Re: [Finale] 30 day Disabled Fin2004 as a demo?
What makes you say it's illegal if you can download a demo directly from the CODA website? Liudas - Original Message - From: Johannes Gebauer [EMAIL PROTECTED] To: Finale list [EMAIL PROTECTED] Sent: Sunday, March 14, 2004 10:05 AM Subject: Re: [Finale] 30 day Disabled Fin2004 as a demo? On 14.03.2004 1:22 Uhr, Rocky Road wrote After 30 days without registering, Finale 2004 is still usable but cannot save or print, effectively a demo version of the software. Does anyone know if there is anything wrong with leaving this demo version installed on a computer, when you have your two registered versions installed somewhere else? Does coda allow a demo or does it have to be removed? I was thinking it would be a good demo to leave at work to show people the latest Finale. This is definitely illegal. Don't do it. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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] TAN: Is mp a redundant dynamic?
I think it depends on the piece. All dynamic markings are relative to the context and to the instrumentation, and to the venue. One evening you may play the same passage at one level, and another at another. In one hall in one way, in another in a another way. With one soloist one way, with another another. As the opening piece of a concert one way and as the final encore in another. There is no decibel value attached to dynamic markings. One of the most rediculous things I've recently seen is a piece which had vocalists singing anything from ppp to fff. (Yes, that's seven p's and seven f's). To differentiate to such a degree is rediculous. But to can mp and mf altogether, you risk having an extremely contrasting dynamic in the piece, when that might not be desired. Quiet or Loud. That's not enough for all cases. Gradations are good. They should be used wisely. Liudas - Original Message - From: Colin Broom [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Saturday, March 13, 2004 5:00 PM Subject: [Finale] TAN: Is mp a redundant dynamic? I've spoken to a number of musicians recently, including a noted orchestral conductor, and several composers who all seem to feel that the dynamic 'mezzo piano' is basically a meaningless dynamic, and they think it should never be used. I've even heard one go as far as to say that the same is true of 'mf' as well. I personally don't agree with this at all, and for me there is a clear distinction between p, mp and mf, but I was wondering how widespread this feeling about mp is, and how folk on the list feel about it? And if it's redundant, then why is it redundant? C. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Darcy James Argue Sent: 13 March 2004 14:39 To: [EMAIL PROTECTED]; [EMAIL PROTECTED] Subject: Re: [Finale] MacFin04 install issues Hi Robert, I haven't seen that error message, and I don't have the problem with the MIDI setup settings not taking. I presume you've tried to save your preferences manually? - Darcy - [EMAIL PROTECTED] Brooklyn NY On 13 Mar 2004, at 09:28 AM, Robert Patterson Finale wrote: Has anyone seen this? When I installed MacFin04 (finally) I get the following error message every time I start up: Extract Lyrics: Plugin icon missing: -1409 Also, I always have to go thru the Tips and MIDI Setup rigamarole, like it doesn't know how to save my settings. I know I should ask Mac support, but since it is a weekend, I thought I'd see if anyone here knows about it. Robert ___ 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] WinFin2004b part extraction slowness
Yes, I have noticed this, too. Liudas - Original Message - From: Aaron Sherber [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, March 12, 2004 12:58 AM Subject: [Finale] WinFin2004b part extraction slowness Hi all, Has anyone else noticed that part extraction under WinFin2004b takes noticeably longer than under previous versions? I didn't do any extraction under 2004 or 2004a, so I'm comparing it here to 2003 and previous. I'm extracting parts from a 400 measure work, and it seems that the first part of the process for each part (where the dialog says Creating parts, before Laying out entries) takes an awfully long time. Thanks, Aaron. ___ 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] Mac 2004 speed issues
Edit menu. By the way, I found 'auto smart word extensions' and turned that off. Where should I look for auto spacing and auto update? Best regards, John Hinchey Nashville, TN ___ 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] Accidental positioning
Yes, I can verify this, and it looks like a bug to me, too. Liudas - Original Message - From: Lee Actor [EMAIL PROTECTED] To: Finale News List [EMAIL PROTECTED] Sent: Tuesday, March 09, 2004 10:05 PM Subject: [Finale] Accidental positioning Has anyone else noticed this change in behavior from FinWin 2004a to 2004b: when Cross-Layer Accidental Positioning is checked, accidentals in hidden layers now affect the accidental positioning in visible layers. This was not the case in 2004a and sure seems like a bug to me. -Lee ___ 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] Double sharps, douible flats
In my experience, if the initial accidentals were entered correctly, including hiding any accidentals appearing after an earlier acciental on a given note in a given measure (so as to render both midi playback and visual note depiction correct), then the transposed accidentals are also correct. Liudas - Original Message - From: Crystal Premo [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, March 08, 2004 2:22 PM Subject: [Finale] Double sharps, douible flats Am I correct in my assumption that the double sharps and flats which frequently appear when you transpose a piece are actually the *correct pitches*? However awkward they may be, and however appropriate it may be to simplify them through editing (as opposed to changing to an equivalent key), they are still technically correct. Am I right? Crystal Premo [EMAIL PROTECTED] _ Get a FREE online computer virus scan from McAfee when you click here. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ___ 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] FinWin 2004b
Human Playback no longer moves the contents of the Redo list into the Undo list. (How the heck did that happen?) Uh... Perhaps a new and exciting feature called Human Error? ;) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Hidden Staves receive edits.
WinFin 2004a: Sorry in advance if this is already known, or has been addressed in 2004b. If you hide a staff and apply a staff attribute to the neighboring staves above and below it in one go, the staff attribute you apply to those staves gets applied to the hidden one, too. You see it after you select show staff in the staff attributes dialogue. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinWin 2004b
My additions: (3) Speedy spacing in different layers should be fixed ASAP. (4) Speedy last-note tie portrayal are a Pain in the A** (they go backwards). (5) Speedy shouldn't have *anything* you'd need to keep double checking by eye, i.e. surprise bugs such as the occasional Rocket-Duodecime-Jump first note in Bass Clef, accidentals under long ties popping back up again when you least expect them to. All these things make Speedy unworthy of its name. Liudas - Original Message - From: d. collins [EMAIL PROTECTED] To: Finale list [EMAIL PROTECTED] Sent: Thursday, March 04, 2004 4:57 PM Subject: Re: [Finale] FinWin 2004b Aaron Sherber: I'm sure we all have our lists of things we'd rather they had fixed. 1) Smart Word Extensions. If you happen to use lyrics for figured bass, you can't use SWE. And since the old stupid Word Extensions plug-in seems to have disappeared, there's no easy way to enter Word Extensions (they have to be entered one by one). This is definitely a downgrade. Finale should at least have retained the old system. 2) This new feature probably didn't come with 2004, but I still wish they'd fix it: many settings that were accessible via the keyboard (in Document Options, for instance) now can only be done with the rodent. This is a major PITA, especially if you want to use keyboard macros. Feel free to add to this list ;-). Dennis ___ 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] FinWin 2004b
Can't you copy the plugin from 2003 to the 2004 folder? Liudas - Original Message - From: d. collins [EMAIL PROTECTED] To: Finale [EMAIL PROTECTED] Sent: Thursday, March 04, 2004 6:20 PM Subject: Re: [Finale] FinWin 2004b Johannes Gebauer écrit: I think TGTools does have WOs functionality, no? Yes, that's what I use. But I'm also thinking of those who don't have TGT and who are now stuck entering the Word Extensions one by one, when they used to have a free plug-in to do it. Dennis ___ 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] It's official...
I wish you all the ample rehearsal time you always wanted! Good luck, Liudas Dennis Bathory-Kitsz wrote: ...as of this afternoon, so I can announce it. I'm very pleased to tell my Finale friends that I have received the annual commission from the Vermont Symphony Orchestra. The new work will be premiered on September 22, and played ten times during the orchestra's statewide tour from September 22 to October 4. If you expect to be in Vermont during our lovely foliage season and can come to one of these performances, let me know. I would be delighted to meet some of you in person! Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Idea for Future Expressions behaviour.
