Re: [Finale] EPS support (and other things)
As a long time user of Finale (since 1.0) I have to register my EXTREME disappointment and displeasure that EPS export for the new Mac 2004 is delayed again. Many of us long-time and professional users (and teachers who introduce our students to Finale) rely on EPS export. For me (as all of the above), the disappointment is crushing. It has caused me to dramatically change my working style while keeping things with current projects on hold while I wait AND WAIT for EPS. I upgraded to 2004 when it was announced, and did so in good faith, expecting first that you would meet your release deadline (you missed two), and then that you would be good to your word that EPS export would follow in an update (we're up to two upgrades now without an EPS fix). This, along with substantial speed problems (especially with smart shapes and special tools), and glitches in the way smart slurs are drawn when accommodating staccati, and crashes when applying articulations too quickly -- all of this has me reconsidering my relationship with Finale. For the first 16 years of my being a Mac-Finale user, there have been no real options. Now there are. I would hate to have to switch to Sibelius. I am not alone in saying that I am considering this now for the first time. All of this is a crying shame, since, in many ways, Finale 2004 is the best version of Finale yet produced. I do like using it, generally speaking -- but every time I have to work around one of the program shortcomings I mentioned above, especially when these workarounds cost me time, I feel cheated by you. Finale 2004 for Mac feels and acts like a beta version. PLEASE GET THESE THINGS FIXED AS SOON AS YOU CAN. It is clearly in Finale's long-term survival interest that you address these issues NOW. David Froom Underwritten by Giovanni Andreani - Italy, your registered customer since Finale 2001 for Mac Éric Dussault - Canada, registered since FinWin 97 and Mac since 2001 Hans Swinnen - Belgium, reg since FinMac 1.0 Jon Kristinn Cortez - Iceland, registred since FinMac 2.0.6 Tim Thompson - Florida, registered since FinMac 3.0 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] No keyboard PANIC
Have you checked the USB/MidiThru switch on the interface? I have a lab where the interfaces hang underneath the keyboards (motu fastlanes), and sometimes that little switch gets kicked, and it takes a while for someone to figure out what happened! Tim On Feb 27, 2004, at 8:20 PM, Crystal Premo wrote: I am running Fin 2002b on a MAC OSX, but in the OS9 mode. Ever since I set this up last summer, I have not had the slightest problem. However, today I turned the system on and Finale is not receiving input from the MIDI keyboard. Nothing has changed: MIDI cables are plugged in to the MIDIMAN, everything is plugged into the back of the computer, and no household beasts have chewed through any cords. I haven't changed the configuration in any way. I was just trying to input a series of rests to create places for chords (this is a very simple chart for a singer to give, apparently, a pianist who must already know this piece: Infatuation - Christina Aguilera. This whole MIDI configuration gave me a big pain when I bought this new system, and I'm at a loss as to how to fix it now. I have checked the MIDI setup, and can see no reason why it should have stopped receiving data. Please help me, Obiwans. Crystal Premo [EMAIL PROTECTED] _ Store more e-mails with MSN Hotmail Extra Storage 4 plans to choose from! http://click.atdmt.com/AVE/go/onm00200362ave/direct/01/ ___ 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] Chord Entry
Sure--Chord Tool, Chord Menu, choose 1-staff or 2-staff analysis. If your score is one part per staff, then you will have to implode first. I don't know how accurate it would be--I'm sure it depends on the degree of correlation between the harmonies in the piece and the contents of your chord library. Tim On Feb 9, 2004, at 1:10 PM, George Ports wrote: Isn't there a way to have fin2004 tell you the names of chords by annalyzing a four part vocal score? I thought I read it somewhere and now I can't find it. I'm using winXP. Thanks for any help. George Ports ___ 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] Custom Keyboard Shortcuts in OS X
Okay, I found the rub. For the custom shortcuts to work in FinMac04, they must include the command key. Otherwise, they don't work, as reported by others. Tim On Jan 28, 2004, at 7:06 AM, Éric Dussault wrote: On 28/01/04 01:26, Darcy James Argue [EMAIL PROTECTED] wrote: I see the F5 next to the Mass Edit item in the Tool menu, and I see the Tool menu flash when I press the F5 key, but the tool does not change to Mass Edit. It's the same with all of the keyboard shortcuts I have attempted to program in Finale. Also, I notice now that everything I programmed last time has now disappeared. Not that they were working in the first place, but perhaps this mysterious disappearance has something to do with why they aren't working? - Darcy Exact same thing for me, exept that the shortcuts are still there in the menus. Éric Dussault ___ 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] Is the same Sfp and Sfzp?
On Jan 28, 2004, at 3:33 PM, Darcy James Argue wrote: Also, Johannes said it makes a difference to string players whether it's sfp or fp. Maybe he could elaborate on what that difference is? I'm still not exactly clear what the audible distinction is between all of the markings under discussion (sfz, sfp, sfzp, fp), versus a plain old wedge accent (). For instance, if you had a long note with an accent () and an fp indication below, how is that different from sfp or sfzp? As others have pointed out, whatever the various conventions, taken literally, sforzando, ( or sforzato), or variant is an accent: forcing (forced). I would normally take it as meaning accented in relation to the surrounding attacks. While fp on a single note is equivalent in the thinking of most people as a sudden change of dynamic from a louder attack to a softer sustain, sfp (or sfzp--really, with this kind of modern combination, how can anyone argue for a difference with or without the z?) would indicate an especially strong attack, accented in relation to the previous attacks, with a change to piano after the attack. Indeed, sf, sfz, or sfzp could exist in within a passage that is otherwise marked p. In the case of [psfp], the accent might not rise to the level of forte in terms of relative dynamic (as fp would), but would just be an accent, with a reminder to the performer to return to piano. BTW, I prefer sf-p for clarity. Tim ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac 04 Simple Entry annoyances, and Keyboard Shortcuts
I was looking forward to working with the new Simple Entry method, but it is so painfully slow, that I didn't last too long. I was back to Speedy. On the issue of Panther programmable keyboard shortcuts, I had no trouble getting any custom mappings for menu items working with FinMac04 and X.3.1. I tried several submenus, including changing layers, selecting any particular Special Tool or Smart Shape without first selecting the tool, Speedy commands such as add dot, flip tie, etc., selection of chord style. In short, any menu command that is in any active menu or submenu. The menu heading flashes, and the result is as it should be if making a menu selection. So, it should work... ??? I'm not sure if I am doing anything differently. I can't remember exactly what it was that had no effect, even though the menu heading flashed. Tim On Jan 28, 2004, at 12:08 AM, Lon Price wrote: I'm finding Simple Entry in FinMac 04 really annoying. Keyboard shortcuts have been changed completely, and certain behavior is radically different. 1) When a note is entered it stays active until the next note is entered. This means that when I change the cursor to the note value of the next note to be entered, the note I just entered gets changed to the new value! 2) Old behavior: I enter a B natural in the key of F using the natural sign in the Simple Entry palette. I then enter a Bb on the same line or space, simply by deselecting the natural sign in the palette. In FinMac 04 this is no longer the case. If I want a Bb after entering a B natural, I have to select the flat in the palette. I find both of these new features extremely annoying. I've been using Finale for nearly four years, using Simple Entry as my primary method of entering notes. I know that many others prefer Speedy, but Simple works for me, especially since it has been drastically improved over the last couple of years. But I feel that Coda blew it this time by over-improving something that was working fine for me. Lon * Lon Price, Los Angeles [EMAIL PROTECTED] http://hometown.aol.com/txstnr/ ___ 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 Mac 2004 here - no go
Did you try reinstalling (or updating) the driver for your MIDI interface? I have had to reinstall mine from M-Audio a couple of times... Tim On Jan 26, 2004, at 12:39 PM, JD wrote: on 1/25/04 10:25 PM, Earl Price at [EMAIL PROTECTED] wrote: --- JD [EMAIL PROTECTED] wrote: I got Finale installed, using Jaguar 10.2.8 on a G4, dual 1.25 ghz with 1.5 gigs of RAM. I am using an MTPII as my midi interface and have the correct driver and plugin from Griffin dutifully installed and OS X sees it an seemingly recognizes it. But no MIDI whatsoever. The MTP recognizes my KX88 as the input device since the input LED does flash whenever I play the KB, but I can't get MIDI flowing to any device created in Audio MIDI setup. I have a similar setup, using a MTP (original) with a Stealth serial port on my G4. I had a problem getting MIDI to work initially because I didn't have the correct speed set for my MIDI interface (the MTP). It was defaulted to 1MHz, but I have my MTP set to Fast 1X. After I corrected this setting MIDI worked fine. Hope this helps, Lon Lon Price, Los Angeles Thanks for that Lon. But, alas, still no go. What's so curious is that MIDI signal is received from the KX88 but nothing gets piped out to sound modules. I have it set up right now with only a K2500R on and set up. MIDI works fine with OS. Let the migration to OS X cease, I guess. I really don't have the time for this crap. I AM thankful I got a dual boot machine last Nov. *** J.D. Thomas ThomaStudios West Linn OR http://www.thomastudios.com [EMAIL PROTECTED] *** Top sign an SUV is too damn big: The fuel gauge doubles as a fan. ___ 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 for Mac OSX delivered
I just tried it, and submenus work as well--I only tried one deep. You can remove any default mappings and add any you like. The trick is that you have to not have the app running when you create the shortcut. In the menu item name field, you type the menu item's name exactly as it appears in the menu, but not the path to it. I imagine that this would cause some problems when there are multiple menu items in an app with the same name under different menus, as in Safari--Open in Tabs. I can't imagine that will be an issue in Finale. BTW, another thing I am pleased to have stumbled across in Panther (was perhaps previously in X?) is Full Keyboard Control--a la Windows allowing tabbing through all elements of dialogs, switching states of buttons and check boxes, etc. from the keyboard. Tim On Jan 22, 2004, at 11:25 PM, Éric Dussault wrote: On 22/01/04 22:08, Tim Thompson [EMAIL PROTECTED] wrote: Please correct me if I am missing something here-- Do you need QuickKeys to access menu items, when 10.3 has that functionality? I don't know QuickKeys, but perhaps it is because a greater variety of key mappings are possible? But I wanted to mention it in case you weren't aware that 10.3 allows for user key mapping of any menu item in any application. It is in the keyboard preferences. I look forward to having more keyboard shortcuts for tool selections! No. I had read some things about it but nothing more. Nice. But how do you access sub-menus or things like the layer 1 ??? Submenu item? . It seem to be useful for a lot of very simple things but I would like to hear more in detail how and what I could achieve with it in Finale. Thanks Éric Dussault ___ 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 for Mac OSX delivered
I can't confirm specifically, because I don't have 2k4 yet (should arrive today), but the behavior with other apps demonstrates that it should work. Tim On Jan 23, 2004, at 12:19 PM, Johannes Gebauer wrote: On 23.01.2004 16:54 Uhr, Tim Thompson wrote I just tried it, and submenus work as well--I only tried one deep. You can remove any default mappings and add any you like. The trick is that you have to not have the app running when you create the shortcut. Can you confirm that this works also with Speedy keys like the one for grace note etc? These don't work on German keyboards, and I would love a way to change them. In 2k3 this didn't work. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale for Mac OSX delivered
No ideas. Will have to play with it some more. Let us know if you get it to work, and I will do the same. Tim On Jan 23, 2004, at 8:50 PM, Éric Dussault wrote: From: Éric Dussault [EMAIL PROTECTED] Date: Fri, 23 Jan 2004 20:50:02 -0500 To: Tim Thompson [EMAIL PROTECTED] Subject: Re: [Finale] Finale for Mac OSX delivered On 23/01/04 10:54, Tim Thompson [EMAIL PROTECTED] wrote: I just tried it, and submenus work as well--I only tried one deep. You can remove any default mappings and add any you like. The trick is that you have to not have the app running when you create the shortcut. In the menu item name field, you type the menu item's name exactly as it appears in the menu, but not the path to it. I imagine that this would cause some problems when there are multiple menu items in an app with the same name under different menus, as in Safari--Open in Tabs. I can't imagine that will be an issue in Finale. BTW, another thing I am pleased to have stumbled across in Panther (was perhaps previously in X?) is Full Keyboard Control--a la Windows allowing tabbing through all elements of dialogs, switching states of buttons and check boxes, etc. from the keyboard. Tim I made some tests and the Layer switching with F1, F2, F3 and F4 keys is programmed and I can see it in Finale menu that it replaces the old shortcuts. When I apply it I can see the View menu highlighting but it doesn't change the layer in reality. Maybe it doesn't matter if Finale is open or not, as long as you restart Finale to actualize the changes. I did the same with the tools to add ctrl-? That are not available in Finale. They all seem to be active, as I can see the menu highlight when I invoke them but no effect on the tools. It sounds great and promising if only it could work! Any ideas? Éric ___ 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 for Mac OSX delivered
Please correct me if I am missing something here-- Do you need QuickKeys to access menu items, when 10.3 has that functionality? I don't know QuickKeys, but perhaps it is because a greater variety of key mappings are possible? But I wanted to mention it in case you weren't aware that 10.3 allows for user key mapping of any menu item in any application. It is in the keyboard preferences. I look forward to having more keyboard shortcuts for tool selections! Tim On Jan 22, 2004, at 4:08 PM, Éric Dussault wrote: On 22/01/04 15:38, Johannes Gebauer [EMAIL PROTECTED] wrote: Are you running Fin2k4 in OS X yet? If so, how is the general speed feeling for you? Johannes I know the question wasn't aimed at me, but I do run Fin2k4 in OS 10.3.2 , with my G4 400 MHz, 512 MB of ram, and it runs a bit slower than Fin 2k3a in classic. I notice the difference especially in the redraw when I navigate through the score. I already have had more crashes in Fin 2k4 than ever with any other app in OS X, especially when Finale decides to run the automatic save at the moment I'm trying to open a score. It then freezes and I must force quit Finale. Anyone experiencing that? My other concern is with Quickeys. Menu items don't work and I need these so badly to program all my shortcuts to speed up my work. Has anyone some experience with Quickeys X and Finale 2k4? Anyway, for the moment it is impossible to work with 2k4 (no eps export), so I just make some testing, updating my default file to get the expressions to be placed correctly automatically and so on. Éric Dussault ___ 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] 9x12 printing problems in OS X
