Re: [Finale] MakeMusic CEO John Paulson resigns
While I have no idea what sort of person John Paulson is nor what his role has been as CEO, I would say that all the officers share responsibility for any negative aspects of a company or that company's products. They're the ones in charge, and they're the ones taking home the biggest paychecks. I've never understood why a company has both a president and a CEO, since what I understand a CEO to be doing is what I had always thought a president was supposed to do. It's that sort of top-heavy management in many companies these days which might be the reason for nobody ultimately having responsibility for seeing that anything is done properly. If the CEO is really the Chief Executive Officer, what does the president do? Sit around and say Gee, it's good to be the president. or are there responsibilities in the day-to-day operation of the company? Reading such a press release makes it sound as if Paulson suddenly got spooked and is jumping ship, but in reality there are many reasons he may be leaving, none of which would make it into such a terse announcement. All such an announcement really means is that Paulson is resigning. Nothing more, nothing less. I think we simply have to wait and see if the corporate culture changes and if any major alterations in the product lines or in the way bugs are fixed or not fixed will occur. Personally, I'd be a lot more spooked if the announcement said the entire development team had resigned. ;-) David H. Bailey shirling neueweise wrote: is the CEO responsible for these problems you have articulated? has he contributed to the improvement or decline of the company or to the product (i assume you are referring to finale) in your view? or is he honestly dedicated to the product but bailing ship because of an unresolvable pestilence in the development and marketing department that will ultimately lead to the downfall of the company? i don't know, your comments sound a bit simple to me, for a situation that is surely fairly complex. Perhaps the myopic vision that has been prevalent in the company will finally be cured? Maybe they will fix bugs, listen to long time users, address problems, add features people actually want? NawI didn't think so either. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MakeMusic CEO John Paulson resigns
On the other hand, the growth and continued positive actions by the Sibelius leadership (even after having been purchased by Avid) may only be showing that the only reason Finale was the leader was because the only other competition was Score, which isn't now and never has been the sort of versatile, anybody-with-a-computer-can-use-it program which Finale and Sibelius are. Encore gave it a run for its money for a short while, but once that company went belly-up Encore has never been anything for Coda/Net-4-Music/MakeMusic to worry about. But once Sibelius arrived on the scene, Finale's we're the best philosophy which didn't fully take into account that it left off a phrase and should have been we're the best because we're the only one hasn't worked as a corporate motto. It should have changed into We're the best and we're going to stay the best because we'll define the market. Is that the CEO's responsibility? Sure, equally shared with the president and the chairman of the board and all the other directors. Of course, MakeMusic is such a relatively small company, maybe the problem is that there are too many directors all trying to have a say in what happens. Chairman of the board and president and ceo? Who's really in charge? Nobody knows, which makes it harder to pin blame on anybody and also makes it harder to have any sort of unified vision of corporate direction or product development. It would be interesting to know what the ratio of directors and officers to rank-and-file employees is. David H. Bailey Eric Dannewitz wrote: Fairly complex? Not really. Is the CEO responsible for the focus of a company? And it's products? And the quality of its products? If the product isn't living up to expectations, you are not going to give a free pass to the CEO and blame some employee who is actually coding the product. You are going to blame the CEO for allowing the product to be shipped out in the first place. I for one would welcome change within MakeMusic. They have been behind the curve (Sibelius) for the last bunch of years, and hopefully new leadership will help them become the leader they once were. shirling neueweise wrote: is the CEO responsible for these problems you have articulated? has he contributed to the improvement or decline of the company or to the product (i assume you are referring to finale) in your view? or is he honestly dedicated to the product but bailing ship because of an unresolvable pestilence in the development and marketing department that will ultimately lead to the downfall of the company? i don't know, your comments sound a bit simple to me, for a situation that is surely fairly complex. Perhaps the myopic vision that has been prevalent in the company will finally be cured? Maybe they will fix bugs, listen to long time users, address problems, add features people actually want? NawI didn't think so either. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT
Copy the pictures to a memory card in a reader attached to your computer and then place the memory card in the digital photo frame. David H. Bailey Dean M. Estabrook wrote: Hmmm ... I would hope that I could access files already in my iPhoto, not only ones just created in the camera. Seems like there must be a way .. Thanks, Dean On Nov 25, 2008, at 8:03 PM, Allen Fisher wrote: With most of them (at least the last time I looked...), you take the memory card out of the camera and stick it in the frame. On Nov 25, 2008, at 3:17 PM, Dean M. Estabrook wrote: Inre digital picture frames ... I'm totally a tyro on the topic, can one of you multi-talented listers let me know how, exactly, does one transfer JPEG files from a Mac to such a device? Directly via USB, or via a flash drive up to which such images have been loaded ? ... any favorites in mind? Thanks, Dean Dean M. Estabrook http://deanestabrook.googlepages.com/home When I am working on a problem, I never think about beauty. But when I have finished, if the solution is not beautiful, I know it is wrong. R. Buckminster Fuller ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Allen Fisher Founder and Principal Developer Fisher Art and Technology [EMAIL PROTECTED] [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Dean M. Estabrook http://deanestabrook.googlepages.com/home When I am working on a problem, I never think about beauty. But when I have finished, if the solution is not beautiful, I know it is wrong. R. Buckminster Fuller ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale]Multiple time signatures = was Beaming problem
Speaking as a conductor of a community band, I can tell you that if you want more than a couple of collegiate ensembles to be interested in your band transcription, don't have that sort of multiple-time-signatures-at-once. My band (and my conducting skills) have no problem with switching between various meters as long as the relationship is clear to the brain and the ear. So moving between 3/4, 4/4 and 5/4 is no problem. Moving between various x/8 meters is no problem. Trying to have some of the band play in x/8 while others are playing in x/4 simply won't work for any but the most advanced (read that as military or collegiate/conservatory) ensembles. We can handle the 3/4 vs 6/8 of Holst's Fantasy on the Dargason (final movement of the Second Suite in F for Military Band) but in that case one measure of one meter equals one measure of the other meter so beat 1 always lines up (intellectually and visually and aurally). Anything else will be too complex for once-a-week-rehearsal groups to master. Good luck! David Jane Frasier wrote: No. Here is the other challenge. I am transcribing my piano sonata for band. There are sections of this where the left hand is playing a waltz type pattern but switching from 3/4 to 5/4 to 4/4, etc. The melody in the right hand is written as 6/8, 10/8, 8/8 with various groups of 2 or 3 eighth notes. I think this works ok for piano, but what will the conductor do with this? I think it should be one of the other but I am not sure which meters would be easier to conduct and follow. Any ideas? Jane [EMAIL PROTECTED] wrote: A Balkan folk-dance beat, perhaps? :) ajr I am using Finale 2008 on Mac, OS 10.5.5. I want a time signature to say 8/8 but I want it beamed 3+3+2. I created a composite time signal of 3+3+2/8+8+8 and then a different time signature 8/8 to display. When I put in the notes all the eighth notes have separate stems -- no beams. I tried rebeaming according to time signature and got the same result. What am I missing? Thanks so much. Jane ___ Finale mailing list [EMAIL PROTECTED] [3]http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] [5]http://lists.shsu.edu/mailman/listinfo/finale References 1. mailto:[EMAIL PROTECTED] 2. mailto:Finale@shsu.edu 3. http://lists.shsu.edu/mailman/listinfo/finale 4. mailto:Finale@shsu.edu 5. http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Hymn Lyrics
