Aaron Sherber wrote:
I *don't* want to jump ship; that's the problem. Finale fits the way I
work much better than Sibelius does. (Though frankly, if Sibelius
offered Speedy Entry and Scroll View, at this point I would probably
switch.)
"Other than that, Mrs. Lincoln, how did you enjoy the play?"
There is a symbol that is quite common in harp music and somewhat
common in piano scores. It is a squiggly vertical line placed
immediately to the left of a chord. It means that the chord is to be
played as if strummed -- that is, the notes are played in rapid sequence
on the indicated beat,
Dan Rupert wrote:
I'm not sure what Finale version you're using but it shows up in
articulation slot #13 for me (WinFin04).
It has a somewhat deceptive appearance to me in the Articulation DB as I
expect it to look longer. Once you place it in the staff, however, it
extends as far as you need it
Maybe there's some fluff, maybe not. But they hit the two biggest
product defects, IMHO: tuplets and repeats. If they even got those
halfway right, 90 bucks for that is a no-brainer. I'll make that up in
productivity savings on the very first project. And if, by some stroke
of good fortune,
On 8 Jul 2005 at 9:18, Johannes Gebauer wrote:
I think they are going to have to abandon the yearly upgrades. I
think it's a really bad business practice in the first place, because
it places a schedule on development that is artificial -- a software
development schedule should be determined b
Craig Parmerlee wrote:
First, let me apologize to Johannes for the incorrect quotation line in
my earlier message.
dhbailey quoted Craig Parmerlee saying:
[snip]>
As users who have a vested interest in Finale surviving, we cannot
solve the software problems for them. But we can
David W. Fenton wrote:
On 22 Jul 2005 at 18:03, Craig Parmerlee wrote:
Last year, we fought ferociously to get
ourselves out of the legacy problem -- advancing our platform 15 years
in the course of 12 months. Now we are determined to take full
advantage of the productivity that comes
And just a reminder that RAM is really cheap compared to the value of
anybody's time dealing with a slow system.
If you don't have 512MB or more of RAM on your system, you are cheating
yourself.
Andrew Levin wrote:
One moment Aaron Sherber said:
WinFin2006 seems to be a real memory hog
Anybody have success playing click tracks while using GPO? This doesn't
seem to work for me, which makes it impossible to use Hyperscribe with GPO.
Is there any practical way to convert an older score to use GPO? I read
the documentation on this and the procedure is truly horrendous. It
wou
Gerald Berg wrote:
An hour! Should I be so lucky. A month is more like it.
Jerry
I meant per track. :)
Really, that is about the crappiest "integration" I have seen in the
past 15 years. It took me 20 minutes just to register the GPO feature.
The GPO website is pushing the frontiers of
Christopher Smith wrote:
I think the best way is to copy the old score into a newly-created
GPO-friendly template. Obviously, there would be WAY too many tweaks
to make it look good, too, so it would just be for playback. For the
expressions to playback, you would have to delete all the expr
Darcy James Argue wrote:
On 29 Jul 2005, at 12:09 PM, Christopher Smith wrote:
And dynamics? Tempo markings? Are they handled automatically, too?
They were handled automatically in 2k5 as well (provided you have
"Optimized for GPO" checked).
2k6 has an "auto-detect" option for GPO, makin
Dean M. Estabrook wrote:
Ok ... so I'd like to hear someone else confirm that the GPO sounds
are no better at all than standard soundfonts. True? No? What's the
concensus?
I won't say they're no better, but I surely don't understand the fuss
unless you are using Finale strictly as a sequen
Tyler Turner wrote:
Hi Craig,
Darcy mentioned it, but I just want to make sure you
caught it. For new compositions that you create with
the setup wizard, you don't have to do any GPO setup.
It's automatically done (and that's a major part of
the integration). For older files, yes, you will h
A number of people have been disappointed (or even outraged) and the
reality of GPO with this release. It is a hack job that is not
integrated in any stretch of that word. For people who are willing to
spend hours fiddling with their equipment in order to make the most
realistic rendering of
Matthew Hindson Fastmail Account wrote:
Craig Parmerlee wrote:
[snip]
Having said that, there are many subtle improvements in the basic
product that, cumulatively, justify an upgrade IMHO. I haven't been
keeping a list, but I've already come across a dozen or so things
that
Aaron Sherber wrote:
> - New controls for default placement of articulations.
Really? I haven't noticed this. What do you see now that wasn't
there before?
