Re: [Finale] OSX Midi
Does anyone know whether a serial Midi interface would work on the original serial port of a Powerbook G3 Wallstreet? Getting a USB to serial adapter will probably cost just as much as a new MIDI interface, so that's not really an option. Johannes On 10.08.2003 15:08 Uhr, RockyRoad wrote Does anyone know whether an old serial MIDI inteface will work in OS X, and how? Or do only USB interfaces work? Johannes Johannes, I am running an original Emagic Unitor-8 (serial) on a G4/400 with OSX and programs such as Reason and Logic. I am doing it using the Geethree Stealth Serial Port, which converts the internal modem (which is a serial modem) to a serial port. http://www.geethree.com/ However, be aware that the new G5 has a USB internal modem and therefore it is likely that G4's are the last models that will run serial MIDI interfaces. -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Ricoh AP2610
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] New Printer for Finale
I know this has come up before, but I never needed to pay attention until now! My printer's (NEC 1450N) been acting up big time as far as paper feed, and it's making me crazy. I'm thinking of getting a new laser, probably HP. However, do I need it to "speak" PostScript? I paid a lot extra for PostScript last time, because I thought it was required for ATM fonts and/or printing EPS files. Is that still the case? Thanks for any input. - Ken
RE: [Finale] Finale 2004 Copy Protection
If we switch to Fin04, *we can't go back*!!! The technology to go back can and will be developed (if needed) as a plug-in, even if Finale dies. In fact, MusicXML already provides backwards compatibility to an amazing extent. Cheers, Tobias ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Intellectual property
the PIRATES and THEIR customers aren't gonna be inconvenienced by the copy protection, while we loyal MakeMusic customers ARE inconvenienced. -- David H. Bailey I had vowed to stay out of this argument, but I can't help but notice that this argument is identical to that used by the gun lobby to oppose any and all distribution control or safety legislation. -- Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Ted Ross reprint]
The Dover edition is the Berlioz/Strauss edition. Ray Horton wrote: Is that the edition with the Richard Strauss additions? - Original Message - From: David H. Bailey [EMAIL PROTECTED] To: John Howell [EMAIL PROTECTED] Cc: [EMAIL PROTECTED] Sent: Thursday, August 14, 2003 6:42 AM Subject: Re: [Finale] Ted Ross reprint] Dover reprints it also, score size as Noel thought. John Howell wrote: On Monday, August 11, 2003, at 05:48 PM, Noel Stoutenburg wrote: And, quite related to our field, the Berlioz/Strauss Treatise on Instrumentation. Isn't that the one reprinted by Dover? If it's what I'm thinking of, it's published with big pages, so that it looks just like one of their orchestra score reprints. I'd check, but all of my books are packed up in boxes hundreds of miles away right now. mdl I think it's Kalmus--green cover--but I don't know where my copy is packed away. John -- David H. Bailey [EMAIL PROTECTED] ___ 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] Strategy for scores
On Behalf Of Craig Parmerlee 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. If I'm understanding you correctly, you'll want to check the *leave original staves untouched* box in TGTools smart explosion which will meet both of your requirements. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Strategy for scores
I typically do the score doubling up parts on staves as needed. If there are solos or unisons, I use note-attached exps to denote them. I used to use meas-attached, but since Tobias introduced Smart Part Extraction I use note-attached because SPE works so well with them. To extract the parts, I first make a copy of the score. Before extracting anything I add cue notes as needed. Then I extract the parts in a two step process. I typically extract parts in an orch. piece one instrument section at a time. So, e.g., I extract the horns into a 4-part score. Then I run SPE on that. Once I am satisfied with the result, I extract these again into individual parts and do any necessary page layout. It sounds complicated but it actually goes fairly quickly. -- Robert Patterson http://www.robertgpatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
RE: The Panic Room, was: RE: [Finale] Re: Registration codes and copyright
... a clause which removes all liability from the publisher of the product ... In addition, if software activation is stopped after a few years, then that is purposeful sabotage on the part of the publisher, and no license agreement in the world can make that legal. They are liable, sure they are! And they know it, too. And because they know it, they won't dare acting that way. Besides, as long as they exist, they don't want a scandal. Cheers, Tobias ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Strategy for scores
At 02:26 PM 8/13/2003 -0500, Richard Huggins wrote: Maybe I'm not getting something, but ... You mentioned that you have everything on separate staves at the moment--why wouldn't you extract those into parts before combining them? If you did, then you're only dealing with the implosion issue (making a more-handy conductors score), not trying to figure out how to extract separate parts from an already-imploded stave. Yes, I guess I could do that. I prefer to have a one-way pipeline, where there is one score where I do all the composition/editing, and then I extract parts from there. Ideally my composition would all be done into the score as the conductor would see it, and then I issue a single extract command that will give me all my parts broken out. I'm prepared to do the necessary editing to produce the final individual parts. I'd rather not have to also do a major editing job to produce a consolidated score. In addition, this more consolidated score would be useful during the compositional process because I'd see more useful staves on the screen at any time. Thinking out loud -- brainstorming... Wouldn't it be neat if Finale one day replaced all that 2-voice and 4-layer stuff with a more generic outlining capability, analogous to the outlining feature you see in Word and Excel? With such a capability, you could group related instruments just like you group related line items in a spreadsheet. Click on the plus button and you would see each voice in its own staff. Click on the minus button and all those voices would be rolled up to one staff or one grand staff as needed. In part extraction, you could choose to extract the individual staves or the rolled-up levels. With such a feature, there would be little need for the program staff sets feature either. It would obviously be a very sophisticated feature, but that could be extremely intuitive and powerful. I now return you to 2003, which is already in progress. :) ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 Review
Le 08/08/03 09:41, Dennis Bathory-Kitsz [EMAIL PROTECTED] a écrit: At 02:35 PM 8/8/03 +0200, d. collins wrote: And what about installing it and using on a laptop with no internet connection? Is that easily done? Does that mean this is okay with you? Not even a whisper of protest? Everybody else thinks this is fine, too? It's not with me. I just sent this email to the Finale order desk. Hello, I made a 2004 pre-order yesterday on the basis of the information on Makemusic's website. It turns out that the website was misleading when it said there was no copy protection. Challenge-response *is* copy protection as understood by the user community, and only by a Clintonian turn of phrase about what is is is it anything else. I hope there will be people standing up against all this whining! From what I have seen, there is no way to compare that scheme with that of Finale 98. You buy your software, then register it. Software companies HAVE to find ways to prevent illegal copies of their softwares and god knows how many there are. We choose to take the legal way because it is fair, and because we want MakeMusic to continue their research to make Finale a better software. I see Dennis's post as HUGELY OVERREACTING. I also see some hypothetical problems if Coda stops to support 2004 but our plug-ins developpers have always provided solutions to things Finale cannot do and am confident that if EVER it comes to that we'll find a way through. Wasn't it clear that you have to register ONCE and then the computer remembers that code even if it is reformatted. At least it's the way I understand it. If you ever have to work temporarily on someone else's computer, you CAN do it with all the features enabled for a whole month. Pirat copies of software is a HUGE problem and the solution here is nothing to disturb me in the way I normally work. Éric Dussault ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 Review
At 12:50 AM 8/8/03 +0200, Jari Williamsson wrote: I've now put a Finale 2004 review with some tips on the tips site. I'll correct all the typos tomorrow... http://www.finaletips.nu/ Here I find: Finale 2004 has copy protection. You can read how it works on MakeMusic!'s own site. I go there and read: There is no copy protection, no key disks, no inconvenience. Which is true? If there really is copy protection, I intend to cancel my order. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Copy protection and the PACE system
In the back-and-forth about the appropriateness of adding a copy-protection scheme to Finale, the discussion of the PACE system and its worm dropped through the cracks. It would seem to be a prerequisite to further discussion to know--from the people who actually wrote the code, not some second-hand opinion--whether or not the PACE system was used in the construction of the challenge/response encoding, and whether it still contains a worm. Until we have that answer in definitive form, common sense would dictate that no one should be loading Fin2k4 onto their computer, no matter what their opinions are about the other issues. David Lawrence ([EMAIL PROTECTED]) ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Tacet or 2x only
I have seen 2nd x only much more than 1st x tacet. I also think it conveys intent better and quicker. As for font style, that's subjective to the style preferred by the publisher, if there is one. Personally I use 12 pt italics plain and have seen that used quite a bit. Richard From: Aaron Sherber [EMAIL PROTECTED] I'm writing out an arrangement with several repeated strains, and the instrumentation changes slightly on the repeat. So for an instrument which only comes in on the repeat, is it better to put '1x tacet' or '2x only'? And is there a standard as to whether this should be roman or italics or bold? ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fin2004 Discount