Right, the Page Format for Score... sets the default, but the changes made with the menu command in the Page Layout menu actually makes the change for existing or selected pages. Brad, have you contacted HP or MM about this? I would be interested to know the result. Haven't got my 2k4 yet, but it is in transit!! Tim On Jan 22, 2004, at 7:43 PM, Brad Beyenhof wrote: It is my understanding that Page Format for Score or Page Format for Parts only applies to *new pages* (i.e. if a four-page score spills onto a fifth page, it will default to the Page Format for Score/Parts). I did have it set in Page Size (from Page Layout) and the Page Setup. - Brad Beyenhof [EMAIL PROTECTED] On Thursday, January 22, 2004, at 04:16 PM, David H. Bailey wrote: Aren't there THREE places you have to set the paper size? In the page layout menu, in the printer selection dialog, and also in the Page Size For Score or Page Size For Parts, if I remember correctly (I usually use the default 8.5x11.) Brad Beyenhof wrote: I have an HP LaserJet 4MV, and I can't figure out how to get it to print properly on 9x12 (Concert) paper. I tried editing the Custom Paper Size settings in Page Setup, and selected my new Concert paper size. However, it prints very oddly, with approximately an extra inch of margin on the left and an extra 3-3.5 inches on the bottom, cutting off the top and right of the page. I can be semi-content with choosing US Legal in Page Setup and sending the paper through the printer slightly off-center (by 5/8 an inch, as I did in OS 9) to achieve the desired result, but I was hoping that in OS X I wouldn't have to perform this workaround. Does anyone have an idea how I might be able to do this more easily? Has anyone succeeded in printing on 9x12 paper from OS X? I'm using TCP/IP printing. - Brad Beyenhof [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
[Finale]
The irony of this is almost too much to bear. Those of you who haven't pre-ordered 2004 may be interested in this. From the website for the product (http://www.troikatronix.com/midibridge9x.html): MidiBridge9X is an emulator for OMS that allows applications running under Classic in MacOS X to communicate with CoreMidi devices. Because there are numerous applications out there that will never be ported to MacOS X, MidiBridge revitalizes an entire world of MacOS 9/OMS legacy applications. This product is currently in beta testing. Compatible Applications The MidiBridge9X beta has been tested with the following applications: Band-in-a-Box 8.0 Finale 2003 SoundDiver 3.0 SoundDiver JV/XP v2.0 (OEM version of Sound Diver for JV-1010) Nightingale 4.5 Our users have tried it with Reason 2.5 Cheers, Tim ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sound fonts and Mac
There is a nice freeware from Pete Yandell called SimpleSynth. You can access patches from any soundfonts or DLS files found on your system, and it has a virtual input mode. Launch it, and any app using CoreMidi will see it and add it to the list of midi outputs. An easy way to access DLS files and soundfonts, that the software might not otherwise access. Also a great way to audition banks. You can easily scroll through all the Apple DLS banks and patches and audition them, or any other DLS or soundfont. A quote from the download page: A simple soft synth for Mac OS X that takes input from a connected MIDI device and can play instruments from Soundfonts and DLS files including Apple's default General MIDI sound set. Small but powerful! http://pete.yandell.com/software/ Tim On Jan 17, 2004, at 12:29 PM, Harold Owen wrote: At 10:04 AM -0500 1/17/04, David H. Bailey wrote: http://www.personalcopy.com/home.htm has some very nice (huge, but nice) soundfonts that have good string sounds as well as good woodwind and brass sounds. The soundfonts on that site are all free. Dear Listers, I know that sound fonts can be used in the PC world with sound cards such as Sound Blaster Live!. How do we of the Mac world make use of sound fonts? How does FinMac 2004 make use of its new on-board sound font? Will it be possible to use alternate specialized sound fonts (such as pipe organ samples from specific organs) with FinMac 2004? I have been writing a good deal of organ music lately and at present I have to use patches like recorder, ocarina, and pan flute instead of the ugly organ sounds available from the Roland set. I know that I could buy a sound module with better available sounds. I'm wondering if there are any software applications that would allow for use of specialized sound fonts. TIA for any information you may have. Hal -- Harold Owen 2830 Emerald St., Eugene, OR 97403 mailto:[EMAIL PROTECTED] Visit my web site at: http://uoregon.edu/~hjowen FAX: (509) 461-3608 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Scroll View Guides?
Yes, I use them when necessary. Hopefully a lot less with self-aligning expressions. They are pretty useful, and are tied to page positions, rather than staff or system-related positions. That makes it a bit of a pain when different pages have different staff positions, but they are easily added, deleted, and moved. I use them most often to align expressions on a horizontal guide, but use vertical guides from time to time, especially when making theory worksheets. I agree that staff-positioned guides would be nice, and especially if they were available in scroll view. Tim On Jan 17, 2004, at 11:37 AM, Robert Patterson wrote: I was recently made aware of the Guides function. Even though it has been around for a long time I had never examined it before. What is mysterious is the apparent absence of guides in scroll view. In scroll view is where I see them as particularly useful. Have I missed something? -- Robert Patterson http://RobertGPatterson.com ___ 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] Reducing the size of time signatures, clefs,
Neat trick! Thanks. Tim On Jan 15, 2004, at 10:03 AM, Michael Cook wrote: TGTools has a function for making space at the beginning of a measure. You can also make the space manually by fiddling with beat charts, but this is not much fun if you have a lot of notes in the measure. But here is a trick I just thought of to make Finale leave enough space for reduced-size time signatures. The only limitation of this method is that it involves transforming one of the abbreviated time signatures into an invisible time signature, so you are forced to use 4/4 instead of C (or 2/2 instead of the C with a line through it, as you wish). First the preparation: - In Document Options - Time Signatures, enter a non-breaking space for the symbol for abbreviated common time. - De-select the check box next to abbreviate common time, so that all normal occurrences of common time will show up as 4/4. Now here's what you do at the point where you wish to make a hidden time signature change with white space to accommodate the new, reduced-size time signature: - DON'T use the measure tool to hide the time signature, use the Time signature tool. - In the Time Signature dialog, check more choices. - Check Use a different Time Signature for Display, enter Common time for the display time signature and check the Abbreviate box. I just tried this out: the non-breaking space left enough room to put in a time signature at 75%. Best wishes, Michael Cook At 12:39 -0500 13/01/2004, [EMAIL PROTECTED] wrote: Thanks to all, in particular Michael Cook for you help. If I could induldge the list for one final detail. I have been able to reduce the size of selected time signatures by creating an ossia measure (attached to a nearby blank measure in the score). All of the elements are absent from the ossia measure (even the staff) except for the time signature (which I have reduced in size to 75%). I drag the (ossia )time signature into the measure where I want it and there it is! However when I use the measure tool to delete the default time signature in the destination bar, all of the notes in that bar re-position themselves evenly througout,thus taking up the space left by the hidden (default) time signature, even when I specify that there should be no change in note positioning when I hide the (default) time signature. Are there any suggestions on how to stop the notes from migrating into the space left by the hidden time signature? Thanks for your help and sorry for the long explanation. This list is a wonderful resource. George Boziwick ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Expose (was Aaargh... More delays)
Yes, it is a clever UI feature made possible by Quartz. AND it is quite useful. Everyone seems to be surprised by its functionality once they actually use it and realize some of the handy things you can do with it, especially combined with drag and drop. The original statement on this was that this type of feature is not yet implemented in Windows, and will most certainly be in the next major Windows version. I would clarify that the reason for this is that Microsoft appears to be working toward a display system similar to Quartz, and will then be able to take advantage of that by adding this type of GUI functionality, among other things. But now, it is impossible. With Expose tiling, the windows actually *scale* down, so each window still shows its full contents. A user can continue to keep an eye on a video playing in one window, say watching for an edit point, while watching to see if a web download is finished, and at the same time dragging a file from one Finder window to another, or to an email, or other application. Of course, there are already umpteen ways to do things, but this one is one of those many features of Panther that falls under the category of really nice touch. Like being able to open and save MS Word files with Text Edit, or the view by thread implementation in Mail, etc. Many of these features are so well thought out and implemented, that it is difficult to describe how nice it is until you have used it for a while. Tim On Dec 18, 2003, at 3:36 AM, Mark D Lew wrote: On Wednesday, December 17, 2003, at 04:26 AM, Phil Daley wrote: This is not about hiding windows or arranging windows, it's about _finding_ windows. I never lose them, must be a Mac thing. Not a Mac thing. I'm on Mac, and I too cannot visualize why I should be so excited about Exposé. I'm on Mac OS 10.2 (relatively recently), and I can easily find any window by right-clicking the application on the Dock and then choosing the window from the popup menu. I don't see why that's any harder than taking the mouse to a hot spot and then selecting from among the mini-windows. I'm not sure what is meant by losing one's windows. Do you not know what you've got open? If you've forgotten that it exists, how do you know to look for it? Maybe some day it will make sense to me, as Johannes suggests. In the meantime it's just one more clever UI feature to add to the pile. OS X already has umpteen different ways to do things. So long as I can find the one I like (and I already have), I don't care if there's one more. I wonder if this isn't like our recurring Speedy-vs-Simple discussion. mdl ___ 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] Multiple Win OS on a system
Also, MS some time ago purchased Virtual PC from Connectix, and is aiming the technology at this kind of need. The user can use an older version of Windows in emulation on top of a newer version to run legacy software, and to ease the system upgrade process. Tim On Dec 19, 2003, at 1:46 PM, Phil Daley wrote: I don't know if people have found this as a problem, but, if you have to run multiple versions of Finale on the same system, you may have had problems when you upgraded your OS. I know some people are running old versions of Finale because of old file formats. There is a really cool program out, VMWARE. You can install multiple OS version into separate folders. Then you can run them, as many as you want, at the same time. Say, Finale 2.0 doesn't run very well on Win2000. You can install Win95 in a separate folder and run it independently in a new window from the current OS. You can also run Linux (shudder) although I can't think of any good reason to. http://www.vmware.com/ Phil Daley AutoDesk http://www.conknet.com/~p_daley ___ 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] Multiple Win OS on a system
Yes, Apple includes their own X11 system on one of the CDs that come with 10.3. It can also be downloaded from Apple, and will run on earlier versions of OS X (I don't remember how far back--perhaps only 10.2). I have only used it to run Open Office, and it works just fine. The only problem I have had so far is that it isn't too smart about my monitor setup, and I haven't tried to tweak that yet. It centers in between my two monitor. Not a big deal though. Tim On Dec 19, 2003, at 2:12 PM, Philip Aker wrote: On Friday, December 19, 2003, at 10:46 AM, Phil Daley wrote: You can also run Linux (shudder) although I can't think of any good reason to. I haven't tried it myself, but MacOS X 10.3 comes with an optional install for XWindows and extra stuff to support Linux apps (or at least make them easy to port). I'm looking forward to trying a few after the new year. But why would you shudder anyway? I mean it IS the official OS of China... :-) Philip Aker http://www.aker.ca ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Multiple Win OS on a system
Sorry, I haven't spent much time with it--just tried the word processor. It is pretty fully loaded with features. There must be folks on the list who use some form of Open Office. I downloaded it to give it a try, and haven't really taken it through any paces yet. It does word processing, spreadsheet, presentation, and drawing. It comes with templates and autopilot (like wizards in MS Office). Okay--I just opened it, I guess for the first time since I installed Panther and updated X11 from the Panther disks, and there is a problem. I cannot grab and move the widows, or resize them. Looks like a bug in the X11 system. Oh well--fix later! Tim On Dec 19, 2003, at 4:16 PM, Philip Aker wrote: On Friday, December 19, 2003, at 11:36 AM, Tim Thompson wrote: Yes, Apple includes their own X11 system on one of the CDs that come with 10.3. ... I have only used it to run Open Office, and it works just fine. I haven't tried it. But if you feel like it, I believe there are several of us who would appreciate a quick overview of features. Like how does it do as a PageMaker (document assembly), can it export EPS, cool fonts, graphics tools?, etc. Philip Aker http://www.aker.ca ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Aaargh... More delays
You could say that about this assessment, and be correct, maybe two years ago. Most other companies finished the migration well over a year ago, and even Quark, purported to be the last major manufacturer of Mac software to complete the migration, got there several months ago. We are now in the fourth version of OS X. I am not emotional about it, but extremely disappointed. It makes it difficult to manage academic labs when a key piece of software has no firm development timetable. We are all trying to make the migration, so we are not left out in the cold in other areas, and have been for two years now. It is not true that it works fine in Classic. It just doesn't. Playback is not reliable no matter how you do it, and it is certainly unacceptable for a university lab situation. We have been hearing these arguments for 3 years now. For most software companies, 3+ years is more than enough time to develop for a new platform. Let us see if it takes them 3 years to come out with a Longhorn-compliant version after the OS has been made available to the public. I should hope not. The most upsetting issue was that it was promised in Summer of 2003, after the disappointment of not having it in 2002. Now it will be at least 2004, and maybe later. Who knows at this point? In the meantime, have any of you checked out NoteAbilityPro? It is a pretty nice package. I downloaded the demo, and haven't played with it much. It looks like something to use instead of Finale in some cases--custom notation, electro-acoustic, etc. There appears to be integration tools for GUIDO, CSound, and Max. I look forward to playing with it. It can use any of the fonts that Finale uses, but does not appear to be as refined as Finale in precision of measurements and spacing algorithms. For instance, distance between staves is measured in number of ledger lines. That said, it looks very promising, especially for composers. Tim On Dec 12, 2003, at 2:42 PM, JD wrote: Finally. An intelligent, well-worded, well thought out, and non-emotional view of the situation. *** J.D. Thomas ThomaStudios West Linn OR http://www.thomastudios.com [EMAIL PROTECTED] *** on 12/12/03 10:56 AM, Brian Williams at [EMAIL PROTECTED] wrote: Here are some probable reasons why the migration to OSX has been harder for MakeMusic to develop than the Windows upgrade: 1) Finale was first released as a Macintosh-only program in 1989. Successive upgrades to the very first version left a lot of legacy code in place -- dusty corners that had to be cleaned out in order to be Carbon-compatible. In other words, vast chunks of the code probably had to be re-written from scratch, which is a major undertaking. In Finale 2003, they laid some groundwork by redesigning dialog boxes and windows to be Aqua-compatible. 2) Not only are the developers having to troubleshoot and debug interactions between functions within Finale (when you fix one bug, another problem often pops up somewhere else), they are having to troubleshoot interactions between the application and an entirely new OS. This wasn't something they had to do with the Windows upgrade. 3) MakeMusic realizes that they would be shooting themselves in the foot by releasing a buggy, unreliable program simply in order to make a promised release date. I'm sure that if it was only the fluff that was holding it up they would ditch the offending new features in a New York minute and include them in a maintenance update. I suspect that the holdup has much more to do with making sure the program is as speedy and bug-free as possible under *normal* use. In the meantime, use 2003 in Classic. It works pretty well (except for internal speaker playback). Brian Williams ___ 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] Panther keyboard shortcuts
