Re: [Finale] IMSLP down?
They have been having server or connectivity problems intermittently for the last several days. FWIW I just connected a minute ago... Bill On Fri, Nov 15, 2013 at 4:39 PM, Darcy James Argue djar...@earthlink.netwrote: Hi gang, Anyone know whether this is just a temporary outage? Or is the IMSLP Petrucci Music Library RIP? http://imslp.org/ Cheers, - DJA - WEB: http://www.secretsocietymusic.org ___ 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] Scanning Software recommendations
I own an older version of SmartScore, and for the most part I find it to be pretty effective. A friend of mine uses Visiv SharpEye, and I've been very impressed with how well it scans. So much so that it is on my wish list. The differences between SmartScore and SharpEye, from my limited experience with SharpEye, are mostly speed - SharpEye is faster - and the ability to deal with less than perfect source material. Put another way, if you have a clean copy of a score both programs seem to read with about the same accuracy. If the score is smudged, bent, folded, spindled, or mutilated in any way then SharpEye tends to provide a more accurate scan. SharpEye is available in a demo version, download it HERE http://www.visiv.co.uk/dload.htm. SmartScore also has a demo, available HERE http://www.musitek.com/downloads.html. I hate to be so wishy-washy, but really, you're probably best served by trying both demos. But I will grow a backbone long enough to strongly urge you to demo SharpEye... Bill Ken Parsons wrote: I'm thinking about purchasing the SmartScore Pro software for use with Finale, but wondered if there's a better program out there, or if SmartScore is the way to go. Any suggestions welcome! Ken Ken Parsons Technology Coordinator School of Music Southern Adventist University Collegedale, TN 37315 (4230 236-2886 ___ 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] Help file with Firefox 3
Hi Dennis, Yup, only it's more insidious than that, the help file won't work at all in IE7, and functionality is severely limited in FF3.03. I can't be certain that I used the help file before my most recent Firefox update, but I'd be really surprised if I did not, so I think it worked briefly in earlier FF3 releases. Last night I just needed to get some work done, so I reverted to FF2 and everything was fine, except the IE7 problem. Now I almost never use IE, so I have no idea if that ever worked, and I'll leave regressing to someone else who is comfortable with the task. Tonight I will try to find the previous FF3 installers and see what I find. If there is another fix I'd be very interested in hearing about it! Bill dc wrote: Since I upgraded to Firefox 3, the search function no longer works in the Help file (2008) ... Anyone else come across this problem? Thanks, Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Bill Thompson Owner Audio Enterprise -- Pure mathematics is, in its way, the poetry of logical ideas. ~Albert Einstein -- I am not discouraged because every wrong attempt discarded is another step forward. -Thomas A. Edison ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Changing staves mid-measure in Finale 2008a (Win)
Hi all, I am what would probably be characterized as a casual user, in that I discover how to do cool things as I need them. I am currently trying to create parts for pit band, and the piano part will be ever so much more readable if I can flip between treble and bass clef at certain points. Most of these switches occur at measure boundaries, but there are three or four places where I believe it will be more readable if I change mid-measure. According to the documentation (don't tell anyone I read it) I am supposed to be able to access a handle after I insert a clef, but when I follow the directions the entire measure is highlighted, not the clef marker. I suppose this may still be me learning to do without the mass-mover toolG, although I have (finally) decided it was a good move... I can do most of the things I need to do now as quickly, or even more quickly than before. It was quite a hurdle to get used to it though! So, am I doing something wrong or have I stumbled across a bug? Thanks, Bill -- Bill Thompson Owner Audio Enterprise -- Pure mathematics is, in its way, the poetry of logical ideas. ~Albert Einstein -- I am not discouraged because every wrong attempt discarded is another step forward. -Thomas A. Edison ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2007 Announced!!
