[Finale] How do I combine music pieces?
Hello Finale - I am having trouble combining three pieces of music (MUS files) into one continuous piece of music. I guess it's a "cut and paste," or "copy and append." operation. But I can't seeem to make it work for 3 separate files. How do I put them together into one score? No problem using MASS EDIT within one score. Assuming there is a way to do this with three separate MUS files, do the staffs all have to match up re type and ordering? Thanks; Bill SI would use clip files as they are the most accurate method.You can find all the details for this and other methods of mass copying in the On Line Manual (OLM) under "Copying Music" (Chapter 3 page 22 in my version).Obviously, staffs much match up in layout and order if you want the right parts to copy in to their respective staffs. If your 3 pieces of music contain different instrumentation then I would suggest you take the score with the most staffs, add in other staffs to line up with the other 2 pieces as best you can so you have everything covered, then copy in sections of each piece that correspond correctly to the instrument staffs in you 'master' score.You can then 'optimize' out staffs that contain sections with longs passages of rests in the final page view layout.Jonathan___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mozart Choral Symphony
I don't know of any "choral" symphony by Mozart, and I don't on that collection on LP either, but it might help you to visit http://www.hogwood.org/rlp.htmwhere you would fnd the Christopher Hogwood's LP recordings catalogue, and you might compare it with the CD content listing. Rafael Junchaya - Original Message - I am hoping that thecollective wisdom of the list can help me. When Christopher Hogwood recorded his Complete Mozart Symphonies project for Decca, there was a "choral" symphony included with the boxed album set. This was an early symphony from the Italian opera tours. For reasons I'm not sure, this piece was not included on the CD box sets. Can anyone help identify this particular piece with a Kochel number?Thanks so much. K. Patrick Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mozart Choral Symphony
On 08.03.2006 Kim Patrick Clow wrote: I am hoping that the collective wisdom of the list can help me. When Christopher Hogwood recorded his Complete Mozart Symphonies project for Decca, there was a choral symphony included with the boxed album set. This was an early symphony from the Italian opera tours. For reasons I'm not sure, this piece was not included on the CD box sets. Can anyone help identify this particular piece with a Kochel number? I have just sent an email to Chris, to find out about this, let's see what he has to say. 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] Mozart Choral Symphony
Here is Chris's reply: I know nothing of any Choral Symphony from Mozart, and I can't think of anything that went missing from the LPs other than the Odense symphony, which surely can never have been by Mozart. Maybe they could tell you which record they found it on? Hope this helps, perhaps this was the confusion? 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] Workshop
That's in Simple Entry, not speedy... -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Eric Dannewitz Sent: Friday, March 10, 2006 10:05 PM To: finale@shsu.edu Subject: Re: [Finale] Workshop You need to have the CAPS LOCK on Dean M. Estabrook wrote: BTW, I went to a Finale session at a conference yesterday, and a Make Music fellow said, if I heard it correctly, that in speedy entry (Fin2006), if one wished to enter a note pattern like 8th note, 8th rest, etc., with a synthesizer, that all one had to do was select 4, play the desired note, then simply hit zero and the 8th rest would appear. That doesn't happen for me. Did I misunderstand him? Dean ___ 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] PDF FILES
On mac, Just go to File--Print and click the PDF button. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Dick Hauser Sent: Saturday, March 11, 2006 11:35 AM To: finale@shsu.edu Subject: Re: [Finale] PDF FILES On Mar 10, 2006, at 6:22 PM, Dean M. Estabrook wrote: This should be easy for you guys, but I don't know how to do it. I have a short Fin file I want to attach to an e mail and send to a person who doesn't have Finale. I assume this takes a PDF file, yes? If so, how do I create or save it as such? Dean, Take a look at the Mac's Grab utility, that's the way I'd do it if it was less than a page. Dick H Olympia, Wa ___ 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] (no subject)
