[Finale] different articulation playback
Okay, so I'm looking to do this as easily as possible, since it's something that doesn't matter. I'm taking just the 9th variation of the 24th Caprice from Paganini's 24 caprices and taking it down the fifth so a violist friend of mine can comment on it. I have two questions. 1) Is it possible to have the “+” articulation not have the mordent playback in HP? If I turn HP off, I get crap sound, but at least it doesn’t have the odd playback. (less important) 2) Is it possible to modify my note-based text expression to be vertical rather than horizontal? The words, “pizz.” and “arco” are so long, it would make life infinitely easier if I could rotate them. (rather more important) And then, because this is only a sample, I don’t care too much, but because I will likely be actually doing very similar things, having actually usable solutions would be helpful. Thanks ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] is upgrading worth it?
And see, this is what I mean. Is the only thing of note the sound and playback improvements? I mean, I use the program as basically a musical word processor. If it's all about the sound, I can leave it. If it's faster, maybe. That would be a big plus, but if it's just sound, I can live without it. Am 02.08.2005 um 04:56 schrieb Lon Price: On Aug 2, 2005, at 2:39 AM, dhbailey wrote: My knee-jerk reaction in the past would have been, Yes, the upgrade is worth it, even if only for the below-the-surface improvements but with this one I'm not sure. I just installed FinMac '06 tonight, and everything went without a hitch. I ran the preinstall app that MM provided, and ran the GPO update after installing Finale. Everything works. Since I have the full version of GPO, I really can see no need for FinGPO, but it's all really a moot point anyway, since my dual 800 G4 with only 1 Gig of RAM practicallly chokes on only two GPO instruments, flute and piano, for example. I know that the Steinway sample is a big hog, but I tried the lite version and still my computer was pushed to its very limits--both in RAM and processing power. This afternoon I recorded a piece for flute and piano (Pavane by Fauré) using the GPO Studio in FinMac '05, using Quicktime Pro to make the recording. With these two instruments loaded my RAM usage went to 600 MB, and my two processors were near 100% for the entire length of the recording. Tonight I recorded the same piece, using the same method in FinMac '06 and my RAM usage went to 830 MB, and my processors were again very near 100% the entire way. It seems to me that this method (using GPO Studio, rather than AU) is the only way I can use my own sound modules in combination with GPO, but man, it hits the computer hard! I also tried recording the same piece using FinGPO (RAM went to around 500 MB and processors were in the 60s to 70s), but the sound quality suffered quite a bit. I tried using the full GPO and AU playback (RAM was again creeping toward 800 MB and CPU was in the 70s to 80s, not as bad as GPO Studio). On the Garriton website it says that a computer with a gig of RAM should be able to load an entire orchestra, but I can't even come close to that on my machine. So I don't see that I'll be using GPO too much until I can upgrade my computer, but I knew that would be the case. Also, none of the flute sounds were really very convincing to my ears, but I am a flute player, so you can take that opinion with a grain of salt. I like Dan Dean's solo winds better than GPO, but I can't use them in Finale, because of MM's marriage to GPO and NI. On the other hand: 1. I'm very happy to have 8 X 16 MIDI slots, which now means I can use all of my sound modules (dated as they are, I still have a fondness for them). And, like I said, the GPO Studio can be used to load GPO samples along with my sound modules. 2. Slurs and hairpins really look 100% better! They're absolutely elegant! (at least compared to the way they used to look on a Mac) 3. I completed a Mozart Minuet and Trio, arranged for alto sax and piano, in about an hour, and things seemed to me to be a little snappier than FinMac '05. But keep in mind that I was using my own sounds, since we all know GPO contains no saxes, anyway. (BTW, the demo saxes on Gary's website are pretty impressive to my ears, and I'm a sax player. I'm looking forward to getting that collection as soon as it comes out.) But the important thing to me was that after playing with GPO for a while, I was able to get right back to work. In other words, the upgrade didn't disrupt my workflow the way some previous upgrades did, especially the one where they changed all the Simple Entry keystrokes. Rather than relearn Simple I switched to Speedy and never looked back. 4. Human Playback is improved--it almost plays the flute trills and grace notes convincingly. 5. The Studio View comes in handy for adjusting volume between the two instruments. I've often seen dynamic markings one degree lower for the piano (sax-f, pno-mf, etc.) in pieces like this, but in this piece dynamics were identical in both parts, so the pno. tended to overpower the sax. No problem, just back off the pno. volume in the mixer. The solo-accompaniment balance can also be adjusted in the HP prefs, BTW. The Tap Tempo has me baffled so far, though. I guess I'll have to read up on that. So, yeah, I think the upgrade is worth the price, even though I probably won't be using GPO much for now, and that's what all the ballyhoo has been about. I'll still be using Digital Performer for recording mockups, though. When it comes to recording, I just don't see Finale ever giving me the flexibility I have in DP. I'm also waiting for my copy of Sibelius 4 with its much-discussed dynamic part linking. I'm with Hiro--I'm having fun with all of this stuff. ;-) Lon Lon Price,
Re: [Finale] Hey! What's wrong with Creston's 12/12?