And this has to be a bit embarrassing... their web site is not working... at least the last five times I triedG... Bet a bunch of folks are hitting it... Bill Mariposa Symphony Orchestra wrote: Well, Gang- It's now out; the most widely-advance-discussed upgrade seems to be (drum roll) linked parts. I guess they DO listen to our discussions when Sibelius' advancements are praised http://www.finalemusic.com/finale/features/new/linkedparts.aspx Best, */Les /*Les Marsden Founding Music Director and Conductor, The Mariposa Symphony Orchestra Music and Mariposa? Ah, Paradise!!! http://arts-mariposa.org/symphony.html http://www.sierratel.com/mcf/nprc/mso.htm http://www.geocities.com/~jbenz/lesbio.html http://www.geocities.com/%7Ejbenz/lesbio.html ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Audio Enterprise www.audioenterprise.com Providing Technical Services to Audio Professionals and Creative Music and Audio Services to everyone -- KB3KJF -- To punish me for my contempt for authority, fate made me an authority myself. A. Einstein == smime.p7s Description: S/MIME Cryptographic Signature ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Garritan
Hi Gary, Great question!!! Gary Griffiths wrote: Im becoming more interested in the standard of my playback in Finale (WinFin2k5) and I am hearing a lot of good things about GPO. However, I cant find anything in the OLM about how to use it with Finale, apart from one section on Human playback that explains about GPO, but not exactly how to use it. There are a number of tutorials and tips on the Garritan web site in their support section... but the short answer is that there is a pretty steep learning curve, or at least there was for me. Does it work seamlessly with Human Playback once installed? Not really... Human Playback uses various MIDI controller messages to try to imbue a score with some animation or human-ness, and GPO uses different MIDI controller messages to attain the same effect. The biggest difference is that GPO is really meant to be played, and the Human Playback feature in Finale is meant to interpret a sequence of events codified in a score. When you stop to think about it, they are two dramatically different approaches!! Do you have to pick different samples for everything (solos, pizz, arco, trem etc. etc. etc.) or does that work seamlessly too? There are a couple of mechanisms for picking different patches/samples, but you have to manage it yourself using either patch change messages or key switching. It works, but seamless would probably be a bit generous. My scores are quite meticulous in their dynamics, articulations etc. Would Finale and GPO pick these up automatically? This is probably the biggest rub... Finale uses MIDI volume messages and GPO uses the modulation wheel. At first I thought it was an odd choice, but after some experimentation I discovered that GPO is changing a lot more than just volume, and it makes for a much more expressive performance. Do I need to export my score in some way into another programme and then process it through GPO? That seems to be about the best way to go today. As this thread demonstrates, there are two camps, and they have rather opposite points of view. Camp #1 thinks that sequencers should sequence and scoring packages should present scores. This is, I believe, a result of technical limitations that existed for most of the life of the MIDI standard. Older computers could do only so much, and older programmers could write only so much code, or even have an appreciation for the finer points of so many topics. If you want a really powerful scoring tool you need to look at Finale, Sibelius, Rosegarden, and a couple of others. None of them provide what most would classify as even meager sequencing capabilities. If you want complete control over the sequence then you need to look at tools like Sonar, Cubase, Logic, Digital Performer, Freestyle, etc. I think all would agree that their scoring tools are weak, but you do have tremendous control over the performance itself, even if you don't have a musical keyboard or other MIDI controller for input. I'm fairly active on a couple of Sonar mailing lists/newservers, and the request for better standard notation tools comes up frequently. Similarly, Finale users want to push the envelope on sequencing within Finale. I don't think either group is going to be completely happy any time soon. I think that the Human Playback feature works well enough for its intended purpose, which is a rough approximation of what humans might do with a score. In fact I think it works really well! I am of the opinion that two tools are still necessary, and I go one step further, if I need an audio file I usually (not always, sometimes