Re: [Finale] Unusual Notation Question

[Brian Williams]

Nice 12 tone in the 3rd bar!

> Date: Wed, 18 Jul 2018 22:42:19 -0700
> From: Blake Richardson 
> To: "" 
> Subject: [Finale] Unusual Notation Question
> Message-ID: 
> Content-Type: text/plain;charset=utf-8
> 
> I'm wondering if anyone can help me with this. This is a sketch from one of 
> the EMPIRE cues by John Williams. (It?s the Mynock scene when the bat 
> creatures are attacking and flying all around the Falcon, if anyone?s 
> curious.) What exactly does the highlighted notation mean? I'm not sure what 
> each instrument is supposed to be doing exactly. The first line are piccolos, 
> the second trumpets, the third woodwinds. Is it just shorthand for 
> sextuplets, with the first picc/trumpet playing the top notes, like a 
> tremolo, and the second picc/trumpet playing the bottom notes? If so, it's 
> strange that Williams would notate it so unusually here when he doesn't do 
> that anywhere else when the same kind of licks occur. That makes me think he 
> had something else in mind here.
> 
> I've never seen notation like this for winds before. I've seen it in 
> occasionally in strings, and it usually denotes a chord cluster, usually at 
> the beginning or end of a long gliss. That's not what's happening here. 
> Listening to the recording isn't much help, either. There's too much else 
> going on for me to make it out clearly.
> 
> https://www.dropbox.com/s/hsxwm5tfctfhqiy/ESB-Excerpt.jpg?dl=0 
> 


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Re: [Finale] Bill Duncan Fonts

[Brian Williams]

Thanks Chuck. I'd love to see what they look like. Isn't there any example
in PDF form that shows them?
Brian

On 3/9/18, 10:00 AM, Chuck Israels  wrote:

>I?d be lost without them. The chord symbols, the slashes, rhythmic
>notation, custom smart lines and jazz articulations that match Maestro
>are indispensable to me. Nick Carter at NPC Imaging sells them. If you do
>jazz notation, I just suggest you take the plunge. And yes, they work
>with the latest version of Finale.
>
>Chuck
> 
>


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[Finale] Bill Duncan Fonts

[Brian Williams]

Hi all,

For years I've heard nothing but good things about Bill Duncan's fonts,
especially his chord suffix font.

However, I'm unable to locate any website that displays a sample of what
they look like.

The closest thing I've found is this link:
http://www.npcimaging.com/books/BillDuncan.htm
It doesn't have any links to viewable samples of the fonts, and the site
looks rather out-of-date. I'm not confident spending over USD $150 for
something I can't even get a glimpse of, let alone on an antiquated website.

Does anyone have any links to a sample of what the font characters look
like? Are they up to the latest OTF standards and compatible with the latest
MacOS and version of Finale 25?

Any help would be appreciated.

Thanks,
Brian Williams


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Re: [Finale] Garritan sounds SUCK! (was Garritan sounds just likeSmartMusic SoftSynth)

[Brian Williams]

No, I have 8GB of RAM and I'm not running anything else other than MS
Outlook and the Finder, so memory is not the issue. MakeMusic support has
confirmed that I am indeed hearing the Garritan sounds and they're sorry
to hear I am not happy with them. The keyboards and strings may be
passable, but the brass and saxes sound like middle schoolers that have
been autotuned. The SoftSynth sounds for those instruments are WAY better
IMO. I'm still using Garritan for the Drums staff, but that's about it.
-Brian

On 3/6/15, 3:08 PM, carolusmarxi...@yahoo.com wrote:

Bad performance by the Garritan sounds could be a matter of insufficient
access to RAM. Low amounts of RAM would be much less noticeable with the
less demanding MIDI sounds.

Klaus


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Re: [Finale] Garritan sounds SUCK! (was Garritan sounds just like SmartMusic SoftSynth)

[Brian Williams]

Actually, I'm listening through $1200 JHAudio JH13 custom in-ear monitors
through an outboard USB D/A headphone preamp, so speaker quality is not
the issue.

Apparently I was incorrect when I said the lame Garritan sounds were
indistinguishable from the SmartMusic SoftSynth sounds. I switched all of
my channels to SoftSynth and they sound WAY BETTER! I find it amazing that
MakeMusic touts the virtues of the Garritan sound library when in fact it
is a huge downgrade in sound quality. How is this possible?

-Brian

On 3/6/15, 10:00 AM, David H. Bailey dhbaile...@comcast.net wrote:

So it seems that's alright.

Actually, at least on the Windows side of things, you can select Play
file through MIDI and use the SmartMusic Soundfont that you're
complaining about hearing.

But on the other hand, I've never been all that impressed with the
Garritan sounds that have shipped with Finale, so maybe you're getting
all that's possible with the sounds you've got.

Are you listening through high quality speakers or headphones?  Or are
you listening only through small computer speakers?

David


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Re: [Finale] Finale Digest, Vol 140, Issue 5

[Brian Williams]

Actually, in Finale 2012 the two choices at the top of the MIDI/Audio menu
are Play Finale Through Audio Units and Play Finale Through MIDI; and
yes, I have Play Finale Through Audio Units selected. If I didn't, since
I'm not hooked up to an external MIDI playback system, I imagine that I
would get no playback at all. My problem isn't that I'm not getting
anything coming out of my speakers, it's that all I can get are the lame
old SoftSynth samples no matter what. Any other ideas?
-Brian

On 3/5/15, 10:00 AM, David H. Bailey dhbaile...@comcast.net wrote:

On 3/5/2015 12:48 AM, Brian Williams wrote:
Hello list,

This question pertains to Finale 2012 running on a MacBook Pro in MacOS
10.9.5 (Mavericks).

When it comes to Finale, I'm mostly an expert about how to enter notation
and make it look exactly how I want. Playback is another matter
entirely. I
mainly use playback as a clam check to make sure there aren't any wrong
notes. However, I'm now working on a project for which the client needs
me
to produce a decent-sounding audio demo of the playback. The problem I'm
having is that all of the supposedly wondrous Garritan sounds I'm
supposed
to be getting are indistinguishable from the awful-sounding SmartMusic
SoftSynth sounds which worked OK in the past for clam checking. These are
the same SoftSynth samples that I've heard for well over a decade; the
trumpets are tinny, the trombones are blatty, and the saxes are, well,
just
really lame.

In the Score Manager, I've selected Garritan Instruments for Finale
under
Device for everything, and the corresponding sounds I would like to
hear
for each staff are selected under Sound. When I switch the Device to
SmartMusic SoftSynth, the sounds stay the same. The Sound Map Priority
dialog has Garritan Instruments for Finale, then SmartMusic SoftSynth,
then Garritan Instruments for Finale again. When I drag the second
Garritan Instruments map to the top of the list and run the Reassign
Playback Sounds command, it moves it back to the bottom of the list. A
search for Garritan in Spotlight reveals a Garritan Instruments for
Finale
folder in my Applications folder, so apparently it is installed. I've
tried
playing my files on other people's computers and they sound the same.

Is there anything you can think of that I'm overlooking? And can anyone
explain why I have Garritan Instruments for Finale in my Sound Map list
twice? Perhaps someone could guide me through the process of completely
removing old Garritan and SoftSynth versions and reinstalling from
scratch.
Any help would be greatly appreciated.



There's one other setting you need to change -- under the MIDI/Audio
menu there are two choices at the top:
Play Finale Through VST
Play Finale Through MIDI

Make sure the VST option is checked.



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[Finale] Garritan sounds just like SmartMusic SoftSynth

[Brian Williams]

Hello list,

This question pertains to Finale 2012 running on a MacBook Pro in MacOS
10.9.5 (Mavericks).

When it comes to Finale, I'm mostly an expert about how to enter notation
and make it look exactly how I want. Playback is another matter entirely. I
mainly use playback as a clam check to make sure there aren't any wrong
notes. However, I'm now working on a project for which the client needs me
to produce a decent-sounding audio demo of the playback. The problem I'm
having is that all of the supposedly wondrous Garritan sounds I'm supposed
to be getting are indistinguishable from the awful-sounding SmartMusic
SoftSynth sounds which worked OK in the past for clam checking. These are
the same SoftSynth samples that I've heard for well over a decade; the
trumpets are tinny, the trombones are blatty, and the saxes are, well, just
really lame.

In the Score Manager, I've selected Garritan Instruments for Finale under
Device for everything, and the corresponding sounds I would like to hear
for each staff are selected under Sound. When I switch the Device to
SmartMusic SoftSynth, the sounds stay the same. The Sound Map Priority
dialog has Garritan Instruments for Finale, then SmartMusic SoftSynth,
then Garritan Instruments for Finale again. When I drag the second
Garritan Instruments map to the top of the list and run the Reassign
Playback Sounds command, it moves it back to the bottom of the list. A
search for Garritan in Spotlight reveals a Garritan Instruments for Finale
folder in my Applications folder, so apparently it is installed. I've tried
playing my files on other people's computers and they sound the same.

Is there anything you can think of that I'm overlooking? And can anyone
explain why I have Garritan Instruments for Finale in my Sound Map list
twice? Perhaps someone could guide me through the process of completely
removing old Garritan and SoftSynth versions and reinstalling from scratch.
Any help would be greatly appreciated.

Thanks!
Brian


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Re: [Finale] voices vs layers

[Brian Williams]

I use voices all the time, especially in the following situations:

1) Importing MIDI files that have divisis within tracks (MIDI import
doesn't support divisis in layers, only voices)
2) Entering drum set parts that have stems up/stems down notation on just
a beat or two in a measure, or if I want to keep everything in one layer
so that I can apply an alternate notation staff style and still hear
playback.
3) Situations where I want to have a divisi on just a beat or two in a
measure. This happens most frequently in orchestral string staves.
4) Stem up/stem down divisis where the rests are in common but the notes
are different (only in versions prior to Finale 2014, which is the first
version that lines up common rests between different layers)

I haven't had any problems at all with entering, editing or deleting music
in different voices, and I've become rather adept with the apostrophe key
in Speedy Entry. There's a little indicator in the corner of the Speedy
frame that tells you exactly the voice in which you are working, so it's
quite easy to use.

Another cool thing about voices is that you can control the vertical
position of rests entered in voice 2 with the cursor position when you
enter them.

-Brian Williams

On 2/2/15, 10:00 AM, finale-requ...@shsu.edu finale-requ...@shsu.edu
wrote:

Message: 2
Date: Mon, 2 Feb 2015 18:48:30 +0100
From: SN jef chippewa shirl...@newmusicnotation.com
Subject: [Finale] voices vs layers
To: finale@shsu.edu
Message-ID: p06240851d0f5680d6251@[192.168.1.29]
Content-Type: text/plain; charset=us-ascii; format=flowed


i remember hating using voices (as opposed to separate layers) but
thought i would try it out again and find i still hate it.  is there
some amazing advantage of using voices that i am simply not aware of?
i find it a total pain to use and obviously there is no way of seeing
which music (stems up/dpwn) are in which voice when returning to
voice-entered measures later.

trying to edit or erase causes ridiculous behaviour (5-dotted 8th) or
requires me to enter the measure from scratch again.  this makes me
wonder about the stability of this thing when upgrading to a new
version.

is it just me?  or do voices really suck as badly as i feel right this
moment?

thanks.


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Re: [Finale] Finale Digest, Vol 128, Issue 20

[Brian Williams]

Hi Darcy,

I tried your/Robert's suggestion yesterday and turned MIDI Thru on set to
a fixed channel of 99 and that worked for the time being.

I did report it to MakeMusic! through the Finale support website, and Ben
L. in support told me that although others have reported this issue they
have been unable to replicate it in-house so there's nothing they can do
about it.

Funny thing: when I quit and re-launched Finale, turned MIDI Thru off, and
tried to make it happen with a new default document, it didn't happen. And
now I'm able to work on my original file (generated in Finale 2012 with
the Setup Wizard so there would be no older-version file issues) with MIDI
Thru turned off without any problems. There must be some strange
interaction with the system-level MIDI manager or something. I'm curious
if this issue is Mac-only or if Windows users have run into it as well.

-Brian


On 3/24/14, 10:00 AM, Darcy James Argue djar...@icloud.com wrote:

Hi Brian,

Please please please report to MakeMusic! I'm so glad someone else can
confirm this problem! (I thought I was the only one experiencing this
usse.)

The workaround for muting playback with MIDI Thru on is to set it to
Fixed and choose an unused channel (e.g., 99).

Cheers,

- DJA
-
WEB: http://www.secretsocietymusic.org

On Mar 23, 2014, at 2:41 PM, Brian Williams br...@barisax.net wrote:

I'm having some major problems with Finale Mac 2012 using Speedy Entry
with
MIDI Thru turned off.
It seems that unless MIDI Thru is turned on, the program randomly
crashes,
and I usually have to click twice on a measure to bring up the Speedy
Entry
frame. This sometimes ends up deleting whatever entries were previously
in
the frame.
I really don't want to turn MIDI Thru on because I work in transposed
scores, and the notes that sound when I enter them using a MIDI keyboard
in
Speedy sound in concert pitch, which is very confusing to my ear.
Is there a setting somewhere that will enable me to work in Speedy in
Finale
2012 with MIDI Thru turned off without the program exhibiting this
unstable
behavior?
Thanks in advance for any help you can provide.
-Brian Williams



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Re: [Finale] Speedy Entry in Finale Mac 2012 with MIDI Thru turned off

[Brian Williams]

Hi Darcy,

I tried your/Robert's suggestion yesterday and turned MIDI Thru on set to
a fixed channel of 99 and that worked for the time being.

