Re: [Finale] Digital music stands
On 29.07.2008 James Gilbert wrote: Someone mentioned that orchestras would need to hook the units up to a network. Other than the simplicity of loading the music into the units prior to rehearsing, why would they need to be part of a network in rehearsal or performance? What's the advantage or reasoning? The whole point if it, and the reason why the Bamberger Symphonic are already using this technology, is that when the concertmaster or section leader in the strings marks something in his part, ie a bowing, it automatically transfers to all the other parts. That needs a network. On this other hand I don't think the network is much of a problem. 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] Mic Notator
On 30.07.2008 Barbara Levy wrote: I'm crawling out of lurkdom to ask the collective wisdom: what opinions do you have (good, bad, indifferent) about the Mic Notator in F2008? Is it essential to have Finale's special mic for this? And will this mic also work for SmartMusic? I would find it SO much easier to input using one of my several woodwinds. Not sure whether anyone has actually tried it for any serious application, but I believe the consensus is that MicNotator is a completely useless and barely functional gimmick in Finale, which has no serious use. Get a keyboard and learn Simple Entry, or Speedy, which I personally prefer. No need to play anything in realtime, as long as you find the notes on the keyboard step entry is perfect, easy and quick. 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] midi problem
Hi, Your DX7 is probably not connected at all, I mean sometimes you think, that the device is connected but the cursor - of the speedy entry tool - is just "resting" on that particular line or space! Go to midi setup and here you can se the midi ports your system provides you with. Select the midi port and then it should be working. Stig Den 11/08/2007 kl. 03.52 skrev Raymond Horton: As I recall, The DX7 only sends and receives MIDI channel 1. Check your "MIDI SETUP" so that it's set the same way as before your computer problem? This is really not my area of expertise. Someone else please jump in and help Bob. Ray Robert Florence wrote: Raymond Horton wrote: Robert Florence wrote: Hi All, I recently had a computer problem where I lost EVERYTHING except my music which had been backed up. I have always used speedy entry with an ancient DX7. I get everything I imput except the correct pitches. They will not change from the 3rd line B in the treble clef. What have I forgotten? Bob Florence ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Under the "Speedy Menu", have you checked "Use MIDI device for input" ? Sorry about your loss. The DX7 is a hell of an axe! I love it. Weighs a ton, though. Ray Horton Louisville Orchestra >> Hi Ray, Yes, I did check "use midi impu".It still didn't work. Bob F. ___ 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 MUSICMIND Stig Christensen www.musicmind.dk [EMAIL PROTECTED] Hovmarksvej 24A 2920 Charlottenlund DENMARK +4526212425 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: jef in concert 1 aug @ 18h00 (berlin)
anyone close to or in berlin on friday and got a hankering for some easy-listening electroacoustic love songs to soothe the soul? -- Inventionen 2008: Musik für mehr als einen Lautsprecher Konzerte und Klanginstallationen / 60 Jahre Musique Concrète / 50 Jahre GRM Paris / Internationale Tagung SMC08 23. Juli bis 3. August 2008 in Berlin three different diffusion systems are going to be used in the concert: wave field synthesis (WFS), acousmonium and klangdom. friday 1 aug 08 at 18h00 DUO (1997-98), electroacoustic will be performed on the GRM's acousmonium, a 30+ loudspeaker system. http://emfinstitute.emf.org/exhibits/acousmonium.html http://www.inventionen.de/Inventionen_08 TU Berlin, Hauptgebäude -- Saal H0104. Straße des 17. Juni 135 (U2 Ernst-Reuter-Platz) -E- a screaming, ripping, convulsing, thrashing, contorting, thrusting, tender, grinding, oozing discharge of multiple orgasms shared between an aries analogue modular synth and an alto sax DUO was composed in the Concordia University electroacoustic studios. Thanks to Yves Charuest for the sax materials. -D- eine schreiende, zerreißende, zuckende, aufeinander klatschende, verzerrende, stoßende, sanfte, zermürbende, auslaufende entladung multipler orgasmen, die einen modularen aries analog-synthesizer und ein altsaxofon vereint. DUO wurde 1997-98 in den elektroakustischen Studios der Universität Concordia komponiert. Dank an Yves Charuest für die Saxofon-Materialen. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Win Fin2k9 expressions
When applying expressions (say dynamics) using the new drag method, is there a way to make it only apply to staves with notes in? Say the 2nd trombone isn't playing in a measure, but I want to ff to all the other brass, I use the metatool-drag to enclose all brass, and Finale puts an ff on the 2nd trombone part as well, in an empty measure. This doesn't seem right to me. I know I could just drag the brass above the empty measure and then drag those below, but surely it should be able to see that the empty measure does not need the dynamic. Gary Griffiths ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Peculiar audio problems with WinFin2k9
OK - this is odd. I fire up Finale - all fine. Playback (midi and VST) all fine. Then I open ITunes - playback is reduced to a crawl, like playing a tape really slow. All in slow-motion. Same then happens on YouTube. Video and audio crawl - audio not just slow, but very deep as well. If I quit Finale then all becomes clear again. A lot of my work is transcribing so I need to be able to use ITunes and Finale at the same time. Any ideas? Gary Griffiths ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Digital music stands
From: John Howell <[EMAIL PROTECTED]> Reply-To: Date: Tue, 29 Jul 2008 16:47:53 -0400 To: Subject: RE: [Finale] Digital music stands > And something no one has even mentioned is this: How is the music of > many different publishers, in different countries all over the world, > and covered by many different copyright laws which FORBID copying in > any form, using any technology, supposed to get into these digital > stands or CDs or memory sticks in the first place? Until THAT > question is satisfactorily answered (and the whole allied matter of > rental agreements, Grand Rights, and all the other complications that > experienced Orchestral Librarians deal with on a daily basis), it > doesn't really matter HOW good the technology may be, or may become. Well, the reality is that in every band and orchestra I've ever played with, the librarian *does* photocopy all the parts before handing them out. They keep the originals in the library so if one of the musicians loses their music at some point, they aren't out the trumpet part, for example. And rarely, if ever, does the orchestra go to the trouble of obtaining and paying for the rights to copy the parts in that manner. Whether that's legal or not (the Fair Use doctrine-- which allows the user to make a back-up copy-- would seem to suggest that it is), the organizations do it anyway. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Finale 2009 Mac Firewire/Intel issue?
