At 01:31 AM 2/19/05 -0800, Mark D Lew wrote:
Can someone perhaps tell me what I should suggest to my girlfriend?
What browser do you recommend instead, and where does she go to
download and install it?
Jari recommended Firefox (http://www.mozilla.org/). So do I -- even though
I was an Opera
At 05:31 AM 2/23/05 -0600, Noel Stoutenburg wrote:
you could please address the issue of what benefits you
see arising from your proposal to merging what is currently the list of
the text subset of the expression tool, with the list of the text tool.
I think merging all the text-like types is
At 06:29 AM 2/23/05 -0500, Christopher Smith wrote:
Or for that matter, I could
even be Crystal. Man, is my wife going to be upset.
Or not. :)
Dennis
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At 04:16 PM 2/23/05 -0600, Noel Stoutenburg wrote:
One can certainly have different tools that
operate on the same object, and different objects acted on by the same
tool. But just because the objects are acted on by the same tool, even
if they happened to look the same, doesn't autmatically
At 04:16 PM 2/23/05 -0600, Noel Stoutenburg wrote:
Jef did not originally, and you do not in your supporting post,
address the issue of merging the lists that Jef seems to propose.
I'm just being supplementary. But think of a Palm and how it organizes
addresses by categories. It's a droplist of
At 12:10 AM 2/24/05 +0100, Johannes Gebauer wrote:
I am not against this, but I fail to see how I would benefit? There is
no reason why I would want my title text blocks appear in the expression
list, it would only convolut it more. OK, I know that you have ideas on
how to get more organization
At 11:54 PM 2/23/05 -0600, Noel Stoutenburg wrote:
I don't think they are interchangeable texts at all, because they have
different funnctions in the music. For one thing, text expressions have
a specific impact upon way the music itself is to be realized, for
example, how loud, or how fast.
At 11:58 AM 2/24/05 +0100, Johannes Gebauer wrote:
It still escapes me why this kind of thing cannot live happily in two
different tools.
jef suggested two.
My followup suggestion was to combine at least seven tools (text,
expression, articulation, chord, lyrics, clef, time signature) and let
At 10:48 AM 2/25/05 -0500, shirling neueweise wrote:
From: Dennis Bathory-Kitsz
At 11:58 AM 2/24/05 +0100, Johannes Gebauer wrote:
It still escapes me why this kind of thing cannot live happily in two
different tools.
jef suggested two.
?
one.
Sorry. Meant two in one. That closer? :)
D
At 06:26 PM 2/25/05 -0500, Linda Worsley wrote:
What I want to know is: Does anyone have a good approximate cutoff
year for players that are pretty much able to do what we need?
Okay, you had me curious. So I just burned a 79:58 CDR with the final track
only 60 seconds long (so it would have to
At 08:22 PM 2/25/05 -0500, Christopher Smith wrote:
On Feb 25, 2005, at 7:08 PM, Dennis Bathory-Kitsz wrote:
Christopher's suggestion of index numbers probably won't work. We have
players capable of that at the radio station, but nobody's ever
actually
tried to use that feature!
When you
At 05:04 PM 2/25/05 +0100, Johannes Gebauer wrote:
I actually want the functionality of measure text blocks improved, since
at the moment there is only very limited use for them. I want to be able
to assign a _measure_ attached text block to a position on the _page_.
I know you pretty much
At 09:17 AM 2/26/05 -0500, Christopher Smith wrote:
While I am still a hard-core Speedy person, I am forced to use Simple
on my laptop when I am away from my desktop computer (MIDI-less Speedy
without a numeric keypad is rather clumsy
I also use Speedy. In fact, as a funny aside: the Discovery
At 09:09 AM 2/26/05 -0500, you wrote:
In your tool bar mockup, where are the create and delete buttons
for text expressions? These are such useful buttons in the present
interface that I would hate to lose them.
Just forgotten as I tried to focus on how to 'commonize' the other elements.
Also
At 12:30 PM 3/3/05 +, Simon Troup wrote:
Apart from people starting work in the wrong version of
Finale for customers who neglect or refuse to upgrade
Neglect? There seems to be an unpleasant subtext is some of these messages...
