Thanks for your comments.
-Opprinnelig melding-
Fra: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] På vegne
av Robert Patterson
Sendt: 3. november 2008 00:19
Til: finale@shsu.edu
Emne: Re: [Finale] WinFin 2009a and the toxic file and Rant
The last 2 upgrades in particular I find
I ran your original unedited firsth through noise reduction and
then fft
filtering (in Audition). See if you can forget the faux-
richness imparted
by the low rumble. :) http://maltedmedia.com/recordings/
Morley-Aria.mp3
Well, if I had those tools, I guess I'd do that, too, but lacking
On Mon, November 3, 2008 7:39 am, Chris Bell wrote:
For those in need of noise/hiss/rumble/clicks removing . . .
Here's a list of software that I use to work their magic:
http://www.bias-inc.com/products/soundSoapPro/
The slightly cheaper version, but still very good:
For those in need of noise/hiss/rumble/clicks removing . . .
Here's a list of software that I use to work their magic:
http://www.bias-inc.com/products/soundSoapPro/
The slightly cheaper version, but still very good:
http://www.bias-inc.com/products/soundSoap2/
On Mon, November 3, 2008 9:08 am, Chris Bell wrote:
Ahh yes . . but . . buy quality, cry once
That's what they said about Finale.
Dennis
...still crying 16 years later.
___
Finale mailing list
Finale@shsu.edu
Thanks. I have tried Sibelius several times over the years. The recent version
is the first one I feel I could live with. In fact I really like a lot of what
I see. We set up a list of things that Sibelius must be able to do for us to
even consider a cross-grade. We downloaded the demo and
On 30.10.2008 Dennis Bathory-Kitsz wrote:
This is one of the few cases where we disagree (a little).
Finale could automatically calculate as a first step, but I would prefer
to have the tool available. I used it when I worked up the Revere font set
in a Finale version for my own use.
I am not
On 30.10.2008 Allen Fisher wrote:
Actually, no, Finale can't automatically determine the height of font
characters. That's why we made FAN files in the first place.
Well, are you saying that Finale cannot, or that it is impossible to be
done? The latter seems very unlikely to me. You have
On 3 Nov 2008 at 9:05, Dennis Bathory-Kitsz wrote:
On Mon, November 3, 2008 7:39 am, Chris Bell wrote:
For those in need of noise/hiss/rumble/clicks removing . . .
Here's a list of software that I use to work their magic:
http://www.bias-inc.com/products/soundSoapPro/
The slightly
Hello,
From time to time a find my self wondering about how to spell a
diminished chord from e.g. D#.
Is it D# - F# - A - C ?
What are the rules? Are there any?
Stig
MUSICMIND
Stig Christensen
www.musicmind.dk
[EMAIL PROTECTED]
Hovmarksvej 24A
2920 Charlottenlund
DENMARK
+4526212425
I thought I had done this before but now I'm not so sure. In 6/8, the last
eighth note in the measure is the first note of a 3:2 triplet, and I can't
figure out how to do it. I don't care about correct playback.
Thanks all
Stu
___
Finale
That would be correct.
Dean
On Nov 3, 2008, at 9:28 AM, Stig Christensen wrote:
Hello,
From time to time a find my self wondering about how to spell a
diminished chord from e.g. D#.
Is it D# - F# - A - C ?
What are the rules? Are there any?
Stig
MUSICMIND
Stig Christensen
On Mon, November 3, 2008 1:47 pm, Stu McIntire wrote:
I thought I had done this before but now I'm not so sure. In 6/8, the
last
eighth note in the measure is the first note of a 3:2 triplet, and I can't
figure out how to do it. I don't care about correct playback.
I do the triplet in the
On 3 Nov 2008 at 18:28, Stig Christensen wrote:
From time to time a find my self wondering about how to spell a
diminished chord from e.g. D#.
Is it D# - F# - A - C ?
What are the rules? Are there any?
Find the fundamental of your diminished chord, and then spell it with
minor thirds.
Leave the spacing until you get all the articulations (etc.)
attached because you often can't reach into the material that
overrides the barline.
there is a much more time-consuming way but that spaces perfectly
with no fussing and allows the system split to happen in the middle
of the
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
On Behalf Of Stig Christensen
Sent: Monday, November 03, 2008 9:28 AM
To: Finale List
Subject: [Finale] [OT] The correct notes in diminished chords
Hello,
From time to time a find my self wondering about how to
Roger Jeffs wrote:
Thanks for your comments.