Am 08.07.2005 um 08:57 schrieb Andrew Stiller: the still-small set of musicians who can play a quintuplet accurately in the first place. You can't be serious. Chopin requires them! I understand the point he's trying to make. Accurate execution of a quintuplet is rather tricky. Chopin may require them, but performers rarely play five notes of equal length. But performers rarely play five notes of equal length in 5/4. Heck, we rarely play four notes of equal length in 4/4. A simple check using hyperscribe will show any of us that. The point, however, I don't think is absolutely accurate execution of any rhythmic pattern. I think the point is what we hear. If we can distinguish the written rhythm simply by hearing it. (Or at least understand the concept of the rhythm, even if another might notate it differently). Sent via the WebMail system at cuisp.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] clef changes
In my experience, Violists don¹t mind treble clef so much as they mind having to change clefs often. It¹s a real pain to switch one's thinking for four measures just to avoid a couple of ledger lines. Your general rule is a pretty good one. If I¹m seeing four or more ledger lines for four measures, I¹m pretty not happy about it, and trying to find ways to re-write so it¹s easier to read. It sounds like your score would be better served using treble clef as the predominant clef with occasional forays into the alto-clef range, from my experience, a fairly common sight in solo viola music. From: Ryan Beard [EMAIL PROTECTED] Reply-To: finale@shsu.edu finale@shsu.edu Date: Wed, 13 Apr 2005 20:02:10 -0700 (PDT) To: finale finale@shsu.edu Subject: [Finale] clef changes Hi folks, I'd be interested in getting some opinions regarding clef changes. And, if any violists are out there, I'd love to hear how you feel about reading in treble clef for extended periods of time. I'm working on a viola sonata right now, and the composer stays pretty high in the range throughout the whole piece. His manuscript is mostly in treble, but that's due to his inexperience with the alto clef. In fact, he used ledger lines down to the open C in one passage. He told me to changes clefs as necessary to fit the music. i'm inclined to leave large portions of it in treble clef, just to give the performer's eyes a break. Do any of you have some rules of thumb you'd like to share? How many ledger lines above the staff would you go in alto clef? How many below in treble clef? 3 on either side? Thanks, Ryan __ Do you Yahoo!? Yahoo! Small Business - Try our new resources site! http://smallbusiness.yahoo.com/resources/ ___ 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] Finale dual processors
Just so I'm clear, Finale does NOT make use of the dual processor? Digital Performer will clearly perform better regardless of which I choose, since it takes advantage of dual processors. But Finale? I'm not sure what kind of real-world improvement I can expect with the upgrade. Sent via the WebMail system at cuisp.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] New USB midi keyboard
This one, however, at half the price looks like it has just the same features. http://www.midiman.com/products/en_us/eKeys37-main.html On 12/6/04 2:01 PM, Darcy James Argue [EMAIL PROTECTED] wrote: Hi Chuck, Damn that looks nice. I may sell my Edirol and get one of those. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 06 Dec 2004, at 04:56 PM, Chuck Israels wrote: For those seeking a simple USB/MIDI keyboard with complete absence of bells and whistles, and a simple, compact design, this looks to be just the ticket. http://www.macmice.com/garagekey.html Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Key signature question
Agreeing with Owain, I'm going to have to say that it looks like a development section, where the tonal centre isn't going to be around long enough to warrant a modulation. Schoenberg has *ideas* about that sort of thing. But, without any knowledge of the context, I'm going to go with, it looks like mostly pedal point passages used to refer to previous melodic ideas, and to establish modulatory centres before *arriving* at a place where a new key signature might actually be useful. On 12.11.2004 14:19 Uhr, Richard Yates [EMAIL PROTECTED] wrote: Aside from deliberately trying to make things difficult for note entry and sight-reading, why would anyone notate the following passage this way: http://www.yatesguitar.com/misc/Janacek1.jpg instead of this way: http://www.yatesguitar.com/misc/Janacek2.jpg ? (The whole piece is only three pages and stays in the same harmonic neighborhood throughout.) [from Leos Janacek, 'Po zarostlem chodnicku'] Richard Yates ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale PDF problem (OS X)
