At 10:42 AM 12/20/2006 -0500, Phil Daley wrote:
If you have to sign up for something using an email address that you don't
want to be spammed on, take a look at this article:
http://www.networkworld.com/newsletters/web/2006/1204web1.html?docid=6424
And there's also the BugMeNot extension to
At 12:05 PM 12/20/2006 -0500, Phil Daley wrote:
At 12/20/2006 11:09 AM, Dennis Bathory-Kitsz wrote:
And there's also the BugMeNot extension to Firefox, which auto-fills
fields for sites that require free membership. Click on the log-in field,
choose sign in with BugMeNot from the context menu
At 02:06 PM 12/20/2006 -0500, Aaron Sherber wrote:
At 01:42 PM 12/20/2006, Phil Daley wrote:
You go to a site to download a free program.
They want an email address to confirm that the email address you have given
them is valid BEFORE they will let you download the program.
Right. BugMeNot
At 06:19 AM 12/15/06 -0500, Éric Dussault wrote:
I believe it becomes unresponsive when a note has been enharmonically
changed. From memory, sometimes pressing the asterisk on the previous
enharmonic note will work.
Oh, yes, that happened yesterday, but it affects not only the * but also +
At 09:52 AM 12/15/06 -0800, Eric Dannewitz wrote:
Well, it doesn't make sense. Sites like Digg, Slashdot, MacDailyNews,
MacNN.Yahoo News...
All those have new items at the top. Doesn't it make sense then that
messages and Blog and Email software work the same way?
Following what is
At 12:49 PM 12/15/06 -0500, Phil Daley wrote:
I would expect to see primary posts date ordered from newest to oldest.
I would expect to see replies to primary posts from oldest to newest.
There are no replies. It's just a weblog, a book-blog, so to speak. If an
interesting comment is made via the
At 04:03 PM 12/15/06 -0500, dhbailey wrote:
And Dennis' remark that the * key will work if the cursor is on the
original position doesn't hold true in Fin2007, at least when I change a
G to Abb using the enharmonic key (9). I notice that it DOES work when
it's a simpler change, such as Ab to
At 11:48 PM 12/14/06 -0500, Kim Patrick Clow wrote:
http://www.bytenet.net/kpclow/finale/flat-to-add.jpg
The note that is pointed with an arrow (G), needs a natural added to
it. But Finale will not let me (I'm assuming because it thinks this
note hasn't had a # before). What would be a solution to
At 10:28 AM 12/12/06 +0100, Johannes Gebauer wrote:
How can that be, have the classical archives been censored for Europe?
It might be a DNS issue at your ISP. Try this:
http://208.139.194.154
Dennis
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At 08:43 AM 12/12/06 +0100, Daniel Wolf wrote:
In any case, this is not a Garritan problem, this is a problem with
sound samples. To get adequate quality, samples have to be large, and to
play them in realtime, they have to sit in RAM.
Doesn't it depend on the implementation? I have used large
At 04:27 PM 12/12/06 +0100, Johannes Gebauer wrote:
On 12.12.2006 Dennis Bathory-Kitsz wrote:
At 10:28 AM 12/12/06 +0100, Johannes Gebauer wrote:
How can that be, have the classical archives been censored for Europe?
It might be a DNS issue at your ISP. Try this:
http://208.139.194.154
At 07:47 PM 12/11/06 +0100, you wrote:
i don't remember ever coming across this problem before, is this new
to finale 2007?
http://newmusicnotation.com/TEMPFILES/cross-staff_tremoli.pdf
I can confirm it, but I can't find any tool to fix it. I even tried the
edit frame dialog without finding a
Hi all,
I had planned on skipping Finale 2007, but I have a client who upgraded
scores to that format, and now needs revisions.
The program upgrade has arrived, and it installed on the laptop. But the
laptop screen is pretty much unusable for a large orchestral score.
My desktop is Win98SE with
At 02:16 PM 12/7/06 -0600, Noel Stoutenburg wrote:
There may be a hardware fix for this: unless it is unlike any laptop I
have ever seen, your laptop has an external monitor port. Temporarily
connect one of your 20 inch monitors to your laptop.
