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Messages - Lawrie Pardy

2
General Discussion / Re: Favourite/preferred Soundfont(s)
My editor output is Microsoft GS Wavetable Synth. I’m not sure how to add Unison or whatever to the editor. Or how to add Microsoft to the Viewer (if that will solve the problem).
To get your preferred soundfont (Unison) working in the editor 3 steps are required, I assume at least 2 of them are already done as you mentioned you have Coolsoft VirtualMidiSynth.

For completeness, the three steps are:
  • Install Coolsoft VirtualMidiSynth to your machine.  I believe this is already done in your case.
  • Select the required soundfont in the synth.  I believe this, too, is already done in your case.:
    • click on the Coolsoft synth icon in the system tray
    • click on configuration
    • make sure the "Soundfonts" tab is active
    • Make sure the required soundfont is active in the dialogue, if not click the green "+" sign and add it
    • click OK
  • For the editor, MIDI out is selected in |Tools|Options|MIDI (tab)|Devices used by play back:|
    Your Coolsoft synth should appear here.  If not, select it from the Available devices.  Also, REMOVE the microsoft one if it is in the "Devices Used" list so you only have the Coolsoft one active.

N.B. You cannot add the Microsoft soundset to the viewer as it isn't a soundfont and you need a soundfont for the "play to" feature to work.

If I were doing what you are I would configure coolsoft and the NWC editor as mentioned above, and I would set the same soundfont as used in Coolsoft as the Viewer soundfont.  Then I would select the Viewers output as the internal synth.  (see reply 10 (from me) earlier in this thread)
3
General Discussion / Re: Favourite/preferred Soundfont(s)
So many great questions. When you say editor, do you mean NWC 2 where I do my composing?

Dynamics are the same as the piano.
My editor uses the Windows computer standard sound font. It sounds fine in the editor. Trombone is its own channel. The muting does not  happen on playback in the NCW Viewer as well. I’m not sure how to check what sound font the Viewer is using. The difference appears constant with the three fonts I have loaded (unison 2 , FluidR3, and Titanic)
  • The editor is NWC where you do your writing/composing.
  • Matching dynamics eliminates that possibility.
  • For the editor, MIDI out is selected in |Tools|Options|MIDI (tab)|Devices used by play back:| - Your Coolsoft synth should appear here.
  • For the editor soundfonts are assigned in your synth.
  • In the Viewer you can also select a soundfont in |Tools|Soundfont| - this may or may not be the same soundfont you use in the Coolsoft synth
  • For the Viewer you can select a play back device through |Tools|Options| where an external synth or the internal synth can be selected.  You don't have to use the internal synth, even if you have loaded a soundfont in the viewer.
  • Playback to an audio format (mp3 or FLAC) uses the internal synth thus you need to assign a soundfont to it if you wish to use this feature.

Given point 7 above, is the soundfont used by the player's internal synth the same as loaded in the Coolsoft synth?  If not then this is likely the source of the difference.
4
General Discussion / Re: Favourite/preferred Soundfont(s)
Some thoughts:
  • Do you find the same problem when playing back from the editor, or is it only the viewer?
  • Do you find the same problem when playing back normally from the viewer, or is it only the export to mp3?
  • I'm going to assume you've made sure both the editor and viewer are using the same soundfont.
  • I've found many soundfonts aren't well balanced when it comes to volume from one patch to the next.
  • Does the trombone channel have dynamic markings very different to the piano part?
  • Are there multiple staves on the trombone channel and if so does the last one (top to bottom) have a higher volume setting than the one you're using?
  • Have you tried a different soundfont to see if the problem goes away?

5
General Discussion / Re: Force a Page Break?
Thanks for your help. You didn’t mention it but this only works on the top staff, for future reference.
<snip>
A pleasure.

True, but that's the case for quite a few formatting goodies.

