor blade or a mute switch. I find that this quite often helps me to preserve the feel of a performance, and that's usually what I'm after. And that rule is not some kind of dinosaur reaction to the current tools, but just a line in the sand. And the wind does, from time to time move the line. But I like human performances, and since I can't afford to hire an orchestra every time I have to find the next best thing... which for me is samplers like GigaStudio and sample playback tools like GPO. In fact, while the quality of sample available for Gigastudio is superior to GPO, I find that lately I use GPO almost exclusively for the instruments it provides, and only turn to GigaStudio for things that aren't part of GPO. My two cents Bill ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] HP plug-in
At 4:04 PM -0600 1/28/05, Allen Fisher wrote: On 1/28/05 1:59 PM, Harold Owen [EMAIL PROTECTED] saith: Hello Finale Wizards. I have a few questions about the new HP plug-in. I'm on an iMac G4 running Fin2k5a with I GB RAM and 800 MHz. OK, I'll admit my ignorance. What the heck is HP? Hewlet-Packard? That's the only thing that comes to mind. Apparently I'm the only one who doesn't know, since nobody bothers to define it. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] HP plug-in
On 29 Jan 2005, at 12:26 PM, John Howell wrote: What the heck is HP? Human Playback. - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] HP plug-in
On Sat, 29 Jan 2005 12:26:22 -0500, John Howell [EMAIL PROTECTED] wrote: At 4:04 PM -0600 1/28/05, Allen Fisher wrote: On 1/28/05 1:59 PM, Harold Owen [EMAIL PROTECTED] saith: Hello Finale Wizards. I have a few questions about the new HP plug-in. I'm on an iMac G4 running Fin2k5a with I GB RAM and 800 MHz. OK, I'll admit my ignorance. What the heck is HP? Hewlet-Packard? That's the only thing that comes to mind. Apparently I'm the only one who doesn't know, since nobody bothers to define it. John: This thread is referring to Human Playback, the humanizing interpreter for dynamics and articulations, present in Finale since version 2004. -- Brad Beyenhof [EMAIL PROTECTED] my blog: http://augmentedfourth.blogspot.com FinaleIRC (come chat!): http://finaleirc.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan
Bill Thompson wrote: My scores are quite meticulous in their dynamics, articulations etc. Would Finale and GPO pick these up automatically? This is probably the biggest rub... Finale uses MIDI volume messages and GPO uses the modulation wheel. If HP is set to GPO compatibility, it will use the mod wheel for dynamics instead if the volume controller. Best regards, Jari Williamsson ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
Lon's point was NOT to be anti-technology, but anti-unfair-to-musicians and pro-artists. Any of those original engravers were free to pick up the skills to operate a computer, and put their superior knowledge and professional competencies to excellent use. Not so musicians who are put out of work, and who may very well move on to some other field, reducing the number of fine artists plying their trade. That is not something I would work toward. I was on the picket line for Notre Dame de Paris, the French-language mega-hit that ran in Montreal a few years ago. There were several issues at the heart of the picket, one of which was the use of pre-recorded music with NO live musicians. The technology has been available to put a recording over a PA for at least fifty years, so the ones who objected to NDdP were not necessarily anti-technology. Another of the points was one of fraud, as NO mention was made of pre-recorded tracks in any of the pre-show publicity, yet the ticket price reflected live-musician prices. It wasn't only the orchestra that was recorded, but the chorus as well, and even the principal characters each had their own track recorded, ready to be turned on in case they weren't in voice that night or if they wanted to save their voices for an extra performance that day or another daytime interview/performance. The musicians that were recorded for the soundtrack were NOT adequately compensated for what their tracks were being used for, either, as NO royalties were paid to the mostly Italian and French musicians. When it comes down to it, why should ANYONE go to a live show? You can sit comfortably on your own sofa at home with the volume set as you like, with great camera angles professionally edited to give you a better point of view, and several takes in a world-class studio to find the best performance, and all edited and mixed to sound way better than any live performance could ever hope to sound. So what is the attraction? To answer my own question, live performance is the attraction. They are all out there on that stage performing their pants off to reach YOU and your pals now, tonight, in this room. In any case, all the technology in the world is useless without true artists manning the controls, and some sensitive audience members to receive it. As one of my musician friends put it, Now any idiot can press the button, and he does! Christopher On Jan 29, 2005, at 12:02 PM, M. Perticone wrote: hello lon, i mean no offense to you either, really, but what do you think about all those real engravers that lost their job? and what about algorithmically composed music? should be banned in favor of flesh-and-bone composers? should i turn off my pc and hire two or three secretarial workers? should i stop using my e-mail program so the post office increments its income? peace, marcelo As to Hiro's story about losing his gig because the company got sued by the union for replacing players with sequenced parts--all I can say is that they deserved to get sued, and I hope the union won. I'm sorry you lost work, Hiro, but however great your sequences were, they couldn't have been as good as having real players, and what about putting those players out of work? Our union here in LA is currently picketing the Pantages Theatre for using a virtual orchestra. I mean no offense to you, Hiro. I just hate to see musicians losing work to samplers. Perhaps in the (hopefully very far!) future people will forget what real instruments sound like. I hope I'm dead and gone by then, because that will be a very sad day. All the best to all, Lon Lon Price, Los Angeles [EMAIL PROTECTED] [EMAIL PROTECTED] http://hometown.aol.com/txstnr/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
At 12:56 PM 1/29/05 -0500, Christopher Smith wrote: When it comes down to it, why should ANYONE go to a live show? Ain't that the truth. :) I'm one of those who prefers to listen to recordings or watch films. To me, live performances are the rehearsals for the recordings (as long as the recordings aren't flattened by so many takes as to remove the musical interest). There are good moments now then in live performances, but they tend to be extra-musical. But recordings have been thrilling rewarding and changed my life. In 45 years of going to concerts, I've never been excited or moved in the same way. Of course, my musical experiences came from recordings, so maybe that's why. Improvisatory artforms are another matter -- that's where the composition happens in real time. But if you're reading from a score or a script, give me a recording any day! Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Subject: Re: [Finale] Garritan and other stuff
snip: In a message dated 1/29/05 1:01:16 PM, [EMAIL PROTECTED] writes: Lon's point was NOT to be anti-technology, but anti-unfair-to-musicians and pro-artists. I agree! I see the line that should not be crossed as: Improved technology should be created and used to help us, not replace us. Samplers (virtual orchestra machines) take a level of live away from live performance. With new technology, artists in the pit are replaced, next artists singing chorus parts are replaced, and with money in their eyes, how long before producers try to develop holographic technology to replace people on stage? Too fantastic to imagine? How many people 30 years ago would have taken seriously the idea of virtual orchestras being marketed as part of live musical theater to audiences? Technology needs its place in our world. But not our place. Best wishes, Steve Shulman NYC musician ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
As a former live (as opposed to formerly-living) stage performer, there's a simple answer for the necessity I feel for attending liveCONCERT events: The excitement, the energy, the palpable anticipation and constant shared experience of a few hundred to a couple thousand fellow attendees sitting with you -- that community of (not to completely bludgeon the point) like-minded hungry humanity being fed along side you. And mind you, of course, there are always annoying exceptions: the coughing, the matinee crowds who might be there simply in the hopes that a loud noise will reassure them that they're still alive, those that have attended not because they wish to but because they feel they 'have' to...yeah, sure, exceptions. But given the choice of sitting in my comfortable living room with my great sound system to hear a canned (or even 'live' canned) CD recording versus dressing up to sit in a somewhat-less body-rewarding situation but: BUT: to have that communal experience with a great orchestra under a great conductor in a great hall with great acoustics: Yeah. Easy choice. I'm somewhat less energetic in my preference for live theatrical experiences over a great DVD at home with sound cranked; I really draw a distinction between the forms. A play is not afilm is not tvis nota musical is not the same. Apples/orangutans. I find seeing a filmed play-- a strictly filmed play -- on TV a terrific bore. A good film adaptation of the same play would be fine at home; perhaps preferablein a big-screen theatre if the jerks around me stop talking and unwrapping the candies and But music? Hands-down: Live.Exciting. Best, Les Les MarsdenFounding Music Director and Conductor, The Mariposa Symphony OrchestraMusic and Mariposa? Ah, Paradise!!! http://arts-mariposa.org/symphony.htmlhttp://www.sierratel.com/mcf/nprc/mso.htm - Original Message - From: Dennis Bathory-Kitsz To: finale@shsu.edu Sent: Saturday, January 29, 2005 10:12 AM Subject: Re: [Finale] Garritan and other stuff At 12:56 PM 1/29/05 -0500, Christopher Smith wrote:When it comes down to it, why should ANYONE go to a live show?Ain't that the truth. :)I'm one of those who prefers to listen to recordings or watch films. To me,live performances are the rehearsals for the recordings (as long as therecordings aren't flattened by so many takes as to remove the musicalinterest). There are good moments now then in live performances, but theytend to be extra-musical.But recordings have been thrilling rewarding and changed my life. In 45years of going to concerts, I've never been excited or moved in the sameway. Of course, my musical experiences came from recordings, so maybethat's why.Improvisatory artforms are another matter -- that's where the compositionhappens in real time. But if you're reading from a score or a script, giveme a recording any day!Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Garritan
Gary Griffiths wrote: Do you have to pick different samples for everything (solos, pizz, arco, trem etc. etc. etc.) or does that work seamlessly too? In case you missed this, Garritan has put a Finale library on his server which I created. http://www.garritan.com/support/GPOKeySwitches.lib It's a Finale 2005 text _expression_ library. Simply load this into your Finale file. The new expressions are grouped into categories for specific keyswitch instruments. For example load the Violin 1 KS combo patch into one of the GPO studio players. Add a note _expression_ "pizz" to any note on the appropriate staff. This _expression_ triggers the correct GPO keyswitch and the new patch is switched to instantly. You don't need to apply this before a note like you would if you're playing in a phrase from a midi keyboard. All of these patch changes are instantaneous. That seems pretty seemless to me. I just checked the Garritan website, the file is still up, but to download it: On PC - right click and save to disk On MAC - Control click and save to disk. It gets downloaded as a text file. When importing it into a Finale file choose "all file types", then it should import into your Finale file without problem. JT ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