I am stupid. Of course.
Many thanks,
Dennis
At 05:49 AM 12/6/06 -0500, Darcy James Argue wrote:
Lobbying for more effective union leadership and lobbying for
rational copyright reform aren't mutually exclusive activities.
Talk about mutual exclusivity, neither are commenting on the Finale list
and getting a mention in the Times. Good
At 01:35 PM 12/6/06 -0500, you wrote:
If you'll allow me a moment's more self-promotion, this is actually
my second mention in the NYT in the past week. They also reviewed one
of my gigs in Saturday's paper:
http://tinyurl.com/y99skl
Missed that one -- fantastic! he wants his music to make
At 11:23 PM 12/5/06 -0500, Kim Patrick Clow wrote:
Since there are so many people on this list, it'd be really wonderful
to see Christmas trees from your part of the world, so feel free to
share ;)
No trees inside here until Christmas eve. But I did learn to iceskate at
Rockefeller Center as a
At 03:28 PM 12/4/06 +0100, Johannes Gebauer wrote:
That's what copyright is about. It has very little to do with benefit to
society, it is something the copyright owner _owns_ and that's what it
is there for.
Oh, not here. US Constitution, Article I, Section 8: The Congress shall
have power
At 10:38 AM 12/4/06 -0500, dhbailey wrote:
That's the problem with all this copyright stuff -- it's definitely not
a black and white issue. Where would someone find a copy of your old
web-page, if you've taken it down? If it's archived somewhere, I do
hope you've sued that place for
At 10:41 AM 12/4/06 -0500, Kim Patrick Clow wrote:
Siva Vaidhyanathan has written a wonderful book on copyright issues
Copyrights and Copywrongs: The Rise of Intellectual Property and How
It Threatens Creativity (New York University Press, 2001)
Yes, this is an excellent book -- though a little
At 08:39 PM 12/3/06 -0800, Bruce E. Clausen wrote:
I took a few minutes to visit the ISMN website (www.ismn-international.org)
and found that it is relatively inexpensive to obtain an ISMN (although they
have to be ordered in bulk). If having such a number does indeed increase
one's likelihood
Kim has actually asked this question before, I think. :)
At 11:27 AM 12/1/06 -0500, John Howell wrote:
I have NEVER seen an ISBN number on any piece of music. That isn't
how it's sold, unless I am very much behind the times.
I'm actually considering using ISBN or UPC for the future, since I've
At 05:30 PM 12/1/06 -0500, Andrew Stiller wrote:
For self-publishing, you mostly want to get the attention of the two
big distributors, Theodore Front Musical Literature and J. W. Pepper
and Son.
There's music on Amazon. Do you think ultimately it's more viable than the
old-school distributors?
At 12:07 PM 11/29/06 EST, [EMAIL PROTECTED] wrote:
Does anyone know of a free (freeware), downloadable program to convert WMV
and AVI files to MPEG files. (Preferable which you've used and know to work)
I've Googled and downloaded several which turned out to be a) trial
versions
of payable
At 03:19 PM 11/27/06 -0500, Aaron Sherber wrote:
It depends what you want people to do with it. If you want them to
listen to it, it needs to be an audio file. If you want them to open
it in Finale, it needs to be a Finale file. If you want them just to
look at it and print it, it can be a PDF.
At 10:15 AM 11/19/06 -0800, Carl Dershem wrote:
Lifetimes could be spent on
what is, essentially, a practical joke.
Like the Rohonczi Codex? http://www.dacia.org/codex/original/original.html
In any case, I was about to start setting one of my own old pieces
from 1972, which finally got
At 12:30 AM 11/20/06 +0100, [EMAIL PROTECTED] wrote:
crap, got carried away and answered more than you asked... well,
maybe some of it is useful...
Yes indeed. The idea of using measures for the time was a pretty nifty
idea. Functional fixedness got to me!
The rest of it is familiar; it was
At 07:05 PM 11/16/06 -0500, David W. Fenton wrote:
I believe this is completely incorrect. The only exceptions would be
if the CD's data were not written cleanly or if the CD drive reading
the disk were misaligned or something.