I did report it to MakeMusic! through the Finale support website, and Ben
L. in support told me that although others have reported this issue they
have been unable to replicate it in-house so there's nothing they can do
about it.

Funny thing: when I quit and re-launched Finale, turned MIDI Thru off, and
tried to make it happen with a new default document, it didn't happen. And
now I'm able to work on my original file (generated in Finale 2012 with
the Setup Wizard so there would be no older-version file issues) with MIDI
Thru turned off without any problems. There must be some strange
interaction with the system-level MIDI manager or something. I'm curious
if this issue is Mac-only or if Windows users have run into it as well.

-Brian


On 3/24/14, 10:00 AM, Darcy James Argue djar...@icloud.com wrote:

Hi Brian,

Please please please report to MakeMusic! I'm so glad someone else can
confirm this problem! (I thought I was the only one experiencing this
usse.)

The workaround for muting playback with MIDI Thru on is to set it to
Fixed and choose an unused channel (e.g., 99).

Cheers,

- DJA
-
WEB: http://www.secretsocietymusic.org

On Mar 23, 2014, at 2:41 PM, Brian Williams br...@barisax.net wrote:

I'm having some major problems with Finale Mac 2012 using Speedy Entry
with
MIDI Thru turned off.
It seems that unless MIDI Thru is turned on, the program randomly
crashes,
and I usually have to click twice on a measure to bring up the Speedy
Entry
frame. This sometimes ends up deleting whatever entries were previously
in
the frame.
I really don't want to turn MIDI Thru on because I work in transposed
scores, and the notes that sound when I enter them using a MIDI keyboard
in
Speedy sound in concert pitch, which is very confusing to my ear.
Is there a setting somewhere that will enable me to work in Speedy in
Finale
2012 with MIDI Thru turned off without the program exhibiting this
unstable
behavior?
Thanks in advance for any help you can provide.
-Brian Williams



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[Finale] Speedy Entry in Finale Mac 2012 with MIDI Thru turned off

[Brian Williams]

I'm having some major problems with Finale Mac 2012 using Speedy Entry with
MIDI Thru turned off.
It seems that unless MIDI Thru is turned on, the program randomly crashes,
and I usually have to click twice on a measure to bring up the Speedy Entry
frame. This sometimes ends up deleting whatever entries were previously in
the frame.
I really don't want to turn MIDI Thru on because I work in transposed
scores, and the notes that sound when I enter them using a MIDI keyboard in
Speedy sound in concert pitch, which is very confusing to my ear.
Is there a setting somewhere that will enable me to work in Speedy in Finale
2012 with MIDI Thru turned off without the program exhibiting this unstable
behavior?

Thanks in advance for any help you can provide.
-Brian Williams


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Re: [Finale] Reviving Really Old Finale Files

[Brian Williams]

A while back, someone posted the ideal version path that you¹re supposed
to upgrade old Finale files through to preserve as much original clarity
as possible. It went something like this:

Finale 3.5
Finale 98
Finale 2002
Finale 2008
Finale 2012

Someone please correct me if I¹m wrong about the upgrade path versions. I
was just guessing from memory.
Obviously, an older computer or two will be needed to run some of these
versions, assuming you still have them on readable floppy discs.

-Brian



On 2/28/14, 10:00 AM, Peter Sprague peterspra...@sbcglobal.net wrote:

Hi All, back in the late 1980?s I was doing some transcribing and
engraving work for Chick Corea and a bunch of those books he put out with
Hal Leonard were the fruits of our labor. The books are out of print now
but I still have the Finale files and I can?t open them.

I have other older Finale files and by simply adding ?.mus? to the end of
the file they successfully open in Finale 2014. This worked for files
created from 1991 onwards.

But these Chick tunes from the ?Light Years? album are ones that I can?t
revive. They were created in 1988.

I tried booting up an old Mac and the earliest version of Finale that I
could install on it was Finale 2004. I still couldn?t open these files
with this Mac.

Anyone out there know of a service that could help out or do any of you
have any ideas? Do you have an old Mac sitting around with a really early
version of Finale that could give a whirl at reviving these old files?

thanks in advance for any ideas or help?best, Peter

Peter Sprague
311 East Glaucus St.
Encinitas, CA 92024
760-436-3906
www.petersprague.com




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Re: [Finale] TGTools for 2014

[Brian Williams]

Yes, I knew where to put it, and I removed the LE version.
Actually, what I did was download and install the old version by mistake.
I went back to the website and downloaded the correct version, installed
it, and everything works great! Thanks for the help. I can use Finale 2014
to do actual work now. Tobias even fixed the cosmetic glitch on the Copy
button in the Modify  Transfer window that was in the previous version.
-Brian

On 2/18/14 10:00 AM, Eric Dannewitz ericd...@jazz-sax.com wrote:

Did you put it in the MAIN library? ie: MacintoshHD/Library not the user
library?
And did you make sure the older one isn't living in perhaps the users
library?
I installed it just fine and it works great. I've now moved everything to
2014 on my Macs.

On Feb 17, 2014, at 11:24 AM, Brian Williams br...@barisax.net wrote:

When I downloaded it and installed it on my system, it made a mess of the
Plug-ins menu like before. Plus, the Smart Explosion of multi-part
staves? plug in doesn't work, like before. That's one of the main
TGTools
plug-ins that I rely upon.
-Brian
On 2/17/14 10:00 AM, Eric Dannewitz ericd...@jazz-sax.com wrote:
Seems like he updated them for Finale 2014. Whoohoo! Thanks Tobias



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Re: [Finale] TGTools for 2014

[Brian Williams]

When I downloaded it and installed it on my system, it made a mess of the
Plug-ins menu like before. Plus, the Smart Explosion of multi-part
stavesŠ plug in doesn't work, like before. That's one of the main TGTools
plug-ins that I rely upon.
-Brian

On 2/17/14 10:00 AM, Eric Dannewitz ericd...@jazz-sax.com wrote:

Seems like he updated them for Finale 2014. Whoohoo! Thanks Tobias




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Re: [Finale] Beating my head against the wall on repeats (Brian Williams)

[Brian Williams]

In my last post, I said that in older versions of Finale repeat text
attached to the last measure of a multimeasure rest region would not show.
Actually, now that I think about it, the way Finale used to behave is that
it automatically would not include measures that had repeat text attached
to them in multimeasure rests. So, for example, if you had a D.S. al
Coda indication at the end of a bunch of empty measures that you normally
would want to see as a multimeasure rest, Finale would make a multimeasure
rest of all but that last measure (to which the D.S. al Coda text was
attached) and then have a one-bar rest measure with the repeat text.
Obviously, this situation was not ideal, so that is why so many long-time
Finale users got used to attaching dummy text repeats to the first bar
of the multimeasure rest region or using expressions instead of repeat
text.

As I said in my previous post, this problem (except for being able to drag
the position of unlinked repeat text attached to the last measure of a
multimeasure rest region) was corrected several versions ago.

-Brian Williams




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Re: [Finale] Beating my head against the wall on repeats

[Brian Williams]

On 2/3/14 10:00 AM, Chuck Israels cisra...@comcast.net wrote:

I put the necessary expressions in the score (above the first measure of
what will be a MM rest in each part - a pain in the ass to figure out if
that first measure of rest comes in different places for different
instruments) - deselecting Show and disabling break MM rests (careful
with this - it can make you miss one of these that gets hidden within a
rest in a part!) and then choosing the expression in the part and
selecting Show.  Maybe there's a better way, but I haven't figured it
out, and as I have said before, with my limited understanding of how
Finale works under the hood, I don't see an easy programming fix.  I wish
I did.  I'd campaign for it.  As I think about this, I should use two
sets of signs - one set that breaks rests and one that doesn't, but I
haven't yet set this up.

Several versions ago, it used to be the case that a text repeat attached
to the last measure of a multimeasure rest region would not show when the
multimeasure rest was created, and the only way to make it show was to
either:
1) attach it to the first measure of the multimeasure rest region
2) split the last measure off from the multimeasure rest, or
3) enter it in page view as an expression or text block and hide it in the
score

This limitation was corrected several versions ago. The oldest version I
currently have on my computer is Finale 2010, and text repeats entered in
the last measure of a multimeasure rest region do appear as they should. I
seem to recall this problem being fixed a couple of versions prior to 2010.

The main problem with such text repeats is, as Craig has pointed out,
their position cannot be changed in individual parts by dragging in page
view once the multimeasure rest is created. If a text repeat in the last
measure of a multimeasure rest region needs to be in a different position
in the score than in the parts, the easiest work-arounds to this
limitation are:

1) make sure that the text repeat is linked to the score and all parts,
move the text repeat in the score to the position it needs to be in the
majority of the parts, then unlink it and change its position in the score
2) adjust the position of an unlinked text repeat in the score and
individual parts by moving it in scroll view (Jari's suggestion)

The first work-around is the most time-efficient if there are many parts
that are affected in the same way. The second work-around involves going
back and forth between scroll view and page view to make sure the
positioning is correct, and is good for individual tweaks.

Hopefully this clears up this issue.
-Brian



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Re: [Finale] Beating my head against the wall on repeats

[Brian Williams]

Since you mentioned that the problem most likely originated when you first
created the text repeat in an awkward location, and then when you tried to
fix that, it only changed its position in the score, I would recommend
re-linking the expression to the score/parts, moving the master (score)
text repeat to the place you want it to appear in the majority of parts,
then un-link it and move its position in the score to where you want it
there.
-Brian



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Re: [Finale] Beating my head against the wall on repeats

[Brian Williams]

Sorry, I meant to use text repeat instead of expression in my last
post.
-Brian



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Re: [Finale] Problem with Speedy Entry in Fin 2012 (Mac)

[Brian Williams]

Thanks, Jef. That may have fixed it. I'll let you know if I run into more
problems.

Also, I mistakenly identified my MacBook Pro as late 1998 when I should
have said late 2008. I lost a decade there somehow. :-)

-Brian


On 2/9/13 10:00 AM, SN jef chippewa wrote:

 playing around with settings to see what might change this behaviour,
 i just changed playback to QT (was MIDI system) and it seems
 fixed.  does that work for you as well?
 
 i almost never work with MIDI, so i have no clue if this makes sense
 (i.e. is desired behaviour) or could it be a design glitch?  is there
 anyone that knows more about this stuff who might have an idea?



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[Finale] Problem with Speedy Entry in Fin 2012 (Mac)

[Brian Williams]

Hi all,

On my MacBook Pro (circa late 1998) in MacOS 10.7.5 running Finale
2012c.r13, whenever I click on a measure using the Speedy Entry tool, the
white measure frame flashes for an instant then closes, re-spacing the
measure. When I click on it again, the frame opens for real without suddenly
closing. If I click on a measure with existing entries, often (but not
always) the first click deletes all the entries. Three executions of the
Undo command bring my entries back, but this whole thing is a major pain
in the a$$.

This even happens in a new document without libraries created in 2012, so
it's not anything to do with documents created in previous versions.

FYI, my Speedy settings are:
Scale to staff: min. 50%; max. 150%
the only other option turned on is use MIDI Device for input

I do have Automatic Music Spacing turned on in Program Options  Edit. When
I turn this option off, everything else happens except the initial
re-spacing of the measure after the flash appearance of the Speedy frame the
first time I click on the measure.

I have tried this as a new user on my computer with no Preferences file
(Finale generates the generic Preferences file when launched) and the
behavior still happens, so it apparently has nothing to do with my
Preferences file either.

Any ideas? Does anyone else experience this behavior?

Thanks in advance for any help,
-Brian




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Re: [Finale] Large-format duplex laser printer rec?

[Brian Williams]

I would say it has been under heavy use at times when I am dealing with
major project deadlines but those times come up relatively rarely (2-3
times/year). Generally it has been under light use.


On 12/5/12 10:00 AM, Lee Actor wrote:

 Thanks for the info.  How long have you had the duplexer, and would you say
 it has been under heavy or light use?
 
 -Lee


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Re: [Finale] Large-format duplex laser printer rec?

[Brian Williams]

I have an HP5200 with a duplexer and haven't had any problems. It duplexes
80lb text weight 9.5 x 12.5 and 60 lb text weight 11 x 17 just fine.
-Brian


On 12/4/12 10:00 AM, Lee Actor wrote:

 Anyone using the HP5200 duplexer?  I've been using an HP5000 for more than a
 decade w/o a duplexer (had one for a while, but it was quite unreliable on
 heavyweight paper and not worth the hassle); I would consider going to the
 5200 if the duplexer really worked.
 
 -Lee


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Re: [Finale] Fonts won't show up in selection db in 2010 running Lion (MacOs 10.7)

[Brian Williams]

I finally fixed the problem by clearing my font caches using a freeware
utility called FontNuke.


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[Finale] Fonts won't show up in selection db in 2010 running Lion (MacOs 10.7)

[Brian Williams]

Hi List,

For some reason, the following fonts don't show up in the font selection db
in Finale 2010 or earlier running in MacOs 10.7.2 (Lion). There are blank
white spaces in the list where they would normally appear, and older
documents seem to display them OK, and newer versions of Finale and other
apps have no problems displaying or selecting them, but the old-style font
selection db from 2010 or earlier doesn't display them, despite the fact
that Font Book says they are indeed installed on my computer.

Some of the affected fonts are:

All Maestro fonts except for the Maestro Times family
All Engraver fonts
All Broadway Copyist fonts
All Jazz fonts except for JazzCord

If I try to create a new text block using one of the
invisibly-named-yet-installed fonts, I just get a generic sans serif font
instead.

