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Messages - hmmueller

General Discussion / Re: Buona Pasqua
Happy Easter to all of you!

Holy Week: 5 services behind me, 3 coming up; 9 or 11 rehearsals, I don't remember; and a number of 3-voiced choral settings written; one of them in 12 minutes (friend in car was coming, so I had to hurry) - including lyrics and nice formatting, of course using NWC. Wouldn't know any other music editor where I could do that. See attachment.

General Discussion / Re: Funny notation
Better (or rather, correctly) like that:

Code: (nwc) [Select · Download]

Object Plugins / Re: (2.1)
Mike, I think you are right. In the attachment are three excerpts from Bruckner's 7th symphony (two at the very beginning, one almost at the end); where one can see that the tremolo markers on the eighths have two beams, whereas the tremolos on longer notes have three beams. Of course, the tremolo speed is the same everywhere in a phrase.

Elaine Gould implicitly, by examples and by implying that the notation is (also) used for "measured tremolos", implies the same on pp.222-225 of "Behind Bars".

General Discussion / Re: Very long half note
In the attachment is my version of the tenors - simply written on two staves, with melismatic.nw.

And here is a Youtube of NWC's + Reaper's rendition of it, using Olympus Micro Choir in Kontakt Player (see attached PNG). First, I press F11 so that the two staves are shown as a single one; then I play it - I think one can hear all the notes of the voices quite distinctly.

General Discussion / Re: NWC bug
My 2.75a.2 is "even wronger" - when I do what you say I get a completely impossible thing  :o  :P  :'( - see the attached images!!
But after saving and reloading it's actually as you show it.
Ok - a bug, or maybe two :)

General Discussion / Re: NWC bug
Not sure why this should be a bug: A b-flat is different from a b-natural, so they cannot be tied. What do I overlook?

But there is an obvious bug in NWC, to be seen here:
Code: (nwc) [Select · Download]
These two should not be tied.

Or you may move the time signature before the RangePitchMarkers?
I hesitate to do this, for two reasons ...

a) I have all the "fixed things" on the left (which includes the RangePitchMarkers), and then start with the piece (which includes the time sig).
b) The key signature goes before the time signature, so the key signature would be before the RangePitchMarkers, and then those would need full accidentals ... which, thinking about it, wouldn't be too bad anyway ...

... those staff headers anyway got too chaotic, so I might want to clean them up; and then see whether the (or - aha! - some (maybe invisible)!) time signature could go before them. More "clerical work" to do, instead of writing music ;-)

Mhm. Seems I need to change my templates - these are RangePitchMarkers I use now at many places ... or I delete them manually (using GroupOps) to create specific "convertor nwctxt files"; that's probably what I'll do.

Trouble with a score ... this one says with ERROR. I do have a time signature in "P2, voice 1" as far as I can see. What's wrong?

(In case you ask about that spacer-filled staff: It is for somewhat more smooth playing in the Viewer, like so).

Thank you!
General Discussion / Re: Finished Software?
Are there any significant bugs in the released version that haven't been fixed? I am aware of one minor user-object-related bug that was fixed in 2.8 beta 1, but I also recall that the beta introduced a different change of behavior that broke several user tools.
Didn't we have a list somewhere? The one bug that bugs me is that slurs with an invisible marker are shown visibly after the next line break after a repeat bar (the workaround is to plaster in multiple invisible slur markers; so yes, it's only a nuisance and nothing "significant" :-).

General Discussion / Re: Una corde
If you mean by "do this"
  • "how to notate" this - just write, as in the original score, "una corda" (ok, that's probably obvious);
  • "how to make it sound like that", then the question is, first, of course: "What is that una corda sound?" - I have not played too many upper-class pianos, but as I understand it it's a more mellow sound, and typically also with less volume (although you could hit the keys very hard in an una corda passage). Possibility 1: Typical piano soundfonts get more mellow when playing with less velocity; so reduce the velocity (with a dynamic with suitably chosen velocity) until you get the sound you want; and then adjust the channel volume (with an MPC) so that is as loud as you want. Possibility 2: If you find a piano sound font with an una corda bank, you can switch to that bank (with an Instrument Change).