Same is true on Mac, just hit the cluster and it will enter a rest... -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Raymond Horton Sent: Saturday, March 11, 2006 11:09 AM To: finale@shsu.edu Subject: Re: [Finale] (no subject) In Windows in Speedy, with caps lock on, to produce a rest: hit a three note half step cluster (ex: G#, A, Bb). RBH Dean M. Estabrook wrote: Yes, I did that, and the notes appear as expected ... it's the rests which don't occur when I hit the zero key, as I thought he instructed. However, Darcy says it happens in SIMPLE, not SPEEDY. Dean On Mar 10, 2006, at 9:34 PM, Eric Dannewitz wrote: Quoted from the Finale Manual, under Speedy Entry, Chapter 16 page 14 : 1. Click the Speedy Entry Tool and click a measure 2. Press CAPS LOCK then press the number key on the computer keyboard corresponding to the value you want to enter. 3. Play the notes on your MIDI keyboard. Dean M. Estabrook wrote: I did. No diff. Dean On Mar 10, 2006, at 8:05 PM, Eric Dannewitz wrote: You need to have the CAPS LOCK on Dean M. Estabrook wrote: BTW, I went to a Finale session at a conference yesterday, and a Make Music fellow said, if I heard it correctly, that in speedy entry (Fin2006), if one wished to enter a note pattern like 8th note, 8th rest, etc., with a synthesizer, that all one had to do was select 4, play the desired note, then simply hit zero and the 8th rest would appear. That doesn't happen for me. Did I misunderstand him? Dean ___ ___ 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] Mozart Choral Symphony
This Choral Symphony was not the Odense, that was released on an appendix vinyl album I believe; and wasn't included in the CD set. I can't recall which K number this choral symphony was, but it was a very early one, K 110-119 with an alphabet subscript number I think. This was a very short Symphony--and the Choral part was maybe 3 mins? But I remember the liner notes saying surprize! Beethoven didn't write the first choral symphony. Or words to that effect. I have written to Neal Zaslaw about this--he was the advisor to the project and maybe he can shed some light on this for me. I'll let everyone know the results. Thanks so much. Kim On 3/13/06, Johannes Gebauer [EMAIL PROTECTED] wrote: Here is Chris's reply: I know nothing of any Choral Symphony from Mozart, and I can't think of anything that went missing from the LPs other than the Odense symphony, which surely can never have been by Mozart. Maybe they could tell you which record they found it on?Hope this helps, perhaps this was the confusion?Johannes--http://www.musikmanufaktur.com http://www.camerata-berolinensis.de___Finale mailing listFinale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale-- Kim Patrick ClowThere's really only two types of music: good and bad. ~ Rossini ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mozart Choral Symphony
On 13.03.2006 Kim Patrick Clow wrote: This Choral Symphony was not the Odense, that was released on an appendix vinyl album I believe; and wasn't included in the CD set. I can't recall which K number this choral symphony was, but it was a very early one, K 110-119 with an alphabet subscript number I think. This was a very short Symphony--and the Choral part was maybe 3 mins? But I remember the liner notes saying surprize! Beethoven didn't write the first choral symphony. Or words to that effect. I have written to Neal Zaslaw about this--he was the advisor to the project and maybe he can shed some light on this for me. I'll let everyone know the results. Are you sure this was on the Hogwood recording? I am surprised that Chris Hogwood himself cannot remember this at all. 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] Mozart Choral Symphony
Aha! I found this on the Barenreiter website itself: In Mozart's day the Italian operatic symphony normally consisted of three rather short orchestral pieces in the order fast - slow - fast. For Ascanio in Alba, however, he characteristically varied the conventional formula. That this was something unusual is made clear by the fact that Leopold Mozart took pains to give an exact account of this overtura to his wife: So far Wolfgang has only written the overture, that is, a rather long Allegro, followed by an Andante, which has to be danced, but only by a few people. Instead of the final Allegro he has composed a kind of contredanse and chorus to be sung and danced at the same time. I have no idea why Mr. Hogwood doesn't recall this being in the vinyl edition of the Symphonies. Neal Zaslaw talked about this in theliner note; and it was included in the recordings. Mystery solved ;) On 3/13/06, Johannes Gebauer [EMAIL PROTECTED] wrote: On 13.03.2006 Kim Patrick Clow wrote: ThisChoral Symphony was not the Odense, that was released on an appendix vinyl album I believe; and wasn't included in the CD set.I can't recall which K number this choral symphony was, but it was a very early one, K 110-119with an alphabet subscript number I think. This was a very short Symphony--and the Choral part was maybe 3 mins? But I remember the liner notes saying surprize! Beethoven didn't write the first choral symphony. Or words to that effect. I have written to Neal Zaslaw about this--he was the advisor to the project and maybe he can shed some light on this for me. I'll let everyone know the results. Are you sure this was on the Hogwood recording? I am surprised thatChris Hogwood himself cannot remember this at all.Johannes--http://www.musikmanufaktur.com http://www.camerata-berolinensis.de___Finale mailing listFinale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale-- Kim Patrick ClowThere's really only two types of music: good and bad. ~ Rossini ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] How do I combine music pieces?