I get lazy or don't have time) play the parts in from the keyboard or a MIDI guitar controller. Then, if I'm feeling really ambitious I edit the daylights out of themG! But, I grew up when editing tools could also be used to shave your beard after three long days in the studio. As a rule, I seldom perform edits to audio or MIDI data that I couldn't do with a razor blade or a mute switch. I find that this quite often helps me to preserve the feel of a performance, and that's usually what I'm after. And that rule is not some kind of dinosaur reaction to the current tools, but just a line in the sand. And the wind does, from time to time move the line. But I like human performances, and since I can't afford to hire an orchestra every time I have to find the next best thing... which for me is samplers like GigaStudio and sample playback tools like GPO. In fact, while the quality of sample available for Gigastudio is superior to GPO, I find that lately I use GPO almost exclusively for the instruments it provides, and only turn to GigaStudio for things that aren't part of GPO. My two cents Bill ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Johnny Williams
Rafael Velasco wrote: He was born in Melbourne, Australia in 1941. At least that is what I read at http://www.griot.de/biojohnwilliams.html Thanks... I stand corrected! Cool site tooG!! Bill -- Bill Thompson Audio Enterprise KB3KJF -- Most of us think of mathmatics as those chicken tracks-little wiggle signs. That isn't math! That's the fossil remnants of a thought... Math is structured learning. Richard Heyser -- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Common Names - was Re: Johnny Williams
Bernard Savoie wrote: Been through this on another list I think. There are so many John Williams it those start to get confusing. Here's the list of the musical John Williams who I know about (don't even think about the telephone book): list snipped I too suffer from a fairly common name... but it really isn't all bad! And especially after seeing that list!!! In addition to me (which is really pretty arrogant when you think about the list) I've run across a bunch of Bill Thompsons in the Pro-Audio/MI/Music field. Some that I remember include the founder of Ashley Audio, one of the senior guys at Analog Devices (not sure what his role there is these days), the road manager for Jefferson Starship, the QA manager at Line6, and at least three other studio owners. It's a lot of fun at the AES showG! Bill -- Bill Thompson Audio Enterprise KB3KJF -- Most of us think of mathmatics as those chicken tracks-little wiggle signs. That isn't math! That's the fossil remnants of a thought... Math is structured learning. Richard Heyser -- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Johnny Williams
Rocky Road wrote: Could you be referring to John Williams the British classical guitarist and founder of Sky?? I always thought of him as an Australian. I'm not sure why. Was he born in Australia? I honestly don't know for certain. I am reasonably sure I read somewhere that he was British, but that particular brain cell could be damaged! I'll do some homework... Bill -- Bill Thompson Audio Enterprise KB3KJF -- Most of us think of mathmatics as those chicken tracks-little wiggle signs. That isn't math! That's the fossil remnants of a thought... Math is structured learning. Richard Heyser -- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: OT: Who are you?
Hello Michael... So you are the guy I need to thank for MusicXML eh??? Well, thanks! I was introduced to this cool tool a couple of years ago when I needed to scan in some music, and the only solution that I could rely on was SharpEye, Finale, and MusicXML. I doff my cap in your general direction!!! I'll get to the off-topic topic shortlyG... Bill -- Bill Thompson Audio Enterprise KB3KJF -- All truths are easy to understand once they are discovered; the point is to discover them. Galileo Galilei. -- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Johnny Williams
David Hage wrote: On 4/1/05 6:00 pm, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: There are two John Williamses IIRC--one a jazz pianist and one a movie composer. Likewise with John Eaton-one jazz pianist, one composer. Jim no relation to either Williams If you are referring to Johnny Williams the jazz pianist around in the early 50's they are one and the same. Could you be referring to John Williams the British classical guitarist and founder of Sky?? Bill -- Bill Thompson Audio Enterprise KB3KJF -- All truths are easy to understand once they are discovered; the point is to discover them. Galileo Galilei. -- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: 'Classical music' what is it?