Object Plugins / Re: (2.1)
Would something like the following work, for line 157?
Code: [Select · Download]
	local fini = idx:sppOffset() + nwcplay.calcDurLength(idx:durationBase(t.Which == 'bottom' and 1 or idx:noteCount())) - 1
At least, it seems to play both the attached scores correctly ...

Object Plugins / Re: Beam.hmm (0.91)
I've quickly added a "Beam width" property in version 0.91. 1 is the default width. An example file is in Reply #1 near the top of the thread. I hope I have not introduced any (new) errors - if so, please notify me!

Thank you!

- First item  :)) .
- Second, I had not installed MS3 on my new laptop - did it, it worked (well enough), thank you for trying and telling me!
- Third, I do not need correct playback - it's just that a certain website requires a MusicXML to be added, so I needed one. For actual listening, I have a youtube link to a playback with NWC Viewer (and Reaper + some soundfonts for the actual sound).

... also, here is an nwctxt file which after conversion crashes MuseScore 4.1.1. Maybe you can figure out the problem?

Very good tool - but the first dialog opens at weird places. Now, after having converted 5 or 6 files, it opens almost fully outside my screen - see attachment. So I cannot click on it, and the standard keyboard bindings seem not to apply (Y or J for yes; N for no; Enter for the standard button) - game over  :D

Edit: Ah, could open it by reducing screen enlargement from 125% to 100% - see second attachment. However, one can see that the window is ridiculously large. I have attached the nwctxt input file producing this.

Edit 2: 26 staves - a large wind band - seem to be listed from left to right - see one more attachment ...

General Discussion / Re: Elementary question - complicated answer?
Here is high level attempt to start(!) to answer your question(s) - and maybe reveal that I myself do not yet understand many aspects  ::) .

In the attachment, there is a diagram that shows some important objects.

On the left, there are a few NWC staves, with assigned MIDI channels. Multiple staves can send to the same MIDI channel - typically if they "are" the same instrument (e.g. left and right hand of piano). Often, one does that if the channels just sound the same (e.g. soprano and alto of a choir), but this limits more advanced possibilities (like having differing volumes of the sopranos and altos).

On the right, there is a "Playback Device" or "Synthesizer" or "DAW" or "Instrument Container" or ... many other names for this. Such a thing has typically 16 MIDI input channels (but it might be a software that, on the outside "looks like multiple playback devices", each which its own 16 channels ... so if you need more than 16 sounds to be controlled ... ok, later).

Inside, there are multiple "Instruments" or "Players". There are, in a vast generalization, two sorts of them:
  • Some are "specific instruments" - like "a violin", "a piano", "a choir". So, at least in a first setup, they are not controlled from the score, but directly in some GUI (except for the notes and the volume - these will always come from NWC).
  • Some are "general purpose players", like e.g. "soundfont player" (sfz, sfz+) or, in a kind of Russian doll hierarchy, "instrument containers" that are again like a Playback Device (Kontakt Player, for example). If they are loaded with a single sound font (e.g. from the "Sonatina Symphonic Orchestra" collection) or instrument (e.g. a single choir), they are like the "instrument above"; but if they are loaded with a "general soundfont" (most important, a General MIDI Soundfount; like FluidR3 or Chorium), someone must tell it from the outside which sound to play! - and this is where the "Send Patch" comes in (on MIDI level, this is accomplished via  a "Program Change Event" - all this is highly confusing: Why isn't it called "Patch Send Event"??). The grey circle in the middle diverts the incoming MIDI events (for notes) now to the right "patch" - or "program" or "sound" -, and all is fine. Typically, your Digital Instrument remembers the last Program Change, and the Playback Device remembers all its instruments and what they remember - therefore, after you have sent a "Program Change/Send Patch", you will not have to send it again ... ... unless some other score sends another "Program Change" over the same MIDI channel - then the earlier one is forgotten.