Maybe nothing. This stuff might have been in 2005, but it seems more
extensive to me.
Here's the biggie. I just extracted a doze
David W. Fenton wrote:
On 31 Jul 2005 at 1:32, Craig Parmerlee wrote:
[re: GPO:]
For people who are willing to
spend hours fiddling with their equipment in order to make the most
realistic rendering of a symphony orchestra, maybe it has some merit.
First off, I don't have F
Darcy James Argue wrote:
On 31 Jul 2005, at 5:22 PM, Craig Parmerlee wrote:
Unless you want to do something more than sit back and admire the
beauty of your creation. If you are trying to share the score and
send MIDI demos over the net, for example, you are going to be
farting around a
OK, this is one that has bugged me no end for 10 years. But tonight it
seems to be driving me crazy more than usual.
In scroll view, Finale displays the staff names to the left of the
staff. But the spacing is such that most of the staff name disappears
off the left of the screen. It makes
No, that is not how it is working for me. So I guess I don't have the
slightest idea what YOU are talking about.
Any time you change the zoom levels, for example, the margin goes all
the way back to the left. There are many other very routine options
that also send the margin back to the lef
I agree with all of that, and let me just reiterate that the margin
ABSOLUTELY DOES NOT stay put. Changing the zoom level puts it back to
the left for certain, and there are other operates that do likewise.
I'm not on my Finale machine right now, so I can't enumerate the other
cases that torm
Darcy James Argue wrote:
On 05 Aug 2005, at 8:25 PM, Craig Parmerlee wrote:
I agree with all of that, and let me just reiterate that the margin
ABSOLUTELY DOES NOT stay put [when zooming in and out].
On my system, it ABSOLUTELY DOES. Is this a Windows problem or
something?
- Darcy
In the Windows version, *ALL* of the techniques you mentioned mess up
the left margin.
Just to put this in some perspective, maybe I can describe the project
where it became completely maddening, in hopes that somebody from Finale
might gain a better appreciation for why attention to the user
Gary Griffiths wrote:
Thank you Darcy and Hiro - Yes I have tried reducing that, no change. Also
tried reducing volume in instrument list window and Base Velocity in
Playback options (what is the difference in these two settings?) and volume
in Windows sound Properties. Shouldn't these all be ov
The 2012B release has a nice feature that automatically highlights notes
that Finale thinks are out of range. Previously there was a plug-in to
do this. In the plug-in you could select beginner-intermediate-advanced
to fine-tune the range. I have looked around and I cannot find any way
to co
eginner/Intermediate/Advanced".
>
> -Lee
>
> -Original Message-
> From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
> Craig Parmerlee
> Sent: Wednesday, July 11, 2012 8:43 PM
> To: Finale News List
> Subject: [Finale] 1012B: Controlli
There is a style of drum set notation that has slash notation in the
measures, but the punches are written as regular notes above the
percussion staff. I can't figure out how to make this happen in
Finale. I trued using a second voice for the punches, but if the
measure is set to slash notati
If I have my instruments set to MIDI, I can render to WAV quickly. But
if my instruments are set to VST, there seems to be a problem where the
software bogs down slower and slower. If my score is only 75 measures,
I can render, but if it is 120 measures, it gets so slow that I think it
will p
I get what I need by modifying the definition for slash notation
to show notes in all other layers, which is similar to your suggestion.
Thanks.
On 7/17/2012 1:24 AM, dershem wrote:
> On 7/16/2012 10:07 PM, Craig Parmerlee wrote:
>> There is a style of drum set notation that has sla
"all other layers" check the "Notes" box.
That seems to work, but maybe somebody has a more straightforward approach.
On 7/17/2012 1:07 AM, Craig Parmerlee wrote:
> There is a style of drum set notation that has slash notation in the
> measures, but the punches are wri
d to an outboard digital recorder, or to Audacity
> on another computer.
>
> Raymond Horton
> Bass Trombonist, Louisville Orchestra
> Minister of Music, Edwardsville (IN) UMC
> Composer, Arranger
> VISIT US AT rayhortonmusic.com
>
>
> On Tue, Jul 17, 2012 at 1:05 AM, Cra
I wonder if anybody has any information or informed opinion abut the
impact of MuseScore on the commercial products (Finale and Sibelius
particularly). I cannot see MuseScore being a significant factor for
professional composers, arrangers and copyists., but that is surely a
small percentage o
On 7/20/2012 3:07 PM, David H. Bailey wrote:
>
> I know that when I taught a music theory class at a middle school a few
> years ago I had the students download and use MuseScore. That was 10
> sales Finale didn't get.