I would say, though, that since most of your department's
students probably haven't gotten into the plug-ins in the
same way that many on this list have, that you should
consider downloading Sibelius' demo, or have your department
buy a single
David,
I haven't actually listened to your recording, but if you have access to
a Mac there is a free, and pretty impressive tool available, called
soundhack. I use it often to carefully remove background noise from
recordings. www.soundhack.com
On 02.11.2008 David W. Fenton wrote:
I ran
On 02.11.2008 David W. Fenton wrote:
BTW, I'm THRILLED that nobody could find my splice. I don't have
great tools for this kind of thing (I used Audacity to split the file
into Beginning/End/Middle WAVs and then sewed them back together with
the Exact Audo Copy WAV editor, which works better
On 3-Nov-08, at 3-Nov-08 12:28 PM, Stig Christensen wrote:
Hello,
From time to time a find my self wondering about how to spell a
diminished chord from e.g. D#.
Is it D# - F# - A - C ?
What are the rules? Are there any?
It depends on the function.
If it is resolving up a semitone,
On 03.11.2008 David W. Fenton wrote:
I don't know for certain if more expensive tools could have been used
more subtly to produce something that me ears would find satisfactory
(one of Dennis's efforts produced with his normal tools really did
sound quite good and didn't seem to sacrifice the
On 3 Nov 2008 at 20:49, Johannes Gebauer wrote:
On 02.11.2008 David W. Fenton wrote:
BTW, I'm THRILLED that nobody could find my splice. I don't have
great tools for this kind of thing (I used Audacity to split the file
into Beginning/End/Middle WAVs and then sewed them back together
Dennis Bathory-Kitsz wrote:
On Mon, November 3, 2008 9:08 am, Chris Bell wrote:
Ahh yes . . but . . buy quality, cry once
That's what they said about Finale.
Dennis
...still crying 16 years later.
Touche -- but if the saying is true, and we have indeed
cried many times, did we really buy
I made the transition to duration/pitch entry (rather than
pitch/duration in Finale) in almost no time, and find that
working with a midi keyboard in Sibelius allows me to fly as
fast at note entry as I ever have with Speedy Entry in Finale.
And when I don't have a midi keyboard hooked up
On 03.11.2008 David W. Fenton wrote:
It is certainly good enough for what I need to do.
I was merely refering to much more difficult than I ever imagined,
which doesn't need to be the case. I edit recordings a lot, and have
done and am doing full CDs with hundreds of edits, so I think I know
At 9:56 AM -0800 11/3/08, Dean M. Estabrook wrote:
That would be correct.
Dean
On Nov 3, 2008, at 9:28 AM, Stig Christensen wrote:
Hello,
From time to time a find my self wondering about how to spell a
diminished chord from e.g. D#.
Is it D# - F# - A - C ?
What are the rules? Are there
anyone know how to get rid of bar lines?
Vivian
Vivian Adelberg Rudow
December performances:
December 15, 2008, CALL FOR PEACE, Andrea Ceccomori, flute and tape,
Festival Musica Experimento, Rome.
December 5, 2008, 7:00PM, The Baltimore Museum of Art, music related to the
Franz West
At 08:43 PM 11/3/2008, [EMAIL PROTECTED] wrote:
anyone know how to get rid of bar lines?
Go to a less crowded bar.
(Or use the Measure Tool to set the barline style on a single bar or
small group of bars to Invisible. Or set the staff attributes to not
display barlines, to suppress
Staff Tool - Staff attributes - uncheck barlines' in items to display.
OR
In Document options set their width to 0.
OR
Use the measure tool, click on a measure and pick what you want for that
measure.
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]
On Behalf
The font description provides the height of the tallest character,
which for text fonts, that's the lowercase l or uppercase M. In a
music font the tallest character is the treble ottava (right term?)
clef.
On Nov 3, 2008, at 4:21 AM, Johannes Gebauer wrote:
On 30.10.2008 Allen Fisher
For those of you who checked out my splice question who like the
music of the period, here's a sample of my consort's work with the
choir of St. Michaels Episcopal Church here in NYC. For live
performances, we did fairly well (though with our mishaps
throughout), and I thought some of you
On 04.11.2008 Allen Fisher wrote:
The font description provides the height of the tallest character, which for text fonts, that's the
lowercase l or uppercase M. In a music font the tallest character is the
treble ottava (right term?) clef.
The font description describes every character. At
Having problems involving an erratic playback of a symphonic piece using
Garritan sounds, usually when tempo gets faster and strings are playing
16ths along with brass and woodwind chords. I'm noticing some instruments
are omitted. I'm using Finale 2007 with Windows XP Pro and an
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