noel jones wrote: I think I have layout and everything under control when doing hymns except lyrics. Multiple verses end up making me manually drag staves around, and I end up with a sloppy looking book of hymns. I've done several hundreds of hymns, and here's what I did early on. I found a spacing between the bottom of the top staff and the first line of lyrics, a spacing between lines of lyrics, and a spacing between the last lyric, and the top of the bottom staff that I liked. I set up a template file, and with all the settings I prefer, spaced to accommodate 6 verses. When I do a hymn with more or fewer, I simply set the space between the bottom lyric and the top line of the bottom staff as needed. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale]Multiple time signatures = was Beaming problem
There are a lot of opinions on this, but here is mine. The time signature should reflect the GROUND beat, not any hemiolas or incidental accents that may crop up. The melody is not always the best indicator of metre (what would you do with Fascinating Rhythm, for example, or any jazz or latin tune that has syncopations AGAINST the ground beat?) The tipoff for me in your situation is that you say the left hand has very simple rhythms. This is your ground beat, and this is what the conducting pattern will be. Let the melody do what it needs to do in opposition to the ground beat, using any accents or odd beamings that you must to communicate it. 8/8 is not very informative as a time signature, and it should be accompanied by a 3+3+2 expression over it or else be actually written that way. I am suspicious of 8/8 in general. Why not 4/4 and we can just perform the hemiola-type pattern as the parts require, either through Q. Q. Q or 3E 3E 2E with contours or accents as required? 10/8 as well does not have any performance practice associated with it, and should be written as something more recognisable. Clear and quick communication is the strongest argument in these cases, I think. Stravinsky rewrote part of the Rite of Spring a few years later because of lack of clarity in the original metre changes, and even at that he didn't clean it up as much as I think he could have (but he was on the cutting edge then, so we can cut him some slack!) As for how to accomplish this in Finale, you can manually set beamings in Speedy with the / key, copy the passage to other staves and re-pitch using the Simple Entry repitch tool and hitting the notes on your MIDI keyboard. This is the only thing I use Simple Entry for, and it is marvelous. Christopher On Nov 25, 2008, at 10:31 PM, Jane Frasier wrote: No. Here is the other challenge. I am transcribing my piano sonata for band. There are sections of this where the left hand is playing a waltz type pattern but switching from 3/4 to 5/4 to 4/4, etc. The melody in the right hand is written as 6/8, 10/8, 8/8 with various groups of 2 or 3 eighth notes. I think this works ok for piano, but what will the conductor do with this? I think it should be one of the other but I am not sure which meters would be easier to conduct and follow. Any ideas? Jane [EMAIL PROTECTED] wrote: A Balkan folk-dance beat, perhaps? :) ajr I am using Finale 2008 on Mac, OS 10.5.5. I want a time signature to say 8/8 but I want it beamed 3+3+2. I created a composite time signal of 3+3+2/8+8+8 and then a different time signature 8/8 to display. When I put in the notes all the eighth notes have separate stems -- no beams. I tried rebeaming according to time signature and got the same result. What am I missing? Thanks so much. Jane ___ Finale mailing list [EMAIL PROTECTED] [3]http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] [5]http://lists.shsu.edu/mailman/listinfo/finale References 1. mailto:[EMAIL PROTECTED] 2. mailto:Finale@shsu.edu 3. http://lists.shsu.edu/mailman/listinfo/finale 4. mailto:Finale@shsu.edu 5. http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] metrical change notation question
No, I should have indicated that I'm on WinFin 2006. Thanks, though - Are you using Finale 2009? If that's the case, this is easy to do with the Expression Tool: Choose the Tempo Marks category and click on Create Tempo Mark. In the Expression Designer for tempo marks, you'll see insert note on a drop-down menu. Just choose the dotted quarter from the menu, type the equal sign and choose the quarter from the menu. Michael On 25 Nov 2008, at 19:58, Stu McIntire wrote: In a piano piece, at the transition of a 6/8 section to one in 4/4, I want to put a [dotted quarter note] = [quarter note] indication above the staff, using the actual notes, obviously, not descriptive text as I did here. Do I have to find the symbols in a font and put them in a text box or is there an easier way? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale]Multiple time signatures = was Beaming problem