Bill: One thing I would warn about WRT attempting to combine multiple Finale source files into one, based upon my own experience: if your music involves lyrics, attempting to combine them will likely produce unexpected results, to the extent that it will probably involve less time in the long run not to copy the lyrics, and re-enter them. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mozart Choral Symphony
On 13.03.2006 Kim Patrick Clow wrote: I have no idea why Mr. Hogwood doesn't recall this being in the vinyl edition of the Symphonies. Neal Zaslaw talked about this in the liner note; and it was included in the recordings. I asked him and gave him your quote, perhaps he will shed some light on it. 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] Mozart Choral Symphony
On 13 Mar 2006 at 13:35, Kim Patrick Clow wrote: Aha! I found this on the Barenreiter website itself: In Mozart's day the Italian operatic symphony normally consisted of three rather short orchestral pieces in the order fast - slow - fast. For Ascanio in Alba, however, he characteristically varied the conventional formula. That this was something unusual is made clear by the fact that Leopold Mozart took pains to give an exact account of this overtura to his wife: So far Wolfgang has only written the overture, that is, a rather long Allegro, followed by an Andante, which has to be danced, but only by a few people. Instead of the final Allegro he has composed a kind of contredanse and chorus to be sung and danced at the same time. That was actually the standard overture form in some of Haydn's operas -- 2 instrumental movements with the opening chorus serving as the finale -- according to Jens Peter Larsen (I don't know Haydn's operas or their overtures myself). I have no idea why Mr. Hogwood doesn't recall this being in the vinyl edition of the Symphonies. Neal Zaslaw talked about this in the liner note; and it was included in the recordings. Mystery solved ;) The confusion is in calling it a choral symphony, which it categorically is not. It is an opera overture repurposed as a symphony, and I don't know that there is any evidence at all that it was ever performed as a symphony with the opening chorus as a 3rd movement, especially given that Mozart composed an instrumental Finale to go with the first two movements (K. 111a; the finale of the symphony as numbered K120 in the first Köchel catalog, not having been recognized as comprising a symphony when combined with the first two instrumental movements from the opera). Zaslaw in his book on the Mozart symphonies (p. 189) writes: For a Finale, the overture had an Allegro in 3/4 with choruses of spirits and graces singing and dancing, thus anticipating (in a most diminutive way) Beethoven's innovation in his Ninth Symphony. This is perhaps the source of your memory, but I think the comment is completely specious. Given that there was an existing Italian opera practice, at least for Haydn, I don't think it's as unusual as you seem to think the quotation from Leopold's letter makes it sound, especially when one looks at a later letter (Sept. 13th, 1771). There a description of the overture is given in a passage about the disposition of the ballets and choruses, where Leopold is reporting about having witnessed a rehearsal of the dances. There is nothing in that context that makes it sound like Leopold is describing anything unusual about the overture. To quote from the full context of the letter (in the Emily Anderson translation): In twelve days Wolfgang, with God's help, will have completely finished the serenata, which is really an azione teatrale in two parts. All the recitatives with and without instruments are ready and so are all the choruses, eight in number, of which five are danced as well as sung. Today we saw the rehearsal of the dances and we greatly admired the hard work of the ballet masters, Pick and Favier. The first scene is Venus coming out of the clouds accompanied by genii and graces. The Andante of the symphony is danced by eleven women, that is, eight genii and three graces, or eight graces and three goddesses. The last Allegro of the sympohony, which has a chorus of thirty-two voices, eight sopranos, eight contraltos, eight tenors and eight basses, is danced by sixteen persons at the same time, eight men and eight women. Another chorus is made up of shepherads and shepherdesses, sung by different performers. Further there are choruses of shepherds alone, tenors and basses and of shepherdesses alone, sopranos and contraltos. In the last scene all the singers and dancers appear, genii, graces, shepherds and shepherdesses, and they dance the last chorus together. . . . As for the other quote, from a letter of August 31st, 1771, here is the relevant context: . . . The text [of the opera] has arrived at last, but so far Wolfgang has only written the ouverture, that is, a rather long Allegro, followed by an Andante, which has to be danced, but only by a few people. Instead of the last Allegro he has composed a kind of contredanse and chorus, to be sung and danced at the same time. He will have a good deal of work during the coming month. Hasse arrived yesterday. . . . I don't see anything there that says it's unique, nor even anything that implies it's unusual. Indeed, the nonstandard part of this production was having the involvement of an important ballet master, which seems to have greatly shaped the amount of ballets and choruses in the work. It also seems to me that the genre is SERENATA, not OPERA, which surely has its own
Re: [Finale] How do I combine music pieces?
