[Finale] MacFin04 install issues
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] TAN: Running QuickKeys in Classic
I've been playing with Fin03 in Classic using the MidiBridge9X program for Midi, and I must say it works really well. The only thing keeping me in OS9 (beside screen rotation which I'm not using at the moment) is QuickKeys. Does anyone know if OS9 QuickKeys will work in Classic if I install the QuickKeys program in my Classic system folder? Or, alternatively, can the OSX QuickKeys program interact with Classic programs? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Running QuickKeys in Classic
I use a clean system folder for Classic for a number of reasons. Classic gave me nothing but trouble until I did this. It was excellent advice from (I believe) Darcy. I use several extension in OS9 that either don't work in Classic (like MacPortrait) or aren't needed (like MasterJuggler). A clean system folder for Classic I find is a much quicker and more reliable choice. -Original Message- From: Fiskum, Steve [mailto:[EMAIL PROTECTED] If you have partitioned your drive why not make your OS9 partition your Classic system? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Copying expressions
If you are using Finale 2003 or higher, my Mass Copy plugin will do it, including correct transfers of the staff lists and This Staff Only designations. d. collins wrote: Is there any way to copy a group of measure attached expressions (and only that) from one file to another? Thanks, Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MM response to query about non-transposing chord symbols
When it comes to getting long-standing shortcomings addressed in Finale, get in line. Since this one has a perfectly acceptable workaround, you may be waiting quite a while for a fix. My current number 1 long-standing pet peeve is the lack of long slur/phrase marks. No viable workarounds exist--not even individual manual editing, and it is probably the single biggest remaining flaw in Finale's output, from an engraver's viewpoint. Another significant pet peeve is the re-quantization of note and rest values whenever you move partial measures or explode or implode music. The requantization negates much of the potential value of these tools. Yes, I've sent these to MM customer support, about once a year for the last 10-15 years. Welcome to the line. -Original Message- From: Tim Thompson [mailto:[EMAIL PROTECTED] Sent: Thursday, October 9, 2003 04:07 PM To: [EMAIL PROTECTED] Cc: 'Finale List' Subject: Re: [Finale] MM response to query about non-transposing chord symbols Thanks for the information, Robert. I hadn't tried this method, and it will be interesting to see whether or not MM support actually offers this same info. It seems to me that since Chromatic Transposition is available, then it should be fully implemented. If I am not using key sigs, then I don't want to deal with key sigs. I know that chords are based on key signature, but they can transpose by interval as easily as notes can. I will email this as a feature request, as well as the odd behavior of chord symbols to enharmonically respell the letter that is typed in. For example, if I type in Cb for a chord, then Finale changes the Cb to a B. In order to get Finale to display Cb, I have to type in Dbbb. I can't think of a good reason for this behavior, but after so many complaints about it for so long, it remains unresolved. I'm voicing frustration, because it is hard to see new versions released with same old problems. Someone please let me know if this latter problem has been fixed, but I haven't seen that listed anywhere. Tim On Thursday, October 9, 2003, at 11:37 AM, Robert Patterson Finale wrote: You can do everything you need to with Key Sig transposition by combining with independent key signatures. For example, to set up an Alto Sax part, 1. Set the transposition on the staff to Eb Key Signature transposition. 2. Set Independent Elements Key Signatures. 3. Change the key signature of the Alto Sax staff to the key of Eb. Voila. Now your music has no key signature, yet the part transposes and so do the chord symbols. Finale added Chromatic Transposition as an ease-of-use feature. It was never strictly necessary. -Original Message- From: Tim Thompson [mailto:[EMAIL PROTECTED] Sent: Thursday, October 9, 2003 02:15 PM To: 'Finale List' Subject: [Finale] MM response to query about non-transposing chord symbols I reported the problem of chord symbols not transposing while using Chromatic Transposition, and that it was necessary to revert to Key Signature Transposition to get them to transpose properly. I asked if there were plans to fix this, or if I was missing something. Here is the response I got: If you use a chromatic, as opposed to key signature, transposition for the staff, the chord symbols will not transpose. If you set the transposition to key signature, then key-signature based chord symbols will transpose. Please let me know if I can be of further help. Is this a typical response!? Of course, I emailed back, but haven't heard anything. Does anyone know if this problem is fixed in 2k4? (I'm on Mac and haven't gotten the upgrade yet.) Tim ___ 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] MM response to query about non-transposing chord symbols
Of course, if you Display in Concert, you will see the key sigs. Before Chromatic Transposition (about half the lifetime of Finale), this approach was the only viable key-sig-less option. In at least some versions (though perhaps not the current one), the ind. key sig approach handled certain accidentals better than chromatic transposition did. This may have been fixed, because I have not noticed the problem recently. Don't get me wrong. I'm not opposed to fixing the problems in Chromatic Transposition. I use Chromatic Transposition now, rather than the workaround. All I'm saying is that it is a very good workaround if you need transposing chord symbols. And if fixing the chord symbols for chrom. transposition turns out to be difficult, there are about 12 other things I'd rather see fixed first. -Original Message- From: Darcy James Argue [mailto:[EMAIL PROTECTED] Sent: Thursday, October 9, 2003 06:13 PM To: [EMAIL PROTECTED] Cc: 'Finale List' Subject: Re: [Finale] MM response to query about non-transposing chord symbols On Thursday, October 9, 2003, at 11:37 AM, Robert Patterson Finale wrote: You can do everything you need to with Key Sig transposition by combining with independent key signatures. For example, to set up an Alto Sax part, 1. Set the transposition on the staff to Eb Key Signature transposition. 2. Set Independent Elements Key Signatures. 3. Change the key signature of the Alto Sax staff to the key of Eb. Voila. Now your music has no key signature, yet the part transposes and so do the chord symbols. Finale added Chromatic Transposition as an ease-of-use feature. It was never strictly necessary. Robert, due respect, but this looks like a terribly clumsy solution. Does it work if you need to toggle back and forth between View Score In Concert Pitch? This also adds an extra step to any instrument changes -- you have to not only apply the staff style for the new instrument, but change the key signature appropriately as well. Chromatic Transposition *is* an ease-of-use feature, and a good one. The only problem is that it doesn't handle chord symbols appropriately. Seems like it would be easier for everyone if Coda would simply fix this longstanding bug. - Darcy - [EMAIL PROTECTED] Brooklyn NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] trill playback
I have been under the impression that TGTools will create trill playback, but now I can't find it. (I found tremolo playback and I found trill paren notes, but no trill playback.) Have I missed something? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Extending 2ndary Beams
I routinely use the Extend Secondary Beams over Rests option, but it creates a most vexing problem. Consider the pattern 16th note, 16th rest, 8th note. If this falls withing a quarter beat, all three are beamed together. The problem is, the 16th beam extends all the way over the 16th rest. I can't figure out any way to shorten it, except by globall turning off the Extend Secondary Beams option. Does anyone know a way to do this for a particular place *without* turning off the global option? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Extending 2ndary Beams
David Bailey asked why I would use the Extend 2ndary Beams option. (Why would you want to do that?: a question that, in computers, can lead to heads being bitten off.) The answer, of course, is for the many cases when one wants the behavior. The simplest example is 16th note, 16th rest, 16th note. In any case, I will share the workaround I thought up. It's fairly easy and works fairly well. The pattern is 16th note, 16th rest, 8th note. Simply hide the 16th rest and then insert a visible one in V2. Hiding the V1 rest removes the beam. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MM response to query about non-transposing chord symbols
You can do everything you need to with Key Sig transposition by combining with independent key signatures. For example, to set up an Alto Sax part, 1. Set the transposition on the staff to Eb Key Signature transposition. 2. Set Independent Elements Key Signatures. 3. Change the key signature of the Alto Sax staff to the key of Eb. Voila. Now your music has no key signature, yet the part transposes and so do the chord symbols. Finale added Chromatic Transposition as an ease-of-use feature. It was never strictly necessary. -Original Message- From: Tim Thompson [mailto:[EMAIL PROTECTED] Sent: Thursday, October 9, 2003 02:15 PM To: 'Finale List' Subject: [Finale] MM response to query about non-transposing chord symbols I reported the problem of chord symbols not transposing while using Chromatic Transposition, and that it was necessary to revert to Key Signature Transposition to get them to transpose properly. I asked if there were plans to fix this, or if I was missing something. Here is the response I got: If you use a chromatic, as opposed to key signature, transposition for the staff, the chord symbols will not transpose. If you set the transposition to key signature, then key-signature based chord symbols will transpose. Please let me know if I can be of further help. Is this a typical response!? Of course, I emailed back, but haven't heard anything. Does anyone know if this problem is fixed in 2k4? (I'm on Mac and haven't gotten the upgrade yet.) Tim ___ 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] Using Finale on Mac with Protools 002
I have a Digi 002 Rack. I'm not sure what it is you are wanting to do. Is it just to use the Digi as a MIDI interface for Finale? If so, I would recommend waiting for Finale 2004 (announced for the end of this month). The problem here is that Protools 6 (which is required for the 002R) only works in OSX. Furthermore, it is highly allergic to Classic. But Finale 2003 only runs in Classic or OS9. If you don't need the 002R's MIDI interface, then there is no problem running Finale 2003 or Protools 6 as need be. You can't do it at the same time, though. Protools 6 eventually dies a horrible death if you launch Classic simultaneously, and the Digidesign website expressly disrecommends it. Digidesign typically disrecommend anything that triggers a bugs. (This is their standard bug fix.) I have come to believe that Digidesign hates its customers more than any other company on earth. Jane Hammond wrote: Hello I use Finale 2003a on PC and after some agonizing I am about to change over to a Mac and set up with a Protools 002 rack. I was hoping there might be a Finale lister out there who might already be using this combination and have some tips or comments about any problems/issues they have encountered especially in regard to playback of Finale files. Jane ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: leger lines (was: Extension ranges on ... Bass Clarinet)