    ... and yes, NWC's Send Patch GUI logic seems somewhat too complex. As I understand it (and use it), if the "Send Patch" checkbox is enabled and there is a number in the patch field, a Program Change Event will be sent (either when NWC starts playing, for a staff; or when it encounters an Instrument Change while playing along). Nowadays, I know the numbers I need (Ocarina = 79, for simulating a small barrel organ!), so I ignore the "Predefined instruments". But even if I use them, I look at the checkbox and the patch number to check whether a Program Change will be sent.

    Next complication (there are millions): I made it look like an instrument listens on a single channel (1, or 2, or ...). But almost all instrument can also "listen on all channels", and then inside them do a distribution of channels to patches. This even more blurs the distinction between devices/containers and instruments/players, and sometimes drives one crazy if some program change switches over something in a completely unexpected instrument ... It pays off to have a "simple standard assignment here" - I try to avoid such "omni-channel" settings as much as possible.

    Last thing, re the banks: A "sound", as in "soundfont" or in "(real) instrument", is, of course and unfortunately, too coarse:  At the simplest level, a violin can be played with the bow or pizzicato, a choir can sing with male or female or mixed voices - but one can go much farther here: There are different makes of pianos, and different sharpnesses of voices, and different whatevers of whatever. So, a single "patch" might provide an additional selector for selecting these "sub-sounds" - those would be the banks. I have not yet come around to need that in my layman sound creations attempts, so I always a rigidly leave Send Bank Select disabled - but it's there, for the brave and whoever needs it.

Ok - I stop here, for the moment ... might be too confusing, and even wrong, already. Any help?

(Of course, what's missing is the "sound pipeline" that is coming out of the playback device - don't think that that's easy! And, on the left side, one may use "virtual MIDI cables" to make it easier, or more versatile and more difficult, to assign MIDI outputs (like from NWC) to playback devices. So, there's much more where one can fail ...).

General Discussion / Re: Elementary question - complicated answer?
A very very very reasonable request - however ... ... (a) it is, again and again, hard work to set up an audio rendering pipeline - then, suddenly, everything works - and one instantly loses every inclination to write down what went wrong and why it works now; and (b), everyone has his or her own pet tool landscape, and many try to describe or, on the other side, want to only understand it for their environment: So, a times b times c ... descriptions (a: number of MIDI connectos; b: number of rendering engines; c: number of sound fonts/instruments etc.etc.) want to be written and read. That, of course, never happens.

Ok, after that general whining, I think I want to try a little what's happening with that patch thingy ... exactly because I do not understand it also (but ... it works ... hm).

General Discussion / Re: Development of Rubato User Tool
Hm. Just so that the problem space is clear, I made a little youtube video of a score I have attached below. It consists of four sections, all with the same notes and the same tempo indications.

  • Section A just plays eighths with tempo 100, then with tempo 200.
  • Section B has the same tempo indications, but now, there is a "accel" some time after the 100; and a "rit." after the 200. And now NWC, just so, actually starts to accelerate at the "accel." and reaches a tempo of 200 at that mark; and slows down again from the "rit." to the 100 mark. That's just simple out-of-the-box NWC behaviour
  • Section C shows that NWC actually does not care whether you write "accel." or "rit." - both mean to it only "slowly modify tempo to reach tempo shown at next tempo indicator" - that's just for fun info.
  • In Section D, I tried the rubato tool on the items marked red; i.e., I selected that range (which includes the leading 100 tempo and the 200 tempo at the end), selected "5" as the parameter for the tool ... and presto, something had happened. You can see the effect in the image I have also added below - I actually do not understand what this result means. I would have guessed, from the comment in the tool, that it would do what NWC does, but with some randomization, i.e., it would select other tempi in that range going up and down a little. "quarter=4" is, however, quite far from anything specified, as you can also hear in the video (which I stopped after 3 eighths ...).

