Re: [Finale] OT: Can you spot the fake?
In a message dated 10/05/2007 02:14:29 GMT Daylight Time, [EMAIL PROTECTED] writes: >(like the time I went to The Bartered Bride in >Bloomington and my companion thrilled to the real chickens on stage). Reminds of the time I played a gig which called a goat on stage. I was appalled to find that it was paid more than I was (and I didn't c*** on the stage, which is more than can be said for the goat). Cheers, Lawrence lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Sound reinforcement (was Can you spot the fake?)
Christopher Smith wrote: On May 9, 2007, at 10:02 PM, Raymond Horton wrote: Once, many years ago, a rock sound guy (perhaps not the tightest cable tie in the bunch, if you get my drift) was setting up mics for a pops concert of ours. I mentioned to him how we had a problem at the rehearsal getting a solo heard. He said to me, missing the point of what I had just said: "That's the great thing about a symphony job. You just put up a bunch of mics, turn 'em on, and it sounds like a symphony!" How can you argue with logic like that? Well, I'm not sure he's so far off. I give a lot of... well, let's say constructive... comments to sound engineers, especially if I am in the audience and paying good prices. I went up and spoke to the sound guy at a Joe Lovano concert here in Montreal at the Jazz Festival because of the bad sound quality, and darned if the sound didn't get better in the second half. All I said was, "Do you think the bass drum is that loud on stage?" Amazing the difference that made. On the flip side, I also make it a point to mention when the sound has been good, and every time I do, I get variants of the same answer: "I didn't do much, just set a basic position and balance and let them play." ... Christopher Difference was - it sounds like your guys had some idea what they where doing. RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Can you spot the fake?
On 9 May 2007 at 22:29, John Howell wrote: > Kodály had it right > when he said, "Only the best musicians should be > PERMITTED to teach children." Many people confuse "the best musicians" with "the best performers," the determiment of the students involved. [] > Back a number of years a colleague in grad school > at Indiana was asked by Igor Kipnis to > participate in a recording of the Bach > multi-harpsichord concertos in Germany. He came > back amazed by the recording engineers, who could > not only read music but could read full score and > instead of saying, "there's something odd > sounding just a little before letter G," they > would say, "the third harpsichord is playing a Db > instead of a D in measure 97." That's not a bad > set of role models!! The student recording engineer who did my viol consort's recent recording project was just such a person -- he read the score, he had comments on various *musical* aspects of the takes and was a very, very valuable collaborator in helping us get down the best playing we could accomplish. I can't wait to hear the final results. -- 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] OT: Can you spot the fake?
Yes--my experience with Czech, Polish, and Slovak engineers (my recordings were produced in Moravia) was astounding--I can honestly say that I never thought of recording engineers in terms of musicianship before, but I cannot split the two now. Turns out that they had to GRADUATE the conservatory before learing the audio stuff. Aaron J. Rabushka [EMAIL PROTECTED] http://users.waymark.net/arabushk - Original Message - From: "John Howell" <[EMAIL PROTECTED]> To: Sent: Wednesday, May 09, 2007 10:29 PM Subject: Re: [Finale] OT: Can you spot the fake? > > > >So each musician needs to become an engineer and > >learn what works best to deliver the correct > >sound when amplified, like Eric Friedlander has > >done. It's not easy, but it's too important to > >be left to folks who couldn't pass the music > >department audition and so entered the Recording > >Technology department. > > No, and teaching is too important to be left to > the same kind of people. Kodály had it right > when he said, "Only the best musicians should be > PERMITTED to teach children." > > But our Music Technology majors DO have to pass > an entrance audition on an instrument or voice, > AND a playing Continuation Exam two years into > their degree, and they have to take and pass > exactly the same core music courses as > performance majors. So this is not in any way an > either/or situation. Yes, we do have some Tech > majors who don't seem to be as GOOD musicians as > some others, but that's simply individual > variation. > > And I expect that to improve. We used to have > failed performance majors move into music > education. No more. They have to pass > everything the performance majors do, INCLUDING > the Continuation Exam (a mini-recital and > interview) at the end of their sophomore year, or > they are not ADMITTED into the upper level music > ed program. > > >(I know that last sentence is probably not fair > >to the many sensitive recording engineers who > >entered the field in order to do a great job in > >any amplification situation, but at least for > >two colleges I know about, my sentence just > >about sums up the situation.) > > One reason we insist on our audio engineers being > musicians is that part of their job is to > translate arcane tech-talk into language > musicians can understand, often under the > pressure of recording deadlines. They have to > speak--and translate--both languages. > > Back a number of years a colleague in grad school > at Indiana was asked by Igor Kipnis to > participate in a recording of the Bach > multi-harpsichord concertos in Germany. He came > back amazed by the recording engineers, who could > not only read music but could read full score and > instead of saying, "there's something odd > sounding just a little before letter G," they > would say, "the third harpsichord is playing a Db > instead of a D in measure 97." That's not a bad > set of role models!! > > 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 > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Sound reinforcement (was Can you spot the fake?)