I, too, have heard that many instrumentalists (specifically violinists) prefer leger lines to 8va symbols. I can accept this up to 5-leger-line (and a half) c4. Do players really prefer leger lines even higher? I'm currently working on a passage for violin that hangs around e4 (6 leger lines in treble clef). Isaav Asimov used to say the human mind can only distinguish up to five items as a unit. Above that, we slow down and count sub-groups. This is certainly my own experience. So going past 5 leger lines has always seemed problematic to me (never mind the vertical spacing issues). Are there fiddle players here who would rather see 6 leger lines for e4? As a horn player I'm perfectly comfortable down to written pedal Bb with leger lines. Below that, I want bass clef (either new or old--just be sure to say which it is). But this may just be a function of what we're used to. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Glisses and Accis (was: The Joys of Custom Lines)
This conversation begs the question of whether glisses even *should* avoid accis. In my editions of Bartok String Quartets, the glisses always pierce the noteheads, acci or no. I have actually added extensions to my custom lines to force them to do this, accis be damned. Augmentation dots are another matter. Obviously, any gliss. line must avoid collision with them. I find the Bartok examples to be most illuminating, because all such problems are solved there. For the usage record: I am *not* begging the question. On the contrary, I'm tabling it. (Oh dear, that was the British meaning of table and not the American one. Here we go yet further into the usage quagmire.) previous poster(s): Another problem with custom lines is that there really should be an option whereby note-attached ones can automatically avoid accidentals and augmentation dots. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Glisses and Accis (was: The Joys of Custom Lines)
First of all, check out the examples I cited before you knock it. (Bartok's 3rd Quartet is chock full of nearly every situation you can imagine.) Just because the lines pierce the noteheads does not mean they obscure the accis. Secondly, I find (for myself) that my intuitive sense of what ought to be right has often led me astray. Therefore, if I can find authoritative examples from standard rep. (as I think the Bartoks clearly are), I imitate those examples, unless I have a specific and compelling reason not to. (If a certain example were hard to do in Finale, that would be neither a specific nor a compelling reason not to do it. But I hope this audience would offer little disagreement on that point.) Ymmv. ric Dussault wrote: Le 29/09/03 12:04, Fiskum, Steve [EMAIL PROTECTED] a crit: What is the advantage of this to the end user? Why muddy an accidental with a line when placing the line before the accidental gets the point accross and (IMHO) retains a clean page? I can see where this would just clutter the page and make it more difficult for the conductor or player to decifer. my 2 cents, Steve Fiskum With all my respect to Robert, I must agree with Steve. Some may not... ric Dussault ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] standard whole and half measure rest in 6/1
In this case, common practice offers no obvious standard. I would probably extrapolate from the rules for 6/4. In 6/4, the whole measure rest is just a single whole rest while a half measure is half-plus-quarter or dotted half. Extrapolating for 6/1 would mean measure rest: quad-whole rest (i.e., two double wholes verticaly superimposed in the 2nd 3rd spaces.) half measure rest: dbl-whole-plus-whole. I don't think a dotted double whole makes much sense, but it would not violate any rules. d. collins wrote: What's the standard rest for a whole measure in 6/1 (2 groups of 3 whole notes)? And for a half measure (3 whole notes)? Centered or not? This is early 17th century stuff (and I don't want to halve the values, but I assume the question would be the same with 6/2). Ross doesn't answer these questions. (I'm afraid Robert already answered them, though, but I can't manage to find this in my files. Apologies.) Thanks, Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TAN: Extension ranges on Barry Sax and Bass Clarinet
Andrew Stiller's instrumentation book gave the state-of-the-art c. 1979 for extensions as about 25% each of barry saxes and b. cls. have extension keys. (The barry sax to written low a, and the b. cl. to written low c.) I seem to remember on a discussion on this list that these extension keys are much more common now. To the point, esp. for barry saxes, that many more instruments, esp. at the pro level, have the a-extension than do not. I would like to just assume the barry sax has the low a, given that it is for a pro ensemble. Is this a justified assumption? For the b. cl., I'm writing ossias for the extended notes, but I happen to know that the likely player for the premiere has the extension. I would be interested in any comments concerning the current state-of-the-art on extensions for these axes. Robert ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] The Joys of Custom Lines
I sometimes have the impression that the Custom Line tool may be one of the most underused really powerful things in Finale. In an offline conversation with a Coda person, I complained that a major drawback of the CLT is that text (i.e., Left, Center Full, or Right) that is visible in a score could vanish in an extracted part with narrower spacing. I said this was a major flaw that needs to be fixed, at least as an option. His response was that no one had ever asked for this since it came out in Finale 2000, so it couldn't be too big a problem. This is what led me to think no one is really using the CLT. For example, how many people are aware that the notehead-attached gliss. is actually a Custom Line, and that you can use it with *any* custom line (and as many different ones as you want simultaneously)? Custom Line itself is a lousy name, because the tool goes way beyond just lines. For example, I have used the supposed notehead gliss tool to create fermatas that center themselves automatically over tremolos. But what good is it if the fermata disappears when the spacing gets too narrow? FWIW: I've not had this problem with fermatas over tremolos. Where I have had it is with special instructions that coincide with gliss. marks, e.g. bend F#. The Custom Line tool would be perfect for this if only the text would not vanish in narrow spacing. I'm hoping someone else on this list uses custom lines, and will help me disabuse our friends at Coda of the notion that I'm the only one who cares whether custom line text remains visible irrespective of spacing (at least optionally). And if you haven't discovered the CLT, you have a whole new chapter ahead of you. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Fixed Line Widths and System Scaling
Someone (I believe it was Andrew) was asking for fixed line widths as a way of achieving more consistency between staves of different sizes on the same page. I recently discovered that Finale is already partway there. I've often wondered why Finale added the Staff Height option to system scaling. I recently discovered the answer. If you use a staff height (which may be fractional EVPU) and leave the percentage at 100, then the lines retain their 100% width. (This applies to staff lines. I haven't yet tried stem lines or hairpins.) What this provides is A) Another reason to use system scaling instead of page scaling. B) The ability to produce (e.g., orchestral) scores with varying system scaling that nevertheless have the same line widths, as if drawn from the same pen. I think to go the rest of the way, what we should be asking for is a staff height option on individual staff scaling. This would achieve the other half of this requirement (like pno chamber music): the ability to have consistent lines within systems that have varying staff sizes. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Fixed Line Widths and System Scaling (DOH!)
Never mind. I was mistaken about staff height. The lines are scaled with staff height. I think I was fooled by a rounding error. So (those of us who care) do still need a fixed line width option. And I still don't know what Coda added staff height. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Staff names
Settings Scrapbook can transfer all the staves (including the names, position, etc.) between documents. It can also transfer the groups. d. collins wrote: Is there any way (with one of Tobias's, or Jari's or Robert's plug-ins, or otherwise) to transfer staff names with their font and position from one file to another? Thanks, Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Rotate this! Mega-monitors
I'm not sure I'd want to rotate these. My 24 one already requires a bit of neck craning. Also, it's not clear from the photos if you have to have separate video cards for each of the panels. It would be nice if you didn't. On the rotating-in-OSX front, the picture is not as rosy as I first thought. It turns out ATI only supports rotation on the retail version of Radeon 9800. If you sprang for the build-to-order Radeon 9800 option on a G5, you are apparently SOL w/ regard to screen rotation. Randolph Peters wrote: These new desktop monitors are out of my league, but I thought some on this list might like to drool over them. You might not ever need to turn a page again! http://www.go-l.com/monitors/cinerama/specs/index.htm -Randolph Peters ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Rotate this! Mega-monitors
I read a review of Versavision somewhere that claimed that the ATI panel for it is grayed out on G5's with 9800 graphics. Darcy James Argue wrote: On Monday, September 22, 2003, at 06:05 PM, Robert Patterson Finale wrote: On the rotating-in-OSX front, the picture is not as rosy as I first thought. It turns out ATI only supports rotation on the retail version of Radeon 9800. If you sprang for the build-to-order Radeon 9800 option on a G5, you are apparently SOL w/ regard to screen rotation. Did you get confirmation on this from a G5+OEM 9800 user? Did they try to install the ATI retail drivers? I know Versavision is officially unsupported even for OEM 9800s, but I'm curious whether it works regardless. - Darcy - [EMAIL PROTECTED] Brooklyn NY -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page reduction vs. Staff reduction (again!)
Erm. If you wanted to get the same results as page redux 80% using system redux, then you would set your page redux to 100% and system redux to 80% (not 75%). The effect on, e.g., lyrics would be identical. (Their effective size would be the same either way.) Old habits die hard, I know. Indeed, I had a hard time letting go of page redux myself. But I would not go back now. The only possible disadvantage that I can see is possibly the need to change page-attached text sizes if you decide you want a different music size. But for me this was never a problem, because (when I used page redux) I always used fixed font sizes for page attached text. Meanwhile, using system redux allows these advantages over page redux. 1. Consistent horizontal margins. Consider an orch. piece where different pages often have different reduction requirements. Normally an orch. piece has a left system margin so you can show inst. names. If you have varying page reductions, then this system margin varies with each page reduction. With system redux there is no variation. 2. Consistent vertical margins. With system redux it is easier to set your top and bottom system margins to zero. The effective of this is that the top line of the top staff will line up with the top page margin and the bottom line of the bottom staff (with appropriate vertical spacing) lines up with the bottom page margin. (Using JW Space Systems, for example, you can easily get this kind of vertical spacing.) 3. A consequence of #2 is that controlling which systems flow onto which pages is much much easier than it was of old. 4. By no longer having to specify page text as fixed font, I now have the option of printing a study score or a paper-saving working copy at a substantially reduced size, say, 2-up on letter size. My page text no longer explodes all over the pages of such print runs. We system-reducers have led you page-reducers to water. Will you drink? -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page reduction vs. Staff reduction (again!)