Hi all, I wanted to weigh in with a few thoughts on this issue. It's a very complex one, with compelling arguments on both sides. To forestall a huge flame war, I'd like to start by pointing out that as a conductor, I come down strongly in favor of live performance and live performers, no question about it. But that doesn't mean that the arguments on the other side are wholly without merit. At 12:56 PM 01/29/2005, Christopher Smith wrote: Lon's point was NOT to be anti-technology, but anti-unfair-to-musicians and pro-artists. Any of those original engravers were free to pick up the skills to operate a computer, and put their superior knowledge and professional competencies to excellent use. Not so musicians who are put out of work, and who may very well move on to some other field, reducing the number of fine artists plying their trade. That is not something I would work toward. Devil's advocate, for a moment: Why couldn't the musicians left without a gig sharpen *their* computer skills, and use their advanced musicianship to help make sampled or sequenced performances better? Another of the points was one of fraud, as NO mention was made of pre-recorded tracks in any of the pre-show publicity, I think fraud is a strong word here. If the show had advertised live music and used taped, then it would be fraud. But in the absence of such advertising, all you have are the expectations of the audience, and working against expectations is not fraud. As another example, look at the enormous number of dance companies who perform exclusively to taped music, none of whom advertise that fact. This is commonplace. yet the ticket price reflected live-musician prices. Ah, that's a tricky one. I can't speak to the finances of that particular show, and since you call it a mega-hit, it's entirely possible that what I'm about to say doesn't apply there at all. But imagine an opera production, or a dance performance, with orchestra. Such a thing generally costs a huge sum of money to put on. Even when the organization sets the ticket prices as high as the market will bear, they will often lose money if they had to rely on income from tickets. If they were to do the same production without orchestra, and drop the ticket prices accordingly, they might likely lose *just as much money* as they did with orchestra -- lower costs, to be sure, but less revenue as well. Doing without orchestra but keeping ticket prices high (in which case, quite frankly, the organization might *still* lose money) may reflect the realities of finances rather than a desire to fleece the audience. It wasn't only the orchestra that was recorded, but the chorus as well, and even the principal characters each had their own track recorded, ready to be turned on in case they weren't in voice that night Couldn't you also argue that they were looking out for the best interests of the audience? If you bought a multi-hundred dollar ticket to the Met to hear Pavarotti in his prime, and he had a cold that night, would you rather hear his unknown understudy or watch the live performance with a Pav-track playing? Again, I think it's possible to make arguments on either side of this question. The musicians that were recorded for the soundtrack were NOT adequately compensated for what their tracks were being used for, Adequate according to whom? The musicians who played presumably felt adequately compensated, or they wouldn't have done the job. When it comes down to it, why should ANYONE go to a live show? It's a very good question, and I think it has to be answered without regard for issues of employment, or wages, or whatever. For me the answer is easy: You go to a live show because it's live -- because there are elements of the performance that are spontaneous, unpredictable, and unrepeatable. I can talk all day about why a live show is better than a taped one and makes for a richer experience, but the aspects of live performance that I'm trying to sell are not necessarily the ones that someone else is buying. Let me return to the employment issues for a moment. There has been an ongoing battle in New York between the union and a group called the Opera Company of Brooklyn over OCB's desired use of a virtual orchestra which I think is called the Sinfonia. As I understand it, this is a keyboard attached to a sampler of some sort, and it is played by someone during performance to supplement other musicians playing regular instruments. Take the case of an imaginary opera which might normally require 36 players. OCB can't afford to hire 36 players, but they can afford to hire 12 plus someone to run the Sinfonia. The union says no, you have to hire all 36 -- to which OCB responds by saying they can't do the show at all. Not only are the 36 musicians the union wants not hired, but the 18 which OCB *planned* to hire aren't. Not to mention the singers, designers, carpenters, and so forth who also would have been
Re: [Finale] Garritan
JT, THANKS! Just what I was looking for. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 29 Jan 2005, at 1:34 PM, [EMAIL PROTECTED] wrote: Gary Griffiths wrote: Do you have to pick different samples for everything (solos, pizz, arco, trem etc. etc. etc.) or does that work seamlessly too? In case you missed this, Garritan has put a Finale library on his server which I created. http://www.garritan.com/support/GPOKeySwitches.lib It's a Finale 2005 text expression library. Simply load this into your Finale file. The new expressions are grouped into categories for specific keyswitch instruments. For example load the Violin 1 KS combo patch into one of the GPO studio players. Add a note expression pizz to any note on the appropriate staff. This expression triggers the correct GPO keyswitch and the new patch is switched to instantly. You don't need to apply this before a note like you would if you're playing in a phrase from a midi keyboard. All of these patch changes are instantaneous. That seems pretty seemless to me. I just checked the Garritan website, the file is still up, but to download it: On PC - right click and save to disk On MAC - Control click and save to disk. It gets downloaded as a text file. When importing it into a Finale file choose all file types, then it should import into your Finale file without problem. JT___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan
Except -- heads-up Mac users -- Safari refuses to download the file. Firefox works. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 29 Jan 2005, at 1:46 PM, Darcy James Argue wrote: JT, THANKS! Just what I was looking for. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 29 Jan 2005, at 1:34 PM, [EMAIL PROTECTED] wrote: Gary Griffiths wrote: Do you have to pick different samples for everything (solos, pizz, arco, trem etc. etc. etc.) or does that work seamlessly too? In case you missed this, Garritan has put a Finale library on his server which I created. http://www.garritan.com/support/GPOKeySwitches.lib It's a Finale 2005 text expression library. Simply load this into your Finale file. The new expressions are grouped into categories for specific keyswitch instruments. For example load the Violin 1 KS combo patch into one of the GPO studio players. Add a note expression pizz to any note on the appropriate staff. This expression triggers the correct GPO keyswitch and the new patch is switched to instantly. You don't need to apply this before a note like you would if you're playing in a phrase from a midi keyboard. All of these patch changes are instantaneous. That seems pretty seemless to me. I just checked the Garritan website, the file is still up, but to download it: On PC - right click and save to disk On MAC - Control click and save to disk. It gets downloaded as a text file. When importing it into a Finale file choose all file types, then it should import into your Finale file without problem. JT___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TGTools X
I'm sure this has come up before. I installed the new TGTools for OSX, but when I access any menu item from it, I get the Apply Staff style dialog. I've removed the lite TGTools folder. Any ideas? -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
At 02:11 PM 01/29/2005, Carl Dershem wrote: Aaron Sherber wrote: Devil's advocate, for a moment: Why couldn't the musicians left without a gig sharpen *their* computer skills, and use their advanced musicianship to help make sampled or sequenced performances better? Oh, yeah - that pays so well, pays *off* so well (in terms of performance, sharpening your computer skills is a non-issue, unless youre a computer performance person), and really benefits a liver performance. Christopher was suggesting (I think) that hand engravers put out of work by computer engravers put their superior knowledge and professional competencies to excellent use by learning to do the same thing on a computer. (Apologies if I've misread.) Why is it reasonable to suggest that one group of people apply their skills in another area, but not another group? No one, in any field, is promised available employment for life. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan
On Sat, 29 Jan 2005 13:48:55 -0500, Darcy James Argue [EMAIL PROTECTED] wrote: Except -- heads-up Mac users -- Safari refuses to download the file. Firefox works. But why were you using anything other than Firefox in the first place? :) -- Brad Beyenhof [EMAIL PROTECTED] my blog: http://augmentedfourth.blogspot.com FinaleIRC (come chat!): http://finaleirc.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
Dennis Bathory-Kitsz / 05.1.29 / 01:12 PM wrote: I'm one of those who prefers to listen to recordings snip I am so sorry you feel this way. In my life, I have three live concerts which my tears couldn't stop coming out during the show. One was when trombone section of Count Basie Orchestra (un-amplified) blew into my face. Another was when Ray Brown's groove was unbelievable, by watching him in the Triple Treat concert. But most of all, I cried throughout one of the Miles Davis concerts, feeling the way his aura controls the entire band without him giving any physical cue. I will carry that experience to my coffin. Late Horowitz, his chops were getting sloppy, but that didn't stop people going to his concerts because you are to experience his music in the air. I certainly will not enjoy that performance coming from speakers. I agree with Lon that I was taking real musician's work when I was working MIDI for Broadway, and I never wanted others to know I was doing that. My boss, George Russell certainly did upset with me but in the end, it was too difficult to turn down such a good paying gig. What irony was that our work saved shows when musicians went on strike. -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan
Because on the Mac, Safari is still a better overall browser. Also, Firefox doesn't even support scroll wheel clicks (middle button) to open a link in a new tab. That makes its tab implementation useless to me. On the PC, it's a different story, but on the Mac, we have an embarrassment of riches when it comes to browser choice: Safari, Firefox, Camino, OmniWeb, Opera - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 29 Jan 2005, at 3:11 PM, Brad Beyenhof wrote: On Sat, 29 Jan 2005 13:48:55 -0500, Darcy James Argue [EMAIL PROTECTED] wrote: Except -- heads-up Mac users -- Safari refuses to download the file. Firefox works. But why were you using anything other than Firefox in the first place? :) -- Brad Beyenhof [EMAIL PROTECTED] my blog: http://augmentedfourth.blogspot.com FinaleIRC (come chat!): http://finaleirc.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Live/Recorded
Listening to music on records is like getting kissed over the telephone. - Jerry Rosen, former BSO violinist pianist It's more like eating a picture of food. - Bill Dobbins, jazz pianist/composer/arranger Still, I feel that my recordings are the real artifacts of my work. Hmmn. Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Live/Recorded
Well, I don't think anything can ever replace the live experience, but when will I get to hear you play in person? Or most people, for that matter? And when I can, how often? Crystal Premo [EMAIL PROTECTED] From: Chuck Israels [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: [Finale] Live/Recorded Date: Sat, 29 Jan 2005 12:35:24 -0800 Listening to music on records is like getting kissed over the telephone. - Jerry Rosen, former BSO violinist pianist It's more like eating a picture of food. - Bill Dobbins, jazz pianist/composer/arranger Still, I feel that my recordings are the real artifacts of my work. Hmmn. Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
Dennis Bathory-Kitsz wrote: I'm one of those who prefers to listen to recordings or watch films. To me, live performances are the rehearsals for the recordings (as long as the recordings aren't flattened by so many takes as to remove the musical interest). There are good moments now then in live performances, but they tend to be extra-musical. But recordings have been thrilling rewarding and changed my life. In 45 years of going to concerts, I've never been excited or moved in the same way. Of course, my musical experiences came from recordings, so maybe that's why. Improvisatory artforms are another matter -- that's where the composition happens in real time. But if you're reading from a score or a script, give me a recording any day! Dennis The world sure has room for all kinds of musicians! Recordings are all around, like wall paper, but live performances are relatively rare . And while some recordings have left an immeasurable mark on my musical life (I recall listening to the Monteux recording of Le Sacre with the Rousseau picture on the cover in the living room of a house we left when I was six), it's live instances of music that have become the center of my life, but not necessarily public performances. For me, rehearsing chamber music or with my gamelan group is more important than public music-making, and score reading (at a keyboard, sight-singing, or even silently) can have the same charge as the best concert. In High School and College, back in the last days of the LP, the new and experimental music that interested me most was rare and hard-to-find. I bought any record I could afford and assembled quite a library. Then, while a grad student, I couldn't afford a stereo, and stopped buying, and then as CDs were introduced, they came out initially so slowly (I believe that there was actually a period of several years when no commercial recordings of Webern, for example, were available) and so expensively that I never started buying cds. I made a principle out of my practice, and have never really bought the things. But somehow, I've ended up with several hundred cds, all gifts or give-aways. At new music concerts, composers will exchange cds like bankers trading business cards. The upshot of all this has been that I've had no enthusisasm about producing recordings of my own music, and have really begun to think of my music as tailored for concert, live broadcast, and private playing. I think that the greater possibilities of electronic play-back from scores will change this somewhat, but the ramifications of this are still pretty vague to me. Daniel Wolf http://home.snafu.de/djwolf/ http://renewablemusic.blogspot.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Live/Recorded
Thanks for asking, Crystal. Not often any more. There was a time when what I do was part of the fabric of everyday culture. I used to play in places in NY where many people, New Yorkers of all stripes, and visitors from around the world, could, and did, come to hear the music in which I was involved. They needed it as part of their essential nourishment, and they understood and could digest the language. That is no longer so, so I am paid and externally rewarded many times more for speaking English about music than I am in actually creating it, a sad turn of events, but one which I can't control without pandering to the present musical environment. So, recordings it is, most of the time, and even most of those are more or less vanity productions these days. I'm sure I'm not alone in this situation. Chuck On Jan 29, 2005, at 12:40 PM, Crystal Premo wrote: Well, I don't think anything can ever replace the live experience, but when will I get to hear you play in person? Or most people, for that matter? And when I can, how often? Crystal Premo [EMAIL PROTECTED] From: Chuck Israels [EMAIL PROTECTED]> Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: [Finale] Live/Recorded Date: Sat, 29 Jan 2005 12:35:24 -0800 Listening to music on records is like getting kissed over the telephone. - Jerry Rosen, former BSO violinist pianist It's more like eating a picture of food. - Bill Dobbins, jazz pianist/composer/arranger Still, I feel that my recordings are the real artifacts of my work. Hmmn. Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan
Darcy James Argue wrote: Because on the Mac, Safari is still a better overall browser. Also, Firefox doesn't even support scroll wheel clicks (middle button) to open a link in a new tab. That makes its tab implementation useless to me. I presume that's a Mac-specific flaw? It's never been an issue for me with either Firefox or Mozilla on a PC (or on Linux). ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Live/Recorded
Even in the culture-rich environment here in NYC, I don't find many opportunities to hear the people I like the best. I heard Stephane Grapelli, Chick Corea, Patti LaBelle, a few others I could afford. When am I going to be able to hear Bobby McFerrin? So recordings it is. Crystal Premo [EMAIL PROTECTED] From: Chuck Israels [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Live/Recorded Date: Sat, 29 Jan 2005 12:49:01 -0800 Thanks for asking, Crystal. Not often any more. There was a time when what I do was part of the fabric of everyday culture. I used to play in places in NY where many people, New Yorkers of all stripes, and visitors from around the world, could, and did, come to hear the music in which I was involved. They needed it as part of their essential nourishment, and they understood and could digest the language. That is no longer so, so I am paid and externally rewarded many times more for speaking English about music than I am in actually creating it, a sad turn of events, but one which I can't control without pandering to the present musical environment. So, recordings it is, most of the time, and even most of those are more or less vanity productions these days. I'm sure I'm not alone in this situation. Chuck On Jan 29, 2005, at 12:40 PM, Crystal Premo wrote: Well, I don't think anything can ever replace the live experience, but when will I get to hear you play in person? Or most people, for that matter? And when I can, how often? Crystal Premo [EMAIL PROTECTED] From: Chuck Israels [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: [Finale] Live/Recorded Date: Sat, 29 Jan 2005 12:35:24 -0800 Listening to music on records is like getting kissed over the telephone. - Jerry Rosen, former BSO violinist pianist It's more like eating a picture of food. - Bill Dobbins, jazz pianist/composer/arranger Still, I feel that my recordings are the real artifacts of my work. Hmmn. Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Bluetooth keyboard
Is anyone using a Bluetooth (wireless) keyboard and/or mouse with a Mac? If so, does it work okay for you? Paul Hayden -- Magnolia Music Press http://www.paulhayden.com 6319 Riverbend Blvd. Baton Rouge, LA 70820 Fax (by arrangement) Voice: 225-769-9604 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan
Darcy, Safari downloaded the file for me. Hal Except -- heads-up Mac users -- Safari refuses to download the file. Firefox works. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 29 Jan 2005, at 1:46 PM, Darcy James Argue wrote: JT, THANKS! Just what I was looking for. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 29 Jan 2005, at 1:34 PM, [EMAIL PROTECTED] wrote: Gary Griffiths wrote: Do you have to pick different samples for everything (solos, pizz, arco, trem etc. etc. etc.) or does that work seamlessly too? In case you missed this, Garritan has put a Finale library on his server which I created. http://www.garritan.com/support/GPOKeySwitches.lib It's a Finale 2005 text expression library. Simply load this into your Finale file. The new expressions are grouped into categories for specific keyswitch instruments. For example load the Violin 1 KS combo patch into one of the GPO studio players. Add a note expression pizz to any note on the appropriate staff. This expression triggers the correct GPO keyswitch and the new patch is switched to instantly. You don't need to apply this before a note like you would if you're playing in a phrase from a midi keyboard. All of these patch changes are instantaneous. That seems pretty seemless to me. I just checked the Garritan website, the file is still up, but to download it: On PC - right click and save to disk On MAC - Control click and save to disk. It gets downloaded as a text file. When importing it into a Finale file choose all file types, then it should import into your Finale file without problem. JT___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Harold Owen 2830 Emerald St., Eugene, OR 97403 mailto:[EMAIL PROTECTED] Visit my web site at: http://uoregon.edu/~hjowen FAX: (509) 461-3608 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
On Jan 29, 2005, at 1:44 PM, Aaron Sherber wrote: At 12:56 PM 01/29/2005, Christopher Smith wrote: Another of the points was one of fraud, as NO mention was made of pre-recorded tracks in any of the pre-show publicity, I think fraud is a strong word here. If the show had advertised live music and used taped, then it would be fraud. But in the absence of such advertising, all you have are the expectations of the audience, and working against expectations is not fraud. As another example, look at the enormous number of dance companies who perform exclusively to taped music, none of whom advertise that fact. This is commonplace. This was a musical. Based on the expectations of the thousands who flocked a few years previously to see the French (and all-live!) version of Les Misérables and other shows, the audience expected a live orchestra - no question - and certainly live vocals. This was the first time such a thing had been perpetrated in a theatre in Montreal, which is why we made such a stink. Dance companies are different ball of wax. yet the ticket price reflected live-musician prices. Ah, that's a tricky one. I can't speak to the finances of that particular show, and since you call it a mega-hit, it's entirely possible that what I'm about to say doesn't apply there at all. In this case, your last phrase was correct. It wasn't only the orchestra that was recorded, but the chorus as well, and even the principal characters each had their own track recorded, ready to be turned on in case they weren't in voice that night Couldn't you also argue that they were looking out for the best interests of the audience? If you bought a multi-hundred dollar ticket to the Met to hear Pavarotti in his prime, and he had a cold that night, would you rather hear his unknown understudy or watch the live performance with a Pav-track playing? Again, I think it's possible to make arguments on either side of this question. Yet I can't imagine a musician making such arguments! I would MUCH rather hear an unknown (but probably entirely competent, if he is understudying Pavarotti) singer than a recording in a concert hall! I would scream bloody murder if such a thing were to be attempted! The musicians that were recorded for the soundtrack were NOT adequately compensated for what their tracks were being used for, Adequate according to whom? The musicians who played presumably felt adequately compensated, or they wouldn't have done the job. According to the Italian musicians guild, and the French musicians guild, and the AFM. No, they were NOT told that the tracks were to be used for live performances. They thought it was for the album, which came out first, and the scales they were paid reflected ONLY that aspect of the session. The producers defrauded the musicians. If the producers had paid the musicians according to re-use requirements, AND publicised the lack of live orchestra, AND priced the tickets accordingly, then I would not have used the word fraud at all. I would have only argued against the artistic aspects of recorded shows (or karaoke shows, as our local calls them!) When it comes down to it, why should ANYONE go to a live show? It's a very good question, and I think it has to be answered without regard for issues of employment, or wages, or whatever. For me the answer is easy: You go to a live show because it's live -- because there are elements of the performance that are spontaneous, unpredictable, and unrepeatable. I can talk all day about why a live show is better than a taped one and makes for a richer experience, but the aspects of live performance that I'm trying to sell are not necessarily the ones that someone else is buying. Let me return to the employment issues for a moment. There has been an ongoing battle in New York between the union and a group called the Opera Company of Brooklyn over OCB's desired use of a virtual orchestra which I think is called the Sinfonia. As I understand it, this is a keyboard attached to a sampler of some sort, and it is played by someone during performance to supplement other musicians playing regular instruments. Take the case of an imaginary opera which might normally require 36 players. OCB can't afford to hire 36 players, but they can afford to hire 12 plus someone to run the Sinfonia. The union says no, you have to hire all 36 -- to which OCB responds by saying they can't do the show at all. Not only are the 36 musicians the union wants not hired, but the 18 which OCB *planned* to hire aren't. Not to mention the singers, designers, carpenters, and so forth who also would have been employed. Are any of the artists better served by this outcome? Is the audience better served by not having the production at all? I have no inside knowledge of OCB, but I'd bet that their plan to use the Sinfonia was not an artistic decision but a budgetary one -- that if they had enough money, they would much rather hire a
Re: [Finale] Garritan and other stuff
On Jan 29, 2005, at 2:23 PM, Aaron Sherber wrote: At 02:11 PM 01/29/2005, Carl Dershem wrote: Aaron Sherber wrote: Devil's advocate, for a moment: Why couldn't the musicians left without a gig sharpen *their* computer skills, and use their advanced musicianship to help make sampled or sequenced performances better? Oh, yeah - that pays so well, pays *off* so well (in terms of performance, sharpening your computer skills is a non-issue, unless youre a computer performance person), and really benefits a liver performance. Christopher was suggesting (I think) that hand engravers put out of work by computer engravers put their superior knowledge and professional competencies to excellent use by learning to do the same thing on a computer. (Apologies if I've misread.) Why is it reasonable to suggest that one group of people apply their skills in another area, but not another group? No one, in any field, is promised available employment for life. Aaron. Where the difference is, is that computers have not put engravers out of work (except in the very lowest echelons of publication) to the same extent that sequencers have cut into musicians' jobs. There is not enough work to go around to all the displaced musicians, unlike former hand-copyists and engravers. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Bluetooth keyboard
On 29 Jan 2005, at 3:57 PM, Paul Hayden wrote: Is anyone using a Bluetooth (wireless) keyboard and/or mouse with a Mac? If so, does it work okay for you? Yes and yes. It works great. I've used it with computers with built-in BlueTooth, and also using the D-Link USB Bluetooth module. If your computer has built-in Bluetooth, you can even access FireWire Target Disk Mode, Open Firmware, reset PRAM, force boot from a CD, etc, using your Bluetooth keyboard. - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
In a message dated 1/29/05 2:23:18 PM, [EMAIL PROTECTED] writes: What irony was that our work saved shows when musicians went on strike. Sorry, Hiro - that's bullshit. The show producers had planned for the strike by being ready to install the virtual orchestra to replace the striking musicians but they hadn't planned on the stagehands and Equity members to walk, too. The Virtual Orchestra never had the chance and saved nothing. I am happy you got paid well for a their failed attempt. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Note expression feature request
Maybe this has been suggested before, but if it has I've missed it. I would love to be able to apply note expressions to a group of notes by drag selecting, just like we can articulations. It seems like such a natural I actually tried it once to see if the feature was implemented and I had just missed it. I realize we have measure expressions and staff lists, but for a lot of things, especially now that automatic note positioning is available, this would be quicker and more convenient. If not too many of you shoot a hole in my notion I'll send this of to Coda and request that any of you that like the idea follow suit. Thanks, Don Hart ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: Re: [Finale] The ARCHIVE Password
-- dhbailey[EMAIL PROTECTED] wrote: But now that your e-mail is out there on the marketed spam lists, nothing any archive is going to do will change that. That's provably true, but new members who haven't post yet and who don't receive spam can post here and get infected by spam. Also, I'm sure that part of the members who don't post is just for this reason. I think that I had just posted one reply when I realized that it was public. From then I thought that I wouldn't post here unless this policy of having the arcive open to everybody changed. Roger ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan
On 29 Jan 2005, at 3:52 PM, Owain Sutton wrote: I presume that's a Mac-specific flaw? Yes, and it's a pretty glaring one. OS X has built-in multi-button mouse support, developers just have to use it. Ironic that Apple's own app has better multi-button support than an app ported from Windows. - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Note expression feature request
