On 6/11/03 6:27 AM, "David H. Bailey" <[EMAIL PROTECTED]>
wrote:
>
>
> Tim Thompson wrote:
>>
> [snip]
>>
>> Yes, I do this (1.) sometimes too, and have up M2 transposition
>> programmed as metatool 8, and up P5 as metatool 9 (6 and 7 are octave
>> transpositions). And, of course, the reason
At 10:23 AM 06/10/03, David W. Fenton wrote:
> [...] Also, the idea of specifying beats as numbers really does not
>make sense to me. Beat 1 is 0 to me, not 1.0. And figuring out where
>you want it to be requires calculating decimal fractions. This is not
>musically friendly.
I agree about number
Tim Thompson wrote:
[snip]
Yes, I do this (1.) sometimes too, and have up M2 transposition
programmed as metatool 8, and up P5 as metatool 9 (6 and 7 are octave
transpositions). And, of course, the reason for doing it like this is
to hear it correctly!
Why would you have to transpose?
You c
I can see no reason why anyone would want to hear the
wrong concert pitch when entering notes in Simple note
entry. It just doesn't make sense. If I'm entering a
third-space C in a transposed tenor sax staff, I want
to hear [...]
[snip]
The obvious solution to the question of playback on a trans
On Tuesday, Jun 10, 2003, at 07:43 America/Vancouver, David W. Fenton
wrote:
Me:
Nope, I didn't say that. I'm trying to convey that fact that
multitasking solved a lot of problems for Windows developers but
really wouldn't have done a lot for the MacOS of that era. That's why
it was/is only an
At 10:23 AM -0400 6/10/03, David W. Fenton wrote:
Sounds like a pretty well fleshed-out feature request to me!
Yes, it does! Thanks for your help. I'll clean it up and send it in
to the guys at Coda (or whatever they're called now).
Christopher
___
On 9 Jun 2003 at 22:35, Philip M. Aker wrote:
> Adaption of the old MacOS to a pre-emptive multitasking system is
> embodied in the Carbon layer. Carbon supports ~90% of the the old
> toolbox APIs (including the event loop in question). So you see, the
> Macintosh _concept_ gains only about 10%
Christopher wrote:
> I am replying to the list on the assumption that there may be some
> others who would like to know as well.
>
>
> Select the Smart Shapes Tool.
Thank you, Christopher! FWIW, I have Finale 2003.r2 on a PC, and when I
followed your instructions, I clicked "Select" and the fir
On 9 Jun 2003 at 22:35, Philip M. Aker wrote:
> [...]
>
> However:
>
> >> So I'll stand corrected on when exactly DOS died but have to ask why
> >> not? DOS was the Microsoft system at the time.
>
> > At *what* time? You haven't specified.
>
> According to Phil Daley, 1982 but I could live wi
On 9 Jun 2003 at 23:52, Christopher BJ Smith wrote:
> At 5:55 PM -0400 6/09/03, David W. Fenton wrote:
> >On 9 Jun 2003 at 17:09, Christopher BJ Smith wrote:
> >
> > > Kind of like staff expressions? But those can be attached to an item
> >> OR to the measure, at a horizontal and vercial distanc
At 12:10 AM -0400 6/10/03, Darcy James Argue wrote:
On Monday, June 9, 2003, at 11:52 PM, Christopher BJ Smith wrote:
And the present system of attaching chords to notes in another
layer, means one more pitch to play back, usually wrong, unless you
are careful to specify a correct pitch to be hi
At 10:46 AM +0100 6/10/03, Steven D Sandiford wrote:
on 9/6/03 5:31 pm, Christopher BJ Smith at [EMAIL PROTECTED]
wrote:
I have removed the Gliss text from the glissando marking,
Dear Christopher
PLEEEASE tell me how to do that - I think the gliss in the smart tools is
fantastic *except* for the
On Mon, 9 Jun 2003, Mark D. Lew wrote:
> At 8:42 PM 06/08/03, Earl Price wrote:
>
> >I can see no reason why anyone would want to hear the
> >wrong concert pitch when entering notes in Simple note
> >entry. It just doesn't make sense. If I'm entering a
> >third-space C in a transposed tenor sax
On Monday, Jun 9, 2003, at 12:33 America/Vancouver, Phil Daley wrote:
At 06/09/2003 02:38 PM, David W. Fenton wrote:
Why would that be? Multitasking is something that all GUIs provide.
