True ... comcast is molto presto.
Thanks,
Dean
On Jan 18, 2007, at 7:49 PM, Eric Dannewitz wrote:
It's always good to update a program, and since you have Comcast,
it should be lighting fast (atleast according to the ads)
Dean M. Estabrook wrote:
So, is the consensus that it is, or is no
Hello Leigh,
My immediate questions are:
1. What font did you use to create this character (name and type)?
2. Did you print it out of Illustrator or InDesign or did you just look at it
on screen?
I have found that Times, Palatino, and Helvetica are problematic fonts with
this issue.
Steve
Hello Éric,
Let me stray from the EPS subject a bit...
I was in your boat for a long time. We were going to keep PageMaker running as
long as we could and stick with OS9 files and keep our files in versions 3.5.2
thru 2003 until we came to the conclusion that this was not a viable solution.
Ye
It's always good to update a program, and since you have Comcast, it
should be lighting fast (atleast according to the ads)
Dean M. Estabrook wrote:
So, is the consensus that it is, or is not worth our time to upgrade?
Dean
Dean M. Estabrook
[EMAIL PROTECTED]
http://home.comcast.net/~d.esta/
The consensus is maybe more like, “Why have they made this? What's
the point of this upgrade?”
Éric
On 07-01-18, at 22:25, Dean M. Estabrook wrote:
So, is the consensus that it is, or is not worth our time to upgrade?
Dean
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On 07-01-18, at 21:46, Leigh Daniels wrote:
I just did a quick test with FinMac2007a, 10.4.8 and was able to
export
an EPS with "é" and so on in it without problem. The EPS looked
fine in
Adobe Illustrator 10 and InDesign CS2.
I have already made this test with a mac user that I know that
So, is the consensus that it is, or is not worth our time to upgrade?
Dean
Dean M. Estabrook
[EMAIL PROTECTED]
http://home.comcast.net/~d.esta/
Power embraces greed and abjurs justice
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OK- e-mails are busy. No promises but I'm pretty confident.
I know I played it in Sydney, good arrg't, and a good friend of mine had
done the arrangement- so I'll keep probing.
I'll get back ASAP
Cheers K
Keith Helgesen.
Director of Music, Canberra City Band.
Ph: (02) 62910787. Mob 0417-042171
Outstanding. Concert band will work just fine.
What combination? Concert band, Brass Band, Orchestra?
I may have a concert band source.
Cheers K in OZ
Keith Helgesen.
Director of Music, Canberra City Band.
Ph: (02) 62910787. Mob 0417-042171
-Original Message-
From: [EMAIL PROTEC
What combination? Concert band, Brass Band, Orchestra?
I may have a concert band source.
Cheers K in OZ
Keith Helgesen.
Director of Music, Canberra City Band.
Ph: (02) 62910787. Mob 0417-042171
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Lawrence Da
Éric & Paul,
I just did a quick test with FinMac2007a, 10.4.8 and was able to export
an EPS with "é" and so on in it without problem. The EPS looked fine in
Adobe Illustrator 10 and InDesign CS2.
Éric, one thing to try might be to make English the top language in the
list in the International Set
Can anyone on the list direct me to a website where I can purchase a
score for Floral Dance?
I heard the music in the "Brassed Off" movie of several years back
and loved it.
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Le 07-01-18 à 12:47, Paul Hayden a écrit :
I've been confused by some recent postings about EPS exporting on
Macs -- I thought MM finally straightened out that problem. Does
EPS export work reliably with Finale 2007 on Macs running OS X 10.4
(Tiger)? Any problems with embedding fonts, prin
On Jan 18, 2007, at 1:54 PM, Darcy James Argue wrote:
What happened when everyone else ran the Finale 2007a updater? Did
you end up with separate "Finale 2007" and "Finale 2007a" apps, or
just a single, updated app named "Finale 2007."