I envision a fusion between the performance of measure-attached Expressions and note-attached expressions. A note-attached expression would retain its vertical placement from the existing technology. However, its horizontal placement would be calculated on-the-fly according to the given width of the measure. In other words, the horizontal placement value would be dynamic, as are measure-attached expressions now, and the vertical placement would be static, just as the note-attached expressions are. In this way, expressions which are horizontally far off of the notehead would be guaranteed to look good in both score and in the resulting parts, regardless of layout changes. An example of this is a whole note with a forte marking followed by a measure-attached decrescendo marking followed by a piano marking at the very end of the measure. In the present configuration it just takes too long to apply the measure-attached expression what with all the instrument lists, dialogues, etc. In other words, I would like the Measure Horizontal Alignment options (which are wonderful!) added to the present note-attached Horizontal Alignment options (also wonderful!) in order to achieve hold-one-key---click final placement solutions for ALL possible text expression locations. Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004: Speedy entry suddenly slow
I have noticed a slow Speedy behaviour myself. I have fast computer with a few GHz processor, enough ram, a very good motherboard, etc. But in Finale 2004 Speedy is not speedy in switching Layers. Not quite enough to slow down my work, but just slow enough to get me thinking, to get me, well, just a little nervous. Liudas - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, March 01, 2004 6:21 PM Subject: [Finale] Finale 2004: Speedy entry suddenly slow Dear Finale list: My speedy entry in Finale 2004 has suddenly slowed to a snails pace. I've performed various dianostics to optimize my hard drive etc., but that has not fixed the problem. I do have a very old machine (Gateway P5-100) and am using Windows 98. It's been perfectly tolerable up to now, and I'm perplexed as to why it should suddenly become so sluggish. I don't want to turn off automatic update, delete plugins, and things like that in order to solve the problem, so I'd be grateful for any advice. I'm planning on buying a new machine but was trying to hold a bit longer. Thanks as always for your help. gb George Boziwick ___ 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] FinMac04 , speed, and a MIDI question
It's not just Mac and it's not just OSX. I'm on Windows, and as I stated earlier my computer is fast. The smart shapes lag behind on my system, too. Now working on a score about 240 pages of large wind ensemble. Have inputed about half. The further I go, the more I see hairpins lagging behind, smart slurs lagging behind, trill extensions lagging behind, Speedy getting slower and slower about changing voices and frames. Definitely slower than version 2003. Reminds me of the optional mouse trail in Windows. Not the visual effect on screen but the feeling. I wonder what will happen when the score is complete... Liudas Yes. Write to [EMAIL PROTECTED] and tell them speed should be their #1 priority for MacFin2005. Remind them that Sibelius is now *much, much* faster than Finale, with virtually no redraws, and they'd better catch up. (As for Finale 2004, I'm afraid you're stuck for the time being. Like a lot of first-generation OS X software, it's just slow.) - Darcy - [EMAIL PROTECTED] Brooklyn NY ___ 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] FinMac04 , speed, and a MIDI question
I am seeing a tendency that the smart shapes are slow to drag around when there are many things on the page. The redraw slows down a bit just like before in earlier versions. But the smart shapes slowing down is new. This is in page view that I'm talking about. But, I have noticed that the smart shapes speed up again on a page in which there aren't many of them, or notes, for that matter. Liudas - Original Message - From: Aaron Sherber [EMAIL PROTECTED] To: Finale Support [EMAIL PROTECTED] Cc: [EMAIL PROTECTED] Sent: Monday, March 01, 2004 9:36 PM Subject: Re: [Finale] FinMac04 , speed, and a MIDI question At 02:15 PM 3/1/2004, Mr. Liudas Motekaitis wrote: It's not just Mac and it's not just OSX. I'm on Windows, and as I stated earlier my computer is fast. The smart shapes lag behind on my system, too. Now working on a score about 240 pages of large wind ensemble. Have inputed about half. The further I go, the more I see hairpins lagging behind, smart slurs lagging behind, trill extensions lagging behind, Speedy getting slower and slower about changing voices and frames. I have noticed this as well. On my system (Win2000), quitting Finale and reopening seems to speed things back up. Aaron. ___ 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] Secondary beam problem
This is what I do, but it has become harder to do now that Speedy has been downgraded. Use the settings you used to achieve your graphic called Beam1. Take the note position tool from the special tools and drag the 32nd rests to the right in order to achieve the length of the 32nd beam which you want. For precision's sake select them all first and then figure out what you need to set your Nudge setting to to get a one-key-press fix for a given zoom and a given measure. There might even be a plugin for this ... Move all 32nd note rests x amount to the right... does this exist? Then go into the Frame Editor and find all the 128-Duration entries which don't have Note/Rest checked. These are the 32nd note rests. Then set the Displacement (towards the bottom of the window) of these to something big (I use 555 for simplicity's sake). This throws your rests off the page. Then enter the rests in Layer 2. This is the part that has become rediculously difficult where it used to be a piece of cake when everything used to line up perfectly in Speedy! Anybody know of an easier method? Liudas - Original Message - From: Aaron Sherber [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Sunday, February 29, 2004 5:52 AM Subject: [Finale] Secondary beam problem Hi all, I'm having some problems getting Finale to beam things the way I want -- specifically, getting secondary beams right. http://files.aaron.sherber.com/beam1.gif shows a measure with Extend secondary beams over rests on, and http://files.aaron.sherber.com/beam2.gif shows the same measure with that setting off. The second example is clearly unacceptable, because the beams on the first 32nd note point the wrong way, obscuring the fact that it goes rhythmically with the preceding rest and 16th note. But I really don't like the global style of the first example; the extended beam stubs look way too long. What I really want is for *complete* secondary beams to extend over rests, but not beam stubs. In other words, I want something like example 1, but with the 32nd beam stub shortened so as not to extend over the rest. To my eyes, this is what I'm used to seeing in scores. The best I can do seems to be http://files.aaron.sherber.com/beam3.gif but that double stub on the 32nd doesn't look right. Still, it's more legible than beam2, and it doesn't look as ugly to me as beam1. I may be missing something obvious, but I can't find a document setting to get Finale to do what I want, and I also can't find a tool that will let me adjust the length of secondary beams within a measure. Am I missing something? Is this a candidate for a plugin? Thanks, Aaron. ___ 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] Just noticed Graphire manual online [plus rant]
Apparently the trail of shadows phenomenon has been fixed in F2K4. I haven't yet used it enough to find out. It has been fixed but in it's place there are new problems. For example when working in Speedy and deleting some notes and then moving on to another measure, the deleted notes sometimes appear again in the measure you just left. However, when you leave Speedy all is rectified (or when you go a few measures further with Speedy. Also, there's a bug with the Text tool in Page view: while editing in anything other than 100% zoom the text block is shown somewhere else on the page, and with the wrong line spacing. Again, when you finish editing it bounces back to the correct place. So if you're in a high zoom you can forget being able to edit your text blocks since you won't see them (you can do it by memory...). I personally never had any problems with redrawing the screen and I think that this smooth action in Finale 2004 doesn't lend anything towards real functionality, since instead of one set of faults we have been provided with another. The best thing to have happened in 2004 is Expressions placement. Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Punctuation and Word Extensions
Maybe in the lyrics definition you need to add a space between the last syllable and the punctuation symbol? Just a guess... Liudas - Original Message - From: d. collins [EMAIL PROTECTED] To: Finale [EMAIL PROTECTED] Sent: Saturday, February 28, 2004 10:52 AM Subject: Re: [Finale] Punctuation and Word Extensions Johannes Gebauer écrit: Since TGTools seems to have this function, if anyone knows how it works please share this with us. I have no idea. I just tried it: there's a box to tick that says Allow punctuation marks to be placed on last note of word extension, and another box to fill in with the punctuation marks affected by this. The only problem is that it seems to have absolutely no effect. I removed my word extensions, and created new ones with this option, and the punctuation remains before the extension. I tried a couple of times, just to be sure. I guess the plug-in must be reading my mind ;-). Dennis ___ 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] Punctuation and Word Extensions
You have to apply the puctuation by hand, then the plugin places it. Liudas - Original Message - From: Johannes Gebauer [EMAIL PROTECTED] To: Finale [EMAIL PROTECTED] Sent: Saturday, February 28, 2004 11:59 AM Subject: Re: [Finale] Punctuation and Word Extensions On 28.02.2004 9:52 Uhr, d. collins wrote Johannes Gebauer écrit: Since TGTools seems to have this function, if anyone knows how it works please share this with us. I have no idea. I just tried it: there's a box to tick that says Allow punctuation marks to be placed on last note of word extension, and another box to fill in with the punctuation marks affected by this. The only problem is that it seems to have absolutely no effect. I removed my word extensions, and created new ones with this option, and the punctuation remains before the extension. I tried a couple of times, just to be sure. I guess the plug-in must be reading my mind ;-). Exactly what I experienced as well. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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] Punctuation and Word Extensions
Type into score. You enter, the plugin positions. - Original Message - From: Johannes Gebauer [EMAIL PROTECTED] To: Finale [EMAIL PROTECTED] Sent: Saturday, February 28, 2004 12:14 PM Subject: Re: [Finale] Punctuation and Word Extensions On 28.02.2004 11:13 Uhr, Mr. Liudas Motekaitis wrote You have to apply the puctuation by hand, then the plugin places it. Can you explain this to me, how do you apply it by hand? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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] Just noticed Graphire manual online [plus rant]
Edit -- yes, get to the text block in question -- no. You have to search through the whole list and sometimes it is very long. You can always edit text blocks without having to resort to memory or squinting at an out-of-place location by going to the Text menu and clicking on Edit Text... This shows you the contents in a manner which is easy to edit. -- David H. Bailey ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Tuplet Question
I vote for the top example. General rule of thumb: in vocal music, because the lyrics go below the notes, always place anything else that has text characters or numbers in it above the staff. It makes for a clean depiction. This goes for all dynamic markings, expressions, and tuplet brackets/numbers. As for the vertical placement of slurs and brackets: your top example is good. The context (intervals, slur angles) defines whether the brackets should go above or below the slur. If there were a set rule for this, some passages would look good and others would necessarily look bad. My practice is to favour the bracket being closer to the noteheads, but not in all cases. Liudas - Original Message - From: Fisher, Allen [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Saturday, February 28, 2004 12:51 AM Subject: [Finale] Tuplet Question List-- I'm engraving a 4 and/or 5 staff choral piece. One page has many bracketed tuplets on it that have slurs that fall on the same side as the tuplet bracket sits. I'm unsure where the slurs should be in relation to the tuplet brackets. My scouring of Read, Ross, and the like seem to contradict each other. I've placed the two things that look the most acceptable here (WARNING: Turn on your pop-up blockers! I hate geocities,but it's all I got at the moment...): http://www.geocities.com/ajf55343/tuplet Any insight from the collective wisdom is much appreciated... Allen MM Lurker ___ 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] Accidental bug in Speedy, turned rant.
