At 9:15 PM -0700 10/20/06, Mark D Lew wrote:
On Oct 16, 2006, at 9:30 AM, John Howell wrote:
I'm used to reading orchestral music printed from 19th century
plates, where it is quite common to have as many as 12 bars or even
more to a line, and the parts are perfectly readable even by string
p
Mark D Lew wrote:
On Oct 21, 2006, at 1:06 AM, dc wrote:
I'm not so sure. One could also hold the opposite and reasoning: if
you do want a tight spacing, it's much easier with a computer, because
you can continue to gain space after the basic layout is determined.
You can try to squeeze an e
Mark D Lew wrote:
[snip]>
It's not hard to guess why. The software doesn't figure spacing very
well, so the cost-effective way to (partly) avoid the problem is to just
set everything looser.
The problem seems to be worse with contemporary pop music, where
presumably less budget priority is g
On Oct 21, 2006, at 1:06 AM, dc wrote:
I'm not so sure. One could also hold the opposite and reasoning: if
you do want a tight spacing, it's much easier with a computer, because
you can continue to gain space after the basic layout is determined.
You can try to squeeze an extra bar into a sys
On Oct 16, 2006, at 9:30 AM, John Howell wrote:
I'm used to reading orchestral music printed from 19th century plates,
where it is quite common to have as many as 12 bars or even more to a
line, and the parts are perfectly readable even by string players
sitting 2 on a stand. (But of course
I was using the term "notehead font" incorrectly -- I really meant the
music font in general. For hand-engraved music I don't know how they
measured such things, if they used the term "font" or not. The G.
Schirmer editions I'm thinking of are some flute books, where all the
notation is just
John Howell wrote:
At 7:50 AM +0200 10/16/06, Johannes Gebauer wrote:
On 16.10.2006 David W. Fenton wrote:
It would be nice, though, if some professional engraving standards
were somehow built into Finale so that it could tell you if you've
exceeded standard modern engraving density.
I don'
At 7:50 AM +0200 10/16/06, Johannes Gebauer wrote:
On 16.10.2006 David W. Fenton wrote:
It would be nice, though, if some professional engraving standards
were somehow built into Finale so that it could tell you if you've
exceeded standard modern engraving density.
I don't think there is suc
On Oct 16, 2006, at 6:05 AM, dhbailey wrote:
There's just too many variables to take into account for a computer
to be allowed to be the final arbiter of what will result in the
best engraving, as far as performability goes. Note-head font
size, for instance. Leaving it full size makes ti
On 16.10.2006 David W. Fenton wrote:
Surely you've seen the tight spacing of André's engraving, which
would be completely unacceptable in modern engraving. My bet is that
André routinely exceeded the tightness of the Henle part you're
looking at.
I am sure he did, but that wasn't my point. W
On 16 Oct 2006 at 7:50, Johannes Gebauer wrote:
> On 16.10.2006 David W. Fenton wrote:
> > It would be nice, though, if some professional engraving standards
> > were somehow built into Finale so that it could tell you if you've
> > exceeded standard modern engraving density.
>
> I don't think th
Johannes Gebauer wrote:
On 16.10.2006 David W. Fenton wrote:
It would be nice, though, if some professional engraving standards
were somehow built into Finale so that it could tell you if you've
exceeded standard modern engraving density.
I don't think there is such a thing. I have a Henle p
On 16.10.2006 David W. Fenton wrote:
It would be nice, though, if some professional engraving standards
were somehow built into Finale so that it could tell you if you've
exceeded standard modern engraving density.
I don't think there is such a thing. I have a Henle part here, where one
page
Le 06-10-15 à 10:20, dc a écrit :
Does this concern music with lyrics, specifically, or general
spacing problems? Finale's spacing of music with lyrics is so bad
that it's more a question a starting from scratch than improving
anything. Tobias is the only one who has something to improve o
On 15 Oct 2006 at 8:31, dhbailey wrote:
> David W. Fenton wrote:
> > On 14 Oct 2006 at 6:13, dhbailey wrote:
> [snip]
> >> As more layers of management get added at the top, local control
> >> gets lost. As overall corporate focus shifts, development dollars
> >> get moved from one department to
On 15 Oct 2006 at 0:32, Mark D Lew wrote:
> I remember some crowded and complicated systems where
> I'd spend a half an hour on just one system, to get it just right.