There was some discussion earlier about Panther's feature that lets the user do his own key bindings for menu commands. Couple that with a selection of shareware apps that can launch scripts from a keyboard command, and things get a little better. I just saw a new simple-but-elegant shareware program advertised for US$15, called AliasKeys. It can be found at http://www.widemann.net/aliaskeys/index.html. It is appears to be able to assign a key combination to an icon for launching things (including scripts of course), is fully unicode-aware and can be used with any international keyboard and localized system version. Tim ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Aaargh... More delays
I can't imagine that the soundfonts and save as audio would be the holdup--it seems like that kind of thing is very easy in OS X. I wonder if Panther somehow threw it off...? In any case, can there be any doubt that this migration wasn't ever well planned? Tim On Dec 11, 2003, at 4:16 PM, Eric Dannewitz wrote: Makes me wonder if they are going to make it as a company. Seriously, missing 2 ship dates... I could do without the soundfonts or whatever they are called. And the making of audio CDs. I just want the program to run and do music and MIDI in OS X. I hope there is COAL in all the Makemusic stockings this year ;-) Brad Beyenhof wrote: Just got this in an email: ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Mac OS X 10.3
Brad, 10.3 is really nice. All of the apps have added touches that I keep discovering. I really like the Finder improvements. Fast user switching is really nice too. And it all looks considerably more refined. It is already worth the price in dozens of ways, and I still have much to discover. In fact, I haven't even played with the application keyboard shortcut customization. I just looked at it, and it is very simple, and looks as though it is only for menu commands. Below is text from the page in the help file: Keyboard shortcuts allow you to quickly perform tasks by pressing keys on the keyboard. You can assign your own keyboard shortcuts to perform menu commands in any Mac OS X application or in the Finder. This may be useful if, for example, one of the global shortcuts, which works the same in most applications, is used by one application for a different purpose. In this case, you can assign it a different key combination. 1. Quit the application for which you want to add or change a keyboard shortcut. The shortcut will not be added if the application is running when you create the new shortcut. 2. Choose Apple menu System Preferences and click Keyboard Mouse. Then click Keyboard Shortcuts. 3. Click the Add (+) button. 4. Choose an application from the Application pop-up menu. If you want to set the same key combination for a menu command that appears in many applications, choose All Applications. If you want to set a shortcut for the Finder, choose Finder at the top of the list. If the application you want to select does not appear in the list, choose Other and locate the application using the Open dialog. 5. Type the menu command for which you want to set a keyboard shortcut in the Menu Title field. Tip: You must type the command exactly as it appears in the application menu, including ellipses and any other punctuation. (An ellipsis is a special character that looks like three periods. To type an ellipsis, you can use the Character Palette. For more information, search Mac Help for Typing special characters. It may be difficult to tell whether the command is written in the menu with a real ellipsis or with three periods, so if one does not work, try the other.) 6. Click in the Keyboard Shortcut field and press the key combination that you want to assign to the menu command, and then click Add. Tip: You cannot use each type of key (for example, a letter key) more than once in a key combination. 7. To remove a customized shortcut, click the Delete (-) button. When you restart the application, the new shortcut appears in the application's menu. If you want to go back to the default application shortcuts, click Restore Defaults. This returns all the keyboard shortcuts to their original key combinations. On Dec 11, 2003, at 7:44 PM, Brad Beyenhof wrote: To those that have now had OS X 10.3 running for a while: how is it? Is it everything you had hoped? What are the drawbacks (if you can think of any)? Has anybody tried out the OS-level keyboard shortcut feature? How QuicKeys-like is that? Are you still required to use the command key in every single shortcut? I know that that's a lot of questions... I'd welcome any response about this new OS version, though. Is it worth the upgrade? - Brad Beyenhof [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] 5 days till OS X?
I try not to think about it... ;-) Tim On Dec 10, 2003, at 2:47 PM, Eric Dannewitz wrote: So, anyone know if Finale 2004 for Mac is going to actually go out on the 15th? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Urgent MAC MIDI Interface Help Needed
So long as you can dual-boot, then I would not try to run Finale in Classic, but having booted in 9.2. Then any interface that has 9 drivers will work, and as long as the same interface has X drivers, then you can use it in X as well. Just avoid the classic mess altogether. M-Audio is very good about keeping up to date with drivers, as is MOTU. You can't go wrong with either one. They are inexpensive, and work well. Alternatively, you might look into a keyboard with a direct USB connection. You might want to check the extensions manager in 9 to make sure all of the necessary extensions for the interface are checked to load. I always make a separate extension set for using classic that has many third party extensions (especially MIDI) unchecked. They can sometimes cause problems with running classic. You also might try reinstalling the OS 9 drivers for the interface *while booted in 9*. Good luck! Tim On Nov 22, 2003, at 10:44 AM, Thurletta Brown-Gavins wrote: I think there may have been a recent discussion of this, but when I went to the web site to peruse the archives, I had no luck. I am an organist/choir director and need help fast as Advent/Christmas is staring me in the face and I *need* to be able to use my keyboard and Finale! I just got a new dual-boot G4 Mac and had hoped to use a KeySpan twin Serial/USB adapter to get my old Altech MIDIFace LX to communicate with Finale 2002 and my Yamaha PSR-79 keyboard (interface worked with PM 7600 w/Sonnet G4 card), but no go on the new machine. (On the PM 7600 using OS 9.1, the Altech MIDIFace LX worked perfectly with Finale and the keyboard hooked through an Interex switch box hooked into the modem serial port.) I returned the KeySpan serial/USB adapter after reading that it will not work. Google searches resulted in all sorts of endorsements for the M-AUDIO MIDISPORT 1x1 as being the *only* adapter that will work with Classic. Altech seems to have disappeared from the face of the earth, so before I order anything, I thought I'd check with you to see what you are using for your MIDI music. I located the MIDI Sport 1x1 at a reseller's site, but I couldn't find it at the M-AUDIO site which led me to wonder if they are discontinuing it. I want to buy something now that will work in OS 9.2 (which I'm living in now) with a definite upgrade path for drivers to allow it to work in 10.3 and higher. I read with interest a user's comments about using his UM2, but I don't know what brand or how expensive that is. The new G4 has OS 9.2 and OS 10.3. IT DOES HAVE AN INTERNAL MODEM AND THAT MAY HAVE CAUSED SOME OF THE PROBLEM. I could get the Keyspan to play a note (not a chord) on the keyboard with FreeMIDI, but if I hit a note on the keyboard, there was nothing. My Finale 2002 runs only in Classic and I can't afford to get 2004 when it comes out...yet there is hope for future years. I really purchased the dual-boot to be able to stay current without having to buy all new X software, which I can't afford now. (By the way, an Adaptec PowerDomain 2930 and AsanteTalk Ethernet Bridge have allowed me to use my legacy Apple Personal LaserWriter, SCSI ZIP 100 drive, and UMAX SCSI scanner! And, believe it or not, Word 5.1a, PhotoShop 3.0.5, and MYOB 4 work perfectly in 9.2!) Anyway, any recommendations from Mac users in this list on reasonably priced USB MIDI interfaces that you KNOW works with 9.2 and 10.3 on a dual-boot G4 Mac with an internal modem would be greatly appreciated. Thanks in advance for any help you can provide as soon as possible. Thurletta M. Brown-Gavins ___ 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] Pan staves
Brad, Thanks for the info. I haven't got 2k4 yet, because I use it on mac. I suppose that a program could support 16-bit resolution on any controller, but I have never before heard of anyone implementing it for pan data. Very interesting. Tim On Sunday, October 26, 2003, at 09:58 AM, Brad Beyenhof wrote: Tim: After a bit of Web research, I'm still not exactly sure why. Apparently, applications themselves can choose their own MIDI resolution settings (from ppq to pan), and Finale uses a 16-bit Controller resolution. I'm not completely sure... But *this* is really weird. I found that the MIDI Tool (in order for any MIDI Tool edits to be heard in Fin2004, one must turn Human Playback off) scales Pan from 0 to 127 (7-bit) and Expression Playback scales from -32768 to 32767 (16-bit). To check this on your machine, enter an expression and set its pan value to . Go back in to edit it, and its value has been decreased to its maximum, 32767. The same thing happens when you enter a large negative number, showing a minimum value of -32768. Weird... However, thanks for the MIDI Tool suggestion. I've never used it much in the past, and now (as long as a smooth scale between two values is what is wanted), Executable Shapes and that madness can be averted. - Brad Beyenhof [EMAIL PROTECTED] On Saturday, October 25, 2003 5:48 PM, Tim Thompson queried: I am pretty sure that the MIDI spec allows for a range of 0-127 for controller 10, with 0 being hard left, 127 being hard right, and 64 being center. How are you able to use that range? On Friday, October 24, 2003, at 09:16 AM, Brad Beyenhof wrote: On Friday, October 24, 2003 5:43 AM, [EMAIL PROTECTED] asked: Is it possible to pan staves to left or right in midi playback? Yes, it is. You have to use an expression, and use the Playback options. Set the Type to Controller, and then choose 10 : Pan in the drop-down list. Values can go from 32767 (full right) to -32767 (full left). If you want a gradual shift, use an Executable Shape. ___ 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] new MOTU Fastlane driver
Since there has recently been discussion about using USB MIDI interfaces with OS X, I wanted to pass this along to the list, quoted from a recently posted page about Panther compatibility on MOTU's website. MOTU has also updated the MOTU USB MIDI driver to Version 1.2.1. This update (not related to - or required for - Panther) significantly improves the performance of the MOTU FastLane-USB 2-input/2-output MIDI interface under Mac OS X Version 10.2 or later. This update is highly recommended for all FastLane-USB users who are running Mac OS X. (quotation from http://www.motu.com) This might help some of you who are trying to get the Fastlane to work with Finale in Classic mode. Tim ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] soft synth/sequencer?
Not anything exactly like that, but in terms of really easy to use sequencers, I would look at Intuem for OS X, and MOTU's Freestyle, which is still back in the OS 9 dark ages. In terms of sounds, sound fonts are easy to get, and easy to use in OS X. Of course, there are so many software synths out there, but if you're just looking for a select few good sounds, then you might be best off searching for sound fonts. Tim On Tuesday, October 21, 2003, at 11:37 PM, Bonnie Harris wrote: Anybody know of an inexpensive Mac software synth/sequencer I could use with kids? I've used an old program called CyberSound Studio since OS 8,1997, but it won't work on a G5, no matter how hard I try. (worked fine with OS 9.1, but not in classic) I've used it so long because the interface is simple enough for even 2nd and 3rd graders to use, I can import MIDI files of lesson materials, and it will do things like change tempos, track volumes and instrument sounds for practice, plus allow them to record their own practicing and creations. The sounds are surprisingly good for the price I paid, which was around $60. Unfortunately the software company is long out of business, and I've never found a replacement nearly as useful. It's really the only reason I mourn OS9. Any ideas? Thanks, Bonnie ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] midi interfaces
Don't forget that you have to have both OS 9 and OS X drivers installed. Are you using OMS or FreeMIDI? Have you done a MIDI setup that includes the interface in 9? Finale will look to the OMS of FM setup for the interface and your I/O gear, but the computer will need the OS X driver in order to recognize the interface in the first place. Even after all of that, it is still a really tricky thing. You will just have to have infinite patience for the next couple of months. I will only reboot in 9 if I plan to use any MIDI I/O with Finale. If I am just making a test or something where I don't have to use MIDI I/O, I will start classic with an extension set that does not include any MIDI drivers, and go from there. Tim On Monday, October 20, 2003, at 03:17 PM, [EMAIL PROTECTED] wrote: In a message dated 10/20/03 12:11:59 PM, [EMAIL PROTECTED] writes: I don't know about the Roland interfaces, but I use a Midiman Midisport 4x4 and a MOTU Fastlane 2x2 and they work fine. thanks for the reply - i also have a motu fastlane 2 x 2, but it doesn't seem to be working with the g4 on a finale document in the classic mode operating system - the technician at coda said the drivers are incompatible - are you able to work with finale on a g4 power book with osx using classic mode etc? my computer is about a week old, perhaps the newness of it has something to do with it? thanks - michael [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] Herbie Hancock interview
That's what I was thinking... Tim On Saturday, October 18, 2003, at 05:20 PM, Richard Huggins wrote: Luckily for this list, I can translate Herbie's statement. What he said was: ...Sibelius does for me the things I need done. You know, half notes, quarter notes, even eighth notes-- complex stuff like that. So I switched! --Richard From: Tim Thompson [EMAIL PROTECTED] Date: Sat, 18 Oct 2003 13:43:44 -0400 To: [EMAIL PROTECTED] Subject: [Finale] Herbie Hancock interview Are all your music programs OS X now? Yeah, you know the program Finale. Well in a couple of months they will have their OS X version finally. Well, you know I switched to Sibelius. I said to heck with Finale, Sibelius works pretty much as well as Finale. So I switched (laughs!) ___ 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] Please have a look
On Saturday, October 18, 2003, at 06:37 AM, Mr. Liudas Motekaitis wrote: Regarding spacing, people have mentioned that you can tinker with the options regarding spacing before and after the music at barlines. In such a piece as the one here, I would have gone a different route: in the unmetered sections I would set Finale to one measure for each line (hiding the time sigs) and then your spacing would require much less tedious tweaking. This, of course, would only be possible if you have planned your layout in advance. I would take this approach as well. One more observation to add to those by others: the arpeggiando lines are too tightly positioned to the chords, accidentals, clefs, etc. For these, make sure you have avoid collision of articulations checked in the music spacing options. Place the marks far enough left of the chord and accidentals (just far enough that does not appear to be up against a note or accidental), and then respace the music. I think you got what you asked for, and with the advice of those on the list who are involved with preparing scores for publication (not me normally), you have some good tools to proceed with. The approach that many people take is to look at the commercial publications you admire, and use Finale and the available fonts and plugins to emulate the look of various scores as appropriate. If you have an eye for detail, and know how to take advantage of the flexibility of Finale, then you will be fine. Tim ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MacFin 2004 - UK?