Nevertheless, I will use them in each part where I want to force a new page when extracting partiture.  As you noted, they are ignored if there's a visible staff above them.  Something to keep in mind when layering staves.
6
General Discussion / Re: Force a Page Break?
Yep, there is a mechanism in NWC especially for this:
  • Immediately after the last bar line where you want to start the new page press <]>* to initiate a boundary change.
  • On the "Boundary" tab you'll see at the bottom a radio button for forcing a new system, click it.
  • Beside this there is a check box to start a new page (this is greyed out unless the radio button is clicked), check it.
  • voila, new page is forced.

* you can also go through the menu system:
| Insert | Boundary Change...
7
General Discussion / Re: Digital Whiteout
Hi SEBC,
it's of less interest these days as things like being able to gap the staff have made it pretty obsolete.

The idea is to use a block, or blocks,  of white colour to cover over things you didn't want to see on a printout.  Simply create a text object using a character that gives the shape you want and set it to whatever highlight colour you've changed to white.

The "g" character from the Webdings font gives a nice rectangular block that works well.
8
General Discussion / 2022 starts
It appears the new year has just started, at leas here in Oz it has ;)
Happy New Year folks.  I hope and pray it's a better one than last year!
12
General Discussion / Re: Digital Whiteout
I've searched the forum for "Digital Whiteout" and I find many references to it, but I haven't figured out how to select "White" as a color. It seems like the color choices are fixed, and white is not one of them. How do I make text white?
Hey mate,
Merry Christmas 'n stuff...

You're quite correct, none of the default colo(u)rs are white, BUT you can change the colour of any attribute you want.

For digital whiteout simply select one of the highlight colours and set it to white. 
Tools (menu) | Options... | Color (tab)
- click on the colour you want to change (it's been a while but I think I used to use Highlight 7)
- click the change button...  you know the rest ;)

<edit> Looks like HM posted while I was faffing about ;)
13
General Discussion / Re: Favourite/preferred Soundfont(s)
I absolutely agree!  ;D

Of course you know that, with the help of some dedicated software, you can make your personal collection of patches (i.e. sounds) picking your best-of-the-best from many different s.f. Do you?
Yeah, but I'm far too lazy ;)
The time it would take to just identify the particular patches I'd want in the aggregate set could easily be the rest of my life!  :o
14
General Discussion / Favourite/preferred Soundfont(s)
Hi all,
after looking into @Flurmy 's little issue here: https://forum.noteworthycomposer.com/?topic=10126.new#info_72826
I thought it might be worthwhile if we took the time to share our preferences regarding Soundfonts.

As I'm sure anyone who has spent any time looking for a soundfont that suits them knows, it can be a very long and frustrating exercise, so I thought it could be good if we pooled our discoveries. 

Which soundfonts do you like, which ones do you dislike and reasons for both.

Bear in mind, this is all subjective and should NOT be considered an objective critique as your mileage WILL vary.  My personal priority is for good sounding winds, particularly brass.  Of course my interpretation of good and yours will surely be different.  My preferences are heavily informed by my trombone playing.  If you are, say, a piano player I'm sure piano sounds will be your priority, ditto if you are a string or reed player etc..

Something I've found interesting.  In many cases certain sounds will be identical between very different soundfonts.  I can only assume there has been a lot of "borrowing" going on between authors, or perhaps many of them have used the same sources for some of their sounds.  Because of my bias for brass I have noticed this particularly in the brass sounds.

I'll kick it off:
LIKE:
Merlin_GMpro(v3.15)                                      I really like the trombone sound and none of the other sounds I've used irritate me enough to look further at the moment.

DISLIKE:
Airfont340The trombone sound is terrible and the Bright Acoustic Piano is trying to be a Harpsicord.  Also seems to have playback problems on Acoustic Grand patch
Airfont380The trombone sound is terrible
Several Creative fonts distributed with soundblaster cards I've purchased over the yearsObviously computer generated, just disappointing, though sax sounds seem to work
Roland (various)These are clearly related to the Roland sounds distributed with Windows and we all know why we don't use that!
Around 20 other soundfonts (list below)For most of them the trombone (and other brass) is just plain wrong.  In many cases strings are good, but I've found a few where violin sounds in particular are sub-standard.  In general they aren't awful, I just don't like them.  YMMV