The promo code was sent in an e-mail (you may already have received it by now) -- it does NOT lower the price below $89. Mario Aschauer wrote: Dear fellow listers, I might have missed something: what exactly is a promo code? Does it make the upgrade any cheaper than $89? I for one didn't receive an e-mail from Coda at all... Regards from sunny Vienna, Mario. MARIO ASCHAUER Music Director Ensemble NovAntique Linz www.ensemblenovantique.at Durchlaufstraße 14/1/1 1200 Wien +43 - 1 - 207 2101 [EMAIL PROTECTED] ___ 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] Ted Ross reprint
- Original Message - From: Nick Carter [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, August 11, 2003 6:58 PM Subject: [Finale] Ted Ross reprint I'm talking to the publisher of The Art of Music Engraving and Processing by Ted Ross about a reprint and I wanted to ask the list for your input. Would you like to see a hardcover reprint?... new content?... or do you already have a copy and you don't care? All thoughts and comments welcome! I would be intrgued to know what is meant by new content. I've also talked with the publisher of Gardner Read's book Thesaurus of Orchestral Devices about reprinting and it looks like the price would be around $100. Any takers? If there's sufficient interest, I'll try to make it available again. I think I'd be interested, though whether I can justify spending that on a book remains to be seen. C. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2004 on site
On Wednesday, Aug 6, 2003, at 11:16 US/Pacific, Richard Huggins wrote: Apparently, if you can at least run system 9.0.4, you can use this upgrade even though some features may not be available to you. This is good for anyone like me with a dinosaur Mac that can't run OS X. I believe it's possible to upgrade from OS 9 to OS 9.2.2 by using a series of free update installers from Apple. The 9.2.x updates must be applied in stages. Lotta downloads though... Philip Aker http://www.aker.ca ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
RE: [Finale] (no subject)
Robert: The statement is correct so long as you keep your current computer (actually optionally 2 of em) running as long as you live. But most people upgrade computers periodically, or have hard drive crashes, etc. When that happens, you'll have to get a new reg code, and that means MM has to be there and able to provide it. Hi, well they're going to provide a solution in the maintenance update for one specific case: - your old computer still works - you remember to have to save / transfer your Finale activation In that case, you can transfer the activation without accessing MakeMusic's Activation Server. But in the case of a hard disk crash, this seems not to work. So yes, it would be good if they submitted the activation code generator to a trusted third party. Hmmm ... by the way: the fears about the corporation dying or all rights on Finale source codes going to an evil power could easily be overcome by one simple action. Some already said that we do trust MakeMusic's employees but we don't trust in the fate of corporations. So, MakeMusic could NOW grant a dozen or so of its employees the irrevocable right and give them the technology to deliver activation codes for Finale 2004, in the case that the corporation itself fails to do so at some point in the future. The legal documents about this could be published. That way, even if MakeMusic is sold, these employees, and possibly additional Trusted Third Parties would have the irrevocable right to save us. Cheers, Tobias ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Auto dynamic placement plug-in
On Tuesday, August 5, 2003, at 12:52 PM, [EMAIL PROTECTED] wrote: In a message dated 8/4/03 6:31:27 PM, [EMAIL PROTECTED] writes: After selecting some measures, I cannot get the dynamic placement plug-in to place any dynamic but mf in a score. Herman - My understanding of the intended (albeit limitied) function of this plug-in is: It goes through your selected area and displays dynamics based on the midi key velocity found in that region. So if you use speedy/simple to enter your data, chances are good that everything will be pegged around an mf. I know it's not what I need it to be. Thanks John, Am I right in assuming that dynamics cannot be placed as easily as articulations? If I want to place a few identical dynamics in several measures, must each one be done manually? The dynamic placement plug-in is almost at the point where it might allow the placement of ANY dynamic. Herman ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 Review
Great review. Thanks! Ray Horton - Original Message - From: Jari Williamsson [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Thursday, August 07, 2003 6:50 PM Subject: [Finale] Finale 2004 Review Hello! I've now put a Finale 2004 review with some tips on the tips site. I'll correct all the typos tomorrow... http://www.finaletips.nu/ Best regards, Jari Williamsson ___ 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!
John Howell wrote: once again, the marketing department seems determined to ignore the educational market that should be so important to them. The Mac version isn't shipping until October 20, much too late for any college I know of. I think I can state with fair certainty that the Oct. 20 shipping date for the Mac version is hardly a marketing-driven decision. Brow-beating MM about OSX compatibility seems a bit pointless now. It's been announced, and they're gonna come out with it exactly as fast they possibly can. They've even given us a date. What more can we ask for? ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Copy protection and the PACE system
At 07:18 AM 8/9/03 -0400, David H. Bailey wrote: Could you please elaborate? What is the worm that you claim is embedded in the PACE system, what does it do, and how would it work if we have antivirus software on our system? Wouldn't current AV software catch/kill the worm on our machines? PACE is legitimate software. There's been a year-long set of threads on the Cakewalk/Sonar newsgroups. It's broken some machines to the point of having to re-install the operating system from scratch to purge the low-level PACE locks. PACE removal instructions (because it survives removal of the locked application itself) are regularly posted on the newsgroup. Here's the company's website: http://www.paceap.com/ Prosoniq dropped it, and this might be relevant to the Finale discussion: http://www.crmav.com/88/prosoniq_to_drop_the_pace_copy_protection_from_all_products.shtml If Finale is using PACE, then it's a true disaster. Despite recent assurances that the product has been improved, PACE issues continue to arise, locking up computers and causing crashes. If you want a rundown, search news.cakewalk.com in the Product.SONAR newsgroup (warning: ca. 140,000 messages!) So it's critical for Makemusic to disclose this information. Thanks to David Lawrence for reminding us about this. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://mail.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] TAN: 2-Up Printing with Acrobat Reader
Dennis Bathory-Kitsz wrote: After setting booklet properties, go to the print dialog itself and set 'shrink to fit'. Aha. That's the option I don't want. Armed with this info I got it to work in OS9, and hopefully in OSX soon. (That is, I turned shrink to fit OFF!) Thanks very much. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] TAN: Tacet or 2x only
Hi all, I'm writing out an arrangement with several repeated strains, and the instrumentation changes slightly on the repeat. So for an instrument which only comes in on the repeat, is it better to put '1x tacet' or '2x only'? And is there a standard as to whether this should be roman or italics or bold? Thanks, Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] RE: 2004 Panic
Darcy James Argue wrote: [snip] reasonable way to transfer my old Finale files to a non-obsolete music notation app? and, Good lord, I'm not really going to have to start using Sibelius now, am I? And THAT could be the scariest what-if of all! -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
disclaimer [was Re: [Finale] Ted Ross reprint]
Although I quoted the line: And, quite related to our field, the Berlioz/Strauss Treatise on Instrumentation. despite the automatic line generated by Mark's e-mail client, I did not author it. ns ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] 2004 registration
This is an excerpt from MakeMusic techsupport (Tyler Turner) read on MM's forum As we explained in the FAQ, we are including a mechanism in a maintenance release of Finale 2004 that will let you transfer the saving/printing from one computer to another without ever contacting MakeMusic. This means that YOU are completely in control of YOUR purchased copy of Finale. There is nothing that MakeMusic could do to prevent you from using Finale 2004 for as long as you live. Isn't that clear? I feel it is. Éric ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 Review
Only if they're answering the phones at CodaMusic (or Net4Music or MakeMusic) that day. d. collins wrote: Thanks to David for explaining the system. Jari Williamsson: The challenge/response system is seamless if you do the registration over the internet. In that case, there's no extra user involvement required. And what about installing it and using on a laptop with no internet connection? Is that easily done? Dennis ___ 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] Finale Error Message
Dennis, Thanks for looking it up; it seems like there are more and more reasons to upgrade to XP. Meanwhile, I did a restore of my entire C drive from a Norton "Ghost" backup file, and everything works fine again -- for now. Thanks. - Ken
RE: [Finale] Ricoh AP2610
I bought one of these also, and I am delighted with it. I printed a 41 page 11 x 17 score (single sided) in three minutes. I also got the duplexer. It works but at the moment I only have 24lb. paper and it tends to wrinkle. I am assuming that 32 lb. paper will not wrinkle. It can also handle 18 x 12 paper for 9 x 12 parts, but I haven't tested this because I don't have any 18 x 12 paper yet. Windows xp fin2k3a. BF -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Fisher, Allen Sent: Wednesday, August 13, 2003 5:59 PM To: Finale List Subject: [Finale] Ricoh AP2610 Hi All... 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) After I finish my current project. I'll post more about it. Back to lurking... Allen J. Fisher [EMAIL PROTECTED] Life is a series of dogs --George Carlin ___ 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!