Has anyone else seen this? I have a bunch of files that I would rather not
import into Finale 2011 or later because they contain deliberately-optimized
staves containing entries (used for ossias) and when I try to open and edit
them in 2011 they just get completely screwed up.

Any help would be much appreciated!

-Brian Williams


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Re: [Finale] Will Finale 2010 work in MacOS 10.7 Lion?

[Brian Williams]

My plan is to buy a new MacBookPro with Lion installed and then transfer all
of my applications and data from the hard drive in my current Leopard
MacBookPro. I seem to recall that when you first boot up a brand new Mac,
the welcome process gives you an option to connect your previous computer
and transfer all of your apps, data  settings. The version of Finale 2010
on my current MacBookPro is 2010b.r1 so hopefully it will transfer to the
new machine as such without me having to reinstall it from the CD.

-Brian


On 5/4/12 10:00 AM, finale-requ...@shsu.edu wrote:

 Hi all,
 
 Although the app itself has been Intel-native since 2007, the installer
 appears to have been PPC up until the 2010b release. I don't have details on
 why this is, but if you were to try installing any version of Finale from the
 vanilla version of 2010 back, you would not be able to do so. Any version of
 Finale that's already installed when the OS is upgraded to Lion will continue
 to run, but you may run into issues as only 2010, 2011 and 2012 are supported
 on Lion.
 
 Thanks!
 
 Chris


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[Finale] Will Finale 2010 work in MacOS 10.7 Lion?

[Brian Williams]

Hello list,

I am being forced to upgrade from MacOS 10.5 to 10.7 because of the imminent
demise of MobileMe and it's replacement by the Lion-dependent iCloud. I have
several important Finale files that were created in Finale 2010 and I would
like to keep working on them in 2010, mainly because they involve some
strange custom staff optimizations with deliberately-hidden staves
containing entries, and when I try to work on these files in Finale 2011 or
later it becomes a real pain in the you-know-what.

My question is: does Finale 2010 need Rosetta in order to run, and therefore
will it not run in MacOS 10.7 Lion?

Thanks in advance for any information you can provide.

-Brian Williams


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Re: [Finale] Poor Resolution of Imported Graphics

[Brian Williams]

It's a Mac thing. You need to print to a postscript file (not PDF) then open 
the ps file in Preview which will convert it to a PDF so you can save and/or 
print it.

Sent from my iPhone, so please forgive the typos and brevity.

On Apr 8, 2012, at 10:00 AM, finale-requ...@shsu.edu wrote:

 
 My Mac version of Finale 2012 displays and prints imported graphics to PDF 
 with poor resolution of the imported graphic. Printing the same file to PDF 
 with Finale 2012 on Windows gives proper results. Any suggestions? Is this a 
 problem with the Mac version of Fin 2012?
 
 Dan

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Re: [Finale] Finale and Illustrator

[Brian Williams]

Oops, I meant to say type SHIFT-cmd-G in Illustrator to ungroup everything
so you can delete the bounding box squares. Sorry, I get so automated in my
workflow that I forget how to describe. I've been doing A LOT of this
printing Finale pages to ps files and importing them into Illustrator CS5
lately. It works great!

However, when you print a Finale page containing any imported EPS graphics
as a pdf file, Finale prints the preview chunky tiff file. The only way to
get true postscript output is to print to a ps file and then open the ps
file in Preview and convert it to pdf that way. Major PITA, but that's the
way it is.


On 3/6/12 10:00 AM, finale-requ...@shsu.edu wrote:

 On a Mac, just print each single Finale page as a postscript file. When
 you place the resulting ps files in Illustrator documents, all of the
 elements should be editable.
 
 Here's a hint: place a tiny graphic square perfectly in the corner of each
 Finale page you print as a ps file and it will center up nicely when you
 place it in an Illustrator file. Then in Illustrator, just after you import
 the Finale file, select all and type cmd-G which will ungroup everything,
 then click somewhere on the border and hit delete, which will get rid of the
 tiny corner squares in your Illustrator document.
 
 Hope this helps,
 Brian


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Re: [Finale] Finale Digest, Vol 104, Issue 3 Finale and Illustrator

[Brian Williams]

On a Mac, just print each single Finale page as a postscript file. When
you place the resulting ps files in Illustrator documents, all of the
elements should be editable.

Here's a hint: place a tiny graphic square perfectly in the corner of each
Finale page you print as a ps file and it will center up nicely when you
place it in an Illustrator file. Then in Illustrator, just after you import
the Finale file, select all and type cmd-G which will ungroup everything,
then click somewhere on the border and hit delete, which will get rid of the
tiny corner squares in your Illustrator document.

Hope this helps,
Brian


On 3/4/12 10:00 AM, finale-requ...@shsu.edu wrote:

 Dear collective wisdom,
 
 Does anyone export Finale in such a way that individual elements are editable
 in Illustrator?  I seem to remember someone telling me that this is possible.
 (EPS? compiling PS?) I have a student who is interested in doing this.  He is
 a double major (Art) and has good Illustrator skills.
 
 If anyone could point me in the right direction -- or suggest another way
 (with different graphics programs) to accomplish this in some form, please let
 me know.
 
 Thank you,
 David Froom


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Re: [Finale] Drum Parts

[Brian Williams]

Hi Darcy,

I see your point, and perhaps from a purely pedagogical standpoint it helps
to see everything line up in the same layer. However, most if not all
drummers I know prefer and are used to seeing the bass drum and foot hi-hat
stems down as a separate layer. That way they can see the rhythm of the bass
drum as a separate entity and hear how it interacts with the bass, etc. All
the other drums and cymbals, including floor toms and snare drum, are stems
up in another layer. This preference was confirmed by my friend Bernie
Dresel who is a very active drummer and percussionist in the LA music scene.

I also understand Geoff's point about minimizing rests, but I think the
overriding principles are firstly the clarity of the independent rhythms
(so, for example, you can see the snare drum clearly playing backbeats
separate from what the bass drum is doing) and secondly the ergonomic logic
of feet-down, hands-up like the separate hands of a one-staff keyboard
part.

Hope this helps,
Brian


On 9/28/11 3:49 AM, Darcy James Argue wrote:

 Hi Brian,
 
 Actually, my argument is for everything all in the same layer. This way, any
 drums or cymbals that are played simultaneously share the same stem. It's
 definitely preferred by every drummer I've talked to. Chris mentioned Modern
 Drummer -- this is how they do it. Here's an example:
 
 http://www.drumsallday.com/wp-content/uploads/md-gogo.jpg
 
 In some rare cases, the above method isn't clear or isn't possible, in which
 case I might break out temporarily to cymbals up, drums down.
 
 Cheers,
 
 - DJA


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Re: [Finale] Drum Parts

[Brian Williams]

I have always written drum parts like Chuck described: hands up, feet down.
The majority of written-out drum parts in the Los Angeles commercial and
studio music scene follow this convention.

That's not to say that there are some exceptions. Darcy makes a good
argument for cymbals up, drums down. However, it seems to me that from an
ergonomic standpoint, it makes more sense to separate layers based on body
limbs, much like a keyboard part with both hands in the same staff would be
written.

I will be working with LA area drummer Bernie Dresel today, so I'll ask him
his opinion. I'm sure he's seen it all.

-Brian Williams


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Re: [Finale] Deauthorize via Customer Support

[Brian Williams]

No joke. I was only surmising that they may have had serial number security
issues with some users that prompted their new policy.


On 8/10/11 10:00 AM, finale-requ...@shsu.edu wrote:

 I think it was a joke, Darcy.
 
 Hi Brian,
 MM has a database with the name and contact information of each registered
 owner and their associated serial.
 Cheers, DJA
 
 On 9 Aug 2011, at 7:13 PM, Brian Williams wrote:
 
 Maybe MM is just trying to make sure that unscrupulous people who have
 surreptitiously obtained serial numbers aren't trying to
 illegitimately deauthorize them.


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Re: [Finale] Deauthorize via Customer Support

[Brian Williams]

Maybe MM is just trying to make sure that unscrupulous people who have
surreptitiously obtained serial numbers aren't trying to illegitimately
deauthorize them.


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[Finale] Alternate Notation staff styles in linked parts

[Brian Williams]

Is there any way to get Finale 2011 to consistently apply alternate notation
staff styles that are entered using a metatool to linked parts as well as
the score? Even with a file generated in 2011 (not a template converted from
an older version) I have inconsistent results - sometimes from bar to bar -
with alternate notation not being applied to linked parts after I apply it
to the score. Copying and pasting sections containing metatool-applied
alternate notation staff styles creates even more random uncertainty. Is
this a known bug or am I missing a setting somewhere?
-Brian


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[Finale] Re: Tie over barline at key change on transposing staff doesn't stick

[Brian Williams]

Wow. Really? I need to do this for ten separate parts on a score, and that's
far kludgier than entering the missing tie ends as manually-positioned
backwards slurs! Thanks, Noel, but there must be a more efficient way to
deal with this bug (I'm sure that Sibelius doesn't have a problem with
this.)

Upon further experimentation, I found that the best way to fix this is to
uncheck Display in Concert Pitch, make sure the tie ends appear properly,
then re-check Display in Concert Pitch and avoid editing the frames for
those notes any further.

-Brian


On 3/21/11 10:01 AM, Noel Stoutenburg wrote:

 What I've done in the situation you describe is define the tied note as
 a tuplet (note: the tuplet shows no bracket or slur, and no number) with
 two notes of the value as the note terminating the tie at the beginning
 of the second system occupying the time of one note of that value. For
 example, if the tie terminates in a half note, the tuplet would be two
 half notes occupying the time of one half note; if the tie terminates in
 a quarter note, the tuplet would be defined as two quarter notes in the
 time of one quarter note. When I enter the notes, I enter the full value
 of the tuplet with both notes on the same pitch, and tie the two notes
 of the tuplet together. Using the note position tool in the special
 tools palette, I position the notes so that the second note of the
 tuplet is spaced properly in the music; then using the tie tool from
 the special tools palette, I adjust the tie between the two notes of the
 tuplet so that the left hand end of the tie lies to the left of the
 first note of the tuplet. Then I use the note position tool again to
 move the first note of the tuplet so that it lies directly on top of the
 second note of the tuplet. The biggest problem I've experienced with
 this method is when the note terminating the tie is a long value (whole
 note or longer), in which case I've had to define the tuplet with
 smaller values, e.g., 4 half notes in the time of 2 half notes.
 
 ns


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[Finale] Re: Tie over barline at key change on transposing staff doesn't stick

[Brian Williams]

Another follow-up:

I actually meant to say CHECK Display in Concert Pitch, make sure the tie
ends appear properly, then UN-CHECK Display in Concert Pitch and avoid
editing the frames containing those notes any further.

Sorry for the confusion.

-Brian

 Upon further experimentation, I found that the best way to fix this is to
 uncheck Display in Concert Pitch, make sure the tie ends appear properly,
 then re-check Display in Concert Pitch and avoid editing the frames for
 those notes any further.


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[Finale] Re: Tie over barline at key change on transposing staff doesn't stick

[Brian Williams]

Hi Lawrence,

Yes, the missing tie *end* is the whole point. Of course everything looks
normal when the two bars are adjacent on the same system. The problem is
that I want the first bar of the new key at the start of a system and can't
make the tie end into the first note in the new key appear.

I tried printing to pdf and the tie end doesn't appear on the printout
either. This seems like a long-standing bug that was never fixed.

Does anyone have a work-around that's more elegant than something kludgy
like creating a backwards slur?

-Brian


On 3/20/11 10:01 AM, Lawrence Yates wrote:

 Doing this in Finale 2006 the tie end does show unless I move the stave and
 make bar 2 the leftmost bar, at which point it disappears. The tie is there
 both in page and scroll views.
 
 My printer isn't well at the moment so I haven't tried printing it. Have you
 printed it?


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[Finale] Tie over barline at key change on transposing staff doesn't stick

[Brian Williams]

Hi all,

Perhaps someone can enlighten me how to fix this:

I'm trying to tie a note over a barline at a key change on a transposing
staff, but the tie end into the note in the 2nd bar doesn't show up and the
accidental can't be hidden by the normal methods.

Try this:
In Finale 2011 (it probably happens in previous versions as well), open a
new document without libraries. Add one bar so that it is 2 bars long. In
Staff Attributes, set the transposition of the staff to (Bb) Up M2, Add 2
Sharps. Make sure Display in Concert Pitch is unchecked. Change the key
in bar 2 to Bb concert (leave bar 1 in C concert). In bar 1, enter a whole
note Bb (Ab concert) and tie it over the barline to another whole note Bb
(Ab concert) in bar 2 in the new key. You will notice that the tie end in
bar 2 doesn't show and the accidental isn't hidden (you can see this by
making bar 2 the left-most bar in scroll view or forcing it down to its own
system in page view). Speedy edit commands don't allow you to force the tie
end to show or to hide the accidental. You can use the Edit Frame dialog to
hide the accidental, but checking Tie End doesn't stick.

Any ideas?

Brian Williams
Finale 2011
MacBook Pro 2.6 GHz Intel Core 2 Duo
2 GB memory, OS 10.5.8


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[Finale] Re: Tie over barline at key change on transposing staff doesn't stick

[Brian Williams]

A follow up:

Other than the unwanted accidental in bar 2 appearing on the note that's
supposed to have a tie end, hiding the accidental is not the issue. I was
originally trying to use Speedy [A] to hide the accidental instead of [*].
After further testing, I have no problem manually hiding the accidental in
bar 2 using the normal methods but I still can't force the tie end to show
in bar 2 unless I turn off transposition for the staff.