It's digital data. Data is data, a sieries of 0s and 1s. The only
Here's more on those standards correction:
http://en.wikipedia.org/wiki/Red_Book_%28audio_CD_standard%29
http://en.wikipedia.org/wiki/Cross-Interleaved_Reed-Solomon_Coding
Dennis
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At 01:05 PM 11/15/06 -0500, dhbailey wrote:
But the wide availability of the works in HAM is what's in question. If
you can find them in publications which predate 1923 you're all set.
The good part about HAM is that the sources are fully documented in the
detailed descriptive commentary,
At 06:48 AM 11/13/06 -0800, Richard Yates wrote:
Why not use your usual way? If you enter the musical content in Scroll View
then the layout is immaterial to that task whether done before or after.
Richard,
My concern is a train wreck in post-facto getting the measures to lay out
properly and
At 04:46 PM 11/13/06 +0100, Johannes Gebauer wrote:
Here is how I would do this. Create the required number of measures, but
leave them totally empty. Lock the required number of measures per
system, but don't worry about the page layout otherwise. Then enter the
music. Finally optimize. It
At 11:37 AM 11/13/06 -0500, John Howell wrote:
Dennis: I'm assuming that in spite of wanting to keep the layout the
same, the composer will make it clear which edition is the corrected
edition, right? (In which case I can't quite see the value of
following the old layout, but the client is
At 12:30 PM 11/13/06 -0800, Hamilton Greg wrote:
I recently had a client ask for the Finale files for many of his
chamber works I had prepared. It's typically not my policy to release
the original files. I'm wondering what other professional copyist/
engravers are doing when faced with the
At 08:42 AM 11/10/06 -0500, Leigh Daniels wrote:
Trust--but verify.
Funny. That's the title of my 2003 article on tethered programs.
(http://maltedmedia.com/books/papers/sm-copyp.html) Guess we both loved
that old guy's phrase... :)
And I use a similar multiple-backup method to yours.
Doesn't
At 06:33 AM 11/10/06 -0800, ThomaStudios wrote:
I have experienced the same as Johannes. I have several, out of
hundreds, of CD-Rs with backup files for clients. I can recall at
least a half dozen times where I've gone back to retrieve something,
and the disc wound NOT mount or would not
At 04:00 PM 11/10/06 +0100, dc wrote:
There's also a big difference between audio CDs and data CDs. I've often
seen audio CDs readable on one machine and full of errors on another.
Audio CDs do not have the error-correction of data CDs; they were created
to play back fairly accurately, with ways
At 10:11 AM 11/9/06 -0500, Gerald Berg wrote:
I am embarking on building my own web page. Currently I am on CityMax
which charges 20 bucks a month with 50 MB of storage -- each additional
10MB costs another buck a month. How do these prices compare with you
all?
I use Pair Networks
At 12:54 PM 11/9/06 -0500, Andrew Stiller wrote:
I feel an increasing need to digitally back up key parts of my
extensive LP collection. Can anyone suggest a cheap way to get these
analog sounds into my computer /or directly onto a CD?
If you already have a computer with a reasonable stereo
At 08:16 PM 11/9/06 +0100, Johannes Gebauer wrote:
Just one word of caution: CD-Rs are not a very long-lasting backup
medium, and once they go they are gone for good. I am not exactly sure
what the answer is, does anyone know a backup medium which will last
longer? CDs tend to fail frequently
At 06:21 AM 11/6/06 -0500, dhbailey wrote:
the Light
Cavalry Overture is very evocative of horses (certainly for those of us
who don't ride horses) in it's 6/8 section which has this rhythm: 2
16th-note pickup into a measure built of
At 05:53 PM 11/5/06 -0800, Dean M. Estabrook wrote:
do horses amble in three-four ..it's been a long time since I've
ridden?
The canter is considered a three-beat stride. From 'Introduction to Gait
Analysis': The three beats of the canter are closely spaced in time, but
the third beat is
At 10:01 PM 11/2/06 -0500, Cecil Rigby wrote:
Dennis, have you checked http://www.adtunes.com/
Thanks, Cecil. I hadn't seen adtunes, but did look after your reference.