@Francois: I'm not sure what you want to accomplish. It seems to me that you only want to have simple linear tempo changes, i.e., what NWC can do with accel./rit. - is that true, or what did I overlook?

@all: I'm not sure what the Rubato tool is supposed to do, and what it actually does - anyone knows it (before someone delves into the code ...)?


Object Plugins / Re: GroupOp.hmm 0.5
Version 0.5 contains a small bugfix with Lyric=Never notes; and updates to the documentation, including a link to this thread.

Object Plugins / Re: GroupOp.hmm 0.4
And ... 0.4, with some support for more easily expanding repeats with endings. Here is an explanation with a few pictures; I have attached the four respective scores below.

Let's say I have notated the following (how can I make the images to show? they have https: links, what else is amiss?):

<Image Link>

... and we now want to "expand the repeat", i.e. notate this without master repeats and endings. For this, I first mark the part to be copied with Start and End and put an Insert just before the final repeat:

<Image Link>

Below the score, I have shown in red the "How to handle flow" properties of the three GroupOps; they will control whether master repeats and endings vanish ("Remove"), or whether master repeats are replaced with something else ("Single" bar, in this case).

Running now the Copy tool, we get the following, somewhat cluttered result:

<Image Link>

Finally, after running the Reset tool the score looks like this:

<Image Link>

Note that quite some cleanup is still necessary. Especially the lyrics need to be converted to a single line, but also some dynamics are certainly superfluous. Still, with a larger score (4 voices SATB, some instruments), this should be quite helpful in some cases.

Object Plugins / Re: GroupOp.hmm 0.3
I repaired the two bugs, and updated the "complex lyrics example" above to include
  • grace notes with Lyric=Always; and
  • lyrics with " and newlines that are deleted (and hence moved into string fields of a GroupOp-Insert object).

I am unsure about the following code:
Code: [Select · Download]
item.Opts.Opts and item.Opts.Opts.Lyric == 'Always'
Does this work over all (newer) versions of NWC, i.e., do they all have this doubled Opts? (I seem to remember that with .Text, it is sometimes necessary to check both .Text and .Text.Text). Is there a more idiomatic way to write the access to the Lyric field?

Object Plugins / Re: GroupOp.hmm 0.5
I have now, in a major upgrade, added lyrics handling: The Copy tool copies the relevant sections of lyrics, the Delete tool deletes the relevant lyrics section and saves them in the Insert object it creates - this might be helpful if the delete was not what was intended so that the text can be resurrected (but before using these tools, backuping the file and then not overwriting the backup is strongly recommended).

I wonder why I haven't written such a gadget long ago - as a choral arranger and composer, I have done so many "repetition unwindings", with manual lyrics copying around, that I would have saved hours with such a tool - whether mine or @Opagust's. Should teach me something ...

Up to now, I've tested the new version only on a few test files and one large choral score. But I'm sure more scores will follow, so bugfixes, in case I find something, will come.

For those interested in development: The logic of when a note, or chord, or restchord, or rest does accept a lyrics syllable is not simple; if someone is interested, I have added a score with many (all?) possible hiccups in it; running the Delete tool must remove exactly the b's in the first lyrics line and the spaces (underscores) in the second. Along the way, I found two bugs in NWC, namely (a) that ties go over clefs to notes at the same position, instead of the same sounding note; and (b) nwcPlayContext.Slur is broken - it never returned true in my attempts.

@Opagust, I looked at your code in CopyPasteMeasures.og.lua and learned a little bit; but tried to do it "my way"  :D

Edit: Ah, there is a bug in my code: If there are grace notes with Lyrics set to 'Always', the lyrics counting misses a step or two. I will repair that in a few days - probably not the most important problem ...
And since I'm still running with 2.75a.2 (the last non-development build, AFAIK), nwcut.encodeText() is not yet available. I currenlty append the raw text to the Insert's properties in the Delete tool, but this will stumble with " chars, new lines and maybe more - also to be repaired.
- repaired in 0.3.