Hi Don, This is the first thing I suggest to MacSupport when Finale 2004 first came out. I've been suggesting it regularly ever since. Maybe if more people write to Coda about it, we can get this feature added for Fin2006. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 29 Jan 2005, at 5:56 PM, Don Hart wrote: Maybe this has been suggested before, but if it has I've missed it. I would love to be able to apply note expressions to a group of notes by drag selecting, just like we can articulations. It seems like such a natural I actually tried it once to see if the feature was implemented and I had just missed it. I realize we have measure expressions and staff lists, but for a lot of things, especially now that automatic note positioning is available, this would be quicker and more convenient. If not too many of you shoot a hole in my notion I'll send this of to Coda and request that any of you that like the idea follow suit. Thanks, Don Hart ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Note expression feature request
Darcy, I shot the request off to Coda. Now that you mention it, I probably did see your post on the matter. However, it was back when my older machine had me stuck in 2002, so it didn't mean a lot to me at the time. This would be a significant improvement to the expression tool for me, for the way I work. I'd love to see it happen. Don Hart on 1/29/05 4:59 PM, Darcy James Argue at [EMAIL PROTECTED] wrote: Hi Don, This is the first thing I suggest to MacSupport when Finale 2004 first came out. I've been suggesting it regularly ever since. Maybe if more people write to Coda about it, we can get this feature added for Fin2006. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 29 Jan 2005, at 5:56 PM, Don Hart wrote: Maybe this has been suggested before, but if it has I've missed it. I would love to be able to apply note expressions to a group of notes by drag selecting, just like we can articulations. It seems like such a natural I actually tried it once to see if the feature was implemented and I had just missed it. I realize we have measure expressions and staff lists, but for a lot of things, especially now that automatic note positioning is available, this would be quicker and more convenient. If not too many of you shoot a hole in my notion I'll send this of to Coda and request that any of you that like the idea follow suit. Thanks, Don Hart ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
At 04:35 PM 01/29/2005, Christopher Smith wrote: Ah, that's a tricky one. I can't speak to the finances of that particular show, and since you call it a mega-hit, it's entirely possible that what I'm about to say doesn't apply there at all. In this case, your last phrase was correct. Yes, okay, I thought as much. I wasn't trying to defend that particular show, you understand, but the larger issues involved here are ones which interest me. to the Met to hear Pavarotti in his prime, and he had a cold that night, would you rather hear his unknown understudy or watch the live performance with a Pav-track playing? Again, I think it's possible to make arguments on either side of this question. Yet I can't imagine a musician making such arguments! I would MUCH rather hear an unknown (but probably entirely competent, if he is understudying Pavarotti) singer than a recording in a concert hall! I would scream bloody murder if such a thing were to be attempted! I agree with you, but I also understand that there are probably large segments of the audience who feel the other way, who spent the hundreds of dollars to hear Pavarotti and no one else. Adequate according to whom? The musicians who played presumably felt adequately compensated, or they wouldn't have done the job. According to the Italian musicians guild, and the French musicians guild, and the AFM. Okay, but I'm not sure I accept the right of those groups to define adequate. You can say they weren't paid to scale, which is something quite different. No, they were NOT told that the tracks were to be used for live performances. They thought it was for the album, which came out first, and the scales they were paid reflected ONLY that aspect of the session. I agree with you -- this is fraud, or at least breach of contract, and it is reprehensible. This is the crux of the musicians' union's paradox - do they keep more musicians employed at lower wages, or fewer employed at higher wages? This is not an easy question, and it is the source of many bitter arguments inside the ranks at union meetings. Yes, I agree. But several things ARE fairly clear to me: if there is not enough budget to hire as many musicians as they would like, then they should either choose an opera that uses fewer musicians, or else do it anyway with fewer musicians than required. Both of these are problematic in terms of audience-building, which is important for long-term stability. Audiences expect a certain sound to go with their opera, and they may desert you if you give them something less. I used to conduct for a chamber opera company that did, among other things, a Pelleas reduced for an orchestra of 16 or so which I thought sounded remarkably good. But for every patron who was pleased to be able to experience this work in an intimate and inexpensive way, there was another who felt that we weren't being true to the work. The union can be negotiated with in cases of new or troubled productions, but you can be sure that once this Sinfonia machine gets common use, EVERYONE will want to use it at the expense of show quality. Well, this gets at something which I think is true, unfortunately: While I have been talking from my point of view, as a performer who would like nothing better than to be able to afford a full orchestra for all performances, there are also those who are just looking to make a buck, regardless of quality. Yes, not everyone will see the Sinfonia as a stopgap, and some people are eagerly looking to it as a cheaper way of putting on shows, forever. And I also understand, reluctantly, that since the union has no way of judging intent, they have to act as though everyone is a mercenary at heart. But this can make it very difficult for those of us who are not. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
At 04:39 PM 01/29/2005, Christopher Smith wrote: Where the difference is, is that computers have not put engravers out of work (except in the very lowest echelons of publication) to the same extent that sequencers have cut into musicians' jobs. There is not enough work to go around to all the displaced musicians, unlike former hand-copyists and engravers. Yes, my analogy was not the best. Still, if changing market conditions leave us with a glut of professional musicians, I think it's not necessarily clear that we should artificially restrain those market changes (by banning the Sinfonia, for example) in order to preserve more jobs. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Note expression feature request
Don Hart wrote: Maybe this has been suggested before, but if it has I've missed it. I would love to be able to apply note expressions to a group of notes by drag selecting, just like we can articulations. It seems like such a natural I actually tried it once to see if the feature was implemented and I had just missed it. I realize we have measure expressions and staff lists, but for a lot of things, especially now that automatic note positioning is available, this would be quicker and more convenient. I agree, particularly when I've had hundreds of 'sfz's to deal with (yeah, it was that kind of piece :p ) However, I feel that the whole implementation of expressions needs a complete overhaul, far more than the tinkering with definitions seen in recent versions. The caveat is that it's well down on my list of 'things that need sorting out', due to other things currently being in almost-unusable states (nonstandard key signatures, anyone?) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
Aaron, If musicians won't fight for our own interests, who will? Maybe the Virtual Orchestra Machine will put us all out of business one day. Who knows? That doesn't mean we have to take it lying down. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 29 Jan 2005, at 6:52 PM, Aaron Sherber wrote: At 04:39 PM 01/29/2005, Christopher Smith wrote: Where the difference is, is that computers have not put engravers out of work (except in the very lowest echelons of publication) to the same extent that sequencers have cut into musicians' jobs. There is not enough work to go around to all the displaced musicians, unlike former hand-copyists and engravers. Yes, my analogy was not the best. Still, if changing market conditions leave us with a glut of professional musicians, I think it's not necessarily clear that we should artificially restrain those market changes (by banning the Sinfonia, for example) in order to preserve more jobs. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] more on PDFs
Apropos of the recent discussion of the poor quality of screen display for PDFs produced from Finale on Windows machines, I can offer a bit of information that hopefully will shed a little light on the matter. I use pdfFactory Pro to produce PDFs, which installs as a printer driver in Windows (XP Pro in my case). I'm on Finale 2004a (and will continue to be until they fix the hidden note accidental positioning bug introduced in 2004b), and have been disappointed for some time by the poor screen display of Finale PDFs, which of course print out just fine. What bugged me the most was that staff line were different thicknesses when viewed at any magnification below 400%. Today I found that I if set the resolution in pdfFactory (on the Metrics tab under Printer Preferences) to the default 300 dpi instead of 1200 dpi, staff lines then looked consistent at all magnifications. I had originally set it to 1200 dpi because I was printing to a 1200 dpi printer, not an unreasonable assumption. I haven't completely examined the effect on other fine details, but I can say that things like slanted beams are smooth at high magnification and print out smoothly, so they're definitely not at 300 dpi. Besides, I was most interested in getting something to look decent on screen, and if I have to make a higher-res PDF for print-out, no big deal. Does this make sense to somebody who knows more about Postscript than I do? Lee Actor Composer-in-Residence and Assistant Conductor, Palo Alto Philharmonic ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Note expression feature request
Don, You could add text expressions to the Articulation Window. Then you could enter them like articulations. You can even set up key velocities for them. Hal Maybe this has been suggested before, but if it has I've missed it. I would love to be able to apply note expressions to a group of notes by drag selecting, just like we can articulations. It seems like such a natural I actually tried it once to see if the feature was implemented and I had just missed it. I realize we have measure expressions and staff lists, but for a lot of things, especially now that automatic note positioning is available, this would be quicker and more convenient. If not too many of you shoot a hole in my notion I'll send this of to Coda and request that any of you that like the idea follow suit. Thanks, Don Hart ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Harold Owen 2830 Emerald St., Eugene, OR 97403 mailto:[EMAIL PROTECTED] Visit my web site at: http://uoregon.edu/~hjowen FAX: (509) 461-3608 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
At 07:10 PM 01/29/2005, Darcy James Argue wrote: If musicians won't fight for our own interests, who will? Maybe the Virtual Orchestra Machine will put us all out of business one day. Who knows? This is true. And maybe short-term use of the Sinfonia will make it possible for more opera companies (and other performing organizations) to exist long-term, thereby creating more jobs for musicians. As you say, who knows? I certainly don't. I have no intention of embracing the Sinfonia, but I'm not sure I'm ready to reject it out of hand, either. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Note expression feature request
But then we'd lose all of the advantages of post Fin2004 text expressions. Also, articulations can only be a single character. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 29 Jan 2005, at 7:22 PM, Harold Owen wrote: Don, You could add text expressions to the Articulation Window. Then you could enter them like articulations. You can even set up key velocities for them. Hal Maybe this has been suggested before, but if it has I've missed it. I would love to be able to apply note expressions to a group of notes by drag selecting, just like we can articulations. It seems like such a natural I actually tried it once to see if the feature was implemented and I had just missed it. I realize we have measure expressions and staff lists, but for a lot of things, especially now that automatic note positioning is available, this would be quicker and more convenient. If not too many of you shoot a hole in my notion I'll send this of to Coda and request that any of you that like the idea follow suit. Thanks, Don Hart ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Harold Owen 2830 Emerald St., Eugene, OR 97403 mailto:[EMAIL PROTECTED] Visit my web site at: http://uoregon.edu/~hjowen FAX: (509) 461-3608 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: iKeys and flow control in sequences
On Jan 29, 2005, at 3:45 PM, Robert Patterson wrote: I downloaded iKeys 1.0.7 and like it alot. But the sequence tool does not provide any flow control commands (i.e., if/then/else) that I can find. I'd like to have it select a menu only if it is already checked or unchecked. (I have macros to turn on and off Show Active Layer Only.) FWIW: QKX lacked flow control when I originally investigated, which was one of my reasons for initial lack of enthusiasm. -- Robert Patterson iKey 1.07 has wait application title and wait window, that's it. Stay away from iKey 2 it's too weird for words. QK X 3 has just about everything now, including check menu checked/active/enabled. Very nice. steve ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
