Dennis Bathory-Kitsz wrote:
Just be careful with those characters. Some applications crash when trying
to open files other than alphanumeric characters; it's a common bug in
applications whose heritage dates from 8.3 filenames.
Thanks for the tip, but I my use of long filenames is almost
David W. Fenton wrote:
[snip]
I read his posts as an explanation of some of the things Sibelius
does well, posted here as a way of pointing out what Finale might do
better.
The rush to pounce mystifies me -- it's as if people felt some kind
of personal investment in Finale that
At 12:35 AM 7/12/02 -0800, Mark D. Lew wrote:
Is there a way I can remove the My Computer and Neighborhood Network
icons from the Desktop. I figured out how to get rid of My Documents,
even though I could trash it directly, but the same trick isn't working for
these other two.
Search for a
On 12 Jul 2002, at 6:38, David H. Bailey wrote:
What DOES show clearly is that some people find Sibelius' method of
making the user work easier to deal with, while others find Finale's
method of making the user work. And the reverse is true, as witness
the large number of faithful, mostly
On 12 Jul 2002, at 7:19, David H. Bailey wrote:
You can at least rename them so it seems a lot less kindergarten-ish.
They do both have to remain on the desktop, but you can put your
bottom row of icons with their names just hidden by the toolbar. I put
the ones I never use but can't get rid
At 9:25 AM 07/12/02, David W. Fenton wrote:
Of course, it would all depend on how it was implemented, as there
are any number of pitfalls to deal with. But just because it's
possible to do it *wrong* does not mean it's impossible to do it
*right*. So much of the objection to the mere suggestion
At 01:38 PM 7/12/02 -0800, Mark D. Lew wrote:
My current problem is that something is turning the auto-arrange back on.
I think maybe it's related to a system freeze up I'm getting from one of
my other applications. It seems like it's only after I reboot that the
icons have re-aligned
At 10:04 AM 07/10/02, David W. Fenton wrote:
I imagine that the filename length limits on the Mac make
this something of a challenge. Personally, I hate extremely long
filenames, because the whole concept of it requires placing meta
information in the file's name, which violates my concepts of
At 11:42 AM 07/11/02, Richard Walker wrote:
Why the rush to pounce?
I think the rush to pounce has something to do with your insistence on
coming on to the Finale list and telling us that Sibelius works better than
Finale does.
If Sibelius is better suited to your needs, that's fine. All of
Richard Walker wrote:
on 02.7.11 10:25 AM, David H. Bailey at [EMAIL PROTECTED] wrote:
And this is being touted as better than the way Finale does it? To
get back to regular trumpet you can't type-into-score senza sordino?
You have to type arco trumpet and then remember to hide it before
At 12:16 AM 7/11/02 -0800, Mark D. Lew wrote:
What I
really hate, however, is that certain punctuation characters which were
available to me in Mac filenames are off limits in Windows filenames!
I think this is in keeping with the long tradition of reserved characters.
That's why some Mac
Hello Richard,
Now, where the real power comes in is that Sibelius has
included a reset instruments command, so I can create a file
using my preferred patches, and when I send it to you, you can
click a button to reset everything to play back on your
preferred patches. (Philip, did you
On Thursday, July 11, 2002, at 01:16 AM, Mark D. Lew wrote:
What I really hate, however, is that certain punctuation
characters which were available to me in Mac filenames are off
limits in Windows filenames!
FWIW, when you eventually move to OS X, there are a few
constraints that apply
On 10.07.2002 16:05 Uhr, Robert Patterson wrote
The Sibelius method of understanding what arco means after a
pizzicato and automatically switching to the appropriate patch seems so
obviously superior
Until, as eventually with any automation, its assumptions are not what you
want.
I think
I wouldn't object to improvement in this area, either. Adding a more
intuitive interface to the midi area of Finale would certainly make it
far more attractive to many people who currently don't like the program.
And it wouldn't even require any reworking of the current capabilities!
Just
On 11 Jul 2002, at 0:33, Mark D. Lew wrote:
At 11:42 AM 07/11/02, Richard Walker wrote:
Why the rush to pounce?
I think the rush to pounce has something to do with your insistence on
coming on to the Finale list and telling us that Sibelius works better
than Finale does.