On the topic of whether to convert old files from page to system, I said I don't advocate it, and I don't. But if you really wanted to convert, my Page Mover plugin will do it with a single button-click. (It automatically adjusts all your page text, too.) The thing is, unless you plan to use system redux from the start, you don't really gain any of its advantages. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page reduction vs. Staff reduction (again!)
First of all, despite the subject heading, I am talking about *system* reduction and definitely not individual staff reduction. On a single staff piece, the only way to access system reduction is to right click or (mac) ctrl-click to the left of the staff in page view. I have an edition of The Rite of Spring from International Music, which I believe is a reprint of some older edition. Compare, e.g., pp. 76-77. Page 77 has a smaller redux due to the increased number of instruments from p. 76. Such changes in redux from one page to the next are commonplace in orch. scores. It is an extremely unusual case that calls for different staff sizes within a system of an conductor score. An example where it does happen is the staves for the on-stage bands at the end of Act I of Don Giovanni. See the Dover edition, pp. 192ff. Richard Huggins wrote: For my own edification I'd appreciate a breakdown of such a need, such as how what would happen between, say, page 2 and page 3 on such a score that might call for changing the staff (system?) reductions, and if you mean that the flute staff (example) might be smaller in size (except margins) than a violin staff or something. This particular aspect is just foreign to me since I've never faced it; I'd like to be conversant with the kind of situation that produces it or that could benefit from using it. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page reduction vs. Staff reduction (again!)
I, for one, have never advocated changing old files. I'm talking only about going forwards. David H. Bailey wrote: So tell me again how that is easier than doing page reduction where all that stuff is done automatically? -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Page reduction vs. Staff reduction (again!)
The primary advantage is that scaling systems gives you precise control over system margins. Also, if you have varying system percentages, your page text remains the same size without the need for fixed font attributes. The problem with fixed font attributes is that when you want to produce a variant version of the piece (e.g., a study score), the fixed font items don't reduce. System scaling became the preferred technique starting with (I believe) Finale 2000. Before that, although system scaling was possible, page scaling made more sense. System scaling also gives you easier control over page layout. Best practice seems to be system scaling and zero for top and bottom system margins. (To maintain separation of systems, enter a value like 144 evpu in Distance Between Staves.) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Thursday, September 18, 2003 01:37 PM To: [EMAIL PROTECTED] Subject: [Finale] Page reduction vs. Staff reduction (again!) Hello helpful people! I know this has been discussed before, but I'm still trying figure out whether to use a page reduction (76%?) or staff reduction for my piano-vocal scores. Right now, I've settled on the following for my page format for score: Staff height 96 Scale system 76% Scale page 100% It seems to me that there's very little difference between scaling my systems to 76% and scaling the page to 76% and leaving the systems at 100%. But I might be missing something! Thanks -- as always -- for your input. - Ken ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mac related question
I can't speak to your specific question. I have tried running older Finale versions under Classic on my G4, and they seem to work. I'm not trying to do any MIDI, and I haven't tried printing. (But I *have* printed from Classic using other programs.) Hopefully Classic running on the newer machines will have no additional issues, but ymmv. [EMAIL PROTECTED] wrote: If you are running one of the new Mac G5's or Mac Titanium Laptops, do you know if I will be able to still run Finale 3.7.2 (in addition to FinMac 2003 and 2004)? Don't laugh...I have a tremendous number of files on 3.7.2 which I would need to be able to access from time to time. Thanks. Martin Martin Banner Monticello, New York ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] I could care less (was Re: Finale Digest, Vol 2, Issue 10)
Hear, hear!
(And *not* the abombination, here, here)
Williams, Jim wrote:
Yes, Mark, Andrew, Quinion.com!
Such statements are dripping with irony!
My pet peeves are misuse of
it's (it is) and its...
they're, there, and their...
company's, companies,and companies'...
etc.
College students enter college these days with a large sense of self-esteem, if not
self-importance, but with an ever-diminishing level of literacy and numeracy...and
they could('nt) seem to care less! ;-)
Guess who's grading assignments this morning... ;-)
Jim W.
-Original Message-
From: Mark D. Lew [mailto:[EMAIL PROTECTED]
Sent: Fri 12-Sep-03 4:03
To: finale list
Cc:
Subject: [Finale] I could care less (was Re: Finale Digest, Vol 2, Issue 10)
At 4:13 PM 09/10/03, Andrew Stiller wrote:
If you really want to know, check out
http://www.quinion.com/words/qa/qa-ico1.htm,
from wh. the following is excerpted:
There's a close link between the stress pattern of I could care less
and the kind that appears in certain sarcastic or self-deprecatory
phrases that are associated with the Yiddish heritage and
(especially) New York Jewish speech. Perhaps the best known is I
should be so lucky!, in which the real sense is often I have no hope
of being so lucky, a closely similar stress pattern with the same
sarcastic inversion of meaning. There's no evidence to suggest that I
could care less came directly from Yiddish, but the similarity is
suggestive. There are other American expressions that have a similar
sarcastic inversion of apparent sense, such as Tell me about it!,
which usually means Don't tell me about it, because I know all about
it already. These may come from similar sources.
Another way of looking at it is that I could care less (or I should be
so lucky, etc.) is a truncation of a disbelieving subjunctive. In other
words, it's short for something like If I could care less, then I could
fly to the moon, except that the speaker doesn't finish the thought.
Over the years I've come to conclude that about half the people who kvetch
about I could care less (which half may or may not include Chuck but
certainly includes my mother...) are so happy to pontificate on how
ignorant it is that they really don't want to hear a logical explanation.
Same goes for those who kvetch about pronouncing nuclear like nucular.
mdl
___
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--
Robert Patterson
http://RobertGPatterson.com
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Re: [Finale] Articulations Change during
My Mass Copy plugin can copy articulations correctly. (And it can clear the bogus ones.) I use it all the time. -Original Message- From: Ole Buck [mailto:[EMAIL PROTECTED] Sent: Tuesday, September 9, 2003 07:07 AM To: 'finale' Subject: [Finale] Articulations Change during copy and paste From: James O'Briant [EMAIL PROTECTED] Needless to say, going back and individually changing all these articulations is a big pain. So is copying and pasting the same passage in tiny segments. What is the solution to this problem? I believe SmartFind And Paint can do it. Possible automatic, but to be sure select the source and then the target and Finale will paint the articulations. ___ 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] feature request
Several years ago, when Randy Stokes was still a regular contributor to this list, he floated the idea of fixed-width lines. I've wanted this for years for exactly the same reasons Andrew does. At the time the idea was roundly derided as a waste of time by almost all other list members. Oh well: what goes around comes around. -Original Message- From: Andrew Stiller [mailto:[EMAIL PROTECTED] Sent: Thursday, September 4, 2003 09:17 PM To: [EMAIL PROTECTED] Cc: 'finale list' Subject: [Finale] feature request I realize that this is an awkward time in Finale's development cycle to be making a feature request, but I need to do this while it is on my mind. In a recent exchange on the Finale online mailing list, the issue of small staff sizes (for pocket scores, large orchestras, etc.) came up. One thing that became clear in the course of that discussion is that traditional engravers could use a wide range of staff sizes within a single score because the width of the lines employed remains constant. It would be nice therefore if Finale included a feature allowing for constant line widths (including not only staff lines but note stems, hairpins, barlines, etc.) regardless of staff, system, or page reduction. Dots (augmentation, staccato, repeat) should probably also be held constant under these circumstances. I am cc-ing this request to the Finale list in the hopes that other members of the list will second my appeal. ___ 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] TAN: PDF Versions
In light of the swinish girth of Acrobat 5 and the godzilla-proportions of Acrobat 6 (including the readers), I've been eschewing these formats in favor of PDF level 4. I'm wondering if anyone else is, and if anyone beside me is sticking with Reader 4. (Well, I'm using reader 5 on OSX because it is OSX-compatible.) -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: PDF Versions
-Original Message- From: Brad Beyenhof [mailto:[EMAIL PROTECTED] What is the advantage of 4 over 5, in your opinion? Speed, speed, and speed. Reader 4 launches in a fraction of the time of 5 and esp. shudder 6. And where is it available for download these days? You might find it at some large download sites. But it is certainly on older Finale disks. Try Finale 2000 or 2001. (I'm familiar with Mac Fin install disks, but I would guess Acrobat Reader is on FinWin disks as well.) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: MacOS 9 help needed
I should add that while DiskWarrior has never caused me the slightest problem and meanwhile has solved numerous quite bizarre ones, it is always a good idea to make a full backup before doing any kind of disk repair. This is not to say I always follow this advice--far from it. But in this case I defintely would because the disk is known to have a problem and (presumably) a great deal of work has been done with it since the problem first appeared. For these reasons, I think the risk is higher than normal. Also, you have to boot with the DiskWarrior CD if you want to repair your system directory. The new DiskWarrior boots in OSX, so you'll get to see your iMac running OSX if you use DiskWarrior. Andrew Stiller wrote: Now *that* is news I can use! I'll call Mac Warehouse as soon as I get off line. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: MacOS 9 help needed
While Andrew's problem (reported by Norton) could be in the hardware, it most likely is corruption in the volumn information. If so, OSX or OS9 will make no difference. But Diskwarrior will definitely fix it. And in the unlikely chance that it is in the hardware, Diskwarrior will tell you that. Diskwarrior is far superior to any other volumn-repair utility I've ever used on any platform. It finds stuff nothing else does. It tells you what it finds. And it fixes it flawlessly. For badly damaged volumns, you can even choose to look at the files on the repairs volumn before saving the new directory. (This would allow you to be assured that you weren't going to lose your important files.) But it's so reliable I long ago quit being cautious with it. Now I just breezily OK thru all the dialogs. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression placement