I'm inclined to believe that the problem truly is Acrobat 5 related. Basically, Adobe released Acrobat 5 to have a version of acrobat that was usable in OSX/WinXP. Other than that, the program is useless. There are numerous problems (layers, transparency, font embedding, I could go on...) I would download Acrobat 6 and use it instead. It's actually made to be a useful program. If you can, get a postscript distiller like Acrobat distiller (I don't think it's the best, necessarily, but when it works, it works really well.) And it's true, the pdf's that Preview creates are unnecessarily large, I don't know if the free Acrobat 6 reader has the reduce file size option, but it gets rid of all the extraneous information that is left in the pdf after it's distilled to how you want it to be. Just tonight, I created a pdf of a newsletter I'm working on from a Quark document. Preview's pdf was 11 MB, Distiller's pdf was 2.8 MB. And that's before reduce file size. On 01/11/04 1:15 am, Johannes Gebauer [EMAIL PROTECTED] wrote: Strange problem: With some files (both 2k4 and 2k5) when I create a PDF using the built-in OS X method, I get an odd problem. These PDFs look normal on screen and print fine on non-postscript printers. However, when printed from Acrobat Reader 5 to a PS-printer, some characters print as other characters (whole rests are 16th rests). From MakeMusic I am told this is a bug with Acrobat Reader 5, but I find this hard to believe. Everything is fine if I print to a PS file first and open this in Preview to convert to PDF. However, these files are about 4 times as big as PDFs created directly in the print dialog. The funny thing is that this is not necessarily reproducable. I have a feeling it also depends on the number of pages printed. If anyone knows the answer, or wants to have a look, please let me know. You need to have a PS printer to see the problem. Johannes ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT.......Music Hai Ku
Okay, so.. So wait, an update? In spring?? Any word about Real fixes and stuff??? On 24.10.2004 18:20 Uhr, Crystal Premo [EMAIL PROTECTED] wrote: Yes, you are right. However, if we're going to be pedantic, there should really be a mention of the season or nature involved. Sorry to be pedantic but, shouldn't it be: So wait, an update Is there any word about Real fixes and stuff??? I just love these. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] table of contents and MS Word
I imagine the easiest way to create this would be to print a .ps rather than a .pdf. The .ps should import directly into finale. In your print dialog, in the output option, select postscript, and that will save a file that finale can import. I imagine this would be the easiest way to solve this problem. On 21.09.2004 9:02 Uhr, Ryan Beard [EMAIL PROTECTED] wrote: Thanks for all of the responses. I should have noted that I want this all in one document so I can make a booklet on my large format printer. And I do want the convenience of just printing one document and being done with it. Is it worth it to make a feature request to Finale to make text block improvements? I know Finale isn't a word processor, but in the emerging world of desktop publishing, I think it would serve them well to improve the way the program handles text. I'm not expecting a spell checker or anything fancy, but asking for the tabs to jump to a fixed distance doesn't seem like much to me. Anyone agree? Ryan ___ Do you Yahoo!? Declare Yourself - Register online to vote today! http://vote.yahoo.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale Digest, Vol. 14, Issue 20
Title: Re: [Finale] Re: Finale Digest, Vol. 14, Issue 20 Ive always had difficulty cutting measures out of a score. But a quick and easy workaround I use is to in scroll view, make a new staff at the bottom (I usually leave it in treble clef, since Im going to delete it in about two minutes anyway,) copy the notes I need with select partial measures enabled, copy them down to the new staff, clear the measures out of the original staff, move the notes from the new staff to where they should be in the original staff, and then delete the new staff. It sounds like a lot more than it really is. But thats just me, Ive never been able to successfully cut measures out of a score. On 18.09.2004 15:38 Uhr, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: I think that you can fix this very easily. Merely highlight the area that needs to be moved. Cut it out of the score. Then paste it back into the area where you want the music to begin. Finale automatically realigns the music with the barlines. good luck, BE In a message dated 9/18/2004 1:01:56 PM Eastern Daylight Time, [EMAIL PROTECTED] writes: Message: 2 Date: Fri, 17 Sep 2004 21:49:21 -0400 From: Bill Spencer [EMAIL PROTECTED] Subject: [Finale] Shifting notes around...? To: [EMAIL PROTECTED] Message-ID: [EMAIL PROTECTED] Content-Type: text/plain; charset=US-ASCII Hi there: For reasons I won't bore you with, I have one line of a multi-line score where everything is shifted to the left by two quarter-notes. Is there a way to insert those two quarters at the very beginning and realign it all? The help stuff doesn't offer much of any help. I am poor and cheap enough to be using FinMac2000c on OS9.1, FYI. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Scanner recommendations?