I have a hard
Much as I have to coment on regarding MIDI in Finale, I like the fact
that I
*can* assign a patch change to a pizz. indication if I so please, but
that I
have several other options available to me as well, such as switching
channels, tranposition, etc. One only has to set up the MIDI
Richard Walker writes:
easy
scripting language that brings expansion within the realm of the ordinary
user who has neither the time nor the patience to master C++ before creating
plug-ins.
OK, go ahead and create a MusicXML exporter or importer by using the
built-in macro language! Or the
On 9 Jul 2002, at 23:10, Philip Aker wrote:
On Tuesday, July 9, 2002, at 05:08 PM, David W. Fenton wrote:
And in the expression list, there's no way to tell the
difference between arco (violin), arco (viola), arco
(cello) and arco (bass).
That is only true in prehistoric versions
At 09:41 AM 7/10/02 -0400, David W. Fenton wrote:
Very well, but it nonetheless requires multiple instances of a single
expression. The Sibelius method of understanding what arco means after a
pizzicato and automatically switching to the appropriate patch seems so
obviously superior that I
On 10 Jul 2002, at 11:13, Colin Broom wrote:
Much as I have to coment on regarding MIDI in Finale, I like the fact
that I
*can* assign a patch change to a pizz. indication if I so please, but
that I
have several other options available to me as well, such as switching
channels,
David W. Fenton wrote:
On 9 Jul 2002, at 23:10, Philip Aker wrote:
On Tuesday, July 9, 2002, at 05:08 PM, David W. Fenton wrote:
And in the expression list, there's no way to tell the
difference between arco (violin), arco (viola), arco
(cello) and arco (bass).
That is only true in
On 9 Jul 2002, at 20:50, Robert Patterson wrote:
David W. Fenton wrote:
quadrupling the number of metatool keys
Gracious. I just can't let this go by. Occasionally I have gone back to
Fin97 to avoid re-editing an old doc. It is the SLAG MINES! (Single
undo, lotsa bugs that have since
On Wed, 10 July 2002, David W. Fenton wrote
It is not a zero-sum game.
What is a zero sum game is the amount of developer time available to Coda. If
they spend time working on x they cannot spend time working on y.
I am simply suggesting that improvements be made, not that existing
On Wednesday, July 10, 2002, at 06:39 AM, David W. Fenton wrote:
However, I most certainly wouldn't want to have the current
capabilities gelded just because someone else hasn't
read/understood the documentation.
This is what bothers me about most discussions like this.
There seems to
"If I want to make a string run sound realistic by extending the note durations of each note, the closest I can come quickly is to put a slur over the music. Of course, I can't have separate playback definitions for my slurs, so if I do this, ALL of my slurs will make notes playback at 120%
What is not addressed in the statements from the Sibelius users is what
happens to the arco and pizz patch changes if I choose to use a non-GM
midi module, or if the arco and pizz patches I prefer are in higher
banks than the basic 128 patches of the GM standard?
Would I be able to assign
Here's how Sibelius does the patch-switching trick.
Each playback device has its own soundset within Sibelius. This is just a
text document that lists every patch on the instrument with all of the
bank/patch numbers to locate it in the device.
Following the patch list are groups that list which
Richard Walker wrote: The neat thing about this
is that it is all editable by the user. To behonest,
it's not a pretty job, but it is doable. What I did
was to load adefault set of about 75 patches into my
GigaStudio rig, saving them as aperformance file for
future use. (Yes, it takes a while
All,
Thanks to everyone for a *very* illuminating discussion on how Midi is used
within scoring. I learned a great deal about different styles. Being an old
event list guy, I find everything else ambiguous or hard to remember. But
it's refreshing to learn how many different techniques have
on 02.7.11 10:25 AM, David H. Bailey at [EMAIL PROTECTED] wrote:
And this is being touted as better than the way Finale does it? To
get back to regular trumpet you can't type-into-score senza sordino?
You have to type arco trumpet and then remember to hide it before
printing?
Thanks for
To tell you the truth, I'm not so sure I should duck for cover.
I've been playing with Sibelius, and its MIDI implementation is brilliant.
It's more than just the mixer window (which is entertaining for about 2
minutes). Unlike Finale, in Sibelius I've been able to customize default
patches for
Richard Walker writes:
I just load my orchestra into GigaStudio, open a new document,
choose my weapons, and away I go twiddle-free to create
music and listen to a decent approximation of
it, using the samples I like.