Craig Parmerlee wrote: Every time, Finale is using the measure-attached properties, not the note-attached properties. Check the metatool setting in the Expression Menu. Also, turn on colors. Then you can tell immediately if you've put in a note-attached or meas-attached exp. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] F2004: Note-attached expressions
I don't mean to be impertinent, but you did select the proper radio button at the bottom, no? Occasionally I run into this problem myself. The way I fix it is by noticing whether Measure-Attached or Note-Attached is selected on the radio button at the bottom of the dialog. I find it easy to overlook this option. From: Craig Parmerlee [EMAIL PROTECTED] (snip) Is there anybody out there who is able to do note-attached expressions going through the selection dialog (i.e. NOT using metatools)? -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OS X and MIDI
I agree with Tim Thompson that it just works. I'm not quite so sanguine about it, however. I've never used MIDI on a Wintel box, so I can't compare the experiences, but in OSX you must have the proper drivers for your MIDI interface, which is probably very similar to Win. So far, I have not had any trouble finding drivers, but you want to be sure you have them before you switch. I have my old serial MIDI interface and my new Digi 002. I can hook these up at the same time and the whole thing works together flawlessly. I've even tried hooking my kbd in and outs to different interfaces--no problem. If your MIDI needs are simple, then I whole-heartedly agree with Tim's assessment. If they are more complex, then there are some issues. Audio Midi Setup (the OSX midi setup utility) is quite rough around the edges. It has no Undo, and you can easily accidentally do major damage to your setup with no way to undo it. I fairly quickly learned always to work on copies of my setup. Also, many of its setup options are confusing and/or misleading and/or ignored by MIDI apps. There is no consensus among MIDI apps on whether and how much attention to pay to the device settings in Audio Midi Setup. A bigger issue is device lists and patch lists. One would have thought that CoreMIDI would have centralized and codified this essential feature of a professional midi system, but they did not (at least as of yet). As a result, each of the major players has rolled their own solution. Heck, they can't even agree where to put the files, for goodness sake. The result is that your MIDI setup experience is completely different in every program. The most seamless I've used is Digital Performer 4. Eventually, these problems will work themselves out as best practices emerge. And hopefully Apple will provide guidance in the form of revised CoreMIDI API to help solve them. (And updates of Audio Midi Setup!) In the mean time, you can find out everything you ever wanted to know in the MIDI forums at www.osxaudio.com. Eden - Lawrence D. wrote: Is MIDI implementation still a problem with this OS? -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression alignment
David H. Bailey wrote: Automatic expression alignment would imply that if we want them lined up so they are a uniform distance below/above the staff, the program would do it so it is uniform. That's what Below Staff Baseline is for (which is available for note-attached as well as meas-attached). The thing is, from your other post it seems you understand this, so I'm quite confused by your complaint. C/E, C/E, D/F, B/G. Then using metatool 4 to place a forte expression (f) beneath each chord results in the 4th expression being lower than the first three. (i.e. NOT aligned with the base-line triangles.) It sounds like the F (and probably the others) have a baseline offset. You might get more acceptable results by zeroing out the baseline offsets. Also, you must always remember that alignment occurs where the expression handle is and not necessarily where it looks like it should. The main reason to use a baseline offset is to get alignment for a particular symbol that is different from the font's alignment. For example, you could add a baseline offset to P to make it align like an upper-case P instead a lower-case, which is the way the font is designed. I would have expected automatic alignment to have done no matter how close to the staff I placed them. If you really want this, change your placement options to Below Staff Baseline. The setting out of the box is Below Staff Baseline Or Entry. I vastly prefer this to Below Staff Baseline, and I hope I'm not telling secrets to say that many people lobbied really hard to get it added to the product and implemented correctly. We prefer it because it allows you to move your baseline closer to the staff and the program (mostly) automatically avoids collisions where necessary. But it would be very nice if there were a utility that would universally apply the new settings to an existing library I suspect that wish may be fulfilled, perhaps even soon. Personally, I do not plan to convert any existing files. If it ain't broke, don't fix it, I say. As to horizontal placement, I prefer expressions centered beneath the stem on stem-down notes, so I can't agree with you that they have nailed this either. If you use the Center/Left Primary options, you will get the exact horizontal placement described in Ross p. 186. (From your description, this sounds like what you want.) It sounds like Coda stayed with Center/Center in their shipped template. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: Bass Marimba
Hello. I hope you will pardon this poll of the list concerning availability of bass marimbas. Andrew Stiller's Instrumentation book lists them as extremely rare and normal ones with extensions down to A (from the normal c) as 25%. But in the years since he wrote the book, my impression is that normal marimbas with extensions down to A or even all the way down to C have become more common. And even that the lowest octave on such marimbas is detachable. Can anyone confirm or deny? Thanks, Robert ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression alignment
I'm not sure I agree it's a bug. If your positioning option is Below Staff Baseline or Entry it is working as designed. I could not reproduce your example. Perhaps I was using a different clef or octave. But Below Staff Baseline or Entry is *supposed* to push expressions out of line if they would collide with the entry being on the baseline. If you don't care about collisions (as apparently you don't), use Below Staff Baseline. I'm not sure why Jari says this is a bug, unless there is some aspect of this that I don't understand. David H. Bailey wrote: I used expression metatool 4, and no matter where I had the cursor on the first three chords, the expressions all aligned themselves properly below the staff. When I used metatool 4 to place the same expression under beat 4, the expression was out of line with the other three, so I still had to drag it by hand, to have it visually in line with the other 3 expressions. Jari Williamsson wrote: This is a bug! ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Make mass mover move expression marks - addendum
You did not mention whether it was note-attached or measure-attached expressions. I have not trouble w/ note-attached in any recent version of Finale, either dragging or copying. You want to be careful about measure-attached. When you transfer them from one file to another, they lose their staff lists. Where you had an expression in one staff in the source file, it is in all staves in the target. I do not believe Fin04 is any different. (Someone correct me if I'm wrong.) SFAIK, the only reliable way to transfer meas-attached exps from one file to another is with my Mass Copy plugin. Craig Parmerlee wrote: Here's an update. If I am in mass edit mode and move the music across by doing edit copy from one file and edit past into the other file, it all works fine. That solves my problem, but ... the drag operation can't copy everything... -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression alignment
David H. Bailey wrote: Now I find out that I will have to go through and manually edit EACH and EVERY expression in the new libraries if that is the behavior I want. How many is that? At most a couple dozen? That you have to change one time in a template? I've found that with any new Finale feature, I have to alter it to suit my taste. Either that, or we're back to manually dragging many expressions and visually getting them to line up. My experience is that you do occasionally have to manually adjust the vertical position of some expressions assignments, esp. when the note has an articulation that needs to be avoided. And we can't edit individual expression placements. That's just flat wrong, unless a new bug crept into the final release. (I don't actually have it yet.) So it seems this is another marketing tool of limited usefulness in the real world. I don't know which real world you live in. In the one I live in, automatic expressions are perhaps *the* most useful new feature in the upgrade. I'm assuming we both live in the same real world, so I figure either there is some basic misundstanding here (most likely) or some grotesque bug that wasn't in any of the beta versions. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expression alignment
David H. Bailey wrote: When I use a metatool to place a text expression, I can't edit that placement individually from any other placement If only want to affect one expression, why wouldn't you just drag it where you want it? Effectively, that *is* what you want, because when you drag it, you are offsetting from the default position given by the definition. (I'm hoping a new version of TGTools Align/Move might include an align to baseline option for individual exps, so we don't have to do it by eye and hand alone.) It is true that you need to create different definitions for different default placements. This is one reason the description field is there. I see this as a very small issue, and I don't know what a reasonable alternative would be. (One thing that would be nice is if we could program upper and lower case metatools.) I'm just expecting too much of the program as it comes out of the box -- I figured it would give alignment of expressions when I placed expressions and it would be up to me to move those which collided, if I didn't want them aligned with the other expressions. I haven't seen the final template libraries. Last time I looked at them in beta, they seemed to do that for me. my first 4 quarter-note test would have no collision, yet Finale seemed to think it would and so it offset my 4th beat expression). I would have to see the example. I could not reproduce your scenario with the version I have. It depends very much on where your staff baseline is and what the offset values are in the expression definition. Assuming you haven't done this already, change all your offsets to zero (for one exp., like F). Then assign it to a series of quarter notes as you did, and move the baseline up and down and watch how the placement changes. (It helps to do fairly extreme moves.) Then set the baseline about where you want it and transpose the music up and down and watch. Personally, I like a staff baseline offset of 0 and an entry offset of around -48 evpu for exps below and 12 to 24 evpu for for exps above. I can see that I will have to edit all the expressions in my libraries to get them to work as I want them to with the new version. If you are talking about pre-Fin04 work, I don't see how you could expect any differently. Think of the hue and cry if importing an old file into Fin04 caused all the exps to move around! Naturally, existing files use the manual placement options, as the they absolutely should. One thing you've utterly failed to mention is the automatic *horizontal* placement. For my taste, MM completely nailed this. The only reason I'll ever need to drag another exp horizontally is to avoid collisions. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Taking copy protection seriously?