On Tue, 29 Jul 2008 09:43:49 -0400 Bob Shuster wrote: Can anyone confirm or deny that this issue has been fixed? (Intel Macs with Firewire audio interfaces have left channel output only since 2008.) I'm waiting to upgrade until I find out! - Oh dear, oh dear, oh dear. Just when I was just about to leave Win XP SP3 for the greener pastures of an Intel Mac with a MOTU UltraLite as the firewire audio interface, I find that there is an *issue*. I'll be moving from FinWin 2008a to FinMac 2009 at the same time which will be enough of an issue. Leigh Daniel's comment that: MM is aware of their broken Core Audio implementation in 2008 and, as usual, we can only hope that they fix it in 2009. I would bet it's a low priority for them because I imagine the majority of their customer base uses the Built-In Mac outputs. does not fill me with much hope that the goats will be chased out of the pasture. Are there any other hardware issues I should be aware of? I run all my audio through an 8-channel mixer so I can usually find a workaround, but any advice from Mac experts would be appreciated. On the software side I'm resigned to learning Logic and leaving Sonar, but I'm not tempted by Sibelius at this stage. Regards, Rudi vB. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Win Fin2k9 expressions
No, you have to shift/click then delete staves without. As Robert has pointed out, MM have confiscated Staff List for expressions en bloc, the philosophy behind seems to be that it is more intuitive to work on the screen instead of consulting dialogue boxes, means also plugins. I have always liked to use TGTools and Pattersons plugs, but a more slim simple FINALE is always welcome. We can still do the same. With lesser effort. On Jul 30, 2008, at 12:47 PM, G GRIFFITHS wrote: When applying expressions (say dynamics) using the new drag method, is there a way to make it only apply to staves with notes in? Say the 2nd trombone isn't playing in a measure, but I want to ff to all the other brass, I use the metatool-drag to enclose all brass, and Finale puts an ff on the 2nd trombone part as well, in an empty measure. This doesn't seem right to me. I know I could just drag the brass above the empty measure and then drag those below, but surely it should be able to see that the empty measure does not need the dynamic. Gary Griffiths ___ 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: jef in concert 1 aug @ 18h00 (berlin)
On 30.07.2008 shirling & neueweise wrote: anyone close to or in berlin on friday and got a hankering for some easy-listening electroacoustic love songs to soothe the soul? Hi Jef, although I am in Berlin right now, we have quartet rehearsals all weekend, so I won't manage. If you are interested: we are giving a little concert on Sunday before we go to the studio. I won't publicize what we are going to play as it is a real discovery. Early romantic string quartets, played on period instruments. Johanneskirche, Berlin-Lichterfelde, Ringstraße. Sunday, 3rd August, 6pm. Wine and cheese after the concert. Admission free, donations. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: To Lurk or Not to Lurk... was: RE: [Finale] Some comments re Fin09
Allen, Thank you for offering to speak with someone at MakeMusic about getting an official presence here. I am sad that it probably won't be you, as you appear to have a terrific grasp of the program as well as a personality which appears to be able to explain things in a calm and clear manner. In any event, whether the people who would make such a decision agree with you or not about an official presence on this list, I just want you to know that your presence here has been much appreciated by me and I know also by many others on this list. Thank you, David H. Bailey Fisher, Allen wrote: That's not why I'm quieting down. I unintentionally hijacked the 2k9 thread. I got a bit snarky with Eric D, and I apologize for that. I'd rather have you discussing the merits of the product than arguing about my presence here, especially on the 2k9 thread. That said, I will talk to someone about getting an official presence here (probably won't be me, as much as I enjoy chatting with most people here...). I can't make any promises though, just like I can't comment on on-going development. [snip] -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Digital music stands (now totally TAN)
Randolph Peters wrote: Robert Patterson wrote: Speaking of digital music stands. Losing power is a non-issue. I've been in concerts and rehearsals when the power went out, and believe me the show did *not* go on. And this was with good old-fashioned Manhassetts. (Remember that thing we need called light?) [snip] This is not to speak to your main point, but one of my best concert experiences was in Calcutta (now Kolkata) where the power goes out quite often. The trio playing classical music on stage simply lit some candles and got audience members to hold the light to give the best exposure to their music stands. The immediate intimacy for all, not to mention the thrill for a few audience members who had never been so close to great music making, makes me think we should "stage" these power outages more often! That's a terrific story, but unfortunately I have never carried candles in my accessories bag when on the way to a gig. perhaps I'll start! :-) -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Digital music stands
[EMAIL PROTECTED] wrote: If the cost issues could be resolved this technology holds a lot of promise. Many orchestras have corporate sponsors and I can see a tie-in developing where the company that develops the technology is also a sponsor of the orchestra. The "ePaper" technology that is used for devices like the Amazon Kindle might be the perfect display technology to use for this. Or perhaps OLED. The technology on the Kindle and the Sony Reader (same screen exactly) is excellent for reading music on, but I'm not sure how good it would be at the distance of a music stand. Hand-held it's excellent. The other problem is that they haven't produced any screens larger than the approx. 5"x8" size used for the Kindle, the Sony Reader and one or two other ebook readers. The other problem is that the e-ink screens are not back-lit so external lighting is required, maintaining the need for stand-lights or stage lighting. However, it is this lack of back-lighting which makes reading them so nice (I have the Sony Reader) and I can read my PRS500 as long as I can read a book for with no additional eye-strain. Reading back-lit screens creates eye-strain much more quickly. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Digital music stands
James Gilbert wrote: [snip] The cost of the units are starting to come down in price, but they still are too high. If one can buy Finale at full cost or Adobe CS Photoshop at full cost, they can afford one of those units. I'm not sure the Kindle type of units (Amazon) would work too well with music. I think they were geared mainly toward text and simple graphics. The logic of one's ability to buy Finale or Photoshop proving one's ability to afford an e-stand escapes me -- If I have $600 discretionary money to spend, I can only spend one $600's worth. I can't buy 2 $600 items. So just because I may have been able to afford Finale doesn't mean I could *also* afford an e-stand. Even if I have bought Finale and Photoshop, that doesn't mean I have a third fairly large sum of money to spend on a third item. :-( Someone mentioned that orchestras would need to hook the units up to a network. Other than the simplicity of loading the music into the units prior to rehearsing, why would they need to be part of a network in rehearsal or performance? What's the advantage or reasoning? So the concert-master can change bowing and have it reflected immediately on all the violin parts, rather than the all-too-common game of "telephone" where the 2nd desks can see what the concertmaster has done and have to relay that back to the 3rd desks, etc. And any alterations to the form (ignoring repeats, taking them on the D.C., whatever) can be marked by the conductor and those can appear immediately in all parts. Or the conductor can make some indication to a single player, such as "Listen to the 3rd horn entrance" and be sure it's actually written on the part (I can't tell you how many times in my community band I'll explain some major point I want in the music only to see everybody sitting there nodding agreement and only 3 out of 50 actually writing it down!) so the point won't have to be made over and over again. The distribution of the music -- get a new piece distributed to all the stands at once. I can think of lots of reasons -- copyright issues for one. If the individual e-stands are "dumb" terminals with internal storage only and no way for the individual musician to take it home and download the PDFs of the parts to hang onto after the copyrighted rental work has been 'returned' to the publisher (i.e. erased from the local network), then works under copyright will become available. Currently, publishers of copyrighted works are most likely very hesitant to release their works in any format which would work for e-stands because of the lack of control of the copies. It's much harder to guarantee compliance when each individual musician can make a digital copy. I know that's still possible with paper-based distribution, but the electronic distribution model makes it much easier. I've dropped my music pad about 4 feet, onto its side once, no problems. However, if the glass display were to break, it would do the unit in. But, spilling coffee on or having the A/C return suck printed music to who knows where would end up with the same effective result as far as the performer goes - nothing to perform from. There is no fool-proof system of music dispersal which can protect against all catastrophes. I see this as no extra deterrent against e-stands, and when the price drops a bit more, I'm likely to buy one. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Digital music stands
James Gilbert wrote: Shows you what I know about orchestras. I thought the players kept their music from rehearsal to rehearsal so they could practice. Since they don't, it makes no since to go digital until the way orchestras operate with regard to music changes. (That is, until the players keep their music and be responsible for it rehearsal to rehearsal. If they were, I could see many ways to utilize the musicpad, including having the librarian loan them CD's, memory sticks or other media with new music on it that they transfer to the pad). There are many different models of music dispersement in orchestras -- for per-service orchestra gigs in my area, the music is mailed to the musicians prior to the first rehearsal, and they keep the music for the duration, leaving it on the stands at the end of the final performance. In my community band, music stays in our folders for many months at a time (why waste all that rehearsal effort on a single performance?). -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Some comments re Fin09
David W. Fenton wrote: [snip] If they are right, why wouldn't the problem take care of itself? Why cripple the old way in order to force people to use the new way? That's a very good question, and one which I think the answer to involves more complexity than simple arbitrary restriction to 4 staff lists. I think there may be a programming issue where underlying changes in the way the program works might have made internal tracking or control of more than 4 staff lists difficult. Absent a true programming need, there is no logical reason for such a limitation because any such change in the number of staff lists would have involved programming time which would better have been spent elsewhere. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] re: Finale 2009 Mac Firewire/Intel issue?
