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Easily create scores from transcribed notes. Audio. Score will automatically detect all instrumentation and create a score with staves labeled for each part. Play back note selections in high- quality audio. Save scores as PDFs for easy printing. And work with Sibelius 8. Transcribe CDs and MP3s.
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Make. Music releases version 2. Finale, its first to be 6. Making good on a promise to release an upgrade this summer, today Make. Music released the latest version of Finale, its 2. In doing away version numbers by year, as had been the custom since the 1. Make. Music has committed to “release more incremental versions, as we did with Finale 2.
Mark Adler. Finale v. Similar to past major upgrades, the price for new customers is $6. Existing customers will pay $1.
Finale. A competitive upgrade is available $1. Sibelius, Notion, Encore, Score, or Overture. Print. Music users wishing to trade- up to Finale can do so for $4. A free 3. 0- day trial is available. For months, in a departure from the usual secrecy around upgrades, Make. Music has been sharing details of the new Finale on their official blog.
Regular readers of that blog (or this one) therefore won’t be surprised at what’s included. The focus for this release has been “streamlining and modernizing Finale’s codebase,” Mark said. Even the most entry- level computers are 6. The difference between 3. GB of memory. Practically speaking, 6. Finale, it will finally be able to accommodate 6.
Generally speaking, other than those described below, there are no major changes to Finale’s interface from 2. Finale v. 2. 5. Finale v. Mac OS Yosemite (1. Windows 7 (6. 4- bit) or higher will be required.
Full details about system requirements are listed on Finale’s web site. The change to 6. 4- bit means that all shipping plug- ins have been updated. Popular plug- ins such as Jari Williamson’s JW Freeware Plug- ins, Robert Patterson’s Patterson Plug- in Collection, and Tobias Giesen’s TGTools are all being updated as well, as the the 3. Finale v. 2. 5. In addition to the update to 6. Finale’s other notable new features are: Re.
Wire support. Correct transposed instrument audio on note entry. Staff attribute to independently display time signatures in a score and part (to better facilitate film- score style large time signatures)Contoured dashed slurs. Additional Garritan sounds and updated ARIA player. There are a number of smaller fixes and changes as well, which we’ll summarize later.
A full list of what’s new in Finale v. Mac and Windows may be found on Make. Music’s web site. For now, read on for an overview of the more significant changes. Nothing can drag you down like waiting for Finale to complete a spacing change, making a selection, or just navigating.
While not blazing fast, Finale v. Finale 2. 01. 4. 5 in a number of areas, and shows huge improvement in plug- in processing time, playback processing time, and certain operations involving lyrics. When Finale 2. 01. I compared it against Finale 2.
Finale 2. 01. 2. I’ve run the same comparison here with Finale v. As was the case last year, results were mixed. Finale v. 2. 5 fared better than 2. Next up, a huge opera score: 4.
Lyric performance has long been a problem with Finale in larger files. The improvements in Finale v. Selecting lyrics in the window, a task that took 9 or 1. Finale 2. 01. 2 through 2.
Finale v. 2. 5. Very impressive! My next test file was an orchestral work, 2. When I ran this test last year, Finale 2.
I was told that the development team had discovered a bug in rendering time signatures. Fortunately, it appears that this bug has been fixed, as Finale v.
The biggest change here was Human Playback processing time. Finale 2. 01. 4. 5 more than halved 2. In other words, a file that in 2.
The shipping plug- in Patterson Beams was also markedly improved, completing a task about 4. I then tested a file provided to me by Make. Music last year: a 9. Again, here the biggest winners were plug- ins and playback (though not as much of a difference between 2.
Other results were comparable to previous versions. Of course, these tests represent a small sample of the variety of tasks that Finale users do, and the files themselves are a tiny fraction of the many types of scores that one can generate with Finale. But at least from these samples, Finale v.
Unfortunately, a limitation still exists on the size of a Finale file itself, even with the change to 6. It is still only possible to have a maximum of 3. Finale document. Most users aren’t be affected by this, but for those users working with very large scores like operas, you’ll still have to manage multiple files to get around the limitation. Re. Wire support. When Sibelius introduced Re. Wire support in Sibelius 6 way back in 2. I worked with scoring software and sequencers.
Before then, playing back a notation score and an audio file in sync was a chore. With the ability to use Re. Wire to connect Sibelius and my DAW (Logic), though, I could test out orchestrations in time with an audio mix or video, or even add Sibelius instruments to my Logic mix. When demonstrating the feature at film scoring workshops, I was often asked if Finale had the same ability. I regretfully had to say no, but no longer — thankfully Re. Wire is now supported in Finale v. Basically, you open your DAW of choice, add a bus or aux track, add Finale as your input, and then you have to open Finale.
Finale will run as a slave to Logic, meaning that any tempo markings in Finale will be ignored in favor of the tempo indications in Logic. As I did in 2. 01. Sibelius, I’ve made a video demonstrating how to set up Re. Wire with Logic and Finale and how it works. It’s worth noting that with the addition of Re. Wire support and the ability to sync video with Finale via professional DAWs, the Movie Window has been removed from Finale v.
It won’t be missed, since it never worked very well anyway — I appreciate that Make. Music has decided to spend the resources elsewhere instead of trying to improve it.
Correct transposed instrument audio on note entry. I have to admit that this was always one of my pet peeves about note entry in Finale. When entering notes for a transposing instrument such as a clarinet into a transposing score, Finale would display the written (transposed) pitch but provide audio feedback as if the score was a concert score. In other words, for a clarinet in B- flat, you’d see a written D but hear a concert D instead of a concert C. Score playback would be correct, but if you were accustomed to entering music in a transposing score, it was disconcerting.
After nearly 3. 0 years, this has finally been corrected! Mark Adler demonstrates it here: This works with both Speedy Entry and Simple Entry. In addition, it is possible to play the sounding pitch and have Finale transpose it on entry — helpful if you’re playing directly into MIDI. To do that, switch on MIDI/Audio > Device Setup > Transpose MIDI on Input. The Sibelius equivalent of Transpose MIDI on Input switched on is File > Preferences > Step- time and Flexi- time > Transposing Staves > Input sounding pitches. The Sibelius equivalent of Transpose MIDI on Input switched off (the new Finale default) is File > Preferences > Step- time and Flexi- time > Transposing Staves > Input written pitches.
It does not appear to be possible to make Finale v. Separate Staff Attribute for time signatures in score and parts. When linked parts were introduced in Finale a decade ago, it was made possible to have different fonts and sizes for the time signature in the score compared to the parts. However, it wasn’t possible to actually alter the display state of a time signature in a score versus the part except with a staff style which only appeared in the part.
The most obvious use case is in film scores which use huge time signatures which span many staves in the score, but regular size time signatures in the parts. This question has come up more than once in workshops that I’ve given, and by the time I give the workarounds with the staff styles, eyes are glazing over.
Thankfully, this has been made a whole lot easier in Finale v. Now, separate options are available for each instrument: Time Signatures in Score and Time Signatures in Parts.