On 13 Mar 2006 at 9:10, Jonathan Smith wrote: I would use clip files as they are the most accurate method. I went through all the problems of learning how to assemble multiple movement files into a single work file a year or so ago, using WinFin 2003. I did quite a bit of experimenting and it became quite clear that using clip files had exactly the same results as copy/insert. Has that changed in later versions of Finale, such that clip files get you more things copied over by default? In 2003, there was absolutely no difference in the results between the two alternatives. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mozart Choral Symphony
On 13 Mar 2006 at 13:49, Kim Patrick Clow wrote: I'm sorry my earlier quote wasn't complete attempt #2 from the Barenreiter site: In Mozart's day the Italian operatic symphony normally consisted of three rather short orchestral pieces in the order fast - slow - fast. For Ascanio in Alba, however, he characteristically varied the conventional formula. That this was something unusual is made clear by the fact that Leopold Mozart took pains to give an exact account of this overtura to his wife: As I've said, I don't think there's anything at all clear about it being unusual. . . . So far Wolfgang has only written the overture, that is, a rather long Allegro, followed by an Andante, which has to be danced, but only by a few people. Instead of the final Allegro he has composed a kind of contredanse and chorus to be sung and danced at the same time (Briefe I, p. 433). Leopold has also left us an account of the performance, which is of interest in that it gives us an idea of the forces used at that time: The Andante of the symphony is danced by eleven women, that is, eight genies and three graces, or eight graces and three goddesses. The final Allegro of the symphony is a chorus with thirty-two voices - eight sopranos, eight contraltos, eight tenors and eight basses - and is danced by sixteen persons at the same time, eight men and eight women (Briefe I, p. 436). We are inclined to regard the fifteen-year-old Mozart's transformation of the overture as a stroke of genius: the form has been altered to accommodate a special feature of the libretto, but in such a way that listeners still descry the familiar design. There is nothing really out of the ordinary going on here -- the three-movement overture with chorus existed as an alternative to the three-movement opera overture, and was probably used more frequently in music dramas in the pastoral tradition (as Ascanio clearly is). . . . Parini's libretto called for a short dance (breve ballo) between the two sections as the city of Alba begins to emerge under the hands of the shepherds and shepherdesses (see The Plot below and p. 194). Probably because of its relative brevity, Mozart had to compose this interpolated dance music himself. This was not the usual practice: ballet numbers were generally commissioned from lesser composers. I'm not so sure this is correct. We have a great deal of ballet music from Handel and Mozart and Gluck right in the middle of their operas. In short, this Bärenreiter source is not reliable -- it's little more than program notes, and makes a number of assertions unwarranted by the context of the quotes it uses to make its case. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] How do I combine music pieces?