I just want to make sure it's understood that for some of us
At 01:42 PM 3/3/05 +, Simon Troup wrote:
Apart from people starting work in the wrong version of
Finale for customers who neglect or refuse to upgrade
Neglect? There seems to be an unpleasant subtext is some of these
messages...
Yes neglect!
I don't think ethical refusal to accept
At 02:29 PM 3/3/05 +, Simon Troup wrote:
I don't think ethical refusal to accept victimware is neglect. My and
my clients' scores are too important to me to entrust to a
corporation's ill will
I think you're arguing along your own agenda regardless of what I write.
You used the pejorative
At 03:02 PM 3/3/05 +, Simon Troup wrote:
I was interested to hear that many clients are wanting access
to the Finale files. It brings lots of questions to mind such as
unskilled editors tinkering with files that go out with your name
on - Libraries that you may have spent many months
At 03:33 AM 3/2/05 +, Simon Troup wrote:
Professional applications don't need multiple choices of
icons types, or different desktop choices. One simple,
well designed set of icons would suffice. The whole rosewood
desktop and vellum paper idea borrowed from sibelius is totally
unnecessary
At 03:19 PM 3/3/05 -0500, David W. Fenton wrote:
On 3 Mar 2005 at 8:21, Dennis Bathory-Kitsz wrote:
By creating victimware, they destroyed in one stroke my ten years of
customer loyalty.
Er, hadn't they already done that with Finale 98's CD-based copy
protection?
Almost. I skipped it, even
At 06:42 PM 3/3/05 -0600, Noel Stoutenburg wrote:
But to those who characterize the (what I consider to be) modest scheme
currently implemented by MakeMusic! to be victimware, I would ask how
you would propose that MakeMusic! maintain the integrity of the
product. I've thought of several
At 06:07 PM 3/4/05 -0500, you wrote:
I wonder if that is the french s/w, Berlioz? If so, I'm disappointed. Its
output looked better on its own site. The two sites appear similar upon one
quick look.
Probably. Same font (Hector), and also the stems don't go through the beams.
Dennis
At 07:40 AM 3/7/05 -0500, Aaron Sherber wrote:
Believe it or not, I've had the problem in scroll view as well.
Just for anecdotal uses...
I have had this problem several times in the past years, usually
attributable to incomplete measures, too many grace notes, or measures with
large time
At 02:56 PM 3/7/05 +0100, Johannes Gebauer wrote:
However, are you sure you didn't have the max measure width set to a
value which simply doesn't allow larger measures?
They're set to 0 and 99, but I might have done that after the problem last
occurred. Thanks for the reminder!
Dennis
At 05:07 PM 3/7/05 +0100, Johannes Gebauer wrote:
0-99 what?
(Inches I assume.)
Yes, inches. I do everything in inches unless I can't avoid EVPUs. :)
Dennis
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Hi all,
I'm working on an algorithmic piece, and need to move all of certain
pitches in certain octaves.
TGTools can move entire pitch classes. Is there a plugin or filter that can
take, say, all A3s and make them A4s?
(FinWin2K3)
Thanks,
Dennis
At 09:10 AM 3/8/05 -0800, Brad Beyenhof wrote:
I don't know how to do this in Finale, but Cakewalk's sequencing
software (Sonar, Pro Audio, etc.) has an Interpolate function
Thanks, Brad, yes, I use that often in Sonar. But this is in score format
now, where I've been working on a
At 11:21 AM 3/8/05 -0600, Allen Fisher wrote:
Have you tried note mover? It has a search and replace function that *might*
get what you're after...
O! Brilliant! With a staff set programmed to show just the staff in
question, it works!
And I always thought Note Mover only applied to
At 09:58 PM 3/8/05 -0600, Noel Stoutenburg wrote:
The flaw here, is that the phrases Commercial software is sold and
legal purchaser implies that the user of a particular piece of
commerical software has ownership rights in the software.