Actually, I think all you need is ten digits. -Original Message- From: Aaron Sherber [mailto:[EMAIL PROTECTED] Anyone with a copy of pre-2004 Finale and a valid serial number can install it with no problems. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: MacOS 9 help needed
I second this recommendation (DiskWarrior). It is an essential tool, and the new OSX version is better than ever. http://www.alsoft.com -Original Message- From: Eden - Lawrence D. [mailto:[EMAIL PROTECTED] The program for handling this situation is DiskWarrior. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sib/Fin wars
I did not mean to detract from Finale by comparing it to Sib. I spent about 2 minutes playing with Sib's step mode entry and realized it was a nice paradigm for entering notes. I then discovered that Fin04 Simple deploys the same paradigm. This was a happy discovery. Specific details differ, of course. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Spooky
Have you visited these websites lately? (For that matter, when it comes to Patterson Beams, have you looked in your Plug-Ins Fin04 folder?) -Original Message- From: Richard Yates [mailto:[EMAIL PROTECTED] Sent: Thursday, August 28, 2003 04:07 AM To: 'Finale list' Subject: [Finale] Spooky I think it's spooky that Fin2004 already knows all of my TGTools key reassignments even though only TGTools light is included on the disk! What is the status of 2004 versions of: Patterson Beams Forza! TGTools 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] Finale 2004 arrival
I've been looking at the new Fin04 features (without being able to *use* any of them--don't think beta testing is any bed of roses) for nearly six months. Yet it took me until yesterday to notice one of the best improvements in it: Simple Note Entry. Are you a Speedy addict? Have you ever tried Sibelius's step entry mode? Fin04's new Simple Note Entry is essentially the same as Sibelius's step entry mode. You may never go back to Speedy once you find out out speedy the new Simple is. It works pretty much like Speedy's caps lock mode but without the annoying Speedy box. -Original Message- From: Mario Aschauer [mailto:[EMAIL PROTECTED] Hooray, The new hyphens work really well ... [and] The expression tool is also very cool. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 arrival
-Original Message- From: Richard Huggins [mailto:[EMAIL PROTECTED] My question is, is there some relationship between MIDI entry and the new Simple Entry? You bet there is. This is what it took me 6 months to get. As I said before, it works similarly to Speedy with caps lock on. If you want to see even better how it works, download the free Sibelius demo. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 arrival
My observations with respect to Sibelius step mode and Fin04 Speedy are in relation to how they work with midi keyboard. I've never investigated with program with respect to how to enter notes w/o a midi keyboard. -Original Message- From: Éric Dussault [mailto:[EMAIL PROTECTED] I don't want to use the Sibelius A B C D E F G letters scheme. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 arrival
-Original Message- From: Richard Huggins [mailto:[EMAIL PROTECTED] Okay, I'm beggin' here...I still can't decipher how it works. Like Speedy caps lock. Like the Sibelius demo. (Doing it yourself is worth 1000 times being told how it works.) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MTNA
-Original Message- From: Craig Parmerlee [mailto:[EMAIL PROTECTED] It can't. I see that in my entire state (Indiana) there are a grand total of 2 members. Look the website again. That list is new members, whatever that means. I am certain Indiana has many dozens of members. The website claims a membership of 24,000, and I suspect that is at least the ballpark. Each state has a daughter organization, and within each state are local organizations. For example, we have here the GMMTA (Greater Memphis Music Teachers Association) which is in turn part of the TMTA which is part of the MTNA. I won two different awards from this organization (a college-student comp award and a professional composition award) and attended two different national conventions to receive them. There are literally thousands of music teachers at a national convention. The MTNA has plenty o' cattle to go with that hat. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Copying material into a new score
Back in the old chaining error days, the only safe way to uncorrupt a file was to extract the entire score as a single part. Specifically, copy insert (or paste) merely transferred the corruption. If you do not have any time invested in a page layout, part extraction might be the first thing to try. If you decide to go the copy/paste route, there is only one way I know of to correctly transfer meas-attached exps and clef changes between files. You must use Finale 2003 or higher, and you do it with my Mass Copy plugin. The technique is described in the help pages on my website for Mass Copy. -Original Message- From: Matthew Hindson Fastmail Acct [mailto:[EMAIL PROTECTED] Sent: Friday, August 22, 2003 01:21 AM To: [EMAIL PROTECTED] Subject: [Finale] Copying material into a new score I recently completed a piece that was composed pretty much entirely within Finale. This process of working entailed a lot of Mass Mover Copy/Replace and Copy/Insert, the latter of which I found particularly dangerous in terms of corrupting files. Maybe as a result of this way of working, I'm finding the file incredibly slow to work with. Any simple operation, e.g. going in and out of Speedy Entry, can result in a spinning note cursor for 5-10, even 20 seconds. The file isn't that big, about 500 bars of string quartet, but it's immensely irritating (Finale 2002 on Mac). I've tried doing a Data Check to remove deleted items but with no discernable difference. SO... I would like to copy and paste the whole file into a new document. In the past when I've tried this, things like clefs as well as measure-attached expressions have moved around or done things like ignored staff lists and be put into every staff. Does anyone have immense experience with doing things like this, i.e. successfully? Any helpful tips gratefully received. TIA, Matthew -- Matthew Hindson http://hindson.com.au note new email address: add .au to end of old one * Very strong spam-blocker in place * If you have troubles, resend to [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] percussion noteheads
My Mass Copy plugin will clear notehead mods in a selected region. If there are no other custom notehead mods, you might try it. Andrew Stiller wrote: On a percussion staff, the composer changed all the whole noteheads to half-noteheads, presumably to ensure proper playback. How now do I change them all back again without affecting the real half-notes? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Menu space (was What is screen rotation?)
-Original Message- From: RockyRoad [mailto:[EMAIL PROTECTED] Robert, do you run out of menu space when the top of the screen Never. You must remember that the monitor in the photo has 1920x1200 resolution. In portrait orientation this is still 1200 pixels of width--nearly as much width as a 1280x1024 monitor (uxga?). This factor lends credence to my contention that it is only with really large monitors that portrait orientation sheds most of its drawbacks. I include 1280x1024 as the low end of really large, because in portrait it still has 1024 horizontal pixels, equivalent to the width of 1024x768, which many contemporary laptops and CRTs use. You can get very nice 18 1280x1024 LCDs these days for under US$500 from internet mail-order houses, although with P/L-pivot stands they are somewhat over $600. (A 3rd-party monitor arm by itself will set you back about $300.) Also, keep your eyes on these prices. Last year they went down nearly every week until about early October--sometimes signficantly--and this year seems to be following the same pattern. The one drawback I'll admit to is that with the 24-incher in portrait I do end up craning my neck a bit. In this respect, a 4:3 aspect ratio is better. Hence, my admiration of the new Samsung 213T. (Although I personally am willing to crane for the extra staves--see next post.) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] #Staves in portrait (was: What is screen rotation?)