On 29 Jan 2005 at 5:29, Noel Stoutenburg wrote: David W. Fenton wrote: If that's the kind of obfuscation to be used, then the archive should not be public. If email addresses are obfuscated, they should be wholly obfuscated, and not available to either human or software viewers of the page. to which I would observe that with the processor speed these days, it's probably trivial to harvest email addresses out of the body of the message, not only those which are not obfuscated, but those which have been self-obfuscated. . . . By obfuscated, I mean not readable or constructable from the data displayed on the page. The archive that I saw that was obfuscated when viewed but not when googled had this for the email addresses: [email address hidden]. No computer could get the email address from that. Nor could a human being, and I don't mind that. . . . The heuristic for this would be simple: find every instance of net, com, c., and take the characters immediately preceding, discard any spaces, convert any instances of dot to a period, check the string immediately preceding that against a list of known domains, and convert any instances of at before the domain to the @ sign, and consider the characters preceding that to be a user name. I don't know if anyone has tested whether spammers are harvesting human-obfuscated email addresses -- it could be done by the same methodology that was used in the spam trap test a year or so ago, where it was found that by far the largest amount of spam was harvested from email addresses found on web pages (something like 75% of it vs. a relatively minuscule amount for the next highest source, Usenet, which was something like 10%). Somehow, I strongly doubt the spammers are being that clever. They are criminals, after all (in my opinion), and criminals are notoriously stupid people in general. Personally in my view, the most expedient solution to Spam, virii, and worms, is to do as I have done: next time you get a new computer, save the old one, remove everything from it except the OS, a browser, and internet related plug ins, and use only the Iomega network for transferring files from your internet machine to any other. Also, learn to use the filtering capabilities of your browers, create your own spam traps. Finally, regularly back up the email archives you wish to save. I don't get viruses. And the only way I could get rid of spam (temporarily) is to change email addresses. None of your advice above really helps either of those issues at all. Then, in the worst case, your internet machine is infected with a virus, it becomes trivial to low-level format the HDD, reinstall the OS and plug-ins, and restore archives. Viruses and spam are two wholly separate issues. I haven't had a virus infection since about 1997 or so (back when boot sector viruses were the most common), but I've been getting lots of spam. If you really want to have your main machines connected to the internet, set up a local server, and put in two firewalls, one between the internet connection and your bread-and-butter machines, and one between the internet connectiona dn your ISP's server. No one should connect their PC directly to the Internet. A full-scale firewall is not entirely required. A NAT router prevents any incoming connections from getting to your computer (unless you explicitly redirect the ports involved), and a software firewall on the PC will allow you to control outgoing connections in ways that dedicated firewall boxes never allow at all (i.e., you can authorize outgoing connections by application, which can never be known by an external device). -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] No Sound
I teach at a college where we have purchased a number of Fastlane MIDI interfaces. They are used mainly with Macs. However, I have WinXP laptop that I'm trying to use at the college for a lengthy, urgent project with the following equipment: * Fastlane interface * Fatar Studio 90 master controller with no internal sounds * Proformance/1 16-bit piano module * Amplified speakers * Finale 2005 This all works fine at home with a Roland MPU64 USB interface which I've updated with an XP driver. I'd prefer to be able to use the MOTU with Finale at the college (so I don't have to disconnect everything daily), but can get no sound through the Proformance module using the MOTU. The MOTU in/out lights come on appropriately, but there's no sound. We have tried every possible configuration with no luck. Could anyone tell us how to make this work as soon as possible? (Dr.) Patricia Spedden ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
At 4:53 PM -0500 1/29/05, [EMAIL PROTECTED] wrote: In a message dated 1/29/05 2:23:18 PM, [EMAIL PROTECTED] writes: What irony was that our work saved shows when musicians went on strike. Sorry, Hiro - that's bullshit. The show producers had planned for the strike by being ready to install the virtual orchestra to replace the striking musicians but they hadn't planned on the stagehands and Equity members to walk, too. The Virtual Orchestra never had the chance and saved nothing. I am happy you got paid well for a their failed attempt. I wondered about that. Thanks for the info. If the producers didn't expect union solidarity in NYC, they were fools! John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
On Jan 29, 2005, at 6:48 PM, Aaron Sherber wrote: Adequate according to whom? The musicians who played presumably felt adequately compensated, or they wouldn't have done the job. According to the Italian musicians guild, and the French musicians guild, and the AFM. Okay, but I'm not sure I accept the right of those groups to define adequate. You can say they weren't paid to scale, which is something quite different. You don't accept the right of a group who stands to get screwed royally (musicians) by a large company to collectively negotiate fair wages and working conditions??!! Most independent contractors already have problems negotiating fair (read: adequate) wages, and musicians are even more likely to get the short end of the stick. I am the first one to admit that musicians are only TOO willing to accept inadequate wages and conditions, but their willingness to be screwed does not make it right when some employer is making big bucks off of them. The union can be negotiated with in cases of new or troubled productions, but you can be sure that once this Sinfonia machine gets common use, EVERYONE will want to use it at the expense of show quality. Well, this gets at something which I think is true, unfortunately: While I have been talking from my point of view, as a performer who would like nothing better than to be able to afford a full orchestra for all performances, there are also those who are just looking to make a buck, regardless of quality. Yes, not everyone will see the Sinfonia as a stopgap, and some people are eagerly looking to it as a cheaper way of putting on shows, forever. And I also understand, reluctantly, that since the union has no way of judging intent, they have to act as though everyone is a mercenary at heart. But this can make it very difficult for those of us who are not. And this is at the heart of one of the biggest problems with the AFM, and many other unions as well. The leader of the band, who is a union member and ostensibly the representative of his sidemen, is in a conflict of interest when he talks to the client. He needs the keep the band's interest at heart, but the client's needs (and his own need as a leader to seal the deal) put him on the opposite side of the negotiating table. There have to be limits to a completely free market (at least, in the world I want to live in!) Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
On 29 Jan 2005 at 9:24, Noel Stoutenburg wrote: Christopher's report: I enabled a new address a few months ago, but didn't use it, or even configure it, for a couple of weeks. The first time I entered all my information into Mail and went to check that it was operational, I had two pieces of spam waiting for me, dated one week previously and two weeks previously (remember that I hadn't given this email address to ANYONE yet!) I was a little taken aback, to say the least! leads me to the speculate a bit. When you set up an email account, your ID is placed in some table. Now if a person, not necessarily associated with your ISP knows the address of that table, and how to access it's contents, it would be trivial to read the table on a routine basis, and find out the new user names, and determine which are no longer in the table. The only place that an email address is kept is in the configuration data for an ISP. By default, those files should be inaccessible to outsiders. It would depend on the email username Christopher set up, but my guess is that the source is either an algorithmic crack (using common email usernames) or the address was actually published somewhere, like in a WHOIS listing. I set up dfenton.com in early December and set up a half dozen or so email addresses. I have yet to receive a single piece of spam. I certainly see a number of machines connecting to the site (even though it's never been publicized anywhere), but I assume those somehow got their information from WHOIS and that most are attempted exploits of Windows-based web servers running the execrable IIS (which my host is not -- Apache all the way!). I have only one address on my domain protected by challenge/response, the address I most want to protect from spam (and which I'm never going to use publicly). That address could be algorithmicly constructed from my domain name, and that's why I have locked it up and intend not to use it. I don't think Christopher's case is one of the ISP's records being compromised. I think it's more likely that the ISP provided the address to someone who published it in a manner that allowed it to be harvested by a spammer. That's why I'm glad my ISP knows nothing about the email addresses I'm setting up on my domain. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
On 29 Jan 2005 at 10:37, Aaron Sherber wrote: At 10:24 AM 01/29/2005, Noel Stoutenburg wrote: leads me to the speculate a bit. When you set up an email account, your ID is placed in some table. Now if a person, not necessarily associated with your ISP knows the address of that table, and how to access it's contents, it would be trivial to read the table on a routine basis, and find out the new user names, and determine which are no longer in the table. I'm not sure how this is done technically, but I know for a fact that there is a certain amount of spam delivered by a method similar to this. For a couple of years, mail for sherber.com was handled by Everyone.net. At the beginning of January, I switched all hosting to a new hosting service. Even today, when there are presumably no MX records anywhere on the Internet linking sherber.com to Everyone.net, I am still receiving a trickle of spam in the box at Everyone.net (the account is still active there). The only way this could happen is if someone accesses the SMTP server at Everyone.net and gets a list of all accounts on the server (or marks a message for delivery to all existing accounts, or some such thing). Eh? If the account existed and was on spammers' lists before you shut down the Everyone.net hosting, then it's just leftover and coming through just because the account is still active (or you have crazily set up a catch-all, which is useless in the age of spam, in my opinion). If you shut down the Everyone.net host entirely, the spammers would still be sending to those email addresses, they just wouldn't go anywhere. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
David W. Fenton wrote: No one should connect their PC directly to the Internet. A full-scale firewall is not entirely required. A NAT router prevents any incoming connections from getting to your computer (unless you explicitly redirect the ports involved), and a software firewall on the PC will allow you to control outgoing connections in ways that dedicated firewall boxes never allow at all (i.e., you can authorize outgoing connections by application, which can never be known by an external device). Unless there's some incentive for ISPs to provide expensive routers (instead of cheap USB ADSL modems), this won't happen. And most people don't understand that there's a big risk through poor security - the tiny minority who get stung by dialers or by phishing or whatever are enough to pay the wages of all the criminals involved. We 'happy many' just get stuck with endless spam that's eventually going to pick out those hapless individuals. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
On 29 Jan 2005 at 14:23, Aaron Sherber wrote: At 02:11 PM 01/29/2005, Carl Dershem wrote: Aaron Sherber wrote: Devil's advocate, for a moment: Why couldn't the musicians left without a gig sharpen *their* computer skills, and use their advanced musicianship to help make sampled or sequenced performances better? Oh, yeah - that pays so well, pays *off* so well (in terms of performance, sharpening your computer skills is a non-issue, unless youre a computer performance person), and really benefits a liver performance. Christopher was suggesting (I think) that hand engravers put out of work by computer engravers put their superior knowledge and professional competencies to excellent use by learning to do the same thing on a computer. (Apologies if I've misread.) Why is it reasonable to suggest that one group of people apply their skills in another area, but not another group? No one, in any field, is promised available employment for life. Because the two situations are completely different. An engraver creates master scores/parts that are reproduced an infinite number of time, whether she uses pens and ink or Finale. A performing musician gets paid for each time the sit down and play the music. If they only play it once to produce the MIDI version, then they aren't going to get paid as much (what would be the point of paying the same amount of money for what is obviously a lesser result?). Even if you argue that they *shouldn't* be paid as much, since they can now service a lot more shows in the same amount of time, what you are *now* suggesting is that the number of musicians should vastly shrink. I don't doubt that it wouldn't take fewer than 25 people to produce MIDI versions of every Broadway musical on the boards in any season. That's a lot fewer than the number of musicians being hired to play for those shows. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