>
> But because of the ease of use right out of the box, actually, many such
>
thing like that.
I cannot see myself ever producing a finished audio product within
Finale, so I'd rather see them put that effort into fixing the many bugs
and annoyances in the basic product.
On 7/24/2012 3:04 PM, Raymond Horton wrote:
> On Fri, Jul 20, 2012 at 10:22 PM, Craig P
This is something that has always bugged me. There are many cases where
the last note before an ending ties, and the tie goes into the first
note of BOTH the first and second ending. In fact, that is the normal
case of a tie. In my view, it is invalid to right a tie going into the
first endi
Absolutely. I love the feature, although I am generally familiar with
instrument ranges. It is a very nice assist, but it would be even
better if I could make a few adjustments to the instrument ranges.
On 7/30/2012 12:30 PM, John Howell wrote:
> Of course! But it is somewhat useful when I'v
gt;
> There have been times (perhaps with older updated files) where that doesn't
> work, and I have to use a hand slur adjusted to resemble the ties.
>
> Chuck
>
>
> On Jul 31, 2012, at 8:34 AM, Craig Parmerlee wrote:
>
>> This is something that has always bugged me.
On 8/1/2012 5:22 AM, David H. Bailey wrote:
> WordPerfect is very far from the people who originated it (several
> iterations of ownership, actually) yet it remains a robust word
> processing environment
David, I was with you -- right up to that instant.
I'm thinking if Finale follows the path
No, I could not find any way to flip the tie. I ended up just removing
it because it was worst than having no end-tie at all.
The last note before the endings was second space with the stem up as
normal. I didn't override anything. The tie to the right of the last
measure before the endings
mes I have to copy the entire
> file contents to a new document to clean it out.
>
> Christopher
>
> On Wed Aug 1, at WednesdayAug 1 11:32 PM, Craig Parmerlee wrote:
>
>> No, I could not find any way to flip the tie. I ended up just removing
>> it because it was
Are you doing playback with Garritan or MIDI? MIDI ought to cover a
very wide range. The Garritan files do seem to stop before the outer
reaches of some instruments. I've noticed that on tuba and bass trombone
for example.
On 8/6/2012 9:35 PM, Neal Gittleman wrote:
> Greetings…
>
> Using F
Like others, I wasn't even aware the product was still alive. About
once a month somebody sends me a WPD , which of course I can't open.
One of those guys is still using Windows 95.
This loosely relates to the Dark Ages concept of file compatibility that
the Finale folks have followed. It is
on is
inherent with LibreOffice.
On 8/7/2012 11:39 AM, Jari Williamsson wrote:
> On 2012-08-07 16:22, Craig Parmerlee wrote:
>
>> This loosely relates to the Dark Ages concept of file compatibility that
>> the Finale folks have followed. It is never a good business model, when
&g
iscuss the word processor -- only the subject
matter of the article.
MakeMusic does not understand collaboration, period.
On 8/9/2012 10:29 AM, Jari Williamsson wrote:
> On 2012-08-09 15:26, Craig Parmerlee wrote:
>
>> With MusicXML, you lose everything but the notes, basically.
> You ha
See
http://www.virtual-strategy.com/2012/08/07/makemusic-reports-second-quarter-2012-results
It includes the comment "Development efforts are well underway towards a
mid-2013 launch of a modernized Finale product that takes advantage of
current technology and workflows."
My interpretation is t
I think you are right that they might be burnishing the story a little.
I suppose there is an argument that when they come out with a new
release annually, some people might place an order before the June
quarter ends, particularly if the company said "order now and you will
get a free upgrade
I bought JABB a few years back. I haven't had it installed for the last
several Finale releases because the supplied GPO voices were
sufficient. But I'm working on a project where I really need the
keyswitch voices (muted trumpets). So I installed this software on my
Windows 7 Finale 2012 sy
dent.
On 4/24/2013 12:42 AM, Craig Parmerlee wrote:
> I bought JABB a few years back. I haven't had it installed for the last
> several Finale releases because the supplied GPO voices were
> sufficient. But I'm working on a project where I really need the
> keyswitch voice
I have a big band chart where the solo sections have the chords in
numerous parts that optionally could solo. I don't want these chords to
play back. I only want the chords to play back on the piano staff.