Edit: I have added an example of a note with Lyric=Never that led to a misstep of the lyric calculation that has been fixed in 0.5.

Object Plugins / Re: (2.0e)
Not only are split chords stepchilds (but still useful; even more so with rest chords with invisible rests) and hence tremolos on them of medium importance, I don't know of any instrument that would (more or less easily) be able to play differently long tremolos - yes, of course one can do this with two hands on a piano or harp, and with very versatile fingers maybe even with one hand ... but ... who, when, where? I'd suggest to live with the limitations.

General Discussion / Re: The contents of the Meta Data (File info)
Two ideas (not yet solutions), from a programming guy:

(a) Save every file as nwctxt file - this, you would have to do manually (but see (b)). Then, someone (you?) can write a simple program to replace all those Copyrights (I would write an AWK script; but any programming language will do).

(b) There is a tool called AHK - AutoHotKey -, which allows to automate keypresses (and mouse moves, but NWC can be almost perfectly controlled from the computer keyboard). With it, one can write a script to edit those copyrights.

AHK can be downloaded at The download page is very long; what you want right now is the setup file AutoHotkey_2.0.10_setup.exe, way down on the page.

I have attached an AHK script (inside a .zip file, as this forum does not allow upload of .ahk files) that changes the copyrights of an open file and then saves and closes the file. To use it:
1.  Install AHK
2.  Save my script somewhere (by downloading and extracting the ZIP file)
3. Install ("run") the script, by double-clicking it
4. Open NWC and open a .NWC file in it (use a new test file, please)
5. Press "Alt"+"Windows"+C (that's what the !#C in the script means)
- -> the script will change the copyrights, save the file and close NWC.

To modify the copyright texts inserted by the script, edit the SendText lines in the .ahk file (e.g. with notepad). Then, do again steps 3...5. above (you will be asked whether the script should be replaced - just hit enter).
Maybe this is helpful as a starting point.

It is possible to write e.g. loops over files in AHK to fully automate what you want (but I don't know [yet] how to do that). However, I would do it manually file by file, even over hundreds of files - just to be sure that I handle the right files. The process would be:

a. copy all your NWC files to a temporary "working folder" (dont work on the originals ...);
b. mark the first file (by pressing space)
c. hit enter - this opens NWC with the file
d. hit Alt+Win+C - this changes the copyrights and closes NWC; you are now back in the folder view
e. hit space (this marks the next file; for some reason Windows advances the mark to the next file, which is nice for opening all the files one after the other  :D)
... and repeat from c.!
It's really quick - I tried it; about 2 seconds per file.

Object Plugins / GroupOp.hmm 0.7
The name of this Plugin sounds strange - this is so because it is only a "support object" for copying and deleting larger "groups of items" on multiple staves. NWC cannot do "vertical selection" over multiple staves, yet sometimes it is necessary to copy a segment on all staves to some other score position. Typical scenarios are
  • expanding of verses notated with repeat marks, when later in arranging differences between the verses should be notated precisely (e.g. when the syllable counts differ; or when, for playback, different note lengths - slurs etc. - are desired);
  • during arranging, when a part that has been expanded from a particell or the like should be copied to a repeat.
From version 0.2 onwards, the tools for copying and deleting also handle lyrics correctly, which should greatly improve their usefulness.

With GroupOps, one would do the copying as follows:
  • place a pair of 'Start' and 'End' GroupOps on each staff around the segment to be copied;
  • place an 'Insert' GroupOp one each staff at the target place of the copying;
  • execute the plugin's user tool 'Copy'

Typically, the 'Start', 'End', and 'Insert' GroupOps on the staves will be lined up vertically, but this is not required. Only one 'Start', 'End', and 'Insert' GroupOp should be present on each staff; the 'Copy' tool will ignore all after the first, but it might also produce chaotic output of there are more GroupOps of a type on a staff. The 'Insert' GroupOp can be after, before or even inside the segment to be copied.
The copied result will be shown between dashed GroupOps.