Yes, there is a difference, even in the C version of 2006. I went through this a few weeks ago, and will dig out the email late tonight when I get home again. Christopher On Mar 13, 2006, at 3:22 PM, David W. Fenton wrote: On 13 Mar 2006 at 9:10, Jonathan Smith wrote: I would use clip files as they are the most accurate method. I went through all the problems of learning how to assemble multiple movement files into a single work file a year or so ago, using WinFin 2003. I did quite a bit of experimenting and it became quite clear that using clip files had exactly the same results as copy/insert. Has that changed in later versions of Finale, such that clip files get you more things copied over by default? In 2003, there was absolutely no difference in the results between the two alternatives. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ 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] Mozart Choral Symphony
David Fenton wrote some excellent points. I don't know Zaslaw's rational for his words, but given his considerable expertise, I am sure he's aware of the Haydn overtures you mentioned. And while I can't recall if Mr. Zaslaw used the wordingchoral symphony, that's why I usedquotes. I think it would be fair to say that the form of Symphony was in a state of flux and definitely wasn't set in concrete.As Haydn and Gluck were apparently doing things along the same path as Mozart. But my question about this remains this version of this overture/symphony/with a chorus as a 3rd movement,didn't get included in the CDversions of the Hogwood recordings then?I wonder why? Thanks! Kim Patrick ClowThere's really only two types of music: good and bad. ~ Rossini ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mozart Choral Symphony
On 13 Mar 2006 at 15:43, Kim Patrick Clow wrote: David Fenton wrote some excellent points. I don't know Zaslaw's rational for his words, but given his considerable expertise, I am sure he's aware of the Haydn overtures you mentioned. . . . I'm not so sure of that. I know for a fact whose work is the basis for much of the documentation in his symphony book, and it isn't Zaslaw himself. . . . And while I can't recall if Mr. Zaslaw used the wording choral symphony, that's why I used quotes. I think it would be fair to say that the form of Symphony was in a state of flux and definitely wasn't set in concrete. . . . These weren't symphonies. They were opera overtures. While those were also often given the designation sinfonia, the genre conventions were completely different than the ones Beethoven was operating within when he wrote the Ninth. . . . As Haydn and Gluck were apparently doing things along the same path as Mozart. But my question about this remains this version of this overture/symphony/with a chorus as a 3rd movement, didn't get included in the CD versions of the Hogwood recordings then? I wonder why? Because there is no reason to believe that it ever existed as an independent piece. It's a figment of somebody's imagination. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mozart Choral Symphony
David Fenton wrote: These weren't symphonies. They were opera overtures. While those werealso often given the designation sinfonia, the genre conventionswere completely different than the ones Beethoven was operating within when he wrote the Ninth. All I think Mr. Zaslaw was saying that there was some indications of choral music being used in Sinfonias/Overtures before Beethoven. I don't think he was making some huge, big assertion that what Mozart didin K. 111a,was akin to what Beethoven did with the 9th Symphony. Thanks, K. P. Clow ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mozart Choral Symphony
On 13 Mar 2006 at 16:01, Kim Patrick Clow wrote: David Fenton wrote: These weren't symphonies. They were opera overtures. While those were also often given the designation sinfonia, the genre conventions were completely different than the ones Beethoven was operating within when he wrote the Ninth. All I think Mr. Zaslaw was saying that there was some indications of choral music being used in Sinfonias/Overtures before Beethoven. I don't think he was making some huge, big assertion that what Mozart did in K. 111a, was akin to what Beethoven did with the 9th Symphony. There was no choral finale in K111a -- that's the version with the first two movements from the opera and the added instrumental finale in place of the opera's opening chorus. There is no evidence to suggest that this so-called choral symphony was ever performed outside the opera. In that context, it was not functioning as a symphony at all. And, contrary to what you say, I think that what's wrong with Zaslaw's comment is that he is doing precisely what you say he is not, i.e., making a big assertion that What Mozart did. . . was akin to what Beethoven did with the 9th Symphony. And he's simply wrong, because he's crossing genres, comparing opera overtures (many of which existed with choral finales) and an instrumental symphony. When Mozart used the overture to Ascanio as an instrumental symphony he wrote an instrumental finale for it. Had he instead brought in a chorus and performed it by itself with the chorus singing in the finale, then *that* would have been an innovation worthy of mention as a minor precursor of the Ninth. But there is absolutely no evidence that Mozart ever did any such thing. And it seems to me that making the comparison rather makes a hash of what the Ninth is about (it seems no accident to me that the final choral movement is preceded by a number of mute recitatives) -- it's going in precisely the opposite direction, from purely instrumental music to a mix of instrumental and vocal, whereas Mozart's imaginary choral symphony is moving in the other direction, starting in a vocal context. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Synchronisation problem with wave output