Dennis Bathory-Kitsz wrote: At 01:57 PM 10/15/04 -0600, Jane Frasier wrote: I have been asked by some non-musician friends what the definition of classical music is. How is it different from non-classical music. Ow ow ow. Stop my lips from speaking! Mmewuvdascdjaldlasjlf.. Phew. Just in time. Anybody else? Oh heck, it's Friday afternoon, I'll take a stabG... As another poster pointed out, there are periods of art/music history that are already more-or-less agreed upon, such as the baroque period, the romantic period, etc. Based on that timeline classical music is generally agreed upon to be from those periods, which is circular reasoning to a point, but since people like labels it works. Modern music is a little more difficult to classify simply because we don't have the frame of reference. One of the things I remember from my junior high school music classes is that classical music was defined, in part, as music that stood the test of time. That is, we were still listening to it hundreds of years later. But I remember that same teacher explaining to us that very little popular music of the 60s and early 70s would survive that same test of time. Hmmm... In college we dug a little deeper, and we looked at the popular mechanisms that formed the framework in which classical music was created. Which led to another attempt to create a dividing line, the so-called serious music vs. popular music. Serious music had some mystical power that we couldn't really defineG! For my own meager attempt to categorize my record and cd collection I tend to create the line by whether it is the composer or the artist that gets top billing. Certainly folks like Bernstein and even John Williams are more likely to be the draw than the orchestra that performs them. (Of course there are recordings of certain classical pieces I buy specifically because they were performed by the London Symphony Orchestra or the Philadelphia Orchestra or whatever - this doesn't really blur the line because it is still the composition that I am most interested in.) Conversely, I really don't want to hear a cover of Chicago Transit Authority, I want to hear the boys who created it. The same is true of folk artists, blues artists, pretty much any popular music. Jazz, of course, makes a mess of that whole theory, since there are both pieces and artists that get the limelight. However, at least for the purpose of me finding a specific album, my composer vs performer concept helps. I mean you have to have some name by which to alphabetize things... don't you? In the same line as the serious vs popular, jazz, at least the stuff that the serious jazz magazines write aboutG, is not nearly as accessible as pop. Could there be a dividing line based on accessibility? I don't think so, I think that borders on arrogant. Almost anyone can learn to appreciate classical or jazz music, I'm not certain the same is absolutely true for pop music! For one example, let's look at artists like the belly baring blondes or the boy bands... they don't write their own music, they don't provide their own backing tracks, and they are not taken particularly seriously by anyone over the age of about 14. (And yes, I am very aware of the history of labels like MoTown... different rant for a different dayG). Will I ever learn to appreciate the music my 14 year old step-daughter listened to? I'm not sure, but I sort of hope not. Which is not to suggest that I dislike good pop music. I admire anyone who can write a great hook. However, I didn't hear great hooks in that stuff. For another example, examine rap. I'm not about to argue the social issues, but the general level of anger, hate, etc, present in a lot of the music makes it inaccessible to me. There are rap artists I really like, but they tend to go past the boundaries of anger and hate. Check out Back on the Block by Quincy Jones if you want to hear what can be done in this idiom. As my final example take a look at all the ambient and soft jazz stuff. I love experimental and electronic music, but I don't get the majority of the ambient music I've listened to. (Echoes is produced locally, and I do listen to it, and I even like some of it, but a lot of it gets past me.) And soft jazz? UGH! I just don't get the appeal of that stuff. So, can any person learn to appreciate any musical form? Is that limited to serious music? Heck if I knowG! Have a great weekend... Bill -- Bill Thompson Audio Enterprise KB3KJF -- All truths are easy to understand once they are discovered; the point is to discover them. Galileo Galilei. -- ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Crazy For You full score?
John Howell wrote: However, I know of NO Broadway show that has a full score (Partiture to the librarians involved!) available, or even in existence. I suspect that there was one and only one, R.R.Bennett's original, probably in pencil, and only the various copyists have ever seen it. Certainly none of the shows we've done as our summer musicals (13th year this summer) has had a full score. Everything is Piano-Conductor, which is quite all right for conducting, but of no real help in rehearsals! The orchestral parts for My Fair Lady are--surpise!--actually typeset, but still have lots of errors and a great many notations that do NOT match the piano-conductor and do NOT match other books. The typesetting is great: more notes per page, easier to read, fewer page turns. The proofreading still leaves much to be desired, and of course NOBODY ever compiles and sends out lists of errata, so every production has to reinvent the wheel. This thread has been great reading, though I've not worked on a musical in many many years. This last bit, thought, really got my attention. I played in pit bands for a number of years (sometimes miss it) strictly at the academic/amateur level, and we ALWAYS compiled a list of errata, which we sent to rental company when we returned the materials. I don't recall ever seeing one, which was probably why we created it! Odd that this information isn't shared!!! Bill -- Bill Thompson Audio Enterprise KB3KJF -- All truths are easy to understand once they are discovered; the point is to discover them. Galileo Galilei. -- ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 development cycle?