Your definition of multi-tasking is a little broad. Most people do
not consider event-driven cooperative mult
David,
I've snipped quite a few of your paragraphs because later on you say "I
didn't understand what you could possibly mean by that", and also Phil
Daley (in his post addressing those remarks) seems to have a handle on
the situation because he gets to the point in just a few lines.
[...]
Ho
On Monday, June 9, 2003, at 11:52 PM, Christopher BJ Smith wrote:
And the present system of attaching chords to notes in another layer,
means one more pitch to play back, usually wrong, unless you are
careful to specify a correct pitch to be hidden or turned into
rhythmic slashes, or turned off
At 5:55 PM -0400 6/09/03, David W. Fenton wrote:
On 9 Jun 2003 at 17:09, Christopher BJ Smith wrote:
> Kind of like staff expressions? But those can be attached to an item
OR to the measure, at a horizontal and vercial distance that you can
specify. Why not chords? . . .
Because staff expressio
At 5:55 PM 06/09/03, David W. Fenton wrote:
>Because staff expressions are not precisely aligned with the rhythm.
>It's one of the reasons I don't like them -- I never know what I'm
>going to get.
I can't remember what "staff expression" means, but if you're talking about
measure expressions, the
On 9 Jun 2003 at 17:09, Christopher BJ Smith wrote:
> At 3:30 PM -0400 6/09/03, David W. Fenton wrote:
> >On 9 Jun 2003 at 12:31, Christopher BJ Smith wrote:
> >
> >> Is there any reason why chords HAVE to be attached
> >> to items in the measure? Why can't they just be attached to beats?
> >
>
I'm with you Linda! Cheers, Keith in OZ
- Original Message -
From: Linda Worsley <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Tuesday, June 10, 2003 12:47 AM
Subject: RE: [Finale] New Finale release
> >Christopher Saith:
> >
> >"If Coda c
At 3:30 PM -0400 6/09/03, David W. Fenton wrote:
On 9 Jun 2003 at 12:31, Christopher BJ Smith wrote:
Is there any reason why chords HAVE to be attached
to items in the measure? Why can't they just be attached to beats?
There's a perfect example of something that derives from the type of
file for
On 9 Jun 2003 at 15:33, Phil Daley wrote:
> At 06/09/2003 02:38 PM, David W. Fenton wrote:
>
> >On 8 Jun 2003 at 21:17, Philip M. Aker wrote:
>
> >> Firstly, I claimed that "Multitasking as an issue is only important to
> >> Windows developers...".
> >
> >Why would that be? Multitasking is
At 06/09/2003 02:38 PM, David W. Fenton wrote:
>On 8 Jun 2003 at 21:17, Philip M. Aker wrote:
>> Firstly, I claimed that "Multitasking as an issue is only important to
>> Windows developers...".
>
>Why would that be? Multitasking is something that all GUIs provide.
Your definition of multi-taskin
On 9 Jun 2003 at 12:31, Christopher BJ Smith wrote:
> Is there any reason why chords HAVE to be attached
> to items in the measure? Why can't they just be attached to beats?
There's a perfect example of something that derives from the type of
file format.
In a relational database, records of
On 8 Jun 2003 at 21:17, Philip M. Aker wrote:
> On Saturday, Jun 7, 2003, at 13:23 America/Vancouver, David W. Fenton
> wrote:
>
> >> Multitasking as an issue is only important to Windows developers
> >> because DOS (and I think Windows before W95) never had anything like
> >> the (old) MacOS
At 8:42 PM 06/08/03, Earl Price wrote:
>I can see no reason why anyone would want to hear the
>wrong concert pitch when entering notes in Simple note
>entry. It just doesn't make sense. If I'm entering a
>third-space C in a transposed tenor sax staff, I want
>to hear [...]
Hmm, weren't we just
At 11:16 PM 06/08/03, Tim Thompson wrote:
[regarding articulation metatools in Sibelius]
>Yes, there is only one for each, and they are set to the most normally
>appropriate behavior. Pretty functional in most cases for working with
>students.
But what if you have two voices in a single staff?