At 07:47 PM 01/29/2005, Christopher Smith wrote: You don't accept the right of a group who stands to get screwed royally (musicians) by a large company to collectively negotiate fair wages and working conditions??!! No, that's not what I said. I'm not questioning the principle of unionization. I'm just saying that what the union calls adequate, (i.e., scale) does not make for a universal definition of adequate. Some people will argue that union scale ought to be higher; others that it is higher than needed. I only meant that when you said that musicians were not paid adequately, it might have been more precise to say that they were not paid scale for their services. I am the first one to admit that musicians are only TOO willing to accept inadequate wages and conditions, but their willingness to be screwed does not make it right when some employer is making big bucks off of them. I agree with the second part of your statement, though again I think this points to an important difference between the world of Broadway mega-hits and the world of opera and dance. The first part of your statement I think depends on one's definition of adequate. And I don't think I want to delve further into that discussion right now. g He needs the keep the band's interest at heart, but the client's needs (and his own need as a leader to seal the deal) put him on the opposite side of the negotiating table. I hadn't thought of it quite this way, but I see your point. This is another way of stating the issue we brought up before: Is it better to have some employment at less than the wage you wanted, or no employment at all? Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
On 29 Jan 2005 at 13:12, Dennis Bathory-Kitsz wrote: I'm one of those who prefers to listen to recordings or watch films. But were it not for repeated live performances before audiences, it would not be possible to get recorded preformances that hold up under repeated listening. It's the regular performance (not rehearsal) that, in my opinion, makes musical performances grow to the point where they gain depth. I have worked with the retired opera singer Olivia Stapp the past two years at the California Music Festival, and she was ruminating at one point about what an impossible task we set ourselves at the Festival -- last year, for instance, singers started blocking Handel's Alcina on Monday, and then performed the whole thing in public a mere 10 days later, with two casts, so the two performances were not multiple public performances for all the singers. She said that when she was actively performing she never really felt she had a role under her belt until she'd sung it on stage in public 15 or 20 times. I couldn't agree with here more. It takes a long time for one to absorb major works of music (or even minor ones), and public performance is the crucible through which the raw musical ideas are converted into something more than just a run- through. In my own current performing as a member of the NYU Collegium I definitely find that second performances almost always have a lot more in them than first performances. This past fall we gave a concert as part of the New York Early Music Celebration (we were the only student group involved in any way), and on this concert we revived pieces that mostly came from our previous two concerts (a couple of pieces were revived from a couple of years before). *Everything* went better than the first time around, even though we had vastly less rehearsal time (one of our performers flew in from Texas 6 days before the concert, and he was performing 1/3 of the pieces on the concert). Perhaps all of this is one of the reasons composers are often dissatisfied with first performances of their pieces, precisely because it's impossible in any first performance to accomplish more than just scratching the surface. If new music works could get 15 or 20 performances by the same group, maybe folks like Dennis would not be so bitter about the results. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
At 07:53 PM 01/29/2005, David W. Fenton wrote: Eh? If the account existed and was on spammers' lists before you shut down the Everyone.net hosting, then it's just leftover and coming through just because the account is still active (or you have crazily set up a catch-all, which is useless in the age of spam, in my opinion). If you shut down the Everyone.net host entirely, the spammers would still be sending to those email addresses, they just wouldn't go anywhere. My email address is the same as it was (now I'm reluctant to even mention it, but it's in the header of this email g). A month ago, I changed the MX records for sherber.com from Everyone.net to a different hosting service. DNS takes two or three days to propagate, but surely after 4 weeks there can't be any DNS records still pointing to Everyone.net. The sherber.com *account* still exists at Everyone.net, since I just haven't gotten around to cancelling, and so I can still log in to webmail there -- and when I do there are a few new spam messages each day. Since any legitimately sent email would pick up the new MX record and wind up at my new host, I conclude that the only way spam winds up in the Everyone.net box is by hacking the Everyone.net SMTP server. But I'm willing to listen to other explanations. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan
On 29 Jan 2005 at 20:52, Owain Sutton wrote: Darcy James Argue wrote: Because on the Mac, Safari is still a better overall browser. Also, Firefox doesn't even support scroll wheel clicks (middle button) to open a link in a new tab. That makes its tab implementation useless to me. I presume that's a Mac-specific flaw? It's never been an issue for me with either Firefox or Mozilla on a PC (or on Linux). It's not a flaw in the Mac, but caused by two basic issues: 1. there are a lot fewer developers devoting their time to the Mozilla/Firebird versions for Mac. 2. Firebird originated as a Windows-only program specifically tailored to the Windows OS (one of the justifications for creating it was that the Mozilla widgets were too slow and non-standard), so Firebird for *any* platform other than Windows has been slower to develop than it was on Windows. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
On Jan 29, 2005, at 5:10 PM, David W. Fenton wrote: On 29 Jan 2005 at 13:12, Dennis Bathory-Kitsz wrote: I'm one of those who prefers to listen to recordings or watch films. But were it not for repeated live performances before audiences, it would not be possible to get recorded preformances that hold up under repeated listening. It's the regular performance (not rehearsal) that, in my opinion, makes musical performances grow to the point where they gain depth. Oh yes, oh yes, David! Not until you think you are bored with the piece do you get a chance to dig deep enough for the best performance. Then, and only then, are you ready to perform it well, and you are stuck doing it multiple times, because that's what you have prepared. Most of the time, I don't mind this, but it is what caused Glenn Gould to renounce performing for the activity of perfecting performances, committing them to recordings, and then going on to other pieces. Chuck Of course, I also agree with what is said below. I have worked with the retired opera singer Olivia Stapp the past two years at the California Music Festival, and she was ruminating at one point about what an impossible task we set ourselves at the Festival -- last year, for instance, singers started blocking Handel's Alcina on Monday, and then performed the whole thing in public a mere 10 days later, with two casts, so the two performances were not multiple public performances for all the singers. She said that when she was actively performing she never really felt she had a role under her belt until she'd sung it on stage in public 15 or 20 times. I couldn't agree with here more. It takes a long time for one to absorb major works of music (or even minor ones), and public performance is the crucible through which the raw musical ideas are converted into something more than just a run- through. In my own current performing as a member of the NYU Collegium I definitely find that second performances almost always have a lot more in them than first performances. This past fall we gave a concert as part of the New York Early Music Celebration (we were the only student group involved in any way), and on this concert we revived pieces that mostly came from our previous two concerts (a couple of pieces were revived from a couple of years before). *Everything* went better than the first time around, even though we had vastly less rehearsal time (one of our performers flew in from Texas 6 days before the concert, and he was performing 1/3 of the pieces on the concert). Perhaps all of this is one of the reasons composers are often dissatisfied with first performances of their pieces, precisely because it's impossible in any first performance to accomplish more than just scratching the surface. If new music works could get 15 or 20 performances by the same group, maybe folks like Dennis would not be so bitter about the results. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
On 29 Jan 2005 at 20:09, Aaron Sherber wrote: At 07:53 PM 01/29/2005, David W. Fenton wrote: Eh? If the account existed and was on spammers' lists before you shut down the Everyone.net hosting, then it's just leftover and coming through just because the account is still active (or you have crazily set up a catch-all, which is useless in the age of spam, in my opinion). If you shut down the Everyone.net host entirely, the spammers would still be sending to those email addresses, they just wouldn't go anywhere. My email address is the same as it was (now I'm reluctant to even mention it, but it's in the header of this email g). A month ago, I changed the MX records for sherber.com from Everyone.net to a different hosting service. DNS takes two or three days to propagate, but surely after 4 weeks there can't be any DNS records still pointing to Everyone.net. The sherber.com *account* still exists at Everyone.net, since I just haven't gotten around to cancelling, and so I can still log in to webmail there -- and when I do there are a few new spam messages each day. Since any legitimately sent email would pick up the new MX record and wind up at my new host, I conclude that the only way spam winds up in the Everyone.net box is by hacking the Everyone.net SMTP server. But I'm willing to listen to other explanations. I strongly doubt that's a valid explanation. Much more likely is that the spammers are using an SMTP program that caches the DNS information for too long. I think too many people are willing to scream HACKERS! instead of thinking about valid explanations that don't involve nefarious activity. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] The ARCHIVE Password
At 08:34 PM 01/29/2005, David W. Fenton wrote: I strongly doubt that's a valid explanation. Much more likely is that the spammers are using an SMTP program that caches the DNS information for too long. Yes, that's also possible. A random sampling of the headers of these emails shows that the first Received header is from the originating machine and by the Everyone.net SMTP server; most legitimate email I get has a first Received header from the originating machine and by *their* SMTP server (or their ISP's SMTP server). I assumed this meant that they were somehow getting information directly from Everyone.net, but I suppose they could just have their own very outdated DNS info and are sending things direct to target SMTP servers. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] GPOKeySwitches
Hello JT, I downloaded the GPO KeySwitches file from the Garritan site. First I got the zip one, which unzipped as a .mus file. The next time, I tried the other link and got the .lib file. In both cases, when I put them in the Mac 2005a Library folder, and then try to load the library, the file is grayed out. What did I do wrong? By the way, this is a fabulous idea. Thanks for sharing it with us. Now if only someone would rewrite the CC64 for slurs file so we Mac folks can use it . . . Thanks, David Froom ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Live performance versus recordings WAS:Garritan and other stuff
I haven't followed this whole thread, so forgive me if I'm reinventing the wheel ... I think it's a shame when folk prefer recordings to live performances. Sometimes it is only because they have not experienced live music, or not often enough. Some young people have huge expectations of live performances, expecting them to sound the same as a CD. And, as a music teacher in schools for 18 years, and of piano students for 36 years [many of those concurrent, may I hasten to add!] I find kids hate classical music because their experience of it is of 10 seconds on TV or radio, or on a CD in a music classroom. I think many more would be hooked, if we could get 'em to concerts. I always loved Vaughan Williams Fantasia on a theme of Thomas Tallis, but on hearing it live, discovered it was performed by 2 string orchestras, facing one another. It was a completely different experience to listening to a CD. Also enjoyed William Tell Overture, though recordings often feature only the Lone Ranger bit! But in a live concert, to see the choir of cellos in the front of the orchestra for the beginning section, gives a whole different feeling than listening on a CD. David McKay www.davidmckay.info __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Live versus recorded
Some contemporary music leaves me cold on recordings, though it may work well in a movie, but can be absorbing in a concert. I have some great recordings of choral music, but live performances of great choirs make the hairs stand up on the back of my head. [Still got a few, there!] David McKay www.davidmckay.info __ Do you Yahoo!? Yahoo! Mail - Helps protect you from nasty viruses. http://promotions.yahoo.com/new_mail ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] No Sound