 Hi all,
 
 Perhaps someone can enlighten me how to fix this:
 
 I'm trying to tie a note over a barline at a key change on a transposing
 staff, but the tie end into the note in the 2nd bar doesn't show up and the
 accidental can't be hidden by the normal methods.
 
 Try this:
 In Finale 2011 (it probably happens in previous versions as well), open a new
 document without libraries. Add one bar so that it is 2 bars long. In Staff
 Attributes, set the transposition of the staff to (Bb) Up M2, Add 2 Sharps.
 Make sure Display in Concert Pitch is unchecked. Change the key in bar 2 to
 Bb concert (leave bar 1 in C concert). In bar 1, enter a whole note Bb (Ab
 concert) and tie it over the barline to another whole note Bb (Ab concert) in
 bar 2 in the new key. You will notice that the tie end in bar 2 doesn't show
 and the accidental isn't hidden (you can see this by making bar 2 the
 left-most bar in scroll view or forcing it down to its own system in page
 view). Speedy edit commands don't allow you to force the tie end to show or to
 hide the accidental. You can use the Edit Frame dialog to hide the accidental,
 but checking Tie End doesn't stick.
 
 Any ideas?
 
 Brian Williams
 Finale 2011
 MacBook Pro 2.6 GHz Intel Core 2 Duo
 2 GB memory, OS 10.5.8


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Re: [Finale] Relink extracted parts: possible or not possible?

[Brian Williams]

Michael,

Try this (assuming you have TGTools installed):

TGTools  Modify  Transfer...

It will let you copy bar layouts, etc. from one place to another (from a
laid-out separate part file to a linked part in another file, or from one
linked part to another within the same file). You'll still have to open each
extracted part individually, select all, copy the layout with the TGTools
plugin and then open the corresponding linked part in the original master
file and paste the layout, but it will still save you time vs. redoing
everything from scratch.

Linked parts are great and have come a long way since 2007. Thanks to the
TGTools plugin, I have been using them for the past couple of years in lieu
of my old Special Part Extraction method. In Finale 2010 they finally
allowed for separate measure number settings in the score vs. parts which
was a HUGE improvement. However, there is one issue that still causes me to
have the score file separate from the parts for large orchestral works -
time signature display on staves in score vs. parts. In a large orchestral
score, I prefer to only display time signatures on 4 or 5 staves (i.e. the
first staff of each section) and I set them to be GIGANTIC in the score but
normal sized in the parts. Obviously I want time signatures to appear on all
staves in the parts. Currently there is no way to do this until they add
another checkbox in staff attributes: Time Sig. in Score and Time Sig. in
Parts like they already do for Staff Name. There's even an extra space for
it in the dialog! Oh well, I can dream... (yes, I have told tech
support/product development about this).

-Brian


On 1/13/11 10:01 AM, finale-requ...@shsu.edu wrote:

 Since I'm of the old school Finale users, having really cut my teeth on
 the program almost ten years ago, I never was used to the idea of linked
 parts,  so I have continued doing the usual extraction method.  I'm starting
 to 
  regret this, especially as I didn't realize that this unlinks the parts
 from  the score; I thought that linked parts meant linked extracted
 parts.  I  guess I need to read the directions a little more.  Now that I've
 spent 30  minutes just making one pass to change of all things, the title, I'm
 really  wanting my parts to be linked again.
  
 Is it possible to do an Indiana Jones-like switcheroo, where I insert the
 part file I've been working on and laid out beautifully into the rough-cut
 part  file that Finale wants to use when I go to select the part in question?
  I  realize that for certain things I'll probably need to still use some
 part  extraction, but with that being the exception rather than the rule, I'll
 even  allow for some extra cleanup if it will save me some time down the
 road.  
  
 Conversely, if someone has a way I can literally cut-and-paste all the
 layout changes I've made and can superimpose them on the part with minimal
 damage, that would be acceptable, too.  I don't think this will work where
 I've exploded the parts into multiple staves, though, such as my double wind
 lines.  But perhaps there's a plugin for that, too?
  
 Thanks,
 Michael Wittenburg
 Sarasota Opera


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[Finale] Re: pickup bug?

[Brian Williams]

Just uncheck Jump To Next Measure in the Speedy menu while you are working
on the pickup measures.
-Brian


On 12/7/10 10:01 AM, Eric Fiedler wrote:

 Hmmm...
 Can anyone on the list reproduce this, or is it just me?
 Speedy entry. Eighth note pickup measure has the dotted rhythm: dotted
 16th-32nd.
 When I dot the 16th, the cursor jumps to the next measure!
 Not a _major_ problem, as I _can_ put the cursor back in the pickup measure
 and complete it correctly, but with a lot of such pickup measure it gets
 tedious. (Small) bug?
 Eric


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Re: [Finale] More questions

[Brian Williams]

Also, make sure Update Page Layout for Score is unchecked in the Page
Layout menu whenever you edit any of the settings in the floating Edit
System Margins, Edit Page Margins, Page Size, Resize Page or Resize
Staff System dialogs or else the changes you make to what you are
specifically editing will be made to your default page layout settings and
will apply to all future systems/pages that are added. That is probably what
caused the problem in the first place.

-Brian


On 12/2/10 10:01 AM, finale-requ...@shsu.edu wrote:

 On 12/1/2010 3:57 PM, Richard Yates wrote:
 Probably nothing wrong. Added measures do not inherit the system reduction
 (or is it the staff reduction?) of the existing ones. It's bugged me for
 years.
 
 Added measures take their settings from the Page Format settings, which
 may or may not match the existing measures in the score.
 
 For example, I have a template file in which the blank measures already
 in the score are at 85%, but the Page Format for Score specifies 65%.
 When new measures get added, they are at 65%.
 
 David Bailey is right that in most cases you want added measures to be
 the same as the ones immediately preceding them, but then you'd have
 people saying, Hey! I already set my Page Format to 65% -- why are you
 making my new measures 85%?
 
 In any case, as long as the existing measures in the template match what
 you have in Page Format, there shouldn't be any problem.
 
 Aaron.


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[Finale] Re: Topline notation question

[Brian Williams]

Hi Jari,

The way I've achieved this in the past was to create an articulation
consisting of a custom shape straight line (same thickness as the stem
setting) that went down approx. one octave and was set to automatically
attach to the existing stem where it ended at the notehead. Then I applied
it to regions using a metatool after setting stems to up.

Hope this helps,
Brian


On 11/25/10 10:01 AM, finale-requ...@shsu.edu wrote:

 Hello!
 
 I'm talking with Karl-Johan Ankarblom about creating a plug-in to create
 topline notation automatically. I'm just asking here to find out how you
 currently achieve it.
 
 As I have understood it from K-J, it's something like this:
 1. Add an extra note below to make sure the chord is one octave
 2. Hide all noteheads, accidentals, augmentation dots, leger lines for
 all noteheads below the top notehead
 3. Stems up
 
 Would you agree that this would be the approximate procedure in Finale,
 or do you prefer some other output for topline notation?
 
 
 Best regards,
 
 Jari Williamsson


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[Finale] Finale 2011b now available

[Brian Williams]

In case you haven't heard, this update has been available for a few days.
Here are the bug fixes (specific to MacOS):

Expressions 
Expressions are no longer duplicated and linked to one another in specific
files. 
File menu 
Opening a specific file no longer causes a crash.
Fonts 
All Finale document fonts are now recognized in other MakeMusic products
including 
SmartMusic, PrintMusic, Finale NotePad and Finale Reader.
Font type names now work consistently in non-U.S. operating systems.
Lyrics 
All lyrics, including those on the first system, now update when their fonts
are changed via 
the Lyric Window. 
Installation 
Changes to a user¹s ³Configuration Files² location no longer cause the
updater to rename the
MacOS folder within the Finale application.
The updater no longer changes the MacOS folder within the Finale
application.

Hope this helps,
Brian Williams



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[Finale] Re: Where's the Default Document?

[Brian Williams]

Look in the same folder under your user account instead of at the Drive
level.
If it's not there, see what it says in the Program Options  Folders window.

Hope this helps,
Brian


On 10/3/10 10:00 AM, finale-requ...@shsu.edu wrote:

 Dear collective wisdom,
 FinMac 2011.
 Up to now we have always thrown together new templates for each new version of
 Finale and then used these for new projects. But occasionally it would be nice
 to just be able to use the default document (in the opening window) for
 simple chores. But where is it? And no, it's not in:
 Mac HDLibraryApp SupportMakeMusicFinale 2011 Music Files Default Files
 where all the files got put on our new machines, and where you might expect to
 find it. As a matter of fact, it doesn't seem to be _anywhere_ in the Finale
 Folder. And the FM doesn't even have an entry for default document ...
 Any idea where the pesky programmers at MM might have stashed it?
 Eric


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Re: [Finale] HELP! How do I make articulations appear ABOVE the staff in Rhythmic Notation?

[Brian Williams]

I use auto position articulations all the time on multi-voice staves, in
which two parts share the same staff in the score but are extracted into
individual parts. When you need different articulations in the parts (such
as a divisi with rhythmically independent lines) you need them to appear on
the stem side in the score, but have them automatically move to the note
side in the parts.

-Brian Williams


On 9/22/10 10:00 AM, Mark D Lew wrote:

 ok, how about vocal music?  single staff passage changing from
 unison to two voiced (in separate layers).
 
 I'm not sure I understand.
 
 When I want the articulation above I use my above definition/
 metatool.  When I want it below, I use my below one.
 
 But I never need to enter one articulation and have the software
 choose for me.
 
 mdl


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[Finale] HELP! How do I make articulations appear ABOVE the staff in Rhythmic Notation?

[Brian Williams]

Hello Finale list

Perhaps someone can help me with this problem. Since Finale 2010 or so,
whenever I change a staff to Rhythmic Notation either by Staff Attributes
or by using a Staff Style, the ARTICULATIONS end up BELOW the staff instead
of ABOVE like they used to. How do I set the default position of
articulations in Rhythmic Notation to behave like they used to do? There's
nothing in the articulation designer that will allow this. PLEASE HELP!

Brian Williams


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Re: [Finale] Jazz font rehearsal letter D

[Brian Williams]

Thanks, everyone, for your help. Resolving the duplicates in FontBook fixed
it. Now if I can get the spacing of the dot on dotted rests to work like it
did before (any ideas?)

Brian


On 6/14/10 10:00 AM, Darcy wrote:

 It's a problem with the older versions of JazzFont and MacOS 10.5 and later.
 It shouldn't be a problem with the latest versions of the font (the ones
 installed by Fin2010 and Fin2011), unless, as Chris says, you have duplicate
 fonts installed. But when you Resolve Duplicates, make sure you remove the old
 version, not the new one! You also want to make sure you have either the
 TrueType or PS version installed, but not both.
 
 Cheers,
 
 - DJA
 -
 WEB: http://www.secretsocietymusic.org
 
 On 14 Jun 2010, at 11:02 AM, Haroldo Mauro Jr. wrote:
 
 I have the same problem mentioned about Word switching back to Times. It
 happens when using Lassus, Sicilian Numerals, Shpfltnat, etc. I don't think
 it's caused by duplicate fonts, because it doesn't happen in AppleWorks, but
 I'll check anyway.
 Harold
 
 At 7:21 -0400 14/06/10, Christopher Smith wrote:
 Oo, I used to know this! I think it's caused by having more than one copy of
 a font on your system. I think I fixed it by getting the free version of
 Font Book and running Resolve Duplicates. it fixed some other problems I was
 having, too. Perhaps someone more knowledgeable would weigh in?
 
 Christopher
 
 
 On Sun Jun 13, at SundayJun 13 11:15 PM, Brian Williams wrote:
 
 Dear Finale list,
 
 I'm having trouble getting the rehearsal letter D in the Jazz Text font
 to
 appear (the one in a box that the character map says is accessed by typing
 Option-Shift-2). Even if I try to use the Jazz Text font in Microsoft Word,
 typing Option-Shift-2 changes the font to Times New Roman and gives me a
 euro symbol. In Finale, I just get a blank space.
 
 The main problem I'm having is I have a *LOT* of files created in older
 versions that use the Jazz Text Font, and in all of them the rehearsal
 letter D is missing and I can't figure out how to make it show up.
 
 Does anyone have any idea how to fix this?
 
 Brian Williams
 Finale 2010b.r1
 Macbook Pro, MacOS 10.5.8
 
 


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[Finale] Jazz font rehearsal letter D

[Brian Williams]

Dear Finale list,

I'm having trouble getting the rehearsal letter D in the Jazz Text font to
appear (the one in a box that the character map says is accessed by typing
Option-Shift-2). Even if I try to use the Jazz Text font in Microsoft Word,
typing Option-Shift-2 changes the font to Times New Roman and gives me a
euro symbol. In Finale, I just get a blank space.

The main problem I'm having is I have a *LOT* of files created in older
versions that use the Jazz Text Font, and in all of them the rehearsal
letter D is missing and I can't figure out how to make it show up.

Does anyone have any idea how to fix this?

Brian Williams
Finale 2010b.r1
Macbook Pro, MacOS 10.5.8


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[Finale] Re: deleting measures without affecting numbering

[Brian Williams]

Apply a staff style with Hide Staff checked, and set measure widths  
to 0.


Brian

Sent from my iPhone, so please forgive the typos and brevity.

On Jan 22, 2010, at 10:00 AM, finale-requ...@shsu.edu wrote:


How do I delete (or insert) measures without affecting all the measure
number regions that appears afterwards? (I have alot of those  
regions...)