Yer just dancin' Noel. Who says buy, buy, purchase,
At 01:33 AM 3/9/05 -0600, Noel Stoutenburg wrote:
I am aware of the language used on the Finale site, but it doesn't
change the fact that you are not acquiring any ownership rights in the
software, but agreeing to acquire a non-exclusive permission to use the
property of MakeMusic! under the
At 07:41 AM 3/9/05 -0500, Darcy James Argue wrote:
Just FYI -- in case you've never heard the original version, with the
Paul Whiteman band and Gershwin at the Piano, you can listen to it
here:
http://www.redhotjazz.com/Songs/Whiteman/rhapblua.ram
There is also a version recorded in 1927 using
At 06:07 AM 3/9/05 -0500, dhbailey wrote:
So what is your suggestion as to what sort of bargaining power we have
to use against MakeMusic?
The operant really is we, isn't it?
What I hoped was that, as soon as the new scheme appeared, we Finale users
en masse would refuse to upgrade. Period.
At 08:43 AM 3/9/05 -0500, dhbailey wrote:
And lose the improvements that make my income-generating work easier,
faster, better?
Yes, even if for one year, in order to send the message.
It's also hard to skip upgrades when others with whom you work are
upgrading -- since the earlier version
At 02:24 PM 3/9/05 +, Simon Troup wrote:
I don't feel like a victim
Yet.
Just thought I should put one on record as you're
using fairly inflammatory language that certainly doesn't square
with my experience.
Yet.
In view of the current something for nothing climate where
piracy is rife,
At 12:46 PM 3/9/05 -0500, Darcy James Argue wrote:
FWIW, my recording -- the Pollini on DG -- calls op. 25 a Suite for
Piano.
As it does in German on my score, UE 7627, Suite für Klavier. (Erratic
engraving job, by the way, some nice, some ugly.)
Dennis
Goodness. I came back to 41 more messages on the topic.
Dennis Collins said, You aren't victimized by the authentication process
in itself. But indeed you are. It encourages a where are your papers
mentality. You must always be ready to explain yourself to a private
entity. It extends corporate
At 05:08 PM 3/10/05 +, Robert Patterson wrote:
The problem is that as computers change, your
non-authenticated version of Finale eventually will
no longer work.
Put this comment before archivists who meticulously maintain old equipment
and software in order to have access to important
At 06:48 AM 3/13/05 -0500, dhbailey wrote:
Just as we all knew that there might be trouble if we upgraded to a
tethered version of the software.
There's also restraint of trade, conspiracy, racketeering, and a host of
other related behaviors that cannot be mitigated by the presence of a
At 01:20 PM 3/14/05 -0500, David W. Fenton wrote:
Now, I know that proper engraving rules for a single part are that
you *don't* have a left line on a single system, but this isn't a
single part. The part is here (all on one line):
http://www.bway.net/~dfenton/Collegium/Scores/Charpentier-
At 12:45 PM 3/19/05 -0500, Darcy James Argue wrote:
On 19 Mar 2005, at 12:19 PM, Christopher Smith wrote:
Why?
Because consistency is good, and a lack of consistency invites
confusion.
Or happy creative accidents. :)
Happy today,
Dennis
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At 06:44 AM 3/20/05 -0500, dhbailey wrote:
Owain Sutton wrote:
Slight hijack: Why is it that choirs never seem to be able to use bar
numbers, even when provided in their edition? Why do conductors always
seem to need to say Orchestra, from bar 68, choir, from 'Qui tollis'...?
Either that,
At 11:29 AM 3/24/05 -0500, Guy wrote:
In my experience copies of the Liber Usualis are hard to come by.
I didn't know that. They're no longer publisher? I have mine from some 35
years ago, but never checked to find an updated copy after the movable
feast years ran out. :)
Dennis
At 04:22 PM 3/24/05 -0500, David W. Fenton wrote:
The liturgical reforms of the Second Vatican Council in the 1960s
obsoleted the Liber Usualis, since it reflected the Tridentine Rite,
which was different from the new rite. The official chant book of the
new rite is the Graduale Romanum, a
Hi all,
Please reply off list. This just happens to be the only place I know that
has Mac users.