There is a Sibelius group at yahoogroups.com and the Sibelius Senior Products Manager, Daniel Spreadbury maintains an official presence there and could answer any questions you might have about AU support issues or any concerns you have run into with recent versions of Finale. Ask at the Sibelius group and see what other Mac users have to say. Just remember, though, that Sibelius is not Finale and it may not be an ideal program for you. It might, but don't leap blindly because your individual notational needs may not be as easy in Sibelius. They may be easier, they may be harder, they may be the same level of ease/difficulty. But it's worth checking it out, even if only to know that you will stay with Finale despite its faults. There's a demo version you can download at sibelius.com. The members of the sibelius group at yahoogroups is just as friendly and willing to help as this group, so you can count on good answers to your questions. David H. Bailey Bob Shuster wrote: Thanks for the advice on workarounds folks, but I really just need it to be fixed! :) Well, I believe I'm answering my own question here. I downloaded the demo of Finale 2009, and while AU support is disabled in the demo, SoftSynth playback is not - and it still plays back left channel only with MacIntel and Firewire audio interface (mine happens to be a Presonus FirePod.) What the heck is up with the folks at Make Music? They introduced this problem with the 2008 version (over a year ago?) and it's still not fixed? This seriously limits the usefulness of Finale to me - I think I'm officially tired of waiting for it at this point. Any good Sibelius lists out there? - Bob Shuster - Can anyone confirm or deny that this issue has been fixed? (Intel Macs with Firewire audio interfaces have left channel output only since 2008.) I'm waiting to upgrade until I find out! Also, has human playback been improved at all? I can't use it at all in 2008 (perhaps related to the above issue) as it crashes Finale about 75% of the time when initializing. - Bob Shuster ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Digital music stands
John Howell wrote: [snip of good clarification of copyright issues] And are you aware that by far the majority of orchestral music is available only on rental? [snip] I just want to clarify this remark in an otherwise clear reply -- the majority of *newer* (read that as copyrighted) orchestral music is available only on rental -- the standard repertoire (which unfortunately still accounts for 80%-90% of modern orchestral programming) is still available for sale, as is the vast school orchestra library. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mic Notator
Barbara Levy wrote: Hello! I'm crawling out of lurkdom to ask the collective wisdom: what opinions do you have (good, bad, indifferent) about the Mic Notator in F2008? Is it essential to have Finale's special mic for this? And will this mic also work for SmartMusic? I would find it SO much easier to input using one of my several woodwinds. At the price MakeMusic asks for their "special" mic, I can't think there is anything about it which would make it any different from other mics. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] unlinking score and parts
Aaron Sherber wrote: At 07:53 PM 7/29/2008, Ryan Beard wrote: >I'm trying to wrap my head around getting things to >show in the score only and not in the parts and vice >versa. >Specifically, I want one text block to show only on >the first page of the score and not in the parts. Place the block in the score. In the score, then do Hide, Unlink in All Parts, Show. >I >want a second text block with the score/part name to >show only on the parts, not on the score. Place the block in the score. In the score, then do Unlink in All Parts, Hide. >Is there a way to make this work for entries, too? I >really would like to put cues in the parts, but have >them not show up in the score. In Fin2007 and 2008, there is a staff style called Blank Notation with Rests. (If this is a file you created in an earlier version, you'll need to create the staff style or import it from a library.) Put the cue notes in the score, apply this staff style to the measures in the score, and then go to the part and clear the staff style from the measures in the part. This will leave the cue notes visible in the parts but not the score. Does that leave the default whole-rests showing in the score? -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] unsubscribe...
Carolyn Bremer wrote: No -- I teach at Cal State Long Beach. Wow, small world -- I'm listening to KKJZ streaming on my computer, and I listen to it almost every day! Excellent radio station. Are you on the faculty of the Bob Cole Conservatory of Music or is there a separate music department outside that? -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Digital music stands
Blake Richardson wrote: [snip]> paying for the rights to copy the parts in that manner. Whether that's legal or not (the Fair Use doctrine-- which allows the user to make a back-up copy-- would seem to suggest that it is) While I agree that organizations do that all the time, there is nothing in the Fair Use doctrine which permits backup copies. What has happened is that software publishers have allowed backup copies specifically in their licenses, courts have upheld end-users' rights to make copies of legally purchased CDs, LPs, Cassettes, 8-tracks for listening on a different medium. But I don't ever recall hearing about a court decision which has upheld anybody's right to make backup copies of printed music, which has been viewed in copyright infringement cases as "disposable materials" which are supposed to wear out and be purchased anew when the current copies become unusable. There is nothing in the Fair Use section of the U.S. Copyright law which allows such copying nor is there anything in the Fair Use Guidelines of the MPA (Music Publishers Association) which permits that. I do realize the Fair Use Guidelines of the MPA are only those issues for which the member publishers won't prosecute and in no way represent any legal precedents nor any true reflection of the appropriate provisions of the U.S. Copyright Law (I urge everybody to download a copy and read it -- it's free from http://www.copyright.gov/title17/ and is a good thing to look over). -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Peculiar audio problems with WinFin2k9
This sounds like conflicting sample rates...one sets at44100 and the other sets at a different rate, maybe 22050. But even if my figures are not correct, the concept is, at least on a PC. From: [EMAIL PROTECTED] on behalf of dhbailey Sent: Wed 30-Jul-08 10:10 To: finale@shsu.edu Subject: Re: [Finale] Peculiar audio problems with WinFin2k9 G GRIFFITHS wrote: > OK - this is odd. > > I fire up Finale - all fine. Playback (midi and VST) all fine. > > Then I open ITunes - playback is reduced to a crawl, like playing a tape > really slow. All in slow-motion. > > Same then happens on YouTube. Video and audio crawl - audio not just slow, > but very deep as well. > > If I quit Finale then all becomes clear again. > > A lot of my work is transcribing so I need to be able to use ITunes and > Finale at the same time. > > Any ideas? > > Gary Griffiths > New computer? -- David H. Bailey [EMAIL PROTECTED] ___ 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] Peculiar audio problems with WinFin2k9
G GRIFFITHS wrote: OK - this is odd. I fire up Finale - all fine. Playback (midi and VST) all fine. Then I open ITunes - playback is reduced to a crawl, like playing a tape really slow. All in slow-motion. Same then happens on YouTube. Video and audio crawl - audio not just slow, but very deep as well. If I quit Finale then all becomes clear again. A lot of my work is transcribing so I need to be able to use ITunes and Finale at the same time. Any ideas? Gary Griffiths New computer? -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] unlinking score and parts
On Wed, July 30, 2008 9:49 am, dhbailey wrote: > Aaron Sherber wrote: >> >> In Fin2007 and 2008, there is a staff style called Blank Notation with >> Rests. (If this is a file you created in an earlier version, you'll need >> to create the staff style or import it from a library.) Put the cue >> notes in the score, apply this staff style to the measures in the score, >> and then go to the part and clear the staff style from the measures in >> the part. This will leave the cue notes visible in the parts but not the >> score. >> > > Does that leave the default whole-rests showing in the score? Well, it leaves whole note rests in the score. Technically, I'm not sure if they qualify as default whole rests, or real whole rests, or something else entirely. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] unlinking score and parts
Aaron Sherber wrote: On Wed, July 30, 2008 9:49 am, dhbailey wrote: Aaron Sherber wrote: In Fin2007 and 2008, there is a staff style called Blank Notation with Rests. (If this is a file you created in an earlier version, you'll need to create the staff style or import it from a library.) Put the cue notes in the score, apply this staff style to the measures in the score, and then go to the part and clear the staff style from the measures in the part. This will leave the cue notes visible in the parts but not the score. Does that leave the default whole-rests showing in the score? Well, it leaves whole note rests in the score. Technically, I'm not sure if they qualify as default whole rests, or real whole rests, or something else entirely. Thanks -- I guess that was essentially what I was concerned with. As a conductor I hate looking at totally empty measures. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Finale in the University [was Re: [Finale] unsubscribe...]