Which is exactly what I can do in Finale as well (appart from the
On Tuesday, July 9, 2002, at 04:50 AM, Richard Walker wrote:
(Just curious: did anyone ever figure out that drawing thing?)
Yes (1991).
Finale has its good points, but flexible MIDI implementation is
not among them.
It's reasonably flexible, just not user friendly compared to the
On 9 Jul 2002, at 13:08, Philip Aker wrote:
On Tuesday, July 9, 2002, at 04:50 AM, Richard Walker wrote:
... I can switch between pizzicato, mute, solo, tutti, and
arco/nat samples just by typing the words above the staff (no
fussy expression dialogs)...
is a great request and I
On Tuesday, July 9, 2002, at 04:50 AM, Richard Walker wrote:
... I can switch between pizzicato, mute, solo, tutti, and
arco/nat samples just by typing the words above the staff (no
fussy expression dialogs)...
Without commenting on the main MIDI playback issue, which is one I care
You're right that was the main point, but being able to type them directly
into the score rather than going through all that bothersome tool-switching
and dialog-navigating is also a boon.
The really neat thing, however, is that the same pizz entry selects the
proper samples for the 1st violins
On 9 Jul 2002, at 13:56, Robert Patterson wrote:
Eventually the Finale user figures out that s/he can assign metatools to the
most common expressions. Metatools are far more efficient than typing in (or
pointing and clicking). Thus while Finale clearly (in this intance) takes longer
to learn
- Original Message -
Haven't you missed Richard's point?
The point was automatic interpretation of those expressions, so that the
strings switch to Pizzicato and back to Arco, just because the
expressions are there.
Much as I have to coment on regarding MIDI in Finale, I like the
on 02.7.9 10:15 PM, Jari Williamsson at [EMAIL PROTECTED]
wrote:
Richard Walker writes:
I just load my orchestra into GigaStudio, open a new document,
choose my weapons, and away I go
Which is exactly what I can do in Finale as well
Although you can't. Yet...
Well, I'm sure you'll
On Tuesday, July 9, 2002, at 01:36 PM, David W. Fenton wrote:
... I can switch between pizzicato, mute, solo, tutti, and
arco/nat samples just by typing the words above the staff (no
fussy expression dialogs)...
is a great request and I think you should send it over to
MacSupport.
On 9 Jul 2002, at 14:55, Robert Patterson wrote:
David W. Fenton wrote
But who would waste a metatool on pizzicato/arco, when you'd need 1 pizz
and an arco for each of the string patches you had in use (assuming they
aren't all orchestral)?
Me, for one. As I said, I don't worry too
At 08:12 PM 7/9/02 -0400, David W. Fenton wrote:
In any event, quadrupling the number of metatool keys isn't exactly user-
friendly, since how in the world could one keep track of so many
different shortcuts?
My own solution is to use only the tools I need for a given score. The ones
that are
On 9 Jul 2002, at 16:30, Philip Aker wrote:
I didn't mention that I agree that Finale's implementation of
these features could be made more user friendly (no fussy
expression dialogs) because I'm already adept at using them the
way they are and I'd rather Coda's development time be spent
Concerning pizz and arco David Fenton writes:
There simply aren't enough numbers on the keyboard to make metatools work
for this kind of thing.
Now that it's possible to assign metatools to just about all the keys
on the qwerty keyboard, I've used p to enter pizz and a to enter
arco for some
David W. Fenton wrote:
quadrupling the number of metatool keys
Gracious. I just can't let this go by. Occasionally I have gone back to
Fin97 to avoid re-editing an old doc. It is the SLAG MINES! (Single
undo, lotsa bugs that have since been fixed, no staff styles.) And only
9 metatools.
Harold Owen wrote:
I think the perfect application would give you the easy way to
standard needs while giving you complete control over details, should
you need alternate solutions.
Indeed it would perfect. Have you never wondered why few if any such
apps exists?
Personally, I would like to
On Tuesday, July 9, 2002, at 05:33 PM, David W. Fenton wrote:
I didn't mention that I agree that Finale's implementation of
these features could be made more user friendly (no fussy
expression dialogs) because I'm already adept at using them
the way they are and I'd rather Coda's
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