At 05:20 PM 8/6/03 -0500, Craig Parmerlee wrote: That may be true of Opera 6. I recently upgraded to Opera 7.11 I had no trouble viewing the site and placing an upgrade. I found the earlier Opera 7 releases practically unusable, but 7.11 is solid, as far as I can tell. I use 7.11. Are you IDing as Opera? Changing to ID as MSIE allowed me in, but I still can't place an order with my hyphenated name. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Tacet or 2x only
Okayit is correct that I should have said that IF it was a first ending, the designation could read Play 1st x That being corrected, I'm pretty sure the original question referred to a situation using repeat bars only (not a 1st/2nd ending), and in such a case all the notes *would* be seen twice and my Play both x's would be correct. Doubting the arranger's other markings seems a bit extreme to me. Richard From: Christopher BJ Smith [EMAIL PROTECTED] Both X's for a passage INSIDE the first ending, where it will only be seen once? I would find that illogical and confusing, and it would make me doubt the arranger's other markings. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 Review
At 10:55 AM 8/8/03 -0500, Richard Huggins wrote: I think Coda/MM has the right to employ some method of copy protection. If technically they goofed by using the words no copy protection, that's a gaffe they may already regret. Perhaps the words smart copy protection would have been better (and I'm NOT saying its opponents would have agreed it is smart, I'm just playing the role of marketer). 'Tain't smart. But okay, let me restate something that I think was lost in my thunderstorm of words. :O This was a paragraph in my posted email to Makemusic: There is one acceptable action, and that is to put a universal unlock key in escrow with a third party that will be released when Makemusic can or will no longer provide full support for Finale 2004 (that condition to be determined by an objective third party), coupled with full disclosure on the website of the program behavior, the owner of the universal unlock key, and the future support schedule. I have a real-world example. I bought WaveZip. It was challenge-response. It was marketed with that information, but it was several years ago when such authorizations were fairly new and I didn't pay attention to what the words meant. When I upgraded my hard drive, suddenly the program didn't function. I thought it odd that my legitimate registration wasn't accepted, and contacted the Gadget Labs. They explained it and gave a new code. I stopped using WaveZip encoding immediately (the decoder didn't need a code). Not long afterward, Gadget Labs faltered and went down. And what had they done? One of their final acts was to post and widely distribute the universal unlock key to WaveZip (and perhaps other programs; I only had WaveZip) so that authorization was no longer needed. This action depended on Gadget Labs' essential integrity. I think Makemusic damaged that integrity by their dissembling description of 'no copy protection' on the website. That means I don't trust them to do what Gadget Labs did. But they could restore that confidence by following these simple steps: 0. Publish the information truthfully on the website and on all ordering materials. 1. Create a universal unlock (skeleton) key. They probably already have one. 2. Escrow that key to a third party contracted to Makemusic only for that purpose. 3. Create and publish a support schedule for version obsolescence. 4. Authorize the key to be published and widely distributed to purchasers when that version is no longer supported. 5. Enable the third party to publish the key when Makemusic violates the support schedule or shows other indications, **with the third party as sole arbiter**, that the product is endangered (through Makemusic tech, support, or economic failures) or for the failure of Makemusic to provide authorizations in a timely manner. 6. Require the serial number to purchase upgrades, as is done now. That's not hard, but you know what? It means Makemusic actually has to *trust* somebody. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Tacet or 2x only
At 11:47 AM -0400 8/06/03, Aaron Sherber wrote: Now for the followup: An instrument is tacet the first time through but actually begins playing in the pickup to the repeat -- that is, in the first ending. Is the indication 'Play' over the pickup notes the usual way of indicating this? Logically, if someone is tacet the first time, but there is music in the first ending, one would assume that he MUST play in the first ending, otherwise the music has no reason to be notated there. BUT, as a belt and suspenders measure (so your pants REALLY won't fall down, you see!) I would put Play over the passage anyway. I would also put the special JazzFont enclosure on it, but if you are not using JazzFont, never mind. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
RE: [Finale] Finale 2004 Review
I hope Finale's system will be a user-specific challenge/response and not a computer/specific system. I see, like measuring nose and ears? Or, worse yet, I certainly hope it isn't like Sibelius's system No, it isn't. I think you can actually install it three times and all will print and save just fine. You are apparently allowed to use two working installations. Installing it on a machine will enable it for all users. And only a much longer time will tell whether in 4 years Make Music ... decides to no longer support Finale2004 in order to force people to upgrade, and will no longer provide response codes for Finale2004. I think that would be illegal even in the States. It would certainly be illegal in Germany, so the German distributor would be in big trouble. Folks, you don't seriously believe Coda is that user-hostile? The only problem would be when they cease to exist. But even then, you must be aware that there are some very nice people behind this. MakeMusic employees are Finale users, just like you and me. I'm sure these people will make Finale survive, including older versions. Cheers, Tobias ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] RE: 2004 Panic
At 11:04 PM 8/9/03 +1000, RockyRoad wrote: PS: The system is acceptable to me. I am a veteran of dongles (Logic), keydisks (Soundiver) and other arcane systems. Of course the potential demise of MakeMusic is a concern but the greater issue their would be whether the last Finale would continue to run on my continuously updated Macs. There may be something in what you just wrote. This is just a guess, but is there a general split between Mac- and PC-heritage users on this issue? Have Mac users have become accustomed to copy protection over the years, while PC users have been acculturated away from it? Its possible. Maybe the smaller Mac market makes programmers more concerned to prevent casual piracy. Many of the more expensive audio plugins (VST/RTAS/AU) have challenge-response protection or worse. As do various soft-synths. I don't know if the protection is for both platforms. -- 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
Re: [Finale] TAN: What maketh a musician?
My mother-in-law would most definitely dispute your statement that there is music after rappers do their work! So since the term music is so subjective, also must the term musician be subjective. And I would most definitely not put any faith in the Grammy awards as being any real proof of musician status -- think of the many thousands of fantastic musicians for whom the grammys aren't an option because they don't make records at all. I refuse to stop calling myself musician simply because there isn't a Grammy award for local music teacher who is a community band director and hasn't been approached for any recording contracts and I refuse to start calling a record producer a musician just because there IS a category for them! There are record producers who are fantastic musicians, but there are also record producers who are simply fantastic knob-pushers. Crystal Premo wrote: On the other hand, I've come to accept that rappers ARE musicians, and that the spoken word can be considered music. Hey, there are Grammies for rappers, but not, as far as I can remember, for DJs. This is easier to accept. Rappers are sort of like vocal/lyrical percussionists. Also, they create more. There was no music, then they do their work, and there is music. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] It's here -- Finale 2004!
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] TAN: OSX Booklet printing (e.g., w/ Acrobat Reader)
On 08.08.2003 22:20 Uhr, Robert Patterson Finale wrote It is a system-wide problem. That is, the current OSX Postscript driver does not include booklet printing the way that for OS9 did. Isn't it Adobe's version of the postscript driver that offered Booklet printing on driver level? I don't think Apple's version ever supported this, so it isn't really them to blame. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: The Panic Room, was: RE: [Finale] Re: Registration codes andcopyright
David H. Bailey wrote: Thanks -- it seems that the only thing which has changed in the license is that Coda has been changed to MakeMusic. Actually, the end-user isn't in the table of contents Obviously because it is an undocumented feature vbg. ns ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] FinMac2004 Discount
On Thursday, August 7, 2003, at 07:03 AM, David H. Bailey wrote: The code entry does NOT give you a greater discount -- the price is $89.95, with or without that code. No, no, no. That's what I've been trying to tell you. Without the code, the price for the upgrade from Mac Finale *2002* to Finale 2004 is ***$139.95.*** With the code, the price is $89.95 -- the same price offered to Mac Finale 2003 users. You are right that the code doesn't make any difference to Finale 2003 users, but *I never said it did*. I cannot believe the amount of confusion this thread has caused. - Darcy - [EMAIL PROTECTED] Boston MA ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] (no subject)
The statement is correct so long as you keep your current computer (actually optionally 2 of em) running as long as you live. But most people upgrade computers periodically, or have hard drive crashes, etc. When that happens, you'll have to get a new reg code, and that means MM has to be there and able to provide it. ric Dussault wrote: This is an excerpt from MakeMusic techsupport (Tyler Turner) read on MM's forum As we explained in the FAQ, we are including a mechanism in a maintenance release of Finale 2004 that will let you transfer the saving/printing from one computer to another without ever contacting MakeMusic. This means that YOU are completely in control of YOUR purchased copy of Finale. There is nothing that MakeMusic could do to prevent you from using Finale 2004 for as long as you live. Isn't that clear? I feel it is. ric ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fin2004 Discount
I finally upgraded from WIN 97c to 2003 about three months ago. I, too, have not received a promo! Cecil Rigby [EMAIL PROTECTED] From: Richard Yates [EMAIL PROTECTED] And I have received no e-mail promo at all [snip] Anyone else receive no promo? ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004
On Wednesday, August 6, 2003, at 06:42 PM, Aaron Sherber wrote: At 06:14 PM 8/6/2003, Éric Dussault wrote: Wouldn'd it have been great if the Finale 2004 advertisement on MakeMusic's website could be made so they can be viewed by a macintosh computer. All the sound samples with soundfonts and musical playback are not compatible with macs. Unless I'm missing something, the sound samples only require Windows Media Player, which is also available for the Mac. See http://microsoft.com/windows/windowsmedia/download/ Aaron. No, you are missing something -- the sheer delight of Microsoft's half-assed port of Windows Media Player for Mac, which is unable to play back 90% of all Windows Media files you find on the web (even if you know the kludge about manually copying and pasting the link into the player). And it looks like all Mac development of WMP has been stopped. Using Windows Media files on a website is effectively the same as giving a big hearty bugger off to Mac users. - Darcy - [EMAIL PROTECTED] Boston MA ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: What maketh a musician?