I can't find any way to turn this off in a mass edit or global sort of
way. I realize
mist that some of these bugs will be cleaned up in the 2014
version. But if it is really an extensive rewrite ... well, I don't
even want to think about the implications.
On 5/1/2013 1:41 PM, Michael Mathew wrote:
> Dear Craig Parmerlee,
>
> In the score manager each instrument h
mist that some of these bugs will be cleaned up in the 2014
version. But if it is really an extensive rewrite ... well, I don't
even want to think about the implications.
On 5/1/2013 1:41 PM, Michael Mathew wrote:
> Dear Craig Parmerlee,
>
> In the score manager each instrument h
I believe that turns off chord playback for ALL instruments. I want
chord playback on my piano track because most of that track is just
slash notation with chord names.
The ScoreManager thing works to a degree. If you mute an instrument
from the mixer window and then unmute it, that unmutes t
OK, this is probably a bug that has no fix, and maybe I'm the only
person in the world who thinks this is important.
When writing for jazz piano, I usually just put in enough notes to
suggest a style and let the piano player use his own comping skills,
which are almost always better than anythi
Just write a simple piano part and hide the notation.
>>
>> Cheers,
>>
>> - DJA
>> -
>> WEB: http://www.secretsocietymusic.org
>>
>> On May 2, 2013, at 1:19 AM, Craig Parmerlee wrote:
>>
>>> OK, this is probably a bug that has no fix, and maybe I'm
I have JABB V3 (the current version. I think the saxes and various
basses are pretty good. Trumpets are horrendous -- sound more like a
reed organ than a trumpet.. I have worked mostly with the individual
trumpet sounds of the "notation - keyswitch" category. so maybe some of
the other trump
Hey, come to think of it, there are no cimbasso sounds on the Garritan
libraries. How could they have missed that? :)
I'm not doing many of the things you mentioned. I am using a little
reverb, but I got frustrated when I couldn't control that from Aria.
The Aria player has a tab for effects
Thanks for the suggestion. But I can't get out of the starting gate.
Where is this "articulation definition" window? Is that in document
options, somewhere in HP settings or somewhere else? I can't find any
reference to it in the documentation.
On 5/3/2013 11:18 AM, Christopher Smith wrote
As I am digging deeper into trying to get a realistic playback, I am
struggling with the Aria mixer. I expected the fader levels to be
static, like an un-motorized control surface. I want the dynamics to
adjust up and down with the dynamic expressions I have entered in the score.
But what I a
I posted this on another thread, but maybe it deserves its own thread.
I am looking for practical advice on how Aria (i.e. the Garritan sounds)
relates to the normal Finale mixer window.
It appears to me that if I use the faders on either one, they have an
effect, but they are not linked. So i
the pan to put a voice ENTIRELY to one
side or another.
So from what I can surmise, you use the Aria player to assign
instruments and to set up the reverb sends, but nothing else (unless you
are tweaking the sound of a particular sample (EQ, etc.).
Is that how others do it?
On 5/3/2013 6:31
On 4/24/2013 9:09 AM, Williams, Jim wrote:
> 5.it is imperative to avoid simultaneous attacks. HP does that to some
> extent, but I haven't taken the time to determine how much.
How do you do that? Is that the setting in HP preferences - Tempo
variations called "Don't randomize (exact timing)"?
Wow. The few sound clips that appear on the interview sound very
interesting. The description "21st century big band" might sound a bit
highfalutin, but what I hear adds up to that description.
It seems that the trend in big bands in the last 30 years was mostly
about playing louder, faster,
I know this isn't what you are asking for (i.e. not a solution internal
to Finale), but it is really quick and easy to generate all your parts
as PDF, using the PDF Creator free software. That is a good thing to do
without respect to the desire for colors.
But once your parts are in PDFs, you
I have the Garritan J&BB library, and of course the basic library that
comes with Finale 2012.
I am getting better at making the playback sound halfway authentic for
big bands. So yesterday I decided to work on a trombone quartet piece.
For this, I used the bundled sounds: the three solo teno
Does anybody have any insights -- or even educated guesses -- where
Garritan stands regarding continued development? They were acquired by
Makemusic, so that raises questions, at least about how this might
affect product cycles.