On May 9, 2007, at 10:02 PM, Raymond Horton wrote: Once, many years ago, a rock sound guy (perhaps not the tightest cable tie in the bunch, if you get my drift) was setting up mics for a pops concert of ours. I mentioned to him how we had a problem at the rehearsal getting a solo heard. He said to me, missing the point of what I had just said: "That's the great thing about a symphony job. You just put up a bunch of mics, turn 'em on, and it sounds like a symphony!" How can you argue with logic like that? Well, I'm not sure he's so far off. I give a lot of... well, let's say constructive... comments to sound engineers, especially if I am in the audience and paying good prices. I went up and spoke to the sound guy at a Joe Lovano concert here in Montreal at the Jazz Festival because of the bad sound quality, and darned if the sound didn't get better in the second half. All I said was, "Do you think the bass drum is that loud on stage?" Amazing the difference that made. On the flip side, I also make it a point to mention when the sound has been good, and every time I do, I get variants of the same answer: "I didn't do much, just set a basic position and balance and let them play." So if the band already played with a good sound and balance, the sound guy didn't stick his fingers where they weren't needed, to the benefit of everyone. Phil Nimmons (I consider him to be the Canadian Duke Ellington, because of the quality of his output, but I also have a special fondness for him because he got me started writing) always used the same sound man, Jake, and introduced him so he could take a bow at the end of every concert of his band. Jake said that he got the gig when Phil came up to him before a concert and said, "You know, my band plays pretty soft sometimes. When they do, don't turn them up." and Jake's response was, "Of course not!" Phil hugged him after the show, and a beautiful relationship was born. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Sound reinforcement (was Can you spot the fake?)
Raymond Horton wrote: "That's the great thing about a symphony job. You just put up a bunch of mics, turn 'em on, and it sounds like a symphony!" How can you argue with logic like that? Slap 'em upside the head with a rubber chicken? (It always seemed to work for Monty Python). cd -- http://www.livejournal.com/users/dershem/# http://members.cox.net/dershem ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Can you spot the fake?
So each musician needs to become an engineer and learn what works best to deliver the correct sound when amplified, like Eric Friedlander has done. It's not easy, but it's too important to be left to folks who couldn't pass the music department audition and so entered the Recording Technology department. No, and teaching is too important to be left to the same kind of people. Kodály had it right when he said, "Only the best musicians should be PERMITTED to teach children." But our Music Technology majors DO have to pass an entrance audition on an instrument or voice, AND a playing Continuation Exam two years into their degree, and they have to take and pass exactly the same core music courses as performance majors. So this is not in any way an either/or situation. Yes, we do have some Tech majors who don't seem to be as GOOD musicians as some others, but that's simply individual variation. And I expect that to improve. We used to have failed performance majors move into music education. No more. They have to pass everything the performance majors do, INCLUDING the Continuation Exam (a mini-recital and interview) at the end of their sophomore year, or they are not ADMITTED into the upper level music ed program. (I know that last sentence is probably not fair to the many sensitive recording engineers who entered the field in order to do a great job in any amplification situation, but at least for two colleges I know about, my sentence just about sums up the situation.) One reason we insist on our audio engineers being musicians is that part of their job is to translate arcane tech-talk into language musicians can understand, often under the pressure of recording deadlines. They have to speak--and translate--both languages. Back a number of years a colleague in grad school at Indiana was asked by Igor Kipnis to participate in a recording of the Bach multi-harpsichord concertos in Germany. He came back amazed by the recording engineers, who could not only read music but could read full score and instead of saying, "there's something odd sounding just a little before letter G," they would say, "the third harpsichord is playing a Db instead of a D in measure 97." That's not a bad set of role models!! 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] OT: Sound reinforcement (was Can you spot the fake?)
