Thanks for the excellent discourse. I equally appreciated
Christopher's expansive thoughts and Nigel's concise ones. More
thoughts are welcome if anybody has any.
Learning the technology is not the whole battle, of course, but I'm
looking forward to working with Logic. I still marvel at
FINMAC 12
I wan't to take baby steps to the next level of mixing down a Finale
piece. I hear these examples of lifelike orchestral writing, or pop
writing, and wonder how these guys and gals do the finesse mixes of
their pieces. What are some tips about creating a well-finessed
mixdown of
Logic is certainly a smart way to go. Some of the mixdowns on the Finale site
aren't completely done in Finale. Justin Phillips has admitted that. I use
Finale for almost everything. The step entry in Finale is superior to Logic,
IMO, and the notation is obviously beyond reproach. However, for
To answer your query more directly, your Finale staves need to be on different
midi channels to open in Logic on separate tracks. These tracks will be midi
tracks, not audio. Once you've completed your mixdown, Logic then bounces your
file to an audio file, ie mp3 or AIFF.
Enjoy Logic, it is
I can't really get decent sound from the midi files that finale produces.
I print and play the parts in to DAW in realtime from a keyboard.
You then get a 'personality' behind each part with tiny variations in timing
and dynamics.
Steve P.
On 31 Oct 2011, at 13:45, Nigel Hanley
A gifted fellow named Roberto Soggetti in Brescia massaged the Finale files
that play back in my arranging book. I have only a minimal idea of how he
achieved the results he got, but they are far better than I got simply from the
Finale/Garritan playback. He created reasonable sounding drum
First of all, they are working off a copy of an existing orchestra
recording, for the
most part. That means that questions of timbre, volume, balance, phrasing,
etc.,
can be tweaked according to the highest professional standards (maybe they
don't
ATTAIN those standards, but they have the