I'm on the faculty of the Bob Cole Conservatory. Until last March, that was the "regular" music department. That's when we announced the endowment which, by the way, is only used for student scholarships. We're instituting a sophomore-level course in the fall required for all music majors to learn basic music technology: how to record sound and edit it (using Audacity because it is open-source & cross-platform), how to run Band-in-a-Box, and a big unit on Finale. Our Music Ed dept used to be Sibelius-centric, but last year they decided that Finale was better for their students (primarily because of Smart Music), so we only teach Finale now. In the advanced notation class (primarily for composers), I've taught only Finale. I've had some Sibelius users in there. About half of them stick with Sibelius at the end of the class, and about half of the make the switch. They're all better off because they have some knowledge of how both programs work. BTW: we don't require composers to use Finale, it is just that we can offer only one notation class (an elective every 4th semester), and 7 of the 9 comp faculty are Finale users. Has anyone else out there taught or developed a large-scale entry-level Finale class? I'd love to share (well, steal, if truth be told) ideas if you have. Most of the students will be taking the course online -- I've been making screen casts for them -- and only one lab full (20) will be in the classroom. That was the only way we could make it work with 80-90 students taking it. This fall will be our first time offering the class and I anticipate more than a few kinks will need to get worked out. I am also happy to share my materials for the advanced class with anyone. -Carolyn On Wed, Jul 30, 2008 at 6:59 AM, dhbailey <[EMAIL PROTECTED]> wrote: > Carolyn Bremer wrote: >> >> No -- I teach at Cal State Long Beach. >> > > Wow, small world -- I'm listening to KKJZ streaming on my computer, and I > listen to it almost every day! Excellent radio station. > > Are you on the faculty of the Bob Cole Conservatory of Music or is there a > separate music department outside that? > > > > -- > David H. Bailey > [EMAIL PROTECTED] > ___ > 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] Some comments re Fin09
On Wed, Jul 30, 2008 at 8:42 AM, dhbailey <[EMAIL PROTECTED]> wrote: > I think > there may be a programming issue where underlying changes in the way the > program works might have made internal tracking or control of more than 4 > staff lists difficult. > I do not know any more about how this function evolved than anyone else on this list. I could speculate that they may have originally planned to have only hard-wired staff lists (i.e., completely uneditable), then thought better of it. What makes me say this is that you can find 4 names that look like they may be staff list names in the datafile that are currently not used. They are generic names that match up with the category names fairly closely. Furthermore, nothing about the data structures that I can see as a plugin developer precludes the possibility of lifting the artificial limit. If they lifted the limit, there is definitely more programming work they would have to do, mainly to do with libraries. I do not believe the staff lists get copied with an expression library: only the 1, 2, 3, 4 assignments are copied. If they opened up staff lists, they would have to be included in expression libraries. That said, I have not heard one iota of a word from MM that the limit has anything to do with programming priorities or time constraints. I'd feel better about it if I had. On the contrary, MM so far has steadfastly justified it as a designed and planned "enahancement" to the program. That is why it is incumbent upon us users to disabuse them of their folly. You know, the limit of 4 is not the only problem. I would like to have the option of *fewer* staff lists than 4. Many of my pieces require only 1, and the rest are just clutter. Why force us to have any certain number of them? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Some comments re Fin09
--- On Wed, 7/30/08, dhbailey <[EMAIL PROTECTED]> wrote: > Absent a true programming need, there is no logical reason > for such a limitation because any such change in the number > > of staff lists would have involved programming time which > would better have been spent elsewhere. > I don't think that would be the case. Given the new design, I think it's a good bet they had to redo a bunch of the staff list functionality anyway, and if anything, it would probably have been extra programming effort to allow for the ability to create staff lists in the new system. Regardless, I don't think that's the reason it's not in there. I think the reason it's not in there is related to publishers complaining about receiving user files that had terribly indiscriminate use of staff lists which translated into more work for them. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Some comments re Fin09
On Wed, Jul 30, 2008 at 10:24 AM, Tyler Turner <[EMAIL PROTECTED]> wrote: > I think the reason it's not in there is related to publishers complaining > about receiving user files that had terribly indiscriminate use of > staff lists which translated into more work for them. > Given the new paradigm for staff lists (and, yes, the availability of drag-assign), do you honestly believe that users would still use them "indiscriminately" if the limit were lifted? Suppose they did? What of it? In order to use them they'd also have to indiscriminately create categories and then indiscriminately assign expressions to those categories. Where do you draw the line? Not to mention, as I said in my earlier post, 4 lists is already indiscriminate for 80% of my work. I'd like the option of only having one. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Some comments re Fin09
So big business is now dictating feature reductions? Stupid. There should have been a compromise or something. If you have more than 4 staff lists only the first 4 can support the new measure expressions. After that, it would be like previous versions. Something like that would have been a better way to deal with it..at least for people who have been using the feature a lot. On Wed, Jul 30, 2008 at 8:24 AM, Tyler Turner <[EMAIL PROTECTED]> wrote: > > > > --- On Wed, 7/30/08, dhbailey <[EMAIL PROTECTED]> wrote: > > > Absent a true programming need, there is no logical reason > > for such a limitation because any such change in the number > > > > of staff lists would have involved programming time which > > would better have been spent elsewhere. > > > > > I don't think that would be the case. Given the new design, I think it's a > good bet they had to redo a bunch of the staff list functionality anyway, > and if anything, it would probably have been extra programming effort to > allow for the ability to create staff lists in the new system. Regardless, I > don't think that's the reason it's not in there. I think the reason it's not > in there is related to publishers complaining about receiving user files > that had terribly indiscriminate use of staff lists which translated into > more work for them. > > > > ___ > 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] Re:Fin09K problem
So, I downloaded the 2009 demo and messed around with it. Then I attempted to trash it so that my old files would not keep opening in it. Now, when I attempt to open a preexisting file done in Mac07k, I get the message, "Operation could not be completed. An unexpected error occurred (error code 10660). I can still open the old stuff by launching 07k, then selecting the file in question, but can't just launch by selecting the file itself. I thought I had purged all of the 09 stuff ... perhaps not. What am I missing, other than common sense? Dean Dean M. Estabrook http://deanestabrook.googlepages.com/home "When I am working on a problem, I never think about beauty. But when I have finished, if the solution is not beautiful, I know it is wrong. " R. Buckminster Fuller ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Playback engine has bugs
I've noticed when I tie across a bar line, the playback engine ignores the tie as if they are two separate notes. Was this ever fixed? Why does it allow you to tie a note to a rest? I never see this in real music performed. Also, when you change the pitch of a tied note, it does not try to change the pitch of the other notes. It leaves the tie in place in between two (or more) unlike pitches, and sounds them separately. In other software packages, you can change the pitch on ANY of the tied notes, and it automatically chages all the others. A SLUR would normally be used in place of a tie between unequal pitches. As far as I know, unequal pitches are NEVER tied together. Yours; Bill Sinclair ** See what's new at http://www.aol.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Some comments re Fin09
I believe it was mentioned here that the limit on staff lists is not present in the repeat tool. To this non-programmer, that seems to be the most curious thing in all of this. In 2006 (my current version), as far as I can tell, the repeat tool accesses the same group of staff lists that are available for use with expressions. Are there two *different* staff lists now, or do the four lists for expressions show up for use with repeats? And if the expression staff lists *are* available to use with repeats, what happens to repeat staff lists over and above the four on the expression side? Are they grayed out? I wonder if repeat staff lists, unlimited as they are, might be an adequate (and hopefully temporary) substitute for some of the usage described here by Claudio, Bernard and others. Don Hart On 7/30/08 10:02 AM, "Robert Patterson" <[EMAIL PROTECTED]> wrote: > On Wed, Jul 30, 2008 at 8:42 AM, dhbailey > <[EMAIL PROTECTED]> wrote: >> I think >> there may be a programming issue where underlying changes in the way the >> program works might have made internal tracking or control of more than 4 >> staff lists difficult. >> > > I do not know any more about how this function evolved than anyone > else on this list. I could speculate that they may have originally > planned to have only hard-wired staff lists (i.e., completely > uneditable), then thought better of it. What makes me say this is that > you can find 4 names that look like they may be staff list names in > the datafile that are currently not used. They are generic names that > match up with the category names fairly closely. Furthermore, nothing > about the data structures that I can see as a plugin developer > precludes the possibility of lifting the artificial limit. > > If they lifted the limit, there is definitely more programming work > they would have to do, mainly to do with libraries. I do not believe > the staff lists get copied with an expression library: only the 1, 2, > 3, 4 assignments are copied. If they opened up staff lists, they would > have to be included in expression libraries. > > That said, I have not heard one iota of a word from MM that the limit > has anything to do with programming priorities or time constraints. > I'd feel better about it if I had. On the contrary, MM so far has > steadfastly justified it as a designed and planned "enahancement" to > the program. That is why it is incumbent upon us users to disabuse > them of their folly. > > You know, the limit of 4 is not the only problem. I would like to have > the option of *fewer* staff lists than 4. Many of my pieces require > only 1, and the rest are just clutter. Why force us to have any > certain number of them? > ___ > 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] another kludge for repeat tool?