I second David's comments completely, also writing from a community band/community orchestra viewpoint. In fact, in the Holst David cites he includes careful instructions where to beat 1 to a bar (in the superimposed 3/4:6/8 sections) and where to go back to 2 to a bar (everything else). Interestingly enough, Holst included the same movement (not note for note, but VERY close) as the last movement of his St. Paul's Suite for Strings, which we also played this fall, and it has the same instructions. Our band played the Holst under 2 different conductors this fall. Our own conductor did not follow those instructions and beat 2 to a bar throughout, while our guest conductor did change to follow the instructions (as did a third conductor with our community string orchestra). Both approaches worked fine, once the players understood what was happening. Jane: If I read your explanation properly, you are writing in such a way that 1 bar still equals 1 bar, so your problem is with shifting subdivisions within each bar, right? If I were writing anything similar, I would probably ask that the large-scale beat remain constant (as David suggests), and indicate the shifting note groupings within each bar through beaming, slurring, possibly bracketing if necessary, or perhaps even using articulations to define the subgroupings. I would probably NOT use different time signatures within a given bar. Would that work in your piece? But David is completely correct. Few (if any) community bands will attempt the more rhythmically-complex Stravinsky, let alone music with overlapping or competing time signatures that lack a unifying large-scale beat pattern. You have to understand that we have community musicians who lack advanced training in complex music and do their best at a Grade 3 difficulty level (and in our case we have some--mostly retired engineers, I'm sad to admit--who simply can't count rests properly!). In a collegiate wind ensemble restricted to music majors or others equally competent, you might actually find some whose musicianship is as high as the average 6th grader in a good Kodály program in Hungary!!! Just curious, but were you asked to transcribe your piece for band by someone who believes that it will be playable and effective? If so, you have a great conductor to work with! John At 4:21 AM -0500 11/26/08, dhbailey wrote: Speaking as a conductor of a community band, I can tell you that if you want more than a couple of collegiate ensembles to be interested in your band transcription, don't have that sort of multiple-time-signatures-at-once. My band (and my conducting skills) have no problem with switching between various meters as long as the relationship is clear to the brain and the ear. So moving between 3/4, 4/4 and 5/4 is no problem. Moving between various x/8 meters is no problem. Trying to have some of the band play in x/8 while others are playing in x/4 simply won't work for any but the most advanced (read that as military or collegiate/conservatory) ensembles. We can handle the 3/4 vs 6/8 of Holst's Fantasy on the Dargason (final movement of the Second Suite in F for Military Band) but in that case one measure of one meter equals one measure of the other meter so beat 1 always lines up (intellectually and visually and aurally). Anything else will be too complex for once-a-week-rehearsal groups to master. Good luck! David Jane Frasier wrote: No. Here is the other challenge. I am transcribing my piano sonata for band. There are sections of this where the left hand is playing a waltz type pattern but switching from 3/4 to 5/4 to 4/4, etc. The melody in the right hand is written as 6/8, 10/8, 8/8 with various groups of 2 or 3 eighth notes. I think this works ok for piano, but what will the conductor do with this? I think it should be one of the other but I am not sure which meters would be easier to conduct and follow. Any ideas? Jane [EMAIL PROTECTED] wrote: A Balkan folk-dance beat, perhaps? :) ajr I am using Finale 2008 on Mac, OS 10.5.5. I want a time signature to say 8/8 but I want it beamed 3+3+2. I created a composite time signal of 3+3+2/8+8+8 and then a different time signature 8/8 to display. When I put in the notes all the eighth notes have separate stems -- no beams. I tried rebeaming according to time signature and got the same result. What am I missing? Thanks so much. Jane ___ Finale mailing list [EMAIL PROTECTED] [3]http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] [5]http://lists.shsu.edu/mailman/listinfo/finale References 1. mailto:[EMAIL PROTECTED] 2. mailto:Finale@shsu.edu 3. http://lists.shsu.edu/mailman/listinfo/finale 4. mailto:Finale@shsu.edu 5. http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale]Multiple time signatures = was Beaming problem