Speedy performance is not as reliable as it used to be. Aside from really faulty rhythm depiction in different Layers, bad tie depiction for ties that go over the barline from last notes in a measure, there is another thing that has popped up which I do not like (and this one is *dangerous*). To replicate this bad behaviour: (1) use the default document shipped with Finale 2004 (2) With Speedy, enter, in measure one: Flatted half note tied to a flatted half note tied to... (4) Goto the next measure ...to a flatted half note tied to a flatted half note. (5) Now exit Speedy (you can press 0 but you can also go directly to a different tool) The last flat is still there! (This is with Check Accidentals on). (With Check Accidentals off you get a flatted half, a flatted half, a non-flatted half, and a flatted half in that order!) To make it erase itself you have to not only enter the measure with Speedy and exit it, but you have to enter Speedy and drive over the measre from left to right from the previous to the next measure or from the measure to the right to the measure to the left. And I would really not like it if I got a letter saying We have a host of features which lets you scan your documents for accidental anomalies. What's the point of entering things manually with Speedy, then? This used to be the #1 best entry method (for me), 100% reliable with very few kludges, I could practically work for long phrases at a time never looking at the Speedy cursor, knowing that everything is just as I entered it. This was up until 200x (I forget which version) when the expandable / shrinkable Speedy box was introduced. From that version onwards, Speedy has been getting worse. Yes, worse! One of the most rediculous situations is when you need to enter a long measure (say 12/8) with Layers 1+2 going a portion of the measure in unison. NOTHING lines up except the first note and if you're unlucky enough to have a measure with ties at the end you can really loose a lot of time with what used to be the simplest of operations. (What I mean is to tell yourself: 'Ok, now copy beats 2,3,and 4 from Layer one and just looking at layer one and doing it in Speedy. Now this has become difficult!) And please don't say that there is a great new feature to copy Layers within the measure. Yes, the new features are good! But the old faithful features need to stay reliable, not get worse!! Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Punctuation and Word Extensions
There's an option in TGTools: Allow punctuation to be placed on last note of word extention. Liudas - Original Message - From: Johannes Gebauer [EMAIL PROTECTED] To: Finale list [EMAIL PROTECTED] Sent: Friday, February 27, 2004 5:33 PM Subject: [Finale] Punctuation and Word Extensions I don't often work with lyrics, so forgive me if this is common knowledge: Is there a way (in 2k4) to have punctuation (ie colon, comma or semi-colon) to appear at the end of the word extension line? Thanks, Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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: [OT] Re: [Finale] Just noticed Graphire manual online [plus rant]
Interesting rant. I have 3 things to add: (1) Although I'm not sure, but as an educated guess, I'd say that most of Finale's bugs, kludges, and bad programming that infuriate Dennis have to do with the fact that the programmers who work on music notation software have to be musically inclined. They must equally know about the theory of music, notation issues, and they must be able to program. That combination is rare in this world. (2) I don't see the point in Dennis using Finale. I do it because I work for publishers who need PDF's to print professionally. Couldn't Dennis save a lot of time and nerves by writing by hand? All of the things he wants are just a single pencil-stroke away (to use the famous one-click-away concept in the opposite sense). (3) About clicking. I've said this before. Clicking is not faster than typing. Typing is the fastest input mechanism ever invented. You have ten fingers and you can have LOTS of keys and key combinations. (4) (This is a joke.) We could all pull our resources together and create our own successful music notation workstation with no bugs or errors! I'd provide the custom(-izable) keyboards, our plugin writers would work on the code with structural and interface problems being layed out and solved by Dennis! There would be no Micnotator available, no scan interpretation support, and the workstation would be marketed under the wonderful name: Finally. The press release headlines would read: SENSATION: Plugins Develop Artificial Intelligence and Devour Host Program! rant begin rant end Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [OT] Re: [Finale] Just noticed Graphire manual online [plus rant]
Speaking of the Polansky, I need an 'approximate equals' sign in one of the music fonts (the curved equal sign) to add before dynamic markings. Anybody seen one? I don't know of one, but if you don't find it you can easily make one in the shape designer out of two of these ~ symbols in TimesNewRoman. (3) About clicking. I've said this before. Clicking is not faster than typing. Typing is the fastest input mechanism ever invented. You have ten fingers and you can have LOTS of keys and key combinations. I wasn't making a comparison. Did I imply that somewhere? I didn't mean to ... and Graphire includes a complete set of keystrokes, macros, etc. I briefly looked at the animated graphics on the web page you showed us and they were full of mouse clicks and drags. So I was under the impression that you might really like clicking, that's all. I'm guess I'm in annoyance mode because this Polansky score should have been done days ago, but a lot of basic features are just plain missing from Finale. Here's another I can't find: Extending tuplets to full length of time. Polansky has indicated all tuplet brackets to encompass the left notehead through the end of performance time, i.e., right up to the beginning of the next tuplet. The entire piece is tupleted in voices 2 and 3, and that's a bucket of tuplets. I've been doing these all by hand, dragging the left and right nodes and dragging the number to the center. This is from Robert Patterson's plugin description on his webpage: Metric is similar to Set, but the right bracket starts out flush with the next metric position following the tuplet. (If the tuplet is at the end of the bar, the bracket starts out flush with the barline.) Users who prefer tuplet brackets that cover the entire metric range of the tuplet should use this option. To offset the right bracket backwards a set distance, use Metric in tandem with a negative value in Brkt. R. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [OT] Re: [Finale] Just noticed Graphire manual online
Note that this part of the plugin doesn't appear to work correctly for tuplets stretching across barlines, and also messes up the tuplets in the right-hand bar (into which the tuplet stretched). I'm wondering if there isn't a faster way for you to do that. For example setting the measure metrics for each measure according to the actual tuplet lengths, using no barline. Then just add the barlines with the All-New-Super-Duper-I-Love-It Smart Expression Placements. I've used this already for a 5/4 time signature in which the composer calls for dotted barlines from time to time to show 2+3 or 3+2, respectively. It was fast! (But you have to get 2004...) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [OT] Re: Horns and intonation
Kind of silly, but we love the horn, in spite of its flaws (or perhaps because of them!) Christopher Not silly in the least. I know people in the recording business who are already convinced that operatic singing is outdated and unnecessary simply because today's technologies in sound reinforcement have deemed resonance and projection non-essential. Or others who no longer value that live musicians play phrases, whereas MIDI+electronics play sound waves. The horn is a beautiful instrument and the things we call flaws are the essence of it, wihout a doubt. Don't give me mistakes, but give me the possibility of them arising, and the adventure and care of avoiding them. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Speedy jumps at first note
Does anyone know a way to Keep Speedy Cursor At Vertical Location Always? Often at the first note, Speedy jumps up about a decime to its own liking (I never checked how much, and, no, I can not file a report of the exact steps to make this happen). Please figure this out and please fix this. Then work would be more reliable. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Speedy jumps at first note
OK, I can now document one case in which this seems to be consistant: New default document in Finale 2004 (Windows 2000). - Make first clef bass. - Make time signature 6/8. - With Speedy, enter, in Layer 1: dotted half note on the middle line (D) with a tie. - Go to next measure. Enter another dotted half note on D. - Go back to the first measure. - Switch to Layer 2 - Try to enter a note and see what happens! - Do this without a MIDI keyboard. Liudas - Original Message - From: Mr. Liudas Motekaitis [EMAIL PROTECTED] To: Finale Support [EMAIL PROTECTED]; finale list [EMAIL PROTECTED] Sent: Tuesday, February 24, 2004 7:00 PM Subject: [Finale] Speedy jumps at first note Does anyone know a way to Keep Speedy Cursor At Vertical Location Always? Often at the first note, Speedy jumps up about a decime to its own liking (I never checked how much, and, no, I can not file a report of the exact steps to make this happen). Please figure this out and please fix this. Then work would be more reliable. ___ 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: Horns and signatures
This is an interesting discussion, but can somebody please provide a bit of background as to why there exists literature in which only the horn parts would be written without a key signature? Liudas - Original Message - From: David H. Bailey [EMAIL PROTECTED] To: Harold Owen [EMAIL PROTECTED] Cc: [EMAIL PROTECTED] Sent: Monday, February 23, 2004 4:06 PM Subject: Re: [Finale] Re: Horns and signatures Coming as I do mostly from the band world, I say, party on, dude! Key signatures are the standard for band literature, and also for school-orchestra music as well. It is only the vast world of reprints of older editions (i.e. Luck's and Kalmus) in the orchestral world that continues to keep the non-key signature tradition alive. Horn players who choose to enter the professional world these days certainly need to be well-versed in both types of parts. I don't recall ever seeing a brass ensemble horn part that lacked key signature (other than music which put the horn part in the key of C major or a minor). Since we can't change the huge number of key-signature-less orchestral music, we can't completely eliminate such literature, but I agree that horn players should be able to read key signatures easily. My advice would be to include key signatures in your parts as you feel best fits the situation. David H. Bailey Harold Owen wrote: Dear folks, Knowing that many will disagree with me, but IMHO I think it's time for horn players to get used to reading key signatures in their parts. Younger players are more likely to find signatures often enough to be comfortable with them. The old pros should get with it and learn to play from parts with signatures. If that's difficult for them, let them mark the accidentals in their parts. Why should they be treated differently from the other members of the brass family? Much of my own music does not use signatures for any parts because they tend to get in the way when the tonal focus is weak or changes often. However, some of my pieces have a strong enough tonal focus that signatures are helpful -- actually mean something. In those pieces that involve horn parts, I will give them signatures. What say you? Hal -- David H. Bailey [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] Re: Horns and intonation
Please don't, especially horn players on this list, take this as an insult in any way, but I have long wondered whether or not the french horn could be considered the most difficult orchestral instrument to master. I often notice that besides piccolo and clarinet in high registers it is almost a rule that the ones to miss intonation are the horns. Even in the highest calibre orchestras if somebody's going to be off, it is more than likely going to be the horns. Does it have to do with the (1) large amount of metal (temperature difficult to keep constant) (2) long length of the instrument (much and constant breath support required) (3) Difficulty in manufacturing one which would behave similarly in different registers. (4) Roundness of tone a dead giveaway of intonation (fewer overtones to hide behind)? Or other reasons? Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Articulation over note over measure in tuplet...
The key is to apply the articulation while the note in question is in the frame in question (the frame in which you are creating the start of your tuplet.) Simply dragging it with special tools I think will do the trick. Liudas - Original Message - From: Dennis Bathory-Kitsz [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, February 23, 2004 8:57 PM Subject: [Finale] Articulation over note over measure in tuplet... Now *that's* a clear subject line. Here's the question: F2K3/Win I want an articulation on the last note of a tuplet. The tuplet straddles a barline. The articulation seems to take and shows the articulation as I'm placing it. The handle shows in scroll view. After it's placed and redrawn, though, the articulation doesn't show/print. If I click the handle, it shows again. I can hide the overrunning tuplet notes, put a faked piece of the tuplet in the right-hand bar, and put the articulations there. Then playback is then wrong, and it's just doggone inconvenient, as I have dozens of these tuplets entered and spaced. Dennis ___ 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] Articulation over note over measure in tuplet...
So it does. Plays havoc with spacing, but easier than not. Spacing? You mean to say that you have a way of controlling spacing when you input notes over and beyond the meter of a measure? For me, they always expanded to the right in rediculous steps which had nothing to do with the spacing settings I used, and therefore always required hand-tweaks. So how do you space these extra notes? How did you discover that? By not: fishing, hiking, playing cello, playing saxophone, going to concerts, listening to recordings, playing around with hi-fi and microphones, or doing any of the other things that I enjoy. :) And thanks! My pleasure. Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] [OT] Re: Horns and intonation
The narrow, cookie-cutter rim on a horn mouthpiece doesn't help with reliability, either. What would happen if you put a trumpet mouthpiece on a horn? Obviously it would be worse, but in what way, since you say the present horn mouthpiece doesn't help with reliability? Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Copying hairpins.
I am engraving some exercises that have all eighth notes with crescendo-diminuendo hairpins on each. Is there any to copy the first hairpins to the other eighth notes so that they will all be the same? Complete one measure containing hairpins, attaching the hairpins to your measure. Then: MassEdit -- Copy Measure Items -- Smart Shapes (Attached to Measures) Then select your source measure with Mass Edit It must be the entire measure, otherwise you get a message There is nothing selected to copy. If Select Partial Measures is off, then you don't need to preselect your source measure, because it will be selected in its entirety automatically. On PC, you press and hold CONTROL. Then you left-click on the source measure and drag it to where you want the hairpins. Finale then asks you how many times to copy the hairpins. If your excercises all have the same rhythmical hairpin allocation then you can enter the number of measures remaining in the piece. The notes don't change, just the hairpins. If you had already placed hairpins in any of the destination measures, they will all be replaced with the new source. Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hyphen under rest?
This is extremely rare. Asking a singer to cut off a word in the middle of it is not anything I've ever seen in any music. But if you're sure that the notation is correct, I would vote to keep the hyphens going under the rest to emphasise the fact that the word (the thought) continues through the pause. But it's weird. Liudas I have a word that begins with a melisma on the first syllable, followed by a rest before the second syllable. The hyphens continue to run under the rest. Is that how things should be, or should the hyphens stop after the last note, before the rest? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hyphen under rest?
I looked and found them all over the place. Sorry for the very misinforming statement. Liudas This isn't rare at all: operas are full of words that go across rests (have a look at a score of Il Barbiere di Siviglia or La Traviata). It's normal to keep the hyphens going under the rests. Best wishes, Michael Cook At 21:54 +0200 22/02/2004, Mr. Liudas Motekaitis wrote: This is extremely rare. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Expressions placement -- good!