Repeat items will align to the right of a multi-measure rest. For those of you who were looking for a way to avoid breaking up multi-measure rests for ritardandos and the like, this may help in some situations, at least to make a part look the way you want. Don Hart ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Resize tool for systems inoperative in 2009?
Believe it or not, this is a valid answer ;-) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Carolyn Bremer Sent: Tuesday, July 29, 2008 2:03 PM To: finale@shsu.edu Subject: Re: [Finale] Resize tool for systems inoperative in 2009? Good answer! -Carolyn On Tue, Jul 29, 2008 at 11:34 AM, Fisher, Allen <[EMAIL PROTECTED]> wrote: > I wrote this up. I think the manual's right and the program's wrong. > > -Original Message- > From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL > PROTECTED] > Sent: Monday, July 28, 2008 8:25 PM > To: finale@shsu.edu > Subject: Re: [Finale] Resize tool for systems inoperative in 2009? > > Hi, Allen > > I'd just like to add my opinion to the others that we appreciate your > presence here on the list, even if you aren't official and can't answer > everything. And I am sorry that you act as a lightning rod for all our > complaints, because even if you aren't "official", you are still the > representative of MakeMusic for us. But don't go away just because we get > frustrated once in a while. We still love you! > > Now for your answer. > > I had clicked between staves, but I had neglected to do it in the right place > before Carolyn pointed out that the click had to be to the RIGHT of the time > signature. This is in complete opposition to what the manual said, which was > a source of frustration. Simply clicking between the staves isn't enough; it > MUST be to the right of the time sig as well. I hope the manual reflects that > in the update... > > Christopher > > > > - Original Message - > From: "Fisher, Allen" <[EMAIL PROTECTED]> > Date: Monday, July 28, 2008 12:16 > Subject: RE: [Finale] Resize tool for systems inoperative in 2009? > To: "finale@shsu.edu" > >> Click in between staves. >> >> Allen >> >> From: [EMAIL PROTECTED] [EMAIL PROTECTED] On >> Behalf Of Christopher Smith [EMAIL PROTECTED] >> Sent: Thursday, July 24, 2008 10:30 PM >> To: finale@shsu.edu >> Subject: [Finale] Resize tool for systems inoperative in 2009? >> >> Hi all, >> >> First operation with the new FinMac 2009, so this doesn't auger well. >> >> I created a score (added a couple of staves to an existing ensemble) >> and the first thing I tried to do was use the Resize Tool to >> make the >> systems smaller by clicking next to the first system. The only >> dialogue box that I could get to show up was the Resize Page >> box. If >> I clicked a staff directly, I would get Resize Staff, but >> nowhere can >> I force the Resize System dialogue box to show up. >> >> Resize Systems in the Page Layout tool seems to work normally, so >> this doesn't stop me, but can anyone confirm the bug? >> >> Thanks. >> >> Christopher >> >> >> ___ >> 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 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] Re:Fin09K problem
Sounds like your Launch Services Database is tangled up. When I deleted the demo folder off my system (and emptied the trash), it forgot about the demo. I would recommend a utility like ONYX or TechTool to clean it up. Some of you Mac power users out there probably have a better idea. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Dean M. Estabrook Sent: Wednesday, July 30, 2008 10:40 AM To: finale@shsu.edu Subject: [Finale] Re:Fin09K problem So, I downloaded the 2009 demo and messed around with it. Then I attempted to trash it so that my old files would not keep opening in it. Now, when I attempt to open a preexisting file done in Mac07k, I get the message, "Operation could not be completed. An unexpected error occurred (error code 10660). I can still open the old stuff by launching 07k, then selecting the file in question, but can't just launch by selecting the file itself. I thought I had purged all of the 09 stuff ... perhaps not. What am I missing, other than common sense? Dean Dean M. Estabrook http://deanestabrook.googlepages.com/home "When I am working on a problem, I never think about beauty. But when I have finished, if the solution is not beautiful, I know it is wrong. " R. Buckminster Fuller ___ 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] Playback engine has bugs
Not sure if it's accepted as *correct* everywhere, but I think it's fairly common for a tie on a note leading to a rest to indicate "let vibrate", like in a cymbal swell. Don Hart On 7/30/08 10:39 AM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: > Why does it allow you to tie a note to a rest? I never see this in real > music performed. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Digital music stands
At 6:48 AM -0400 7/30/08, Blake Richardson wrote: Well, the reality is that in every band and orchestra I've ever played with, the librarian *does* photocopy all the parts before handing them out. They keep the originals in the library so if one of the musicians loses their music at some point, they aren't out the trumpet part, for example. And rarely, if ever, does the orchestra go to the trouble of obtaining and paying for the rights to copy the parts in that manner. Whether that's legal or not (the Fair Use doctrine-- which allows the user to make a back-up copy-- would seem to suggest that it is), the organizations do it anyway. Unfortunately you're absolutely right. And I've been known to drive a LITTLE, TEENY BIT over the speed limit, too. But if I get caught, I'm not going to try to argue my way out of it. My choice, my penalty! And publishers' representatives have been known to weasel their way into examining the libraries of churches or schools in order to identify copyright infringements. The problem of course is that the copying technology has gotten WAY ahead of the law and its restrictions. And when I (and others) comment on the legalities, it isn't in the expectation that very many people are going to change their habits, but in an effort to make sure everyone knows that they ARE breaking the law and that they are making a conscious decision to do so. And the secondary problem is publishers who don't respect the continuing value of what they have, who allow titles (including replacement parts) to go permanently out of print, and who are too stupid to USE the modern technology to keep their OWN archives and the ability to sell replacements from those archives. That is an open invitation to anyone who needs replacement parts to go ahead and photocopy them. Sure, it's a losing battle, but trying to get the facts out and about is still worthwhile. If you ever get to court, "everybody does it" won't get anyone off the hook! And I'd really like to know where, in what version of "Fair Use," you find permission for "the user to make a back-up copy." Yes, that's been established long ago as it applies to commercial recordings, if I remember correctly, but that does NOT automatically mean that it applies to sheet music (which is defined as 'material intended to be used up') and it CERTAINLY does not apply to computer programs, unless I've completely misread all those legal agreements that we all have to agree to! Thanks for the note. Nobody ever said it's clear or easy! John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts & Human Sciences 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 "We never play anything the same way once." Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mic Notator now midi sax
On 30.07.2008 Barbara Levy wrote: I'm crawling out of lurkdom to ask the collective wisdom: what opinions do you have (good, bad, indifferent) about the Mic Notator in F2008? Is it essential to have Finale's special mic for this? And will this mic also work for SmartMusic? I would find it SO much easier to input using one of my several woodwinds. Barbara, have you ever tried a midi sax, or other midi wind instrument? There are full-priced ones ($500) like the Yamaha WX5 Wind MIDI Controller which some pros use in performance, but: Several years ago, there was a Casio midi sax, marketed as a toy in the $80 range, that was soon discontinued and was sold in "Big Lots" and other stores in the $25 range. It featured recorder/sax-type fingerings, several different patches, an onboard speaker that could be turned off and a midi out. I had one, but have since given it to a relative. It's main limit was that it was not responsive to breath cresc/decresc, but one could play fast on it. Never tried it with a notation program, but I used to play a keyboard synth with it. Hmm, I googled a bit and found it. The model was Casio DH-100 (silver) / DH-200 (black) here is a site with accessories, but lists the unit as "currently unavailable" http://www.patchmanmusic.com/dh100sales.html Another hmm... these things look like they have quite an after market going. One just went on Ebay for $80 needing repairs, but here is another one going now for $20 plus $14 shipping - it's ebay # 12028863 Also, here is a MIDI Wind Controllers FAQ from 1995: http://www.harmony-central.com/MIDI/Doc/wind-controllers.txt Hope this helps! Raymond Horton ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Finale 2009 Mac Firewire/Intel issue?