This morning I was taking part in a panel with a presentation that included
some clips from a DVD. I arrived to find a standard computer video
projector with all the connectors and cables provided by
Hi Darcy,
Looks like my Mac ignorance is definitely showing.
At 01:30 PM 3/30/05 -0500, you wrote:
A little more detail would be nice. iBook or PowerBook? What model?
I have no idea. I didn't know there was a difference in the video
connectors. It had a white Apple logo and she got it for
At 01:53 PM 3/30/05 -0500, A-NO-NE Music wrote:
My TiBook800 came with DVI to VGA adopter. I carry it with me, and never
had problem connecting to any projector or RGB monitor.
She only had her laptop. Based on what Darcy explained, the day was lost
the moment no compatible cable was available.
Hi all,
Okay, here's one that's got me. I was working on a score, and I noticed
some editing I was doing in a section written in octaves was audio-proofing
wrong. The notes were placed correctly in the measure, but the Midi was
sounding ahead of time. I thought I had made an entry error, and kept
At 01:14 AM 4/13/05 -0400, you wrote:
Anything I edit, though, puts the Midi where it should be.
Okay, phew, I have no idea what shifted the Midi data, but going into the
Midi tool, selecting durations, selecting all the notes in sight, and
hitting backspace put everything where it was supposed
At 05:06 AM 4/13/05 EDT, [EMAIL PROTECTED] wrote:
[EMAIL PROTECTED] writes:
I used to keep a pad on my nightstand for precisely that reason,
but quickly found that the stuff on it tended to be either illegible, or
not nearly as original as I'd thought when half-asleep.
I'm convinced
At 02:38 PM 4/13/05 -0400, Jacki Barineau wrote:
Anyway - I have a score with 3 vocal staves and a piano staff at the bottom.
I need to swap 2 of the vocal staves with each other (moving my 2nd staff to
the top and the top staff in the middle). How do you do this?!!!
How's this work for you:
At 03:06 PM 4/13/05 -0400, Jacki Barineau wrote:
on 4/13/05 2:46 PM, Dennis Bathory-Kitsz wrote:
How's this work for you: Staff Tool, grab staff handles and drag them into
place, then Staff | Sort staves and Staff | Respace staves?
Thanks, Dennis - That got it! Okay - is there any easy/quick
At 03:39 PM 4/13/05 -0400, Andrew Stiller wrote:
on 4/13/05 2:46 PM, Dennis Bathory-Kitsz wrote:
How's this work for you: Staff Tool, grab staff handles and drag them
into
place, then Staff | Sort staves and Staff | Respace staves?
A quicker, easier, and more elegant way to do
Hi all,
Just finishing a last-minute composition of 10 short movements for
orchestra, and can't remember if there was ever a consensus on this issue.
Should these be 10 separate Finale files, or one file? Any special
considerations?
Thanks,
Dennis
At 05:49 PM 4/16/05 -0400, Christopher Smith wrote:
I don't think there ever WAS a consensus.
Could I have guessed? :)
(Finale slows
down on very large files.)
I've tended to keep ahead of Finale's demands on the hardware, fortunately.
I imagine if the movements are VERY short then one file
At 09:20 PM 4/16/05 -0500, Noel Stoutenburg wrote:
I agree with the concensus that there is none on whether a
multi-movement work should be one or more than one Finale file.
Voila!
My own
personal preference is to use multiple files, one to a movement. but
this is informed by the fact that
At 08:14 AM 4/17/05 -0400, Lawrence David Eden wrote:
As a Mac user, (Macher) I don't have to deal with the virus issue. How do
PC mavens protect themselves from the deluge of attacks on their OS?
I think that is overstated.
For me, aside from getting program and OS updates as they're issued
Thanks to everyone for recommending a single score for all the movements.
It was much easier to deal with, including the edits, additions, etc. Went
beautifully, turned out 108 pages. Got it done about 10 minutes ago, and
it's due in 6 hours. So I even get some sleep tonight! Then I have to
At 02:50 PM 5/1/05 -0400, David W. Fenton wrote:
What's an ICM file?