Seconded. Tim On Thursday, October 16, 2003, at 04:58 AM, Philip Aker wrote: Secondly, how *do* you go about installing Finale into Classic? Must I boot into OS9 and then continue as normal... Yes. And stay there for Finale until the combo is Finale2004/OS X. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac 2004 delayed
You're joking, right? Unfortunately, I know you are not. I just did my pre-order this morning. Disappointing, yes. But I would not have expected it, given how long we have waited to this point, and given that the Windows release was on schedule. If it's any later, then we'll be another full semester behind moving our labs to OS X (now moving to the FOURTH major release!!!) Thanks for the heads-up. Sincerely, Frustrated in Palm Beach On Wednesday, October 15, 2003, at 12:13 PM, Darcy James Argue wrote: I presume everyone's got the news by now? Disappointing, but not entirely unexpected. Hopefully, this means that there will be no issues with Panther 10.3 compatibility, and that all the major third-party plugins will be ready to go as soon as it ships. Dear Valued Macintosh® User, Thank you for your Finale® 2004 pre-order. Providing you the highest quality notation software experience is our top priority. We have determined that in order to deliver on this promise, the announced release date must be delayed. We now expect to ship Finale 2004 for Macintosh OS X no earlier than December 15, 2003 . We recognize that this delay will disappoint you. Please accept our sincere apologies. In order to minimize the delay, and to respond to the strong demand for OSX, the first version released will only run on Macintosh OS X. A version that runs on OS X and OS 9 will follow shortly thereafter. We too are disappointed that the projected date has slipped, but as we move into the final stages of testing, we remain confident that you will be delighted with the end result. Finale 2004 for Windows is selling at a record-breaking pace and users are delighted with its many improvements, including Human Playback, SmartMusic sounds, the ability to create your own CD and improved Simple Note Entry. As always, we welcome your comments and encouragement. Email us at [EMAIL PROTECTED] or phone us at 1-800-843-2066. We assure you that, as before, if you ordered by credit card your card will not be billed until the product ships. All pre-orders will receive a free Finale t-shirt. In appreciation of your continued patience, and to say sorry for the disappointment, we will waive the standard domestic* shipping and handling fees on your upgrade order. In order to help us best meet your needs, please select from the following options: Ship me Finale 2004 for Macintosh OS X as soon as possible (expected not before December 15, 2003) with free standard domestic shipping and handling.* Wait to ship me Finale 2004 for Macintosh OS X and OS 9 with free standard domestic shipping and handling.* Cancel my pre-order at this time. If we do not hear from you we will ship you Finale 2004 for Macintosh OS X as soon as it is available. Our independent Macintosh beta testers have repeatedly stated that this is the biggest Finale upgrade in years. We're sure that you will agree. Visit www.finalemusic.com over the coming days for updates and sneak previews of the Macintosh interface as well as feedback from Windows users. Rest assured that Macintosh OS X is nearly here. Sincerely, Jeffrey K. McGuire VP of Marketing Sales 800-843-2066 [EMAIL PROTECTED] *Continental United States only. All other shipping locations and express shipments will receive an $8.95 credit against applicable charges. - Darcy - [EMAIL PROTECTED] Brooklyn NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac 2004 delayed
Agreed... but MOTU has yet to release Performer and Freestyle for X! More aarghs all around! Tim On Wednesday, October 15, 2003, at 01:18 PM, Eric Dannewitz wrote: They really should consider giving people another $20 off for keeping their preorders active. I mean, it's another 2 months AT LEAST. No Earlier Than DECEMBER 15,2003. Meaning, it could be December 15th, or could be Feb 15th 2004. Oh Coda, you have really dropped the ball...and people were complaining that MOTU's Digital Performer wasn't OS X...and it finally is. Darcy James Argue wrote: I presume everyone's got the news by now? Disappointing, but not entirely unexpected. Hopefully, this means that there will be no issues with Panther 10.3 compatibility, and that all the major third-party plugins will be ready to go as soon as it ships. Dear Valued Macintosh® User, Thank you for your Finale® 2004 pre-order. Providing you the highest quality notation software experience is our top priority. We have determined that in order to deliver on this promise, the announced release date must be delayed. We now expect to ship Finale 2004 for Macintosh OS X no earlier than December 15, 2003 . We recognize that this delay will disappoint you. Please accept our sincere apologies. In order to minimize the delay, and to respond to the strong demand for OSX, the first version released will only run on Macintosh OS X. A version that runs on OS X and OS 9 will follow shortly thereafter. We too are disappointed that the projected date has slipped, but as we move into the final stages of testing, we remain confident that you will be delighted with the end result. Finale 2004 for Windows is selling at a record-breaking pace and users are delighted with its many improvements, including Human Playback, SmartMusic sounds, the ability to create your own CD and improved Simple Note Entry. As always, we welcome your comments and encouragement. Email us at [EMAIL PROTECTED] or phone us at 1-800-843-2066. We assure you that, as before, if you ordered by credit card your card will not be billed until the product ships. All pre-orders will receive a free Finale t-shirt. In appreciation of your continued patience, and to say sorry for the disappointment, we will waive the standard domestic* shipping and handling fees on your upgrade order. In order to help us best meet your needs, please select from the following options: Ship me Finale 2004 for Macintosh OS X as soon as possible (expected not before December 15, 2003) with free standard domestic shipping and handling.* Wait to ship me Finale 2004 for Macintosh OS X and OS 9 with free standard domestic shipping and handling.* Cancel my pre-order at this time. If we do not hear from you we will ship you Finale 2004 for Macintosh OS X as soon as it is available. Our independent Macintosh beta testers have repeatedly stated that this is the biggest Finale upgrade in years. We're sure that you will agree. Visit www.finalemusic.com over the coming days for updates and sneak previews of the Macintosh interface as well as feedback from Windows users. Rest assured that Macintosh OS X is nearly here. Sincerely, Jeffrey K. McGuire VP of Marketing Sales 800-843-2066 [EMAIL PROTECTED] *Continental United States only. All other shipping locations and express shipments will receive an $8.95 credit against applicable charges. - Darcy - [EMAIL PROTECTED] Brooklyn NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] EPS and PS
Please, no!! I use .ps output in a variety of situations. Just because it doesn't work properly for all people in all situations is not a reason to do away with it! Tim On Sunday, October 12, 2003, at 11:57 PM, Richard Yates wrote: Hi MakeMusic, I have used Finale since about version 2.0. I have published books with it and participated in beta testing. I have sent suggestions and bug reports and promoted Finale in all discussions of scoring software. I use it every day and am grateful for your continuing development of this excellent prodeuct. Today my publisher, who uses a Mac, could not use my Fin2004 files since the Mac version is not out yet. No problem, she said, just send me EPS files. Well, as you know, Finale has not been able to correctly export PS and EPS files for many years, if ever. It is simply appalling that you have not fixed this yet. I no longer can even hope that you ever will. That said, why don't you at least remove the EPS options from the file menu and graphics export menu. Their presence there is an embarassment and a continuing indictment of your tolerance of a low standard in this area. 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] Remapping the F1 key (win)
Sometimes I don't pay attention to the actual numbers of the F keys, and assign them in groups. They are grouped in fours on most keyboards, so any group of 4 can be the four layers. Are you giving up the ability to use the F keys for tool selection? I find that built-in mapping on WinFin highly useful. Tim On Monday, October 13, 2003, at 10:19 AM, Fisher, Allen wrote: Nope. This is a system-wide key for firing up context sensitive help (hit F1 in any other program and chances are pretty good you'll get help, too). F6 and F10 are also reserved, but I don't think are used nearly as wide-spread as F1. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Sunday, October 12, 2003 10:52 AM To: [EMAIL PROTECTED] Subject: [Finale] Remapping the F1 key (win) Hi, I'm using TGtools to remap certain keys, and my favorite is the ability to make F1=layer 1, F2=layer 2, etc. Sometimes -- about half the time -- F1 gives me a Finale help screen in addition to moving to layer 1. Any way to disable that? Thanks! - Ken ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: [Olist] Why Are Artists Poor? (book review--long)
Very good! I have a colleague who teaches commercial music type courses (improvisation, songwriting, etc), and he often has students who just think they can wing it and be a successful musician. He says to them: What if you were undergoing brain surgery, and the surgeon walks in and says to you 'I never really studied brain surgery, but I'm pretty good at winging it!' I realize this is a far-fetched analogy, but it speaks to the perceptions of people concerning what it takes to be a professional in any field versus becoming an effective artist. Tim On Monday, October 13, 2003, at 05:14 PM, David H. Bailey wrote: Architecture, interestingly is the one art where most people can't just up and say I think I'll be an architect today and find any clients or design and build any buildings on a whim. To find work as an architect requires rigorous technical training and certification processes before one can hang one's shingle out. For that reason, architecture falls into a very gray art area, in my opinion (and that may be why it is left out of the book) where it isn't pure art and where clients come to the artist rather than the artist creating for the sake of it in hopes of finding a buyer. Even portrait artists aren't in the same category as architects in this regard. Anybody can call themselves portrait artist with no technical training while nobody can call themselves architect without technical training. PBS runs shows on how to be many different types of artists (even down to a supposed anybody can play piano worthless piece of infomercial!) but the one field they don't have such a show on is how to be an architect. Maybe that's why all the architects I've ever known earn much more money than I do, with only one or two other artist-types earning anywhere near those salaries. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
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
[Finale] Twilight Zone
HELP!! I am drowning in a sea of re-sent emails!! I am getting several a minute from mid August, and everything from the last couple of days comes at least twice. A header shows that my provider (.Mac) is getting the email from unxmail.shsu.edu today, even though the origination time might be months ago. And I remember all of these emails. I thought I had just been suffering from a lot of deja vu lately, but now I am really in the twilight zone!! Is this happening to others? I sent a request to the list help request box. Tim ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[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] mac2k3 problem with non-transposing chord symbols
I never noticed this before, but I would consider it a flaw in the way finale works, unless I am missing something. Before I start emailing feature requests to MM, perhaps some of you can help. I did a quick jazz arrangement for alto sax, tenor sax, trumpet, and rhythm. The tune is Black Narcissus. and I decided to go without key signatures because it is so all over the place. The problem came when copying the chord symbols from the rhythm part to the horn parts--the symbols didn't transpose. They only transposed when I changed the staff transpositions to key signature transpositions. Am I missing something? Tim ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Try again--non-transposing chords
I never noticed this before, but I would consider it a flaw in the way finale works, unless I am missing something. Before I start emailing feature requests to MM, perhaps some of you can help. I did a quick jazz arrangement for alto sax, tenor sax, trumpet, and rhythm. The tune is Black Narcissus. and I decided to go without key signatures because it is so all over the place. The problem came when copying the chord symbols from the rhythm part to the horn parts--the symbols didn't transpose. They only transposed when I changed the staff transpositions to key signature transpositions. Am I missing something? ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] non-transposing chords MacFin2k3
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Re: [Finale] TAN: Extension ranges on ... Bass Clarinet
On Tuesday, September 30, 2003, at 09:20 AM, Dennis Bathory-Kitsz wrote: To return to the ledger lines question: I use the clear-at-three-feet rule, based on my aging vision. Good rule. I haven't quite hit 40 yet, and I'm sure that when I do, I will have a new appreciation for that! On the senza misura question, I know from personal experience that many performers want to know exactly when to play, and don't do well with approximate rhythmic notation. But as soon as one makes the notation more specific, then the freeness is hopelessly lost. Tim ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Extension ranges on ... Bass Clarinet
Based on anecdotal evidence, I would agree with this theory (in most cases). Tim On Tuesday, September 30, 2003, at 09:52 AM, Daniel Dorff wrote: I've heard some editors point out that the piano keyboard looks the same in each octave and requires the same eye/hand coordination patterns in any octave, whereas wind and string instruments are fingered differently in the highest registers compared to below. A flutist associates high high C above the 5th line with a certain fingering and seeing that note up there sets up automatic muscle memory in fingers and embouchure that isn't true for the visual experience of the C on the 2nd ledger line. This kinetic reaction to notation can carry over to general registers/octaves of the piano but not to fingering and perhaps tone production. So if this theory is valid, and I believe it is, then it makes most sense to always write for flute without 8va signs, but to sometimes use them for piano. It sounds like Dennis's colleagues would agree with this. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Staff tool
Did you look at the staff style definition box? Check to make sure that the alternate notation box is checked, and that the slash notation is selected as the alternate notation. If that is all right, you will want to go to Document Options Alternate Notation, and make sure the correct character is assigned to slash notation. Tim On Tuesday, September 30, 2003, at 03:47 PM, Mike wrote: Hi! Yes it is the same layer. This is how it looks like and it's the same when choosing define staff styles in staff menu. Mike -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of David H. Bailey Sent: den 30 september 2003 12:05 To: Mike Cc: [EMAIL PROTECTED] Subject: Re: [Finale] Staff tool Are you sure you are applying the staff style to the correct layer? Mike wrote: Hi! Question 1: I'm trying to get slash notation by choosing, staff tool, select one bar, right klick and choose slash notation. I got a line that says slash notation but I still have my notes where they were before. No slash notation. All other notations works fine. How come I can't see the slash notations. 2: How do I do if I wants three quarter notes in one bar to be slashed, not the whole bar? Mike.. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale Slash.jpg___ 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] what did I do wrong?