Well, I got the definitive answer from MakeMusic on the FireWire audio interface issue, as follows: Thank you for contacting MakeMusic Customer Support. I deeply apologize for this issue in Finale. At this point it is not fixed in Finale 2009 and I do not know what the plans are to fix it. I will be adding your voice to the list of people who are looking for this fix. Once again I apologize for any inconvenience. Doug R. MakeMusic Customer Support So it appears it's not even on their "To Do" list. Are there enough of us in this boat to pressure them? How about a class action suit? :) - Bob Shuster ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mic Notator now midi sax
Ray Horton wrote: On 30.07.2008 Barbara Levy wrote: I'm crawling out of lurkdom to ask the collective wisdom: what opinions do you have (good, bad, indifferent) about the Mic Notator in F2008? Is it essential to have Finale's special mic for this? And will this mic also work for SmartMusic? I would find it SO much easier to input using one of my several woodwinds. Barbara, I've been wasting time, finding more info about the Casio DH-100. There is a real bunch of idiots out there still playing these things and keeping them repaired. One site says I should be able to control volume with breath, by turning it upo to full volume (I probably never risked that when I had it.) If you google it you will see. I think I will get mine back from my sister (who had to give up wind playing after ear surgery). Here's a YouTube demo, with some reverb added: http://www.youtube.com/watch?v=rmAiLQEItZo Ray H. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale 2009 Mac Firewire/Intel issue?
I would be very surprised if even 100 people have complained about this. What's particularly sad is that they knew about this problem from the time FinMac 2008a came out because I talked to Support about it right after I received it. I got the canned response Bob quotes below. It's not like it's hard to add Core Audio functionality correctly. Apple makes it very easy. **Leigh On Wed, Jul 30, 2008, Bob Shuster <[EMAIL PROTECTED]> wrote: >Well, I got the definitive answer from MakeMusic on the FireWire audio >interface issue, as follows: > >> Thank you for contacting MakeMusic Customer Support. >> >> I deeply apologize for this issue in Finale. At this point it is not >> fixed in Finale 2009 and I do not know what the plans are to fix it. >> I will be adding your voice to the list of people who are looking >> for this fix. Once again I apologize for any inconvenience. >> >> Doug R. >> MakeMusic Customer Support > ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Playback engine has bugs
At 11:39 AM -0400 7/30/08, [EMAIL PROTECTED] wrote: I've noticed when I tie across a bar line, the playback engine ignores the tie as if they are two separate notes. Was this ever fixed? Can't speak to that. Why does it allow you to tie a note to a rest? I never see this in real music performed. Is this not used for "laissez vibrer"? It is in Sibelius, sending a note on but not a note off, and it is used extensively in percussion parts. Sibelius also provides an alternative to the "real" tie if you are not satisfied with the playback. Also, when you change the pitch of a tied note, it does not try to change the pitch of the other notes. It leaves the tie in place in between two (or more) unlike pitches, and sounds them separately. In other software packages, you can change the pitch on ANY of the tied notes, and it automatically chages all the others. Which software packages? Not Sibelius (I just tried it), and not (if I remember correctly, which I may not) in Mosaic. A SLUR would normally be used in place of a tie between unequal pitches. As far as I know, unequal pitches are NEVER tied together. Quite correct. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts & Human Sciences 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 "We never play anything the same way once." Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale 2009 Mac Firewire/Intel issue?
It's not all FireWire devices. My M-Audio FireWire Audiophile never had this problem. I've always had stereo playback from Finale. (That said, OBVIOUSLY this should be a high-priority fix.) However, my FW Audiophile does have a new, incredibly infuriating problem. There is a bug in Leopard and QuickTime 7.5 that causes occasional audio stuttering when using the built-in audio. However, with the FW Audiophile, the stutter causes the sound to drop out permanently. (The MIDI functions are unaffected.) The only way to restore sound is to toggle the sample rate, or power-cycle the device. Sometimes it happens as often as every five seconds. After months of struggling with this, I'm going to try reverting to 10.5.1, which is not supposed to have this insanely infuriating problem. Anyone else see this with 10.5.x? Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 30 Jul 2008, at 2:51 PM, Leigh Daniels wrote: I would be very surprised if even 100 people have complained about this. What's particularly sad is that they knew about this problem from the time FinMac 2008a came out because I talked to Support about it right after I received it. I got the canned response Bob quotes below. It's not like it's hard to add Core Audio functionality correctly. Apple makes it very easy. **Leigh On Wed, Jul 30, 2008, Bob Shuster <[EMAIL PROTECTED]> wrote: Well, I got the definitive answer from MakeMusic on the FireWire audio interface issue, as follows: Thank you for contacting MakeMusic Customer Support. I deeply apologize for this issue in Finale. At this point it is not fixed in Finale 2009 and I do not know what the plans are to fix it. I will be adding your voice to the list of people who are looking for this fix. Once again I apologize for any inconvenience. Doug R. MakeMusic Customer Support ___ 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] Playback engine has bugs
On Wed, July 30, 2008 3:43 pm, John Howell wrote: > At 11:39 AM -0400 7/30/08, [EMAIL PROTECTED] wrote: >>A SLUR would normally be used in place of a tie between unequal >>pitches. As far as I know, unequal pitches are NEVER tied together. > Quite correct. Pitches yes -- but just to be clear, different spellings of the same pitch in 12TET can be tied together (G# to Ab). This has come up here before. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Some comments re Fin09
Tyler Turner wrote: --- On Wed, 7/30/08, dhbailey <[EMAIL PROTECTED]> wrote: Absent a true programming need, there is no logical reason for such a limitation because any such change in the number of staff lists would have involved programming time which would better have been spent elsewhere. I don't think that would be the case. Given the new design, I think it's a good bet they had to redo a bunch of the staff list functionality anyway, and if anything, it would probably have been extra programming effort to allow for the ability to create staff lists in the new system. Regardless, I don't think that's the reason it's not in there. I think the reason it's not in there is related to publishers complaining about receiving user files that had terribly indiscriminate use of staff lists which translated into more work for them. I don't understand how the number of staff lists a person uses would in any way be an inconvenience to a publisher. How would it create more work for a publisher? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Playback engine has bugs
[EMAIL PROTECTED] wrote: I've noticed when I tie across a bar line, the playback engine ignores the tie as if they are two separate notes. Was this ever fixed? Why does it allow you to tie a note to a rest? I never see this in real music performed. Also, when you change the pitch of a tied note, it does not try to change the pitch of the other notes. It leaves the tie in place in between two (or more) unlike pitches, and sounds them separately. In other software packages, you can change the pitch on ANY of the tied notes, and it automatically chages all the others. A SLUR would normally be used in place of a tie between unequal pitches. As far as I know, unequal pitches are NEVER tied together. While that last statement is true, other notation programs allow the use of their "tie" between notes which aren't the same pitch, and they also allow the changing of one of the tied notes to a different pitch without also changing the other pitch. Are you sure you're using the tie (the "=" key on PC) and not a slur (smartshape) between the two notes you think you're tying? I've never had correctly tied notes in Finale play back as to separate notes. You didn't mention which version you're using. I've been with Finale since version 3.5 and ties have always played back correctly. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Playback engine has bugs
Don Hart wrote: Not sure if it's accepted as *correct* everywhere, but I think it's fairly common for a tie on a note leading to a rest to indicate "let vibrate", like in a cymbal swell. And sometimes it's used on other instruments in an attempt to get people to sustain the note immediately preceding the rest for the correct full value, which many people fail to do. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mic Notator now midi sax