.icm and .icc are color management profiles. They are really important for
graphics in matching devices (printers, monitors).
They're in \windows\system\color (on 98SE)
See some of these, which I have to attend to regularly
At 03:25 PM 5/1/05 -0400, David W. Fenton wrote:
Surely it's installed if the monitor/video driver comes with a color
management system, and not otherwise?
Not always, nor always reliably. None came with the monitors I presently
use. You can choose various profiles for monitors and printers. For
At 10:34 AM 5/2/05 -0400, John Howell wrote:
If they're essentially homophonic, one staff should work. If they
have independent rhythms, two staves is much safer.
I just got my wrist slapped over this from the conductor of a professional
orchestra who said they never read wind parts from a
Hi all,
A client insisted I get Finale 2005 for its human playback, and he bought
it for me. I'm dismayed about having to capitulate to this tethered
registration thing, but at least it wasn't my money. Half-compromise. Grumble.
I'm running my nice clean Win98SE which just purrs along. However,
At 04:22 PM 5/5/05 -0400, David W. Fenton wrote:
My bet is that it's a video driver problem.
Always the first thing I check, and I had already done that. It's Matrox's
latest driver, and as I said, no other app, no matter how heavy-duty,
causes a crash (heck, if it can run Sonar with my own huge
At 05:03 PM 5/5/05 -0400, dhbailey wrote:
Even though your system seems to be fine, perhaps being sure you've
updated to the most recent Win98 video drivers and audio drivers will help.
I keep my machine updated with the latest drivers, a lesson not forgotten
over the years.
The bug seems to
At 06:25 PM 5/10/05 +0100, Simon Troup wrote:
just wondering if anyone knows if Garritan
Personal Orchestra is about to be updated or something?
Was this supposed to come with Finale 2005? There's no mention of it in my
package, and I don't see it installed. I was figuring I could move the
At 03:14 PM 5/10/05 -0400, you wrote:
And you thought composing in Finale could be difficult:
http://www.ded.kiev.ua/mus.swf
Made my day. Thanks for that!
Dennis
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At 10:35 AM 5/15/05 -0400, Andrew Stiller wrote:
Windows were *glacially* slow to load. As for the possibility that
these problems might have been remotely based--well, let's just say I
don't believe in coincidences. I get a new browser, take it for a test
run to a site I've visited many times
At 03:29 PM 5/18/05 -0400, A-NO-NE Music wrote:
I couldn't resist, and I finally ordered it just 5 minutes ago!
It looked good, and I was about to sign up for the bulk deal -- but I see
it comes with a proprietary player, and mixing and matching with other
kinds of samples seems difficult or even
At 09:46 AM 5/21/05 +0100, Colin Broom wrote:
Does anyone know of a way/software for making a video capture of Windows
desktop activity?
I use a piece of software called Screencorder, which cost about $50 a few
years ago for version 3, but now is at $250 for version 4.
At 02:51 PM 5/23/05 -0400, shirling neueweise wrote:
maybe there's no reason to use clip files and i should just copy-paste?
A few weeks ago I pasted together an orchestral score from 10 individual
sections ... you might recall my question about that.
Copy/paste never worked properly, and I
At 04:03 PM 5/23/05 -0400, you wrote:
I tried both clip files and copy/paste. The problems were identical
with both (and I tried it with both).
Yes. That's why I suggested copy/INSERT. It's the only one I've used over
the years because it seems to work correctly. It would be nice to know if
At 07:04 PM 5/24/05 -0400, Christopher Smith wrote:
Admittedly, the guy who did this used the best patches from several
different libraries, and he had the ears, money, and the time to choose
wisely and probably had a bunch of equipment besides, but Jim's point
stands: that is, you will find
the
'classical' sampled sets.