Patricia, My immediate reaction to your problem description is that the MIDI setup of the Proformance module at college differs from the setup on the tone generator which you use at home in some way related to either MIDI channel numbers or program numbers. Simply put, the equipment at home responds to the note on / off messages etc on the MIDI channels generated by Finale playback whereas the Proformance module at college ignores messages on the same channel(s). I assume that the Finale setup remains the same in each situation. You do not give enough detail about equipmet connections and setups to enable a good diagnosis and I am not familiar with any of the equipment you might be using other than Finale, but I would look at the following matters to ensure that both tone generators are setup compatibly: 1)Does the Proformance respond to the program numbers generated by Finale playback? I understand it is limited to 16 piano sounds; what program numbers does it respond to? I.e. is the instrument assignment (=program number assignment) in your Finale file compatible with the Proformance's capabilites? Therefore make sure that the MIDI program numbers generated by Finale are suitable. 2)Make sure that Finale Playback is generating messages on MIDI channels accessible by the Proformance module. Because it is a piano module, I assume that it is necessary for Finale to generate messages on a single channel only. If Finale is generating on several channels then the situation can be very problematical. Your home equipment might be set up to respond on all channels generated in your Finale setup, whereas the Proformance may not respond to the same channels. 3)So, is the Proformance responding to the to the same MIDI channels as your home sound module? Check the MIDI mode in which each generator is operating, considering in particular Mode 1 (Omni Mode = Omni On/Poly) vs Mode 3 (Poly Mode = Omni Off/Poly). In a studio situation with other synthesizers available, it is quite likely that a module like the Proformance would be setup to operate in Poly Mode; whereas a single synthesizer at home might default to Omni Mode for convenience. 4)If the Proformance is in Poly Mode and set to channel X, make sure that Finale playback generates on channel X also. If your home generator is also in Poly Mode you will need to change its channel number to X to match, but you need not change it if it is in Omni Mode. 5)If the Proformance is in Omni Mode and the program numbers are compatible then I can only suggest that the Proformance is not receiving any note messages and you should look at what might be happening at other points on the signal path between your laptop and the Proformance module. Kenneth Kuhlmann [EMAIL PROTECTED] - Original Message - From: Patricia Spedden [EMAIL PROTECTED] To: finale@shsu.edu Sent: Saturday, January 29, 2005 7:48 PM Subject: [Finale] No Sound I teach at a college where we have purchased a number of Fastlane MIDI interfaces. They are used mainly with Macs. However, I have WinXP laptop that I'm trying to use at the college for a lengthy, urgent project with the following equipment: * Fastlane interface * Fatar Studio 90 master controller with no internal sounds * Proformance/1 16-bit piano module * Amplified speakers * Finale 2005 This all works fine at home with a Roland MPU64 USB interface which I've updated with an XP driver. I'd prefer to be able to use the MOTU with Finale at the college (so I don't have to disconnect everything daily), but can get no sound through the Proformance module using the MOTU. The MOTU in/out lights come on appropriately, but there's no sound. We have tried every possible configuration with no luck. Could anyone tell us how to make this work as soon as possible? (Dr.) Patricia Spedden ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Performance/recording
At 03:22 PM 1/29/05 -0500, A-NO-NE Music wrote: In my life, I have three live concerts which my tears couldn't stop coming out during the show. [...] Then you are at concerts for a different reason than I am. All I want is the music, not personalities of performers in the way. (And I did say that improv-based music is different -- the music is re-invented in the performance.) What interested me about the discussion was talking about replacements for musicians ... so far I'll trade all your tears for recordings where the notes are actually right. And it won't be long before virtual orchestras have every bit as much contouring as pro performers have, but (to my taste, fortunately) without all that performer stuff in the way. :) Don't get me wrong. I have performed and conducted and still do, but only because no one else does the material I did. Early American choral before the renewed interest created a body of recordings, free medieval and Renaissance concerts in an urban community without access to it, and post-Fluxus performance art and extended vocal work even today. But once a piece is done and recorded, it's done. Maybe somebody wants a different take. That's fine. But the hundreds of undifferentiated classical performances of the same stuff are to my mind just plain stupid. Save your $40 ticket and go buy a bottle of wine, some spicy take-out, and a $2.99 CD and have a better-sounding copy you can hear anytime and relive the moment. At 10:33 AM 1/29/05 -0800, Mariposa Symphony Orchestra wrote: BUT: to have that communal experience with a great orchestra under a great conductor in a great hall with great acoustics: Yeah. Easy choice. I've been to concerts in great halls with great orchestras and great conductors. Maybe not as many as most here because I get bored quickly by concerts. And I just don't remember anything about them except the extra-musical part -- Bernstein hopping up and down during some Mahler, Stravinsky's plain conducting in Sacre, Copland's microscopic motions during something of his, the demeanor of the Czech Chamber the night their country was invaded, Kubelik at Carnegie switching conducting hands during a Martinu piece to mop his brow, some painfully bad male singing in Lulu (the earlier truncated version) at the Met, the yawning horn player during something Chailly conducted at the Concertgebouw... but the music itself? Nothing. All better on recordings. At 09:49 PM 1/29/05 +0100, Daniel Wolf wrote: The upshot of all this has been that I've had no enthusisasm about producing recordings of my own music, and have really begun to think of my music as tailored for concert, live broadcast, and private playing. I think that the greater possibilities of electronic play-back from scores will change this somewhat, but the ramifications of this are still pretty vague to me. The de facto way of hearing music today is on recording. I'm not going to try to convince you that's good -- though it would be nice to hear your music more than by chance someday, somewhere. But likely I'll never hear you in concert except by accident. Most composers whose work I've come to know and love has been via CD (or downloads now). The way things are set up today, going to a concert means getting ready, dealing with getting there, paying a bundle for one play and all its mistakes, listening through other junk you didn't want to hear, probably getting bad seats since so few are really good, being around noisy people, and worst of all -- having no reverse-scan button, which I can't live without. :) I appreciate the private playing part. There is a communal nature that's fun -- but that's not performance. That's a physical exchange with its own rewards. Performers do what they do, and get fulfillment from it. And I enjoy sitting in on rehearsals of my music (moreso if the rehearsal is for a recording). As far as score playback goes, that's on the way. And the effect will be dramatic. I look forward to it. At 08:10 PM 1/29/05 -0500, David W. Fenton wrote: But were it not for repeated live performances before audiences, it would not be possible to get recorded preformances that hold up under repeated listening. If the music is played correctly, the recording will hold up just fine for me. I have shelves of recordings by third-string groups that are completely listenable. In any case, I'll pass on those idiosyncratic emotional readings that 'hold up under repeated listening' for other people. All I hear is the conductor and the players getting in the way of the music after a while -- very, very annoying. (What comes to mind immediately is the ten bucks I wasted on a recording of Casals snorting through Mozarts EKN.) Perhaps all of this is one of the reasons composers are often dissatisfied with first performances of their pieces, precisely because it's impossible in any first performance to accomplish more than just scratching the surface. If new music works could get 15 or 20
RE: [Finale] No Sound
Thank you so much for your speedy response. When I go to the college on Monday (it's some distance away), I'll check out every one of your suggestions. Thus far, It's been such a waste of time very frustrating. Hopefully, one of your suggestions will solve this. Patricia Spedden From: [EMAIL PROTECTED] on behalf of Kenneth Kuhlmann Sent: Sat 1/29/2005 9:21 PM To: finale@shsu.edu Subject: Re: [Finale] No Sound Patricia, My immediate reaction to your problem description is that the MIDI setup of the Proformance module at college differs from the setup on the tone generator which you use at home in some way related to either MIDI channel numbers or program numbers. Simply put, the equipment at home responds to the note on / off messages etc on the MIDI channels generated by Finale playback whereas the Proformance module at college ignores messages on the same channel(s). I assume that the Finale setup remains the same in each situation. You do not give enough detail about equipmet connections and setups to enable a good diagnosis and I am not familiar with any of the equipment you might be using other than Finale, but I would look at the following matters to ensure that both tone generators are setup compatibly: 1)Does the Proformance respond to the program numbers generated by Finale playback? I understand it is limited to 16 piano sounds; what program numbers does it respond to? I.e. is the instrument assignment (=program number assignment) in your Finale file compatible with the Proformance's capabilites? Therefore make sure that the MIDI program numbers generated by Finale are suitable. 2)Make sure that Finale Playback is generating messages on MIDI channels accessible by the Proformance module. Because it is a piano module, I assume that it is necessary for Finale to generate messages on a single channel only. If Finale is generating on several channels then the situation can be very problematical. Your home equipment might be set up to respond on all channels generated in your Finale setup, whereas the Proformance may not respond to the same channels. 3)So, is the Proformance responding to the to the same MIDI channels as your home sound module? Check the MIDI mode in which each generator is operating, considering in particular Mode 1 (Omni Mode = Omni On/Poly) vs Mode 3 (Poly Mode = Omni Off/Poly). In a studio situation with other synthesizers available, it is quite likely that a module like the Proformance would be setup to operate in Poly Mode; whereas a single synthesizer at home might default to Omni Mode for convenience. 4)If the Proformance is in Poly Mode and set to channel X, make sure that Finale playback generates on channel X also. If your home generator is also in Poly Mode you will need to change its channel number to X to match, but you need not change it if it is in Omni Mode. 5)If the Proformance is in Omni Mode and the program numbers are compatible then I can only suggest that the Proformance is not receiving any note messages and you should look at what might be happening at other points on the signal path between your laptop and the Proformance module. Kenneth Kuhlmann [EMAIL PROTECTED] - Original Message - From: Patricia Spedden [EMAIL PROTECTED] To: finale@shsu.edu Sent: Saturday, January 29, 2005 7:48 PM Subject: [Finale] No Sound I teach at a college where we have purchased a number of Fastlane MIDI interfaces. They are used mainly with Macs. However, I have WinXP laptop that I'm trying to use at the college for a lengthy, urgent project with the following equipment: * Fastlane interface * Fatar Studio 90 master controller with no internal sounds * Proformance/1 16-bit piano module * Amplified speakers * Finale 2005 This all works fine at home with a Roland MPU64 USB interface which I've updated with an XP driver. I'd prefer to be able to use the MOTU with Finale at the college (so I don't have to disconnect everything daily), but can get no sound through the Proformance module using the MOTU. The MOTU in/out lights come on appropriately, but there's no sound. We have tried every possible configuration with no luck. Could anyone tell us how to make this work as soon as possible? (Dr.) Patricia Spedden ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale winmail.dat___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Performance/recording