The world has become more beautiful now that the makers of Finale have introduced smart Expression placement! ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: F2003a won't print to acrobat
I went through that hell a while back. If I remember correctly, the problem was a combination of the printer driver/Acrobat/postscript fonts/distiller/Finale/versions/rebooting and all other such issues. The thing that finally solved everything was to reinstall everything after uninstalling everything. The following correspondance might light up an issue or two for you: Be sure that you don't have both a truetype and a postscript version of the font installed on the same time. Try to check both the windows\fonts folder and ATM font listing. You should know that Win2k is born with postscript support. ATM is not necessary (it only complicates things in my opinion). If you decide to remove ATM you should know that on Adobe site there's a program that resets the file associations and restores the postscript support of Win2k/Xp. If you remove ATM make sure that your postscript fonts are installed in the windows\fonts folder. In my experimentation with making eps export work in WinXp I have found that Distiller and all the Adobe line of applications reads the font listings from the windows\fonts folder . Only ATM and GhostScript/GSView uses the c:\psfonts folder. Include Fonts when exporting an eps or compiling a ps file does not work! In WinXp (Win2k?) Distiller will not embed the fonts that come with Finale when you try to distil ps or eps files. You need to print directly to the distiller for fonts to embed. In my experience this is a font problem that can be solved by open a Finale font in Fontlab and generate a new one and by using only postscript fonts. The encoding of the fonts is still crucial (see my former post). Finally try this version of Engraver I'm sending you (use the western-latin1 encoding). It should work! Mike -Original Message- From: Mr. Liudas Motekaitis [mailto:[EMAIL PROTECTED] Sent: Sunday, October 19, 2003 5:21 PM To: Christopher BJ Smith; Mike Cholewa; 'Finale Support'; 'finale list' Subject: Re: [Finale] Engraver Font installation and history Thank you very much for your suggestions. I'm battling it out and I'm not winning, yet. From: Christopher BJ Smith [EMAIL PROTECTED] In Finale, select Postscript settings font inclusion All In Windows 2000 Finale, I don't know of such a setting. That is, this setting exists but it exists in the Compile Postscript Listing dialogue. If I click it there, does it still affect the postscript listing even though I do it from within the Print command? I doubt it. But if I choose the Acrobat Distiller printer driver as my default printer driver, and then run a compile postscript listing command with the Include Fonts setting checked, then Distiller can't digest the .ps file and spits out an error message saying that there was an offending command. It looks like this: %%[ Error: undefined; OffendingCommand: Pscript_WinNT_Compat ]%% %%[ Flushing: rest of job (to end-of-file) will be ignored ]%% %%[ Warning: PostScript error. No PDF file produced. ] %% I am continuing my quest. Any help along the way would be greatly appreciated. I have received a piece of advice that I should get rid of Adobe Type Manager altogether and continue to use a little program called FontNavigator. It seems to do the same things but I'm not sure that Distiller's printer driver is in the know about what fonts are installed, not installed, and/or where. Distiller has font locations directories but when I start getting things like %%[ Error: TTE1C633C8T00 not found. Font cannot be embedded. ]%% %%[ Error: invalidfont; OffendingCommand: findfont ]%% Stack: /Font /TTE1C633C8T00 then it gets me to thinking that this is definitely one area that is not documented enough by Finale. There are only a few sentences about this in the documentation and it is pretty watery information. What *does* that code TTE1C633C8T00 mean? Who makes the code? Finale, the Printer driver, Windows? Why is the code made? Because the font is not where Finale, the Printer driver, or windows thinks it should be? The list of questions goes on and on and on. Liudas and Printer-Specific Settings resolution 1200 dpi. Print, but print to Destination: File. set Distiller to Press Optimised. It will remember this setting for next time. Drag the resulting .ps file from the print operation onto the Distiller icon or into the Distiller window. The PDF will be created in the same directory. This method has not let me down once, after tearing my hair out over substituted symbols and fonts in previous methods. I hope it helps PC users, though it seems to be completely Mac-specific. Christopher ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale - Original Message - From: jef chippewa [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, February 20, 2004 6:52 PM Subject: [Finale] OT: F2003a won't print to acrobat
[Finale] Speedy and Ties
Finale 2004 Windows 2000: When working in Speedy, ties which begin at the last note are displayed backwards: they go left rather than to the right into the next measure. This is a downgrade in performance compared to older versions. Also, when working in Speedy, the notes are not placed correctly in their rhythmical positions, which is also a downgrade in performance ever since the Speedy window became variable in size. Also, the greyness of the notes in other layers is almost impossible to differentiate between the layer which is currently active. Also a downgrade in performance as compared to earlier versions. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Clef after bar line at start of system
What about TGTools Add Cue Notes? Yes, but that does involve transposing the cue notes, no? I was hoping for an easier solution, I have many of those places. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Clef after bar line at start of system
By the way, what happened to the dialogue for clef changes? There was an option there for always place after barline (but this wouldn't help Johannes for system starts). Liudas - Original Message - From: Johannes Gebauer [EMAIL PROTECTED] To: Finale list [EMAIL PROTECTED] Sent: Friday, February 20, 2004 5:50 PM Subject: [Finale] Clef after bar line at start of system For Cue notes it is standard to display the clef change after the barline. Especially at the beginning of a system the system should start with the normal clef, and the key signature should then be followed by the cue notes clef. This is not easily possible in Finale. Does anyone know a work around other than using complicated graphic clefs? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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] Clef after bar line at start of system
It's easy now that the expression attachment scheme is programmable. Simply define your clef, its size, and define the place on the staff where you want it to attach to (measure attached). I *love* the new Expression programming (have I said that before?). Liudas - Original Message - From: Johannes Gebauer [EMAIL PROTECTED] To: Finale list [EMAIL PROTECTED] Sent: Friday, February 20, 2004 5:50 PM Subject: [Finale] Clef after bar line at start of system For Cue notes it is standard to display the clef change after the barline. Especially at the beginning of a system the system should start with the normal clef, and the key signature should then be followed by the cue notes clef. This is not easily possible in Finale. Does anyone know a work around other than using complicated graphic clefs? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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] Speedy and Ties
- Original Message - From: David H. Bailey [EMAIL PROTECTED] On Win98se, Fin2004a, ties entered onto notes at the end of a measure in speedy still head off into space to the right waiting for the next note. I notice this while editing measures which already have notes in them. For example adding something in Layer 2 to a measure containing Layer one. I see a clearly distinct different color for the grey of other layers -- I have no trouble differentiating between one layer and another in speedy entry. I wonder if it could be a graphics card/monitor issue. But why grey? We have custom colors for layers. Why not just continue to use those in Speedy as well? When I re-enter, if I have a lot of shorter note values, they get bunched up and are harder to differentiate until I exit that measure and then reenter it. But I haven't had a problem with them being placed in their proper rhythmic positions. Try entering Layer two based on what is already entered in Layer one. Nothing lines up rhythmically until you exit Speedy. Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Speedy and Ties
- Original Message - From: David H. Bailey [EMAIL PROTECTED] I see a clearly distinct different color for the grey of other layers -- I have no trouble differentiating between one layer and another in speedy entry. I investigated this and found that I would need to recalibrate my workstation monitor brightness settings in order to clearly make the distinction. But then I'm afraid my eyes would burn out in 1/5 the time they do already. Surely this feature could easily be customizeable? It's a black and white way of looking at things to think that all people see grey in the same way... Really this is not so bad in itself, but combined with the non-aligning rhythms in different layers it becomes an unnecessary added strain. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT-live concert recording
We thought direct to CD because of inexpensive media, and ease of transfer to computer for editing-out of applause and blank spaces. This is not an ideal media to record to. The main reason is that Audio CDs have very poor error correction and this means that it is unlikely that you'll ever get a 100% digital copy of it. If I were you I would look into hard disk recording. Johannes is correct about Audio CD's not being ideal, however, it is not true that you don't get 100% digital copies off of Audio CD's. This is widely misunderstood. The truth is: the only difference from one Audio CD to another is the jitter content. This is not to be misunderstood with digital errors. If you extract one audio cd with high jitter content onto a hard disk, you will get all of the bits 100% onto the hard disk and the resulting file will be better than the original, indeed a perfect jitterless copy. (unless you have physical digital errors such as deep scratches on the CD, which result in inevitable popping or skipping upon playback). The bits are quantized onto the hard disk in perfect maner. It is like music: a poor musician playing unrhythmically from perfectly quantized notation doesn't mean that a photocopy of the music will therefore display the notes in a new rhythmical figure. The CD reading mechanism while playing in real time is the only culprit of any and all belief that CD's do not copy 100%. This mechanism is not standardized, neither is the burning mechanism. The only standardized thing is the Audio-CD Red Book standard which determines the mathematical code and error-correction scheme as well as the dimensions of the physical CD and data. Recording to HD is the only way to go. Byte per byte, HD is cheaper than CD's and getting cheaper all the time. Simple software for editing audio is cheap. CD's are cheap. If you are looking for quality recording, the main influencing factor will be: microphone, mic-preamp and last and certainly not least: A/D converter quality. (I will take the libery to do some advertising here: the best A/D and D/A converters in the world are made right here in Lithuania, run off of several batteries for extreme cleanliness and exactitude of signal.) Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT-live concert recording
isn't it true that the actual process of extracting Audio CDs can, and to a certain extend will, introduce errors? Here on the Mac side of things we have several tools to reduce these errors, they usually do this by reading the data several times and comparing. Some extraction programs have an option called Safer but Slower. The problems you mention occur only at very high (and risky) speeds, like 16x or more. Or with unreliable equipment / software. And if it occurs then you will hear it as a pop or crack. A good free extraction program (PC only as far as I know) is www.exactaudiocopy.de which helps if you have scratched cds. If what you say is true then CDs would be the nearly ideal recording media. Well, they aren't. They can have mold growing on them, they are sensitive to sunlight, they are sensitive to scratches. The realtime playback mechanism is far from ideal. But CD's are good for holding data, if you make backups (as you have noticed). But Byte for Byte it is now actually cheaper to make backups on hard disk. The experiment which proves the exactitude of audio CD extraction is: -- Extract audio from a CD using your computer CD-Rom drive. -- Play the same CD via digital out of a cheapo cd player into your computer sound card's digital in. -- Compare the files in your computer using a mathematical algorithm (phase inversion works well for this; the resulting difference should then be = 0). They are bit-for-bit identical, given that you line up the start and end of the resulting files. -- Play the same CD via digital out of a $10,000 CD-player into your computer sound card's digital in. -- All files are identical once they are in the hard disk. Again, unless you hear obvious pops, cracks, etc. due to scratches. The differences in perceived sound quality are only in Jitter www.jitter.de and D/A conversion. In the 80's these differences were not well understood but today it is all well-documented and analysed. Problematic remains that this information is less marketable than easy slogans such as 100% Digital. Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Problem with printing _certain_ slurs, FinMac 2003