A co-worker insists that a deejay is a musician. I say that is a load, that at most he is perhaps an editer or producer. Can a legitimate case be made in his defense? Absolutelyl not! He does not create or recreate music, he uses other people's music. John So whose music is that scratchy sound he makes? Am I to understand that if the same hand motions are used to create a very similar scratchy sound on a guiro, he's a musician, but if he does it on an LP, he's not? -- Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Fwd: [Finale] TAN: OSX Booklet printing (e.g., w/ Acrobat Reader)
Begin forwarded message: From: Robert Patterson Finale [EMAIL PROTECTED] Date: Thu Aug 7, 2003 10:57:01 AM US/Eastern To: Finale List [EMAIL PROTECTED] Subject: [Finale] TAN: OSX Booklet printing (e.g., w/ Acrobat Reader) Reply-To: [EMAIL PROTECTED] This is a followup to yesterday's thread. It appears that booklet printing is only available in OS9. (This is yet another example of OSX not-ready-for-prime-time-ness.) In Google searches I've found many bitter complaints that booklet printing has (so far) been orphaned in OSX on a variety of printers, i.e., apparently all of them. If anyone knows of an OSX solution, I'd love to hear about it. (I wonder if using Acrobat 5 in Classic would work!) If printing in Classic works for you generally, then yes, there should be no problem printing from the classic version of Acrobat 5. - Darcy - [EMAIL PROTECTED] Boston MA ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Fwd: Re: [Finale] Ted Ross reprint]
Michael Matthews sent this to me personally; I suspect he intended to post it to the list... Original Message And, quite related to our field, the Berlioz/Strauss Treatise on Instrumentation. I for one would be interested in an updated version of Ross, though I do have a copy of the book. Michael Matthews On Monday, August 11, 2003, at 03:53 PM, Noel Stoutenburg wrote: David H. Bailey wrote: As it is Ted Ross's book and he's dead, as far as I'm concerned, nothing new can be added, unless he wrote some additional material before he died. Well, there is something of a publishing tradition of continuing to use the name of a well known author or editor, who is long dead. Prominent examples of these are Webster's Dictionary, and Gray's Anatomy. Using the name Ross on a second edition of a book bearing the identical title to the first, and covering much the same area of inquiry, even though edited by someone else, would not be outside this tradition. ns ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fin2004 Discount
On Thursday, August 7, 2003, at 12:54 AM, Rich Caldwell wrote: Anyway, if you're registered on the site, it should know what version you have so the promo code is kind of useless (I think). The promo code isn't useless for Coda because most people won't even see it. I would have missed it for sure if Chris Smith hadn't mentioned it (even though it ultimately didn't work for him). It's like those mail-in rebates -- Coda is assuming most people can't be bothered. - Darcy - [EMAIL PROTECTED] Boston MA ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Ted Ross reprint
I'm talking to the publisher of The Art of Music Engraving and Processing by Ted Ross about a reprint and I wanted to ask the list for your input. Would you like to see a hardcover reprint?... new content?... or do you already have a copy and you don't care? All thoughts and comments welcome! I've also talked with the publisher of Gardner Read's book Thesaurus of Orchestral Devices about reprinting and it looks like the price would be around $100. Any takers? If there's sufficient interest, I'll try to make it available again. Thanks, Nick PS We still have a few of the last batch of print seconds of Ted Ross here. Dr Nick Carter, Owner, npc Imaging, 2228 Magowan Drive, Santa Rosa, CA 95405 [EMAIL PROTECTED] Tel/fax: +1 (707) 573 9361 http://www.npcimaging.com Th!nk City EV driver President, North Bay Electric Auto Association Spare the air every day - drive electric! *** ** Ted Ross print seconds available - also CD-ROM version ** ** Medieval plug-in and November font now available** ** Finale Power 33% off! ** ** 49 CD sheet music titles: thousands of pages from $18.95! ** ** Books by Stone, Ross, Gerou Lusk, Stiller, Gamble, etc. ** **Dover miniature scores bundled with Naxos audio CDs** *** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
RE: [Finale] Finale 2004 Review
Tobias Giesen writes: I'm sure these people will make Finale survive, including older versions. Yes, a thing that seem to support this is the fact that you can still download patches for very old Finale versions, such as Finale 2.2. Many companies only provides download of fixes for the last 2 versions or something. Best regards, Jari Williamsson ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Strategy for scores
Craig Parmerlee: I want to know how others approach organizing the instruments on their scores. I have done mainly small ensembles in the past. ... 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. As somebody else pointed out, there are two different issues here. Combined parts on orchestral score staves is virtually universal practice because single staves for 35-50 parts is impractical. I completely agree with you, however, RE the advisability of totally separate extracted parts, and I require this of all composers and editors who submit material to me. In the score, I would strongly suggest that only identical instruments share a staff. The common practice of, for example, combining tuba and bass trombone on one staff is not, IMO, a good idea. Sometimes it may be preferable to give a player their own staff in the score even though other instruments of the same type are also present. This would be done when the two parts are so different that they would tangle up with each other visually. ... 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? Yes and yes. Is there any way to avoid that extra editing/extraction step? No, but it should be fairly painless if you prepare properly. See below. 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? It's not necessary, but you need to be strict in your procedure. If there are two parts on a staff, and some passages have only one line of music, that line must *always* be marked either 1. solo, 2. solo, or a2 so that TGTools knows what to do with it. Wherever the second parts crosses above the first, that must be indicated either by using layers, with opposed stemming, or by writing : 2. 1. like that. BTW, these are good practices even without considering TGTools at all. A good score contains *all* the information needed to produce a performance of the piece according to the composer's desires. That said, I enter the notes on multi-instrument staves just as if it were a keyboard staff: homophonic passages are entered as chords in one layer, brief polyphonic excursions are done with Voice 1 2, and true counterpoint is done with layers. TGTools is very good at sorting all this out properly, and even Finale's own explosion algorithm ain't half bad. 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. Use Finale's regular Implode Music utility. Or try this: edit each part the way you will want it to look when combined with other parts on one staff (incl. all stem directions, etc.), then *drag one staff on top of the other.* This is an old Finale trick that was essential for certain effects in Finale 2.X and earler, but it's still worth remembering. -- Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Tacet or 2x only
At 11:11 AM 8/6/2003, Christopher BJ Smith wrote: This really is me talking, for some reason my emailer thinks it's a quote: I prefer 2nd X only rather than 2x only, as it won't be confused with Two times only, and Tacet 1st X is a negative, which seems to take more brain power to process. Yes, that seems to be the consensus, and it makes perfect sense. Now for the followup: An instrument is tacet the first time through but actually begins playing in the pickup to the repeat -- that is, in the first ending. Is the indication 'Play' over the pickup notes the usual way of indicating this? Thanks, Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] It's here -- Finale 2004!
On Wednesday, August 6, 2003, at 01:02 PM, Christopher BJ Smith wrote: At 3:37 PM -0400 8/06/03, Éric Dussault wrote: Le 06/08/03 15:05, Christopher BJ Smith [EMAIL PROTECTED] a écrit: Whee! I also got a whopping discount ($39.95 instead of $89.95) by stating my promotion code when they asked me - it was sent to me in the advertising email I got. Looking forward to getting teased about the t-shirt by my fellow musicians! 8-) I think it is a mistake and that they rectified it promptly. As I was getting my shopping cart ready it also said that I would pay 39.95 but later on I was told that I was not eligible to the « Mac upgrade discount », so they charged me the expected 89.95. I've talked to a sales rep on the phone and he simply could not acknowledge that there were any offer less than the 89.95. Yes, you are right. I couldn't get it to translate to my shopping basket either. THe way they explained it is that FinMac2002 owners get the promo code to have the same upgrade price as 2003 owners for a short time (to make up for not having OS X compatibility), and if I entered the promo code manually as well, then it was essentially applied twice, which is not accepted. I find it a bit unfair that having bought 2003 and suffered in OS 9 as a result doesn't get me a better discount than all those 2002 users who DIDN'T pay for 2003. But, hey, it's not my company. Nice story to cover up a computer glitch (which may be partly true), but it doesn't explain why this happened to me as I was purchasing my WINDOWS upgrade. - Brad Beyenhof [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: What maketh a musician?
Seriously, though, assuming you can't get to a performance, what would help you? You needn't assume that. We have one or two venues for this sort of entertainment in NYC. Maybe if I go and see it in person, my opinion will change. I guess right now it just seems too loaded with stuff created by others. I guess I should check it out. Crystal Premo [EMAIL PROTECTED]/[EMAIL PROTECTED] _ MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*. http://join.msn.com/?page=features/virus ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Fin2004 Discount
I have all spam filtering turned off at the server for my account, though. Hmmm.. Cecil Rigby From: Dennis Bathory-Kitsz [EMAIL PROTECTED] Mine was spam-filtered because of all the HTML and internal links, but I recovered it from the trash. Since you are Earthlink and they have aggressive spam filters, maybe it was trashed before it even got to you. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] 2004 on site
Excellent! Jari, now that this has been announced, can you please post your review so that we know what Fin2004 is *really* like? Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 Review
At 04:10 PM 8/8/03 +0200, d. collins wrote: But I'm only at the stage where I'm trying to understand what's going on. So I'm also very wary, and would like to know how troublesome this one will be. Since Makemusic chose to dissemble on their website, I don't trust them now. Period. Anything short of lifting this protection scheme, whatever it is (especially if it's the system-damaging PACE software), doesn't cut it. They've already been marginally, um, 'honest'. Their credibility is wiped. And troublesomeness, whatever it is, doesn't even address the ethical issue of Finale issuing victimware. The Other Dennis ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Pre-orders
Richard, Thanks for sharing your research. I NEVER got the email invitation to pre-order. So, I was glad to see how to get the $89.95 price at the location you found! i guess that this means there is a new computer in your future, or already on your desk. Tom Jordan On Wednesday, August 13, 2003, at 03:27 PM, Richard Huggins wrote: For all the messages that dealt with who would get the $89.95 upgrade price, the info was on at least one MM page all the time, in the fine print. I was looking at the upgrade pre-order page today (http://www.finalemusic.com/finale/promotions/0803/f2k4pre89.htm) and decided to read the fine print (the asterisked part), the highlights of which are: $89.95 valid for both F2K and F3K (pre-order) free T-shirt (pre-orders only) 30-day return privilege if not happy with it charges card when shipped, not when ordered ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Rhythm notation preference
There are no real rules as in a system which has been agreed upon by international convention. These are simply general principles that one sees in engraved music. Many people tout them as being rules simply because that makes more people tend to follow them and lends an air of authority to them. And the main principle of music notation is that the composer's intention be made as clear as possible to the performer. Sometimes that requires showing the third beat of a 4-beat measure and sometimes that requires obscuring that third beat. But since most musicians are used to seeing that third beat, many have a hard time when it is obscured. Reading books on notation will reveal many common principles that most professional engravers and copiests have followed. Gardner Read's book and Ted Ross's book are good for traditional music and Kurt Stone's book discusses music notation in the 20th century. But in the final analysis, what the composer wants should be followed if he/she has a good reason for wanting a particular notation. The same rhythm, when notated in different ways, often receives different interpretations, so it is important that the proper interpretation be represented by the notation. Brad Beyenhof wrote: On Monday, August 4, 2003, at 08:32 AM, Christopher BJ Smith wrote: At 5:58 PM -0400 8/03/03, Darcy James Argue wrote: The same exception RE: double-dotted notes cited above is also (sometimes) used -- i.e. a double-dotted quarter followed by a sixteenth. Again, not a universally beloved exception, but you see it often enough. Strictly speaking, in that system double-dotted notes are not used, as dotted rest are not used either. They are considered archaic. Is there a name for this system to which references are being made? Is there an alternative? Basically, I've already taken to heart most of these rules as merely common engraving practice, and not thought of them as a part of some disparate system of rules. As a side note: though I follow the Rule of Four and eschew dotted rests, double-dotted notes are no problem in most jobs I've done (as long as they're college-to-professional level pieces). Usually, quarter-tied-to-eighth-tied-to-sixteenth looks really cluttered on a 20- to 30-staff wind band score and a double-dotted note is much cleaner. - Brad Beyenhof [EMAIL PROTECTED] ___ 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] FinaleScript question
However, if I'm going to need that sort of operability outside of Finale, the QuicKeys upgrade ($69.95) is a lot more appealing than an OS upgrade (reputedly $130). Especially since the Finale upgrade ($89.95) is happening concurrently... - Brad Beyenhof [EMAIL PROTECTED] On Thursday, August 7, 2003, at 09:46 AM, Tim Thompson wrote: 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? ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: What maketh a musician?