> Loose music, on the other hand, was a breeze and needed few if any
> tweaks.
It seems to me that one of the reasons Score is s
David W. Fenton wrote:
On 14 Oct 2006 at 6:13, dhbailey wrote:
[snip]
As more layers of management get added at the top, local control gets
lost. As overall corporate focus shifts, development dollars get
moved from one department to another. Look at Finale and Smartmusic
Wasn't SmartMusic
I am happy to see that some people on the list would like the spacing
of Finale improved. It's not a matter of comparing Finale to Score,
but to make Finale do the job better.
I, Ansgar Krause and Dejan Badnjar have just sent a request (in the
form of a pdf explaining with examples what we wo
On Oct 14, 2006, at 4:42 AM, Christopher Smith wrote:
Some things Finale doesn't do well in spacing: when there is a large
interval, or when the stems change direction, Finale spaces the two
notes exactly the same as if there was a small interval or no stem
direction change. I never realised i
On 14 Oct 2006 at 10:03, Éric Dussault wrote:
> For a simple example, see the link below:
> http://www.scoremus.com/examples.html
> There is nothing special in this sample to prove anything about the
> spacing strengh of Score, but at least you'll have the chance to see
> that, without knowing i
On 14 Oct 2006 at 13:35, John Howell wrote:
> Just a couple of cases in point. The Deagan Percussion Co. was taken
> over by some MBAs who were convinced that MBAs can run anything. They
> fired the old guys who knew the business because they were being paid
> too much, and hired youngsters who h
On 14 Oct 2006 at 6:13, dhbailey wrote:
> David W. Fenton wrote:
> [snip]
> > Why is it that everyone assumes the purchase of Sibelius by another
> > company means that Sibelius will be weakened? Isn't there a certain
> > synergy involved there? Why would a company purchase Sibelius and
> > then k
At 6:13 AM -0400 10/14/06, dhbailey wrote:
David W. Fenton wrote:
[snip]
Why is it that everyone assumes the purchase of Sibelius by another
company means that Sibelius will be weakened? Isn't there a certain
synergy involved there? Why would a company purchase Sibelius and
then kill it off?
Le 06-10-14 à 07:42, Christopher Smith a écrit :
I have never seen something I could recognise as Score output, but
from visiting the Lilypond site (and other clues, like the usual
engraving books) I have developed more of an eye for Finale's
shortcomings in the spacing department. I am lo
David W. Fenton wrote:
Score (like Finale and possibly like Sibelius) has a community of
plugin developmers?
Not "possibly like Sibelius". What Sibelius calls a "plug in", Finale
calls a "Finalescript". If Sibelius has anything equivalent to what
Finale calls a plug-in, I believe it that i
On Oct 14, 2006, at 4:11 AM, dc wrote:
shirling & neueweise écrit:
i visited someone today who showed me some very decent examples by
his company, created with finale, score and sibelius. i could
tell which was which in most of the cases, but doubt that the
average user could tell the d
David W. Fenton wrote:
[snip]
Why is it that everyone assumes the purchase of Sibelius by another
company means that Sibelius will be weakened? Isn't there a certain
synergy involved there? Why would a company purchase Sibelius and
then kill it off?
[snip]
I don't think it's so much a matte
shirling & neueweise wrote:
[snip]
before being able to even begin to work in score. as we all know, none
of these skills are prerequisites to producing output in finale or
sibelius. and since finale is not developed by musicians...
[snip]
I can agree with most of what you've said, to
On 14 Oct 2006 at 2:34, shirling & neueweise wrote:
> From: "David W. Fenton" <[EMAIL PROTECTED]>
> >My experience with Score users is that they have a version of
> >Stockholm Syndrome, having adapted to the oddities of Score so much
> >that they seem them as advantages.
>
> this is not so diffe
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