Hi Darcy,
I think I ended up with a single 2007 ve
I am a bit surprised by this. I noticed as soon as I installed 2007a
that only one version remained on my finale folder and that I didn't
need to copy all my iKey shortcuts to a newly created app (2007a). It
still read as 2007 except if I click on “about Finale” on the Finale
menu.
This wa
On 18 Jan 2007 at 23:55, Daniel Wolf wrote:
> David W. Fenton wrote:
> > Does that mean that when playing with the organ you're not playing
> > in a mean-tone temperament? Tuning a viol to a temperament based on
> > tempered 5ths (i.e., a well temperament) is easier than tuning to
> > one based ar
On Jan 18, 2007, at 3:18 PM, David W. Fenton wrote:
On 18 Jan 2007 at 14:26, Daniel Wolf wrote:
He was also was of the few left-handed violinists. Due to injury, he
restrung his violin and switched hands. While it made orchestral
playing awkward (due to bow crossings when sharing a desk), it
On 18 Jan 2007 at 23:41, Daniel Wolf wrote:
> David W. Fenton wrote:
>
> > I think this kind of thing works better on harpsichord because
> > tuning problems are not going to be nearly as obvious, since the
> > decay ameliorates any clashes. Do you do much with organ continuo?
>
> More important
David W. Fenton wrote:
Does that mean that when playing with the organ you're not playing in
a mean-tone temperament? Tuning a viol to a temperament based on
tempered 5ths (i.e., a well temperament) is easier than tuning to one
based around pure thirds (i.e., a mean temperament, which has 5ths
After I ran the Mac 2007a updater, I ended up with one app called
Finale 2007, which on closer inspection was indeed the updated
version. I was happy to have kept a backup copy of the original 2007
version: I renamed the updated version "Finale 2007a" and copied the
backup copy of 2007 back
David W. Fenton wrote:
I think this kind of thing works better on harpsichord because tuning
problems are not going to be nearly as obvious, since the decay
ameliorates any clashes. Do you do much with organ continuo?
More important than the decay is the attack, which as a plucked string
Darcy James Argue / 2007/01/18 / 04:54 PM wrote:
>What happened when everyone else ran the Finale 2007a updater? Did
>you end up with separate "Finale 2007" and "Finale 2007a" apps, or
>just a single, updated app named "Finale 2007."
As far as I remember, it has been changed to the way Allen
On 18 Jan 2007 at 22:18, dc wrote:
> David W. Fenton écrit:
> >Do you do much with organ continuo?
>
> Quite a bit. But I generally don't get to tune the organ, so the other
> continuo instruments (theorbo, viol) simply tune to the organ. But
> this means they move their frets around when we swit
Hey Allen,
Really? Hmm. That's very mysterious. Was there any change to the
installer behavior after the initial release of Finale 2007a? I
grabbed Fin2007a as soon as it was available, and I definitely ended
up with two separate apps after running the installer, one called
"Finale 2007"
On 18 Jan 2007 at 16:08, A-NO-NE Music wrote:
> David W. Fenton / 2007/01/18 / 03:17 PM wrote:
>
> >For all mean-tone fans, if you ever make a trip to Northern Ohio, you
> > must get to Oberlin and try the mean-tone organ in Fairchild Chapel.
> > It's a beautiful Brombaugh, built in the early 80s
I realized later that instead of "split," I should have used the
Finale terminology, "explode."
I hope that didn't confuse anyone.
-Randolph Peters
At 11:31 AM -0600 1/18/07, Randolph Peters wrote:
The split command in mass mover used to be reliable (except for not
copying smart shapes), but
At 2:37 PM -0500 1/18/07, David W. Fenton wrote:
On 17 Jan 2007 at 23:22, John Howell wrote:
But I like your wording, Johannes. If we can agree that Joshua's
belief is indeed an hypothesis--an interesting hypothesis, a
suggestive hypothesis, even a brilliant hypothesis--then the next
stage
Does this mean that we will soon see an avant-garde composition for organ
where the organist (or perhaps even an assisant) audibly slurps noodles
during the performance?