I note that PGMusic (Band In A Box) has been on a product cycle o
Bravura seems like a nice font, but that is hardly a breakthrough. The
SMuFL idea seems like something the industry should get behind, as an
annex to MusicXML -- making MusicXML files that much more
transportable. Again, a nice development, but not really a huge
breakthrough.
At this stage,
It seems to me that Speedy entry remains in the data entry mode WITHOUT
FORMATTING as long as it thinks you are still entering notes. You have
to click on a whole different region of the score to get it out of that
mode, and then it will proportion everything.
I assume this was for efficiency
Makemusic said they would have a new release in 2013.
The normal pattern would be to announce new releases in May or June so
as to get into the pipeline for the new school year. That did not happen.
Another normal pattern is to not announce anything during August because
much of the world is o
work better than adhere to some release schedule
>
> NOT Sent from my Hackintosh
> --
> Eric Dannewitz
> Musician/Polymath/Evil Genius
> http://www.ericdannewitz.com
>
> On Sep 4, 2013, at 8:47 PM, Craig Parmerlee wrote:
>
>> Makemusic said they would have
On 9/5/2013 3:02 AM, David H. Bailey wrote:
> On 9/5/2013 1:38 AM, Craig Parmerlee wrote:
>> Well, "some schedule" is over 2 years now. There comes a point where a
>> company ceases to be in business if they aren't shipping a product.
>>
> Remember what th
trary release schedule?
>
> Sent from my iSomething
> --
> Eric Dannewitz
> Musician/Polymath/Evil Genius
> http://www.ericdannewitz.com
>
>> On Sep 4, 2013, at 10:38 PM, Craig Parmerlee wrote:
>>
>> Well, "some schedule" is over 2 years now. There co
Does this feature actually work for other people? I can only use this
for very small files -- say 100 measures or less. Anything larger and
the program gets stuck. It generates the first minute or two of music
very fast and then grinds to a halt. I suppose if I left it running for
a couple
My symptoms are exactly like yours, except a lot more extreme. That is
to say, the display usually freezes somewhere around the 70% point. If
I watch the actual file size, it grows rapidly (at an expected rate) up
to the point when the display freezes. But from that point onward, the
file gr
I don't think the speed of my machine is an issue. It is a dual core
AMD running Win7 64-bit, with 6GB of physical RAM. There are certainly
faster machines around, but this one is feast enough. The first 75% of
the file is generated very quickly, then it grinds to a halt. I had
this same pr
Finale 2014: A Trailblazer Guide
http://www.barnesandnoble.com/w/finale-2014-mark-johnson/1116075876?ean=9780981473178
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
What you describe is certainly within the realm of possibility. I spent
a bit of time earlier in my career modeling the behavior of large-scale
mainframes, and this involved a branch of science called "queuing
theory". There very definitely can be "knee of the curve" phenomena
where everything
I'm pretty sure it is about the new release. The text description is
just copied from the prior version, which has been on the market a long
time. It would make no sense to write a Finale 2012 book at this stage.
Also note that the book cover clearly indicates "Finale 2014".
Here is the 2012 ve
I did some additional testing this evening with the System Monitor
turned on. There is no memory problem. It never pages at all, and
there is always more than 3GB available. It is the CPU that goes
through the roof.
I tried a moderately complicated score under several conditions. This
score
Just looking for opinions and thoughtful speculation.
Finale had to go private to get an infusion of capital. But they seem
to be nearing a new product release that has the potential to put them
on a more solid footing.
Avid acquired Sibelius, and that company seems to be in a real mess at
th
On 9/16/2013 6:07 AM, David H. Bailey wrote:
> But I expect that if it can weather the current financial woes, Avid
> will continue to develop Sibelius. Certainly if one can say that
> Sibelius is a mature cash cow that doesn't need any more development,
> the same can be said for Finale, yet we
On 9/16/2013 1:36 PM, Eric Dannewitz wrote:
> Honestly though, what sort of "breakthroughs" are you wanting? I'd
> rather see refinements of stuff that is already in there but doesn't
> work well. Like audio to pitch, the whole parts thing in Finale,
> making play back for scores better, maybe e
On 9/17/2013 7:30 AM, Steve Parker wrote:
> Maybe I'm alone in not wanting every program to do everything..
Again I would look at the parallel in the DAW universe. DAWs, per se,
don't do that much. They are essentially "frameworks" that provide a
basic set of capabilities needed by anybody invo
On 9/17/2013 8:19 AM, Jari Williamsson wrote:
> On 2013-09-17 07:05, Craig Parmerlee wrote:
>
>> 1) In 2013 I shouldn't still have to fiddle with layouts on my parts.