11:31 AM
To: Fisher, Allen; [EMAIL PROTECTED]
Subject: RE: [Finale] New Finale release
At 9:13 AM -0500 6/09/03, Fisher, Allen wrote:
>Christopher Saith:
>
>"If Coda could supply more usable default files to start with..."
>
>The default files got much improved in Fi
inale, it
would be great!
Christopher
-Original Message-
From: Aaron Sherber [mailto:[EMAIL PROTECTED]
Sent: Saturday, June 07, 2003 4:37 PM
To: [EMAIL PROTECTED]
Subject: Re: [Finale] New Finale release
At 05:11 PM 6/7/2003, Darcy James Argue wrote:
>If you're a beginning and don
At 9:13 AM -0500 6/09/03, Fisher, Allen wrote:
Christopher Saith:
"If Coda could supply more usable default files to start with..."
The default files got much improved in Finale 2003.
They most certainly did, and I acknowledged that, and we discussed it
somewhat on the List. There is definite
Somebody asked for this a few days back? Sorry, it's increased
slightly from 50 to 67
67 reasons not to buy Sibelius...
Jonathan Smith
68: Even in Sibelius 2.0, it is impossible to have two brackets of
the same type in different horizontal positions, as for example when
a divided string secti
inale] New Finale release
At 05:11 PM 6/7/2003, Darcy James Argue wrote:
>If you're a beginning and don't know about metatools yet, how would you
>know what those letters and numbers in the upper-right corner mean?
Well, I might read the manual. p.22-2, Articulation Select
Christopher Saith:
"If Coda could supply more usable default files to start with..."
I use Finale daily, literally, for a huge variety of project, my own
and others'. I have, for some years now, made my own templates,
sometimes beginning with a standard Finale template, sometimes with
the setu
Christopher Saith:
"If Coda could supply more usable default files to start with..."
The default files got much improved in Finale 2003.
"For example, almost everything in Sibelius plays back out correctly of the
box. To
set up Finale so that everything plays back in the same way is a week's
wo
Darcy James Argue wrote:
[snip]
Right now, it's a dead heat between Coda and Quark for the ignominious
title of "software developer with its head deepest in the sand." Both
of these companies have been bleeding users like mad to inferior
competitors, purely because of their inability to relea
You can turn off the ability to hear the notes when you enter them, if
that will make life easier for you.
In either Speedy or Simple Entry menu, simply uncheck Playback.
I leave it turned off.
Earl Price wrote:
--- Tim Thompson <[EMAIL PROTECTED]> wrote:
David,
I understand, and that is th
And many of them just as spurious as ever! I'm no great Sibelius apologist, but in the interests of not perpetuating misinformed and out-dated problems as "fact", I would at least urge people to realise that the observations Mr. Smith posts here are only applicable to pre-v2 versions of Sibelius
On Sunday, Jun 8, 2003, at 22:04 America/Vancouver, Darcy James Argue
wrote:
Right now, it's a dead heat between Coda and Quark for the ignominious
title of "software developer with its head deepest in the sand." Both
of these companies have been bleeding users like mad to inferior
competitor
On Monday, June 9, 2003, at 01:04 AM, Darcy James Argue wrote:
Again, I'm not breaking any confidences (I hope) here by mentioning
that back when Fin2003 was released, I email Coda's MacSupport urging
them to release announce that a Carbonized version would be available
for download to register
On Monday, June 9, 2003, at 12:19 AM, Philip M. Aker wrote:
On Sunday, Jun 8, 2003, at 10:35 America/Vancouver, David H. Bailey
wrote:
Well, after what happened (or didn't happen) with the PowerPC, they
may have decided to wait and be sure that whatever new path Apple was
going to take was re
On Sunday, Jun 8, 2003, at 10:35 America/Vancouver, David H. Bailey
wrote:
Well, after what happened (or didn't happen) with the PowerPC, they
may have decided to wait and be sure that whatever new path Apple was
going to take was really going to stick, and work, and be accepted.
Nah, not reall
On Saturday, Jun 7, 2003, at 13:23 America/Vancouver, David W. Fenton
wrote:
Multitasking as an issue is only important to Windows developers
because DOS (and I think Windows before W95) never had anything like
the (old) MacOS event loop concept in the first place.
Eh?
