Do you really have to own and master all the programmes to accept such assignments? Or do you have to say: No, it's enough to be skilled in just one score-writing program and just one DAW, but they have to be the right ones, so sorry dear Uli, your decision for Finale and Samplitude was a double grab in the toilet? Am I just on the wrong track?
If necessary, I also include products from EWQL (Choirs with Wordbuilder), but I have no experience with Sibelius, Dorico or Cubase.
#Why will finale 2014.5 not open midi file pro
The result is different in each of the three scenarios, but they are all unusable.īut now to the core of my concern: Are you all more flexible than I am? I claim that I can handle Finale, Samplitude, Vienna Ensemble and Vienna Instruments Pro quite routinely. I also tried the third option, opening the midi file sent by the professor in Samplitude.
I also exported the Finale document as a midi file and loaded it into Samplitude. Since I already do the routing of the VSL samples in Finale, theoretically even exporting a wav file directly from Finale could sound reasonably good. However, if due to time pressure, you have to rely on leaving as much as possible to the presettings and automatisms, you will get different results with different approaches, but none of them will be satisfactory. muted strings, a few key switches have to be readjusted by hand. Of course, it is unavoidable that at least for tremolos, pizzicati and e.g.
This is only intended for the special edition, but it is also possible to regroup the matrices for the more noble sounds of the "Symphonic Cube" in such a way that you can use this automatism. As you may know, the VSL offers a key switch dump file for Finale, which provides a certain automatism for the matrices of the special edition: staccato points and legato slurs cause the selection of the correct articulations. Now the Vienna Symphonic Library comes into play. But well, these presets could be changed if that would have a beneficial effect on a complete piece. One could reduce the difference between the preset velocity values (a piano = 49 is too quiet when forte = 88 etc.). This is due to the fact that in Finale there is an unfortunate interaction and mutual amplification of expression and velocity at work. If you are also a Finale user, you will perhaps already think that finding a global setting that leads to a balance of dynamics has proved to be a naïve illusion. But it should be worth a try, so I asked him to send me xml and midi files. I gave him little hope that I would be able to do this in the short time available and at a reasonable price. To get an impression: But now comes the problem: Recently, a conducting professor sent me a number of Sibelius files with the request to assign VSL samples to the instruments in order to achieve a more realistic sound result than would be possible for him without owning such top-class VSTs. Because I invest a lot of time, I achieve results that receive accolades from some highly famous opera stars. It is true that many explosive problems are not related to one software, but to the fact that each of us always has to use several softwares at the same time.įor example, I use Finale of course for proper notation related purposes but also to enter notes, whenever I have to create audio and/or MIDI files, which I then open in a DAW (Samplitude), where my samples from the Vienna Symphonic Library come into play as the third component. This is a fundamental problem, which is why this is a pretty long suada and why I'll probably address it in several forums.
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