I'm not the only one with the question, apparently, and unless the it's a
tango-like arrangement of one of the songs I don't
Hi all,
Is there an online directory of television and commercial theme music? My
searches always dead-end.
I've been wondering for some time if the tango-like theme for the American
Express Blue commercials is a 'real' piece of composed for the commercial.
If it's a 'real' piece, is it used
At 02:00 AM 10/31/06 -0600, Noel Stoutenburg wrote:
search?hl=enq=Akareshnikovitzky+and+Herzenvortragengruber
Why exactly were you looking? :) Self-googling?
Dennis
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Hi all,
Failed to load VST DLL. VST services are unavailable.
This message appeared after installing the MusicXML full version, and
MusicXML wouldn't work. It went away when I uninstalled it, but so did
MusicXML.
I just installed the latest Patterson plugins and got the same message. The
At 04:35 PM 10/23/06 -0400, dhbailey wrote:
That's the part which baffles me -- when I see a single rest in an
otherwise empty measure I assume it's the full measure since there's
nothing else to play.
Yes, I agree. It seems this complaint may be a false expectation of
specificity, unless it's
At 04:09 PM 10/23/06 -0500, Noel Stoutenburg wrote:
I am not prepared to deny that there may have been typefaces in which
the fonts contained proportional width numerals, though these do not
appear to have been standard
I mentioned the Bringhurst Elements of Typographic Style the other day.
He
At 09:05 AM 10/19/06 -0400, David W. Fenton wrote:
On 19 Oct 2006 at 10:31, Ken Moore wrote:
Gren-itch is standard BBC pronunciation for Greenwich, England, and
green-witch for Greenwich Village, but the inhabitants of Greenwich,
England, mostly call it grin-itch.
Then for Greenwich Village
At 10:27 PM 10/17/06 -0700, Mark D Lew wrote:
Ah! Sign of a true type-geek.
It was a surprise. And I now have many books about type and page design,
including a brilliant new edition of Bringhurst's The Elements of
Typographic Style that covers all aspects of digital typography. (And a
copy of
At 03:23 AM 10/18/06 EDT, [EMAIL PROTECTED] wrote:
In a message dated 18/10/2006 05:29:58 GMT Daylight Time,
[EMAIL PROTECTED] writes:
There's a very large body of -cular words pulling the pronunciation in
that direction, against virtually none that end with a sound like
-cle-ar.
There
At 09:24 PM 10/15/06 -0700, Mark D Lew wrote:
I think I've cited this sample before, but a page on Recordare's site
http://lib.store.yahoo.net/lib/recordare/SullPina02Sample.pdf shows a
good example of the tug-of-war between lyrics and music.
There are hand-engraved scores where font width
At 03:00 PM 10/16/06 -0400, dhbailey wrote:
Just as a thought, could you create the quarter-tone accidentals as
expressions, with playback set to Pitchwheel?
IIRC you can do that -- but Johannes said the music was already entered.
Dennis
___
At 08:22 PM 10/16/06 +0200, Johannes Gebauer wrote:
I succeeded very well to get the quartertone stuff entered into Finale
(and I now understand why some people prefer Speedy without MIDI
keyboard). Although playback is not really important to me, I do wonder
whether it is theoretically
At 11:22 AM 10/16/06 -0700, Michael Good wrote:
The limitations you mention are what I meant when I said that gaps in
translation tend to be due to economics more than technology. The
technology is there to fill those gaps, but nobody (yet) wants to pay
the product development costs. Similarly,
At 10:24 PM 10/16/06 +0100, Owain Sutton wrote:
Whether it's a task for Finalescript or something yet to be developed,
but I can't see how it's beyond the realms of possibility for notes with
accidental X to be given particular midi data, while notes with
accidentals Y Z are treated normally.
At 12:31 AM 10/17/06 +0200, Daniel Wolf wrote:
The non-standard key signatures don't work that way. An octave is
defined as having x tones, each tone is assigned to a midi pitch number
mod x, with nominals (white keys) and accidentals distributed as you
like. In this way pitch classes repeat at
At 11:44 PM 10/14/06 +0200, shirling neueweise wrote:
uh... warning, fill your coffee mug to the brim.