Thanks for all the advise. I think I will just use the 3/4, 4/5, etc. time and beam and use slurs and accents to get the rhythmic sense of the melody. I am the one that wanted to transcribe it. It was performed on piano on my graduate recital by an incredible pianist and composer and her comment after the performance was It isn't very pianistic so I thought perhaps it would work for band. As I get more into it I think I disagree and I am not sure how it will work. I might abandon it. I did finish the slow movement and it is easy. I'll bet your community bands could play it. I knew before I started that the first and last movements would only be appropriate for a college band or a semi-professional group. I am wondering if any of you community band conductors would be interested in playing an arrangement I did of a traditional folk song. Email me if you are interested. Thanks. Jane John Howell wrote: I second David's comments completely, also writing from a community band/community orchestra viewpoint. In fact, in the Holst David cites he includes careful instructions where to beat 1 to a bar (in the superimposed 3/4:6/8 sections) and where to go back to 2 to a bar (everything else). Interestingly enough, Holst included the same movement (not note for note, but VERY close) as the last movement of his St. Paul's Suite for Strings, which we also played this fall, and it has the same instructions. Our band played the Holst under 2 different conductors this fall. Our own conductor did not follow those instructions and beat 2 to a bar throughout, while our guest conductor did change to follow the instructions (as did a third conductor with our community string orchestra). Both approaches worked fine, once the players understood what was happening. Jane: If I read your explanation properly, you are writing in such a way that 1 bar still equals 1 bar, so your problem is with shifting subdivisions within each bar, right? If I were writing anything similar, I would probably ask that the large-scale beat remain constant (as David suggests), and indicate the shifting note groupings within each bar through beaming, slurring, possibly bracketing if necessary, or perhaps even using articulations to define the subgroupings. I would probably NOT use different time signatures within a given bar. Would that work in your piece? But David is completely correct. Few (if any) community bands will attempt the more rhythmically-complex Stravinsky, let alone music with overlapping or competing time signatures that lack a unifying large-scale beat pattern. You have to understand that we have community musicians who lack advanced training in complex music and do their best at a Grade 3 difficulty level (and in our case we have some--mostly retired engineers, I'm sad to admit--who simply can't count rests properly!). In a collegiate wind ensemble restricted to music majors or others equally competent, you might actually find some whose musicianship is as high as the average 6th grader in a good Kodály program in Hungary!!! Just curious, but were you asked to transcribe your piece for band by someone who believes that it will be playable and effective? If so, you have a great conductor to work with! John At 4:21 AM -0500 11/26/08, dhbailey wrote: Speaking as a conductor of a community band, I can tell you that if you want more than a couple of collegiate ensembles to be interested in your band transcription, don't have that sort of multiple-time-signatures-at-once. My band (and my conducting skills) have no problem with switching between various meters as long as the relationship is clear to the brain and the ear. So moving between 3/4, 4/4 and 5/4 is no problem. Moving between various x/8 meters is no problem. Trying to have some of the band play in x/8 while others are playing in x/4 simply won't work for any but the most advanced (read that as military or collegiate/conservatory) ensembles. We can handle the 3/4 vs 6/8 of Holst's Fantasy on the Dargason (final movement of the Second Suite in F for Military Band) but in that case one measure of one meter equals one measure of the other meter so beat 1 always lines up (intellectually and visually and aurally). Anything else will be too complex for once-a-week-rehearsal groups to master. Good luck! David Jane Frasier wrote: No. Here is the other challenge. I am transcribing my piano sonata for band. There are sections of this where the left hand is playing a waltz type pattern but switching from 3/4 to 5/4 to 4/4, etc. The melody in the right hand is written as 6/8, 10/8, 8/8 with various groups of 2 or 3 eighth notes. I think this works ok for piano, but what will the conductor do with this? I think it should be one of the other but I am not sure which meters would be easier to conduct and follow. Any ideas? Jane [EMAIL PROTECTED] wrote: A Balkan
Re: [Finale] OT