Darcy James Argue wrote: I wlll never understand the anti-amplification fundamentalists. John Howell wrote: That does NOT make me an anti-amplification fundamentalist, whatever you think that means. John It seems to me that Darcy's comment came after my lament, so I will willingly take on the label of "anti-amplification fundamentalist", but only 100% when it comes to symphony orchestras. Economics force symphony orchestras to play pops concerts in locations and musical situations where they must be amplified, and it never works well. I agree that in other areas that have been discussed by John and others, over-amplification is too often the first solution.Certainly sound re-enforcement can be done well, but too often it isn't.That's all I am saying on the general subject. Once, many years ago, a rock sound guy (perhaps not the tightest cable tie in the bunch, if you get my drift) was setting up mics for a pops concert of ours. I mentioned to him how we had a problem at the rehearsal getting a solo heard. He said to me, missing the point of what I had just said: "That's the great thing about a symphony job. You just put up a bunch of mics, turn 'em on, and it sounds like a symphony!" How can you argue with logic like that? Raymond Horton Bass Trombonist Louisville Orchestra ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Can you spot the fake?
IIRC Respighi specifies the exact record he wants in the score (Concert Gramophone Company #1060 or something like that). Real birds would be fun but definitely a gloss (like the time I went to The Bartered Bride in Bloomington and my companion thrilled to the real chickens on stage). Aaron J. Rabushka [EMAIL PROTECTED] http://users.waymark.net/arabushk - Original Message - From: "John Howell" <[EMAIL PROTECTED]> To: Sent: Wednesday, May 09, 2007 6:05 PM Subject: Re: [Finale] OT: Can you spot the fake? > At 11:43 PM -0400 5/6/07, Aaron Rabushka wrote: > >Hmm--I wonder if Respighi's nightengale (sp?) record caused the same furor. > >(Not to mention that it may take a period-instrument mindset to bring it off > >with a 78-rpm turntable rather than a laptop computer nowadays!) > > Don't be silly, Aaron. A true period-instrument person would insist > on using a real nightingale, or possible a small flock of them, since > it has proved rather difficult to train birds to respond to a > conductor's cues. Somewhat like opera singers. > > 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 > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Sound reinforcement (was Can you spot the fake?)
When did I say you were? Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 09 May 2007, at 7:56 PM, John Howell wrote: So I'm sorry Darcy: while I insist that there are good uses for sound reinforcement, and even for amplification, I also insist that there are times when only a good acoustic sound will do. That does NOT make me an anti-amplification fundamentalist, whatever you think that means. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Rod Levitt
I just got word that trombonist-composer-arranger-bandleader Rod Levitt died peacefully last night in his sleep. He was 77. Rod had been living in Vermont in recent years and had been suffering with Alzheimer's disease. He is survived by his wife Jean in Wardsboro, Vermont and son Barry in Miami, Florida. Rod's music is not well known, but he was an extraordinary composer/ arranger, and terrific trombonist who played in Dizzy's band in 1955, and in my National Jazz Ensemble. (He can be seen playing bass trombone in the DVD of Miles and Gil Evans.) There's a CD reissue of "The Dynamic Sound Patterns of the Rod Levitt Orchestra" (an "orchestra" of 8 musicians!), for any who might be curious about his music. Those who know him and his music will miss him. 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] OT: Sound reinforcement (was Can you spot the fake?)
At 6:59 PM -0400 5/7/07, dhbailey wrote: A properly mic'd and amplified Steinway should sound like a Steinway, and be very different sounding from a Roland. But that runs into microphones which cost over $1000 each, and most live amplification setups which groups like regional orchestras can afford don't use that sort of equipment, choosing to use a couple or three Shure SM57 mics. Actually, in my experience (and I'm perfectly aware that our experiences may be quite different) the miked Steinway is going to sound like the speaker stack that is being used. The mics are an important link in the amplification chain, but not the only link, and the weakest link in the chain is going to color the sound the most. And $1000 doesn't even touch the cost of the best studio condenser mics. At 7:25 PM -0400 5/7/07, Darcy James Argue wrote: I wlll never understand the anti-amplification fundamentalists. I don't think we need straw men here. In fact we probably agree to a large extent. But if you must, start in the classical world. My own esthetic is pretty simple. Sound reinforcement is not the same as amplified sound. I know, sounds weird, but here's what I mean. In many situations the ideal would be to create a properly balanced and blended acoustic sound. That sound will be perfect for a certain kind of venue and acoustic, but if it's necessary to perform in too large or too dead a venue, sound reinforcement may be necessary. The proper objective