Well, I've heard several french hhh ... sorry... french hhh ... sorry ... I meant french hhhorn players that one could barely call musicians... but we all try and some are more talented at what we do than others. DJ's which are good can make you move and can communicate with other musicians with scratching, playing beats and working on tempos, etc. There's no point in writing them off as non-musicians when what comes out of their instruments is music. Unless you want to have a cow about it. There are people that don't consider Jazz music at all, and others that don't find any reason to listen to folk songs. I would classify a record-playing DJ as a percussionist. You hit a note on the piano and you're a musician. But all you're doing is placing a finger here and there. You lower the needle onto a record and the world says: Hey! Anybody can do that! when in fact it has always been the way we make these movements that matter. In music, intent defines much more than mere physics. Liudas - Original Message - From: Crystal Premo [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Wednesday, August 06, 2003 2:54 PM Subject: [Finale] TAN: What maketh a musician? A co-worker insists that a deejay is a musician. I say that is a load, that at most he is perhaps an editer or producer. Can a legitimate case be made in his defense? Crystal Premo [EMAIL PROTECTED]/[EMAIL PROTECTED] _ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ___ 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] Finale 2004 demo files
Just checked out the audio demos on the Finale web site again, and they are now mp3's, playing back great on my mac. Thanks MM. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Strategy for scores
Well, maybe I'm STILL not getting something, but I'd rather not have to also do a major editing job to produce a consolidated score. I thought in your original message you said you had chosen to do it the way you did. In this case, you have to consolidate the score anyway, since you've already done it with more staves than you care to work with or than the conductor can. Seems to me that in the future if you don't want to do the consolidation process after the fact, you have to start out with consolidated scores. Ideally my composition would all be done into the score as the conductor would see it, and then I issue a single extract command that will give me all my parts broken out. Well, we're quibbling here a little how the conductor sees something on his score is a matter that pertains only to his score, not the parts. There are layout issues on one and different layout issues on the other. For example, do you want the conductor to be able to tell when Trumpets 1 and 2, but not 3, are playing? You'd possibly use stems to indicate that or maybe even text on the score (or rests). But if the players each have their own part, they don't need that help. So I don't quite see what difference it makes that first (on the conductor's score) you work in a conductor's perspective manner when it comes to parts that eventually will be extracted for the players. I also don't understand your comment about a single extract command as if somehow you can't use that on your score as it is. That hasn't been lost. In fact, it would be easier when dealing with separate staves then with staves tha have to be exploded before parts can be created. If you have a conductor's score with 8 staves or 28 staves, Finale's extract command will make parts for you. --Richard ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] First FIN 2k5 question
Copy protection in the Linux world? Now THAT's likely to succeed! Johannes Gebauer wrote: On 09.08.2003 2:06 Uhr, Noel Stoutenburg wrote In discussing a side issue with a friend about MAC OS-X, the point was made that MAC OS-X is a variant of UNIX. This leads me to wonder, given that 2k4 is being reconfigured to run native on Unix, er, OS-X, whether we might, in the near (i.e., not too many upgrades in the future) see a LINUX version of Finale A few months ago this very question has already been asked and Coda / Makemusic have made it pretty clear that this will not happen in the near future, and probably never. Sorry about these news. Johannes -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] First FIN 2k5 question
On Fri, 2003-08-08 at 19:06, Noel Stoutenburg [EMAIL PROTECTED] wrote: In discussing a side issue with a friend about MAC OS-X, the point was made that MAC OS-X is a variant of UNIX. This leads me to wonder, given that 2k4 is being reconfigured to run native on Unix, er, OS-X, whether we might, in the near (i.e., not too many upgrades in the future) see a LINUX version of Finale ns As other people have said, it's not too likely. Although if they wanted to, they could separate Finale into a CLI and a GUI. Then all they would have to do is recompile the CLI on Linux at almost no cost, and leave writing a GUI to the Open Source community. In any event, I just recently started looking at other open source notation editors. The two I have looked at, Lilypond (with Denemo GUI interface) and NoteEdit, look like they could be the beginning of something good, as long as the authors keep working on it. Another way to go is to try to use the Windows version on Linux using Wine. The only version I've tried using this method is 3.71, and I couldn't get the fonts working right. Same way with Finale NotePad. Admittedly, I didn't try all that hard, either. Maybe someone else has had better luck. --Bill ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
RE: The Panic Room, was: RE: [Finale] Re: Registration codes and copyright
At 02:19 PM 8/9/03 +0200, Tobias Giesen wrote: but most end-user licenses I have ever read contain a clause which removes all liability from the publisher of the product. Yeah but those clauses aren't valid, they are void. At least in Europe, but it should be similar in the States. Most contract law is state law in the US. You'll see that in the Finale license, it's done under the laws of the State of Minnesota. We don't have, what do you call them?, harmonization issues here. :) Related story about contract law where I learned the hard way: I had a book published in the early 1980s called The Custom TRS-80. It sold very well, and in fact I had a year's worth of income from the royalties. It sold so well (along with other books in the series) that the California publisher very cagily overprinted the third printing heavily. He went bankrupt from the expenses of doing that, and the books were sold as scrap to a company in Nevada. The contracts to book royalites were all voided because it crossed state lines. The point? He owned the company in Nevada, too, and continued to sell the book at full price for a decade afterwards, paying not a single penny in royalties to me. And the California bankruptcy meant that only 3% of my earned royalties were paid to me in the court distribution -- about $500 of the $17,000. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] 2k4 release dates
The frontpage at finalemusic.com says that Windows ships 8/20/03; Macintosh ships 10/20/03. Hope it actually comes out as promised... but a software release is a little more important than a Web announcement, so it should. - Brad Beyenhof [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: OSX Booklet printing (e.g., w/ Acrobat Reader)
This is a followup to yesterday's thread. It appears that booklet printing is only available in OS9. (This is yet another example of OSX not-ready-for-prime-time-ness.) In Google searches I've found many bitter complaints that booklet printing has (so far) been orphaned in OSX on a variety of printers, i.e., apparently all of them. If anyone knows of an OSX solution, I'd love to hear about it. (I wonder if using Acrobat 5 in Classic would work!) -- Robert Patterson I hope and pray you're talking about Acrobat here, and not a system-wide problem that would affect Finale? -- Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: What maketh a musician?