-Original Message- From: Javier Ruiz [mailto:[EMAIL PROTECTED] 1) How many staves can you see at once at 85%? 34 +/-. I haven't counted exactly. (Also, you can squeeze xtras in by giving up white space.) The photo shows what it looks like, and for someone with good eyes it might be possible to count them. 2) If what I see to the right of the photo is a Digidesign 002 then: are you happy with it? It is actually the new Digi 002 Rack. I mainly got it to do 96/24 processing and haven't put it thru a lot of paces. It has worked fine for what I do. I am addicted to Protools. If I weren't, I would have gotten one of the new firewire interfaces from M-Audio or MOTU. They cost much less, are in many ways more stylish, and offer every bit of the quality and features (except Protools compatibility--grrr). But I paid the Digidesign pushers the price of my habit. FWIW: Protools LE 6 worked essentially the same for me in OSX as Protools LE 5 did in OS9--a rock of continuity in a sea of change. The joy of familiarity is worth the extra money, or at least it feeds my habit. I anticipate that Finale in OSX will have a similar comfortable familiarity to Finale in OS9. I can not change the order to include the 9800 card Bummer. But the 9800 is overkill if all you want is the screen rotation. I'm hoping we'll see VERSAVISION added to other cards in ATI's lineup. In fact, insidemacgames.com claims the VERSAVISION exploits a feature of Quartz Extreme, so possibly any graphics card that is compatible w/ Quartz Extreme could do rotation. This sounds like a 3rd party add-on waiting to happen. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Screen Rotation
-Original Message- From: BlueScreen [mailto:[EMAIL PROTECTED] Interesting that the new G5s ship with this option enabled in the OS. Just to clarify. Not all G5s ship with this. SFAIK it is limited to those with the most expensive top-of-the-line graphics option: ATI Radeon 9800 Pro. Technically, the option is in the graphics driver not the OS. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Little Guy/Big Guy (was Instrumentation andorchestration books)
Much of this discussion is besides the point. Many of titles at Carter's sight simply are not available anywhere else. The indispensable Kurt Stone book, Music Notation in the 20th Century, languished out of print for years before Carter convinced Norton to reprint it. I think he did so essentially by agreeing to buy much of the entire run. Now, I see you can get it from Amazon, but it is only because Carter did what he did. I see that Amazon does not even have the Ted Ross, so Carter could be one of the only sources. I know this has also been the case for some of the Gardner Read titles. Buy now while you can! -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] screen rotation
Of course, to each his own. But the disruption of that 1.5 inches (for me) is simply not the same as no disruption at all. No disruption at all is like paper: completely natural and effortless. I tried all those other kinds of ways of skinning the cat, but nothing matches the real thing. I dare you to try it. -Original Message- From: Tim Thompson [mailto:[EMAIL PROTECTED] Sent: Thursday, August 21, 2003 03:08 AM To: [EMAIL PROTECTED] Cc: [EMAIL PROTECTED] Subject: Re: [Finale] screen rotation I've been out of the loop for the last couple of days, and am really surprised by this big discussion of screen rotation--and have to say I agree with the initial response of what does that have to do with anything? True, 4x3 monitors are not great for working on tall scores, and a portrait deal works better. But there are other ways of getting at that. In my studio, I use one 1600x1200 display positioned just above another at the same resolution, both with pretty much the same screen dimensions. There is about an inch-and-a-half between the bottom edge of the top screen and the top edge of the bottom screen, which is not an issue at all. What I get is a single desktop that is 3200 pixels tall by 2400 wide. Of course, I can view most tall scores at 100% in scroll view. Even with the displays set to the next resolution down, I can do most of a tall score at 100%, or the whole score at 84%. (In case you are trying to picture how this works, I have a CRT on top sitting on the monitor shelf of my workstation furniture, and an Apple LCD sitting at desk level. The top of the LCD come just in front of the bottom of the CRT, and the screens line up beautifully). Screen rotation isn't the be-all solution, as there are other ways of skinning the same cat. Tim On Tuesday, August 19, 2003, at 07:28 PM, Robert Patterson Finale wrote: Many have answered this question quite well. It seems (in my defensive state before discovering ATI Radeon 9800 Pro VERSAVISION mumbo jumbo) I may have misinterpreted ignorance as skepticism in at least some cases, so sorry if so. Email is extremely bad at nuance. To help illustrate screen rotation, I've put up a couple of photos of my setup. Reducing it to a 3x5 72 dpi photo saps a great deal of its impact. You probably won't think these photos are at all x-rated. But for the interested... http://robertgpatterson.com/techtipsfaq.html#anchor#MPRT.5 One additional benefit of the monitor arms is that I can float the monitors in front of me without blocking access to the midi keyboard. I will admit that when the big 24 is in portrait mode, being able to see what I'm playing on the midi keyboard requires contortions. I could move the keyboard forward, but then I would have no writing area in front of me. ___ 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] Dead OS9 was: Finale 2004 for Mac...good news and bad news
-Original Message- From: Johannes Gebauer [mailto:[EMAIL PROTECTED] On Contemporary Hardware you cannot run OS 9 direct anyway. Actually, this is a false statement. A couple of models still for sale at the Apple store will boot OS9 directly. Furthermore, for a few more days yet, the vaunted G5's are still vapor and cannot be counted as contemporary. But this misses the point. Of *course* there will be no further OS9 updates. What matters is how many machines are out there running it where the users are still current on software. One of the big excuses for Macs being so much more expensive than equivalent Wintel boxes is that they last longer. My Macs have each been productive for about 5 years, whereas my Wintels have been productive for about 3. If we take 5 years as the limit for current machines, we still have productive hardware out there that was made in 1998. OS9 won't be dead until the preponderance of OS9-capable machines is either fully converted to OSX or dead. I see this as probably 2 years from now, since no machines before G4's run OSX very well. (Even my wife's 1st-gen G4 Tibook runs OSX at a crawl.) OS9 is hardly long dead. It won't even start being dead for at least 1-2 years. It is hardly a market that MM or any other vendor can ignore if they aren't forced to. Even audio-system vendors like MOTU and Digidesign are continuing to sell OS9-compatible versions of their software. Just because maintaining a dual-platform version of audio programs is impractical does not mean those vendors are ignoring OS9 yet. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Screen Rotation
I think rotation was built into XP for Tablets. But I didn't know it was in the general product. If so, it might add fire to Apple to do it for X. I used to think there was hope for X because I thought Apple would eventually do a tablet. But the lackluster market response to tablets (justifiable imho: too small for notebooks, too big for PDAs) leaves me without even that crumb of hope. Of course, a tablet with a large screen would be a horse of a different color. (Hope springs eternal.) -Original Message- From: John Hines [mailto:[EMAIL PROTECTED] My computer is capable of rotation configured as it was bought. I didn't have to add any software for this. Could it be this is a feature of XP?? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Screen Rotation
-Original Message- From: Brad Beyenhof [mailto:[EMAIL PROTECTED] What can you do (or see) with rotation that isn't possible otherwise? With my monitor in portrait orientation, I can view an entire orchestra score in scroll view at 85%. This is large enough to do a great many edits, even with my old eyes, especially with a razor-sharp LCD that is digitally attached. The experience is much more like working directly with manuscript paper. Indeed, I haven't worked this freely in many years. For smaller scores, I can view entire pages at 200%, or close to it, for highly detailed editing and preparation. If you're asking the question, you probably have not tried it. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Screen rotation?
For example, I'm on Mac and have a Mitsubishi 21 monitor (not flat panel) capable of up to 1024 X 768 rez. Does it apply to me? You absolutely can do a demo trial with a CRT. But you would not want to operate that way all the time because CRT's are not designed to operate on their sides. I got my first taste of screen rotation using the free demo of Pivot Pro on my Wintel machine that has a LaCie electron22blue CRT. A behemoth, but perfectly capable of being laid on its side. This was enough to convince me that the investment in 1) large LCD panel, 2) monitor arm, and 3) rotation software would have a huge payoff in productivity gains, esp. for the orch. score I was starting. Someone mentioned the new Samsung Syncmaster 213T. This is one of the sexiest (continuing the metaphor) displays I have ever seen. (I saw it at a local Best Buy or possibly CompUSA. I think they both carry it.) This a Finale user's dream display, and it is almost within range of a significant number of Finale users' budgets at $1300. Although it is not as large as my 240T, it is much more rotation friendly due to the positions of the switches and the size and shape of the bezel. There has been some skepticism expressed about the value of rotation, and it was only to these that I've ever directed the you haven't tried it comments. I believe that 1 year from now, when the 213T class of panels will likely be down well under $1000, you are gonna see many, many more people discovering screen rotation. And surely, by then OSX will be forced to have it. (Hope Springs Eternal, Part Deux.) ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Screen rotation for OSX is here today
Well, this is my day to be out of date. First, the G5's shipped and I didn't know it, and they shipped with...a screen rotation option. (DOH!!) Thanks to Darcy and encouraging me to look at ATI. The new G5's have the ATI Radeon 9800 Pro as an option, and that graphics card includes ATI's VERSAVISION which includes display rotation. MacNN has this article: http://www.macnn.com/news/20187 This is hardly as versatile as MacPortrait or Pivot Pro, in that it is tied to a specific graphics card, but it does mean I probably now can let go of OS9 when the time is right. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] What is screen rotation?