DOS was single-tasking,
On Sunday, June 8, 2003, at 11:42 PM, Earl Price wrote:
Why even hear them at all, if they're the wrong notes?
Why not turn 'em off, then?
- Darcy
-
[EMAIL PROTECTED]
Boston MA
No one likes us
I don't know why
We may not be perfect
But heaven knows we try
But all around, even our old friend
--- Tim Thompson <[EMAIL PROTECTED]> wrote:
> David,
>
> I understand, and that is the way it has always
> worked. What you see
> on the staff is what you hear (speedy--is what you
> play) regardless of
> staff transposition. It's a pain, but I imagine the
> opposite would be
> a pain to som
On Sunday, June 8, 2003, at 11:21 PM, Tim Thompson wrote:
David,
I understand, and that is the way it has always worked. What you see
on the staff is what you hear (speedy--is what you play) regardless of
staff transposition. It's a pain, but I imagine the opposite would be
a pain to some p
David,
I understand, and that is the way it has always worked. What you see
on the staff is what you hear (speedy--is what you play) regardless of
staff transposition. It's a pain, but I imagine the opposite would be
a pain to some people as well--that is, if it meant that in speedy you
play
Yes, there is only one for each, and they are set to the most normally
appropriate behavior. Pretty functional in most cases for working with
students. And when we need to do better, then it is a good opportunity
to beef up their Finale chops a little.
Tim
On Sunday, June 8, 2003, at 05:07
Somebody asked for this a few days back? Sorry, it's increased slightly
from 50 to 67
67 reasons not to buy Sibelius
1. Brackets won't automatically hide when you 'optimise' a double (or
more) staved part.
2. System spacing is never even.
3. Just try to move an individual measure number
Well, after what happened (or didn't happen) with the PowerPC, they may
have decided to wait and be sure that whatever new path Apple was going
to take was really going to stick, and work, and be accepted.
It is one thing for a huge corporation like MicroSoft to pour millions
of dollars of deve
I think the point is that you should hear the PLAYED pitch regardless
whether you are viewing in transposed or concert pitch. When you do
playback, the notes all come out in played pitch even when viewing in
transposed mode -- exactly as it should be. Yet when you enter from a MIDI
keyboard w
On Saturday, Jun 7, 2003, at 13:17 America/Vancouver, David W. Fenton
wrote:
Nope. It's Coda not having had their ear to the ground 6 years ago
when Apple sent out copious notes about coming changes.
[...]
I think that Code is following exactly the same path with OS X as they
did with Win32, a
At 5:37 PM -0400 6/07/03, Aaron Sherber wrote:
At 05:11 PM 6/7/2003, Darcy James Argue wrote:
If you're a beginning and don't know about metatools yet, how would you
know what those letters and numbers in the upper-right corner mean?
Well, I might read the manual. p.22-2, Articulation Selection
At 6:36 AM -0400 6/08/03, Eden - Lawrence D. wrote:
So...can I choose the metatools that I like and copy them to my own
templates?
I think the only way to do that would be to open up a Coda default,
check out the metatool assignment, then use the shift key to assign
that metatool in the usual w
> From: [EMAIL PROTECTED] (Mark D. Lew)
>
> Right. I assume that's what we all do. But someone mentioned the Finale
> template in a way that suggested it has only one per articulation, so I was
> curious to know how that works -- especially since the context is the idea
> that articulations shou
But in simple entry, he is complaining that he is hearing a DIFFERENT
midi sound from what he should hear when he puts a not on a transposing
staff.
In other words, if I understand his problem (which maybe I don't) if he
is entering an F on a Horn in F transposed staff, he should hear a Bb
but
So...can I choose the metatools that I like and copy them to my own
templates?
On Sat, 7 Jun 2003, Aaron Sherber wrote:
> At 04:44 PM 6/7/2003, Christopher BJ Smith wrote:
> >They DO have many common ones pre-programmed now! As I said, Coda is
> >getting better about this in recent versions.
At 12:32 AM 06/08/03, Richard Huggins wrote:
>To have same articulations that behave differently, you just create a copy
>of the same articulation in your pallette and change the default behavior of
>the new one. Of course you also assign a unique metatool to that duplicate.
>For example, your art
To have same articulations that behave differently, you just create a copy
of the same articulation in your pallette and change the default behavior of
the new one. Of course you also assign a unique metatool to that duplicate.