Just a public thank-you for that detailed commentary.
I wonder if you have ever tried Graphire Music Press, which seems to
produce gorgeous output. I used it, but could never make an effective
At 09:24 AM 10/15/06 -0400, Christopher Smith wrote:
This point has bigger repercussions, IMHO. One of the things that
bothers me about Finale (and if this bothers me, it must INFURIATE
engravers like jef!) is that everything in Finale does NOT stay where
you put it!
Speaking as one who
At 12:59 PM 10/15/06 -0700, you wrote:
Most germane for this discussion is that MusicXML 1.1 can be used to
export a very highly detailed representation of Finale files. It is so
detailed in terms of formatting that programs like musicRAIN have used
it to render scores that are indistinguishable
At 07:57 AM 10/13/06 +0200, Johannes Gebauer wrote:
Hey? I am a Mac person, and I hate XP. You must be confusing me.
Who was it kept saying one couldn't do anything with an older operating
system like Win98SE? (Other than Eric.) I thought it was you... I am
confusing you with someone else, then.
At 08:27 PM 10/11/06 -0700, Eric Dannewitz wrote:
As both a Windows and Mac user, I'd say never. Cause Windows XP, in my
experience, never boots right if you pull a motherboard and try to boot
with your old system. And, if it does boot, Windows knows you've changed
systems, and you need to
At 07:15 PM 10/12/06 +0100, Ken Moore wrote:
That sounds very attractive if you are happy with a Unix-like
environment.
I'm just using the GUI. My insignificant knowledge of the Unix environment
is based on FreeBSD. Thing is, I don't really want to do any command-line
stuff, which is why I've
At 05:50 PM 10/12/06 -0400, David W. Fenton wrote:
Where have you been Dennis? This has been the case since the
introduction of machine-based authorization in WinXP back in 2001 or
2002 (whenever XP came out).
My family's computers continue to function flawlessly because no one else
touches
At 03:22 PM 10/11/06 -0400, Andrew Levin wrote:
I have a violinist in my university orchestra who is a computer
science major. He is interested in taking on a project of developing
a music notation program for the tablet PC, where you handwrite the
music onto the screen. Before getting too
At 07:47 PM 10/11/06 -0400, Darcy James Argue wrote:
How often does the average Wintel user upgrade their motherboard?
A good question. Since I do the work for myself, family and a friend (all
of us relatively poor), this probably happens more often than 'average'
users. My own machine is the
At 08:10 PM 10/11/06 -0400, Williams, Jim wrote:
The original post was probably blocked because it had no words of english
in it.
I received it via the list. Maybe things are erratic. I also responded to
the thread with the Yiddish dictionary reference, but nobody mentioned
that. Maybe it got
At 10:40 PM 10/11/06 -0400, David W. Fenton wrote:
I don't see any attachment on this message that I'm replying to. The
listserv seems to have stripped it, if it was there.
I'm getting them. They're coming in as attachments with names like
msg-7775-7661.txt with the full text content of the
At 08:04 AM 10/8/06 EDT, [EMAIL PROTECTED] wrote:
Maybe I should be a little more specific - our wind ensemble
uses pairs of flutes, oboes, clarinets, bassoons and horns, i.e.
apart from the flutes, the classical wind band (although we
do play lots of modern music). If a particular piece calls
At 02:15 PM 10/6/06 -0400, David W. Fenton wrote:
Look at the world of software in 1993, when the first version of
Office was created. It offered:
1. Word 6
2. Excel 5
3. PowerPoint something-or-other
3. PowerPoint 4
4. Access 2
I still have this MS Office installed on my old Pentium 100
At 03:09 PM 10/6/06 -0400, David W. Fenton wrote:
Not Access 2, because that wasn't released until 1993, and the first
Office bundle that included Access was the one released in 1994.
You're right. I have Office Professional 4.3 (the original box is still on
the shelf -- REAL MANUALS!), which I
At 04:00 PM 10/6/06 -0400, David W. Fenton wrote:
So, it's perfectly possible to have a box that was purchased in one
year that doesn't include what it says it includes!