It was either on this list or on orchestralist where a couple of years ago I participated in a discussion of what a composer is, and ultimately (since there is no universally agreed upon test that a composer must pass) there was no concensus other than a person who puts sounds together can call himself/herself a composer. The same can be said for musician -- a person who puts live sounds together. But we each can have personal standards that we choose to adhere to, so that I can state that a person who simply noodles on a midi keyboard and prints whatever comes out through a computer is absolutely NOT a composer. And you can state that anybody who simply uses prerecorded sounds to put together a live sound (even if it means scratching a disk back and forth on a turntable) is absolutely NOT a musician in your mind. But if you don't think a deejay is a musician, perhaps you would favor us with your list of criteria which a person must fulfill to cross your threshhold and be considered a musician? Crystal Premo wrote: A co-worker insists that a deejay is a musician. I say that is a load, that at most he is perhaps an editer or producer. Can a legitimate case be made in his defense? Crystal Premo [EMAIL PROTECTED]/[EMAIL PROTECTED] _ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ___ 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] Registration codes and copyright
And so it came to pass that On Friday, August 8, 2003, at 02:41 PM, Tobias Giesen spake: b) as Benjamin pointed out, making your product unusable by refusing activation codes at some point in the future is illegal in the States as well as in Europe. They wont need to do this to get the same result since copy protection software is amongst the most fragile in existence. All it takes is an OS upgrade, when Finale 2004 is no longer the current version, which causes the copy protection software to break. The then current version of Finale will have its copy protection software upgraded to work with the OS upgrade but 2004 users will be out of luck. It is therefore crystal clear that neither Microsoft nor Coda will stop handing out activation codes for obsolete products, ever. Activation codes are of no use once the copy protection software is incompatible with your current operating system. Youll need a museum to make use of them. Someone mentioned a Mac/PC take on copy protection and Id only point out that Mac OSX users have had quite a few reasons to upgrade their OS recently and this will likely continue for the foreseeable future. One would imagine Tyranny, PTL ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] RE: 2004 Panic
This brings up yet another legal issue that I'm not sure MakeMusic have thought about -- if the software is registered to a specific machine, does it remain with that machine? Talk about giving away free copies! If I install Finale2004 on my machine and it does its electronic handshake and receives its registration activation code, then it works forever on that machine, right? When I sell that machine, the software will still be on the hard drive, legally activated, so the new owner will receive a copy he/she hasn't paid for, while I get to call MakeMusic and explain that I have a new computer and need a new registration. So how will MakeMusic know that the copy on my original computer has been deleted? Will Finale do an internet handshake everytime it is started, just so MakeMusic can keep global track of all its little children? If not, then I fail to see how this system will prevent people giving away free copies! Tobias Giesen wrote: In laymans terms- then what? What IS challenge/response? You won't even notice it. It feels like a simple online registration, but what's really happening is that your specific computer is registered and activated using a most likely globally unique ID. You will only notice it when trying to install it on the third or fourth computer. Registration will then say: too many installations. After 30 days, Finale will stop working on that machine. Otherwise, you have nothing to fear. If you sell the machine and need another installation, you can just talk to them and they will enable it. I did that many times with Sibelius back when I gave it a chance. Cheers, Tobias ___ 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] Intellectual property
Well, that's reassuring! (not!) Hands up, anybody who has ever owned copy-protected software (games included) where the company has gone out of business and the copy protection has gotten lost or destroyed? Are we all reassued now? Johannes Gebauer wrote: On 09.08.2003 2:31 Uhr, Craig Parmerlee wrote Come on Tobias, surely you are not assuming that MakeMusic is free from any dangers of bankruptcy, corruption, commercial interests?... never ever to go bust? Look at what happened to Opcode... Well that is the point, isn't it? They are putting a sensible protection scheme into place PRECISELY so they WON'T go bankrupt. Oh, Opcode's software was copy protected as well. Johannes -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
RE: [Finale] Finale 2004 Review
Take it easy. Why should we be disappointed or even furious? Don't forget that estimated 70% of the use of Finale is illegal. It is copied on music schools etc. So far Finale did survive with their unprotected policy. But it is wise to protect the software. Forcing illegal customers to pay. Finale is still a cheap program compared to Sibelius. And all the new features are very promising and deserves our loyal support. Davo ___ Davo van Peursen (Sr. Music Editor at MuziekGroep Nederland) Paulus Potterstraat 14 1071 CZ Amsterdam The Netherlands phone: +31(0)20 3058922 email: [EMAIL PROTECTED] site: http://www.muziekgroep.nl ___ -- From: Dennis Bathory-Kitsz Sent: Friday, August 8, 2003 15:41 PM To: [EMAIL PROTECTED] Subject: Re: [Finale] Finale 2004 Review At 02:35 PM 8/8/03 +0200, d. collins wrote: And what about installing it and using on a laptop with no internet connection? Is that easily done? Does that mean this is okay with you? Not even a whisper of protest? Everybody else thinks this is fine, too? It's not with me. I just sent this email to the Finale order desk. Hello, I made a 2004 pre-order yesterday on the basis of the information on Makemusic's website. It turns out that the website was misleading when it said there was no copy protection. Challenge-response *is* copy protection as understood by the user community, and only by a Clintonian turn of phrase about what is is is it anything else. Protected products are unacceptable. I have been a loyal customer since version 2.2 ([serial #]). That's ten years of loyalty, except when you did the key disk protection in Finale 98, which I also did not buy. Copy protection immediately suggests that Makemusic is in trouble, and I'm not about to hitch my wagon to a failing company. I am very disappointed not only with your Makemusic's actions, but also its attempts to cover them up by hiding how a Finale 2004 purchaser will be forever tied to the fortunes of Makemusic. You didn't even describe the technology, so we can't even know if it contains the PACE virus. That is unacceptable in any form, and I am furious with this sort of spite you show against your loyal and honest customers. Please credit the amount below immediately, or, if it hasn't been charged yet, cancel the order and confirm the cancellation. And then forward this to your decision makers, and let me know about their plans to drop this behavior. There is one acceptable action, and that is to put a universal unlock key in escrow with a third party that will be released when Makemusic can or will no longer provide full support for Finale 2004 (that condition to be determined by an objective third party), coupled with full disclosure on the website of the program behavior, the owner of the universal unlock key, and the future support schedule. My radio show is tomorrow -- one of the best known shows among composers -- and I certainly don't want to miss the opportunity to talk about what Makemusic has done to their loyal composer community. The order number was [order #]. The order total to credit is [amount]. Dennis Kalvos Damian's New Music Bazaar ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
RE: [Finale] Re: The Panic Room
Ah, Keith. You must be one of the few who didn't use Atari then Emagic Notator and had to put a dongle on the serial port [or was it joystick port ... hm Joysticks and dongles!] I was always terrified it might go bung or I might lose it or something. My wife used to tell people I had a $1000 dongle. David McKay [EMAIL PROTECTED] http://members.ozemail.com.au/~musicke ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 Copy Protection
I'm certain that having your final sentence in the back of their minds makes a lot of folks more comfortable! - see snip below! Regards, Keith in OZ But both Tobias and I can be somewhat cheerful about it, because in that hopefully unlikely scenario, either one or both of us could fairly easily write a program to downgrade the files. :-) -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] More Finale 2004 info
At 10:39 AM 8/8/2003 +0200, Jari Williamsson wrote: I noticed that the MakeMusic! marketing material for Finale 2004 only seem to compare the SoftSynth output with normal MIDI output. No example how a printed page would sound with human playback. So I created such an example, which is now linked from my review: http://www.finaletips.nu/ Very nice. It seems like a great new feature, and quite timely for a project I'm working on. Two questions: 1) Do the crescendos happen automatically, just by entering the hairpin, or do you have to do something else to make the crescendos active in the playback? 2) (This is a basic MIDI question, not specifically related to 2004). I have an external sound engine (E-Mu) that I normally use. It works great -- instant response -- but only supports 16 channels. What are the options if I want to use 32 channels, for example? Will this new SoundFont stuff support that? Is that software synthesis fast enough so that you can use this during HyperScribe? Thanks, Craig ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] OSX Midi
Does anyone know whether an old serial MIDI inteface will work in OS X, and how? Or do only USB interfaces work? Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Fin2004 Copy Protection
I noticed it has changed. Has it gone to a Challenge-Response system? -- 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
Re: [Finale] TAN: What maketh a musician?
If Grammy awards are not an authority, what makes you say your mother-in-law is? No logic there, sorry. Liudas - Original Message - From: David H. Bailey [EMAIL PROTECTED] To: Crystal Premo [EMAIL PROTECTED] Cc: [EMAIL PROTECTED] Sent: Thursday, August 07, 2003 12:58 PM Subject: Re: [Finale] TAN: What maketh a musician? My mother-in-law would most definitely dispute your statement that there is music after rappers do their work! So since the term music is so subjective, also must the term musician be subjective. And I would most definitely not put any faith in the Grammy awards as being any real proof of musician status -- think of the many thousands of fantastic musicians for whom the grammys aren't an option because they don't make records at all. I refuse to stop calling myself musician simply because there isn't a Grammy award for local music teacher who is a community band director and hasn't been approached for any recording contracts and I refuse to start calling a record producer a musician just because there IS a category for them! There are record producers who are fantastic musicians, but there are also record producers who are simply fantastic knob-pushers. Crystal Premo wrote: On the other hand, I've come to accept that rappers ARE musicians, and that the spoken word can be considered music. Hey, there are Grammies for rappers, but not, as far as I can remember, for DJs. This is easier to accept. Rappers are sort of like vocal/lyrical percussionists. Also, they create more. There was no music, then they do their work, and there is music. -- David H. Bailey [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] TAN: OSX Booklet printing (e.g., w/ Acrobat Reader)
It is a system-wide problem. That is, the current OSX Postscript driver does not include booklet printing the way that for OS9 did. However, Finale itself has built-in booklet printing that is (presumably) still available in Finale 2004 even when running under OSX, and it is far superior to that of the OS9 Postscript driver. The only time one needs the printer driver is when one needs to combine title pages from a word processor with music pages from Finale. Then Finale's booklet printing is mostly useless. BTW: Thanks to Davo van Puersen for suggesting I use Acrobat Reader 4 instead of 5. Acrobat Reader 4 does not have the font problem that 5 does. (Go figure.) Andrew Stiller wrote: I hope and pray you're talking about Acrobat here, and not a system-wide problem that would affect Finale? -- Robert Patterson http://RobertGPatterson.com ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] Re: The Panic Room
If it makes anyone feel any better, there is a much worse copy protection scheme out there than Finale 2004's challenge-response scheme, and, believe it or not, even worse than Sibelius'. Try upgrading Logic versions from emagic. Firstly there is a brand-new dongle that has to be plugged into the USB port (yeah, like that's really reliable). Secondly, there is also a challenge-response system by which you have to fill in your details on an EXACT piece of paper, in an EXACT envelope, with your EXACT original CD and original old dongle to be sent to your distributor, at your own expense, who then forwards it by mail to Germany. Eventually they email your return code back (mine took about 9 weeks). Yes. I prayed every night that my dongle would make it there safely. To make it even worse, in order to upgrade from, say, Logic 4 to Logic 6, you also have to pay the full expensive upgrade fee to Logic 5, even though you didn't get to use it, it all adds up to a giant I'd prefer to use a cracked version disaster. I think there's a circle in Hell for the paranoid programmers who conceived this rubbish, and I sincerely hope that Makemusic doesn't decide to follow their lead. And after all the hoops emagic makes you jump through - they won't give us an electronic copy of the manual because it might encourage piracy of the software!! -- David Stonestreet - Coming to you from Sydney Australia. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: What maketh a musician?