This sounds like a version of the Mount Everest Syndrome which happened when Engraver Slurs were introduced. Certain slurs would shoot way up or down all over the page. One fix was to go through all of your music selecting all of the slurs and nudging once down and then once back up. That would turn off the Engraver Slurs for all slurs. Liudas - Original Message - From: David Horne [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, February 20, 2004 7:42 PM Subject: [Finale] Problem with printing _certain_ slurs, FinMac 2003 Hello, I just noticed something in FinMac 2003, and I can't figure out yet if it's an odd bug, or a problem at my end. Occasionally, the slurs will print wider than they look on the screen. Sometimes, but not _all_ the time, I can replicate this by viewing at 100%, which with large scores (A3, lots of staves) isn't that practical. It's very annoying, as the slurs fly into the notes etc. of the staff above or below. I am printing to an inkjet at home, but that's for proofreading- the same problem occurs with the pdfs I email to my publishers. I didn't have this problem with Fin2k, so I'm wondering if there is something about the new enhanced slurs which is causing this. It doesn't happen very often- about 10 instances in a dense 600 bar, 40 stave piece. However, it is very annoying, and means I don't know if the problem is fixed until I print that page out- adding a whole new layer to proofreading which I could well do without. Has this happened to anyone else? I'm using Mac 8.6 FWIW. I don't recall changing any specific setting for the slurs- it should be as per default. Thanks, David ___ 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] sending a file
Try zipping the file, then sending it as an email attachment. Liudas - Original Message - From: Eden - Lawrence D. [EMAIL PROTECTED] To: Finale List [EMAIL PROTECTED] Sent: Thursday, February 19, 2004 12:59 PM Subject: [Finale] sending a file I am trying to send a file created with Fin/Mac to a friend who uses an Intel based computer. My friend tells me that my file downloads as a MIME file instead of a MIDI file. I suspect the problem is a simple one... Suggestions, please. ___ 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] Customizable zooms
CONTROL + 0 Thereafter all zooms with the zoom tool are either enlarge 2x or reduce 1/2 of the value you entered at CONTROL + 0. Liudas - Original Message - From: Richard Huggins [EMAIL PROTECTED] To: Finale List [EMAIL PROTECTED] Sent: Wednesday, February 18, 2004 8:30 PM Subject: [Finale] Customizable zooms Would anyone else besides me like to have the ability to customize the zoom percentages, so that using the zoom tool took the zoom to a user-determined pecentage? For example, 200% on the first click might work for my 21 monitor, but doesn't for my laptop. I'd like to be able to set the percentages myself so that I can use the Zoom tool to stage up / stage down the percentages aaccording to my prefs. I'm on FinMac 2k2, in case this has been added. --Richard ___ 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] Finale 2004 bug -- text blocks
Windows 2000, Finale 2004: Erratic behaviour editing multi-page assigned text blocks. Sometimes the text moves to the side while editing, sometimes the spacing goes wild, sometimes, if the zoom is large enough, you cannot even see the text you are editing. The text returns to correct position after editing. If text contains insert only (i.e. page number) no text editing is visible, but occurs, even though the operation must be undergone blindly. If editing text blocks which are next to one another, often one will disappear. A manual screen redraw rectifies the lost text block. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] FinaleScript
Win 2000, Finale 2004, FinaleScript: FinaleScript Find and Replace feature doesn't work for Text Blocks which are assigned to more than one page. The following line: search [Arial] 7 bold replace with [Times] 12 does nothing to a text block which has Arial 7 bold fonts in it until you assign that text block to one page only. Then it works. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinaleScript
I just tried this: search aaa replace with xxx on a freshly made text block with aaa as the content (without the quotation marks). I assigned it to all pages. No go. I then assigned it to pages 2-99. No go. I then assigned it to this page only. Turns into xxx upon running the script. Nothing else in the script. Are you on Windows 2000 and Finale 2004? Liudas - Original Message - From: d. collins [EMAIL PROTECTED] To: Finale [EMAIL PROTECTED] Sent: Wednesday, February 18, 2004 7:16 PM Subject: Re: [Finale] FinaleScript Mr. Liudas Motekaitis écrit: FinaleScript Find and Replace feature doesn't work for Text Blocks which are assigned to more than one page. I'm afraid I disagree. I've changed the font of a running title on all pages but the first in several files with Finalescript. I just tried it again and it works. My script reads: search [Jenson] replace [Arial] Dennis ___ 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] Customizable zooms
ALTvcoXXXENTER where XXX is whatever zoom you want. Lends itself very well to macros. Liudas - Original Message - From: Richard Huggins [EMAIL PROTECTED] To: Finale List [EMAIL PROTECTED] Sent: Wednesday, February 18, 2004 8:30 PM Subject: [Finale] Customizable zooms Would anyone else besides me like to have the ability to customize the zoom percentages, so that using the zoom tool took the zoom to a user-determined pecentage? For example, 200% on the first click might work for my 21 monitor, but doesn't for my laptop. I'd like to be able to set the percentages myself so that I can use the Zoom tool to stage up / stage down the percentages aaccording to my prefs. I'm on FinMac 2k2, in case this has been added. --Richard ___ 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] Long stems
It might be that there were tremolo markings on those long stems and the font used is not on your system. Or else some other symbol used on the stem. Liudas - Original Message - From: Crystal Premo [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Wednesday, February 18, 2004 6:36 AM Subject: [Finale] Long stems I am editing some band parts that have been prepared by someone else. I've found some things in it that have been done quite oddly, as if the original operator were not very experienced with Finale. I just came across some measures in the piano part which have exceptionally long stems. Instead of just stupidly assuming that this is some kind of error, let me first ask if this can mean something. This is pop-rock music with gospel overtones, and much of it is slash notation. Crystal Premo [EMAIL PROTECTED] _ Take off on a romantic weekend or a family adventure to these great U.S. locations. http://special.msn.com/local/hotdestinations.armx ___ 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] Triplet question
I think you can simply write the second eighth of the eighth note triplet as a sixteenth tied to another sixteenth, and the second sixteenth will fall on beat 3. Looks weird, but less weird than what you were suggesting. Liudas - Original Message - From: Darcy James Argue [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, February 09, 2004 3:06 PM Subject: [Finale] Triplet question Okay, In 4/4, one normally shows beat 3 of a measure when it contains eighth note values or smaller. However, I've run into a situation where my source has the following rhythm: quarter rest - eighth rest - a triplet consisting of: two eighth notes followed an eighth rest - eighth rest - quarter rest In other words, an eighth-note triplet starting on the and of two. I guess the correct way to write this would be to split the eighth note triplet into two groups of sixteenth note triplets, like this: quarter rest - eighth rest - a triplet consisting of: an eighth note followed by a sixteenth note, tied to a triplet consisting of: a sixteenth note followed by an eighth rest - eighth rest - quarter rest. This would correctly show beat 3 of the measure. But in this case, I think the above notation (with the tie) is actually much more difficult to read than a single eighth-note triplet starting on beat 2.5. What say you all? - Darcy - [EMAIL PROTECTED] Brooklyn NY ___ 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] Triplet question
You could always try a fine dotted barline with a small (3) in parenthesis above it just to show that it is written as intended. Liudas - Original Message - From: David H. Bailey [EMAIL PROTECTED] To: Darcy James Argue [EMAIL PROTECTED] Cc: [EMAIL PROTECTED] Sent: Monday, February 09, 2004 3:50 PM Subject: Re: [Finale] Triplet question Either will be hard to read (and try to count) at first glance. So I would probably just put the triplet there without any tie to show the half-measure as probably being only slightly less confusing. David H. Bailey Darcy James Argue wrote: Okay, In 4/4, one normally shows beat 3 of a measure when it contains eighth note values or smaller. However, I've run into a situation where my source has the following rhythm: quarter rest - eighth rest - a triplet consisting of: two eighth notes followed an eighth rest - eighth rest - quarter rest In other words, an eighth-note triplet starting on the and of two. I guess the correct way to write this would be to split the eighth note triplet into two groups of sixteenth note triplets, like this: quarter rest - eighth rest - a triplet consisting of: an eighth note followed by a sixteenth note, tied to a triplet consisting of: a sixteenth note followed by an eighth rest - eighth rest - quarter rest. This would correctly show beat 3 of the measure. But in this case, I think the above notation (with the tie) is actually much more difficult to read than a single eighth-note triplet starting on beat 2.5. What say you all? - Darcy - [EMAIL PROTECTED] Brooklyn NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [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] Re: November Font
Come on, guys. I met Robert Piechaud in Frankfurt's Musikmesse and he's a nice and talented guy. Liudas - Original Message - From: Christopher BJ Smith [EMAIL PROTECTED] To: Williams, Jim [EMAIL PROTECTED]; Rob Deemer [EMAIL PROTECTED]; [EMAIL PROTECTED] Sent: Sunday, February 08, 2004 3:55 PM Subject: RE: [Finale] Re: November Font At 4:05 PM -0500 2/07/04, Williams, Jim wrote: Interesting...Mr. Piechaud is also the designer of Human Playback. Jim And his name means hot magpie in French, like the bird, though the word is often used to denote someone who talks too much. 8-) ___ 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] Split measure advice
Please consider the following: The large wind orchestra score has several time signature changes. Among these are sections of measures in 5/4 time. The composer, via dotted barlines within these 5/4 measures, switches between 2+3 and 3+2 beats per measure according to the feel of the music. During these 5/4 sections there are many instruments which pause, which will certainly result in multimeasure rests when I get to the parts. Is it better to simply use a real 5/4 time signature and insert the dotted barlines as measure expressions, or is there a wise usage of the 3+2/5 and 2+3/5 feature of the time signature definition tool I could use? Thanks for any thoughts or advice. Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Milti-movement engraving
When engraving a project that has multiple movements, what are the pros and cons of doing it in one file versus separate files? Doing it in separate files: Con: in parts, how do you join the movements on the same page if movement 1 ends in the middle of the page? Pro: if you delete a file by accident or if it becomes corrupted you don't loose everything (but you can save often). if your computer is slow you are better off. For me there are more Cons than Pros. I never do these in separate files. For me, extracting is faster when done from one file. Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Multi-movement engraving
I am currently working on a huge opera... Just my $.02 You can charge a little more than that, now, really! :) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Music Fonts
Engraver is nice. my editor is looking for other music fonts than Petrucci, Maestro, November or Sonata. Has anyone got any suggestions? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] square corners in Shape Designer
Don't pick up or move your mouse as you're creating the corner. The new line at 90 degrees to the other line will begin at the corner. Liudas - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, January 26, 2004 5:13 PM Subject: [Finale] square corners in Shape Designer (There is probably a more simple way to create brackets with square corners, but this is the only way I'm aware of.) Does anyone know how to fashion square corners in the Shape Designer? In the Shape Designer, at 200%, the line tool resists all attempts to achieve a square corner and the bracket appears with extensions in the score. ___ 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] All articulations in a line
I think you can redefine the combination of Vertical position and the Handle positions to yield the articulations in a line, and then use Mass Edit -- Move Articulations by replacing the old articulations with the new ones (the new positioning of the old ones). I once tinkered with articulation definition settings long enough to get them all where I wanted, but it took a long time (but it is scientific fun and makes you feel very knowledgeable when you get it to work). Liudas - Original Message - From: Dennis Bathory-Kitsz [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, January 26, 2004 6:24 PM Subject: [Finale] All articulations in a line Hi, Finale 2K3 Windows. I have a score where the composer wants all the articulations to be at the same (absolute) vertical position above the staff. Maybe I'm looking in the wrong place, but I can't find an option in either the articulation definitions or the plugins to line up articulations .. they all seem to be related to the position of the note. Since there are several thousand of these, hand-dragging is not a useful option. What am I overlooking? Thanks, Dennis ___ 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] MIDI data editing
Very often when using the Midi Tool to edit data such as velocity, upon double-clicking the staff I want to edit, a staff is actually chosen which is either above or below the one I wanted. This happens in both edit and page views. Anybody know about this and how I can keep this from happnening? Thanks, Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Music font
Has anyone ever heard of a music font called Aduhaps? Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MIDI data editing