Eric Dannewitz wrote: Aaron Sherber wrote: I'm not trying to be the king of Finale, and you're welcome to say whatever you like on this topic. My point was just that when we're discussing the bugs in Finale, the fact that you haven't encountered those bugs doesn't change the fact that they're still there. But does that mean that everyone encounters them? No. Oh, and now I can comment this topic even though your previous email said I shouldn't??? I've avoided responding to this thread because I knew things would get heated. But if I might interject for a moment... I've been beta testing products in this arena since the late 1980's. Bugs are extremely frustrating things, and there are bugs that go out of their way to set new records in frustration. Bugs exist. Some bugs bite some people, but leave others alone, regardless of the features that everyone uses. Sometimes bugs are tied to the most arcane issues, like the version of a shared library that got installed by some other package, or the version of a driver, or even hardware device versions. There are two issues that have to be considered. Most folks use the terms severity and priority to distinguish these issues. For example, I had a bug where my system simply would not run the program in question (my apologies for dancing around specifics, there are NDAs involved) in a certain configuration. Out of a dozen people with very similar configurations (same motherboard, sound card, operating system, etc) I was the only one with the problem. It was, however, a fairly high priority bug for the developer because it could cause a lot of customers headaches. It was severe to me, but it wasn't severe, or even reproducible to other testers. In the end they found it, beats me how! So, if Aaron has experienced a bug, and can reproduce it, it is severe to him. If Eric has never seen this particular bug it isn't severe to him. This does not imply that either user uses more features, that is one possible explanation, but it isn't the only one. And if you are Aaron, you get really really steamed when other folks don't have the same problem. And if you are Erik, you get annoyed at all the attention this bug gets from Aaron, and maybe others, cause you have other bugs or features that interest you. And if you are MakeMusic, you are pulling your hair outG! One of the single most difficult decisions a business has to make is which bugs and feature requests to address for any given version or patch. One factor is the amount of noise in the user community, and that is often a very fair metric (unless you are in the minorityG!) However, these software companies are often infested with technical folks, and technical folks have a whole nother view of the world. Among other things, they strive to write bug free code. They also usually have opinions on what is, and what is not important. And they are seldom shy in expressing them!!! Much to the chagrin of the marketing and sales and product management folks. This list, and resources like it serve a very important purpose... they give us, the users, a voice. A very loud voice! And we need to use that feature as best we can. Part of that is not attacking eachother, or the folks at MakeMusic. It's hard not to attack sometimes. I'm not a Finale power user by any stretch, but when it doesn't do something I want it to do I can get quite frustrated. Sometimes it is a product feature I just haven't figured out yet, and sometimes it is a bug, or a missing capability. Doesn't matter a whit in the heat of the moment... I get frustrated. (Fortunately my dog weighs about 80 pounds, so I couldn't kick him if I wanted to!) So, my humble suggestion to everyone who wants to storm the MakeMusic castle (and it isn't completely undeserved)... take a moment, and then lets work together to get all of our requests and complaints heard. It is almost as important as the sharing of knowledge that goes on here. Thanks, by the way, for all the knowledge I've gleaned from this group since I became a Finale user. Someday I hope to pay it back! Bill -- Bill Thompson Audio Enterprise KB3KJF -- All truths are easy to understand once they are discovered; the point is to discover them. Galileo Galilei. -- ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