At 10:08 PM 8/6/03 -0400, Crystal Premo wrote: I can be very loose about who I consider a musician, but I think it really splits some hairs to call a playback device an instrument. Please post an audio file of your turntable performance. :) I just can't get my head around that concept. Don't try to get your head around it. Listen to it first. A lot of things sound bogus in concept. the music has already been created by the time he gets there. No ... the *sounds* have been created, as with any sampling method, not the music. In turntabling, very *small* pieces are used, rocked, scratched, played backward and forward, to create new patterns not found at all in the original, and architectures never conceived by the maker of the original sounds. Like any instrument, it's just a source of raw materials to compose with. The whole 50 years of sampling creations have met dismissal in some quarters. Live sampling is the latest to be dismissed. Seriously, though, assuming you can't get to a performance, what would help you? Consider that the new generation of live sampling technology uses MP3 players with shuffle/scratch/rotation features run on turntable surfaces, but not using actual vinyl (have a look at Zzounds.com for some interesting new turntabling instruments). Deejays sample and load bits pieces of vinyl into this equipment. These newer devices approach increasingly the use of sampling on, say, an ordinary keyboard. Ordinary keyboards use pre-built samples, many taken of 'real' instruments. Does this deny the keyboard player the title of musician? If the turntablist played the same samples from a keyboard, wind controller, or Midi guitar? If the keyboardist played a turntable with 'real' instrumental samples? At one point does the turntablist/deejay cease being or start being a musician? Finally, read this enthusiast's review, the second paragraph of which shows that the culture of turntabling is pretty well developed as true musical performance: http://www.dustedmagazine.com/features/131 But more than anything, listen, and if you want an experience, find a club to watch and listen. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: OSX Booklet printing (e.g., w/ Acrobat Reader)
Robert Patterson Finale wrote: However, Finale itself has built-in booklet printing that is (presumably) still available in Finale 2004 even when running under OSX, and it is far superior to that of the OS9 Postscript driver. The only time one needs the printer driver is when one needs to combine title pages from a word processor with music pages from Finale. Then Finale's booklet printing is mostly useless. My preferred method for dealing with this to date is to create the title pages in Finale, too. And given that the text editor of 2k4 will be WYSIWYG, this will even be more effective than previously. Though I've not yet been forced to do this, I had already decided that if for some reason it was necessary to use a word processor for something that Finale could not handle, that I'd do it in the word processor, save it as a graphic image, convert to a ~.tif format, and incorporate the graphic in the Finale score. ns ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] RE: 2004 Panic
One problem that has not been mentioned (I think) is where a single individual is responsible for multiple installations on many computers. We are an institution where everyone (students, faculty, librarians, etc.) has an institutional laptop. Because the laptops are mobile, users do not use networked software (for most things); rather all software is installed on each machine. Standard stuff is on a template, so can be installed collectively. Specialist software (such as Sibelius/Finale) must be installed individually. One year, I had to install 70 individual copies of Sibelius one at a time. The registration codes were a nightmare, since each and every code had to be read from the computer, sent to tech support (70 e-mail messages each way), the answer codes read and then fed individually into each computer. It took several days, during the first week of classes - normally a busy time anyway.. Added to this was the problem of computers that went wrong due to accidents, viruses, etc. These had to be done all over again. (One student I re-installed seven times in one term!) In this case, the response-code type of registration is impossible to manage. GJC To: J. Simon van der Walt [EMAIL PROTECTED], David H. Bailey [EMAIL PROTECTED] From: William Roberts [EMAIL PROTECTED] Copies to: [EMAIL PROTECTED] Send reply to: [EMAIL PROTECTED] Subject:Re: [Finale] RE: 2004 Panic Organization: Lycos Mail (http://www.mail.lycos.com:80) Date sent: Sun, 10 Aug 2003 12:58:55 David H. Bailey wrote: Then you have to contact Sibelius (which does NOT have 24/7 live or electronic installation assistance) and meekly ask for permission to start using your legally purchased software again. I can't believe that I sound like a Sibelius apologist, but in the interest of even-handedness, it *is* possible to re-register your copy of Sibelius over the internet by filling in a form on their web site at any time of the day or night, without the need to talk to somebody there. I agree that this still poses problems if you don't have internet access, but for most people this is probably good enough. Best, -WR Get advanced SPAM filtering on Webmail or POP Mail ... Get Lycos Mail! http://login.mail.lycos.com/r/referral?aid=27005 ___ 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!
I believe those who upgrade from 2002 pay a higher price -- they are careful about whom they mail the upgrade notices and codes to, and keep careful track about which version you are upgrading from. Too bad the math on their web-site was so misleading! I don't think the 89.95 applies to everybody, though, only to those who upgrade from 2003. Christopher BJ Smith wrote: At 3:37 PM -0400 8/06/03, Éric Dussault wrote: Le 06/08/03 15:05, Christopher BJ Smith [EMAIL PROTECTED] a écrit: Whee! I also got a whopping discount ($39.95 instead of $89.95) by stating my promotion code when they asked me - it was sent to me in the advertising email I got. Looking forward to getting teased about the t-shirt by my fellow musicians! 8-) I think it is a mistake and that they rectified it promptly. As I was getting my shopping cart ready it also said that I would pay 39.95 but later on I was told that I was not eligible to the « Mac upgrade discount », so they charged me the expected 89.95. I've talked to a sales rep on the phone and he simply could not acknowledge that there were any offer less than the 89.95. Yes, you are right. I couldn't get it to translate to my shopping basket either. THe way they explained it is that FinMac2002 owners get the promo code to have the same upgrade price as 2003 owners for a short time (to make up for not having OS X compatibility), and if I entered the promo code manually as well, then it was essentially applied twice, which is not accepted. I find it a bit unfair that having bought 2003 and suffered in OS 9 as a result doesn't get me a better discount than all those 2002 users who DIDN'T pay for 2003. But, hey, it's not my company. ___ 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] RE: 2004 Panic
Finale 2004 Registration FAQs Q. Does Finale 2004 have copy protection? A. No. It does, however, require software registration within 30 days of installation. Failure to do so will temporarily disable printing and saving until you do register. You may also install Finale on two machines (on the same platform an additional platform disc is $50) for your personal use under one serial number at no additional charge. Q. How does this differ from Sibelius? A. Sibelius Software employs an encryption system to unlock the program to enable use. You are required to register the program with Sibelius within 5 days of loading it onto your computer. Sibelius grants the purchaser the right to use the product on a single terminal of a single computer in a single location. A second license may be granted in certain instances for non-simultaneous use, by the same user, for an additional fee. Any further use is prohibited. Q. How do I register? A. Finale provides a Registration Wizard that walks you though a few simple steps. If your computer is on-line, authorization occurs automatically at the conclusion of these steps. Q. What if I don't have an Internet connection? A. The Registration Wizard can print out a form that can be used by fax or mail. If you call MakeMusic! we can provide you with an authorization code that will complete your registration. Similarly if you send your form in by mail or fax, this code will be returned to you by the same means. Q. How long will this take? A. If you have an Internet connection it will take seconds. If you place a toll-free phone call, it will take minutes. If you fax us, we will typically return the fax by the next business day. If you send in your registration by mail, we'll return your authorization by mail, and this will take several days. Q. How many times can I install Finale? A. You can install and reinstall Finale an unlimited number of times on the same computer. If you own more than one computer you can install on the second computer an unlimited number of times as well. Should you get a new computer (or hard drive) and have previously only installed on one computer, you're still fine. Should you need to install on a third computer (say after buying a new machine), you will need only to place a toll-free call to MakeMusic!. Q. What happens if I reformat my hard drive? A. You will have to reregister, but this will not decrement the number of machines you can install on. Q. If I find something I dislike about this software registration, may I return Finale for a full refund? A. Yes. If you purchased either Finale or a Finale upgrade directly from MakeMusic!, and for any reason are not fully satisfied by it, you are welcome to return the software for a refund within 30 days of your purchase. Q. Why are you requiring software registration at this time? A. The worldwide Finale user base has grown dramatically over the years. The demands on our Technical Support and Customer Service resources have grown in step. Unfortunately, the growth of illegal copies of Finale has also grown dramatically. Registration affords us the means to continue to provide the best possible service to our loyal, paying customers and minimizes the impact of illegal copies on our ability to reinvest in product development. Q. How does this work in a site license setting? A. Finale comes with built-in support for KeyServer for network uses. An additional network solution for those not using KeyServer will be available in a forthcoming maintenance release. In a site setting with no special server or network needs, computers must be registered individually. Q. How do I transfer registration from one computer to another? A. Right now this type of transfer is possible but users must do so through MakeMusic! Customer Service. In a forthcoming maintenance release, which will be available free of charge to owners of Finale 2004, we will include a means to transfer registration from one computer to another without the need to contact MakeMusic!. Q. What happens if Im unable to register during normal phone hours? A. You can register via the Internet 24 hours a day. Additionally, we currently provide phone registration 24 hours a day (subject to change). Q. What happens if MakeMusic! ceases to exist? Will I still be able to use the software?A. If we cease to exist, Finale will continue to run on your computer. You would, however, run into problems if you tried, for example, to register a third machine. While we have no intention of disappearing, we take all customer concerns seriously, and in a forthcoming maintenance release, which will be available free of charge to owners of Finale 2004, we will include a means to transfer registration from one computer to another without the need to contact MakeMusic!. Q. How does registration work for International customers? A. International customers who purchased directly from MakeMusic! register with MakeMusic!. If the seller of your English
Re: [Finale] FinaleScript question
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 Brad, I haven't found any documentation on the FinaleScript stuff, but it looks to me like you will be able to choose menu items by keystroke. By the way, TGTools can do key-to-menu mappings as well (at least on windows, I'm assuming that mac is similar). ** ~ ** ** Benjamin Smedberg, Director of Music** ** St. Patrick's Church, Washington D.C. ** ** VOX 202-347-2713 x102 - FAX 202-347-1401 ** ** [EMAIL PROTECTED] ** ** Soli Deo Gloria ** ** ~ ** ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: 2-Up Printing with Acrobat Reader
Speaking from PC-ville: Booklet printing is normally available in the printer driver. My Xerox P12 and HP1220 both have booklet creation options. It's accessed through Acrobat Reader's 'print setup' dialog. After setting booklet properties, go to the print dialog itself and set 'shrink to fit'. This may be what you've already done, but are not satisfied with the results. Dennis Apropos of this: I print extracted parts and vocal scores in booklet format, which requires, on the Mac, that the Page Setup be set to different dimensions and orientation than the file's own layout. Many of the composers and editors I work with use FinWin, though, and I'd like to know if there's anything they can do at their end that will make the appropriate Page Setup settings appear when their files are translated by my copy of FinMac? -- Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Intellectual property
At 08:19 AM 8/9/03 -0500, Craig Parmerlee wrote: Frankly I can't imagine why anybody who intended to abide by the license would be complaining about this. It's for the same reason somebody might object to being searched while having nothing to hide, or to seat belt laws while always wearing one, or to gun-control laws while never owning one, or anti-terrorism laws while never engaging in it, or zoning laws while never violating them, or anti-drug laws while never using drugs ... because some issues are ethical ones and belong in the realm of liberty. Liberty as a concept is increasingly eroded in our presently corporate-centric society allows companies to engage in behavior that the government may not engage in, including unwarrented searches (urine tests), restrictions on outside behavior (no smoking even off duty), expropriation of thought (where all ideas belong to the company, not matter when they're written down during the period of employment), covenants against present *and* future behavior (NDAs are a good example), and any manner of actions that in the public sphere would be disallowed under Constitutional protections. Copy protection is at heart unethical because it contractually exploits those who obey its terms, making its buyers digital serfs on the intellectual property plantation. That's why I call such software victimware. Dennis ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: What maketh a musician?