AMBIVALENT:
Yamaha XG SoundSetThe Yamaha S-YXG50 synth was my goto in XP, but the .sf2 implementation is not nearly as good.  No longer a favourite.  Difficult to find and not worth the effort IMHO.
WeedsGM3.sf2Generally OK, but I find the brass wanting
Musyng Kite.sf2/Evanessence2.sf2Both from the same creator, the latter is the predecessor - Generally OK, but I find the brass wanting
Timbres Of Heaven GM_GS_XG_SFX V 3.4 Final.sf2Generally OK, but I find the brass wanting
Titanic 200 GM-GS SoundFont 1.1.sf2Generally OK, but I find the brass wanting
FluidR3_GM.SF2Generally OK, but I find the brass wanting

As you might be able to tell, I'm particularly fussy about the brass sounds...  And they're often very disappointing.

List from DISLIKE table:
053.7mg Taiji Generation V6.66 Bank.sf2
38.1mg the atomic soundfont v1.0 bank.sf2
61.9mg_Jurgen_GM_GS_Bank.sf2
65.8mg music man gm gs v1.0 bank.sf2
8Rock11e.sf2
Airfont_340.sf2
airfont_380_final.sf2
Arachno_SoundFont_Version_1.0.sf2
Creative (emu10k1)8MBGMSFX.SF2
Creative Labs 2M GM_2gmgsmt.sf2
Creative Labs 4M GM_4gmgsmt.sf2
CrisisGeneralMidi3.01.sf2
CT2MGM.SF2
CT4MGM.SF2
Hyper-VSC SF-GS v2.sf2
OmegaGMGS2.sf2
Roland SC-55 50 MB by Trevor James.sf2
Roland SC-55 54 MB by Trevor James.sf2
ross.sf2
sYnerGi 200.sf2
sYnerGi 200LE.sf2
sYnerGi-8Mb.sf2
sYnerGiGS.sf2
SYNTHGMS.sf2

Disclaimer:
To the best of my knowledge all of these soundfonts are freely distributed by the authors with the exception of the Creative ones which I progressively acquired as I purchased various Creative sound cards over the past several decades.




15
General Discussion / Re: Ghost note
Hey Flurmy, pretty sure it's the soundfont.  And it seems to only be the Acoustic Grand Piano patch too.

I'm also using VirtualMIDISynth and didn't have a problem (my current soundfont is Merlin_GMPro(v3.15).  I didn't have a copy of Airfont340, but I did have a copy of Airfont380_Final and it was also fine, so I hunted around and found a copy of Airfont340 and voila, there it was, but as mentioned, apparently only patch 0 (the Acoustic Grand).  NB I didn't check all the patches, just a small sample.

Actually, to be more correct, it's possible it's the combination of the soundfont and Coolsoft VirtualMIDISynth and NWC.  To be certain a different synth using the airfont340 soundfont should be tested. 

NB IIRC NWC uses a Note On with velocity zero or the like as a note off.  Don't remember exactly, there was some discussion on the forum about this relatively recently.
<edit> found it.  You even commented ;)
https://forum.noteworthycomposer.com/?topic=10064.msg72304#msg72304
</edit>


Maybe just checkout Airfont380 and see if you like it...
16
General Discussion / Re: Ghost note
Hey Flurmy,
Where does that last top F# comes from?
A can't see any reason!
I must be missing something...  I've downloaded the file, opened it in NWC it plays as it reads.
Checked the nwctxt and it is exactly what I would expect.
From the key sig F's are sharp anyway, but the ties make each chord the same anyhow.
17
General Discussion / Re: Windows 11
Being a retired IT pro and the cynic I am, and given the history of the quality of m$ release products, there is no way on this earth I would install Win 11 before it's been around for at least a year, and maybe not even then.  I only moved from XP 2 years ago because I finally HAD to move to a new machine.
IMHO the first XP was very poor, but by the time SP3 was out it'd become quite reasonable
Vista was a disaster
Win 7 was just enough better to be reliable but configurability was terrible
Win 8 and 10 added their terrible UI changes and even more configurability issues, 11 just seems to make things worse again.

