I think you told him that you weren't going to be massaging the MIDI (for whatever reason) and he has to accept that. If he wants you to do it (and you accept) then you should charge more money. If he doesn't like the additional expense, or if you aren't willing to do it, he can find someone else to do it, which shouldn't be very difficult.
It IS fairly easy in Finale to get those things to play back better, though. The Create Tremolo in TG Tools mutes the notation and creates a playback passage in an hidden layer, so it is a one-step solution. The Tap Tempo function can let someone tap a key in the tempo needed to create more musical rits, etc. I often have similar discussions with clients. They are unwilling to sign off on anything that doesn't play back perfectly, regardless of the notation, or they are insistent on the real musicians playing something exactly like it was executed in MIDI. You just have to be more persuasive with the client, otherwise they will blame you for their lack of understanding. When I started out, I wanted to be the "can do!" guy, so I rarely spoke up. When I tentatively suggested once that another solution might be preferable, I was steamrolled over, and I backed down. When the project came to realisation and the place that I knew would be a problem WAS a problem, I pointed it out. The leader blamed me for not speaking up. I said I did speak up, and he said, "You should have been more convincing." He was right. He didn't need me to yell, he just needed me to make my reasons known in a way that he would understand. Christopher On Thu Sep 27, at ThursdaySep 27 8:34 AM, [email protected] wrote: > What has happened is he has latched onto the idea that the MIDI is this > perfect demonstration of his music, so if anything sounds a little off to him > > (not note-wise, mind you, but tempo), he goes crazy and starts asking me to > alter where things go. I told him, for instance, that a rit. is a rit. as > far as Finale analyzes things, that it doesn't know poco and molto unless > they're programmed, and, again, I ain't doin' it! So, in one movement, > there are tremolos between two chords, and we know how the convention goes > for > how they are written; these particular ones fill big measures (12/4) > bars), so there are lots of double whole notes. Finale looks at these and > is > literally playing one set of whole notes and then the other set of whole > notes, and it doesn't know how to tremolo so it sounds pretty silly. I > received this note concerning these bars: _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