>> How many Finale releases have we seen that bragged about great new
>> algorithms that avoid collis
Just for the record, I also want most of the things you listed. And I
think you identified the nub of the problem. As Finale (or any other
notation product) exists today, it is in fact a zero sum game because it
is a closed system where only MakeMusic (and a few plug-in developers)
can delive
On 9/17/2013 2:18 PM, Raymond Horton wrote:
> I think Steinberg notation software is, at this point, the poster boy for
> "100%
> vaporware." They put out a video with demos made on a totally different
> product, for goodness' sake!
>
> I wish them only the best, and hope the ultimate product doe
Regardless of whether we all can come together on the meaning of
"vaporware", wouldn't it be cool if the notation industry had a degree
of standardization and openness such that we could use a mixture of
tools, as the need fit? In the process of recording, I might use
dedicated hardware at the
On 9/17/2013 9:50 PM, Robert Patterson wrote:
> But I am but surprised at the dismissive implications of calling Fin and
> Sib "20-year-old products". Finale 2012 is 2 years old. It would be
> laughable to compare it with version from 20 years ago, which I believe was
> still (Mac) 2.6.x. For a lau
On 9/17/2013 8:09 PM, Robert Patterson wrote:
> The version of MuseScore that I tried out 2 years ago was nowhere near
> Fin/Sib, but it has been and continues to be moving faster than any of
> them. And I disagree that it is not innovative. It's just that the
> innovations that are added seem to b
On 9/17/2013 2:33 PM, Chuck Israels wrote:
> Translation of audio files into notation is a more sophisticated problem, one
> that requires the kind of "jumping of levels" that computers are less good
> at. I can think of a number of conditions in which notation decisions reside
> in areas where
That is really a miserable ad. It doesn't mention any benefits at all,
only a handful of obscure features -- not to mention spelling errors
(pallet). Generally speaking, the Finale folks do a pretty good job of
describing the benefits of the new releases at announcement time. I do
not believ
Kudos for the improvements on Export to Audio. In the past I couldn't
complete the export at all for VST instruments in most cases. Now it
seems to be completely reliable and quite fast.
However, I would have hoped there would be an option to create separate
WAV files for each staff line, so
Probably not a great answer, but assuming you have 2012 still installed,
you could save as MusicXML, and open in 2014 that way. Once open in
2014, you could probably save it is 2012 format successfully if you
wanted to do that. Of course you will lose some formatting through the
MusicXML proc
On 11/10/2013 11:10 AM, David Froom wrote:
> After entering a few challenging measures (accidental-wise), I ran the finale
> cautionary accidental plugin. Though it created parentheses when I
> specifically told it not to, after taking them out, I saw that the
> accidentals do, indeed, stick. SU
Yes, this is exactly what happens to me. I find myself sight-reading
live performances a more often than I would like. I guess I am good
enough at it that people are willing to call me in an emergency. Every
time I trip up on one of these redundant accidentals non-parenthesized,
I cuss the m
If you have articulations in a measure where you apply a staff style
(e.g. slash notation), the articulations bleed through. This is a new
bug with 2014. never happened on prior releases.
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/
he articulations?
>
> Sent from my iPhone
>
>> On Nov 14, 2013, at 4:17 PM, Craig Parmerlee wrote:
>>
>> If you have articulations in a measure where you apply a staff style
>> (e.g. slash notation), the articulations bleed through. This is a new
&g
Why would you want to show an accent when the note doesn't show? An
accent just sitting there by itself doesn't have any context. Accent WHAT?
All I know is it never did this at 2012 and I didn't change anything in
my staff style definition.
On 11/14/2013 5:37 PM, Jari Williamsson wrote:
>
>
.
On 11/14/2013 10:54 PM, Chuck Israels wrote:
>
> Sent from my iPhone
>
>> On Nov 14, 2013, at 9:55 PM, Craig Parmerlee wrote:
>>
>> Why would you want to show an accent when the note doesn't show?
> Slash notation drum part might need accents on some
er
>
>
>
>
> On Thu Nov 14, at ThursdayNov 14 4:17 PM, Craig Parmerlee wrote:
>
>> If you have articulations in a measure where you apply a staff style
>> (e.g. slash notation), the articulations bleed through. This is a new
>> bug with 2014. never happened o
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