Seriously, if I'd wanted a Mac and iPhone combined, I would've bought a Mac and an iPhone, I don't need windoze to pretend to be one.
19
General Discussion / Re: Graphics....
<snip>
Graphical additions:
A1. Support for smaller staff size. This includes size reduction of all symbols on the staff, including texts, slurs and ties, dynamics.
Perhaps an acceptable way to approach this is a scaling factor property for staves.  Similar to the existing scaling factor that's available for text objects, except the staff property would affect everything on the staff.
20
General Discussion / Re: Percussion Staff Bar Lines
Another idea. (wait for it...) A Staffsig user object that searches for all subsequent bar lines and redraws them at a specified height. Perhaps it would require them to have visibility set to None, to prevent alignment glitches,
Maybe an associated user tool that can set the visibility to Never...  Of course that could also be achieved with Global_Mod...

Quote
Or better yet, a staff property setting in the next version of NWC that lets you specify the barline height for a percussion staff with a single staff line.
I really like this idea best - It feels well past time for the next version.  Not that I'm having any problems with what we have, but it just seems that there are possible features that could potentially revolutionise how we use NWC.
22
General Discussion / Re: Percussion Staff Bar Lines
Years ago when I was fiddling with fonts I experimented with creating a font that was just barlines.  It was based around my SwingDings suite and the intention was to use a user tool to overlay the NWC generated barlines with text objects that were lines (actually characters) from the font.

The idea was to try to imitate a handwritten appearance for barlines.  The associated VBScript I wrote was supposed to randomly select from some barline sets within the font file.  Either 1 of 10 (IIRC) possible normal barlines or 1 of 3 (again IIRC) decorated barlines.

I never ended up completing the project because of both time constraints and limited usefulness.  However, perhaps you could use a similar approach?
23
General Discussion / Re: Percussion Staff Bar Lines
I can think of a couple of tricks...

RickG used to use headless, muted grace notes to create vertical lines with their stems.  You would need to make the real barlines invisible because I don't think you could successfully exactly overlay the stem on the real barline.

OR,
you could try placing a text vertical line positioned centre justified at next note/bar.  The <|> (<Shift+\>) character springs to mind.  There are also line drawing characters in some fonts accessible through Character Map but they might be a bit bold/thick.

There may also be an object available that could be co-opted for this role, but that information would have to come from the creator or a user experienced with the putative object.
24
General Discussion / Re: how to alternate note values for a three note chord.
I was afraid of that.  One or two chords in the whole piece and it seems I have to create yards of bars!?
<snip>
Yeah, it can be a bit of a pain sometimes, but it isn't really that hard.  Make one bar with a hidden whole rest and a barline and copy and paste it as many times as needed to get to the place where you need the chord.  You can even copy and paste it say, 4 times, then copy and paste the 4 bar block to make it go faster.
25
General Discussion / Re: Support for Error: Missing Font NWC2STDA
Aren't the ...Germanic fonts in the standard install?? <snip>
Nope.  They were a later addition.  Although I have no objection to their inclusion in the installer should Eric choose to.

As a result you need to download the ChordFontSupplement from this page:
http://zoundz.pardyline.com.au

Direct download here:
http://zoundz.pardyline.com.au/SupportFiles/Fonts/ChordFontsDoSiGermanic.zip
28
General Discussion / Re: how do you do this?
Two options:
a) layering - I wouldn't bother with that for this level of chord structure, but if there's a lot of difficult chordal structures involved then that's a different story.
b) in staff chords like this:
Code: [Select · Download]
!NoteWorthyComposerClip(2.751,Single)
|Chord|Dur:8th,Slur|Pos:1|Opts:Stem=Up,Beam=First|Dur2:4th|Pos2:-5,-3|Color:3
|Note|Dur:8th|Pos:n0|Opts:Stem=Up,Beam=End|Color:3
|Chord|Dur:4th|Pos:-5,-3|Opts:Stem=Down|Dur2:4th,Dotted|Pos2:0|Color:3
|Chord|Dur:4th|Pos:-5,-3|Opts:Stem=Down|Color:3
|Note|Dur:8th|Pos:0|Opts:Stem=Up|Color:3
!NoteWorthyComposerClip-End
If you click "Select" then press <Ctrl+C> the code above will copy to the clip board.  You can then paste that into a staff in NWC V2.0 or later.