A co-worker insists that a deejay is a musician. I say that is a load, that at most he is perhaps an editer or producer. Can a legitimate case be made in his defense? Absolutelyl not! He does not create or recreate music, he uses other people's music. And for the anal, the true test is whether a DJ must join the AFofM. I suspect that the union would have him shot for taking work away from live musicians. On the other hand, I've come to accept that rappers ARE musicians, and that the spoken word can be considered music. Hey, there are Grammies for rappers, but not, as far as I can remember, for DJs. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: OSX Booklet printing (e.g., w/ Acrobat Reader)
-Original Message- From: d. collins [mailto:[EMAIL PROTECTED] Clickbook works much better than Fineprint, in my opinion (and I've used both). Clikbook (which is the software I was thinking about when I started this post) does not work in OSX, according to the website. I never used it because early versions were specifically not compatible with Finale. A product that is close is Booklet Maker 1.1, but it hasn't been updated since 1997 and it works with .ps files rather than .pdf files. Too bad, though, because it could have been just the ticket if its author had maintained any interest in it. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Registration codes and copyright
Relative to the issue of re-registration, David wrote, in part I read with interest Tyler's Q/A post, where Finale2004 will have a maintenance release that will include the ability for us to transport the registration code to a different machine -- that is EXACTLY the garbage that Sibelius does, and depending on the required media (Sibelius requires the ever-dependable 3.5 diskette media) it can spell disaster in its own right! and I would submit that my experience might be of some value here. The abstracted version: don't register on-line. Over the course of the past year I have been forced by circumstances beyond my control to rebuild my hard disk on multiple occasions, generally caused by problems with the boot hard-drive. Since it appears that the system that MakeMusic! has chosed to implement is much like the one Dr. Patterson uses himself, my experience may be of value here. Each case where I have found it necessary to rebuild my hard drive, I have had to provide the re-registration from the email supplied by Dr. Patterson. Not a problem. The permanent copy of that email is permanently archived, and if I need to re-install it, it is trivial to access the email, and re-install the code. I intend to treat Fin2k4 exactly the same way; registration will be by email from my internet connected machine, and I will save the email response in the same folder where all the other Finale stuff is downloaded. If I need to reinstall the software for some reason, ever, the code will be right there. The way I figure it, as long as I have a copy of the email containing the key, I won't have to worry about not being able to install the software. BTW, in the same vein, I periodically review the Make Music download site, and make certain I have a copy of every maintenance release, and its documentation, as well as the accessory materials (I consider Notepad to be an accessory). It's archived, so if I ever need it, I've got it. I'll continue to do this. And I'm not going to lose any sleep over registering my copy. Beside, I figure the reason for the on-line registration is that it's easier to do this than to burn a hologram to each CD. ns ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
RE: [Finale] Finale 2004 Review
At 10:38 AM 8/8/2003 -0400, Dennis Bathory-Kitsz wrote: Within days, if not hours, of the new version being out, there will be cracks available. Don't be so sure. There were multiple cracks for every version of software I produced. I had a very primitive protection system that was easy to crack. I switched to a commercial packaging system that provides robust encryption and I don't see any cracks out there after 120 days. I suppose if somebody from the NSA really badly wanted to tie up enormous amounts of computer power figuring out how to crack the protection wrapper, they could be successful. But as a practical matter, it just isn't worth it, even for a hacker. A vital part of the cracking process is to reverse compile the program. The robust packaging schemes deliver the program code strongly encrypted so that you cannot decompile the program until you have already cracked the encryption. And of course, if you have cracked the code, you don't need to decompile. ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] First FIN 2k5 question
On 09.08.2003 2:06 Uhr, Noel Stoutenburg wrote In discussing a side issue with a friend about MAC OS-X, the point was made that MAC OS-X is a variant of UNIX. This leads me to wonder, given that 2k4 is being reconfigured to run native on Unix, er, OS-X, whether we might, in the near (i.e., not too many upgrades in the future) see a LINUX version of Finale A few months ago this very question has already been asked and Coda / Makemusic have made it pretty clear that this will not happen in the near future, and probably never. Sorry about these news. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
[Finale] TAN: What maketh a musician?
A co-worker insists that a deejay is a musician. I say that is a load, that at most he is perhaps an editer or producer. Can a legitimate case be made in his defense? Crystal Premo [EMAIL PROTECTED]/[EMAIL PROTECTED] _ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
RE: [Finale] Finale 2004 Review
This action depended on Gadget Labs' essential integrity. I think Makemusic damaged that integrity by their dissembling description of 'no copy protection' on the website. That means I don't trust them to do what Gadget Labs did. Just because the *marketing* guys found euphemisms for software activation? I have had personal (albeit mostly via email) contact with many Coda employees, and I am deeply convinced that if there is one company that you can trust, it's them. Many Coda employees, including decision-makers and chief software developers are Finale users themselves. This product is very important to them. Unless all the key figures die at the same time, there should be no situation that will make Finale 2004 unusable for the next 2 decades or so. And there will of course be cracks, too ... Cheers, Tobias ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Read Thesaurus (was: Ted Ross reprint)
On Monday, August 11, 2003, at 01:21 PM, Robert Patterson Finale wrote: If I didn't already have a copy of the Thesaurus, I would be happy to pay the asking price of $100, ridiculous though it is. I have found the Thesaurus to be one of the most useful books on my shelf. For those who haven't seen it, it is basically an index of all the special orchestration techniques in about 200 std. rep. scores from c. 1840-1940. I recently used it to find about a dozen examples of harp tremulos in scores in my library. I've also used it to find complex string divisi and numerous other techniques. I'm not sure if I'm reading this properly... does the Thesaurus actually have the examples in it, or does it merely reference the examples' existence in specific editions of scores? - Brad Beyenhof [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] Strategy for scores
Yes, I was thinking mainly of wind parts. I've seen so many horrendous combined parts that I cringe when I see them. I understand that a string section is managed differently, and when there are divisi parts in cello, e.g., that is almost always vertical i.e. same rhythms, harmonized notes. That's not so objectionable on a combined part -- as long as the intervals are separate enough so that there is absolutely no difficulty in reading accidentals. In other cases, I think I'd be inclined to use Smart Explosion on the difficult passage to break that into two separate staves on the same cello part -- only using two staves for the difficult-to-read passages. I guess my point is that the musicians have enough to worry about without the copyist doing a cop-out. IMHO, music should be as easy to sight-read as possible. Cheers, Craig At 05:21 PM 8/13/2003 -0500, [EMAIL PROTECTED]: Craig wrote: 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. As an orchestral string player, I would have to disagree rather strongly. Do you really mean that if, at one point, the violas divide in 3, you would provide parts for Viola 1, Viola 2 and Viola 3? If I were the section leader I would take one look and tell the conductor that your piece is more trouble than it's worth. We know how to handle divisi, and standard engraving practice is just fine. I wrote a band piece in which the euphoniums divide a2, a3, and a4. All the divisi parts appear on the extracted page, each on a separate line, and there is no ambiguity or potential for confusion. If you're just talking about orchestral wind parts, then I agree with you in MOST cases, but possibly not all. If you're talking about percussion parts, I don't agree at all. The parts have to be such that the section leader can distribute them no matter what the size of the section is. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ 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] First FIN 2k5 question
In discussing a side issue with a friend about MAC OS-X, the point was made that MAC OS-X is a variant of UNIX. This leads me to wonder, given that 2k4 is being reconfigured to run native on Unix, er, OS-X, whether we might, in the near (i.e., not too many upgrades in the future) see a LINUX version of Finale ns ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