For most purposes, a regular $99 scanner should do you fine. Most of the higher-end scanners, I've noticed, do things that scan to larger formats, ability to scan transparencies (negatives, positives). The average person doesn't ever need anything like that. I'd imagine that ability for a book to lay flat would be a good thing for you though. On 10.09.2004 15:13 Uhr, Michael J. Barry [EMAIL PROTECTED] wrote: Does anyone have any recommendations for a good scanner? I don't need the absolute top of the line, but I don't mind spending about $250 or so for a really good one. What features should I look for? I'd like to be able to use Finale to scan music in for Smartmusic playback, and also just to have a good scanner that'd scan photos well. I am using Windows XP, SP2... Thanks! Mike --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.757 / Virus Database: 507 - Release Date: 9/9/2004 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: OT Meanings of words
See, that would be interesting. I'd love to know how that came about. My new favourite is tawdry. From Merriam-Webster's word of the day: In the 7th century, Etheldreda, the queen of Northumbria, renounced her husband and her royal position for the veil of a nun. She was renowned for her saintliness and is traditionally said to have died of a swelling in her throat, which she took as a judgment upon her fondness for wearing necklaces in her youth. Her shrine became a principal site of pilgrimage in England. An annual fair was held in her honour on October 17th, and her name became simplified to St. Audrey. At these fairs various kinds of cheap knickknacks were sold, along with a type of necklace called St. Audrey's lace, which by the 17th century had become altered to tawdry lace. Eventually, tawdry came to be used to describe anything cheap and gaudy that might be found at these fairs or anywhere else. Is that not wonderful. Poor woman! On 26.08.2004 9:07 Uhr, Harold Owen [EMAIL PROTECTED] wrote: Dear folks, I think most of us are interested in how the meaning of words change over time. One of my favorite examples is the word nice. Its original meaning was naughty. I wonder how and when its meaning was completely turned around. Hal ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
OT Meanings of words was: [Finale] Arrangement, Orchestration or Transcription?
On 25.08.2004 14:14 Uhr, Mark D Lew [EMAIL PROTECTED] wrote: Walking isn't a very good translation of andante. The closest English equivalent would be going, and in the musical context it's more like moving. Perhaps you are getting confused with Spanish, where andar is associated more closely with walking, though even there it's much broader than the English word walk, which is very specific. In Italian or Spanish one might andar by horseback, by train, or by car, and it's the usual word for all sorts of go idioms. If I say, andiamo, I'm not saying let's walk. Even after the *great* reform in the late nineteenth century to using native-language terms, we've reverted to outdated and often confusing terms. I've had college-level classes where the meanings of musical terms was debated! What's the point? If the point is to be as clear as possible, but how can one be in a language that isn't your own? Sorry, off-topic. Basic music words like allegro, andante, legato, crescendo, etc, are no longer foreign words in English. They are English words of Italian origin, just as surely as graffiti, zucchini, soprano, etc. In most cases the English meaning doesn't match the Italian meaning. For example, there are a lot of ways you might use the word legato in Italian that have nothing to do with music. Same for libretto and dozens of others. But this is the point. Words have meanings, but if, as you say (and I agree) the English meaning doesn't match the Italian meaning, what is the English meaning? That's the whole point, as far as I'm concerned. We have all the musical terms that we've changed the meaning of. My composition teacher in college was a stickler for the absolute accurate literal translation of musical terms, where many of the other professors were not. In my observation, performers use what they *think* the word means, and don't frequently consult musical dictionaries to discover the actual, literal translation of a word. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Arrangement, Orchestration or Transcription?