Hi, I created a score with Finale2006 and FinaleGPO. When I export every staff individually by using the solo button and the Save Special - Save as Audio File function the resulting wave files all have slightly different lengths: the shortest takes 45sec786ms, the longest 46sec013ms. When overlaying these wave files they sound slightly out of sync ( 200 ms !). Even when exporting the same staff several times I get differences in length of more than 100 ms. Is this a Finale / FinaleGPO bug or is this the result of using a standard integrated soundcard instead of a professional soundcard ? I am using Windows XP on a one-year old laptop with an integrated standard soundcard (Realtek AC'97 Audio), 1,7 GHz pentium-m processor and 2 GByte RAM. Thanks a lot for any help, Jan Angermueller ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Synchronisation problem with wave output
Hi, We heard of this before. It's because of Human Playback's variable interpretation of tempos changes like rits and the like. There is a random element in how much rit is applied. It has nothing to do with the soundcard. I think we determined that you could edit the Human Playback so that the amount of variation in tempo was zero (all rits would play back exactly the same way) and so successive tracks would have the same timing. I don't have Finale on this computer, though, so I can't tell you exactly how to do that. Christopher On Mar 13, 2006, at 6:12 PM, Jan Angermüller wrote: Hi, I created a score with Finale2006 and FinaleGPO. When I export every staff individually by using the solo button and the Save Special - Save as Audio File function the resulting wave files all have slightly different lengths: the shortest takes 45sec786ms, the longest 46sec013ms. When overlaying these wave files they sound slightly out of sync ( 200 ms !). Even when exporting the same staff several times I get differences in length of more than 100 ms. Is this a Finale / FinaleGPO bug or is this the result of using a standard integrated soundcard instead of a professional soundcard ? I am using Windows XP on a one-year old laptop with an integrated standard soundcard (Realtek AC'97 Audio), 1,7 GHz pentium-m processor and 2 GByte RAM. Thanks a lot for any help, Jan Angermueller ___ 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] Synchronisation problem with wave output
Use the Apply Human Playback Plugin -- this locks in a single interpretation. Otherwise, timing may vary slightly from take to take. - Darcy - [EMAIL PROTECTED] http://secretsociety.typepad.com Brooklyn, NY On 13 Mar 2006, at 7:21 PM, Christopher Smith wrote: Hi, We heard of this before. It's because of Human Playback's variable interpretation of tempos changes like rits and the like. There is a random element in how much rit is applied. It has nothing to do with the soundcard. I think we determined that you could edit the Human Playback so that the amount of variation in tempo was zero (all rits would play back exactly the same way) and so successive tracks would have the same timing. I don't have Finale on this computer, though, so I can't tell you exactly how to do that. Christopher On Mar 13, 2006, at 6:12 PM, Jan Angermüller wrote: Hi, I created a score with Finale2006 and FinaleGPO. When I export every staff individually by using the solo button and the Save Special - Save as Audio File function the resulting wave files all have slightly different lengths: the shortest takes 45sec786ms, the longest 46sec013ms. When overlaying these wave files they sound slightly out of sync ( 200 ms !). Even when exporting the same staff several times I get differences in length of more than 100 ms. Is this a Finale / FinaleGPO bug or is this the result of using a standard integrated soundcard instead of a professional soundcard ? I am using Windows XP on a one-year old laptop with an integrated standard soundcard (Realtek AC'97 Audio), 1,7 GHz pentium-m processor and 2 GByte RAM. Thanks a lot for any help, Jan Angermueller ___ 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] How to force positiong of articulations?
Hello Finale; I have found that when using the "explode music" feature, even though the articulations are in the right place BEFORE the music is exploded, they come out funnyin the parts AFTER the chords are exploded. I was wondering if there is a way forALL articulations of a certain type to be forced either ABOVE the staff or below the staff, rather than hand editiong them, which can be really tedious. The way it comes out now, they are mixed above and below. Maybe it has to do with positioning of the note heads relative to the staff,i.e. stem up or sten down. Maybe I'm looking in the wrong places, but the documentation has not yielded any tricks to me as yet.. Thanks; Bill S. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