For example, your articulation pallette might have two accent marks, on
At 10:14 PM 06/07/03, Tim Thompson wrote:
> I like the way the articulation
>tools were changed for example (except that I had to relearn--I tend to
>get used to some stock things like that since I am working on so many
>different systems, and with students). A for accent, S for staccato,
>etc.
How would this impact speedy or hyperscribe? Do I play in concert
pitch, and see the notes appear on the staff transposed? I agree that
it is a pain to play in the notes in a transposed score as they should
be written, but to hear them sounding as if they were not transposed,
but of course, I
I think one of the things CODA has done pretty well with in the last
couple of upgrades is reorganization of stock metatools, and making the
whole thing more user-friendly. In fact, in most cases with students,
much explanation is not needed, because once they have figured it out
once, they ge
Then you send it in as a Bug Report, not a Feature Request. But you do
it to the same address: [EMAIL PROTECTED] or
[EMAIL PROTECTED]
Earl Price wrote:
--- Jari Williamsson
<[EMAIL PROTECTED]> wrote:
Earl Price writes:
Speaking of playback, I wish that Coda would fix
playback of transposing
On Saturday, June 7, 2003, at 07:02 PM, Craig Parmerlee wrote:
I'd like to point out that I sent my message to Mr. Fenton privately,
as I know this whole discussion is way beyond tiresome for this list.
As Mr. Fenton decided to post it publicly, I can only surmise he has a
keen desire for the
On 7 Jun 2003 at 18:02, Craig Parmerlee wrote:
> I'd like to point out that I sent my message to Mr. Fenton privately, as I
> know this whole discussion is way beyond tiresome for this list. As Mr.
> Fenton decided to post it publicly, I can only surmise he has a keen desire
> for the last wor
I'd like to point out that I sent my message to Mr. Fenton privately, as I
know this whole discussion is way beyond tiresome for this list. As Mr.
Fenton decided to post it publicly, I can only surmise he has a keen desire
for the last word on this subject, which I am more than happy to give hi
On 7 Jun 2003 at 17:31, Craig Parmerlee wrote:
> At 03:58 PM 6/7/2003 -0400, you wrote:
> >On 7 Jun 2003 at 0:35, Craig Parmerlee wrote:
> >
> > > It is no different with Word, Excel or any other end-user application.
> >
> >Really, would you *stop* using these completely invalid comparisons
> >to
--- Jari Williamsson
<[EMAIL PROTECTED]> wrote:
> Earl Price writes:
>
> > Speaking of playback, I wish that Coda would fix
> > playback of transposing instruments during Simple
> note
> > entry. Currently what we hear is playback of the
> > pitch entered as if it were concert pitch. This
> is
At 06:02 PM 6/7/2003, Darcy James Argue wrote:
>But the point was ease of use. Important info like
>Metatools needs to be in multiple places, *especially* the Quick
>Reference Card and any automated tutorials.
>
>Also -- realistically, "kids these days" aren't going to sit down with
>the manual in
On Saturday, June 7, 2003, at 05:37 PM, Aaron Sherber wrote:
At 05:11 PM 6/7/2003, Darcy James Argue wrote:
>If you're a beginning and don't know about metatools yet, how would
you
>know what those letters and numbers in the upper-right corner mean?
Well, I might read the manual.
Well, duh. B
At 05:11 PM 6/7/2003, Darcy James Argue wrote:
>If you're a beginning and don't know about metatools yet, how would you
>know what those letters and numbers in the upper-right corner mean?
Well, I might read the manual. p.22-2, Articulation Selection dialog
box, says, "Occasionally, a character
On Saturday, June 7, 2003, at 06:27 PM, John Howell wrote:
Well, every situation is probably different. In our case, (1) all
university students are required to have computers meeting certain
minimum standards and a basic, useful suite of software, and (2) the
music and art departments requir
Perhaps, given the tardiness in making Finale fully OSX compliant,
it is the Mac market which is the drag these days.
I'm sure! I know I skipped the 2003 upgrade for that very reason.