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message -
From: "A-NO-NE Music" <[EMAI
David W. Fenton / 2007/01/18 / 03:17 PM wrote:
>For all mean-tone fans, if you ever make a trip to Northern Ohio, you
>must get to Oberlin and try the mean-tone organ in Fairchild Chapel.
>It's a beautiful Brombaugh, built in the early 80s (it went in while
>I was a student there) and has split
On 18 Jan 2007 at 21:40, dc wrote:
> David W. Fenton écrit:
> >it's virtually impossible to tune a viol to any form of mean-tone.
>
> Well, I play with _professional_ violists who do it every day, and who
> are perfectly in tune with my meantone harpsichord.
>
> And many others say it is not onl
Hello Paul,
EPS issues are still a problem in 2007 especially if you are working with
postscript fonts. I have switched my entire workflow to Open Type fonts and all
my issues have cleared up.
I have also moved everything over to a PDF workflow where all of my EPS files
go into a watched folde
In a message dated 18/01/2007 20:20:12 GMT Standard Time,
[EMAIL PROTECTED] writes:
Can this very OT topic go OL (off-line) Please?
Sorry, Keith, please keep it online - it's been fascinating. When someone
asks a question about Finale it will be answered. In the mean-time (no pun
in
On 18 Jan 2007 at 12:02, dc wrote:
> Johannes Gebauer écrit:
> >If you really are interested, you should listen to some good
> >recordings in mean tone (17th century music I would recommend),
> >perhaps with a good mixture of string and wind instruments, plus
> >meantone tuned virginal or harpsich
On 18 Jan 2007 at 14:26, Daniel Wolf wrote:
> He was also was of the few left-handed violinists. Due to injury, he
> restrung his violin and switched hands. While it made orchestral
> playing awkward (due to bow crossings when sharing a desk), it was
> useful for both quartet playing and teaching
Come on folks- patience wearing thin. Thewse things usually run out after a
few days but-
Of 31 Finale messages today, 24 on Mozart- NO, not even on Mozart.
Just random opinionated chat from a few people.
What has the 'discussion' even vaguely to do with Finale?
Can this very OT to
On 18 Jan 2007 at 10:37, Johannes Gebauer wrote:
> Remember, we don't have frets. The tuning depends on the 100th of a
> milimeter of out finger position.
>
> With gut strings the problems get worse, as they change when they get
> older.
Yes, indeed, and not uniformly along the string length. Wh
On 18 Jan 2007 at 10:02, dc wrote:
> What about fretted instruments? I often
> play with viola de gamba or theorbo, and both of them can and do use
> meantone, for instance.
An organist/harpsichordist friend of mine brought this up when he
heard my group's Couperin recording, and scolded us for
On 1/18/07, Andrew Stiller <[EMAIL PROTECTED]> wrote:
Some 30 years ago, Edward Tarr discovered that the intonation problems
those holes were designed to fix came about because modern copies of
Bq. trps. were too perfectly made. If you hand-hammer the instrument
into shape, (as was done historica
On 17 Jan 2007 at 23:22, John Howell wrote:
> But I like your wording, Johannes. If we can agree that Joshua's
> belief is indeed an hypothesis--an interesting hypothesis, a
> suggestive hypothesis, even a brilliant hypothesis--then the next
> stage in the scientific method follows. Test the hyp
On 18 Jan 2007 at 10:02, dc wrote:
> Johannes Gebauer écrit:
> >Well, tempered open strings doesn't mean we play tempered.
>
> But you at least play tempered if and when you play a fifth on open
> strings. John's idea that temperament is only an issue on keyboard
> instruments is completely wrong
On Jan 18, 2007, at 10:32 AM, Kim Patrick Clow wrote:
The conductor said it was one of the first
recordings to use trumpets that didn't use those "tuning" holes that
modern copies of baroque trumpets have to create a more tuned sound.
Some 30 years ago, Edward Tarr discovered that the intona
On Jan 18, 2007, at 8:26 AM, Daniel Wolf wrote:
He [Rudolf Kolisch] was also was of the few left-handed violinists.