I've been fiddling with it. I think it has to have not only notes in the left-most measure, but the notes have to start on beat one of that measure. Liudas - Original Message - From: Lee Actor [EMAIL PROTECTED] To: Mr. Liudas Motekaitis [EMAIL PROTECTED]; finale list [EMAIL PROTECTED] Sent: Friday, January 23, 2004 9:34 PM Subject: RE: [Finale] MIDI data editing For any MIDI data associated with specific notes, there must be actual notes in the leftmost visible measure when you double-click its staff for that particular staff to be selected. Otherwise, the next staff below it with notes in the leftmost measure will be selected. If you're not in scroll view, the results are very unpredictable (at least I can't predict them). This has been a bug in Finale forever, AFAIK. The workaround is to scroll horizontally while in the MIDI Tool until the staff you want to edit has notes in the leftmost measure. I have reported the bug in the past but have given up in the last few years. Maybe if others report it as well...? -Lee -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Mr. Liudas Motekaitis Sent: Friday, January 23, 2004 4:28 AM To: finale list Subject: [Finale] MIDI data editing Very often when using the Midi Tool to edit data such as velocity, upon double-clicking the staff I want to edit, a staff is actually chosen which is either above or below the one I wanted. This happens in both edit and page views. Anybody know about this and how I can keep this from happnening? Thanks, Liudas ___ 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] grace notes
Or just enter them into another layer as normal notes and use the % Tool. (Or as a combination of custom triplets in the same layer without the number or bracket showing). This is the best method if you want the layout to stay true. Liudas - Original Message - From: Richard Huggins [EMAIL PROTECTED] To: Finale List [EMAIL PROTECTED] Sent: Friday, January 23, 2004 10:38 PM Subject: Re: [Finale] grace notes You could try first entering them as regular notation, then use the grace note tool from the Simple Entry pallette to convert them to grace notes and see if the beaming holds up. Richard From: d. collins [EMAIL PROTECTED] Date: Fri, 23 Jan 2004 20:30:32 +0100 To: Finale [EMAIL PROTECTED] Subject: [Finale] grace notes I have three beamed grace notes before the main note (quarter note): two 32nds and one 16th. When I beam these together, I get three beams all over the three notes (3 32nds) instead of three beams between the first two and two between the last two, and no matter in what order I do the operations - beaming and making them into grace notes - I can't get the correct result. Any ideas? ___ 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] MIDI data editing
Yes, I now see this, too. Thanks! Lidas - Original Message - From: Lee Actor [EMAIL PROTECTED] To: finale list [EMAIL PROTECTED] Sent: Friday, January 23, 2004 10:47 PM Subject: RE: [Finale] MIDI data editing I can say with absolute certainty that the notes don't have to start on beat one. -Lee -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Mr. Liudas Motekaitis Sent: Friday, January 23, 2004 11:46 AM To: finale list Subject: Re: [Finale] MIDI data editing I've been fiddling with it. I think it has to have not only notes in the left-most measure, but the notes have to start on beat one of that measure. Liudas - Original Message - From: Lee Actor [EMAIL PROTECTED] To: Mr. Liudas Motekaitis [EMAIL PROTECTED]; finale list [EMAIL PROTECTED] Sent: Friday, January 23, 2004 9:34 PM Subject: RE: [Finale] MIDI data editing For any MIDI data associated with specific notes, there must be actual notes in the leftmost visible measure when you double-click its staff for that particular staff to be selected. Otherwise, the next staff below it with notes in the leftmost measure will be selected. If you're not in scroll view, the results are very unpredictable (at least I can't predict them). This has been a bug in Finale forever, AFAIK. The workaround is to scroll horizontally while in the MIDI Tool until the staff you want to edit has notes in the leftmost measure. I have reported the bug in the past but have given up in the last few years. Maybe if others report it as well...? -Lee -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Mr. Liudas Motekaitis Sent: Friday, January 23, 2004 4:28 AM To: finale list Subject: [Finale] MIDI data editing Very often when using the Midi Tool to edit data such as velocity, upon double-clicking the staff I want to edit, a staff is actually chosen which is either above or below the one I wanted. This happens in both edit and page views. Anybody know about this and how I can keep this from happnening? Thanks, Liudas ___ 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] Speedy and Percussion Map playback
Win Fin 2004: Why is it that when I use Speedy to enter drum parts into my percussion map, the sounds that are played back during entry are the wrong sounds? The correct sounds are played back by using the Play feature, having exited Speedy. Does everyone hear the correct sounds using Speedy? Thanks in advance, Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Speedy and Percussion Map playback
But the strange thing is that even if I don't change the map, the notes sound wrong. In other words, if I map MIDI note 64 to play MIDI note 64, in Speedy I still hear the wrong note! Liudas - Original Message - From: Aaron Sherber [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, January 22, 2004 6:05 PM Subject: Re: [Finale] Speedy and Percussion Map playback At 10:59 AM 1/22/2004, Mr. Liudas Motekaitis wrote: Why is it that when I use Speedy to enter drum parts into my percussion map, the sounds that are played back during entry are the wrong sounds? The correct sounds are played back by using the Play feature, having exited Speedy. I believe this is because the percussion map, which maps notated MIDI pitch to a different pitch for playback, is only invoked when you do actual playback. In Speedy, Finale plays back the note (i.e., drum sound) corresponding to the actual General MIDI key pressed. I have run into this myself. This is probably working as designed, but it might be a good feature request to Coda. Aaron. ___ 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] Beaming 16th Notes
You want it beamed over the barline into the next measure? Liudas - Original Message - From: Giovanni Andreani [EMAIL PROTECTED] To: Finale Groups [EMAIL PROTECTED] Sent: Tuesday, January 20, 2004 12:29 PM Subject: [Finale] Beaming 16th Notes Hello, I'm trying to beam a note as single 16th note with a beam as it would be if extended over a rest, but it's the last note in 3/8 time with other rests before it, and I don't want it beamed within the previous group. In the Finale options (2003), I can just find the Extend Beams Over Rest checkbox. Am I missing something? Tank you all ___ 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] Scroll View Guides?
Guides are well used in a rare scenario in which the page layout is finished, all tweaks are finished, and then you find that you need to change something that alters the widths of measures automatically, like deleting a time signature which it turns out was needlessly placed. In this scenario, you can create vertical guides for all the barlines of that staff system before deleting (Measure tool -- time signature -- always hide) the time signature. Then, after deleting the time signature, you can readjust all of the barlines to where they were without having to look through all of the measures of the individual staves for crashing (or otherwise badly placed) objects. In large scores, especially ones with tightly spaced notes, this makes such corrections safe and easy to do. Also, you can use a horizontal guide to make sure that all of your lowest staves in page view are an equal distance from the bottom page margin, or indeed that any objects which must appear on the same place on every page are really there. Liudas On Jan 17, 2004, at 11:37 AM, Robert Patterson wrote: I was recently made aware of the Guides function. Even though it has been around for a long time I had never examined it before. What is mysterious is the apparent absence of guides in scroll view. In scroll view is where I see them as particularly useful. Have I missed something? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] plugin wish
A smart rest mover (with options) would be a great idea!!! Liudas - Original Message - From: Johannes Gebauer [EMAIL PROTECTED] To: Finale list [EMAIL PROTECTED] Sent: Sunday, January 18, 2004 6:08 PM Subject: [Finale] plugin wish For anyone working with multiple layers a plugin which could move individual rests depending on the notes in the other layer would really make things a lot easier. Even if this plugin only checks ie the lowest note in layer 1 and the highest not in layer 2, and moves rests accordingly, plus individual default positions for quarter rests this would be a real time saver. Anyone? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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] soundfonts
This is quite good! Did you sample your own guitar? What is the process involved? This was played directly off of a Finale score?! Liudas - Original Message - From: Richard Yates [EMAIL PROTECTED] To: Finale List [EMAIL PROTECTED] Sent: Sunday, January 18, 2004 4:39 PM Subject: Re: [Finale] soundfonts There are some wonderful free soundfonts on the web that may be ideal for you. On the other hand, you may find that after downloading many hundreds of megabytes of soundfonts, that you are still not happy with any of them. I could not find a decent classical guitar soundfont so I made one a while ago. The plain version is free to download at: http://www.yatesguitar.com/misc/Milburn-normal.SF2 (4.7MB) A demo that I made in Finale (and Sonar) using an expanded version is at: http://www.yatesguitar.com/misc/Arabe-Demo.mp3 (2.3MB) Soundfont quality, as with all sound issues, is in the ear of the behearer (to borrow a phrase from Dewey Redman). I am interested to hear what the behearers here hear in the demo. 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] Placing of rit. and accel. in parts
There is a difference between tempo *indication* and tempo *modification*. A tempo -- indication Tempo I -- indication Presto -- indication etc. rallentando -- modification accelerando -- modification etc. The most common configuration would probably be to place the indications above the staves and the modifications below, unless they are used very often, in which case they would both go above the staves. In piano and organ the modifications would go between the staves (manuals) but the indications above. Again, if they are used very often, then both would go above. Modifications are in lower case letters (usually italicized) and indications begin in a capital (usually not italicized). Liudas - Original Message - From: Johannes Gebauer [EMAIL PROTECTED] To: Finale list [EMAIL PROTECTED] Sent: Friday, January 16, 2004 6:25 PM Subject: Re: [Finale] Placing of rit. and accel. in parts On 16.01.2004 17:18 Uhr, Darcy James Argue wrote Steve Powell recommends placing *all* tempo markings, including Rit. and Accel., in bold (non-italic) type above the staff, with the first letter capitalized. I don't know how many publishers do things this way, but this strikes me as an excellent suggestion. It doesn't make any sense to put some tempo indications (Allegro, Tempo I) above the staff, but others (rit., accel.) below. I know the latter is more traditional, but it is IMO a *bad* tradition. Although there may be good reasons to do what Steven Powell suggests, it is absolutely against any convention, and you will not see this in any European style classical music edition. And to be honest I would really dislike the look of it. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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] Navigation plugin
My experience [Finale 2003, Windows] shows that when you go from scroll view with a measure in question at the left-most measure (say it is #350), then, upon going to page view, that measure will definately be on screen, even if you do not highlight it with the Mass Edit Tool. However, if the first measure of that line on the page view is, say #341, Finale scrolls to the right for you, so that #350 will be a fully visible measure in page view (usually if Finale has to scroll it will scroll in such a way as to place the measure in question at the right-hand portion of the screen. But still, you get automatically scrolled up to the top of the staff system. I seem to recall something about a plugin extending the functionality of bookmarks. Can somebody point me in the right direction? Does this exist? For example: setting a zoom bookmark which only remembers the zoom size and screen scroll location instead of remembering the page number as well. This way, calling up that zoom memory location could be done on any page instantly, and would save a great deal of time. Does this exist? Liudas - Original Message - From: Jonathan Smith [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, January 15, 2004 10:41 AM Subject: [Finale] Navigation plugin A technique I use is to highlight the measure with the Mass Mover in scroll view, it is then easy(ier) to locate as you switch to page view. In finale it appears that the most L.H. measures on screen while in scroll view relate to the measures that will come up when you go to page view. Therefore if you are editing a measure say 10 measures to the right (in scroll view) and your page layout only groups 6 measures per page, then when you change to page view that particular measure will be out of sight because it is on the *next* page, finale wants to show you the page with the 'lefthandmost' measures you have chosen in scroll view to be shown in page view. I always move editing frame as far to the left in scroll view, after editing -highlight, then you will guarantee to see as you go to page view. There are the bookmarks of course (view menu) but I've never found these of much use when editing a large score, they are far too limited. Jonathan __ Is there a plugin or Finale function which would allow me to type in a measure number and then being taken there to page view so that I could see the measure at once? Presently, I go to scroll view, type in the measure number, get taken there, go to page view, and then have to scroll down to the measure in question (this job has 38 staves, so you can imagine the reason I want this). Every time I go to page view from scroll view, the display defaults to the top staff. In other words, the vertical page scroll information is lost every time I leave page view. Ideas? Liudas ___ 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] Navigation plugin
Is there a plugin or Finale function which would allow me to type in a measure number and then being taken there to page view so that I could see the measure at once? Presently, I go to scroll view, type in the measure number, get taken there, go to page view, and then have to scroll down to the measure in question (this job has 38 staves, so you can imagine the reason I want this). Every time I go to page view from scroll view, the display defaults to the top staff. In other words, the vertical page scroll information is lost every time I leave page view. Ideas? Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Nonpop?
