Many thanks for taking the time to give us these explanations, Craig. And to you, Robert, for your answer to my question as well.
— Mike On January 26, 2019 at 5:01:52 PM, Craig Parmerlee ([email protected]) wrote: > Here are some observations about each of the plug-in examples. Let me > stipulate that the Finale plug-ins might provide some unusual visual > results that aren't directly matched by Dorico, so I am not claiming > equivalence on any of these. > > 1. Copy arbitrary material regardless of barlines, etc. This is > inherent in Dorico, and I think you would find this far more productive > in Dorico. Dorico does not provide any drag-and-drop, but the cut and > paste model is extremely powerful. It even allows 1-to-many pasting, > and pasting to discontinuous staffs and so on. Also there is a very > powerful capability where you can select any material, press "R" and it > automatically duplicates the material placing it immediately to the > right of the selection, which still expressing everything correctly with > no touch-up required. > > 2. Mass relink. This is inherent in Dorico. Moreover, Dorico seems to > make better assumptions about when to automatically reflect score > changes in parts and vice versa. > > 3. Autocreate MM rests. This is always automatic. You never "create" > any MM rests. It is inherent. There are some options for visual > appearance. > > 4. Multiple sets of not spacings. I am not aware of anything line this > in Dorico. Of course you can edit the parts directly to apply any > spacing you need. > > 5. Designate certain text as titles. There is only "text" and "system > text" in Dorico. There is no hierarchy of text objects, such as an > outline mode in a word processor. However, you have a great deal of > control over the formatting of any text object and you can freely copy > and reuse any of your text items. So if you have a text object > formatted as a "title", you can copy that anywhere else you need a > similar title to appear. Moreover, Dorico has a higher level of > abstraction for these situations. Your file can consist of multiple > "flows", which are like movements. And each flow can have a title, with > options how and when to display those titles. > > 6. Mass align hairpins. There is no mass alignment, but if you have a > 4-bar passage, you can enter the dynamic as "Fp<mp>ppp" and Dorico will > enter that dynamic as a group that is all aligned. And if you copy that > group to other staves, they will be aligned (taking in to account the > collisions). So if you enter it properly, you never need to go back and > fix it. Dorico moves the groups around (maintaining the alignment) as > needed even if the music changes to create a new collision. > > 7. Various fixes. Most of these situations just don't happen in > Dorico. And you have complete control over the rhythmic position and > length of every object, so anything like this is very easy to fix. > > 8. Movements. See 5 above. it is far more elegant than in Finale. And > flows have other uses. I often keep extra flows in my score as > scratchpads or two different versions of a harmonization until I am sure > I have it right. I just did a big band chart that has a 16-bar a > cappella fugue in 4 voices. That was very tedious as I am not a fugue > person, so I created a separate flow just for those 16 bars. That > 16-bar flow was reduced to only 4 players plus a chord playback staff so > I could get all the counterpoint working. Once that was right, I coped > those 16 bars to the main flow and expanded the voices to let that > section build over the 16 bars. This is all very straightforward under > Dorico. You can certainly do something like that with Finale > programming a view, but I'd probably put the scratchpad in a completely > separate MUSX file. Either way works, but it is much faster in Dorico > because all of the above is just a few mouse clicks in setup mode. > > 9 Transfer page payout. There is no template capability in Dorico, > which is a bit of a weakness. However, if you have a score set up the > way you like it, you can easily copy that and use that as the basis for > your new project. And you can do that after the fact by exporting your > flow(s) from one score and importing the flow(s) into the score that has > the layout your want. And as far as parts go, Dorico has a "master > page" structure where you can develop a master page that can be used by > any number of parts. This area of Dorico is rather complicated, but > looks very powerful. I haven't used it much. > > 10. TG Tools. No questions on this one. > > 11. Proportionately scale staffs. I don't know about this. There are > lots of options in Dorico for this kind of thing, but I don't know that > any of them do what you want here. > > 12. Modeless plug-in problem. I don't know about that. There aren't > any plugins in Dorico. You can, however, do hot key assignments for any > of hundreds of commands. And there are folks who are using the "Stream > Deck" keypad to really boost their productivity. I haven't done that > yet. That's not a direct replacement for plug-ins, but enables a > different kind of workflow that may enable even greater productivity > than you get from plug-ins. > > I'm not trying to sell anybody on Dorico. I am only trying to explain > how it differs from the architecture of the older programs. It really > is a different experience. You would develop a different workflow, and > anybody deeply invested in the plug-in style of operation may find that > difficult to change. To me, it boils down to the apparent fact that > Finale is not going to be improved very much from this point. If > Finale is doing what one needs, then stick with it. Dorico is radical in > some respects. It isn't for everybody. > > > > On 1/26/2019 10:04 AM, Robert Patterson wrote: > > Besides the Patterson Beams, TGTools, and JW plugins included in Finale, I > use 3rd party plugins to > > 1. Copy arbitrary combinations and patterns of expressions, dynamics, > articulations, and other elements in a repeated fashion, independent of > barlines, both vertically and horizontally. > > 2. Mass Relink, which can relink the score to the part's settings or vice > versa. > > 3. Autocreate multimeasure rests with many more options than Finale has, > including the ability to add extra space for clef changes or force the > creation of multimeasure rests in places where Finale won't create them. > > 4. Maintain multiple sets of note spacing settings per measure region and > per part. Then a single invocation of the plugin spaces the music according > to those settings, taking into account the current part. Even better, by > means of a nifty trick that someone suggested on this list. the plugins can > get tighter spacing with ledger lines than Finale does. > > 5. Designate certain text expressions as titles (i.e., for movement titles) > or footnotes or headnotes. Then invoke a plugin than finds them in every > part and correctly positions them. This is *way* better workaround than > Finale's Page Titles for this kind of thing. > > 6. Mass align and move dynamics and hairpins. (TGTools Align/Move is > included in Finale but the version in the full TGTools is much more > powerful.) > > 7. Quickly repair common screwups in Finale, such as restoring lost note > spacing from a saved copy or moving expressions and endpoints that have > lost their notes due to Speedy edits. > > 8. With one simple menu click, start a new movement. That is, show full > names, indent the first system, restart the measure numbers from 1, twiddle > the measure bits in the current and preceding measure as needed. With one > menu click that has no dialog box. > > 9. Transfer page layout from one document to another and/or one part to > another and/or within a single document or part. Including (optionally) > system baselines for expressions and lyrics. > > 10. I recently discovered the JW Change plugin that can do so much that I > have only begun to digest all the ways in which I might use it. > > 11. TGTools has an option to proportionally expand or contract the staves > in a system. This saves me hours, especially on large multistaff scores > like orchestra scores. Then once you have that system perfectly fitted to > your margins, you can copy the staff layout to page after page and make > only minor tweaks thereafter. > > 12. Fix the focus problem with modeless plugin windows on Mac (Fin25.4 and > higher). > > > > --- > This email has been checked for viruses by Avast antivirus software. > https://www.avast.com/antivirus > > _______________________________________________ > Finale mailing list > [email protected] > https://lists.shsu.edu/mailman/listinfo/finale > > To unsubscribe from finale send a message to: > [email protected] > _______________________________________________ Finale mailing list [email protected] https://lists.shsu.edu/mailman/listinfo/finale To unsubscribe from finale send a message to: [email protected]