I'll jump in. At some point, Finale automatically checked the beaming, and rebeamed to the meter. (Look at speedy options, etc). Yes, you can set the beaming for the meter. In the change meter dialog, click the composite button, check the box for using EDU's, and enter the following values for the 5/8: 11 1536 1024 and for the 7/8, add another 1 over 1024. This is the same idea as choosing 2 dotted quarter notes for 6/8, as opposed to 6 eighth notes, and will give you the desired beaming results. Alternatively, you can use Mass Edit to select a region, and specify the beaming to follow the rules of a meter that is not the one in effect. Tim On Sunday, September 28, 2003, at 06:54 PM, Daniel Dorff wrote: Help? I've just entered a passage of changing meters, mostly 5/8 and 7/8, using WinFin2003a, using Simple Entry to get the notes in. All the 5/8 and 7/8 was displayed with individual flags, so I used the / stroke in Speedy to group all the beams properly, and it worked fine, and the extracted part came out fine too. Later I did some revising, including adding beats and bars here and there. At some point after that I noticed all the 5 and 7 bars were individually flagged again. Two questions: Can I tell Finale 2003a that in this document, or a range of measures, all 5/8 should be grouped 3+2 and all 7/8 should be grouped 3+2+2? If not, that's a good feature to look forward too. If I can't set this for a document or passage, I wonder why the beaming was forgotten after revisions? Dynamics and articulation stayed intact. Thanks for any advice! ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Extension ranges on ... Bass Clarinet
I was rehearsing a piece today on tenor sax with a pianist. My part went up to C (5 lines above), and I don't have to think too hard about that, as I am only reading one line, but the pianist was constantly asking what's that note? His part frequently had 6 ledger lines on both ends, and only used 8va signs when the top note on the piano was called for! But another pianist I work with prefers it that way--she hates excessive use of 8va signs. And a violinist I have helped with some scale books only wants to see ledger lines all the way up--no 8va at all. He says it is confusing! Tim On Monday, September 29, 2003, at 08:31 PM, Brad Beyenhof wrote: On Monday, September 29, 2003, at 05:01 PM, Daniel Dorff wrote: The reasons why I brought up the other options are that I do see them on music put in front of me, and that clarinetists aren't used to as many ledger lines below as tubists, which is why they should get used to seeing them. But (we) clarinetists are very used to seeing the E down there... a notated C is only one space more. I don't play bass clarinet (not usually, anyway, and I've never used one with a low C), but I can't imagine that any decently proficient player would have any trouble at all. I'm agreeing with you, don't get me wrong... I'm just wondering why anybody would do anything *but* notate it in treble clef transposed at the 9th. The four ledger lines used in such a case are a far cry from the plethora of lines that piccolo and flute players are accustomed to reading... why go easy on some players but not others? - Brad Beyenhof [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] Staff style
1. Go into the definition dialog for Slash style and make sure settings are correct. Maybe they got messed with at some point. 2. Under the edit menu, click on select partial measures, then select the three beats that you wish to convert to slash notation, and apply the staff style. On Sunday, September 28, 2003, at 01:06 PM, Mike wrote: Hi! Question 1: Im trying to get slash notation by choosing, staff tool, select one bar, right klick and choose slash notation. I got a line that says slash notation but I still have my notes where they were before. No slash notation. All other notations works fine. How come I cant see the slash notations. 2: How do I do if I wants three quarter notes in one bar to be slashed, not the whole bar? Mike.. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Extension ranges on Barry Sax and Bass Clarinet
The university bands that I know of in the US have low C bass clarinets. In an orchestra situation, I would write for it, and perhaps cue it in bsn or contra bsn in case it is not available. Tim ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MIDI bass sax
Perhaps a protocol that is not serial for starters. And higher resolution is something to look forward to. With the proliferation of high-bandwidth data transfer protocols, I wouldn't much doubt that the industry will move to either a reworked MIDI or some other standard before 2030. But whether or not the industry moves to a different standard or not, there are and will be other protocols available that seek to improve on MIDI 1.0. MIDI 1.0 is extremely functional, but it can certainly be improved on. Tim On Sunday, September 21, 2003, at 06:49 AM, David H. Bailey wrote: Do you have any concept of what might replace MIDI? Javier Ruiz wrote: As Hal suggested, that will work, but be sure that the bass sax part has its own instrument defined (using or not the same MIDI channel of the other sax parts), otherwise you will end up with all the sax parts transposed one octave down. [Maybe that silly behaviour will be fixed in Finale 2030 when MIDI is extinct and buried.] Saludos, Javier Ruiz. Herman: You can set the transposition as Klaus has suggested, or you could leave the transposition as you have it and put a blank note-attached expression at the beginning and set the MIDI transposition to -12. Hal Anyone know how to get an accurate playback of a bass sax part without writing it an octave lower? Herman ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: lyrics discussion [LONG] (was Re: BUG fix / FIN 2k5 Feature Request)
With monospaced fonts, there aren't true en-dashes and em-dashes, and option-hyphen makes a hyphen, while shift-option-hyphen makes a double-length hyphen. In proportionally-spaced fonts however, then option-hyphen is indeed mapped to a true en-dash, while shift-option-hyphen is mapped to a true em-dash. Tim On Friday, September 19, 2003, at 11:52 AM, Fiskum, Steve wrote: This is news to me. Actually I have talked with several typesetters that are baffled by your statement. So could you please give us an example of one of the numerous fonts (preferably Adobe fonts)? My en-dashes are then length of an n as it should be and are not identical in appearance to the hyphen. What am I missing? Thank you, Steve Fiskum From: Andrew Stiller Sent: Friday, September 19, 2003 10:17 AM The majority of Mac fonts have no true en-dash. Rather, the en-dash character (option-hyphen) is identical in appearance to the hyphen and is in fact a hard hyphen. If you need hard hyphens in a piece, just choose a font with no true en-dash. They are numerous! ___ 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] New MIDI interface
I would probably go with a new interface, because drivers will be available and updated for the newer USB interfaces. The biggest suppliers are MOTU and Midiman (M-Audio). Both have a variety to choose from, and keep drivers up to date pretty well. Tim On Friday, September 19, 2003, at 04:27 PM, Al Graves wrote: I am in the process of purchasing a new Mac Powerbook which will have System 10. I will also be upgrading to Finale 2004 when it is available. I have been using an older Powerbook (System 8.6) and a serial MIDI interface to connect to my synthesizer. The new Powerbook will not have a serial port. What is the best option: a new USB MIDI interface or a USB to serial converter and use my present interface. If the best option is a USB MIDI interface what do you suggest? Am I likely to encounter any other problems? Thanks, ___ 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] lyrics (was Re: BUG fix / FIN 2k5 Feature Request)
Actually, option-hyphen is an en-dash, while shift-option-hyphen is an em-dash. But I can't remember at the moment how Finale treats option-hyphen in the edit lyrics dialog... Tim On Friday, September 12, 2003, at 12:00 PM, Christopher BJ Smith wrote: At 8:57 AM -0500 9/12/03, Richard Huggins wrote: From: [EMAIL PROTECTED] (Mark D. Lew) [...]Furthermore, there should be a mode available where you can see the actual tags and type them out literally. That would open the door to all sorts of lyric/hyphen flexibility which is currently lacking -- hard hyphens, [...] A hard hyphen certainly is available and possible. In the Mac we use Option-hyphen to create a hard, non-breaking, (graphic, you might say) hyphen. The Opt-hyphen on the Mac is actually an m-dash, which is longer than a hyphen. This kind of thing might not be important to us guys writing for community choirs, but for publication it is important. ___ 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] Ricoh AP2610 question
We have Ricoh Aficio 3200 and 1035p units, both of which will handle up to 12x18, and duplex the large paper as well. I don't know how the options were purchased, but I can tell you that it all works just fine. Tim On Friday, September 12, 2003, at 06:39 PM, Craig Parmerlee wrote: My HP laser printer just decided to cash in its chips after a long, productive life. The Ricoh seems like a very good option for replacing that printer. I have a couple of questions for anybody who has taken the plunge. I see that the printer can handle a variety of paper sizes including 11x17. What isn't clear is whether or not I have to order special trays for each paper size. If I order the standard unit, does it handle both 8.5x11 and 11x17 right out of the box? Has anybody purchased the duplexing unit? Any idea what that costs and how well it works? Thanks, Craig ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: PDF Versions
On Wednesday, September 3, 2003, at 01:15 PM, Robert Patterson Finale wrote: -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. I was pretty impressed with the demo of Preview under Panther at MacWorld in July. It is much faster than the current incarnation, and s much faster than Acrobat reader (I think the demo compared it to version 6??). I don't know if it adds features to the current feature set or not, but for simple viewing of PDFs, it is really amazing. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Keyboard shortcuts - Finale scripts
Don't forget that Panther is supposed to include QuicKeys-like creation of keyboard shortcuts--if I heard correctly, application specific. Tim On Tuesday, September 2, 2003, at 03:04 PM, Brad Beyenhof wrote: Write an email to MacSupport! I have. They still have over a month and a half; and if they don't implement it in the Mac version we'll be forced to upgrade to QuicKeys X. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Key signature question
In jazz/blues charts, the major (or minor) key signature is always used. If you are talking about a piece to be played by a standard jazz-type of ensemble, players would be confused if you used a modal key sig. because it would seem to them that you want the piece to be in G, but they would immediately realize that D is tonic, and would just wonder about who in the world did this arrangement... Tim On Friday, August 29, 2003, at 10:48 PM, Giz Bowe wrote: OK, you're notating a blues in D -- that's D mixolydian. What's your key signature, the standard 2 sharps with an accidental for every C, or 1 sharp to reflect the mode? ___ 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] OS X and MIDI
Robert is absolutely right about the present shortcomings of Audio Midi Setup, and I was actually forgetting about the lack of patch lists, because my MOTU installations added the previous FreeMidi library of patch lists to AMS, and it works beautifully. But, I was speaking in terms of the performance of MIDI and Audio under OS X--the lack of latency, the built in support for plugins, virtual instruments, sound fonts, etc. It is so nice that well-written apps seamlessly access all of these different services without third-party utilities having to be involved, and that latency essentially becomes a non-issue. I have been a victim for several years of having curricular responsibility for labs running both Mac and Windows (8-9 on the Macs, 98-2000-now XPpro on the Windows), and we still can't get our Tech people to get MIDI on the XP machines to work very well. I'm not saying it is not possible, but it doesn't just happen--it's definitely not a priority of the OS development. I have to say that after my experience with X so far, it really does beat the others in terms of ease of setup (if you have modern hardware and up-to-date drivers, true) and especially in performance. I'm not worried about AMS growing up, because I expect it to pretty quickly. Tim On Saturday, August 30, 2003, at 09:48 AM, Robert Patterson Finale wrote: 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 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] whoops--check that resolution figure...
I should have typed 3200 pixels tall by 1200 wide--hmmm--that would be pretty cool. Four displays?? Tim On Wednesday, August 20, 2003, at 10:08 PM, Tim Thompson wrote: 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 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] screen rotation
I'll take the dare first chance I get. I wasn't able to get to your link at first, because our internet service was down, but I just looked at it. It really is impressive. And it only needs one display output from the computer, so you can put a second display beside with the second output that I am using for my second above. But, in the absence of such a display, or especially in the absence of video drivers to support it on OS X, I wanted to add to the discussion that stacking displays is certainly a helpful option. I know it makes my life a heck of a lot easier than when I was doing so much scrolling up and down. Tim On Wednesday, August 20, 2003, at 10:18 PM, Robert Patterson Finale wrote: 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 ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] I stand corrected
Before everyone jumps in, Robert politely corrected my numbers a last time. My only excuses might be the lateness of the hour, the chaos surrounding beginning a new school year, or the liquid elixir here by my right hand... one 1600x1200 above another same gives an effective total resolution of 2400 tall by 1600 wide. Okay. Did I get it right this time? :-) Tim ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] It's here -- Finale 2004!