The two attachments BeforeCopy.PNG and AfterCopy.PNG show the setup of a copy and the score after executing the GroupOp.hmm:Copy user tool.

Since 0.4, there is some support for expanding repeat sections with master repeats and endings; for an explanation and an example how to do this, see Reply #9 below.

With the plugin's 'Delete' user tool, it is possible to delete segments, delimited by 'Start' and 'End', on multiple staves. Also here, the 'Start' and 'End' GroupOps will typically be aligned vertically over the staves, but this is not required.
The deletion locations will be shown by newly inserted 'Insert' GroupOps.

Finally, there is a 'Reset' user tool to remove all GroupOps. This is useful if another 'Copy' or 'Delete' is done to make sure that not left-over GroupOps play havoc with the score. The example AfterReset.PNG shows the Copy example form above after the GroupOp.hmm:Reset user tool is executed.

In effect, this user plugin replaces the PHP user tools I have published in this old thread.

General Discussion / Re: Pending???
I bought a new license a week or so ago for my new laptop, and it installed immediately - ok, no upgrade .... hm.

General Discussion / Re: Is this new version designed by Satan or what?????
Well, then ...

First, you should have a backup copy of your installer around, or the original CD.
Second, you could use this webpage of NWC.
Third, maybe someone can give you a copy of his - I dont think many people still need their V1.

However, let me point out that NWC 1.75 and earlier do, to the best of my knowledge, not run on a 64-bit Windows; whereas laptops nowadays are only supplied with 64-bit processors and OSes. So you might have to install a virtual machine that runs an older Windows version for that version 1 NWC.

Still, and finally, I'd bet a complete license price of that version 1 that also then, there'll be problems running the software on the new laptop. There's something else amiss here ...

General Discussion / Re: Is this new version designed by Satan or what?????
Hm. I bought (again) the newest 2.75a version two days ago, installed it on my new laptop, and everything runs as smoothly as ever.

What do you mean by "getting stuck"? - when editing, when playing, when saving?

Have you opened Task-Manager and watched its performance tab (especially its CPU and Disk graphs) during these bad experiences with NWC? Maybe they help to find whether e.g. a virus scanner, or a hard disk at its limit makes NWC stumble ...

On the whole, NWC uses the most standard Windows input and output methods of any music editor I know; and AFAIK not much has changed from 1 to 2 there. I am quite convinced that falling back to version 1 will not help you - there's something else going on.

General Discussion / Re: Importing a MIDI with Lyrics
3rd posting on this - not nice what's going on in this world (only talking about MIDI  ;) ). I have found a way to put Spanish letters into lyrics and then have them showing up in Van Basco ... but it's not at all nice. Maybe someone else here can improve on it ...

First, here are two things I tried that did not work:
- Saving the music as NWCTXT, converting this from UTF-8 to ANSI (e.g. with Notepad++), reading that in with NWC and exporting as MIDI. NWC gets confused by the non-UTF-8 lyrics and exports ... well, nothing usable.
- Exporting from a MusicXML to MIDI via MuseScore (MuseScore does not save any lyrics in MIDIs).

What works is a chain via Reaper:

1. First, work around the "first syllable not shown" problem of Van Basco (or Karaoke files in general?):
- Add a rest at the very beginning of the NWC file (I use a whole rest);
- Select it, open Properties (e.g. Alt-Enter) and change "Lyrics" to "Always"; press ok.
- Add a first syllable to the lyrics (I use a single period)
==> see attached SpanishLetters1.jpg and SpanishLetters.nwctxt.