I always thought of orchestration as simply the process of writing music for instruments; whereas transcription would be used in any case where the destination ensemble is not the same as the original. So Bach's versions of Vivaldi's concerto's works as a transcription as well as transcribing a piano sonata for string quartet. I think of transcription as the classical version of arrangement. Since arrangement isn't really used in classical circles. On 24.08.2004 8:03 Uhr, Andrew Stiller [EMAIL PROTECTED] wrote: On Aug 23, 2004, at 6:57 PM, Christopher Smith wrote: On Aug 23, 2004, at 6:17 PM, David W. Fenton wrote: On 23 Aug 2004 at 11:35, Mark D Lew wrote: The definitions that Andrew Stiller gave sound exactly right to me. My only quibble is with the idea that orchestration applies only to orchestras. I thought it was now pretty common to use the term metaphorically as replacement for the klunky instrumentation, and to apply to any destination ensemble, even if not an actual orchestra. That would have been my quibble too, as I mentioned in my first long post. Christopher So you guys wd. have no problem with, this piano sonata was later orchestrated for string quartet? To me that makes as much sense as Admission is free, so pay at the door; pull up a chair and sit on the floor. It seems to me that the tendency to misuse orchestration this way reflects the widespread discomfort with the word arrangement in classical circles. Maybe someday it'll be acceptable usage (after all, sopranos changed from boys to girls, so anything is possible!) but it certainly isn't today. Not around me, anyway. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Reply to Owain (too long!)
Netscape 7.2 On 24.08.2004 12:53 Uhr, Eden - Lawrence D. [EMAIL PROTECTED] wrote: What browser is better than IE if I am still using OS 9.2? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Reply to Owain (too long!)
Opera 6 On 24.08.2004 13:58 Uhr, Owain Sutton [EMAIL PROTECTED] wrote: Owain Sutton wrote: Or Opera. (I think...) James Bailey wrote: Netscape 7.2 On 24.08.2004 12:53 Uhr, Eden - Lawrence D. [EMAIL PROTECTED] wrote: What browser is better than IE if I am still using OS 9.2? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] German Musical Term
Literally, «herausgegeben» translates to edited; whereas «bearbeitet» is worked over. In meaning and intent, they are the same, one's just a fancier way of saying it. Also, «herausgegeben» can also mean published, whereas «bearbeitet» cannot. Auf 21.08.2004 6:56 Uhr, schrieb dhbailey [EMAIL PROTECTED]: Éric Dussault wrote: I think it would be more like « published by » (herausgegeben) Éric Le 21 août 2004, à 08:50, dhbailey a écrit : What does herausgegaben von mean, then? I see it as a separate entry, but it isn't the name of the publisher, it's the name of an individual. I always assumed it meaned edited by or arranged by. So I wonder what its particular usage means, since it's not really the name of the publisher. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] German Musical Term
Yes. Auf 21.08.2004 11:31 Uhr, schrieb Martin Banner [EMAIL PROTECTED]: Isn't published veröffentlich? Martin On Aug 21, 2004, at 2:10 PM, James Bailey wrote: Literally, «herausgegeben» translates to edited; whereas «bearbeitet» is worked over. In meaning and intent, they are the same, one's just a fancier way of saying it. Also, «herausgegeben» can also mean published, whereas «bearbeitet» cannot. Auf 21.08.2004 6:56 Uhr, schrieb dhbailey [EMAIL PROTECTED]: Éric Dussault wrote: I think it would be more like « published by » (herausgegeben) Éric Le 21 août 2004, à 08:50, dhbailey a écrit : What does herausgegaben von mean, then? I see it as a separate entry, but it isn't the name of the publisher, it's the name of an individual. I always assumed it meaned edited by or arranged by. So I wonder what its particular usage means, since it's not really the name of the publisher. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale Martin Banner [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT - ITunes and Josh Groban
Okay, so if an icon suddenly appeared then either you dragged it to the dock or you installed a piece of software. In the former case, just drag it off. In the latter case, you would have had to have entered your password to install it. The information here isn't enough to know what happened, nor what you want to do about it. A post like this would be better served with more information and on the discussion boards at Apple support. Auf 15.08.2004 12:54 Uhr, schrieb Crystal Premo [EMAIL PROTECTED]: A student brought me Josh Groban newest release to listen to, and when I popped it into my MAC, it seized up. An icon also appeared in the task bar that has the word Start in it. I had to UNPLUG to get it to let go. Even though no damage was done, the icon has remained in the task bar. If this had happened on my PC, with which I am infinitely more familiar, I would open the Start Menu and remove it. I don't know how to do this on the MAC; can anyone help? Incidentally, I placed this same CD in my e-machine and a visual displays opens inviting me to join his fan club or some such nonsense. I conjecture that this is what is bringin up the unfamiliar start icon on the MAC. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