Okay, I missed it. Thanks. The release date itself still has me down--I was hoping for a miracle I guess. Tim On Wednesday, August 6, 2003, at 03:08 PM, Tobias Giesen wrote: Hi, the release dates are not on every page, but they are on many, right below the Pre-Order button. For example, on: http://www.finalemusic.com/finale/f2k4/ftr-smsenhancements.asp Cheers, Tobias ___ 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] Greater than 16 MIDI channels
On Sunday, August 10, 2003, at 11:59 AM, Craig Parmerlee wrote: Solution 1: Multiple software synthesizers. I haven't seen a software synth that does more than 16 channels. However, if you have several different software synths on your machine, you can assign one of them to 1-16, another to 17-32, and so on. It does seem to work, but the latency is too slow to use for note entry and impossible for Hyperscribe. Also I don't know if two different synths will synchronize their output very well. Q: is there any software synth out there that has very low latency and is designed for more than 16 channels? Sure. Software synths usually allow multiple instances of themselves. For example, Unity DS-1 can be used (I believe) up to 8 times simultaneously, giving you 128 midi channels of DS-1. Of course, actual usability depends on your hardware. Try any of the top name soft samplers and synths and you should get excellent results, depending, of course, on your computer setup. The top software samplers seem to be Native Instruments Kontakt (and now Kompakt too), Bitheadz Unity, Emagic ESS something or other, IK Multimedia SampleTank (a player only, but v. 2 just released is supposed to be quite nice), MOTU Mach Five, and of course on the Windows side of things, Gigasampler. Add to that Reason, and lots of other soft-synths and sound fonts, and it's a wide open world out there. New stuff is coming out every day. Solution 2: Multiple hardware sound engines. This costs some money, but should work. I have a little Roland box that attaches to the PC with USB and gives me 4 MIDI in and 4 MIDI out. I don't use it presently, but I believe this will work -- and give me very low latency. So if I don't hear any better ideas, I'm going to pick up a cheap used 16-channel sound engine so that I'll have 32 channels. But that means I'll also need to upgrade my mixer setup. Definitely a viable solution. If upgrading mixer, consider a FireWire or USB interface that also acts as a mixer. These are starting to pop up like popcorn. A surprisingly affordable one considering its capabilities is the MOTU 828 Mk. II. Solution 3: Hardware synths that support more than 16 channels. I remember seeing specs for a synth that supported 64 (or maybe even 128) MIDI channels. I can't seem to find that product now. Can anybody make recommendations here? For orchestral instruments, the E-mu Virtuoso 2000 is pretty nice, and supports 32 parts (32 MIDI channels of input). Less than a grand US. Thanks, Craig ___ 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] Ricoh AP2610
Our university just got rid of all of our HP and Xerox printers and got Ricoh printers and multi-function units. They work great, they are very fast, and they support PS using the Adobe driver. There is an OS X package that can be downloaded from the website. Right now our print servers are being reconfigured, so I haven't done anything but use LPR (IP) printing, but when we first installed them and I sent a PS Finale file from OS 9, the results were really very nice. Tim On Wednesday, August 13, 2003, at 07:48 PM, Johannes Gebauer wrote: On 13.08.2003 23:58 Uhr, Fisher, Allen wrote I recently asked if anyone had one of these printers. (to recap, it's a 1200 dpi PS3 laser that does large format paper for $600) I went ahead and took the plunge and bought it. It seems pretty well contsructed, is USB 2.0 and the prints I've pulled from it so far are spectacular and it's FAST. It seems like A LOT of bang for the buck, and it has Mac drivers (didn't look like OSX drivers though--could be available from the web) If it is a postscript printer the same printer description file should work for OS X as well, shouldn't it? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ 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] Strategy for scores
I too am keenly interested to hear responses to these questions, while we are all waiting for Finale to incorporate some sort of smart part management system. Tim On Wednesday, August 13, 2003, at 03:02 PM, Craig Parmerlee wrote: This may be a message mainly for Tobias, as part of it seems to relate to TGTools Smart Explosion. But I'd appreciate hearing ideas from across the board. I want to know how others approach organizing the instruments on their scores. I have done mainly small ensembles in the past. In that case, it isn't bad to give each instrument its own staff in the score. When I'm done, I simply do a full extraction and then do any necessary final editing on the extracted parts. I assume this is a very typical practice. (I used to fiddle around with Special Part Extraction, but rarely use that these days.) So far so good. Right now I'm working on an orchestration for full symphony orchestra + jazz combo + several other instruments not normally in an orchestral score. I set this up as usual, with each instrument having its own staff. I did that so I could easily do an extraction where each player gets his or her own music without any confusing divisi bits. As a musician, I absolutely abhor those combined parts, and I vow never to put any other musicians through that unless the divisi is a very small percentage of the part. This is all fine except for one problem. The score is enormous. I can blow it up to make it legible enough for the conductor, or I could invest in a large format printer. But still, there are too many lines to make the score really useful. I think what I would like to do is to combine the same-family instruments (all the trumpets on one staff, e.g.). But I insist that each trumpeter (e.g.) gets only his/her own part. I'm looking for the best practices here. As I understand the standard Finale extraction, the best Finale will do is extract a part with all three trumpets on the same staff. It looks like TGTools Smart Explosion could then split that combined trumpet part into three separate staffs. And then I could do another Finale extraction to break that apart into three separate trumpet parts. Is that correct? And is that the best way to accomplish the task? Is there any way to avoid that extra editing/extraction step? And if I go the two-step approach with TGTools, would I be smart to enter each trumpet part to a separate layer, or is that not really necessary? (I'd rather just lay everything onto layer 1 if there is no reason to do otherwise.) OK, now for bonus points. I already have this humungous score with everything on its own staff. Is there a good way to go about combining the family-related staves? I can use the piano reduction plug-in. That might work OK as long as all the parts are moving together (vertically), but with moving voices, it seems like I really need each voice to go to its own layer, otherwise the TGTools Smart Explosion may never put Humpty Dumpty back together again. It seems like what I really need is a smart implosion that is the reverse of TGTools Smart Explosion. I'd appreciate any advice here. Thanks, Craig ___ 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] FinaleScript question
FWIW, the next release of OS X (Panther) will have a customizable macro system built in, which is supposed to include menu actions if I remember correctly. Tim From: Brad Beyenhof [EMAIL PROTECTED] Date: Thu, 07 Aug 2003 09:10:09 -0700 To: Finale [EMAIL PROTECTED] Subject: [Finale] FinaleScript question To somebody that knows: In FinaleScript, will it be possible to set a key combination to choose an item from a menu? For example, a keyboard shortcut to select a tool from the Tools menu or to open a TGTools plugin. I guess what I'm really asking is: will there be a reason to upgrade to QuicKeys X2, or will most of its functionality (I primarily use QuicKeys within Finale) be covered by the Fin2k4 upgrade? - Brad Beyenhof [EMAIL PROTECTED] ___ 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] It's here -- Finale 2004!
It sure looks like a big upgrade so far. I will be interested to see if the MIDI workings have been redesigned, or if all of that human playback stuff is internal. I'm a little bothered that the web site is haphazard, and not Mac friendly (which means not standards compliant). The menus at the top of the page are all on top of each other in Safari, and WMP is required to hear the streaming Sound Font examples. And no release date. It makes the bunches of MacFin users feel like the red-headed step-children. And I'm still in disbelief that MM can't get such a major upgrade out the door by the beginning of the academic calendar. I have to upgrade, and my Windows labs will start using it a couple of months sooner than my Mac labs, which means that students won't be able to have a choice of lab to work in until the Macs are upgraded as well. It also delays my full deployment of OS X until perhaps Winter break. Apple calls Quark the last piece of the OS X puzzle. MM is lucky the Mac world at large is not paying attention to it. I'm happy to see that it is a major update, and will try not to rant anymore... Tim ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] It's here -- Finale 2004!
Yes, I see it now on the email, but didn't see it on the website. Tim On Wednesday, August 6, 2003, at 02:37 PM, Christopher BJ Smith wrote: At 2:19 PM -0400 8/06/03, Tim Thompson wrote: It sure looks like a big upgrade so far. I will be interested to see if the MIDI workings have been redesigned, or if all of that human playback stuff is internal. I'm a little bothered that the web site is haphazard, and not Mac friendly (which means not standards compliant). The menus at the top of the page are all on top of each other in Safari, and WMP is required to hear the streaming Sound Font examples. And no release date. In the email I got it said Windows 8/20/03 and Mac 10/20/03 ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Strange compression
On Thursday, July 24, 2003, at 11:31AM, d. collins [EMAIL PROTECTED] wrote: Richard Huggins écrit: You might make sure that system is Unlocked. If not, Unlock it then Update Layout. Thanks, but I've tried that already. I notice that any 2001 file I open and add measures to has the same problem. Perhaps the newly added measures are somehow set to a max width of 0? Try getting into the measure dialog in any measure, and then type the measure number of one of the squashed measures, and see about this parameter or any other weirdness. Tim Thompson Palm Beach Atlantic University West Palm Beach, Florida ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] MacFin - QuickTime Playback as-you-go in Speedy Entry?
Darcy, Are you using OMS? If so, open your OMS setup and check to see if the QT synth is enabled. If not, it will have a red slash over it. QT shows up in Finale's output list even if it is turned off in OMS. Are you getting playback via QT? Are your instruments set up to the correct channel range? Have you altered your QT default synth in the QT control panel? If MIDI Thru is set to smart, try clicking on a staff with Speedy to make sure it is mapping to a channel with a patch assignment. Do you have Internal Speaker Playback turned on? If so, turn it off. You don't need it for QT playback, and is not as reliable as just using QT through OMS. If you're still braving Finale in Classic, QT playback is miserable in any case. Booted in 9, it works just fine. Tim On Monday, July 14, 2003, at 04:12 PM, Darcy James Argue wrote: Hello, If you have a MIDI keyboard without a built-in tone generator, is there any way to get notes entered in Speedy to play back in QuickTime instruments as you enter them? I have Playback checked, and MIDI Thru checked and the MIDI output set to QuickTime instruments, but none of that seems to work. - Darcy - [EMAIL PROTECTED] Boston MA ___ 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] Feature request (#3 in a series)
Not only line breaks, but other text manipulation as in text blocks, especially justification (which is not necessary with a single line). Along those lines, I wonder why it is not possible to manipulate character positioning in lyrics. I've often had situations where it would be nice...time to email Coda--er, MM. Tim ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Songs for intervals
That's a good topic for the SMT or CMS Teaching Music Theory lists. I'd like to see what they so with these comments. Fact is that most teachers of aural skills do drill intervals without tonal context. It seems to be pretty useful for young singers, but arguable about how much it helps with tonal musicianship. Great for quasi- or non-tonal contexts, but then it might be better to change nomenclature to half-step distances. The only thing is that the concept of a third or a fifth relates to music notated on a staff better than a 4 or a 7 (half steps). Tim On Friday, June 27, 2003, at 07:04 PM, Mark D. Lew wrote: [oops, I accidentally sent this to Phil instead of the List] At 12:58 PM 06/27/03, Phil Daley wrote: The theory teacher plays two notes on the piano. The student is expected to say what the interval is. Imagining the two notes as the start of a song and then knowing what that interval is, is a method of learning the answers to the question. Nothing more than that. It has zero to do with intervals in the middle of something. Sounds like it has zero to do with music to me. I guess that's the sort of thing I missed by not going to music school. Am I naive for wondering what use there is in hearing a two notes played on a piano and naming the interval? It sounds like a pointless exercise to me, but then I felt that way about most of what I learned in school mdl ___ 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] OT: Songs for intervals
On Friday, June 27, 2003, at 04:53 PM, RockyRoad wrote: P5: Main Theme to Star Wars isnt that a 4th? sol..-do-sol; up, up. P4 then P5 making a P8. So you have both. Might be a confusing example. Tim ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Printing in Classic environment
I would be all over Finale tech support about this until they solve it for you. But I'm afraid they'll say that they only guarantee 2003 to work in Classic. But it's worth a try. There has to be dozens of other folks in the same boat. I avoid using Finale in Classic, and have had mixed results printing when I have tried it, but I understand you don't have a choice. This looks like a result of poor coordination between Make Music and Apple. I understand that it is complicated, but every other software company is now board, INCLUDING Digidesign and Quark!! Two of the most careful, slow-to-release, companies that so many pro Apple users rely on. My hope is that we'll be able to get 2004 by mid to late August. On a related note, as a purchasing decision maker from an academic institution (a huge portion of Finale installed base), I think Make Music would be wise to start releasing upgrades by June 1 at the very latest. Most academic institutions start their upgrade process in June or July, and try to make most of these type of purchases decisions by the end of the previous semester (late May). Our lab upgrade requests have to be submitted to a faculty committee and voted on by a certain date in May, and the committee doesn't convene again until September. This year, we have to do the 2004 upgrade, and I have had to tell the committee to expect it and have asked them to convene as early as possible, and have told our Technology Services staff that we will have to wait until then to add it to the lab disk images. Why do they time it so close to the beginning of the semester? End of rant. I feel better now. Tim On Saturday, June 28, 2003, at 09:30 AM, Crystal Premo wrote: or the interested, the Ghostscript port for Mac (MacGSView) is available here: http://www.cs.wisc.edu/%7Eghost/macos/index.htm I have this now, although I could not get to the localhost:631 configuration site. I have tried printing to a .pdf from Finale, but all I get is Finale - Error. I can easily save it as an .eps file, but I do not see how to use Ghostscript to turn it into a .pdf. I see no instructions. My desktop is covered with icons, yet I am beginning to despair. I have Finale 2002b, a new G4 with OSX.2.5, and an deskjet5550. There must be a way to make this work. Crystal Premo [EMAIL PROTECTED]/[EMAIL PROTECTED] _ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ___ 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] OT: Songs for intervals
Yes, I was counting the pickup triplet, as I'm sure the other poster was as well. Tim On Saturday, June 28, 2003, at 02:55 PM, Christopher BJ Smith wrote: At 11:11 AM -0400 6/28/03, Tim Thompson wrote: On Friday, June 27, 2003, at 04:53 PM, RockyRoad wrote: P5: Main Theme to Star Wars isnt that a 4th? sol..-do-sol; up, up. P4 then P5 making a P8. So you have both. Might be a confusing example. Tim C half note, G half note, triplet F,E,D, high C The first interval is a fifth, in half notes. Are you counting the triplet low G before? Because the triplet doesn't come back in the last iteration, so I considered it to be part of the intro. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: Songs for intervals