Best regards,

Jari Williamsson


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Re: [Finale] TAN: Cocoa Booklet no longer working in Snow Leopard

[Brian Williams]

In OS 10.5, select Finishing under the 3rd pop-up menu (the one that
defaults to Copies  Pages). There you will find an option for booklet
printing that works great on my HP Laserjet 5200. I use it to print choral
booklets all the time.


On 10/2/09 10:00 AM, Johannes Gebauer wrote:

 I have an HP LJ 5000 but the booklet option is grayed out, no? How does
 it work?
 
 Acrobat prints booklets, but I simply liked the Cocoa Booklet approach...
 
 Johannes


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Re: [Finale] TAN: Cocoa Booklet no longer working in Snow Leopard

[Brian Williams]

If you use an HP printer, you can easily create booklets using the print
driver.

Brian


On 10/1/09 10:00 AM, Johannes Gebauer wrote:

 With some worry I have just found out that Cocoa Booklet is no longer
 working in Snow Leopard. It was my favourite tool to create booklets.
 
 Does anyone know of a working replacement?


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[Finale] Re: Separating layers for printing

[Brian Williams]

TGTools  Parts  Smart Explosion of multi-part staves...


On 7/29/09 10:00 AM, finale-requ...@shsu.edu wrote:

 Date: Tue, 28 Jul 2009 10:31:27 -0700
 From: Michael Greensill m...@mikegreensill.com
 Subject: [Finale] Separating layers for printing
 To: finale@shsu.edu
 Message-ID: bb905854-ad88-4d88-8674-5348c2c02...@mikegreensill.com
 Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
 
 How do you guys deal with printing parts that are in layers e.g. Horn
 1 and 2 are on the same stave in the score, Horn 1 in layer 1 and Horn
 2 in layer 2, but I want separate parts for each.
 
 I understand the use of show current layer only in actually
 separating them for printing, but the problem comes with naming the
 part. It still says Horn 1 and 2 and I want it to just say Horn 1.
 
 If one renames it on the part the whole damned score becomes Horn 1.
 
 Is there a plug-in for this that I'm missing somewhere?
 
 Mike G.
 
 www.mikegreensill.com


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[Finale] Mac Authorization problems

[Brian Williams]

Has anyone else had problems losing Finale 2009 and 2010 authorizations on
Mac computers running OS 10.5.7? I've had to reauthorize both versions twice
and call customer service to clear out previous authorizations. Apparently
Finale thinks you're using a different computer every time you reboot.

Brian


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[Finale] Re: Finale Digest, Vol 66, Issue 30

[Brian Williams]

Wow. That's pretty convoluted. Since there are also hairpins involved, I'll
also have to create/enter a pair of invisible expressions to turn off/on
human playback in order to have the passage silent on the first pass of the
repeat.

It sure would be nice if MIDI volume could be set to zero on a
staff-by-staff basis through expression playback assignment. Feature
suggestion?

Something this simple shouldn't be so complex.

Brian


David H. Bailey wrote:

 You need to do the same thing for each dynamic -- create 2,
 one non-printing and velocity set to zero and defined to
 Play on Pass with the pass set to 1 for the first time, and
 one printing which sets the velocity to whatever you want it
 to be on the 2nd time and define it to play only on pass 2.
 
 There's no other way that I know of.  sorry.
 
 David H. Bailey
 
 Brian Williams wrote:
 I tried this. The problem is that I have a series of dynamic markings
 throughout the passage to be played 2nd X which reset the key velocity to
 whatever the playback definition is for those dynamics. How do you set a
 passage that has multiple dynamics indicated to play 2nd X only with the
 dynamics?
 
 Brian
 
 David H. Bailey wrote:
 
 Brian Williams wrote:
 I see the  in the Playback tab of the
 Expression
 designer, but I don't know what to set in the Type popup. I've tried
 setting it to None, changing the channel to an unused one on the pass I
 don't want it to play, and setting the channel pressure and key velocity to
 zero. Nothing works.
 
 How can something so supposedly simple be so difficult?
 
 Here's the process:
 1) create an expression 2nd Time Only
 2) in the playback panel of the dialog check the Play on
 Pass and set it to 1 (this is contrary to what you would expect)
 3) in the Type panel, select Key Velocity, and set value to 0
 4) click OK to close the creation dialog, then assign that
 to the first note of the section you want to be heard only
 2nd time
 5) repeat the process, only create another expression called
 something like Reset Volume and set the text type to be
 Hidden (so it won't print)
 6) in the playback panel, check Play on Pass and set it to 2
 7) in the Type panel, select Key Velocity and set the value
 to match whatever the volume level should be as set by the
 most recent dynamic marking.
 8) both of these expressions should be placed in the music
 at the same point, the first note of the repeated process.
 
 I just ran through these steps in Finale2008 and they still
 work just like they've always worked.


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[Finale] Re: Playback 2nd time only

[Brian Williams]

Resent with proper subject header:


Wow. That's pretty convoluted. Since there are also hairpins involved, I'll
also have to create/enter a pair of invisible expressions to turn off/on
human playback in order to have the passage silent on the first pass of the
repeat.

It sure would be nice if MIDI volume could be set to zero on a
staff-by-staff basis through expression playback assignment. Feature
suggestion?

Something this simple shouldn't be so complex.

Brian


David H. Bailey wrote:

 You need to do the same thing for each dynamic -- create 2,
 one non-printing and velocity set to zero and defined to
 Play on Pass with the pass set to 1 for the first time, and
 one printing which sets the velocity to whatever you want it
 to be on the 2nd time and define it to play only on pass 2.
 
 There's no other way that I know of.  sorry.
 
 David H. Bailey
 
 Brian Williams wrote:
 I tried this. The problem is that I have a series of dynamic markings
 throughout the passage to be played 2nd X which reset the key velocity to
 whatever the playback definition is for those dynamics. How do you set a
 passage that has multiple dynamics indicated to play 2nd X only with the
 dynamics?
 
 Brian
 
 David H. Bailey wrote:
 
 Brian Williams wrote:
 I see the  in the Playback tab of the
 Expression
 designer, but I don't know what to set in the Type popup. I've tried
 setting it to None, changing the channel to an unused one on the pass I
 don't want it to play, and setting the channel pressure and key velocity to
 zero. Nothing works.
 
 How can something so supposedly simple be so difficult?
 
 Here's the process:
 1) create an expression 2nd Time Only
 2) in the playback panel of the dialog check the Play on
 Pass and set it to 1 (this is contrary to what you would expect)
 3) in the Type panel, select Key Velocity, and set value to 0
 4) click OK to close the creation dialog, then assign that
 to the first note of the section you want to be heard only
 2nd time
 5) repeat the process, only create another expression called
 something like Reset Volume and set the text type to be
 Hidden (so it won't print)
 6) in the playback panel, check Play on Pass and set it to 2
 7) in the Type panel, select Key Velocity and set the value
 to match whatever the volume level should be as set by the
 most recent dynamic marking.
 8) both of these expressions should be placed in the music
 at the same point, the first note of the repeated process.
 
 I just ran through these steps in Finale2008 and they still
 work just like they've always worked.
Re


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[Finale] Re: Playback 2nd time only

[Brian Williams]

I tried this. The problem is that I have a series of dynamic markings
throughout the passage to be played 2nd X which reset the key velocity to
whatever the playback definition is for those dynamics. How do you set a
passage that has multiple dynamics indicated to play 2nd X only with the
dynamics?

Brian


David H. Bailey wrote:

 Brian Williams wrote:
 I see the Play Only on Pass checkbox in the Playback tab of the Expression
 designer, but I don't know what to set in the Type popup. I've tried
 setting it to None, changing the channel to an unused one on the pass I
 don't want it to play, and setting the channel pressure and key velocity to
 zero. Nothing works.
 
 How can something so supposedly simple be so difficult?
 
 
 Here's the process:
 1) create an expression 2nd Time Only
 2) in the playback panel of the dialog check the Play on
 Pass and set it to 1 (this is contrary to what you would expect)
 3) in the Type panel, select Key Velocity, and set value to 0
 4) click OK to close the creation dialog, then assign that
 to the first note of the section you want to be heard only
 2nd time
 5) repeat the process, only create another expression called
 something like Reset Volume and set the text type to be
 Hidden (so it won't print)
 6) in the playback panel, check Play on Pass and set it to 2
 7) in the Type panel, select Key Velocity and set the value
 to match whatever the volume level should be as set by the
 most recent dynamic marking.
 8) both of these expressions should be placed in the music
 at the same point, the first note of the repeated process.
 
 I just ran through these steps in Finale2008 and they still
 work just like they've always worked.


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[Finale] Re: Playback 2nd time only

[Brian Williams]

I see the Play Only on Pass checkbox in the Playback tab of the Expression
designer, but I don't know what to set in the Type popup. I've tried
setting it to None, changing the channel to an unused one on the pass I
don't want it to play, and setting the channel pressure and key velocity to
zero. Nothing works.

How can something so supposedly simple be so difficult?

Brian


Carl Dershem wrote:

 Brian Williams wrote:
 How do I set an expression or repeat text to make Finale *not* play a
 passage on a specific staff the first pass but do play it on the 2nd pass of
 a repeat? Does this require some convoluted work-around?
 
 When you define the expression, under the PLAYBACK tab, there is a box
 for play only on pass __ designed to do that.
 
 Of course, it has never worked for me, but it is supposed to.  :)
 
 cd


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[Finale] Play back 2nd time only

[Brian Williams]

How do I set an expression or repeat text to make Finale *not* play a
passage on a specific staff the first pass but do play it on the 2nd pass of
a repeat? Does this require some convoluted work-around?


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[Finale] Re: Help file with Firefox 3 (Mac)

[Brian Williams]

On my Mac, Finale Help searching seems to work fine with Safari 3.1.2 but
not Firefox 3.0.3. I prefer to use Firefox for all of my other web browsing,
but would like Finale to auto-launch Safari when I open the help files. Is
there some way to set this up? (I don't want to set Safari as my default web
browser for anything other than Finale)

Brian


 Since I upgraded to Firefox 3, the search function no longer works in the
 Help file (2008) ... Anyone else come across this problem?
 
 Thanks,
 
 Dennis


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[Finale] Re: Measure numbers in score vs. linked parts

[Brian Williams]

I wrote:
 Actually, there's a much easier way to turn on/off which measure number
 regions will print than changing the measure number X through XX settings-
 simply change the Viewable In: setting at the bottom of the Measure Number
 dialog. This works with any number of regions you have set up.

To which Jim Williams replied:
 How does this solve the problem of needing different schemes in score and
 parts? Perhaps I am missing something here?

When you are about to print your score, set the measure number region(s) you
want to appear in the score to All Views or Page View Only and set the
one(s) that is/are for parts to Scroll and Studio Views Only (Will Not
Print). Then reverse the proceedure when you are about to print parts.

BTW, I still usually create a separate file for parts because time
signatures cannot be invisible on certain staves of the score yet visible on
the parts. Also sometimes I have to run TGTools Smart Explosion of
Multi-Staff Parts plug-in because it is so much more reliable and flexible
than Finale's Part Voicing feature for linked parts. I've been able to
deal with most text issues by using Fixed Size font sizes that look larger
(relative to the music) on the score than on the parts.

Hope this helps,
Brian Williams

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[Finale] Re: Measure numbers in score vs. linked parts

[Brian Williams]

David H. Bailey wrote:

 In the interim, concerning measure number regions, though,
 there is a workaround I remember discussing when linked
 parts were first introduced:
 
 Define two regions -- this is only workable if you only have
 one region to begin with -- otherwise you have to define two
 different regions for each original region.
 
 One region places things as you want them in the score.  The
 other region places things where you want them in the parts.
 When getting the score ready to print, you set the region
 for the score to start numbering from measure 1 and set the
 other region to start numbering from some measure number
 higher than the last measure of the piece.  When getting
 ready to work with the parts, you set that region to start
 numbering from measure 1 and set the original region to
 start numbering from some number higher than the last
 measure of the piece.
 
 It's workable if you only have one region, but if you have
 two or more original regions (incorporating partial
 measures, endings, whatever) it's a royal pain in the butt
 and something which we shouldn't have to deal with.

Actually, there's a much easier way to turn on/off which measure number
regions will print than changing the measure number X through XX settings-
simply change the Viewable In: setting at the bottom of the Measure Number
dialog. This works with any number of regions you have set up.

Brian Williams

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[Finale] Re: Extended font characters in text blocks

[Brian Williams]

Thanks everyone for your help. I get the digest version, so my belated
additional info about my OS was sent before I read everyone's replies.

I'm updating some files that I created using Finale 2003 in OS9 and I used a
custom fraction font that is only PS type 1 so it won't work in OSX. My best
option would probably be to use a basic font editing program like FontLab's
TypeTool (US$100) to remap the fraction glyphs in NCS to accessible
characters and save it as a new custom OT font. If anyone can recommend a
cheaper alternative, I'm all ears (I'm not too concerned with sending the
files to anyone else).

Thanks for your help,
Brian Williams


 Dear list,
 
 Does anyone know how I can enter some of the off the keyboard  unicode font
 characters into a text block in Finale? Specifically, I'm trying to  enter
 fractions from the OpenType version of New Century Schoolbook. The  fractions
 show up as glyphs in the character palette but have no associated  keyboard
 combination to enter them directly. I tried using the character  palette to
 enter them into a TextEdit document and then copying and pasting  them into a
 Finale text block, but all I got was a question mark in its place.
 
 Brian
 
 Hi Brian,
 
 I struggled with this myself a number of times. Basically, Finale
 does not support Unicode (bug them about it to get your complaint on
 the list) so the extended characters are not directly accessible.
 