2. Export MIDI file from NWC.

3. Import it in Reaper (open new project, drag MIDI file in [hit OK on "Import ... tempo map] - creates a new track)
(For the Reaper DAW software, see website; there's download link somewhere there. Reaper is a huge software - I know only 1 % of it; but no need to get scared  8). It's only free for 60 days IIRC; for me, it was worth the 50 or so $$. Maybe all this here also works with Audacity? - which is free ... edited: No, it doesn't :( - lyrics show up as UTF-8 encodings)
==> see attached SpanishLetters2.jpg

4. Export from Reaper via "File->Export ..."; select a good filename (I take the original one and add _ViaReaper. In the example, that would be SpanishLetters_ViaReaper.mid).
==> see attached SpanishLetters3.jpg

Reaper, who could read in the UTF-8 lyrics from the NWC-exported MIDI, exports the lyrics now in "ANSI encoding", which can be read by Van Bosco.

5. Load the exported file into Van Basco.
==> see attached SpanishLetters4.jpg

It works (mostly; once I only saw a copyright message in Van Basco). But it's cumbersome, error-prone, what-have-you ...

General Discussion / Re: Importing a MIDI with Lyrics
...How do I edit a MIDI then? Can somebody tell me exactly how to import the MIDI with lyrics correctly so that they end up in the Lyrics 1 tab?
Oh, I see: As far as I can see, the lyrics end up on a separate "layered" staff which has only "rhythmic notes" in it, where the lyrics are attached - see the attached image of my re-imported file.
You can go to that staff with "Page Down" (it will become highlighted - see second attached image), and after pressing Ctrl-L you can now edit the lyrics.

A second related problem is to export the NWC file into a MIDI file, and the Spanish accented letters would show correctly. áéíóú ÁÉÍÓÚ and ñÑ¿¡. Any help people? I am like a month trying to figure out how to do this and nothing.
Oh. After installing VanBasco, it seems that it cannot handle "UTF-8" characters - it shows them as some garbled letters (3rd attached image). Hm. Two possible solutions - but both need a little more research:
  • Use another karaoke player that can handle "UTF-8 lyrics";
  • Convert the MIDIs to "local Windows codepage" with Spanish symbols.

I'll look a little into it ...

General Discussion / Re: Importing a MIDI with Lyrics
As a first "base line experiment", I wrote a short piece with all your symbols, exported it as MIDI and reimported it; and then again exported MIDI and reimported. As far as I see, all the symbols are correctly written and read in - so in principle, there's no problem with NWC-generated MIDIs (see attachments for my files). Also, printing the Spanish symbols works nicely.

To understand more of your problems, could you attach your MIDIs here - all of them in a ZIP file, e.g.?

2 wishes:

a) NWCCONVERTOR creates files that make Musescore4.1.1 crash because of this problem:
Although they will change MuseScore to survive that, maybe you could change the converter so that it creates the necessary "stop" element.

b) And would it be possible that invisible notes are not emitted into the MusicXML file? I use especially invisible cue notes for some purposes which should not be visible anywhere - but MusicXML files transport them as normal visible notes, and then they turn up in e.g. MuseScore.
This could of course also be a checkbox in the "Options", e.g. "Ignore invisible notes".

Thank you for this tool - it's always very helpful!
Object Plugins / Re: PrintConfiguration (0.6)
This object has, for me, certainly proven its value. As a recent example, I have written a full score (4 voices, 5 strings) of Durante's Magnificat in B flat, with its 6 parts, as we needed a number of changes for our choir and strings: SATB > SSAB, rewriting a TB piece as SB, replacing a viola with a second violoncello (so it goes, in real life ... viola players are hard to get around Christmas), with all the consequences - changing clefs, moving notes and lyrics lines to other voices, rewriting a host of measures for range reasons or for better voice leading.

These changes evolve in a "development process" in many exchanges with our conductress, which takes 6 or 8 rounds: After maybe the first 3, the instruments are stable, but the singers' voices (choir and soloists) get more fine-tuning afterwards. And of course, in that process, it is expected (and I expect) that I can produce a consistent set of
  • conductor's score
  • choir/singers' score
  • new cello voice
  • (but, int his case, no other strings and general bass is needed, as we can use bought scores there).
with a reasonable layout - readable, not too many pages, and of course no errors and acceptable formatting - with no manual checking, and a minimal amount of headache.