Dennis
From: [EMAIL PROTECTED] on behalf of Dennis Bathory-Kitsz
At 07:04 PM 5/24/05 -0400, Christopher Smith wrote:
Admittedly, the guy who did this used the best patches from several
different libraries, and he had the ears, money, and the time
At 11:30 PM 5/25/05 +0200, Johannes Gebauer wrote:
Dennis Bathory-Kitsz schrieb:
I haven't spent much time with Finale's own sound output in the past five
or six years. But I just tried it to be sure, and my suggestion works fine.
I set channels 1-16 to the internal Finale synth, and 17-32
At 11:08 AM 6/6/05 -0400, Christopher Smith wrote:
I never liked the frame rate method, as a whole note with nothing on
it gets charged the same as complex collection of sixteenths with
articulations, custom beams, note expressions, hairpins, and the like.
Or stuff like jef chippewa does. Or
At 12:41 PM 6/7/05 -0400, Phil Daley wrote:
For me, who uses multiple computationally intensive tasks all the time,
that keeps me from getting coffee during major compiles ;-)
Coffee, hell. A night's sleep when trying to render an hour-long video
production on this 1.4GHz processor!
Dennis
Hi all,
Can this be done? I always feel like I'm overlooking the obvious...
I need to take a lengthy section of mixed note values and rhythms, and
change all of them to the same (smaller) note value, filling out the note's
remaining value with rests. (Because of the variety of mixed values, it's
At 06:55 AM 6/9/05 -0400, Christopher Smith wrote:
On Jun 8, 2005, at 5:53 PM, Dennis Bathory-Kitsz wrote:
I need to take a lengthy section of mixed note values and rhythms, and
change all of them to the same (smaller) note value, filling out the
note's
remaining value with rests. (Because
At 11:46 AM 6/9/05 -0400, Christopher Smith wrote:
Cubase has (had?) an option Set to Value (or Set Length? I don't
remember exactly the name), which did exactly what you are looking for.
If your own sequencer has something like this, you wouldn't have to
screw around with articulations.
And
At 06:08 PM 6/9/05 -0400, Christopher Smith wrote:
Cubase operates by note start and note length, so it is a very
simple operation to make all lengths the same.
I see what you're getting at. Yes, Sonar's interpolate function
(search/replace with a name I never understood) can do it. Duh for me.
At 01:21 AM 6/10/05 -0700, [EMAIL PROTECTED] wrote:
Have you tried a combination of Select Partial Measures and/or
TGTools ModifyRestsSplit Notes tabDivide note values in halves by
inserting rests...and possibly adding But only this duration
(4=quarter) etc...?
That doesn't do it when the
At 07:39 PM 6/23/05 +0200, Jari Williamsson wrote:
Williams, Jim wrote:
That's what I'd call the expected part of the
move. The notation technology is MATURE--there simply
isn't a great deal of advancement or enhancement left
to do.
Any software developer who think that there is nothing
At 11:56 AM 6/24/05 -0400, Darcy James Argue wrote:
Audio drift in GPO is, unfortunately, *not* subtle -- like I said, when
GPO gets overloaded, it drops *lots* of frames -- often entire beats
Does this same problem occur when you send the entire document to an audio
file? I know that the studio
At 11:15 AM 6/27/05 -0400, Andrew Stiller wrote:
If one of the
folks on this list, for example, were to take their original Finale 1.0
diskette, stick it in liquid nitrogen to preserve it, and later sell it
to a museum, I would regard that as, quite literally, none of
MakeMusic's business,
The Grokster decision today is probably of interest to most of us here, at
least the US crowd:
http://i.i.com.com/cnwk.1d/pdf/ne/2005/grokster/04-480o.pdf
Dennis
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At 12:58 PM 6/29/05 -0400, David W. Fenton wrote:
Why would anyone use a 6 for 3 beats?
All of this discussion presumes that the barlines are not visual
placeholders. The evolution of music in the past half-century has included
substantial visual barring, where notes are grouped for their ease of
At 10:07 PM 6/30/05 -0400, David W. Fenton wrote:
Does anyone have recommendations on a Windows WAV to MP3 converter
that has a decent interface, produces non-corrupt results with good
quality (they all seemed to use the LAME compression library, but the
sound of the result was not uniformly
At 11:58 PM 6/30/05 -0400, David W. Fenton wrote:
On 30 Jun 2005 at 22:25, Dennis Bathory-Kitsz wrote:
(And if you by any chance have Adobe Audition, it can save in mp3
format and includes the codec.)