Wow. If it's just about 'getting it right' then we can all go home. No live performance - no CD, no matter how many takes it's been mastered from -- no account can ever be perfectly perfectly dead-on absolutely-as-it-can-be right on the money perfect. Or -- merely be'gottenright.' But that's not really what it's all about, at lenot ast in my book. I've got a community here (and I hate to generalize, but why not?) which -- for the most part -- was musically naive before I put together this little community orchestra of 50. Really -- it's very rural; many old-time families whose genealogy traces theiranticedents back 150 to the gold rush days (time immemorial for California) and in many ways this area hasn't been touched byprogress. There's of course influence from outside; I mean they do got real runnin' water and indoor plumbin', but there wasn't much -- if anything in theway of live classical performances. Sure, I've been told Les MarsdenFounding Music Director and Conductor, The Mariposa Symphony OrchestraMusic and Mariposa? Ah, Paradise!!! http://arts-mariposa.org/symphony.htmlhttp://www.sierratel.com/mcf/nprc/mso.htm - Original Message - From: Dennis Bathory-Kitsz To: finale@shsu.edu Sent: Saturday, January 29, 2005 6:33 PM Subject: Re: [Finale] Performance/recording At 03:22 PM 1/29/05 -0500, A-NO-NE Music wrote:In my life, I have three live concerts which my tears couldn't stopcoming out during the show. [...]Then you are at concerts for a different reason than I am. All I want isthe music, not personalities of performers in the way. (And I did say thatimprov-based music is different -- the music is re-invented in theperformance.) What interested me about the discussion was talking aboutreplacements for musicians ... so far I'll trade all your tears forrecordings where the notes are actually right. And it won't be long beforevirtual orchestras have every bit as much contouring as pro performershave, but (to my taste, fortunately) without all that performer "stuff" inthe way. :)Don't get me wrong. I have performed and conducted and still do, but onlybecause no one else does the material I did. Early American choral beforethe renewed interest created a body of recordings, free medieval andRenaissance concerts in an urban community without access to it, andpost-Fluxus performance art and extended vocal work even today.But once a piece is done and recorded, it's done. Maybe somebody wants adifferent take. That's fine. But the hundreds of undifferentiated classicalperformances of the same stuff are to my mind just plain stupid. Save your$40 ticket and go buy a bottle of wine, some spicy take-out, and a $2.99 CDand have a better-sounding copy you can hear anytime and relive the moment.At 10:33 AM 1/29/05 -0800, Mariposa Symphony Orchestra wrote:BUT: to have that communal experience with a great orchestra under a great conductor in a great hall with great acoustics: Yeah. Easy choice.I've been to concerts in great halls with great orchestras and greatconductors. Maybe not as many as most here because I get bored quickly byconcerts. And I just don't remember anything about them except theextra-musical part -- Bernstein hopping up and down during some Mahler,Stravinsky's plain conducting in Sacre, Copland's microscopic motionsduring something of his, the demeanor of the Czech Chamber the night theircountry was invaded, Kubelik at Carnegie switching conducting hands duringa Martinu piece to mop his brow, some painfully bad male singing in Lulu(the earlier truncated version) at the Met, the yawning horn player duringsomething Chailly conducted at the Concertgebouw... but the music itself?Nothing. All better on recordings.At 09:49 PM 1/29/05 +0100, Daniel Wolf wrote:The upshot of all this has been that I've had no enthusisasm about producing recordings of my own music, and have really begun to think of my music as tailored for concert, live broadcast, and private playing. I think that the greater possibilities of electronic play-back from scores will change this somewhat, but the ramifications of this are still pretty vague to me.The de facto way of hearing music today is on recording. I'm not going totry to convince you that's good -- though it would be nice to hear yourmusic more than by chance someday, somewhere. But likely I'll never hearyou in concert except by accident. Most composers whose work I've come toknow and love has been via CD (or downloads now). The way things are set uptoday, going to a concert means getting ready, dealing with getting there,paying a bundle for one play and all its mistakes, listening through otherjunk you didn't want to hear, probably getting bad seats since so few arereally good, being around noisy people, and worst of all -- having noreverse-scan button, which I
Re: [Finale] Performance/recording
Mariposa Symphony Orchestra wrote: Wow. If it's just about 'getting it right' then we can all go home. No live performance - no CD, no matter how many takes it's been mastered from -- no account can ever be perfectly perfectly dead-on absolutely-as-it-can-be right on the money perfect. Or -- merely be 'gotten right.' But that's not really what it's all about, at lenot ast in my book. Besides which, right varies from performance to performance. What works tonight with this audience may not work tomorrow with that audience. Music is more than just the notes, after all. cd ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] LONG - SORRY - Performance/recording
Sorry -- this slipped out of my hands incomplete a few minutes ago; here's the whole thing: Wow. If it's just about 'getting it right' then we can all go home. No live performance - no CD, no matter how many takes it's been mastered from -- no account can ever be perfectly perfectly dead-on absolutely-as-it-can-be right-on-the-money perfect. Or -- merely be'gottenright.' But that's not really what it's all about, at least not in my book. I moved my family here - Mariposa, Ca, just outside Yosemite National Park - from Manhattan in 2001 after an onstage accident which ended my career as an actor. Manhattan, LA, London etc for 20-some years. The smorgasboard of the Arts. But you all know that; many of you still live in Manhattan. Or LA or London. Or Boston or DC or Paris or Toronto or any of the other great cities with a huge variety of live performances from which to choose. Andsomy wife and I decided - with retirement at age 44 and nothing but time on our hands - that this area (which we knew well from our travels) was where we wanted to raise our young son. I've got a community here (and I hate to generalize, but why not?) which -- for the most part -- was in many ways musically naive before I put together this little community orchestra of 50. Really -- it's very rural; many old-time families whose genealogy traces theirantecedents back 150 yearsto the gold rush days (time immemorial for California) and in many ways this area hasn't been overwhelmed byprogress. There's of course influence from outside; I mean they do got real runnin' water and indoor plumbin', but there wasn't much -- if anything in theway of live classical performances. Sure -- they've heard of LPs and CDs and the Tee Vee and all that, but: as a newcomer to this areaI was warned prior to our first concert to expect a very small turnout. Our home theatre (built in 1937 as a WPA project) seats 400; but guess what? The tickets were sold out almost as soon as they went on sale with a huge SRO contingent -- and every concert since that first one in December 2002 has been the same. Becausemaybe for some a recording is just good enough -- particularly one which just somehow 'gets it right' but that's not good enough for me. For some that amazing experience of coming together to hear LIVE music played by live performers -- even if they're not the most accomplished or experienced performers capable of 'getting it right' is better than a glossy, sumptuousCD of of a live performance which, once captured, is really -- dead. How does the orchestra sound? Well, they've grown enormously in the past two years from the 11-year-oldfirst violinist to the 80-year old second; I've just gotten (finally) TWO trombones (from a town 45 minutes away with its own'professional' orchestra comprised of ringers brought in from three hours away.) If I could only find a reliable bassoonist I'd really be in business; until then I'll keep my bass clarinetist busy, indeed. Butyou know what? We've got an audience that doesn't care if there aren't really 50 strings and 8 horns; they come for the special experience of hearing live music. And we're not just talking about locals comingtohear Uncle Howard or cousin Isabel; we're developing an audience from far outside our area with few - if any - ties to our players. Or me. I am still overwhelmed with the change that has happened here -- people have begun to know the difference between Beethoven and Tchaikovsky, to find that they may prefer Mozart toVivaldi, that Dvorak's name is really pronounced that way and he wrote something other than that 'Goin' Home' song? Guess what? They're getting hip! They're getting informed -- and they're getting really really fascinated by this music. Evenm though it's just live, imperfect, and they sometimes forget and clap between movements. But I don't mind. That shows me how much they're enjoying the experience.That and the touchdown cheers at the ends of concerts and the lines of people with questions and the fact that there's actually a palpable buzz for a few days after each concert: 'did you hear how beautiful that --' 'I had no idea she could play like --' 'I wonder what else he wrote?' Yeah, I love CDs; I've got CDs coming out my ears;I've got all the Bruckner Symphonies on CD -- and not just all nine plus "0" and "00" - I've got 'em ALL in ALL thevarious versions! Schalk, Löwe, Haas, originals; if it's been recorded, I've got it. Anyone else know the recorded works of Heraclius Djabadary?Interesting stuff! I love CDs!But -- for me -- they're ultimately a great reference tool and documents of a performancebut as a communicative art form: dead. Once magic has been captured, it's no longer magic. Canned, synthesized orchestra? Interesting concept -- for some sort of necrophilharmonic. Which is why I'm damned proud when my unions - Actors' Equity, SAG, AFTRA -- stand in unity against anyone trying to do
Re: [Finale] Performance/recording
Dennis Bathory-Kitsz / 05.1.29 / 09:33 PM wrote: Then you are at concerts for a different reason than I am. All I want is the music, not personalities of performers in the way. (And I did say that improv-based music is different -- the music is re-invented in the performance.) When I said 'I was moved by trombone section blew into my face', I meant the power of the emotion traveled in the air to me. When I first experienced Berliner Philharmoniker in London, my jaw dropped by the beauty of single held note from the entire violin section. It was nothing like what I used to hear on CD. I still don't get it how you can expect to feel the organic instrument sound in the air from speakers. I can't. This is also why I need acoustic piano when I write. On the other hand, my studio does a lot of mixing those which type of music are often performed live amplified, and that's a totally different story, that I have no problem listening with speakers. Last year I performed jazz improv for CIMP Record who capture the live performance (not public show but controlled environment) unedited/ unmodified. Irony, the end product made me feel I would had used compressor, micking this and that solos, etc, instead of being that organic :-) -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Metronome Value Question
Little OT. This is my long time question that I was too embarrassed to ask, while this list seems to have the best resources. Please forgive me if this is too dumb. I was always wondering how metronome value are divided, meaning, I am used to increment by two from 40 up to 60, but I have never seen 62. It's 60, 63, 66, 69, 72. But next is not 75. It's 76, is it not? I always _felt_ this is something to do with how human naturally relates to pulse, but it could had only been my imagination. Is there any rule to this? Or is this even a common practice? Any help once for all would be appreciated. :-) -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] up grade advice
Chiming in. The new architecture from Apple is always half-baked. Remember Yikes, the pathetic first gen G4, G4 chip on a G3 motherboard? The first gen QS (the cheese grader) had the power supply problem. The first gen G5 had the shielding problem that effect clock source, the crystal for our DAW use. Just like that. I just bought G5 Dual-2.5 a couple days ago after long research. I always buy something I have enough data to be comfortable with. My previous one was G4 Dual-450. I waited long enough to learn dual proc is what DPS developers are coding for. Know what you are buying is most important. This G5, I didn't want surprises, and I decided knowing it's problems. The current G5 has FW bug, mainly caused by AMD chip which Apple has no control over it and AMD has no intention to fix. Since I use FW audio interfaces, I had to go deeper research to make sure this won't cost me. Another issue with current G5 is that it's not fully compatible with FW400 devices since it has only one FW800 bus with FV400 connector. I finally found that having powered FW400 hub will lessen potential problems. Until I found that out, I was skeptical, y'know. Look at the Powerbook side. Pismo was one of the best Powerbook in its history, and that was the last model of Powerbook G3. The best TiBook was 1GHz, which was the last model before AlBook. By the time Powerbook G5 comes out (if it ever does), the last AlBook most likely will be the best Powerbook for a while. -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan and other stuff
Where the difference is, is that computers have not put engravers out of work (except in the very lowest echelons of publication) to the same extent that sequencers have cut into musicians' jobs. There is not enough work to go around to all the displaced musicians, unlike former hand-copyists and engravers. Christopher Oh how I wish this was true...but computers have put a lot of copyists out of work as well. For each live musician lost, that is one less part that needs to be copied on a computer or otherwise. So much of the music we hear on television is now midi. If not all midi then partially midi and partially sweetened with a few live players. So a lot of T.V. work for copyists has gone away. On a brighter note...there is some work for both live musicians and copyists coming from video/computer games. Some of the larger game companies are wanting to use live orchestras for their products. So that has been a good thing for some of us here! -K -- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Bluetooth keyboard
Bluetooth has always fascinated me, but thinking about Bluetooth keyboards/mice makes me wonder if there are any midi Bluetooth interfaces? Does anyone know of any? -Original Message- From: Darcy James Argue [mailto:[EMAIL PROTECTED] Sent: Sunday, 30 January 2005 8:43 AM To: finale@shsu.edu Subject: Re: [Finale] Bluetooth keyboard On 29 Jan 2005, at 3:57 PM, Paul Hayden wrote: Is anyone using a Bluetooth (wireless) keyboard and/or mouse with a Mac? If so, does it work okay for you? Yes and yes. It works great. I've used it with computers with built-in BlueTooth, and also using the D-Link USB Bluetooth module. If your computer has built-in Bluetooth, you can even access FireWire Target Disk Mode, Open Firmware, reset PRAM, force boot from a CD, etc, using your Bluetooth keyboard. - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.2 - Release Date: 28/01/2005 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.2 - Release Date: 28/01/2005 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