would be to raise the overall SPL to fit the room without destroying the acoustic balance or making it sound amplified. Another way of looking at it, in a recording studio, is that you attempt to recreate the acoustic balance even while totally dependent on electronics to create the final product. Amplified sound, on the other hand, turns the equation on its head. The sound engineer (more often than not trained in the recording studio with rock and country bands) treats the live musicians as if they were in the studio, wants to have each one of them totally isolated from all the others, and wants to be the one who decides on the balance and blend. Yes, that's the pop world in a nutshell, with acoustic sound treated as nothing but raw material, and DI boxes are preferred to mics because they isolate the instruments completely. Like any other aesthetic endeavor, there is good amplification and bad amplification. That's what I'm trying to describe, and that's what I suspect we're in agreement on. Good amplification is rare, but good anything is rare. Good amplification can actually allow for a more intimate sound, bringing the instruments closer to the listener than would otherwise be possible. Of course. Good amplification make possible things that are NOT possible acoustically, no question and no argument. Singers no longer have to be world class athletes to carry over an opera orchestra or jazz band. Harmon mutes and flutes can be added--ADDED, mind you!--to a basic band that grew up playing acoustic and had no need for mics except for announcements. I no longer go to our jazz concerts here, for the simple reason that the SPLs are 'WAY too high and they hurt my ears. There is too much amplification on EVERYTHING, and it's painful. This is NOT good amplification, and it's certainly not needed for balance. At 6:42 PM -0700 5/7/07, Chuck Israels wrote: Case in point: I write for the Metropole Orchestra so that the woodwinds and strings are balanced in the room. That is different from the way almost all the other arrangers do it. Then we play in reasonable sized halls without microphones (except for the recording mics), and I get the balance and effect that I want. Fine - until the 8 measure solo I purposefully wrote for the lead trumpet player (at a comfortable mf), knowing he is at the back of the band, and that it will sound slightly distant, is changed by the sound engineer (in the recording) into an exaggerated, oversized, up-front, 2 dimensional experience. I don't suppose it makes any never mind to most listeners, but I wanted the depth and the balance I conceived. Bringing it "closer" to the listener did not bring the experience I tried to design closer, it prevented it from happening. Yup. Know and respect a sound engineer who understands what you want and gives it to you. Get rid of the rockers who don't have a clue! People who like amplified sound are free to choose it, and there is a lot of political and economic pressure in that direction. (There are big investments in equipment and people making a living turning knobs.) But, given the choice, I go for acoustic sound and balance almost every time. Strikes me as a pretty reasonable way to approach it, perhaps because I think in much the same way. I've been involved in community musical theater for the past 16 years (on the music side, not the theatrical side). The actors we get almost all need
[Finale] Permission to arrange
Is this the list on which there was a discussion on making a jazz arrangement of Copland's "Fanfare" led to questions about whether marching band arrangements are made with permission of the copyright owners? If not, my apologies. Nobody ever changes the subject lines even when the subject wanders far afield, and I can't fine the messages I thought I saved. Anyhow, I asked our faculty composer who for many years did write the arrangements for our marching band, although he no longer does. And yes, he applied for permission for every single arrangement over all those years, to protect himself and the university. He says you generally get one of four responses, once the form gets to the publisher's permissions person. (1) Permission with no payment required; (2) permission with a small administrative fee charged, maybe up to $50; (3) permission based on an outrageous demand for payment of $1000 or more, which amounts to refusal of permission in most instances; (4) outright refusal of permission. The form which I mentioned having seen is here in the Music Publishers' Association website: http://www.mpa.org/copyright/pta.html (I tried to double check it, but my internet connection has been very flaky the last couple of days.) 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] OT: Can you spot the fake?
At 11:43 PM -0400 5/6/07, Aaron Rabushka wrote: Hmm--I wonder if Respighi's nightengale (sp?) record caused the same furor. (Not to mention that it may take a period-instrument mindset to bring it off with a 78-rpm turntable rather than a laptop computer nowadays!) Don't be silly, Aaron. A true period-instrument person would insist on using a real nightingale, or possible a small flock of them, since it has proved rather difficult to train birds to respond to a conductor's cues. Somewhat like opera singers. 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] OT: Can you spot the fake?