I don't have that. I'm no fan of Adobe products in general.
I agree with you, and use them
At 06:56 PM 7/5/05 -0400, dhbailey wrote:
Sibelius 4 has been announced, and one aspect which we have clamored for
on this list for years is in their list of added features: Dynamic
linking of parts to the score.
Ooh, baby, baby, baby. I'm one of the clamorers. I'm now 90% of the way
to
At 12:47 AM 7/6/05 +0100, Owain Sutton wrote:
Dennis Bathory-Kitsz wrote:
All Sibelius has to do is make it possible to do contemporary
scores easily
Heh...that's all I want from Finale, too.
Hasn't Sibelius had straightforward quarter-tones for some time? And I
presume Finale 06
At 04:55 PM 7/5/05 -0700, Ken Durling wrote:
It has always seemed to me that if one is willing to forego playback, then
a suite of purely graphic tools could be included that would make much of
this possible. Sibelius has the Symbols menu which does do this, but I
think what it needs is more
At 08:05 PM 7/5/05 -0400, David W. Fenton wrote:
Er, doesn't Sibelius have a little copy protection/activation code
problem that ought to prevent you from switching, given that you
won't upgrade past Finale 2003?
Yes, David, you've caught me in a distasteful ethical compromise, and it
At 01:10 AM 7/6/05 +0100, Owain Sutton wrote:
Another observation - if Finale implemented a score-part link that was
anything like part extraction, I'd simply not use it, because it
wouldn't do what I needed. I always end up making parts by deleting
staves manually from the score. What extra
At 11:10 PM 7/5/05 -0400, David W. Fenton wrote:
On 5 Jul 2005 at 22:43, Darcy James Argue wrote:
I believe you *can* play back a MIDI file with the Finale soundfont
from a separate sequencer. It's a standard soundfont and I think you
can use it in any situation you'd use any other soundfont.
At 09:43 PM 7/5/05 -0400, David W. Fenton wrote:
Fewer and fewer people are actually creating music to be performed by
live musicians. Good computer-based playback means you don't need
human beings.
While Dennis may think this is A Good Thing, I think it's very
distressing -- perhaps the
At 11:34 AM 7/6/05 -0400, Andrew Stiller wrote:
Dynamic linking is useful only if
you make musically significant changes in the score that need to be
reflected in the parts. I won't say I never do that, but it only
happens once or twice a year, and almost never impacts more than one or
two
At 12:04 PM 7/6/05 -0400, Eric Dussault wrote:
It would probably benefit most people, but as of now I don't see how
it could handle large scores with divisi on one staff (or alternating
with one or several parts in the score depending on the situation)
for winds and brass instruments.
This
At 11:11 AM 7/6/05 -0500, Randolph Peters wrote:
Am I the only one who wants vertical spacing handled automatically?
Definitely not the only one! It's not on the very top of my list, but it
would save considerable time -- and if it were part of an algorithmic
approach, could be modified nicely by
At 01:08 PM 7/7/05 -0400, John Howell wrote:
Poor example, I'm afraid, and one that suggests you are not a singer.
Which, whoa, and other wh words like where properly start
with a phoneme produced by a puff of air blown through pursed lips.
Witch, and woe and ware do not. The pronunciation is
At 08:30 PM 7/7/05 +0200, Johannes Gebauer wrote:
Well, actually, on any mid-range Mac, my pretty new iBook included, 8
sounds is already over the top. Crackling, drop outs etc. So don't give
me that, 64 is probably even impossible on a top range PC.
What's chewing all the CPU? In Sonar, I can
At 05:52 PM 7/7/05 -0400, David W. Fenton wrote:
Notation and musical style should be intimately linked.
I agree with you in all respects, from early music to new music.
And, in case I haven't mentioned it, I highly recommend the brand new
SoundVisions by Moeller/Shim/Staebler. It's a worthy
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