The only reason we upgraded at my institution last year was that we
converted to a site license, added a few se
On Saturday, June 7, 2003, at 05:05 PM, Aaron Sherber wrote:
At 04:44 PM 6/7/2003, Christopher BJ Smith wrote:
>They DO have many common ones pre-programmed now! As I said, Coda is
>getting better about this in recent versions. But finding them, and
>using them, that's the problem. Listing them o
At 04:44 PM 6/7/2003, Christopher BJ Smith wrote:
>They DO have many common ones pre-programmed now! As I said, Coda is
>getting better about this in recent versions. But finding them, and
>using them, that's the problem. Listing them on the reference card
>would be a great idea!
I agree that list
At 04:48 PM 6/7/2003, Darcy James Argue wrote:
>Oh. Well, I never use Coda's default files, so I didn't know they'd
>done this. Which metatools are pre-programmed? When did this happen?
There have been metatools pre-programmed at least since 2000, and possibly
Fin98, which is where I came in
On Saturday, June 7, 2003, at 04:40 PM, Aaron Sherber wrote:
At 04:33 PM 6/7/2003, Darcy James Argue wrote:
>What might be good is if Finale templates had certain common
>articulation, expression, staff style, transposition etc metatools
>pre-programmed.
Huh? You mean aside from the ones that
At 4:33 PM -0400 6/07/03, Darcy James Argue wrote:
What might be good is if Finale templates had certain common
articulation, expression, staff style, transposition etc metatools
pre-programmed. None of us would use them, since we all have set up
our own customized metatools, having the metatoo
On Saturday, June 7, 2003, at 04:33 PM, Darcy James Argue wrote:
What might be good is if Finale templates had certain common
articulation, expression, staff style, transposition etc metatools
pre-programmed. None of us would use them, since we all have set up
our own customized metatools, ha
On Saturday, Jun 7, 2003, at 13:02 America/Vancouver, David W. Fenton
wrote:
And the best part: if they code for OS X in the right way, it's about
halfway to a Linux port (obviously, Aqua-specific code would not > port).
I don't think that's practical for them until they can drop OS 9
support.
At 04:33 PM 6/7/2003, Darcy James Argue wrote:
>What might be good is if Finale templates had certain common
>articulation, expression, staff style, transposition etc metatools
>pre-programmed.
Huh? You mean aside from the ones that are pre-programmed in the Maestro
Default File and the various
On Saturday, June 7, 2003, at 04:29 PM, Christopher BJ Smith wrote:
At 3:30 PM -0400 6/07/03, Darcy James Argue wrote:
On Saturday, June 7, 2003, at 01:40 PM, Christopher BJ Smith wrote:
Basic things seem to go very quickly, but anything fussy will take a
lot of time, which would make it a goo
At 1:02 PM -0800 6/07/03, Mark D. Lew wrote:
At 1:40 PM 06/07/03, Christopher BJ Smith wrote:
[listing advantages of Sibelius]
Add an octave higher or lower in one click, or any interval, for that
matter. Several mouse clicks in Finale.
Maybe I'm misunderstanding, but isn't this pretty simple in
On Saturday, June 7, 2003, at 05:02 PM, Mark D. Lew wrote:
At 1:40 PM 06/07/03, Christopher BJ Smith wrote:
[listing advantages of Sibelius]
Add an octave higher or lower in one click, or any interval, for that
matter. Several mouse clicks in Finale.
Maybe I'm misunderstanding, but isn't this p
At 3:30 PM -0400 6/07/03, Darcy James Argue wrote:
On Saturday, June 7, 2003, at 01:40 PM, Christopher BJ Smith wrote:
Basic things seem to go very quickly, but anything fussy will take
a lot of time, which would make it a good choice for students, bad
choice for me.
I actually don't think it's
On 7 Jun 2003 at 19:24, Jari Williamsson wrote:
> Philip M. Aker writes:
>
> > But Jari, I've been _using_ Carbon controls in plugins since 1998 and
> > requesting support for them in the PDK since the autumn of that year.
>
> So what happens if Carbon isn't installed on the client's computer?
On Saturday, Jun 7, 2003, at 12:48 America/Vancouver, Jari Williamsson
wrote:
But even more telling is the complete lack of an analogy on Windows
for high level events. All of which have now been subsumed into
AppleEvents BTW. My best nutshell explanation is that they are an
object oriented ap
On 7 Jun 2003 at 10:01, Philip M. Aker wrote:
> Multitasking as an issue is only important to Windows developers
> because DOS (and I think Windows before W95) never had anything like
> the (old) MacOS event loop concept in the first place.