For the fun of it, I gave the quiz to my 15 year old. He is a serious violinist, but is not that familiar with electronic instruments. He got it right as well. I was curious as to what gave it away for him and he said the attacks of each note, especially in the strings, was too uniform. He said a good phrase would have more variety and direction in each note. I thought that was an interesting take and not the first thing I would have noticed. I guess we focus on the things that we are trained to notice. -Randolph Peters ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] PDF creator on Windows
I use PDF995 (free version) and have had no problems so far. Cheers, Lawrence lawrenceyates.co.uk ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Smart Hyphens Bug
On 09.05.2007 dc wrote: > - From 2006b to 2007 (inclusive) all hyphens show, but hyphens > between closely-spaced syllables are too far right. > - In 2007a and 2007b, many (too many) hyphens disappear and a > hyphen at the end of the system is too near to the syllable before it. > - In 2007c, too many hyphens disappear, but a hyphen at the end of > the system now displays correctly. > I know of no fix to the disappearing hyphens between close syllables. > I am using 2005b for pieces with lyrics, and will continue to do so > until this bug is fixed. I have just switched off smart hyphens, they don't seem such a big loss. Anything is better than no hyphens, which is what I get with this option switched on. Switching them off makes the hyphens reappear. 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] FinWin 2k5b - how to get chord symbol-slash-bass with Bill Duncan's chord package
Use ChordSymSubtext. Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 09 May 2007, at 3:22 AM, Marcello Noia wrote: Time ago I bought Bill Duncan's chord symbol pack but I'm having problems making symbols like Bb/C or something like that. If I write Bb_C I get Bb-big space-underscore-big space-bass, if I write Bb/C I get BbC attached. Any hints to get a Bb/C example as a final result? Thanks ___ 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] FinWin 2k5b - how to get chord symbol-slash-bass with Bill Duncan's chord package
Hi Marcello, First, enter /C, then go back, click on the same note, enter Bb, and move it into its correct position over the /C. TG tools has a plug in that is supposed to automate this process, but I have not found it to be reliable enough to save time over doing it by hand. Chuck On May 9, 2007, at 12:22 AM, Marcello Noia wrote: Time ago I bought Bill Duncan's chord symbol pack but I'm having problems making symbols like Bb/C or something like that. If I write Bb_C I get Bb-big space-underscore-big space-bass, if I write Bb/C I get BbC attached. Any hints to get a Bb/C example as a final result? Thanks ___ 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] helvetica at 50
On 9-May-07, at 9:17 AM, shirling & neueweise wrote: http://news.bbc.co.uk/2/hi/uk_news/magazine/6638423.stm a film about a typeface... a number of screenings already sold out http://www.helveticafilm.com/screenings.html Oh crap! It was screened four days ago in Montreal, and I missed it! The comment I liked was, "How dare Paris Hilton call our lives mundane when we can talk so passionately about fonts?" Along with, "Two fonts walk into the bar, and the barman says, 'sorry lads, we don't serve your type'." Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] helvetica at 50
http://news.bbc.co.uk/2/hi/uk_news/magazine/6638423.stm a film about a typeface... a number of screenings already sold out http://www.helveticafilm.com/screenings.html -- shirling & neueweise ... new music publishers mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Smart Hyphens Bug
On May 9, 2007, at 4:47 AM, Jonathan Smith wrote: There is a bug in Fin2007a. When I have Smart Hyphens checked many of the hyphens don't show even after music spacing and update (manually) smart word extensions and hypens are applied. If I leave this unckecked and space the music the hyphens show up again. There is an issue with hyphens in all three versions of Fin2007, different issues as they tried to solve it and failed. I used to have a previous posting that explained the different bugs, but I can't find it now. Sorry. Try searching the archives if it is important to you, or maybe someone else kept it. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] PDF creator on Windows
I would also recommend PDF Creator (link in email below). It's easy to install, and easy to use. The documentation also states it can create .eps files, although I haven't tried this feature. Sometimes, when I need to send the PDF and make sure that the PDF I send is not dependent on fonts, I "print" to a graphics file using the MS Document writer printer driver, and then print the subsequent image to a PDF using PDF Creator. There is some loss of image quality going to a bitmapped image instead of the vector image, but it does assure me that what I see is what they see. Aaron Sherber wrote: At 08:26 AM 5/8/2007, Johannes Gebauer wrote: >What is the preferred free PDF converter on Windows? Where does one get it? I haven't used it, but there's an open source front end to Ghostscript here: http://www.pdfforge.org/products/pdfcreator Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Smart Hyphens Bug
There is a bug in Fin2007a. When I have Smart Hyphens checked many of the hyphens don't show even after music spacing and update (manually) smart word extensions and hypens are applied. If I leave this unckecked and space the music the hyphens show up again. Jonathan ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] FinWin 2k5b - how to get chord symbol-slash-bass with Bill Duncan's chord package
Time ago I bought Bill Duncan's chord symbol pack but I'm having problems making symbols like Bb/C or something like that. If I write Bb_C I get Bb-big space-underscore-big space-bass, if I write Bb/C I get BbC attached. Any hints to get a Bb/C example as a final result? Thanks ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