Many have answered this question quite well. It seems (in my defensive state before discovering ATI Radeon 9800 Pro VERSAVISION mumbo jumbo) I may have misinterpreted ignorance as skepticism in at least some cases, so sorry if so. Email is extremely bad at nuance. To help illustrate screen rotation, I've put up a couple of photos of my setup. Reducing it to a 3x5 72 dpi photo saps a great deal of its impact. You probably won't think these photos are at all x-rated. But for the interested... http://robertgpatterson.com/techtipsfaq.html#anchor#MPRT.5 One additional benefit of the monitor arms is that I can float the monitors in front of me without blocking access to the midi keyboard. I will admit that when the big 24 is in portrait mode, being able to see what I'm playing on the midi keyboard requires contortions. I could move the keyboard forward, but then I would have no writing area in front of me. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OS9 Alive? Finale 2004 for Mac...good news and bad news
Darcy James Argue wrote: Hey, don't blame me. Steve Jobs held a mock funeral for OS 9 over a year ago. He lives on Reality Distortion Planet, not this one. no sane developer is going to continue to invest in OS 9 On the contrary, most sane developers, like MakeMusic, are having it both ways and writing to Carbon. Those that are not, for the most part, have no legacy users or have highly complex apps (like audio) for which the duplication of effort is too great. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Dead OS9 was: Finale 2004 for Mac...good news and bad news
Johannes Gebauer wrote: OS 9 never had any MIDI support other than the old MIDI manager. Anything that went beyond this was 3rd party. Well, third party or not, the point is that the OSX solutions are not yet here. The fact that they were 3rd party seems completely superfluous to me, especially with respect to midi and printing, where Apple has unmistakably waived the third parties off. If they are gonna do that, they need to support everything the 3rd parties did, and until they do, OSX ain't ready. That's simply not true. Bias Peak and TC Works Spark Clearly our notions of major differ. I'll be honest: major for me means DP and Protools. Anyway, they are here, 6 months into the year. I just cite them as evidence that a responsible Apple woulda waited another 6-12 months before discontinuing OS9 booting. Com'on. What's screen rotation support got to do with any of this? The lack of screen rotation is actually the rich, meaty, heart of my beef with OSX. And it brings this message squarely back on-topic. Simply put, if you are a Finale user and you've never used screen rotation, it's like you've never had sex. The first time I looked at an orchestra score in screen rotation, it was near orgasmic. When I've shown it to other experienced Finale users, the catch in their breath is palpable. But you don't only need to be doing orchestra scores. I now won't do *any* page layout without it. With LCD monitors priced as they are now, screen rotation is available to more and more people. Much as I despise Micro$loth, if OSX does not have a screen rotation solution by the time I need my next computer, my next computer will be Wintel. I for one actually wish that MM abandon OS 9 sooner rather than later. I have seen several apps which suffered from being carbon. They are slow, sluggish, and compromised. I can't speak about your experiences with Bias Peak. I will be very surprised if a carbonized Finale suffers any of these issues. Carbon is not inherently slower than Cocoa. It is not an emulation layer. Almost all native OSX capabilities are available to Carbon, especially multi-processor computers, pre-emptive multitasking and the aqua interface and osx graphics. Your bad experience with Bias Peak could have been due to any number of factors. Furthermore, Finale is not a particularly compute-intensive app., so on contemporary hardware it wouldn't suffer much even if it were inefficient. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: Screen Rotation (was [Finale] Dead OS9)
RockyRoad wrote: Does this really matter on a 21 monitor running 1600x1200? It is precisely on monitors of this size where screen rotation really begins to kick in for Finale users. (FWIW, what gave me the rush was rotating a 24 LCD panel that is 1920x1200.) The reason is that you have enough horizontal resolution in portrait mode not to feel particularly constrained, and the 1600 (or higher) vertical dimension has to be experienced with a music score for its Finale power to be fully understood. Actually, I think the big payoffs begin with 1280x1024. If you have a 1280x1024 or larger screen (even a CRT) running Windows, you can get an idea what it's like by downloading the free Pivot Pro demo from portraitdisplays.com. With minimal effort you can rest a CRT on its side for a demo. (It may play havoc with the colors to rest it on its side, but it recovers when you set it back upright.) Look, I don't suggest you would always work with a monitor like this in portrait mode. Many programs (e.g., Protools) are much better in landscape. But Finale, esp. for orch. scores or any page layout, is a dream with a hi-res monitor in portrait. Both Pivot Pro (Win) and MacPortrait (OS9) allow you to switch as needed with a single keystroke. The tech tips on my website include a faq on how you can set up virtually any LCD panel, even ones from Apple, for screen rotation on demand. -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Extending 2ndary Beams
David Bailey asked why I would use the Extend 2ndary Beams option. (Why would you want to do that?: a question that, in computers, can lead to heads being bitten off.) The answer, of course, is for the many cases when one wants the behavior. The simplest example is 16th note, 16th rest, 16th note. In any case, I will share the workaround I thought up. It's fairly easy and works fairly well. The pattern is 16th note, 16th rest, 8th note. Simply hide the 16th rest and then insert a visible one in V2. Hiding the V1 rest removes the beam. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Extending 2ndary Beams
I routinely use the Extend Secondary Beams over Rests option, but it creates a most vexing problem. Consider the pattern 16th note, 16th rest, 8th note. If this falls withing a quarter beat, all three are beamed together. The problem is, the 16th beam extends all the way over the 16th rest. I can't figure out any way to shorten it, except by globall turning off the Extend Secondary Beams option. Does anyone know a way to do this for a particular place *without* turning off the global option? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] trill playback
I have been under the impression that TGTools will create trill playback, but now I can't find it. (I found tremolo playback and I found trill paren notes, but no trill playback.) Have I missed something? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Strategy for scores
I typically do the score doubling up parts on staves as needed. If there are solos or unisons, I use note-attached exps to denote them. I used to use meas-attached, but since Tobias introduced Smart Part Extraction I use note-attached because SPE works so well with them. To extract the parts, I first make a copy of the score. Before extracting anything I add cue notes as needed. Then I extract the parts in a two step process. I typically extract parts in an orch. piece one instrument section at a time. So, e.g., I extract the horns into a 4-part score. Then I run SPE on that. Once I am satisfied with the result, I extract these again into individual parts and do any necessary page layout. It sounds complicated but it actually goes fairly quickly. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] It's here -- Finale 2004!
John Howell wrote: once again, the marketing department seems determined to ignore the educational market that should be so important to them. The Mac version isn't shipping until October 20, much too late for any college I know of. I think I can state with fair certainty that the Oct. 20 shipping date for the Mac version is hardly a marketing-driven decision. Brow-beating MM about OSX compatibility seems a bit pointless now. It's been announced, and they're gonna come out with it exactly as fast they possibly can. They've even given us a date. What more can we ask for? ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: 2-Up Printing with Acrobat Reader
Dennis Bathory-Kitsz wrote: After setting booklet properties, go to the print dialog itself and set 'shrink to fit'. Aha. That's the option I don't want. Armed with this info I got it to work in OS9, and hopefully in OSX soon. (That is, I turned shrink to fit OFF!) Thanks very much. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] (no subject)
The statement is correct so long as you keep your current computer (actually optionally 2 of em) running as long as you live. But most people upgrade computers periodically, or have hard drive crashes, etc. When that happens, you'll have to get a new reg code, and that means MM has to be there and able to provide it. ric Dussault wrote: This is an excerpt from MakeMusic techsupport (Tyler Turner) read on MM's forum As we explained in the FAQ, we are including a mechanism in a maintenance release of Finale 2004 that will let you transfer the saving/printing from one computer to another without ever contacting MakeMusic. This means that YOU are completely in control of YOUR purchased copy of Finale. There is nothing that MakeMusic could do to prevent you from using Finale 2004 for as long as you live. Isn't that clear? I feel it is. ric ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: OSX Booklet printing (e.g., w/ Acrobat Reader)
It is a system-wide problem. That is, the current OSX Postscript driver does not include booklet printing the way that for OS9 did. However, Finale itself has built-in booklet printing that is (presumably) still available in Finale 2004 even when running under OSX, and it is far superior to that of the OS9 Postscript driver. The only time one needs the printer driver is when one needs to combine title pages from a word processor with music pages from Finale. Then Finale's booklet printing is mostly useless. BTW: Thanks to Davo van Puersen for suggesting I use Acrobat Reader 4 instead of 5. Acrobat Reader 4 does not have the font problem that 5 does. (Go figure.) Andrew Stiller wrote: I hope and pray you're talking about Acrobat here, and not a system-wide problem that would affect Finale? -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: OSX Booklet printing (e.g., w/ Acrobat Reader)
-Original Message- From: d. collins [mailto:[EMAIL PROTECTED] Clickbook works much better than Fineprint, in my opinion (and I've used both). Clikbook (which is the software I was thinking about when I started this post) does not work in OSX, according to the website. I never used it because early versions were specifically not compatible with Finale. A product that is close is Booklet Maker 1.1, but it hasn't been updated since 1997 and it works with .ps files rather than .pdf files. Too bad, though, because it could have been just the ticket if its author had maintained any interest in it. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Read Thesaurus (was: Ted Ross reprint)
It references the examples in specific editions of scores. This points up a (imho minor) flaw in the book. Usually the reference is to a page number and/or rehearsal mark. (Most of the referenced scores unfortunately have no printed measure numbers.) But even though I typically have different editions with different page numbers, a slight amount of persistence finds the reference with little trouble. -Original Message- From: Brad Beyenhof [mailto:[EMAIL PROTECTED] I'm not sure if I'm reading this properly... does the Thesaurus actually have the examples in it, or does it merely reference the examples' existence in specific editions of scores? -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] TAN: 2-Up Printing with Acrobat Reader
Is it possible to use Acrobat Reader 5 (Mac) to do 2-up printing similar to how Finale does it? I've managed to get the layout options kinda sorta to do it, but not w/o massive and unneccessary shrinkage. And I have no idea how to bookletize a document. Kinkos does this routinely, and I believe they use Acrobat Reader to do it, but I can't seem to figure it out. Any help would be appreciated. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 Copy Protection