For this to work, my typical score consists of
  • a top "full score" staff with a PrintConfiguration, which is layered with the first notes staff (typically soprano); it contains the necessary line/page breaks for the full conductor's staff and elements only for the conductor;
  • another PrintConfiguration "choir" staff with a single line that is layered with the first notes staff (typically soprano), with breaks etc. for the singers;
  • the singers' staves; which will only be printed as part of a full or choir score, thus without PrintConfiguration of their own);
  • the strings' staves; which will be printed in a full score; and on their own (e.g. in a larger font and with different line breaks), thus they have their own PrintConfiguration objects.

However, there is one feature that had to be changed: Up to version 0.5, all score properties (title, author, ..., and also both copyright lines) were saved per print configuration ("score"). With the evolutionary process outlined above, it was necessary to mark each version very clearly - for that, I chose the second copyright line (Copyright2) for placing a "version date" on each page. But keeping these dates consistent over multiple print configurations was very error-prone. Thus, starting with version 0.6 Copyright2 is no longer touched by the PrintConfiguration objects and tools, and thus a Copyright2 value is consistently shown in all printed scores (until it is changed in NWC directly, of course).

This is a breaking change ... but I think that no one out there uses this object as heavily as I - or even at all  ;)

Object Plugins / Re: (2.3)
The playNoteRate array is only used by the audit() method.  ... Since the old object never had a text Eighth value, there's no need to add it to the array for conversion purposes. Does that make sense?
It does - and I didnt look there. Aha!

For a version number, the going rate here is quite low - purchasing another one ... well  :))

Edit: Also, the complete thread would like to get a subject update to (2.3) - or 2.4?  ;)

... I know I'm, hm, getting irritating ...

Object Plugins / Re: (2.3)
... small hiccup: The help text for the Rate parameter still says that the minimum is 16.
Also, there's a playNoteRate array (whose purpose I don't see on my quick glance) - would it now like to heave an Eighth entry?

Object Plugins / Re: (2.2)
A tiny change suggestion: In the attached score of Durante's Magnificat in b flat, the trill should play in eighths.
The piece is notated alla breve, the tempo is about half=105...110. In more modern times (starting around Haydn), this would of course be notated in common time and quarters, but it isn't so here. So, I think the minimum trill rate of 16 should be changed to 8 (I can do that locally, of course; but why not change it for all  :-[ )

General Discussion / Re: how to make short measure
You must insert that break on each staff. Your successful example shows the same whole break also on the second staff.

(Your successful example also has a tempo mark on the second staff. This should be avoided, i.e., tempo markings should only be on one staff, typically the topmost one. Otherwise, searching why some tempo is wrong becomes cumbersome. For example, in your successful example, if you replaced the topmost "750" with e.g. "250" - for whatever reason -, this will not change the tempo, because immediately afterwards, the 750 on the second staff will come up and override the 250).

Tips & Tricks / Re: smaller notes
I would assume (and do it like that if playing):

- On first page: Foot stomping.
- On second page: Play with right hand, if you can do it (pedal for long sounding notes, maybe using left hand for a note on upper staff).

General Discussion / Re: MIDI output not working
The windows media player seems to have stopped, I can't hear sound from a youtube video but I can get sound from PBS streaming
"Windows Media Player" is a specific software that can play MIDI files (what plays a Youtube video is your browser, and a few pieces in the Windows operating system). Try to start Windows Media Player by pressing the Windows button on your computer keyboard (the button with the sort-of window on it) and then typing WMP, pressing Enter and then pulling a MIDI file into its right-hand pane ... and then making it play.

Tips & Tricks / Re: smaller notes
Hard to say, from this small snippet - I'd need to see the complete score to understand this.
How to recreate them: With the plugin.

General Discussion / Re: two problems
Here is my "practical" attempt, with standard NWC means (no Beam object) and Rick's Markup for the line.