I like the german: they have U-Musik and E-Musik. (Unterhaltungsmusik and Ernste Musik, which would roughly translate to music for entertainment and serious music). The attractive thing is that they shorten it to U-Musik and E-Musik. That takes away nearly all the baggage, everyone knows what you're talking about, and there is not much room left in those coded words to build a huge argument about how unsuitable the words are. Liudas Motekaitis Nonpop new music Art music and serious classical ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Nonpop?
Exactly. What I meant was that it seems that the shortening of the words is a result of such an impossible task as to name and categorize all pieces of music into white and black. Even more so if you're dealing with a composer or group that has created a lot of different pieces of music. It's the U and E I like. The absence of real words. Sort of like: If you want to consider it U that's fine, I'll stick with my E. There are plenty of letters left for others. Something in me tells me that the shortening of those descriptive words is not merely a means of quickening speech. Liudas - Original Message - From: Dennis Bathory-Kitsz [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Sunday, January 11, 2004 11:45 PM Subject: Re: [Finale] Nonpop? At 11:01 PM 1/11/04 +0200, Mr. Liudas Motekaitis wrote: I like the german: they have U-Musik and E-Musik. (Unterhaltungsmusik and Ernste Musik, which would roughly translate to music for entertainment and serious music). The attractive thing is that they shorten it to U-Musik and E-Musik. That takes away nearly all the baggage, everyone knows what you're talking about, and there is not much room left in those coded words to build a huge argument about how unsuitable the words are. Quite simple. So... Autechre = ? Duke Ellington = ? John Williams = ? DJ Spooky = ? Antonio Vivaldi = ? Charles Mingus = ? Gerhard Stabler = ? Nino Rota = ? Wolfgang Mozart = ? Georges Zamfir = ? Leonard Bernstein = ? Cream = ? David Ware = ? N.N. und Ahnliche Elemente = ? Bernard Herrmann = ? Andrew Lloyd Webber = ? :) Dennis ___ 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] Staff lines in PDFs
I've noticed that PDF's made from Finale's Postscript Listings using PStill by Frank Siegert look much better on screen (especially concerning the line thickness portrayal at smaller zooms. The resulting files are also much smaller and operate much more quickly (page turns and such) than files made by printing directly to Acrobat Distiller's driver. Sorry, I cannot offer any reasons for this. Liudas Motekaitis - Original Message - From: d. collins [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, January 09, 2004 12:02 PM Subject: [Finale] Staff lines in PDFs Why is it that, no matter what settings you use, the staff lines in PDFs created from Finale appear on screen unequally thick at most of the resolutions? I noticed that Sibelius files look much better on screen, simply because all the staff lines are identical (even in PDFs created with PDFwriter). So do PDFs coming from a Mac, it seems. Does anyone know of anyway to improve this? Thanks, Dennis ___ 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] Staff lines in PDFs
At the time I made that discovery I was using WIN98SE. Now I'm on 2000 but since I made the change I've been using Acrobat, so I can't compare on 2000. The printer driver to make the listings was not very important. I tried with a series of many found on my Win98 installation disk. They were all PS printer drivers. I think I used Apple LaserWriter, HP, and some other well-known brands. All yielded the same results, so I concluded that it was probably PStill doing the trick, but this is not conclusive. I tried all sorts of combinations trying to get Adobe's Distiller to eat a PS file made by a non-Adobe driver, and if I remember correctly, I had no success. I also got very nervous. Proceed with these experiments with caution. Your font setups might get really mixed up in the process. True Type Fonts, PSFonts, Font Folders, PS Default Fonts, Font Encoding, Font Metrics Calculations, Font Substitution Tables, System Registry Font Installation Data, etc. I shudder when I think about it. Good luck, Liudas Motekaitis - Original Message - From: d. collins [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, January 09, 2004 12:21 PM Subject: Re: [Finale] Staff lines in PDFs Mr. Liudas Motekaitis écrit: I've noticed that PDF's made from Finale's Postscript Listings using PStill by Frank Siegert look much better on screen (especially concerning the line thickness portrayal at smaller zooms. The resulting files are also much smaller and operate much more quickly (page turns and such) than files made by printing directly to Acrobat Distiller's driver. Thanks. That's interesting. What Windows OS do you use. And what printer driver to create your listings? Dennis ___ 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] Staff lines in PDFs
But you might happen to be an editor for a publishing house that distributes over the internet, in which case your boss might demand that it has to look good on screen as well. Liudas Motekaitis - Original Message - From: Richard Huggins [EMAIL PROTECTED] To: Finale List [EMAIL PROTECTED] Sent: Friday, January 09, 2004 8:29 PM Subject: Re: [Finale] Staff lines in PDFs I'm not so sure I agree with the statement very poor impression, except that you could be speaking of your own preferences. If the files *print* fine, why would a publisher balk over their on-screen appearance, being as how their ultimate desination is not the screen? You never said that they don't print OK. If I were the editor, I would not want to deal with the scores onscreen anyway, but rather in a print version. And if I were an editor, chances are overwhelmingly good that I have Finale, and don't need or want pdfs in the first place! --Richard From: d. collins [EMAIL PROTECTED] Date: Fri, 09 Jan 2004 12:03:08 +0100 To: finale list [EMAIL PROTECTED] Subject: Re: [Finale] Staff lines in PDFs I pity, because these files make a very poor impression when sent to a publisher. Dennis ___ 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] Giving away Finale files
A few clients (publishers) had at first demanded that I always submit the Finale files along with a PDF, since they wanted to have an archive accessible at all times in case they would ever need to change anything. In all cases it turned out to be wishful thinking on their parts, as they came to realise that in every case they would have to get all the fonts from me (or rather purchase them from their copyright owners), install them, make sure that all PC/MAC related issues are addressed, etc. etc. In the end it turned out to be such a nightmare scenario to them that they simply gave up and started using the PDF's exclusively, asking me to backup the Finale files for future reference. I might add, though, that we never worked under strict formal written agreement with numerous pages of legalese foreseeing every possible outcome of the future. We simply agreed that I would not delete the files. I understand that in this way they actually have less security, but since from their perspective they would have to keep their system up to date with the sum of some (large) number of engravers' work, they consciously choose the more risky (long-term) but quicker (short-term) method. I never pressured them into this. They came to realize it themselves (and, by the way, they truly enjoy leaving their offices at 5 and do not contemplate creating circumstances in which they would have to change this habit). Liudas - Original Message - From: David H. Bailey [EMAIL PROTECTED] To: Johannes Gebauer [EMAIL PROTECTED] Cc: Finale list [EMAIL PROTECTED] Sent: Tuesday, December 09, 2003 12:44 PM Subject: Re: [Finale] Giving away Finale files Johannes, Richard has given you some advice based on experience. I would add to his advice that changing to some default template rather than the actual files from which you produce the PDF files may well ruin potential future work with the publisher. If this partnership grows, the larger publisher may well dictate to the smaller publisher not to use your services as the finale files you provide aren't usable, since they don't reflect the printed version. I agree with Richard that the publisher probably isn't going to try to glean the settings from your files. However, the actual engraver who may have to do further work on the files may well like your settings better and borrow them. So while the publisher may not be the threat you imagine, an individual may be. However, it's a tradeoff -- were I in your situation I would keep this in mind for future jobs and raise my price somewhat since you obviously won't be hired for further edits on a particular project. But the professional in me would submit the actual finale files that the printed version of the music comes from. Remember that the larger publisher may look at your work and throw some work your way, so antagonizing them in a petulant fit over giving away the finale files might come back to haunt you later. Of course, you won't ever know that because they won't call you and say We thought of hiring you for engraving this newly discovered opera by Puccini but we decided against it because of those first finale files you sent along with that first work from that other publisher. They simply won't call you at all. Then again, they might not call you anyway, who knows. Personally, I think they most likely aren't out to steal your settings. /satire mode ON Unless you're a conspiracy theorist, and they are actually agreeing to publish those few pieces in conjunction with your current small publisher merely as a ruse by which they can get your personal settings and once that is accomplished, they'll rule the music publishing world. /satire mode OFF David Johannes Gebauer wrote: Hi, Can someone tell me about your standard practice in giving away Finale files? I have been working for someone to produce publishable material, which he publishes in his own small publishing firm. For this purpose I have always sent him PDFs, which worked just fine. Now he has agreed to publish a few pieces with another, larger, publisher. I have just been on the phone to the publisher who says they want the Finale files, as they need to be able to change things later. While I would have had little problem giving away Finale files based on publisher's templates, I hesitate to give away files which I prepared with one of my very own set of settings. The guy from the publisher seemed very surprised when I said that such Finale files do not usually leave my office. What is standard practice? The situation is somewhat complicated as I started the work before knowing anything of the other publisher. I am under contract with the composer, not the publisher. I am tempted to just reformat everything with Finale's standard template's settings and let them do the work. Johannes -- David H. Bailey [EMAIL PROTECTED]
Re: [Finale] Question
In Mass Edit select the region you want to measure and hit 5. - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Wednesday, November 19, 2003 4:21 PM Subject: [Finale] Question Dear list, Am I the only one who thinks that there should be a plug in, that can tell you how many minutes seconds a composition will last, based on the tempos that you dictate??? Seem to me that it should be fairly easy to do, and useful, too. Larry Zaidan ___ 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] Plugin develpment question
Dear Plugin development specialists: I am aware that Finale loads the sizes of the handles upon starting up and that the user can predefine their sizes globally before program startup. However, do the possibilities end there? Does the plugin environment allow access to the present locations of handles on the screen? Is it possible to control any aspect about which handles are selected and which are not? Or perhaps it is possible to output a list via a plugin as to the X-Y coordinates of presently viewable handles? I have a few ideas which might result in some powerful plugins (I would pay or organize a group paying contributors if others would be interested) but my ideas would all be impossible if handle information is non-accessible to plugins. Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Plugin develpment question