Ray Horton wrote: On 30.07.2008 Barbara Levy wrote: I'm crawling out of lurkdom to ask the collective wisdom: what opinions do you have (good, bad, indifferent) about the Mic Notator in F2008? Is it essential to have Finale's special mic for this? And will this mic also work for SmartMusic? I would find it SO much easier to input using one of my several woodwinds. Barbara, have you ever tried a midi sax, or other midi wind instrument? There are full-priced ones ($500) like the Yamaha WX5 Wind MIDI Controller which some pros use in performance, but: Several years ago, there was a Casio midi sax, marketed as a toy in the $80 range, that was soon discontinued and was sold in "Big Lots" and other stores in the $25 range. It featured recorder/sax-type fingerings, several different patches, an onboard speaker that could be turned off and a midi out. I had one, but have since given it to a relative. It's main limit was that it was not responsive to breath cresc/decresc, but one could play fast on it. Never tried it with a notation program, but I used to play a keyboard synth with it. Hmm, I googled a bit and found it. The model was Casio DH-100 (silver) / DH-200 (black) here is a site with accessories, but lists the unit as "currently unavailable" http://www.patchmanmusic.com/dh100sales.html Another hmm... these things look like they have quite an after market going. One just went on Ebay for $80 needing repairs, but here is another one going now for $20 plus $14 shipping - it's ebay # 12028863 Also, here is a MIDI Wind Controllers FAQ from 1995: http://www.harmony-central.com/MIDI/Doc/wind-controllers.txt When they were originally released, they had a price tag of about $350 and if I recall correctly predated the personal computer although my memory may be a bit hazy on that point. I was working in a music store, a job I left 23 years ago, and they had already been out on the market a couple of years at that point. Very few people ever bought them, and they resurfaced about 15 years or so ago. I bought one for around $20 from DAK. They would work fine for note entry with no need for the services of micnotator(tm). -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Playback engine has bugs
From: <[EMAIL PROTECTED]> Reply-To: Date: Wed, 30 Jul 2008 11:39:44 -0400 To: Subject: [Finale] Playback engine has bugs > Why does it allow you to tie a note to a rest? I never see this in real > music performed. I see it all the time. Not so much a note tied specifically to a rest but a note tied to nothing at all-- which usually ends up looking like it's tied to a rest. Most often in piano and harp parts where the intent is for the note to be struck (or plucked) and then fade away to nothing. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Playback engine has bugs
Yep, see it all the time in concert band music anyway ... use it myself for the exact reasons heretofore mentioned. Cheers, Dean On Jul 30, 2008, at 2:14 PM, dhbailey wrote: Don Hart wrote: Not sure if it's accepted as *correct* everywhere, but I think it's fairly common for a tie on a note leading to a rest to indicate "let vibrate", like in a cymbal swell. And sometimes it's used on other instruments in an attempt to get people to sustain the note immediately preceding the rest for the correct full value, which many people fail to do. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Dean M. Estabrook http://deanestabrook.googlepages.com/home "When I am working on a problem, I never think about beauty. But when I have finished, if the solution is not beautiful, I know it is wrong. " R. Buckminster Fuller ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Bugs etc……
I've been using Finale since 2001 and am a full-time musician. After nearly 8 years of experience with the program I can honestly say that it is the most unreliable and frustrating program I own. I refer to it as my "Blue Streak" program because nearly every time I open it I cuss a blue streak. If Pro Tools or Final Cut or the Adobe Creative Suite or even WORD were half as full of infuriating eccentricities and undocumented problems as Finale they would never have reached the competitive level. I use all of these applications and never seems to have an issue that can't be resolved in a moment or two. The fact that a program so full of glitches and bugs has become such a giant in the notation arena just goes to show that there is still not a really great notation program out there for us yet. If someone would develop a notation program that is stable and reliable I'd switch in a second for twice the price. ‡___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Some comments re Fin09
On 30.07.2008 Tyler Turner wrote: I think the reason it's not in there is related to publishers complaining about receiving user files that had terribly indiscriminate use of staff lists which translated into more work for them. No, that surely is not the reason. 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] Playback engine has bugs
Bill, There are a few situations where a tied note will play back as two different pitches (generally they play back correctly, though.) Is one of the notes altered? If you have F# in one bar and tie it to Fnat in the next bar, it will play back as two different pitches (which should be obvious) but it will appear correctly. Likewise, if you have HIDDEN an accidental (rather than changing the pitch!) then Finale will still play it back as, say F#, whereas it appears as Fnat, so you could have two different notes sounding. If one of the notes is in a different layer, then the tie will not play back. I get this in piano and choral music sometimes. If playback is essential, then I can set the note to zero velocity and add in a hidden note that plays back correctly. If you are changing systems, and have two staves consolidating down to one (like split violins coming back to one staff) then perhaps there is a tied note that doesn't have a partner to tie to officially on the same staff, though it appears correctly through the magic of staff optimisation. Although if you have an F# tied to a Gb over a key change, it should play back properly because it is the same MIDI pitch number. Remember that Finale uses MIDI to play back, and is constrained by what MIDI can and can't do (although there are sometimes some workarounds that MakeMusic has incorporated to solve some problems.) Ties sometimes go nowhere in correct music notation, for example, when a passage is played the second time only on a repeat, and a note is tied to the second ending. Obviously, there is no note in the next bar (first ending) to tie to. Also the example I gave before where two staves consolidate down to one in a split part. I definitely would NOT want MakeMusic deciding whether I should or should not be able to tie over to nothing! It's bad enough when I have to have a tie BEGINNING a measure when there is no note in the previous measure; that's a bit of a kludge. Christopher - Original Message - From: [EMAIL PROTECTED] Date: Wednesday, July 30, 2008 11:59 Subject: [Finale] Playback engine has bugs To: finale@shsu.edu > I've noticed when I tie across a bar line, the playback engine > ignores > the tie as if they are two separate notes. Was this ever fixed? > > Why does it allow you to tie a note to a rest? I never see this > in real > music performed. > > Also, when you change the pitch of a tied note, it does not try > to > change the pitch of the other notes. It leaves the tie in place > in > between two (or more) unlike pitches, and sounds them > separately. In > other software packages, you can change the pitch on ANY of the > tied > notes, and it automatically chages all the others. > > A SLUR would normally be used in place of a tie between unequal > pitches. As far as I know, unequal pitches are NEVER tied together. > > Yours; Bill Sinclair ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Finale in the University
Has anyone else out there taught or developed a large-scale entry-level Finale class? I'd love to share (well, steal, if truth be told) ideas if you have. Most of the students will be taking the course online -- I've been making screen casts for them -- and only one lab full (20) will be in the classroom. That was the only way we could make it work with 80-90 students taking it. This fall will be our first time offering the class and I anticipate more than a few kinks will need to get worked out. I teach something like this at Sydney Uni, but which deals with general score presentation as well (e.g. binding, printing, paper weights, basic design, general music presentation). Not online though, and as I don't deal with the composition majors it's probably at a different level to yours. To be honest, one of the best things you can do for them is set Stephen Powell's Music Engraving Today as a reference textbook. That way they learn to best present their scores no matter which application they use. This semester we divide our class into two: I focus upon Finale basics for 6 weeks, and someone else teaches Sibelius basics for 6 weeks. Interestingly the majority of students in my class of non-music-specialists come from a Finale or Finale Notepad background. This is in stark contrast to my first year composition class where 15/17 use Sibelius. Matthew ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Jazz Notation Standards...what's correct?