 If you aren't able to find the characters you need ON the keyboard in
 some font or other (the Mac Character Palette app is great for that!)
 then your only recourse is to export them from a text application as
 a graphic, and import them into Finale as Shape Expressions. Finale
 in 2008 had a nasty bug that prevented Shape Expressions from
 attaching properly to their handles, so they jumped around in
 different views and at different zooms. I haven't checked to see if
 Finale 2009 has repaired that particular bug or not, so you might be
 in for some frustrating times.
 
 If you own a font editing program, you can change the slot of the
 glyph you need to something you can type (hopefully under a new name
 so you don't lose, say, your letter Q in the font!) and get around
 it this way. You won't be able to send the file to anyone, though.
 
 Sorry for the bad news.
 
 Christopher

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[Finale] Extended font characters in text blocks

[Brian Williams]

Dear list,

Does anyone know how I can enter some of the off the keyboard unicode font
characters into a text block in Finale? Specifically, I'm trying to enter
fractions from the OpenType version of New Century Schoolbook. The fractions
show up as glyphs in the character palette but have no associated keyboard
combination to enter them directly. I tried using the character palette to
enter them into a TextEdit document and then copying and pasting them into a
Finale text block, but all I got was a question mark in its place.

Brian

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[Finale] Re: Extended font characters in text blocks

[Brian Williams]

Sorry, I forgot to mention that I am using Finale 2008 and 2009 in MacOS
10.4.11. Thanks in advance for any help you can provide.

 Dear list,
 
 Does anyone know how I can enter some of the off the keyboard unicode font
 characters into a text block in Finale? Specifically, I'm trying to enter
 fractions from the OpenType version of New Century Schoolbook. The fractions
 show up as glyphs in the character palette but have no associated keyboard
 combination to enter them directly. I tried using the character palette to
 enter them into a TextEdit document and then copying and pasting them into a
 Finale text block, but all I got was a question mark in its place.
 
 Brian

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[Finale] Re: Hidden object shading

[Brian Williams]

I finally found where you change the hidden object shading percentage
(Program Options: View), but no matter how much you lighten the shading, it
still does not make hidden objects transparent - which means that they will
still completely obscure everything they are on top of.

Try this: create an expression that is a single letter of a *very* large
size font, and enter it in the score, use the context menu to hide it, then
drag it on top of some music. Try to lighten it so you can see what's
underneath it - it can't be done!

Brian Williams

Christopher Smith wrote:
 
 I am addressing the ghost problem first. You can set the shading of
 the ghosts so that they are very, very faint; just enough so that you
 can see them to identify them.


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[Finale] Re: Staff Lists in 2009

[Brian Williams]

Christopher Smith wrote:

 I am addressing the ghost problem first. You can set the shading of  the
 ghosts so that they are very, very faint; just enough so that you  can see
 them to identify them. Also, drag them off the BOTTOM of the  page, not the
 side, so they don't show on other pages.

How, exactly, do you set the shading of hidden items? I searched the
online manual and found nothing about it.

Besides, even in their faint state, the hidden expressions are *NOT*
transparent! In fact, they are quite opaque and will completely cover up
anything underneath them that was entered previously. I would be *very*
surprised if making them very, very faint so that you could hardly see them
would also somehow make them transparent.

And dragging unwanted hidden expressions into some kind of off-page
garbage heap seems awfully kludgy to me.

 The rest can be done with right-click Show and Hide in the parts or  score as
 needed, with the override key as needed. It isn't really  that long, even if
 you have to do it four or five times. So it isn't  a total rout.

So the only other work-around is to manually edit the individual assignments
for each and every single expression, as this cannot be done en masse by
drag-selecting a group of expressions and selecting Edit Assignment from
the context menu. In the situation I described it would be *MUCH* more
labor-intensive than simply entering the expressions using staff lists, as
can be done in Finale 2008.

It seems obvious that the old school way of using multiple staff lists was
far easier and more elegant in situations like this. I can't imagine how
*anyone* could, in good conscience, defend MakeMusic's arbitrary and
Sibelius-like decision to limit the number of staff lists to four in Finale
2009!

Brian Williams


Christopher Smith wrote:

 Jari Williamsson wrote:
 
 Brian Williams wrote:
 
 The main advantage of staff lists over drag-apply is that you can  use them
 to display expressions differently in the score than in  individual parts.
 
 That can be done with drag-apply as well.
 
 Here's an example I read about: let's say you want to put a  Repeat Til
 Cue marking in the last measure of a short repeated section. You want  it
 to appear correctly in the score and in parts that are playing, but  you
 don't want it to break the multimeasure rest in parts that are resting.
 You could enter it in the last measure and use a staff list to only show it
 on the playing parts and score, and then enter it again in the first
 measure and use a different staff list to only show it in the resting parts
 so it won't break the multimeasure rests. Now, let's say you have several
 sections like this in a piece, and a different group of instruments are
 playing/ resting each time. You can see how the four staff list limit would
 be a  problem.
 
 The same thing can be done with drag-apply: drag-apply 2 sets of markings
 and assign them differently.
 
 
 So, please explain exactly how you would use drag-apply to enter  the Repeat
 til Cue expression so that it only appears above the top staff of  the score
 in the last measure of the repeated section, but also appears above  the last
 measure of each of the parts who are playing in the last measure  and no
 other parts, and how you would use drag-apply to enter another  Repeat til
 Cue expression that does not appear in the score at all but only  appears
 above the *first* measure of the parts that have a multimeasure  rest in this
 repeated section (thereby not breaking the mm rest) - and do this  four or
 five times in the same file with different groups of instruments
 playing/resting each time - and do it without having a bunch of faint
 hidden expressions cluttering up the score or dragged off the  page and
 onto another page that can be seen with multi-page editing.
 
 Please Jari, enlighten us as to exactly how this could be done with  only
 four staff lists!  :-)
 
 I am addressing the ghost problem first. You can set the shading of  the
 ghosts so that they are very, very faint; just enough so that you  can see
 them to identify them. Also, drag them off the BOTTOM of the  page, not the
 side, so they don't show on other pages.
 
 The rest can be done with right-click Show and Hide in the parts or  score as
 needed, with the override key as needed. It isn't really  that long, even if
 you have to do it four or five times. So it isn't  a total rout.

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[Finale] Re: Finale Digest, Vol 61, Issue 6

[Brian Williams]

Jari Williamsson wrote:
 
 Brian Williams wrote:
 
 The main advantage of staff lists over drag-apply is that you can use them
 to display expressions differently in the score than in individual parts.
 
 That can be done with drag-apply as well.
 
 Here's an example I read about: let's say you want to put a Repeat Til Cue
 marking in the last measure of a short repeated section. You want it to
 appear correctly in the score and in parts that are playing, but you don't
 want it to break the multimeasure rest in parts that are resting. You could
 enter it in the last measure and use a staff list to only show it on the
 playing parts and score, and then enter it again in the first measure and
 use a different staff list to only show it in the resting parts so it won't
 break the multimeasure rests. Now, let's say you have several sections like
 this in a piece, and a different group of instruments are playing/resting
 each time. You can see how the four staff list limit would be a problem.
 
 The same thing can be done with drag-apply: drag-apply 2 sets of
 markings and assign them differently.


So, please explain exactly how you would use drag-apply to enter the Repeat
til Cue expression so that it only appears above the top staff of the score
in the last measure of the repeated section, but also appears above the last
measure of each of the parts who are playing in the last measure and no
other parts, and how you would use drag-apply to enter another Repeat til
Cue expression that does not appear in the score at all but only appears
above the *first* measure of the parts that have a multimeasure rest in this
repeated section (thereby not breaking the mm rest) - and do this four or
five times in the same file with different groups of instruments
playing/resting each time - and do it without having a bunch of faint
hidden expressions cluttering up the score or dragged off the page and
onto another page that can be seen with multi-page editing.

Please Jari, enlighten us as to exactly how this could be done with only
four staff lists!  :-)

Brian Williams

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[Finale] Staff Lists in 2009

[Brian Williams]

I've been reading with interest the discussion of staff lists in Finale
2009, and I agree with Robert that the artifical limit of 4 staff lists
should be eliminated. Users should be able to create as many - or few -
staff lists as there are staff list-enabled expression categories.

The main advantage of staff lists over drag-apply is that you can use them
to display expressions differently in the score than in individual parts.
Certain text (like tempo markings) that should appear in every part usually
only needs to vertically appear once (or very few times) in the score. Staff
lists work great for situations like this.

Here's an example I read about: let's say you want to put a Repeat Til Cue
marking in the last measure of a short repeated section. You want it to
appear correctly in the score and in parts that are playing, but you don't
want it to break the multimeasure rest in parts that are resting. You could
enter it in the last measure and use a staff list to only show it on the
playing parts and score, and then enter it again in the first measure and
use a different staff list to only show it in the resting parts so it won't
break the multimeasure rests. Now, let's say you have several sections like
this in a piece, and a different group of instruments are playing/resting
each time. You can see how the four staff list limit would be a problem.

In my opinion, the biggest problem with staff lists in Finale 2009 is the
inability to name them, followed closely by having the artifical limit of
four staff lists - no matter how many or how few staff list-enabled
categories you have.

Another minor annoyance is the fact that clicking to the left of a staff
name in the Staff List dialog no longer checks both score and parts; you
have to manually mouse over and check both boxes.

Thank goodness there are still no staff list limits for text entered using
the Repeat tool. What's up with that?

Brian Williams

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[Finale] Times listed as symbol font

[Brian Williams]

Hello all,

I've been getting files from a composer using Finale 2008, and whenever I
open them I get the message:

This file was created on a computer whose
MacSymbolFonts.txt file designated Times as a
Symbol font. Would you like to make this change on
your computer? If not, the font will be marked as a
Text font in this document.

Of course, I always click No because why on earth would I want Times to
be a symbol font and not a text font? I've suggested to the composer that he
edit his MacSymbolFonts.txt file to remove Times from the list, but he says
he already tried that and when he did, all of his old documents put up the
warning like it does on my system when opened.

Is there some quick and easy way to globally change a bunch of old documents
so they won't think Times is supposed to be a symbol font?

Thanks for your help,
Brian Williams

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[Finale] Times listed as symbol font

[Brian Williams]

Hello all,

I've been getting files from a composer using Finale 2008, and whenever I
open them I get the message:

This file was created on a computer whose
MacSymbolFonts.txt file designated Times as a
Symbol font. Would you like to make this change on
your computer? If not, the font will be marked as a
Text font in this document.

Of course, I always click No because why on earth would I want Times to
be a symbol font and not a text font? I've suggested to the composer that he
edit his MacSymbolFonts.txt file to remove Times from the list, but he says
he already tried that and when he did, all of his old documents put up the
warning like it does on my system when opened.

Is there some quick and easy way to globally change a bunch of old documents
so they won't think Times is supposed to be a symbol font?

Thanks for your help,
Brian Williams

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[Finale] Times listed as symbol font

[Brian Williams]

Hello all,

I've been getting files from a composer using Finale 2008, and whenever I
open them I get the message:

This file was created on a computer whose
MacSymbolFonts.txt file designated Times as a
Symbol font. Would you like to make this change on
your computer? If not, the font will be marked as a
Text font in this document.

Of course, I always click No because why on earth would I want Times to
be a symbol font and not a text font? I've suggested to the composer that he
edit his MacSymbolFonts.txt file to remove Times from the list, but he says
he already tried that and when he did, all of his old documents put up the
warning like it does on my system when opened.

Is there some quick and easy way to globally change a bunch of old documents
so they won't think Times is supposed to be a symbol font?

Thanks for your help,
Brian Williams

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[Finale] Measure numbers in score vs. linked parts

[Brian Williams]

Thanks Darcy for the tips for multimeasure rests and optimization of linked
parts. That really helped.

Regarding measure numbers, Mike Greensill wrote:
 I still use the old method of having a score and a parts copy. So when
 I think that everything possible has been entered in the file I save
 that as score and then save as for the parts. Where I alter the
 measure numbers and quite a few other things that I like to be much
 different in the parts than the score.

Doesn't that kind of negate the whole reason for having linked parts in the
first place? I thought the whole point is that if you change something in
the score -- especially something as major as deleting or adding measures
(which happens a lot in choreography cues) -- the parts are automatically
updated to include the changes. If you have to create a separate parts
document, then you'll have to make the changes in multiple documents, making
the linked parts feature much less useful.

In large orchestral scores, I typically have large boxed measure numbers
only displayed between the woodwinds and the brass and between the
percussion and the strings. What I would need is the ability to create a
large-font boxed measure number region that only displays below certain
staves of the score, and another small-font region for parts that would
display on the bottom staff of every part. Maybe this could be done by
enabling measure number regions to use staff lists.

Brian Williams

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[Finale] Re: Measure numbers in score vs. linked parts

[Brian Williams]

David H. Bailey wrote:
 
 Enabling staff lists for measure numbers would be a good thing, but I
 don't think it would solve the desire to number measures differently
 between score and parts.
 
 Such a thing would be possible if MakeMusic would simply make the
 measure numbers UNlinkable between score and parts.
 
 They should be able to be entirely separate, so that for each measure
 number region we could check a box from among the choices: Score Only,
 Parts Only, Score and Parts.
 
 However, so far MakeMusic hasn't seen fit to do this for us.

Actually, enabling staff lists for measure number regions *would* make
measure numbers unlinkable between score and parts. The Staff List dialog
has two check boxes for each staff, enabling users to set expressions (and
hopefully, in the future, measure number regions) to display on score only,
part only or both for each staff.