Eh?
DOS was single-tasking, so is not a relevant comp
At 1:40 PM 06/07/03, Christopher BJ Smith wrote:
[listing advantages of Sibelius]
>Add an octave higher or lower in one click, or any interval, for that
>matter. Several mouse clicks in Finale.
Maybe I'm misunderstanding, but isn't this pretty simple in Finale with the
transposition function wit
On 7 Jun 2003 at 10:00, Philip M. Aker wrote:
> On Saturday, Jun 7, 2003, at 03:13 America/Vancouver, David H. Bailey
> wrote:
> > Perhaps, given the tardiness in making Finale fully OSX compliant, it
> > is the Mac market which is the drag these days.
>
> Nope. It's Coda not having had their e
On 7 Jun 2003 at 8:40, Craig Parmerlee wrote:
> This type of thing is everywhere in the software world, not just in the
> storage of "object oriented" objects. The best example is HTML. From the
> very beginning of Mosaic, the browser was designed to parse and discard
> tags it couldn't recog
On 7 Jun 2003 at 8:28, Craig Parmerlee wrote:
> Every release of Finale I have used has supported slurs, 8va and
> practically all the SmartShapes that are used today. Granted the
> SmartShapes changed the way these are manipulated (and presumably
> stored). But in an object-oriented environm
On 7 Jun 2003 at 15:23, Jari Williamsson wrote:
> David H. Bailey writes:
>
> > Perhaps, given the tardiness in making Finale fully OSX compliant, it is
> > the Mac market which is the drag these days.
>
> Avoiding to make this into a OS war issue, I think the OSX development
> will benefit bo
On 7 Jun 2003 at 0:35, Craig Parmerlee wrote:
> It is no different with Word, Excel or any other end-user application.
Really, would you *stop* using these completely invalid comparisons
to programs that have file formats that are several orders of
magnitude less complex?
It *is* different fro
On 6 Jun 2003 at 19:37, Craig Parmerlee wrote:
> At 07:11 PM 6/6/2003 -0400, David W. Fenton wrote:
> >On 5 Jun 2003 at 23:19, Craig Parmerlee wrote:
> >
> > > Coda is possibly the only vendor of a
> > > major software product that does not provide backwards compatibility.
> >
> >It depends on the
Philip M. Aker writes:
> But even more telling is the complete lack of an analogy on Windows for
> high level events. All of which have now been subsumed into AppleEvents
> BTW. My best nutshell explanation is that they are an object oriented
> approach to messaging and data passing.
Well, O
On Saturday, June 7, 2003, at 01:40 PM, Christopher BJ Smith wrote:
He actually got a bit testy with me when I pointed out that the chord
analysis provided by the analysis plugin was faulty. He didn't give me
chance to point out that Finale's harmonic analysis is worse. His
exact words were, "W
Michele Sharik writes:
> Where does one send in a feature request?
To the tech support e-mail addresses:
[EMAIL PROTECTED]
or
[EMAIL PROTECTED]
If you send in multiple requests, MakeMusic seems to appreciate if you
make a wish list in priority order.
Best regards,
Jari Williamsson
__
On Saturday, Jun 7, 2003, at 10:24 America/Vancouver, Jari Williamsson
wrote:
But Jari, I've been _using_ Carbon controls in plugins since 1998 and
requesting support for them in the PDK since the autumn of that year.
So what happens if Carbon isn't installed on the client's computer?
Those con
On Saturday, June 7, 2003, at 10:21 AM, Christopher BJ Smith wrote:
At 12:49 AM -0500 6/07/03, Craig Parmerlee wrote:
At 09:06 AM 6/7/2003 +1000, "Matthew Hindson wrote:
By the way, has Makemusic/Codamusic _ever_ made a profit?
I don't know about "ever" but apparently not recently.
They face a
In a message dated 07/06/2003 19:02:38 GMT Daylight Time, [EMAIL PROTECTED] writes:
??? That's odd, why would you want to hear a note that's NOT the
sounding pitch?
That's exactly the problem - you don't hear the souding pitch - for example, if you write a g second line for horn which should sou
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