Due to injury, he restrung his violin and switched hands. While it
made orchestral playing awkward (due to bow crossings when sharing a
desk), it was useful for both quartet pl
After confirming the "glitch" where Finale inserts a quarter rest for the 6th
beat and refuses to allow you to input another quarter note, I was able to
create a 6-quarters-in-4 tuplet (Finale 2005b) using Simple Entry and turning
OFF the "check for extra notes" feature.
I manually clicked in
On 1/18/07, Paul Hayden <[EMAIL PROTECTED]> wrote
Just wanted to say you have a beautiful website! And nice engravings too ;)
Hope things work out for your EPS woes!
I've had my share of them myself recently :(
Kim Patrick Clow
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I've been confused by some recent postings about EPS exporting on
Macs -- I thought MM finally straightened out that problem. Does EPS
export work reliably with Finale 2007 on Macs running OS X 10.4
(Tiger)? Any problems with embedding fonts, printing, etc.?
I got so fed up dealing with EPS pr
Huh? I just ran the Finale 2007a installer and it installed an
application called Finale 2007, and the about box says 2007a.r3 for
Macintosh
Same with the updater.
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED] On Behalf Of Darcy James Argue
> Sent: Thursday,
The split command in mass mover used to be reliable (except for not
copying smart shapes), but a new bug has crept into it in Finale 2007
(original, a and b).
1) The split is occasionally and randomly wrong. For example, a two
part staff splitting into 2 staves sometimes gets the top and botto
On 18.01.2007 Ken Moore wrote:
Andrew was committed to Joshua's view (with practical accommodations, such as
addition of ripieno singers for the bigger choruses) by 1985, when he made his
own
recording of the B minor Mass, using some of Joshua's parts.* My recollection
of the
"Early Music" co
On 18.01.2007 Kim Patrick Clow wrote:
Meantone, isn't it possible that baroque trumpets can use this tuning
system? I have a recording of the Handel's Fireworks music; and I
*think* they use mean tone. The conductor said it was one of the first
recordings to use trumpets that didn't use those "tu
Hey Allen,
I'm afraid this isn't how it works now -- the installer (confusingly)
left Finale 2007a in place, and created a new application called just
"Finale 2007." At first, I wasn't sure if the installer had even
worked. Since the Fin2007a installer leaves the original Fin2007 in
place
Darcy Said:
> I would actually be in favor of NOT appending "a", "b", etc to the
> filename, provided this was done consistently, and that the Finale
> maintenance updates would actually UPDATE the app instead of
> creating
> a duplicate.
This is how it works now.
_
Christopher Smith <[EMAIL PROTECTED]> wrote:
But the "pure" seconds and sevenths are way out. Unless one is an
alphorn player, I can't recall ever having heard these used in any
kind of common practice.
I recall hearing a broadcast of Weber's "Oberon" overture, when I
immediately knew
that
Meantone, isn't it possible that baroque trumpets can use this tuning
system? I have a recording of the Handel's Fireworks music; and I
*think* they use mean tone. The conductor said it was one of the first
recordings to use trumpets that didn't use those "tuning" holes that
modern copies of baroq
At 09:42 AM 1/18/2007, [EMAIL PROTECTED] wrote:
>Does using speedy and clicking on cntrl+6 not work well enough or am I
>completely missing the point?
It works just fine. But Will is a novice user and seems to be more
comfortable in Simple than Speedy.
Aaron.
Johannes Gebauer <[EMAIL PROTECTED]> wrote:
Well, actually, the discussion went on in Early Music between
Joshua and Ton Koopman (I believe this was in the year 2000).
Eventually they called in Andrew Parrot as the unbiased mediator,
who then ended up writing a book which basically completely
su
Does using speedy and clicking on cntrl+6 not work well enough or am I
completely missing the point?
Cheers,
Lawrence
lawrenceyates.co.uk
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Will Denayer / 2007/01/18 / 06:58 AM wrote:
> I want the rythm in 4/4 with a '6' above it.