Brian Williams

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[Finale] Transferring bar layout between linked parts

[Brian Williams]

Sorry for sending this again -- I changed the subject line to make it more
clear what I was asking.


Dear list,

What is the easiest and quickest way to transfer the bars-per-staff layout
from one linked part to another in Finale 2007 or 2008?

For example, I created a big band score in which the four trumpets are tutti
- i.e. they have the exact same part, rhythmically and form-wise, but have
different pitches on the notes that are voiced out. After generating the
parts, I edited the 1st trumpet part and moved bars around between staves so
the layout is right. How can I quickly transfer this bar layout to the 2nd,
3rd and 4th trumpet parts without doing it over again on each part? In the
past, I've used Save as... and Special Part Extraction to create a new
part based on an existing part's layout. Can this be easily done in Finale
2007 and 2008?

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[Finale] More Linked Parts questions

[Brian Williams]

Thanks, John and Darcy, for telling me about TGTools  Modify  Transfer 
Layout. That worked like a charm.

However, I have some more issues that have come up when dealing with linked
parts in Finale 2008a. The document in question was created from the Jazz
Font template that shipped with Finale 2008.

1) Measure numbers: What is the easiest way to display measure numbers
differently in the score than in linked parts? Usually, I like the score to
only show measure numbers below certain staves, and I want them large,
enclosed in a square, centered horizontally, and 1/2 or so below the staves
they show on. On parts, I want the measure numbers to be small (9pt), and
positioned just below the barlines of the bottom staff of every part. How
can I do this using linked parts?

2) Multimeasure rests: When I edit the width of an individual multimeasure
rest in a linked part, it doesn't stick after I leave the part. In fact, all
multimeasure rests revert to the default width set in the Document Options -
Multimeasure Rests window whenever you go to view that part. How can I have
different multimeasure rest widths in the same document with linked parts?

3) Staff optimization: How can I make staff optimization work in a linked
part? The bottom staff of the Master Rhythm part needs to be optimized out
on several systems, and I've made sure that Allow Optimization is checked
in the Staff Attributes dialog for that staff, and that Optimize Normally
is selected in the Group Attributes db. Yet when I try to optimize the part,
nothing happens! What am I missing?

Thanks in advance for your help!

Brian Williams

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[Finale] Transposing bar layout in linked parts

[Brian Williams]

Dear list,

What is the easiest and quickest way to transfer the bars-per-staff layout
from one linked part to another in Finale 2007 or 2008?

For example, I created a big band score in which the four trumpets are tutti
- i.e. they have the exact same part, rhythmically and form-wise, but have
different pitches on the notes that are voiced out. After generating the
parts, I edited the 1st trumpet part and moved bars around between staves so
the layout is right. How can I quickly transfer this bar layout to the 2nd,
3rd and 4th trumpet parts without doing it over again on each part? In the
past, I've used Save as... and Special Part Extraction to create a new
part based on an existing part's layout. Can this be easily done in Finale
2007 and 2008?

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[Finale] New logic board - registration woes

[Brian Williams]

The logic board in my PowerBook died. I had it replaced. Other than a new
logic board, my PowerBook is exactly the same as before. The hard drive is
the same. All of my data is intact. All of my programs work as they did
before, except...

...now, whenever I try to launch Finale 2007 or 2008, I get a warning saying
that I have 0 days left to register and saving/printing will be disabled.

Does Finale think I have a whole new computer? Since I don't have any
installs left (I put the other ones on my son's PC), how do I save/print
from Finale on my original computer? I can't call MakeMusic until tomorrow
and I need to get a project out the door tonight.

Brian Williams

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Re: [Finale] New logic board - registration woes

[Brian Williams]

Thanks, Darcy.
I was able to do the project in Sibelius 4, which amazingly didn't have any
problem running my previously authorized copy on the new logic board. Go
figure.

Brian

 From: Darcy James Argue [EMAIL PROTECTED]
 Date: Sun, 27 Apr 2008 22:53:16 -0400
 To: finale@shsu.edu, Brian Williams [EMAIL PROTECTED]
 Subject: Re: [Finale] New logic board - registration woes
 
 On 27 Apr 2008, at 9:41 PM, Brian Williams wrote:
 
 Does Finale think I have a whole new computer?
 
 Yes. (This is a reasonable assumption -- most people don't swap out
 their logic board.)
 
 Since I don't have any
 installs left (I put the other ones on my son's PC), how do I save/
 print
 from Finale on my original computer?
 
 Call them and explain the situation.
 
 I can't call MakeMusic until tomorrow
 and I need to get a project out the door tonight.
 
 Oh.
 
 (I put the other ones on my son's PC)
 
 
 Well, call your son (wake him up, if necessary) and get him to
 deauthorize his copy (or copies):
 
 Help Menu - Deauthorize Finale
 
 After he does this, you can register online.
 
 Good luck,
 
 - Darcy
 -
 [EMAIL PROTECTED]
 Brooklyn, NY
 
 
 
 
 

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Re: [Finale] TO BUY or not to buy

[Brian Williams]

If you paste or insert data including time signature changes from
Finale-opened MIDI files into a new file, you'll have to go through a few
extra steps in 2008 because they revised the way music is selected and
copied when they introduced the concept of measure stacks. However, they
did fix a bunch of long-standing bugs in the update.

Brian Williams

 From: [EMAIL PROTECTED]
 Reply-To: finale@shsu.edu
 Date: Wed, 26 Mar 2008 12:00:20 -0500
 To: finale@shsu.edu
 Subject: Finale Digest, Vol 56, Issue 26
 
 OK guys. I want to see a show of hands. I have MacFin07 and I'm
 contemplating upgrading to 2008. My question: IS IT WORTH IT? Or am I
 buying in to more trouble than it's worth?
 I've seen so many negative things here on the List (although I
 haven't monitored it every day, thus my question.
 All the best,
 KIM R
 
 PS- my latest problem is (and I'm sure this has been addressed) is
 that the staff styles I've entered into the score do not appear in
 the linked parts. Also, many of the multi-measure rests.

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[Finale] Insert w/time sigs in 2008

[Brian Williams]

In Finale 2008, how do I insert a group of measures into a file and include
the time signature changes? I used to be able to do this easily in 2007 and
before, but can't seem to figure out how to do it using the improved mass
edit-selection tool in 2008.

Here's the situation: I get a MIDI file from the composer. I prepare a
1-measure score template in Finale. I open the midi file (which usually has
several time signature changes) in Finale, select the top staff, and copy it
to the clipboard. I then open the score template, select the one measure of
the top staff, and select Insert from the Edit menu. In Finale 2007 and
before, this would insert the entire group of measures from the clipboard,
time signature changes and all. In Finale 2008, the time sig changes are
ignored.

Am I overlooking something that makes this as simple as it used to be? If
not, is this a feature or a loss of functionality in Finale 2008?

Brian Williams

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Re: [Finale] Insert w/time sigs in 2008

[Brian Williams]

Thanks, Michael.

In Finale 2007 and before, you can open a source file, select any single
staff with the mass mover, copy it to the clipboard, open a destination
file, select a single measure on any staff, choose Insert from the Edit
menu, and Finale will insert the entire measure stack - time signature
changes and all - with the entry data only on the staff you selelcted.

In Finale 2008, if you want to insert measures with time signature changes
along with entry data, you can *only* do this with the top staff of the
destination file - and if your source file contains other staves with entry
data that you don't want to appear on the subsequent staves of your
destination file, you'll need to create a scratch copy of your source file
and delete the other staves before copying and inserting.

How, exactly, does this stack idea make things easier?? I don't consider
adding three more involved steps to my workflow an improvement -
expecially considering that it is now apparently impossible to insert entry
data along with time signature changes on any staff other than the top one.

Brian Williams

 Michael Cook wrote:
 
 This has changed in Finale 2008 with the introduction of the measure
 stack idea. Time signatures will only be copied if you have selected
 a stack of mesures to be copied.
 
 If you haven't yet got used to the stack idea, it's worth playing
 around with it to get an idea of the reasoning behind it. Check
 through the chapters Selecting Music and Copying Music in the
 help files.
 
 Michael
 
 
 On 21 Mar 2008, at 03:17, Brian Williams wrote:
 In Finale 2008, how do I insert a group of measures into a file and
 include
 the time signature changes? I used to be able to do this easily in
 2007 and
 before, but can't seem to figure out how to do it using the
 improved mass
 edit-selection tool in 2008.
 
 Here's the situation: I get a MIDI file from the composer. I prepare a
 1-measure score template in Finale. I open the midi file (which
 usually has
 several time signature changes) in Finale, select the top staff,
 and copy it
 to the clipboard. I then open the score template, select the one
 measure of
 the top staff, and select Insert from the Edit menu. In Finale
 2007 and
 before, this would insert the entire group of measures from the
 clipboard,
 time signature changes and all. In Finale 2008, the time sig
 changes are
 ignored.
 
 Am I overlooking something that makes this as simple as it used to
 be? If
 not, is this a feature or a loss of functionality in Finale 2008?
 
 Brian Williams

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[Finale] Resetting chord symbol baselines

[Brian Williams]

Is there some way to globally reset all of the chord symbol baselines in a
document? I know you can do this with TG Tools for lyrics baselines but I
don't know how to do it with chord symbols.

Brian

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[Finale] Importing eps graphics from Adobe CS3

[Brian Williams]

I'm having problems viewing eps graphics that were created in the latest
version of Adobe Creative Suite 3 into Finale 2007 documents. The graphics
were sent to me by a graphic designer who recently upgraded to Leopard and
Adobe CS3. They show up on screen as blank white rectangles with the word
(embedded) in the middle, but they seem to print just fine.
Previously-saved eps graphic files that were saved in older versions of
Illustrator were black in the transparent background areas but the image was
at least visible. Has anyone else had issues with importing eps files saved
in CS3 in Finale 2007? The graphic designer tells me that Finale is the
*only* application he's heard of that has problems with viewing these files.

Brian

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Re: [Finale] Smart shape and different time sigs

[Brian Williams]

A quick fix: copy the measure you want to add smart shapes to a blank
measure at the *end* of the document and add the smart shapes there, then
copy it back. Apparently the bug you describe only happens when you try to
edit smart shapes in measures that come before other measures but doesn't
happen in measures that are at the end of a file.

Hope this helps,
Brian

 From: [EMAIL PROTECTED]
 Reply-To: finale@shsu.edu
 Date: Fri, 30 Nov 2007 12:00:23 -0600
 To: finale@shsu.edu
 Subject: Finale Digest, Vol 52, Issue 33
 
 Hi all,
 
 Can anybody replicate this problem and have a solution?
 
 I have a piece with simultaneous time signatures of 7/8, 7/8, 5/8, 3/4 and
 4/4. I can't line up the smart shapes -- they won't allow placement in
 certain horizontal locations.
 
 For example, the bottom four parts have a decrescendo. The hairpin pulls
 all the way across the 7/8 and the 4/4, but will only go to the 4th note
 in the 5/8 and the 5th eighth note in the 3/4. If I pull it further, it
 jumps to the next measure. Using the nudge tool makes it go *backwards*.
 
 If I make them all a little shorter, then the proper ones jump backwards.
 None of them will stay reliably in place. It's not just hairpins. I need
 ossia tuplet brackets above (made with smart shapes), and they won't
 stretch properly either.
 
 I tried putting it in another measure and moving it over, but the shape
 just pops into a different shape as soon as it gets under the measure.
 
 Any clues what to do? Can I unsmart these shapes somehow?
 
 Dennis

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Re: [Finale] Sax ranges

[Brian Williams]

 From: [EMAIL PROTECTED]
 Reply-To: finale@shsu.edu
 Date: Tue, 27 Nov 2007 12:00:29 -0600
 To: finale@shsu.edu
 Subject: Finale Digest, Vol 52, Issue 30
 
 How about the rolled up sheet music in the bell of the bassoon low
 A? I've seen it on saxophone as well, though it doesn't work as well
 as it does on bassoon.
 
 There is the Heimlich method of double high Bb on trombone, which is
 also hard on the teeth...
 
 8-)
 
 Christopher

That's how I was able to get a low Ab out of a low A bari sax in a recording
session once. The only problem is you can't play both notes in succession.

Brian

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[Finale] Re: Piccolo range question

[Brian Williams]

OK, I'll bite,

I'm an experienced Finale user, but I'm also:
... a baritone saxophonist who plays a low A bari;
... a bass clarinetist who plays a low C bass clarinet;
... a flutist who plays a professional low B flute;

And I'm the solo piccoloist with the Disneyland Band, with a Burkart piccolo
that goes down to --- low D!

The ONLY woodwind instruments that have extended ranges that work are bari
sax, bass clarinet and flute. The extended-range piccolo is in the same dust
bin of history as the low A alto sax. Recently, Nagahara started trying to
make a low B piccolo for performers attempting to accurately reproduce one
of Mahler's symphonies (apparently, Mahler wasn't all that astute when it
came to woodwind orchestration). Once again, this instrument has been almost
unanimously regarded as a failure.

Bottom line: don't write below low D for piccolo UNDER ANY CIRCUMSTANCES!!
(unless you want your music to sound like sh*t when performed).

Brian Williams
Solo Piccolo, Disneyland Band
Anaheim, CA


 From: [EMAIL PROTECTED]
 Reply-To: finale@shsu.edu
 Date: Tue, 23 Oct 2007 12:01:40 -0500
 To: finale@shsu.edu
 Subject: Finale Digest, Vol 51, Issue 26
 
 Hello, all.
 