M7 descending!!--two instances in Cole Porter's I Love You. m7 both directions--bridge to J. Williams Superman song Can You Read my Mind?--probably many other Williams instances as well as other modern film composers. Also Star Trek theme (the one with the theremin). Have fun, Tim On Friday, June 27, 2003, at 08:05 AM, RockyRoad wrote: Seeing this is the most musical list I'm on, I had a question about songs for intervals: P8: Somewhere over the Rainbow, My Sharona opening M7: m7: Theres A Place For Us M6: My Bonnie m6: Where Do I Begin (descending) Tritone:Marea, Simpsons Theme P5: Twinkle, Superman Theme, Chariots of Fire Opening P4: Advance Australia Fair M3: While shepherds washed their socks by night m3: Greensleeves M2: Frere Jacques m2: Jaws theme Does anyone have a song for the major 7th, or an ascending song for the minor 6th? Any good alternatives to this table? -- David Stonestreet - Coming to you from Sydney Australia. [EMAIL PROTECTED] Fleeing from the Cylon tyranny, the last Battlestar, Galactica, leads a ragtag, fugitive fleet, on a lonely quest, for a shining planet known as Earth. ___ 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] OT: Songs for intervals
Oh. Okay. Now that you say that, I remember always thinking it was a soprano, but I guess somewhere along the way someone told me it was a theremin. Haven't heard it in years! Tim On Friday, June 27, 2003, at 10:32 AM, Christopher BJ Smith wrote: At 10:25 AM -0400 6/27/03, Tim Thompson wrote: M7 descending!!--two instances in Cole Porter's I Love You. m7 both directions--bridge to J. Williams Superman song Can You Read my Mind?--probably many other Williams instances as well as other modern film composers. Also Star Trek theme (the one with the theremin). Have fun, Tim Not a theremin, but a soprano singer with a big vibrato. Christopher ___ 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] Printing in Classic environment
Crystal, One work-around I have used in situations where the printing didn't work in Classic is this: Save as PDF, and then open the PDF in Acrobat Reader or even in Preview, and print via OS X. Tim On Wednesday, June 25, 2003, at 10:43 PM, Darcy James Argue wrote: On Wednesday, June 25, 2003, at 10:11 PM, Crystal Premo wrote: Now, go to http://versiontracker.com/dyn/moreinfo/macos/132 and download the Adobe PS 8.8 drivers. [N.B. I am assuming you have a PostScript printer. If you don't, then you can stop reading now. Also, I'm afraid I can't help you as I only know how to set up PostScript printers.] For the time being I am going to have to use my hpdeskjet 5550. I tried to find a hub with a serial input for my laser printer, but they didn't have one. Anyway, neither is a postscript printer, so I am kind of up the creek unless someone else can help. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Doubling for Pops Orchestra Wind Players
On this orchestration topic, I just noticed that the current online edition of NewMusicBox (www.newmusicbox.org) focuses on the orchestra and issues concerning composing for it. Tim On 6/12/03 12:19 AM, John Howell [EMAIL PROTECTED] wrote: Okay, In the pops orchestra project I'm currently working on, there's a piece I'm arranging where I'd like to use a lot of low wind instruments. I mean, a lot. The winds are 3/3/3/3. If I could get away with it, I would probably want three contrabassoons and three contrabass clarinets. Or maybe a contrabass clarinet, a contra-alto clarinet, and a bass clarinet. (Don't ask why, it's just right for this particular piece.) Yeah, I know this is almost certainly not a realistic request for this sort of situation. But what would be a reasonable request? I know that (for instance) it says right in the timpanist's contract that he plays *only* timpani, and cannot be asked to play any other percussion instruments. I am told this is usual. So is it usual for the first (and second of three?) bassoonist(s), and/or the first (and second of three?) clarinetist(s) to have written into their contracts that they can't be forced to play the low winds? I can, of course, ask the contractor about this (and I will), but I don't want to bother asking for something totally impossible. What about this: 2 bass clarinets/1 contrabass clarinet/1 bassoon/2 contrabassons? Still ridiculous/unreasonable? - Darcy There are actually 3 considerations here. The first is the contract issue you mention--which would not have occurred to me because I deal mostly with college and community ensembles. But yes, in the best orchestras the principal wind players do not like to double any other instrument, and that may very well be written into their contracts. Not that they couldn't double, mind you, but they are specialists. The second is a question of availability. I'm sure there are plenty of places where simply finding 3 contrabassoons would be impossible. Heck, you can write for 12 English horns if you want to, but would anyone consider performing it? And the contra clarinets that may be available are likely to be plastic band instruments, not the high quality instruments played by most orchestra musicians. The third is the question of expense. In theory any clarinetist should be able to play any size in the clarinet family, same with saxes, same with flutists, oboists and bassoonists. But don't fool yourself. The parts may all be fingered alike, but every instrument in a family is a different instrument, and it will only be played WELL by someone who has put considerable time and effort into mastering it. Bass clarinet is NOT just a big soprano clarinet, and a soprano clarinetist holding a bass clarinet will NOT sound like an accomplished bass clarinetist. Same thing with Eb clarinet. Which means that the orchestra will likely have to hire additional players who do own and specialize in the bass instruments. At the very least, if the normal players do agree to double and can find the instruments to do it with, they will have to be paid for those doubles under any union contract. That's the long answer. The short answer is that sure, you can ask for what you want, but I'd suggest exploring the potential problems carefully before you commit yourself to doing so. You mentioned the contractor. That suggests that this is not a regularly organized orchestra, but will be a pickup orchestra. That actually simplifies things, because there will be no no-doubling clauses to worry about, but coming up with the instruments and the players good enough to play them then becomes the contractor's problem. Then again, I cracked up, reading through Henry Mancini's orchestration book, when he was working his way through the flute section. He said something like, The bass flute is a wonderful instrument, but it is very rare and not always available. Here's an example where I used four. John ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Doubling for Pops Orchestra Wind Players
On 6/12/03 8:18 AM, Andrew Stiller [EMAIL PROTECTED] wrote: As a clarinettist and bassoonist I can testify that this is hooey. I have played professionally on every size of clarinet from Ab piccolo to contrabass; it takes about 30 minutes to master any one of these if you play the regular clarinet well, and once you have mastered them you have the skill for life. Bassoon vs. contrabassoon is a bit more complex, since the fingering systems differ, but there too an hour or so of practice will give you a lifelong facility on the contra. Would anyone put up with a sax or recorder player who said sorry, my high professional standards require that I play only tenor? I think not. What this is really about is turf protection. The first desk player plays only one size not as a musically necessary requirement, but as a mark of status. I regard this as grotesquely unprofessional--maybe a cynic would say grotesquely professional, I don't know. I do know I wouldn't put up with it. You won't play anything but timpani? Fine, the timp. in this piece will be played by one of the general percussionists. You won't play English horn? Fine, We'll play Haydn's 22nd without you. And I don't know about bassoonists, but I would guess that 80% to 90% of clarinetists relish the occasional opportunity to play a juicy bass part. I bet that if you do one contra, one bass, and one Bb, then the Bb player will be at least a little envious of the others. Clarinetists generally love the low register, and secretly wish they could play lower. I've even seen them jump at the opportunity to play bassett horns for Mozart orchestrations (and that's no picnic)! ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Most accurate performance package for auditioning?
Title: Re: [Finale] Most accurate performance package for auditioning? Tammy, IMO, in your situation, there is absolutely no reason to buy expensive sampling hardware! If you want hardware, the E-mu Virtuoso 2000 is not bad for under $1000 (and is 32-part). Software is really the way to go these days. And the software is getting cheaper, smarter and better. Most good soft-samplers will even play from the hard disk, so the whole multi doesnt have to be loaded into RAM each time. I would seriously look at MOTUs latest offering, the Mach 5 Universal Sampler. It will translate almost any sample library out there. Then there is Bitheadz Unity, Native Instruments Kontakt, IK multimedia SampleTank, and, of course, Giga for the Windows platform, and so on. Some of these offer a sample player version for less money, in case you dont need to build and edit your own samples. Tim On 6/10/03 12:47 PM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: Like some of you, I use Finale to help with arranging as well. I have gotten to the point where the cheesy sound from GM is no longer accceptable for auditioning my score. I am trying to upgrade my system so I can get an accurate portrayal of how the score would actually sound. This would normally mean to start with Finale, make a MIDI file, and then feed it thru a performance package. There are two approaches: (1) Hardware: Buy a very expensive sampler, and use a sequencer to feed a Midi file into it. Then listen to and do a mix of the result. (2) Software: Upgrade my computer so it can handle sampling software (I have been told I need at least a 1 Ghz CPU, and more than 256 MB of RAM). Basically, this will convert my existing computer into a sampler. One such product is GigaStudio. I was wondering if there is a third approach that would merely make a WAV file in the computer from a MIDI file, then I could simply play that back. If it's done offline, then computer speed and memory wouldn't be a limiting factor. The disadvantage is in the latent time it needs to do the off-line processing. Plus, I have to keep adjusting the mix every time it does the processing. But this may be something I can live with for the time being. Any comments on your personal experiences would be sincerely appreciated. Tammy G.
Re: [Finale] Most accurate performance package for auditioning?
Title: Re: [Finale] Most accurate performance package for auditioning? On 6/10/03 12:47 PM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: Like some of you, I use Finale to help with arranging as well. I have gotten to the point where the cheesy sound from GM is no longer accceptable for auditioning my score. I am trying to upgrade my system so I can get an accurate portrayal of how the score would actually sound. This would normally mean to start with Finale, make a MIDI file, and then feed it thru a performance package. There are two approaches: (1) Hardware: Buy a very expensive sampler, and use a sequencer to feed a Midi file into it. Then listen to and do a mix of the result. (2) Software: Upgrade my computer so it can handle sampling software (I have been told I need at least a 1 Ghz CPU, and more than 256 MB of RAM). Basically, this will convert my existing computer into a sampler. One such product is GigaStudio. I was wondering if there is a third approach that would merely make a WAV file in the computer from a MIDI file, then I could simply play that back. If it's done offline, then computer speed and memory wouldn't be a limiting factor. The disadvantage is in the latent time it needs to do the off-line processing. Plus, I have to keep adjusting the mix every time it does the processing. But this may be something I can live with for the time being. Any comments on your personal experiences would be sincerely appreciated. Tammy G. And I forgot to mention that all of these software samplers make it easy to save a performance to AIFF or WAVE format. With the E-mu module I mentioned, you can do it as well if you have a sequencing app that supports audiothe module has a S/PDIF output on it, as do many other MIDI outboard devices these days. Tim
Re: [Finale] Doubling for Pops Orchestra Wind Players
Yeah, that too! And then there is the fraction of a percent who enjoy the Eb alto...:-) On 6/12/03 1:30 PM, Ronald M. Krentzman [EMAIL PROTECTED] wrote: Please don't generalize. Some of us prefer Eb to Bass! Ronald M. Krentzman RM Music Preparation -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Tim Thompson Sent: Thursday, June 12, 2003 12:28 PM To: finale list Subject: Re: [Finale] Doubling for Pops Orchestra Wind Players And I don't know about bassoonists, but I would guess that 80% to 90% of clarinetists relish the occasional opportunity to play a juicy bass part. I bet that if you do one contra, one bass, and one Bb, then the Bb player will be at least a little envious of the others. Clarinetists generally love the low register, and secretly wish they could play lower. I've even seen them jump at the opportunity to play bassett horns for Mozart orchestrations (and that's no picnic)! ___ 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 mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Soft Synths
Yes, VSC has bad latency, but with the better samplers running on today's hardware, it is negligible, especially on OSX (which I know Darcy runs!). On 6/12/03 4:52 PM, Jim Williams [EMAIL PROTECTED] wrote: Quoting Darcy James Argue [EMAIL PROTECTED]: Hmm... I've been following the soft synth thread with interest because I've been thinking of getting a decent sound module for my getting-long-in-the-tooth MIDI keyboard. But I gather from the comments here that getting an outboard box is no longer a good way to go -- that even for live performances, I'm better off using the keyboard to trigger a laptop running a soft synth. (I have to say, I'm a little skeptical about that. Also, I don't own a laptop yet, though I'm planning on getting one soon.) Any suggestions? Is a soft synth really the way to go for this, or would an outboard sound module be less of a hassle? *Are* there any outboard sound modules that match soft synths in terms of quality? Any help would be greatly appreciated. - Darcy Darcy-- One warning on using softsynths for live playing: BEWARE OF LATENCY. Unless you have an EXTREMELY FAST computer and a GOOD softsynth, there is some delay in response in the softsynth. Even 100ms of delay will hose live real-time performance. I use a Roland Virtual Sound Canvas with a laptop to do jazz clinics, but I just play along with MIDI files on a brass instrument, so latency isn't an issue. It will be an issue, however, for playing live. Jim ___ 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] New Finale release
On 6/11/03 6:27 AM, David H. Bailey [EMAIL PROTECTED] wrote: Tim Thompson wrote: [snip] Yes, I do this (1.) sometimes too, and have up M2 transposition programmed as metatool 8, and up P5 as metatool 9 (6 and 7 are octave transpositions). And, of course, the reason for doing it like this is to hear it correctly! Why would you have to transpose? You can simply have your score display in concert pitch (Options/Display In Concert Pitch) while entering any of your parts in concert pitch, and if you have the transpositions already setup properly in the staff setup dialog, you simply have to turn off Display in Concert Pitch and everything is tranpsosed properly. That's why I said sometimes. I usually like to work with the transposed score. It is probably faster to switch back and forth from concert pitch view, and I do that sometimes too... As my father-in-law says: but you're trying to use logic and rational thinking... Sometimes in the heat of the moment I use one method or the other. Tim ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Image retention of deleted objects
When that happens to me, all I have to do is think: What a mess--I wish my screen would redraw, and I blink, and it's done. It could be my super mental powers, or maybe that my left hand does a Command-D without telling my brain, like it does with Command-S from time to time. There's automatic screen redraw and auto save, and then there is near-automatic (sub-conscious) screen redraw and save... ;-) Tim On 6/11/03 1:03 PM, Herman S. Gersten [EMAIL PROTECTED] wrote: An annoying result of deleting and re-positioning various objects such as expressions and hairpins, is that a ghost of the deleted and/or moved object remains on the screen until a redraw. Is this par for the course? If not, how can it be eliminated? Herman ___ 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] New Finale release
I can see no reason why anyone would want to hear the wrong concert pitch when entering notes in Simple note entry. It just doesn't make sense. If I'm entering a third-space C in a transposed tenor sax staff, I want to hear [...] [snip] The obvious solution to the question of playback on a transposing staff is to have either way be possible, with an option that the user can change at will. Most of my (infrequent) use of Finale (2003) involves non-transposing instruments. In cases when I *do* have a need to input (say) a clarinet part, I probably do it differently, depending on the circumstance: 1. If I'm just writing (composing) something from scratch, I input the clarinet in C (i.e., non-transposing), so I can hear it with the other instruments. When I'm satisfied, I transpose the part. Yes, I do this (1.) sometimes too, and have up M2 transposition programmed as metatool 8, and up P5 as metatool 9 (6 and 7 are octave transpositions). And, of course, the reason for doing it like this is to hear it correctly! Tim ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Some Considerations about fonts....