When editing, chord members can be created with <Ctrl+Enter>.  Position the first note, press <Enter>, position the second note of the chord and press<Ctrl+Enter>, and so on for each chord member.  A search of the help system for "chord member command" is useful.  The section is quite comprehensive.
30
General Discussion / Re: Suddenly cannot layer staffs?
Hi Jeb,
those 2 images appear exactly as I would expect in a normal edit window.  I assume you know the layering is broken somehow because you've either tried a print preview, a printout OR you've used the "Allow Layering In Edit Mode" button (6th button from the left in your image).

Would you mind letting us know which one(s) you've tried please?

Lawrie
32
General Discussion / Re: Bug when using percussion
Hi TopQuark,
So, are you saying I cannot have more than 16 separate instruments (ie. MIDI channels?)
<snip>
No, as Flurmy said, you could have multiple synths or share channels. 
Quote
<snip>
If I combine organ and piano grand staves, that helps, but then I can't add a piccolo part because I already have 16 channels in use?
<snip>
Actually, it's not really that difficult, or quite as limiting as it seems.
Firstly, combining an organ and a piano is probably not the choice I'd make...  But using the same channel for identical or very similar instruments is exactly what I do.

This gets a bit long-winded.  Sorry 'bout that:

Using a Concert/Military/Marching/Wind band score, you might lay it out like this:
Midi ChannelInstrument
1Flutes (and maybe piccolo but using a flute patch*)
2Oboes
3Bassoons
4Clarinets
5Alto Saxes
6Tenor Saxes
7Baritone Saxes
8Horns
9Trumpets
10Un-pitched Percussion
11Trombones
12Guitars
13Piano (both hands)
14Basses (either Double(string) Basses or Bass Guitar)
15Tuba/Euphonium**
16Tuned Percussion (***Glock, Marimba, Tubular bells etc. excluding Tympani****)

* Using a flute patch for piccolo is probably not the best idea, but if you have some flute players on flute and some on piccolo at the same time and not enough channels then this might be an acceptable compromise.  Just make sure the octaves are correct for the instrument.  Add an instrument change to a staff that changes the transposition and this will not affect other staves on the same channel.  E.G. Piccolo is an octave higher than flute, so an instrument change that transposes up 12 semitones will give an octave change on that staff only.  Later you can restore the octave with an instrument change with a 0 transposition when it goes back to flute.  Piccolo is normally written an octave lower than it sounds (written C4 sounds a C5) so the instrument patch is the easy way to go.

** there is no Euphonium patch on the MIDI standard so I use a tuba patch - the instrument construction is basically identical except for size so this is a reasonable substitution.  Euphonium (Bb) is 9 feet, BBb tuba is 18 feet long - both are conical bore construction.  At a pinch you can even use the same trick for Baritone (Bb, 9 feet) and Tenor (alto) Horn (Eb, 7 feet) if your synth/soundfont is good enough as they also have a conical bore construction, but please note the rate of change of the bore diameter is less and the relative bore itself is also less so the real thing sounds "thinner" than a Euphonium or Tuba in the real world.  In the MIDI world you don't really have a choice as there are no Baritone or Tenor Horn patches.  If it's really necessary you could even use a Tuba patch for a Flugel Horn (Bb, 4 feet 6 inches) but this is stretching things a little...  The tuba patch would need to be pretty good.  There are other ways around these substitutions if you have access to suitable soundfonts/virtual instruments, but this reduces the portability of your score to other NWC users and of any exported MIDI file.

*** you would need to have in staff instrument changes.  However, if you need say, Marimba and Tubular Bells at the same time then you'd need to find another available channel.

**** In this example there aren't enough channels for Tympani as well, though you might be able to use channel 13 as most bands of this type don't have a piano.

You don't have to use this exact schema, it's simply an example.  The sharing of channels for the "same" instrument is quite reasonable.  After all, if 3 staves are, say, Trumpet, they're all using the trumpet patch anyway, so sharing a channel is fine.