 Andrew Stiller's instrumentation book says 2% of piccolos have an
 extended low range of c# and c-nat. If the player has an instrument with
 an extension, I would like to write as low as c#, but of course I will
 have to provide ossias that don't go below d.
 
 My question is, in the intervening ~25 years since Stiller wrote his
 book, has the percentage changed? Is it one particular maker that
 provides the extension? Does it affect the playing characteristics or
 the sound?
 
 Any information about piccolo extensions is welcome.
 
 -- 
 Robert Patterson
 
 http://RobertGPatterson.com

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[Finale] Converting 2007 to 2006

[Brian Williams]

Hello List,

I was almost done working on an orchestral film music cue file in Finale
2006 when the program crashed. I immediately double-clicked on the file icon
and after Finale had re-launched all my data was saved - except for the last
five minutes of work, so I immediately resaved the file. However, by
double-clicking on the icon instead of launching the program first, I
inadvertently opened the file in Finale 2007 instead of 2006. The composer
I'm working for only has Finale 2006 on his computer. I made no changes in
the score that would involve 2007 file structures.

What's the easiest way for me to convert this one-off saved score file back
into 2006 so the composer can open and work with it?

Thanks in advance for your help,
Brian

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[Finale] Re:matureness of Finale notation (was e mails)

[Brian Williams]

I have used Finale since version 2.0.1 for Mac in early 1990. From what I've
seen, Finale is the most versatile notation software ever. Even Sibelius --
Finale's closest competitor -- can't compare to Finale's overall
flexibility.

All software involves kludges in order to perform certain specialized tasks.
In almost all cases, re-writing the code in order to eliminate the kludges
for these specific tasks creates new bugs and problems for ordinary tasks.

I think the Finale development team, given their resources (as compared to
Adobe, Inc. for example) have done an excellent job over the years in
providing us with very functional notation software.

I'd also like to add that it's a very good thing that Finale has competition
from Sibelius. If it weren't for competition, neither product would
remarkably improve.

Brian Williams

PS. I still use Finale 2003 booted in MacOS 9 for some work that involves
imported EPS graphics. This will change soon, since I've discovered that my
old EPS graphics simply need to have their previews updated in order to work
with newer versions of Finale. Details upon request.

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Re: [Finale] Removing embedded graphics

[Brian Williams]

Hi Dennis,

I use graphics all the time (imported eps images), but I have to do all of
my graphic-import work in Finale 2003 (Mac) because for some reason later
versions display all transparent areas as black, rendering these versions
absolutely useless for me.

Finale 2003 is before they added the ability to embed graphics in a file, so
I can't help you. All I can do is commiserate about how *LAME* Finale's
graphic import ability has been in the last few versions.

Brian

 From: [EMAIL PROTECTED]
 Reply-To: finale@shsu.edu
 Date: Sat, 19 May 2007 12:00:18 -0500
 To: finale@shsu.edu
 Subject: Finale Digest, Vol 46, Issue 25
 
 Hi all,
 
 I'm sending this again. My requests about graphics here seem to vanish.
 There must be *somebody* who works with graphics in Finale! :)
 
 Anyway, to say again:
 
 I'm not sure if this is a bug, or if there is a tool I'm missing.
 
 As I've been working on a score, I occasionally have forgotten to check
 link to file when importing graphics. I would delete the graphic and
 re-do it with link to file checked. I noticed that the saves were getting
 slow, and then found that the file had grown to over 80MB -- the embedded
 graphics (all photos) were not being removed. Doing a data check doesn't
 help. Saving and re-opening the file and/or Finale doesn't help.
 
 Is there a tool to remove these residual embedded graphics? I hadn't
 noticed this before, but I do see that each piece created from the previous
 carries forward these deleted graphics that appear to be embedded -- since
 the compositions are based upon each other, I need to move them forward
 from the previous one.
 
 I tested a new file, imported a graphic, and then deleted it, and did a
 data check to remove deleted items. The graphics are not removed, and the
 file always grows to the size of the embedded graphics -- even if they're
 otherwise completely deleted. Nothing can get rid of these for me.
 
 Any help on this? Or someone who can confirm this behavior?
 
 (Also, an earlier email that got no responses: Compile Postscript Listing
 -- which produces the best-looking results -- seems to leave out the
 graphics. Anyone else see that?)
 
 Many thanks,
 Dennis

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Re: [Finale] OT: Can you spot the fake?

[Brian Williams]

The Elephant in the living room is the issue of monitoring vs. house sound.

In any live amplification environment, the performer hears their sound mixed
with the rest of the ensemble through a monitor speaker or internal ear
piece. This mix is usually quite different from what the audience hears
through the main speakers directed at them.

The truth is: in any amplified performance environment the sound engineer is
the most important person in the band.

Brian Williams

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[Finale] Re: Tape for Parts

[Brian Williams]

Hello all,

For the past several years I have been using 1/2 white paper tape that is
almost identical to the 3M stuff (1/2 works better than 3/4 for parts
because it covers up less of the margin). The brand is American Tape and I
buy it in bulk (72 rolls at a time) from a supplier in Santa Ana, CA called
Tapes And... for around $1.60/roll. I believe the rolls are the same
length as the 3M rolls.

Hope this helps,
Brian Williams

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[Finale] Re: Finale Digest, Vol 45, Issue 11

[Brian Williams]

Hiro wrote:
 
 After I upgraded to Tiger on the newer computer, I could no longer mount the
 older computer's hard drive on the newer computer's desktop because Open
 Transport 2.7.4 was no longer supported in Tiger.
 
 
 Have you tried AppleShare over TCP/IP as some of us suggested?

I thought that was what I was doing. TCP/IP shows an assigned IP from the
AirPort base station, and the Network Browser shows two choices: AppleTalk
and Local Network. I connect to the other computers by double-clicking on
their IP addresses in the Network Browser under AppleTalk. Does this sound
to you like I'm using AppleShare over TCP/IP or not?

Brian

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[Finale] OT: getting data from MacOS 9.1 to 10.4.9

[Brian Williams]

For all you Mac gurus out there,

How can I simply transfer files from an old (non-USB, non-CD burning) MacOS
9.1 computer to a newer MacOS 10.4.9 computer using AppleTalk (or
otherwise), short of re-installing OS 10.4.8 on the newer computer from the
ground up?

This was possible when the newer computer ran 10.4.8, but it apparently
doesn't work in 10.4.9.

PLEASE don't give me any lectures about Why haven't you upgraded your
entire studio already!? The main reason is because of Finale's extremely
lame WSIGWYG handling of EPS graphic imports in OSX versions, among other
reasons.

In any regard, I'm looking at an extreme situation.

Thanks in advance for your help,
Brian Williams

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Re: [Finale] OT: getting data from MacOS 9.1 to 10.4.9

[Brian Williams]

Eric Dannewitz wrote:

 Um, does it have ethernet? What model is it? Firewire?
 
 Easiest way would be to network them, and enable filesharing on the
 newer computer (Appleshare), and then use Chooser on the old one, and
 find and mount the appleshare on the newer computer. Then transfer files
 that way.
 
 If you have firewire, you can, depending on the model, hook them up via
 firewire, and use the target disk mode.

Thanks to all for your help. Here are some more specifics:

First of all, the older computer running MacOS 9.1 is a 12-year-old PowerMac
7500 with Ethernet, but no FireWire, USB or AirPort. It's so old that it has
ADB connections for the keyboard/mouse and the old round-plug printer and
modem ports. However, I did upgrade the processor to a G3 300 Mhz.

The newer computer is a 5-year-old TiBook G4 800 Mhz with USB, FireWire and
Airport. It is currently running MacOS 10.4.9, and can dual-boot into MacOS
9.2. It was the last TiBook Apple made that could boot directly into OS 9.

I have the older computer and a couple of printers hard-wired to an Ethernet
hub. This hub is also connected to an AirPort base station (pre-extreme)
which is also connected to the Internet via a cable modem. The newer
computer connects to the network/internet via AirPort. I have AppleTalk and
File Sharing enabled on both computers. The AirPort base station functions
as a network router and assigns IP addresses to all of the connected
computers and peripherals (e.g. 10.0.1.2).

Before I upgraded the newer computer to Tiger (it was previously running
MacOS 10.2.8), I could easily mount the older computer's hard drive on the
newer computer's desktop using the Connect to Server command. I could also
easily mount the newer computer's hard drive, or just my user folder, on the
older computer's desktop using the Network Browser or Recent Servers folder
in the Apple menu. At this point, I could freely copy files back and forth.

After I upgraded to Tiger on the newer computer, I could no longer mount the
older computer's hard drive on the newer computer's desktop because Open
Transport 2.7.4 was no longer supported in Tiger. However, I could still
mount the newer computer's hard drive on the older computer's desktop and
copy files to it. This worked through OS 10.4.8.

Since I upgraded to 10.4.9, I can still mount the newer computer's hard
drive on the older computer's desktop, but as soon as I try to copy files
from the older computer to the newer computer, the connection abruptly shuts
down and prevents the operation. However, I can still copy files from the
newer computer to the older computer, but this doesn't help me much since I
use the newer computer to *back up* the older computer. Apparently this
situation must be Apple's ham-fisted attempt to close a security hole and
prevent unauthorized copying of files from an older 9.1-running Mac to an
OSX-running Mac. Go figure.

I did figure out a work-around: I reboot the old TiBook in MacOS 9.2 and
then I can mount drives and copy files with impunity. Still, it's a big
hassle.

Thanks for listening,
Brian Williams

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[Finale] Re: 6/4 3/2

[Brian Williams]

I thought I'd chime in here as an LA jazz musician who has actually worked
with Bob Florence and played his charts.

My recommendation would be to notate the entire chart in 6/4 and notate/beam
the music accordingly to reflect the 6/4 or 3/2 pulse. This would make it
easier to read and reduce rehearsal time.

If it becomes a tedious exercise to manually change the beaming in 3/2
sections, you can set staves to have independent time sigs and then set
certain passages to be in 3/2 (for easier entry) but display as 6/4 so that
the time sig change will be invisible.

I agree with those who assert that LA studio musicians have big ears, and
much of how they play is dictated by the feel of the rhythm section and the
lead players, rather than by the exact notation.

Hope this helps,
Brian Williams

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[Finale] Re: Finale 2005, 2004 can't be registered on Intel Macs

[Brian Williams]

Darcy,

I'm currently working on a project (a very graphics-intensive beginning band
method book) in Finale 2003 in MacOS 9.2 on my G4 TiBook because the text
line spacing and imported eps graphics are completely unusable in any
version of Finale OSX -- even in classic. The worst offender is the imported
eps graphics. They print out fine, but on screen in page view they are
garishly reversed with big black rectangles surrounding white images, the
black background obliterating any overlapping text or music. Apparently, MM
never fixed this bug so I continue to work on this project in an older
version in an older OS, backing up my work using Adobe Acrobat 5.

There is definitely something to be said for keeping an older computer
around in order to be *completely* backward compatible.

Brian

 I'm quite upset about this. I had no idea this would be a problem
 when I bought my MacBook Pro. Having Finale 2004 and 2005 locked out
 on this machine hits me in the pocketbook -- hard. Many of my copying
 clients require that work be done in older versions of Finale, and
 now that's work I have to turn down. And, of course, opening
 documents created in older versions of Finale in a newer version
 inevitably introduces problems that require considerable proofreading
 to catch. I don't believe there is any legitimate reason for
 MakeMusic to disallow Intel Mac users from installing Finale 2004/
 2005 and running them under Rosetta. This will be an ongoing problem
 for MakeMusic as users gradually replace their PPC Macs with Intel
 Macs, and then wonder why they suddenly can't register Finale on
 their new machines.

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[Finale] Re: Army Music (Way OT)

[Brian Williams]

At Disneyland, the trumpet players play Retreat after the color guard
takes the rope from the pole, then the band plays the National Anthem while
the flag is lowered. I believe this is consistent with Military protocol.

Brian

 Among many repressible memories of my days at Ft. Ord, CA ... I can
 remember that, at that post at least, stopping what ever training we
 were doing at 1700, I believe, to face the direction of the nearest
 American flag and listening to music while it was lowered.  I can't
 remember if it was a particular bugle call, or the National Anthem. I
 know it was not Taps, 'cause that came later, just before lights out,
 when I would always shout out, The thinking lamp is now lit!  (not
 popular with the platoon sgt.). I just recall it being a gentle,
 calming experience after a long day of running up and down sand
 hills, and inserting my bayonet into the rubber ribs of a dummy.
 Anybody remember what said music was?
 
 Dean M. Estabrook

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[Finale] Re: binding parts: electrical tape

[Brian Williams]

Music prep offices in LA do the following:

Parts are printed on 9.5 x 12.5 paper, single sheets (because 19 wide
paper doesn't fit thru large format laser printers).

Taping is always done on the outside of the fold.

We use 1/2 white paper tape. I use American Tape brand for around $2/roll.

Some people use a taping machine. I prefer to do it by laying the pages flat
next to each other with a 1mm space between them, then apply the tape from
the top down directly from the roll with a small bit (1/2 inch or so)
sticking over the top. Then I use a straight razor blade to cut the bottom
(directly from the roll) and the top small piece. This only takes a couple
of seconds per page when you get used to the technique.

Nobody that I know of uses scotch tape, masking tape or electrical tape. We
all use white paper tape.

Hope this helps,
Brian Williams

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[Finale] Converting from Soft Synth to Garritan

[Brian Williams]

Hello all,

Does anyone know of a quick method to convert the playback of an orchestral
file that was created using the wizard from SmartMusic sounds to Garritan
sounds?

Thanks in advance for your help,
Brian

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