I would love to see more complete text manipulation in lyrics! It would be *very* useful to be able to make superscript, baseline adjustments, etc. in the Edit Lyrics window. I hope this next release does indeed beef up text handling. And better MIDI tools. And... Tim On Monday, June 9, 2003, at 06:06 PM, Mark D. Lew wrote: At 3:02 PM 06/09/03, Mr. Liudas Motekaitis wrote: Sure, it's called Tracking: the distance between characters in one-onethousandths of the current point size. In FinMac2002, tracking is non-functional for lyrics. It changes their appearance in the Edit Lyrics box, but it has no effect in the score. (The same is true for superscript and baseline shift, but for those there are other ways of adjusting the vertical position.) Is this fixed in v2003? I'd very much like to see tracking implemented for lyrics. I'd also like to see it implemented for text expressions, which would make it easier when I want something like c r e s c e n d o. As far as I can tell, tracking only works in text boxes. Even there there are some peculiarities. It only functions to change the space between two characters if the two have the same tracking value. This means that if you're using tracking for spot kerning on large display type (which I do), you're fine until you have two adjacent pairs that you want to tweak, at which point you can have one or the other but not both unless you move them identically. I've usually been able to fudge my way around that, but I remember one French title starting with L'A... which I couldn't make look good. (Of course, this wouldn't be an issue at all if Finale read and implemented kerning data built into the font, but I suppose that's asking too much) Also, the centering algorithm doesn't take tracking into account, so if you've got a text block set to center it will come out wonky if tracking is applied non-uniformly to the text. All things considered, these are minor complaints compared to various other requests I'd make, and the tracking that does exist is more useful than not. Still, it would be nice if it all worked perfectly. mdl FinMac2002 ___ 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] Sibelius (was: New Finale release)
Has anyone mentioned the non-transposing chord symbols? Let me explain: I have an adjunct colleague who teaches Computer Apps. in Music for me, along with Jazz and some other things. We use Finale at the University, but he switched to Sibelius when it first came available, and constantly tells the Computer apps. students how the task at hand would be so much easier with Sibelius--drives me nuts. Anyway, he does a lot of charts in Sibelius for the Jazz Ensemble, in which I play alto and co-direct with him. Whenever he has created a custom chord suffix, the letter name of the chord does not transpose in the extracted part. I always forget about the bug, and get really confused looking at a new chart until I remember and start scratching away at it with my pencil. He just keeps printing them out that way. (He's a good guy otherwise and a great teacher in the jazz and pop areas--so this is not really a big deal in the scheme of things, just a big, blatant, recurrent bug from a staunch Sibelius guy.) Tim On Sunday, June 8, 2003, at 04:59 PM, Darcy James Argue wrote: On Sunday, June 8, 2003, at 03:46 PM, Jonathan Smith wrote: 21. In part extracts of Multi Wind parts you will loose the transpositions for each instrument change. Oooh. Yes, I forgot about that. That's a deal-breaker right there, especially for jazz arranging students. 24. So you want to move an Articulation? This is what the Sibelius manual says on page 69: In the unlikely event that you want to move an articulation, delete it and create a new one as a symbol. Be aware that articulations created as symbols have no playback effect. This is what I'm talking about when I say the manual is dripping with condescension. 31. Tenutos collide with ties on notes and you can't move 'em. Yes, goddammit. You have to move the ties, instead (or put the articulation in a symbol), and ties are hard to move. Ties over system breaks are impossible to adjust satisfactorily. 34. Speed users will find that you are constantly grabbing the wrong items as the application is so slow to react. Especially on the Mac, as you noted earlier. The gap between PC performance and Mac performance is appalling. I mean, kudos to them for getting the OS X version out on time, but their Mac version needs a serious overhaul. 38. 1st Repeat bars come out too close to key signatures and need to be dragged to avoid collision. You forgot the whole business about getting ending repeat brackets to display on multiple systems. (This is a nightmare -- for starters, the height of the ending bracket is not adjustable when it spans multiple systems. You have to position it exactly right when you click it in, because once it's there, it ain't moving.) 40. When editing a text block you dont get WYSIWYG, the last letters are usually missing. Incredibly, incredibly annoying. 43. Page breaks won't stay in place if you adjust the systems afterwards, for instance if you alter the number of measures in each system. See above. 47. Treble and Bass Clef changes in LH or RH Piano/Keyboard parts get mysteriously changed upon part extract requiring a reproof. This I hadn't encountered. See, you find new things to hate all the time. 48. You can't move a 8va- extension over system breaks to the left or right. Gah. Yes. Terrible. 50. Sibelius began life as a University project undertaken by the Finn brothers and thus it comes over as such; a rather amateurish application, even the manual has a snooty 'we know better than you do' air to it. They dont. Indeed. In the unlikely event that you want to move an articulation... 58. Menus are confusing, too long (submenus), and sometimes inappropriate. For example: Create Text. Oh, yes. Sibelius seems easy to use until you need to create a text indication that isn't in the default set, like, say Solo over vamp or Build towards shout at [R]. 61. Sibelius doesnt believe in using handles for any element which is a great idea until two or more elements overlap and then you cant select anything. Urg. Absolutely. 62. Restrictive copy protection especially if you need to use it on more than one computer. Of if you need to reinstall the OS. 64. The Sibelius web site for user problems is monitored in such a way that you only see the problems and solutions they want you to see. Didn't realize that. Not surprising. - 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: [Finale] layout bug?
Not a bug. Update Layout from the first page (edit menu, or (I think) control-U). On Sunday, June 8, 2003, at 09:35 PM, Daniel Dorff wrote: Has anyone had a strange problem with systems repeating from the bottom of one page to the top of the next page? In Finale 2003a for Windows, this is a saxophone piano piece using 4 systems of 3-staff on letter-size paper, and on many pages, I find for example system 8 at the bottom of page 2 and the same system again at the top of page 3. This occurs on screen and in printing, but the midi playback is correct. I wonder if there's a prevention trick I don't know about, or if this is a known bug? Thanks for any suggestions, Daniel Dorff
Re: [Finale] New Finale release
Yes, there is only one for each, and they are set to the most normally appropriate behavior. Pretty functional in most cases for working with students. And when we need to do better, then it is a good opportunity to beef up their Finale chops a little. Tim On Sunday, June 8, 2003, at 05:07 AM, Mark D. Lew wrote: At 12:32 AM 06/08/03, Richard Huggins wrote: To have same articulations that behave differently, you just create a copy of the same articulation in your pallette and change the default behavior of the new one. Of course you also assign a unique metatool to that duplicate. For example, your articulation pallette might have two accent marks, one for note side and one for stem side. Right. I assume that's what we all do. But someone mentioned the Finale template in a way that suggested it has only one per articulation, so I was curious to know how that works -- especially since the context is the idea that articulations should be more automatic. mdl ___ 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] New Finale release
David, I understand, and that is the way it has always worked. What you see on the staff is what you hear (speedy--is what you play) regardless of staff transposition. It's a pain, but I imagine the opposite would be a pain to some people as well--that is, if it meant that in speedy you play in the note you want to see (transposed), but hear it in correct sounding pitch. I would get used to that and like it, but it could be more confusing to some folks. I wouldn't mind seeing a toggle for this behavior in the Options menu or somewhere. Tim On Sunday, June 8, 2003, at 06:50 AM, David H. Bailey wrote: But in simple entry, he is complaining that he is hearing a DIFFERENT midi sound from what he should hear when he puts a not on a transposing staff. In other words, if I understand his problem (which maybe I don't) if he is entering an F on a Horn in F transposed staff, he should hear a Bb but he is actually hearing an F. He isn't using a midi keyboard to do this, but clicking with the mouse. Tim Thompson wrote: How would this impact speedy or hyperscribe? Do I play in concert pitch, and see the notes appear on the staff transposed? I agree that it is a pain to play in the notes in a transposed score as they should be written, but to hear them sounding as if they were not transposed, but of course, I am just hearing the MIDI output of the key I am pressing. I think that is the sticky issue. Tim On Saturday, June 7, 2003, at 06:32 PM, Earl Price wrote: --- Jari Williamsson [EMAIL PROTECTED] wrote: Earl Price writes: Speaking of playback, I wish that Coda would fix playback of transposing instruments during Simple note entry. Currently what we hear is playback of the pitch entered as if it were concert pitch. This is annoying when working in transposed scores, which is the way I always work. Have you (and others who want it) sent in a feature request? Best regards, Jari Williamsson I'm sure I've seen this issue discussed here before. I assumed that users have complained about it before, but I'll certainly send Coda a feature request ASAP. BTW, I don't consider this a feature. I feel that transposed instruments should sound the CORRECT concert pitch when entering notes in Simple note entry, and the fact that they don't do that means to me that it's not working properly. All the best, Lon ** Lon Price, Los Angeles http:/hometown.aol.com/txstnr/ [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale . -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: SoundFonts, QuickTime, and OS X
I don't know about Soundfonts, but the concept works with certain soft-synths in pre-X setups. The QT control panel accesses OMS (if that is what you are using), and you can set the inputs and outputs. For example, I have a lab that has Virtual Sound Canvas used in this way. QT plays the VSC rather than the QT synth. VSC is accessed by OMS via an IAC bus. I'll be honest to say that I am dubious about doing much of this under X (Classic), and haven't tried much. I'm definitely no expert on this kind of thing, but have found that the QT control panel is actually fairly flexible. Tim On Saturday, June 7, 2003, at 01:01 PM, Philip M. Aker wrote: On Monday, Apr 7, 2003, at 07:05 America/Vancouver, John Croft wrote: So, does anybody know if it's possible to patch an external MIDI keyboard directly into QuickTime, and have it use the selected SoundFont? (It would be nice if Apple's Audio MIDI Setup utility recognised QT as an output, so that you could just patch it in, but it doesn't.) Greetings John, I've just been through a similar issue with Andrew Levin offlist. Our conclusion, based on the setups of our 4 different Macs, was that it's not possible with QuickTime (including Pro) right now. I think it's something that should be reported by as many users as possible on the OS X feedback page. Philip Aker http://www.aker.ca ___ 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] New Finale release
I think one of the things CODA has done pretty well with in the last couple of upgrades is reorganization of stock metatools, and making the whole thing more user-friendly. In fact, in most cases with students, much explanation is not needed, because once they have figured it out once, they get it. It's like seeing keyboard shortcuts in the menus--one learns them pretty quickly. I like the way the articulation tools were changed for example (except that I had to relearn--I tend to get used to some stock things like that since I am working on so many different systems, and with students). A for accent, S for staccato, etc. And I really like how in 2k3 when a smart shape is clicked on in the palette, the little info bar shows its metatool assignment. Since that change, I have found that I hardly ever to that palette, because I have learned the metatools. Students are surprisingly astute at this sort of thing, and I don't think metatools are too much of a mystery for them. But I really don't know why CODA did away with the quick reference guide. The graphic representation of the key assignments for simple and speedy entry was a nice thing to have for students! Tim On Saturday, June 7, 2003, at 06:02 PM, Darcy James Argue wrote: On Saturday, June 7, 2003, at 05:37 PM, Aaron Sherber wrote: At 05:11 PM 6/7/2003, Darcy James Argue wrote: If you're a beginning and don't know about metatools yet, how would you know what those letters and numbers in the upper-right corner mean? Well, I might read the manual. Well, duh. But the point was ease of use. Important info like Metatools needs to be in multiple places, *especially* the Quick Reference Card and any automated tutorials. Also -- realistically, kids these days aren't going to sit down with the manual in order to learn Finale. Especially not when you can easily figure out Sibelius without a manual. You can either huff and puff about young people and their lack of patience, or you can deal with the reality that most people simply aren't going to read software manuals. - 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: [Finale] TAN: rubato midi files
Well, I stand corrected! Unfortunately, I have no experience with Logic, but you're right that it probably has all of the bells and whistles that any of the others have. Good luck. It still sounds like a chore! Tim On Thursday, June 5, 2003, at 09:01 PM, John Bell wrote: At 10:36 pm -0400 04.06.2003, Tim Thompson wrote: Many sequencers have something of a beat-finder mechanism, even such that you can tap in the beats, and the sequencer works somewhat intelligently around that. If your sequencing program has such a thing, then open the file in that, and work out the metric stuff there, and then have Finale transcribe it. Perhaps easier is to input it into Finale manually! Or else don't accept it from the composer until it is done right. If he/she went to the trouble to create a MIDI sequence and expects you to import it, the least that could be done is to meter it correctly. In my experience, this sort of thing is probably not worth your time. Well, when it's a Hollywood studio (which it is) it probably is worth my time. The composer uses Logic, which I have, but I'm not familiar with. I've had a bash at the manual but can't find what you describe as a beat-finder. Logic is quite a sophisticated program and I suspect there *is* a way to do it. So far I haven't found it. So for now I am using old fashioned ears. Thanks for your thoughts John ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OMS Success
That is the whole classic thing. You'll have to deal with that until 2004. You will probably also notice that faster strings of notes will have skips. By the way, in my experience, choosing Internal Speaker Playback overrides the output chosen in the Midi Setup dialog, but you can turn it off, and choose the QT synth from the output choices in the MIDI Setup box (provided you have it turned on in your OMS setup), which usually gives better performance. I should say that this is how it works pre-X, and I am not sure about all of this running under Classic, since I stopped wasting my time on it some time ago. Tim On Thursday, June 5, 2003, at 08:59 PM, Crystal Premo wrote: Glad it's working for you. Well, there's still one small thing: there is some delay in the playback. The cursor on the screen is two beats ahead of what is playing back. Not a real problem, but a little distracting. Crystal Premo [EMAIL PROTECTED]/[EMAIL PROTECTED] _ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail ___ 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] OMS
Do you mean that Finale gives you that message? If so, then that is because you now have a different MIDI Setup than you had previously for that file. Open MIDIMIDI Setup, and choose OMS, and then choose your input and output instruments from the menus. If there are italicized instrument names, then those are not found in your current setup. Choose those that are in the current setup (not italicized) as you like, and you should be good to go. Are you booting in OS 9 (what I understood from a previous message), or using Classic Mode in X? If you are doing the former (highly recommended), then you don't need to worry about X drivers, but if you are doing the latter, then I'm not sure--there are others on this list who can steer you better than I--I have forgotten since the last time I played with that. Of course, in a couple of months you will (hopefully) be able to throw OMS out the window, and pretty much say goodbye to Classic as well. Tim On Tuesday, June 3, 2003, at 06:50 AM, Crystal Premo wrote: Step 3's done in OS X... Ok, here's a specific question: I am going to be running in the Classic Mode. Do I perform this installation in that mode, or in OSX? Also, whenever I think I have completed the configuration, I get a message that the system is expecting to see whatever I have selected in my OMS setup, but does not find it. I don't understand whether it cannot find my digital piano, or whether there is a driver missing, or whether I have simply put in the wrong settings. Crystal Premo [EMAIL PROTECTED]/[EMAIL PROTECTED] _ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ___ 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: rubato midi files
Many sequencers have something of a beat-finder mechanism, even such that you can tap in the beats, and the sequencer works somewhat intelligently around that. If your sequencing program has such a thing, then open the file in that, and work out the metric stuff there, and then have Finale transcribe it. Perhaps easier is to input it into Finale manually! Or else don't accept it from the composer until it is done right. If he/she went to the trouble to create a MIDI sequence and expects you to import it, the least that could be done is to meter it correctly. In my experience, this sort of thing is probably not worth your time. Tim On Wednesday, June 4, 2003, at 09:34 PM, John Bell wrote: A composer gives me Logic files where the music has been entered with the metronome muted -- the (rubato) pulse is clear to the ear, but the Logic/midi files are virtually unreadable. Is there any way to move the barlines so that these files are useful? John ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