unfortunately, handles are totally inaccessible to plug-ins. Is anyone who tests future releases of Finale able to say whether this is out of the question or not for a future release? Is it difficult for the programmers to make handle info available? Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Fw: [Finale] Plugin develpment question
Perhaps I'm wrong, but upon further thought it seems that this might be possible without using any of the Handle information. The higher the zoom, the less handles there are on the screen. I envision a very powerful usage of the TAB key whilst keeping the zoom constant. The plugin would be initiated via the user whilst already in the operative zoom desired for this procedure. Upon initiating the plugin (which operates in Page layout mode for exactitude's sake) the user has only to press the TAB key and the page number and screen location are automatically and instantly moved to the next occurring instance of that Tool Item, for example the next smart shape, the next Text expression, the next note expression, and so on. Imagine how much time the professional engraver would save simply by being able to check the work at high zoom and with perfect trust in the program to not be hiding any of the occuring Items. Instead of quickening the user initiated zooming processes, this feature would quicken the results themselves: to check all instances of some type of item in the document in a flash. By flash I mean: TAB TAB TAB (fix) TAB TAB (fix) TAB TAB TAB TAB TAB TAB TAB TAB TAB (fix) TAB TAB TAB TAB TAB TAB TAB TAB (fix) TAB (fix) TAB TAB TAB TAB DONE, knowing that you didn't miss anything at all in the document for those Items created with that Tool. This would, I guess, simply be an extended form of Tobias Giesen's Find plugin. There we can presently search for text charcter strings. I want to scan my document *without* touching my mouse for all occurrences of the following, (each one pass of its own): (1) Smart shapes (2) Text expressions (3) Articulations (4) non-default noteheads (5) chord accidentals (6) ANY CRASHING OBJECTS (if the computer drew them, the computer knows where they are!) (7) Offset notes (for any reason) Upon searching for the next item (by pressing TAB) I want Finale to select the item and center it on my screen at the present zoom, so I could do the only thing that Finale can't: a proper placement according to human judgement. I am the master, Finale is the servant. I execute, Finale shows me the results. I tell Finale to get me the info, it does the searching. Finale is much better at the latter, I am much better at the former. We must realize that this is the only action that can never be achieved by musical text recognition software and the only reason that we need to be in control of the process of engraving in the first place. We're not faster than computers, we're smarter! Surely many of you agree with me on this? Let's PAY TOBIAS some money! Liudas - Original Message - From: Philip Aker [EMAIL PROTECTED] To: [EMAIL PROTECTED] Cc: [EMAIL PROTECTED] Sent: Wednesday, November 19, 2003 4:36 PM Subject: Re: [Finale] Plugin develpment question On Wed, 19 Nov 2003, Mr. Liudas Motekaitis wrote: unfortunately, handles are totally inaccessible to plug-ins. Is anyone who tests future releases of Finale able to say whether this is out of the question or not for a future release? You should make a request to Finale support. Is it difficult for the programmers to make handle info available? It could be depending on how they are created. If they are simply drawn on screen as part of the drawing procedures, then it could be very difficult to abstract that kind of thing into being an object. If they are actually widgets, then perhaps not too hard. In any case, they are not part of the Enigma data that plugins normally access. They are part of the proprietary application code and as such, it is unlikely Coda will want to release its proprietary procedures. Philip Aker http://www.aker.ca ___ 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] White Text Background
Check Opaque in the settings for your text expression definition. If you don't want the border to be seen, make its thickness = 0. Liudas - Original Message - From: helgesen [EMAIL PROTECTED] To: Finale [EMAIL PROTECTED] Sent: Monday, November 17, 2003 2:09 AM Subject: [Finale] White Text Background Tidying up a Fin 2001 score, I wish to add text- but almost like a sticky label- i.e. text on a white background which hides whatever it is placed on- be it staves, or leger lines or whatever. I know it's do-able- but how? Regards Keith in OZ. ___ 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] Saving paper
Try: Set up as many of the one-liners as you can on your screen and then print the resulting screen shot. Liudas - Original Message - From: d. collins [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, November 17, 2003 7:15 PM Subject: [Finale] Saving paper I have a couple hundred music examples I need to print out and proofread. Most of them are one line only, and each is in a separate file. Is there any easy way I could get several on the same sheet of paper? Thanks, Dennis ___ 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] F-SCR Disappointment
However I did discover where the Finale scripts are stored, these are stored in a file named finalescript.dat in the component files folder. I am interested to find out whether any of the information in the finalescript.dat is user-createable or user-editable. In other words, do we have influence over which FinaleScript command has which functionality or do we have to rely soley on MakeMusic to write the code which defines the available FinaleScript commands? Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finalescript
I am in a similar situation, Noel. I am most definately going to look into this Finale Script feature as soon as I have the time, but current projects do not allow this. I think Johannes is in a similar situation, as he wrote a similar post to this list a while ago, too. I do not feel, though, that a new list is necessary. We could simply add FS: to the subject and it would be just as easy for anyone to filter it out of their mail as presently with the other headers: OT:, TAN:, etc. Liudas - Original Message - From: Noel Stoutenburg [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, November 07, 2003 4:51 AM Subject: [Finale] Finalescript Listsibs: Though I have had WINFIN 2k4 since it was first released, pre-occupation with other projects prevented me form doing more than installing it and giving it a cursory review. Well, I've reached a point with those other projects where I had the time to look at the 2k4, with the idea of starting a couple of other projects on my to-do list, which I was thinking of using the new Finalescript features to accomplish. Having spent some time looking at this, I have a couple pertinent questions: 1) Has anyone else begun using these capabilities? 2) Would there be any value to asking for (or starting) a special Finale Script forum ? ns ___ 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] How does SmartFind and Paint work?
I have tried this out and it seems to work as described in the OLD. You select your source measure with your slurs. You have to be in the current layer of the source slurs you want. I suppose of the slurs go from layer to layer it won't work. On Windows you press CTRL-F. The measure gets a box around it (it is marked as source). It can be a partial measure or go between measures. Then you take MassEdit and select the destination. The function finds all of the exact rhythmical replicas of your source and asks you on a one-by-one basis whether you want to apply the slurs. Alternatively, you may choose to apply it to all of the piece everywhere there is an identical rhythmical pattern. What I especially like is the fact that the items are copied with the same settings that that you have already tweaked by hand. Liudas - Original Message - From: Johannes Gebauer [EMAIL PROTECTED] To: Finale list [EMAIL PROTECTED] Sent: Tuesday, November 04, 2003 1:09 PM Subject: [Finale] How does SmartFind and Paint work? I have tried to use this to copy some slurs from one measure to others, but I cannot get this thing to work. I didn't find any proper explanations in the OLD either. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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] Distiller and PDF filesize
With PStill, I was getting a filesize of about 1.5 MB, and with Distiller I am getting over 10 MB with the same file. Can somebody direct me to the settings which are required to obtain a reasonale filesize using Distiller? (I am printing directly to Distiller.) Presently the settings are set for eBook. Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Tab slide tool editing at high zoom
Does anyone have a scanned portion of Bartok's Music for strings, percussion and celesta? I cannot obtain it readily. Liudas - Original Message - From: Ole Buck [EMAIL PROTECTED] To: finale [EMAIL PROTECTED] Sent: Friday, October 24, 2003 1:17 PM Subject: [Finale] Tab slide tool editing at high zoom From: Mr. Liudas Motekaitis [EMAIL PROTECTED] Imagine this: instead of the many circumstances that you have to set separately at present, you have a single number to provide Finale with: Distance From Center of Note head. Oh, how about one more: Distance from Center of Whole note Note head. OK, and then if you use your own Non-Finale Fonts, you have the option of providing an offset for Note head Center H and V from the list of defaults which would be factory set for Engraver, Maestro, Petrucci, etc... That would yield 4 input fields instead of the present many. And it would work much better. No, it don't look right always to attach the tab slide (glissando) to the center of the note head. If you carefully examine the engraving (Philharmonia edition) of Bartok's Music for strings, percussion and celesta, and specially look carefully at the glissandi, I think you will see that it is not the rule that lines always should be 'centered' to notes; on contrary it is sure that the engraver had a point when he placed the lines that is exactly the same as zero in Finales Smart Shape Placement - Tab Slide dialog. The default font in Finale 2003 is Engraver, if you change to Maestro you have to compensate 2 Evpu's for tab slides. In Smart Shape Placement dialog you have for regularly glissandi lines 4 input fields, 2 up and 2 down, 2 on line and 2 on space, but it give you only 8 different options. Or have I missed something? ___ 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] more french to english
Or the time the viola player came to the orchestra try-outs and was asked whether he could play sixteenth notes. He replied: Sure. If you want I can play you one. :-)) - Original Message - From: Richard Huggins [EMAIL PROTECTED] So let me get this straight, you hit the bass drum with a loaf of French bread?? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TGTools slow reaction
WinFin 2003: TGTools, using the ALT +/- combination to get Align/Move to align dynamics. The file is large, with 38 staves and they are all set for individual staff spacing (in other words, they are already optimised and ther individual spacings have been tweaked). I have to wait 2-3 seconds for each ALT +/- command to complete. I am selecting one or two measures at a time only. (about 3-4 dynamic symbols at a time). Is the slow behaviour dependent on the large file size, the fact that the staves are optimised, or is there something I could do to get faster response from the plugin (except of course to get a faster computer)? The computer is fast. In a small file this plugin flies. Liudas ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TGTools slow reaction
OK, I figured it out. When you turn off Automatic Update Layout, it goes faster. Liudas - Original Message - From: Mr. Liudas Motekaitis [EMAIL PROTECTED] WinFin 2003: TGTools, using the ALT +/- combination to get Align/Move to align dynamics. The file is large, with 38 staves and they are all set for Is the slow behaviour dependent on the large file size, the fact that the staves are optimised, or is there something I could do to get faster ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TGTools slow reaction
Actually, TGTools Options lets you turn Update Layout off for TGTools-specific changes, which lets you leave the Finale option Automatic Update Layout on. Both methods yield the same quicker speed. Liudas - Original Message - From: Mr. Liudas Motekaitis [EMAIL PROTECTED] OK, I figured it out. When you turn off Automatic Update Layout, it goes faster. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