Johannes Gebauer wrote: I very much doubt that this will make any difference to Finale sales, though. This is the point that burns me up. Finale 2003 was a terrible upgrade--perhaps the most useless we've ever seen. So it sold really badly. So some marketing genius decided this must be because users were copying it instead of buying it. So Finale 2004 had c.p. Now we get certainly the best upgrade since Finale 2000. It's gonna sell like wildfire, c.p. or no c.p. But the marketing genius who thought up c.p. is now gonna say how brilliant he was to add the c.p. Sheesh. I wish I could bring myself to be as sanguine about the future as Tobias and some others are. I certainly trust the current bunch at MM as much as he does. But no amount of putative legal protections could preserve us against bankruptcy or corporate death. Furthermore, I am deeply skeptical that the legal protections even exist, at least as they have been purported to. I imagine that corporate bankruptcies, mergers, and/or buyouts can be arranged so that all prior obligations to customers are simply wiped away. E.g., would it not be possible for, say, Sibelius to buy the rights to Finale source code w/o assuming any obligations to MM's customers? Then when MM died--and I can only imagine the latter in conjunction w/ the former--Sibelius would owe nobody nothin'. A real-life example of this is the possible buyout of Peoplesoft by Oracle. If this happens, most Peoplesoft customers assume they will be forced to switch to Oracle's competing product. I should mention that the animosity between Peoplesoft and Oracle is probably more virulent than that between Sib and Fin, so these what-if's are more than mere smoke blowing. And Johannes is very right about the level of commitment required from us. If we switch to Fin04, *we can't go back*!!! So, if (no, *when* because nothing is forever) MM sings its swan song, we will be fully committed with no fallback. And if this happens to be 12 months from now we'll all be screwed. But both Tobias and I can be somewhat cheerful about it, because in that hopefully unlikely scenario, either one or both of us could fairly easily write a program to downgrade the files. :-) -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] TAN: OSX Booklet printing (e.g., w/ Acrobat Reader)
This is a followup to yesterday's thread. It appears that booklet printing is only available in OS9. (This is yet another example of OSX not-ready-for-prime-time-ness.) In Google searches I've found many bitter complaints that booklet printing has (so far) been orphaned in OSX on a variety of printers, i.e., apparently all of them. If anyone knows of an OSX solution, I'd love to hear about it. (I wonder if using Acrobat 5 in Classic would work!) Meanwhile, even in OS9 it requires a complicated combination of confusing options to get it right. Booklet printing seems tailormade for a 3rd party solution, esp. in the world of PDFs. There used to be a bookletizing product on the market specifically for booklet printing. Does anyone remember what it was called? I haven't turned up anything with web searches. :-( -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Large Format Printers
The two choices I know about are from Xante (www.xante.com) and GCC Technologies (gcctech.com). Both offer printers on paper up to 13 x 35. Xante is running a rebate program that makes their 4G printer comparable in price to a GCC Tech Elite 21+. Either will set you back a bit more than $2k with shipping--the 4G somewhat more than the Elite. I don't know if this counts as economical. A few years ago it certainly would have. I recently got a Xante 4G and am fairly happy with it. I wish it did edge-to-edge, which GCC claims to, but it produces superb output and has media options that allow hotter printing for archival copies. The 4G also has a 2400x2400 option, but I can't see any difference between that and 1200x1200 for line art, esp. if you use the smoothing available in the printer driver. Furthermore 2400x2400 halves the print speed and eliminates the possibility of using the duplexer. It does vastly improve photo and grayscale output, however. In fact the 2400x2400 printout of photos is amazing. (But you don't need this for Finale.) If you can live inside 13x18.5, you could consider the Xante 4N. With the rebate it is considerably less than an Elite 21. Brian Williams wrote: can anyone recommend a (hopefully economically priced) monochrome laser printer that can connect to a Mac network via Ethernet, and -- most importantly -- can handle cut sheets of 80lb stock measuring 12.5 x 19? -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Finale 2004 Copy Protection
If the copy protection scheme were merely a challenge/response where I had to supply a registration number every time I installed, I would be completely comfortable with it. Legitimate users *are*, however, penalized by the scheme that Finale 2004 employs, because it makes our continued use of Finale 2004 dependent upon the continued existence of Coda (or Make Music or whatever the Name o' the Year is) and also their continued willingness to provide reg codes for Finale 2004. Going on about 12 years, I still occasionally fire up Finale 2.6.3. I recently discovered it still runs in Classic. This will be the 4th computer (in sequence) on which I've run 2.6.3. I'm wondering if 2.6.3 had had a reg scheme like that in Fin04, would I have been able to register it? Would MM (now into about as many ownership changes as I've had computer changes) still have the willingness or expertise to do so? In some other cases of software I've owned equally old, the company isn't even around to authorize it any more. I'm accepting MM's decision because I have no choice other than pass on the excellent set of new features. But that doesn't mean I am not penalized or inconvenienced. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Read Thesaurus (was: Ted Ross reprint)
If I didn't already have a copy of the Thesaurus, I would be happy to pay the asking price of $100, ridiculous though it is. I have found the Thesaurus to be one of the most useful books on my shelf. For those who haven't seen it, it is basically an index of all the special orchestration techniques in about 200 std. rep. scores from c. 1840-1940. I recently used it to find about a dozen examples of harp tremulos in scores in my library. I've also used it to find complex string divisi and numerous other techniques. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: OSX Booklet printing (e.g., w/ Acrobat Reader)
-Original Message- From: Éric Dussault [mailto:[EMAIL PROTECTED] http://www.dynagram.com/html/en_solu_ds.htm At $12000, I think I'll pass. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] rotating text
My experience has been that the rotated characters are rotated. What Andrew described also happens on my machine, but only while I'm dragging the smart shape into position. If I re-display the page after dragging, the characters show in the new orientation. It has been awhile since I printed a file using this feature, but my recollection is that the characters printed rotated. Andrew Stiller wrote: FinMac 2K2. Any idea how I can rotate a line of text so that the characters as well as the line of text are rotated? The smartshape tool seems to rotate only the line of text, leaving the characters oriented in the original direction. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Feature request (#12 in a series)
I do this kind of thing now with lyrics. Assuming the hyphenation of lyrics worked the way we all wish it would when jumping to a new system, wouldn't that be sufficient? Noel Stoutenburg wrote: To whom it may concern: If not implemented in FIN 2k4, one thing I would like to see in 2k5 is smart hyphens as part of the smart shape tool, on the one hand, or as part of the text expression tool, on the other. I'd like to define, as an example, the word rall-en-tan-do mol-to as a smart line, and assign it to the score. At minimum length, the line would read rallentando molto but it could be stretched, and when stretched would display as rall - - - en - - - tan - - - domol - - - to. with the number of hyphens adjusted as necessary. ns ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] OT: Harp plectra
Mahler occasionally called for the harp to be played with a plectrum (mediator). In all the passages I've seen, these were single notes or smallish rolled chords in a single hand. Does anyone know a reason why this effect could not be produced two-fisted? That is, with a plectrum in each hand? ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Fried FireWire ports
-Original Message- From: John Croft [mailto:[EMAIL PROTECTED] There's a rather in-depth article at http://www.wiebetech.com/pressreleases/FireWirePortFailures.htm -- worth reading if you use FireWire. It seems like this article provides as good an answer as you are likely to get to the question. From section 5.2.1: The author believes that Apple has been implementing the technique in all recent and currently shipping Apple computers. Suppression of ESD and over/under voltage is a primary method of reducing or eliminating port failure and must be implemented on the host computer to be effective. And from section 6.2: Older computers may not have FireWire port protection built into them. This appears to place them at higher risk of failure. Recently manufactured computers are likely to have enhanced port protection. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] OT: faces revealed
For the curious among you, Jari Williamsson, Tobias Giesen, and I did a joint seminar at a composers school in Sweden last month. The event was documented with photos that you can find here: http://www.centreforcomposers.org/photos2.htm Choose the Events-Concerts and Seminars-Seminars menu item. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: faces revealed
Hanna Hartman was demonstrating the sound of yogurt being squished with a toilet plunger. If that answer leads to yet more questions, it is possible you may find other answers at http://www.hannahartman.de or http://http://www.kryptonale.de/hanna.htm -Original Message- From: Richard Huggins [mailto:[EMAIL PROTECTED] Sent: Thursday, June 19, 2003 09:56 PM To: 'Finale List' Subject: Re: [Finale] OT: faces revealed Excuse me for saying so, but one picture of Hanna Hartman was worth any three of you guys! (:) (What was she doing?) --Richard From: Robert Patterson Finale [EMAIL PROTECTED] For the curious among you, Jari Williamsson, Tobias Giesen, and I did a joint seminar at a composers school in Sweden last month. The event was documented with photos that you can find here: http://www.centreforcomposers.org/photos2.htm Choose the Events-Concerts and Seminars-Seminars menu item. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Classic MIDI on new macs
A colleague of mine is trying to get MIDI working under classic. While he hasn't succeeded yet, we are assuming he will by following the procedures outlined at the Finale website. However, the kicker is that the procedure requires the MIDI setup for Classic to be configured under OS9. The whole reason we are doing this is that he wants to replace all his computers with new iMacs. These do not allow booting in OS9, so it seems there is no way to follow the steps on the Finale page for these computers. Does anyone know of any alternatives? One that occurs to me is to set up, e.g., OMS on a computer that does boot OS9 and then copy the prefs files over to the target OSX-only computer (given identical MIDI setups of course). Has anyone tried this? ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Classic MIDI on new macs
Don't feel too sorry. He didn't spend a whole lot of time on it till he got his new MIDI interface, which is the Roland UM-2. This model is specifically identified on the Finale website as one that works in Classic, whereas his old interface (the MOTU Fastlane USB) is specifically identified as one that does *not* work in Classic. Now he is beginning again. -Original Message- From: Darcy James Argue [mailto:[EMAIL PROTECTED] Sent: Thursday, June 12, 2003 07:56 PM To: [EMAIL PROTECTED] Subject: Re: [Finale] Classic MIDI on new macs On Thursday, June 12, 2003, at 02:17 PM, Robert Patterson Finale wrote: A colleague of mine is trying to get MIDI working under classic. While he hasn't succeeded yet, we are assuming he will by following the procedures outlined at the Finale website. Still? Ach, I feel for the guy. However, the kicker is that the procedure requires the MIDI setup for Classic to be configured under OS9. The whole reason we are doing this is that he wants to replace all his computers with new iMacs. These do not allow booting in OS9, so it seems there is no way to follow the steps on the Finale page for these computers. Does anyone know of any alternatives? One that occurs to me is to set up, e.g., OMS on a computer that does boot OS9 and then copy the prefs files over to the target OSX-only computer (given identical MIDI setups of course). Has anyone tried this? You should not have to boot in OS 9 to configure OMS. I didn't, and it worked for me. In fact, it may even be *better* to configure OMS from Classic. Copying the prefs may work, I don't know. I suppose it's worth a shot, at least. What MIDI interface is he using? - Darcy - [EMAIL PROTECTED] Boston MA No one likes us I don't know why We may not be perfect But heaven knows we try But all around, even our old friends put us down Let's drop the Big One and see what happens - Randy Newman, Political Science ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: OT: was Re: [Finale] Doubling for Pops Orchestra Wind Players)
Curiously, our orchestra almost always plays Mahler with opposing violin sections, and when we do it is for the whole concert. But we almost never do it for anything else. -Original Message- From: Andrew Stiller [mailto:[EMAIL PROTECTED] Of course, I also think all orchl. music before Mahler shd. be played with the violin sections sitting opposite each other, and nobody listens to me on that score either (if you'll pardon the expression). ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