I wasn't clear. I have the box, manuals and software. It is what it says.
It's the whole package, with Access 2.0, including
At 04:50 PM 10/6/06 -0400, Andrew Stiller wrote:
Written musical notation is continuously and seamlessly evolving, and
its current form can be characterized as 19th century only as a
deliberately inaccurate pejorative. You need to stop that.
19th century quirks aren't the same as 19th century
At 11:43 PM 10/6/06 +0200, Barbara Touburg wrote:
Suddeny I see a Dutch word. What does bekakte mean in English? In Dutch
to bekakt means pretending to be chique and insisting on displaying it.
I'm sure you'll be swamped with replies. verkakte, vekakte, farkakte,
fakakta, fekokteh, farcockteh,
At 06:18 PM 10/5/06 -0400, John T Sylvanis wrote:
Maybe I want too much, but I think my quest is not at all unreasonable
when suggesting unification such that a package comports GOOD notation,
GOOD sequencing and GOOD sapling on par with GOOD sequencing software,
GOOD notation software and GOOD
At 05:44 PM 10/5/06 -0700, Steve Schow wrote:
These days, Finale actually *IS* the program that has come to closest to
filling this whole. With plugins and notation and Human playback..it
truly is the closest thing to being an ideal composer's tool. Nothing
else is there.
Unfortunately, that's
At 06:48 PM 10/5/06 -0700, Steve Schow wrote:
Well indeed it may have a ways further to go...but in my view its the
closest thing.. But yes... i am more of a traditional composer,
composing film scores and the like...which is at best very early
post-tonal..nothing extravagant. There are a lot
At 10:25 PM 10/4/06 -0400, David W. Fenton wrote:
On 4 Oct 2006 at 22:12, Williams, Jim wrote:
No, Finale is not a sequencer, nor is Sibelius...
But you can edit MIDI data and save the file as MIDI. That makes it a
sequencer, seems to me, but maybe you have a different definition of
the term.
At 06:11 AM 10/2/06 -0400, dhbailey wrote:
In the Speedy Entry menu, be sure Use Midi Device For Input is
UNchecked. Do NOT try to use the embedded numeric keypad -- use the
top-row keys.
In terms of touch-typing, this is slower because of the reach and the two
hands having to be overtop each
At 07:34 PM 10/2/06 +0200, Barbara Touburg wrote:
Johannes Gebauer wrote:
On 02.10.2006 Barbara Touburg wrote:
Now I see what's causing the trouble: the second system of a page
(from page 12 on) is repeated as first system on the next page. Ctrl-U
or Shft-Ctr-U doesn't fix this. Help?
At 02:03 PM 10/2/06 -0400, David W. Fenton wrote:
The equation may be different for different people, but I don't see
the utility in learning the insanely arbitrary keyboard shortcuts,
unless one has no possibility of ever using a MIDI keyboard for
input.
Yeah, Midi keyboards are especially
At 03:06 PM 10/2/06 -0400, David W. Fenton wrote:
Navigating up and down the staff with the arrow keys is so incredibly
slow that I couldn't imagine that was the method anyone claiming any
speed was actually using.
I mentioned that autorepeat is set to max and delay to min. I can 'feel'
exactly
Hi all,
FinWin 2006.
I am updating about 50 earlier chamber scores, and most of them had
performance notes and examples on a final page after the music. I would
like to move those notes to the obverse of the title page.
Is there a way of moving/sorting pages without having to move, readjust,
At 02:56 PM 10/1/06 -0500, Robert Patterson wrote:
You can use my Page Title Mover plugin to move page titles from one or
more pages to another page. Graphics, no. (I would like to Page Title
Mover to know about graphics, but MM has provided no documentation about
graphics to plugin
At 04:58 PM 10/1/06 -0500, Robert Patterson wrote:
Page Title Mover is part of the v3 upgrade of Patterson Plugins. You can
try it out for free without affecting your v2 installation.