The Tuba/Euphonium example is also logical as explained above.

Channel 10 is percussion.  Actually untuned percussion, so using this channel for every untuned percussion instrument/part is essential anyway.  You could easily have many staves on this channel depending on how many percussion parts you choose to write.

If you're really stuck for channels, you could combine similar instruments.  The easiest would be Alto and Tenor Saxes.  In the real world there are definite timbre differences, in the MIDI world you could get away with using either a Tenor or Alto patch for both and put them all on the same channel, thus freeing a channel up for, say, Tympani.  If you're really stuck you might even be able to add the Baritone Sax to this combo but the effectiveness of this would depend greatly on your synth.

If you don't need a guitar, then you have a free channel to assign as needed, again E.G. Tympani.

Ultimately, the key is to combine identical or similar sounding instruments on the same channel.

This example is for Concert Band (etc.) type scores, but you can use the same technique for an Orchestral score, or a Big Band score, or whatever you need.  At first glance, 16 channels seems very limiting, but a little creative thinking can stretch those 15 non-percussion channels a looong way.
Quote
I'm sorry, I didn't mean to turn this into a full discussion of the MIDI standard. I'ts probably here somewhere else on this forum.
No worries.  I hope the above is helpful.

<edit> the lengths of the brass instruments in ** are not exact but close.  The Eb Tenor Horn length has been edited a couple of times as I've tried to confirm it with conflicting data - pretty sure it's about right now.
33
General Discussion / Re: Bug when using percussion
Hi Topquark.
Just by way of an FYI, MIDI channel 10 is always the percussion channel*.  This is part of the MIDI standard.  Using a percussion clef does not define the staff as a percussion staff as far as NWC is concerned, it is there for correct appearance on the printed page.  You could also use a bass clef and get the right sounds, but the wrong appearance.  NWC doesn't care what MIDI channel is assigned to a staff, BUT your synthesizer does.

I agree it can be a bit of a "gotcha" when NWC automatically increments the MIDI channel number for each additional staff and the 10th staff created gets channel 10, but I'm not sure I'm ready to call it a bug...  It is however, something to be aware of.  Perhaps programming around auto assigning channel 10 might be a good idea and worth being made a suggestion.

When you change the notehead shape (E.G. to an X) it will remain the new shape until changed again.  This is always a manual action.

* there are specific exceptions to this but they are basically irrelevant in this context.
34
General Discussion / Re: Listen to the Hammer Ring sound effect
Has anyone ever created a sound effect of a hammer striking a piece of steel?

Or could someone show me how to create such an effect?
<snip>
I tried to do this effect for a similar purpose.  Not really sure how good it is, but the .nwctxt below will show what I got.

The first 2 bars are just the hammer blow, while the second 2 have my attempt to imply an echo added...

Percussion staff required (channel 10) instruments (top down) are:
Ride bell
Accoustic Snare
Accoustic Bass

Bar 3 changes the Accoustic Snare for a Side Stick for variation in that bar only.

You could also add a splash cymbal (Bass clef G nat - 4th space) to fatten the sound a little.  I also experimented with a Chinese Cymbal (bass clef E nat - 3rd space) but wasn't happy with it as it rings too long, ditto crash cymbal (bass clef C# - 2nd space)

If you haven't used the code window before, just click Select, then <Ctrl+C>, go to NWC and |Edit|Paste as new file|  (<Shift+Ctrl+V>)