You didn't tell us that.
So, you do want to have -6- above it. I am curious why not quoter
triplets? When I write sextuplet where triplet * 2 is easier to read, I
have a pretty good reason. Otherwise,
Will Denayer wrote:
1) Enter the first quarter note in the measure
2) Select the tuplet tool ...
Thank you Noel, this is exactly what I am doing, but it doesn't work.
If I follow the procedure you mention (which is also exactly what the manual
says), the tuplet tool lets me enter 5 notes (the
At 08:13 PM 1/17/2007 -0800, Mariposa Symphony Orchestra wrote:
>Nice one, Dennis -- but really? What's the story?
>If so, I hope the dam is 100 feet DOWNSTREAM from the house!
>And in the meanwhile, I'll try to refrain from whistling Coates'
>"Dambusters March".
Please do. :)
Yes, our
Johannes Gebauer wrote:
Actually, Kolisch is one of my idols. And he comes very close to
historical performance in some respect.
Kolisch is the perfect counter-example to one of the critiques (by
Taruskin, among others) of historical performance practice, that in the
focus on the prehistory
At 06:58 AM 1/18/2007, Will Denayer wrote:
>Thank you Noel, this is exactly what I am doing, but it doesn't work.
>If I follow the procedure you mention (which is also exactly what the
>manual says), the tuplet tool lets me enter 5 notes (the first one
>included), so there is one too short.
>I am
Johannes Gebauer wrote:
On 18.01.2007 John Howell wrote:
I believe that was Wanda Landowska, not Casals, not that that affects
your argument.
Actually, it does. Had Casals said that it would have been rather strange.
Johannes
I had heard it as part of a masterclass he was giving on the Bach
On 18.01.2007 Daniel Wolf wrote:
There are many modern string players who are quite informed about intonation. Kolisch, when playing Schoenberg's Fantasy, tuned all four strings to the piano, in order to play more precisely in equal temperament. Paul Zukofsky and Marc Sabat have both integrated a
1) Enter the first quarter note in the measure
2) Select the tuplet tool ...
Thank you Noel, this is exactly what I am doing, but it doesn't work.
If I follow the procedure you mention (which is also exactly what the manual
says), the tuplet tool lets me enter 5 notes (the first one included),
On 18.01.2007 Christopher Smith wrote:
I went to the Just Intonation website to listen to the examples, and I don't know about it. It is all well and good for 4ths and 5ths inside an octave, and even the 3rds and 6ths are fine (though I'm not sure that anyone tunes EVERY third this way in any kind
There are many modern string players who are quite informed about
intonation. Kolisch, when playing Schoenberg's Fantasy, tuned all four
strings to the piano, in order to play more precisely in equal
temperament. Paul Zukofsky and Marc Sabat have both integrated
alternative tunings into their
On Jan 18, 2007, at 12:12 AM, John Howell wrote:
Temperament is only necessary--and a necessary evil at that--for
keyboard instruments that cannot make microtonal pitch adjustments.
OK, I'm with you so far.
Tuning involves pure intervals, including the thirds or course.
Call it just in
On 18.01.2007 dc wrote:
Johannes Gebauer écrit:
For early 17th century music they may work very well, though it will require a
mean tone tuning for keyboard instruments, and that requires the tuning of
extremely narrow fifth.
This "extremely narrow fifth" of meantone is still only about HALF
On 18.01.2007 dc wrote:
Johannes Gebauer écrit:
Well, tempered open strings doesn't mean we play tempered.
But you at least play tempered if and when you play a fifth on open strings.
John's idea that temperament is only an issue on keyboard instruments is
completely wrong. What about frette
On 18.01.2007 dc wrote:
John Howell écrit:
Temperament is only necessary--and a necessary evil at that--for keyboard
instruments that cannot make microtonal pitch adjustments. Tuning involves
pure intervals, including the thirds or course.
Johannes just mentioned that a violin's fifth could
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