I've just puchased it. I like your work. :)
From a Finale perspective, do you have Finale objects on pages
At 04:58 PM 10/1/06 -0500, Robert Patterson wrote:
Instead you must move the
page-attached objects to the desired page.
These seem to have stayed where they were placed, except for graphics. So
far. Had a scare there.
Dennis
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At 07:40 PM 10/1/06 -0500, Noel Stoutenburg wrote:
Turning to your point about not being able to enter notes in Speedy
entry, a MIDI controller (it need not necessarily be a keyboard, thought
this may be most convenient), while useful in simple entry in 2k7, is
_required_ to be able to access
At 08:19 PM 10/1/06 -0500, you wrote:
To really have a definitive opinion on this, I should probably ask two
questions: What is your printing and binding method; are these being
printed as booklets, or being printed out as separate pages for external
binding? Second, do you have the good
At 01:45 AM 9/30/06 -0500, Noel Stoutenburg wrote:
To provide some balance to David and Dennis, my preferred method of
generating ~.pdf files in windows [XP Home (SP2) is to use a driver for
a postscript printer to generate a ~.ps file, then to use Ghostview /
Ghostscript [GV/GS] to convert the
At 11:37 AM 9/30/06 -0400, Kim Patrick Clow wrote:
I'm curious if anyone knows anyone who has used this service? Or has any
feedback or thoughts on it?
I have used on-demand printing for this book, which I edited and designed:
At 11:37 AM 9/30/06 -0400, Kim Patrick Clow wrote:
I'm curious if anyone knows anyone who has used this service? Or has any
feedback or thoughts on it?
Just a followup ... it was Lightning Source in Tennessee.
https://www.lightningsource.com/
Dennis
At 03:47 PM 9/30/06 -0400, Darcy James Argue wrote:
It's just a little smarter about it than Windows -- it knows which
applications can open which file types. If I change the file
extension of a Finale document to .doc, it will still open in
Finale, not Word. If I change the file extension
At 10:58 PM 10/1/06 +0200, Daniel Wolf wrote:
And one more test: I compiled a Postscript listing of the same score in
Finale
Does Finale 2007 allow custom page sizes for compiling? Up through 2006,
you could put custom sizes in the height and width boxes, but it would only
use what was
At 09:29 AM 9/29/06 +0200, dc wrote:
I've never had any problems with the TT fonts, but I've had all sorts of
difficulties when I need to use the PS fonts. I've just been told by a
publisher: Commercial publishers abandoned TrueType fonts a long time ago
because they produce unreliable results
At 04:49 PM 9/28/06 +0200, Johannes Gebauer wrote:
I may have to enter my very first quarter tone piece soon. What is the
best way to deal with quartertone accidentals?
I have never done this before, so I will need some very basic advice...
Set up your quartertones with the key signature tool to
At 08:59 AM 9/27/06 -0400, dhbailey wrote:
Finale would be a fantastic program if it weren't for the marketing
department and the manual writers!
Yesterday I had a serious brain freeze on how to separately respace
individual staves on one system on a page. It was nowhere to be found in
the
[This is a resend. It appears in today's archive, but did not get to me via
email as my other postings do, so just in case...]
At 08:59 AM 9/27/06 -0400, dhbailey wrote:
Finale would be a fantastic program if it weren't for the marketing
department and the manual writers!
Yesterday I had a
At 10:05 AM 9/27/06 -0400, Christopher Smith wrote:
And to think that an earlier version of Finale (was 3.2? the version I
started on!) won an award for best manual.
The earliest version I had (2.2) had an excellent manual, one of the best
software manuals I had ever seen. It was divided into
At 03:18 PM 9/27/06 -0500, Randolph Peters wrote:
I'm sure you tried this and every other trick, but I got it into my
head that I could succeed where others had failed. I don't know what
came over me! :-|
Many of us have tried variants on the line/arrowhead. The best other
thought was a clumsy
At 09:27 PM 9/27/06 -0400, Darcy James Argue wrote:
Well, you'll notice the recent trend towards using a ragged right
edge in hardcovers.
Ragged right goes in out of fashion. Books were sometimes published with
uncut signatures, and you had to tear the pages at the edges. In fact, many
of the
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