Code: [Select · Download]
!NoteWorthyComposer(2.751)
|Editor|ActiveStaff:1|CaretIndex:6|CaretPos:0
|SongInfo|Title:"HammerSound"|Author:"<Name>"|Lyricist:""|Copyright1:"Copyright © 2021 <Name>"|Copyright2:"All Rights Reserved"
|PgSetup|StaffSize:16|Zoom:4|TitlePage:Y|JustifyVertically:Y|PrintSystemSepMark:N|ExtendLastSystem:N|DurationPadding:Y|PageNumbers:0|StaffLabels:None|BarNumbers:None|StartingBar:1
|Font|Style:StaffItalic|Typeface:"Times New Roman"|Size:10|Bold:Y|Italic:Y|CharSet:0
|Font|Style:StaffBold|Typeface:"Times New Roman"|Size:8|Bold:Y|Italic:N|CharSet:0
|Font|Style:StaffLyric|Typeface:"Times New Roman"|Size:7.2|Bold:N|Italic:N|CharSet:0
|Font|Style:PageTitleText|Typeface:"Times New Roman"|Size:24|Bold:Y|Italic:N|CharSet:0
|Font|Style:PageText|Typeface:"Times New Roman"|Size:12|Bold:N|Italic:N|CharSet:0
|Font|Style:PageSmallText|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User1|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User2|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User3|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User4|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User5|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User6|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|PgMargins|Left:1.27|Top:1.27|Right:1.27|Bottom:1.27|Mirror:N
|AddStaff|Name:"Staff"|Group:"Standard"
|StaffProperties|EndingBar:Section Close|Visible:Y|BoundaryTop:12|BoundaryBottom:12|Lines:5|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:10
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|Tempo|Tempo:85|Pos:11|Placement:AsStaffSignature
|Clef|Type:Percussion
|Key|Signature:F#|Tonic:G
|Text|Text:"Drums"|Font:StaffItalic|Pos:12|Placement:AsStaffSignature
|TimeSig|Signature:4/4
|Chord|Dur:8th|Pos:-9,-7|Opts:Stem=Down,ArticulationsOnStem|Dur2:Whole|Pos2:n2
|Rest|Dur:8th|Opts:Stem=Down
|Rest|Dur:4th|Opts:Stem=Down
|Rest|Dur:Half|Opts:Stem=Down
|Bar
|Chord|Dur:8th|Pos:-9,-7|Opts:Stem=Down,ArticulationsOnStem|Dur2:Whole|Pos2:n2
|Rest|Dur:8th|Opts:Stem=Down
|Rest|Dur:4th|Opts:Stem=Down
|Rest|Dur:Half|Opts:Stem=Down
|Bar
|Chord|Dur:8th|Pos:-9,#-8|Opts:Stem=Down,ArticulationsOnStem|Dur2:Whole|Pos2:n2
|Note|Dur:8th|Pos:#-5|Opts:Stem=Down
|Note|Dur:8th|Pos:-5|Opts:Stem=Down
|Note|Dur:8th|Pos:-5|Opts:Stem=Down
|Rest|Dur:8th|Opts:Stem=Down
|Note|Dur:8th|Pos:-5|Opts:Stem=Down
|Note|Dur:4th|Pos:-5|Opts:Stem=Down
|Bar
|Chord|Dur:8th|Pos:-9,-7|Opts:Stem=Down,ArticulationsOnStem|Dur2:Whole|Pos2:n2
|Note|Dur:8th|Pos:#-5|Opts:Stem=Down
|Note|Dur:8th|Pos:-5|Opts:Stem=Down
|Note|Dur:8th|Pos:-5|Opts:Stem=Down
|Rest|Dur:8th|Opts:Stem=Down
|Note|Dur:8th|Pos:-5|Opts:Stem=Down
|Note|Dur:4th|Pos:-5|Opts:Stem=Down
!NoteWorthyComposer-End
37
User Tools / Re: USERTOOL: show_all_note_names.lua
Hey @Bart Just had a play with this.  I Have a suggestion for it.

It would be nice to have a switch to ignore hidden or perhaps selected staves.  I certainly understand why you mightn't want to, knowing a sound from a hidden stave changes things, BUT in my testing I found I was getting spurious results because percussion staves were being included.
38
General Discussion / Re: Installing Inkpen2.TIFF fonts
Hey Patrick,
glad you found it.  Personally I don't think it's really that complicated but I understand the frustration.