I have a brother that plays in a prestigious big band, and I have recently been hired as the copyist for this particular band. I had done non-contracted copy work for them before, and need to clear up some notation issues with the experts, because we argue. I'm not extensive in jazz, but I know some things can't be as awkward as what he claims they are, as follows: 1. Accidentals He claims that, in a (e.g.) scalar run: (Key of Bb Major), if the clarinet plays a scalar run (with Ab accidentals only, outside of the key) starting on it's written low F (below the staff), it will play F, G, Ab, Bb, C, D, Eb, F, G, THEN... should the upper A-flat be remarked since it's in the next octave, or is it automatically assumed that it's flat, because it was flat in the lower octave? I claim that's not the practice, he claims it is. Answer on that one, please. 2. Double Sharps, Double Flats: As we all know, some big band ballads or jazz chart ballads can be in some nasty keys (e.g. a lot of Glenn Miller's charts are in Db and Ab), moreso in favor for the vocalist, and my question is: if something like a chromatic scalar run in the woodwinds would have a heavy-sharped key (B Major), would you write a chromatic run as B, B-sharp, C#, C double-sharp, D#, etcORB, C-natural, C#, D-natural, D#, etc.). I would always go with the former. My view is, the natural-then-sharp accidental fashion is much too difficult on the eye. Isn't this what double sharps and double flats (respectively) are for? How about if you had a figure that went inbetween a G# and a G natural for two pairs of sixteenth notes (for two counts in 4/4?). Would you want to have to read a G# G-nat G# G-nat G# G-nat G# G-nat mess?!?! Or, easier, a G#-to F-double sharp breeze-of-a-read? I'll ask a bold question: Do you think musicians who complain about double sharps and double flats exemplify poor musicianship, because they're "too hard to figure out"? Anyone with me on that?I have seen double-sharps and double-flats in ALL kinds of stock arrangements, engraved or (poorly) hand-written. Please let me know if these two points are common (and / or correct) in standard jazz notation. I appreciate it. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale in the University
Ah yes, Powell's book is amazing. We've been using it for a few years. I find I even recommend it to composers who come to interview for grad school -- some how showing them that book makes our school look all the much better. Your website is also terrific, and I always recommend your fonts! -Carolyn On Wed, Jul 30, 2008 at 5:38 PM, Matthew Hindson fastmail acct <[EMAIL PROTECTED]> wrote: > >> >> Has anyone else out there taught or developed a large-scale >> entry-level Finale class? I'd love to share (well, steal, if truth be >> told) ideas if you have. Most of the students will be taking the >> course online -- I've been making screen casts for them -- and only >> one lab full (20) will be in the classroom. That was the only way we >> could make it work with 80-90 students taking it. This fall will be >> our first time offering the class and I anticipate more than a few >> kinks will need to get worked out. > > I teach something like this at Sydney Uni, but which deals with general > score presentation as well (e.g. binding, printing, paper weights, basic > design, general music presentation). Not online though, and as I don't deal > with the composition majors it's probably at a different level to yours. > > To be honest, one of the best things you can do for them is set Stephen > Powell's Music Engraving Today as a reference textbook. That way they learn > to best present their scores no matter which application they use. > > This semester we divide our class into two: I focus upon Finale basics for 6 > weeks, and someone else teaches Sibelius basics for 6 weeks. > > Interestingly the majority of students in my class of non-music-specialists > come from a Finale or Finale Notepad background. This is in stark contrast > to my first year composition class where 15/17 use Sibelius. > > Matthew > ___ > 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] Jazz Notation Standards...what's correct?
Here's my take. I think all notation books will agree that accidentals apply only to one octave. In usage, I find that players will play all octaves with the same accidental. Perhaps your particular ensemble is used to having an accidental show on only one octave while applying to all, but it is technically incorrect. That said, in my book, the players win. It is almost always easier to read two different note heads, as you suggest. But, I think in practice (again) that G# - F-double sharp is so unusual that it is difficult for players to get quickly. Can you respell to Ab - G? The rule I use is to consider what the players have most often encountered (and particularly in scales that they'd practice frequently) and notate to that when spelling gets complicated. Theory loses this one. Musicians of decent caliber who complain do so because they haven't seen something often enough for it to become part of their arsenal. Should the copyist "teach" a musician to read double flats and sharps, or should the copyist work within the tradition of what a musician most often sees? I am sure there are good reasons for both, but again, I come down on the side of the musician. I look forward to reading the other responses, as these questions don't have a perfect answers. -Carolyn On Wed, Jul 30, 2008 at 6:02 PM, Patrick Sheehan <[EMAIL PROTECTED]> wrote: > I have a brother that plays in a prestigious big band, and I have recently > been hired as the copyist for this particular band. > I had done non-contracted copy work for them before, and need to clear up > some notation issues with the experts, because we argue. I'm not extensive > in jazz, but I know some things can't be as awkward as what he claims they > are, as follows: > > 1. Accidentals > He claims that, in a (e.g.) scalar run: > (Key of Bb Major), if the clarinet plays a scalar run (with Ab accidentals > only, outside of the key) starting on it's written low F (below the staff), > it will play F, G, Ab, Bb, C, D, Eb, F, G, THEN... > should the upper A-flat be remarked since it's in the next octave, or is it > automatically assumed that it's flat, because it was flat in the lower > octave? I claim that's not the practice, he claims it is. Answer on that > one, please. > > 2. Double Sharps, Double Flats: > As we all know, some big band ballads or jazz chart ballads can be in some > nasty keys (e.g. a lot of Glenn Miller's charts are in Db and Ab), moreso in > favor for the vocalist, and my question is: if something like a chromatic > scalar run in the woodwinds would have a heavy-sharped key (B Major), would > you write a chromatic run as B, B-sharp, C#, C double-sharp, D#, etcOR > B, C-natural, C#, D-natural, D#, etc.). I would always go with the former. > > My view is, the natural-then-sharp accidental fashion is much too difficult > on the eye. Isn't this what double sharps and double flats (respectively) > are for? How about if you had a figure that went inbetween a G# and a G > natural for two pairs of sixteenth notes (for two counts in 4/4?). Would you > want to have to read a G# G-nat G# G-nat G# G-nat G# G-nat mess?!?! Or, > easier, a G#-to F-double sharp breeze-of-a-read? > > I'll ask a bold question: Do you think musicians who complain about double > sharps and double flats exemplify poor musicianship, because they're "too > hard to figure out"? Anyone with me on that?I have seen double-sharps > and double-flats in ALL kinds of stock arrangements, engraved or (poorly) > hand-written. > > Please let me know if these two points are common (and / or correct) in > standard jazz notation. I appreciate it. > > ___ > 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] Jazz Notation Standards...what's correct?
Hi Patrick, On 30 Jul 2008, at 9:02 PM, Patrick Sheehan wrote: 1. Accidentals He claims that, in a (e.g.) scalar run: (Key of Bb Major), if the clarinet plays a scalar run (with Ab accidentals only, outside of the key) starting on it's written low F (below the staff), it will play F, G, Ab, Bb, C, D, Eb, F, G, THEN... should the upper A-flat be remarked since it's in the next octave, YES. Definitely. This is unambiguous. Not restriking the Ab is wrong. 2. Double Sharps, Double Flats: As we all know, some big band ballads or jazz chart ballads can be in some nasty keys (e.g. a lot of Glenn Miller's charts are in Db and Ab), moreso in favor for the vocalist, and my question is: if something like a chromatic scalar run in the woodwinds would have a heavy-sharped key (B Major), would you write a chromatic run as B, B- sharp, C#, C double-sharp, D#, etcORB, C-natural, C#, D- natural, D#, etc.). I would always go with the former. Opinions differ. I would *definitely* go with naturals and sharps (especially for a rapid chromatic run like you describe). Some on this list will disagree vociferously. I'll ask a bold question: Do you think musicians who complain about double sharps and double flats exemplify poor musicianship, because they're "too hard to figure out"? No, of course not. You shouldn't confuse "musicianship" with "what I'm used to." Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