OK ... Thanks gentlemen. I already use a flash drive with my Mac for backing up files, so it sounds as if the whole thing is workable. Thanks again for the input ... Dean On Nov 25, 2008, at 10:21 PM, Dick Hauser wrote: On Nov 25, 2008, at 9:58 PM, Richard Yates wrote: I don't know Mac, but in Windows the camera chip that you read in the computer is just another memory device to which you can save files. Files from any source can be saved to the chip and the chip then plugged into the frame. Right, same on the Mac. So if the frame uses a flash card, you need to mount it on the computer in some way. The computer needs to have some kind of card reader interface. Might be a camera, printer, could be one of those usb flash drives. Then its just a drag and drop thing. Look for flash drive on Amazon and other places like it. I bought one for about $10 and used an extra card from a camera. It mounts just like a one gig drive via a usb port. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Dean M. Estabrook http://deanestabrook.googlepages.com/home When I am working on a problem, I never think about beauty. But when I have finished, if the solution is not beautiful, I know it is wrong. R. Buckminster Fuller ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MakeMusic CEO John Paulson resigns
--- On Wed, 11/26/08, dhbailey [EMAIL PROTECTED] wrote: While I have no idea what sort of person John Paulson is nor what his role has been as CEO. He invented Finale and SmartMusic and made them both successful. He's an outstanding musician/composer, a strong leader and a great person to know. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MakeMusic CEO John Paulson resigns
On 26 Nov 2008 at 11:12, Tyler Turner wrote: --- On Wed, 11/26/08, dhbailey [EMAIL PROTECTED] wrote: While I have no idea what sort of person John Paulson is nor what his role has been as CEO. He invented Finale and SmartMusic and made them both successful. He's an outstanding musician/composer, a strong leader and a great person to know. Um, Phil Farrand had something to do with the invention of Finale, I think. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MakeMusic CEO John Paulson resigns
Didn't Phil Farrand invent Finale sometime back in the late Middle Ages? But as far as making it _successful_ you may be right ... ;-) eff Habsburger Verlag Frankfurt (Dr. Fiedler) www.habsburgerverlag.de [EMAIL PROTECTED] [EMAIL PROTECTED] On 26.11.2008, at 20:12, Tyler Turner wrote: --- On Wed, 11/26/08, dhbailey [EMAIL PROTECTED] wrote: While I have no idea what sort of person John Paulson is nor what his role has been as CEO. He invented Finale and SmartMusic and made them both successful. He's an outstanding musician/composer, a strong leader and a great person to know. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MakeMusic CEO John Paulson resigns
Well yes but that isn't his most noted achievement per Wikipedia http://en.wikipedia.org/wiki/Phil_Farrand Phil Farrand (born November 5, 1958) is an American computer programmer, webmaster and author. He is best known for his Nitpicker's Guides, in which he nitpicks plot holes and continuity errors in the various Star Trek television programs and movies, and for the creation of Nitcentral, a website devoted to the same activity. It's hard to believe that this is the main paragraph in Wikipedia. Although I love the true geekiness of it all. Steve 11/26/08 2:06 PM, Eric Fiedler [EMAIL PROTECTED] wrote: Didn't Phil Farrand invent Finale sometime back in the late Middle Ages? But as far as making it _successful_ you may be right ... ;-) eff Habsburger Verlag Frankfurt (Dr. Fiedler) www.habsburgerverlag.de [EMAIL PROTECTED] [EMAIL PROTECTED] On 26.11.2008, at 20:12, Tyler Turner wrote: --- On Wed, 11/26/08, dhbailey [EMAIL PROTECTED] wrote: While I have no idea what sort of person John Paulson is nor what his role has been as CEO. He invented Finale and SmartMusic and made them both successful. He's an outstanding musician/composer, a strong leader and a great person to know. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MakeMusic CEO John Paulson resigns
I stand corrected. John invented SmartMusic, but not Finale. He is however, as you suggest, the person perhaps most directly responsible for its success and its movement towards becoming a viable solution for publishers. Tyler --- On Wed, 11/26/08, Eric Fiedler [EMAIL PROTECTED] wrote: From: Eric Fiedler [EMAIL PROTECTED] Subject: Re: [Finale] MakeMusic CEO John Paulson resigns To: finale@shsu.edu Date: Wednesday, November 26, 2008, 2:06 PM Didn't Phil Farrand invent Finale sometime back in the late Middle Ages? But as far as making it _successful_ you may be right ... ;-) eff Habsburger Verlag Frankfurt (Dr. Fiedler) www.habsburgerverlag.de [EMAIL PROTECTED] [EMAIL PROTECTED] On 26.11.2008, at 20:12, Tyler Turner wrote: --- On Wed, 11/26/08, dhbailey [EMAIL PROTECTED] wrote: While I have no idea what sort of person John Paulson is nor what his role has been as CEO. He invented Finale and SmartMusic and made them both successful. He's an outstanding musician/composer, a strong leader and a great person to know. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