Have you looked at my font suites (PardyPack)?  There is a lot of commonality with Inkpen2 (for SwingDings) though they are even more connected to Boxmark2.  There are also have associated NWC2 system fonts that continue the look for the whole score.  There are also a serif and a sans serif variant you might find interesting.

https://noteworthycomposer.com/uc/pardypack/index.htm

The suites contain a system font, chord font, boxmark style font and text fonts
39
Object Plugins / Re: ChordPlay.nw
It's a bit obscure, but if you highlight the object, then right click you get a context menu where you can select the Object (Chordplay...) option, where there is a font option.
Also, instead of highlighting the object, just right click it and it will take you straight to the submenu where the font option exists.

40
General Discussion / Re: From two staves to three staves
Not really any problem at all.
  • 1st step is to have enough staves to cover your needs
  • then notate as if the extra stave(s) aren't there EXCEPT you position them in so that the one(s) to be "added" later are in the correct vertical position.  E.G. the S.A staff might be the top one, the future A one would be the 2nd staff and the T.B staff either the 3rd or the bottom one
  • Place a "Boundary Marker" <]> at the beginning of the unneeded staff to collapse it and fill it with rests up to the point it is needed
  • Place another "Boundary Marker" <]> to restore the collapsed staff (I suggest after the first bar line and before the first note at the bar the split happens and perhaps set a system break on the bar line) and populate as required.
  • If/when it is no longer needed repeat step 3 except place the marker after the last bar line of the separate section
  • Ditto if the T.B staff is to split at any point

N.B. all staves will be visible in the editor at all times (even viewer mode).  The change will only be seen in print preview and on the printed page.

BTW, I could be very wrong but I suspect that bass clef should first appear at the breath mark in bar 37...
41
General Discussion / Re: how to deal with orphan notes on a staff stretching to the right margin
I would put a system break at the end of bars 40 and 45.
Actually, in more detail, there should be a transparent barline added after the 4/4 time signature and the system break added there instead of the barline at the end of 40.  Then another 4/4 should be added after the transparent barline so the 4/4 is repeated at the start of the next system.

This would give you 2 systems of 5 bars and one of 4.
43
Object Plugins / Re: Markup.rg
Perhaps if your example was a .nwctxt of the whole file instead of the single staff..?
44
Object Plugins / Re: Markup.rg
Hey Opagust...  Umm, what's it supposed to do?  If it's put the numbers 1 and 2 to the left of the staff then it didn't work for me...
46
General Discussion / Re: Tranposing part of a staff?
Hey Tony,
an octave shift is easy as there's no key signature change etc.  Just highlight/select the bars/notes to be octave shifted, press and hold <Ctrl+Shift> and press the up or down arrow 7 times.  This will move the selected notes up or down 7 lines/spaces which is an octave.

To transpose a section and have a key signature change as well, then your technique of copying/transposing/copying back SHOULD (and does) work.  I've done it many times.  Just remember to
  • have the original key signature on the temporary staff before you transpose
  • UNcheck the "Update Staff playback... (not that this really matters)
  • include the new key signature when you copy the section back to the old staff
  • restate the original key signature in the bar following the transposed section (unless you want to continue the work in the new key).
47
Object Plugins / Re: Tempo.ms (version 2.0)
Hi jfb,
having followed up a little more I see what you mean.

I've played a number of pieces in 5/8, and other odd meters, but using the tied note mm is new to me (I guess haven't played any Bartok ;) )

Being a piano piece I guess it isn't a big deal as the pianist can pretty much do what they want, but as a trombone player I see things like this in the light of trying to follow a conductor in a band/orchestra setting.  In the case of your example (No. 115 from Bartok's Vol IV) I would expect a conductor to indicate the pulse in 3+2 until bar 9 where it swaps to 2+3 and then back to 3+2 at bar 17 until bar 30, then swaps again for 31 and again for 32 (the last bar).

As this is a dance rhythm it is important to get the pulse right.  As a band/orchestra musician this makes it important for me to know what to expect from the conductor.

A long winded explanation why I felt the tied note mm might be confusing.


49
Object Plugins / Re: Tempo.ms (version 2.0)
Just to clarify, I would see this as 1 beat/pulse in the bar rather than the usual 2 (2+3 or 3+2 quavers)

So 72 for the whole bar would be equivalent to quaver=360, except as one beat instead of 5?