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Messages - Bart

51
Yukulele,

For version 2.75:
It seems that the midi-channel that plays your notes when entering them is correct as soon as you have played at least once that staff (alone or in combination with other staves).

Bart
52
mh,

I am now talking for earlier versions of NoteworthyComposer, but I think this is still true today: NWC files and midi files don't convert perfectly into each others' format.

"Normal" stuff doesn't give differences, but if you use Fermata's, (some) multipoint controllers, or sound related "User Objects", your midi file will probably sound differently.

Since I found a way to let NWC play a score through soundfonts (multiple conversations and suggestions can be found in this forum), I now just record what Noteworthy Composer plays. I use audacity - but there are other alternatives of course. Just be sure to mute pings for incoming mails and other events.

Bart
53
General Discussion / Re: Play tool
I think your target is the play functionality in NoteworthyComposer and not in Noteworthy Player, since you mention "working on".

There exists an option to manipulate playback in NoteworthyComposer.

It can be found under menu TOOLS - OPTIONS - MIDI and in the "play options" box you can select from a few options to "Play" your song. I think the default option is "Play from current measure". It is my preferred option and it is sufficient for me. But other options are available as well.

As far as I know there is not an option to stop automatically after some time/measures, but pressing F5, F6 or ESC will do if want NoteworthyComposer stop playing. So I don't think you will need that.

Bart
54
Using two screens, the key combination CTRL+F8 that is defined as "repeat Last User Tool" doesn't work for me since Windows intercepts my command and manipulates my screen settings.
But, I found a useful little tool that let me assign a specific key to a sequence of keystrokes: AutoHotKey (https://autohotkey.com/)

After installation of the AutoHotKey program, create a little text based script, right click on it and choose "run script" (or double click on it if it has the .ahk extension, because then running is the default action). As soon as you touch the hotkey, your bunch of keystrokes is executed.

This little script defines function key F12 as my "repeat Last User Tool":

Code: [Select · Download]
#NoEnv  ; Recommended for performance and compatibility with future AutoHotkey releases.
; #Warn  ; Enable warnings to assist with detecting common errors.
SendMode Input  ; Recommended for new scripts due to its superior speed and reliability.
SetWorkingDir %A_ScriptDir%  ; Ensures a consistent starting directory.

if WinExist("ahk_exe NWC2.exe")
   WinActivate, ahk_exe NWC2.exe

f12::
 send, {alt down}t{alt up}e
Return


Following the information in the AutoHotKey documentation, even combination of different key definitions (also for different programs) is possible in one ahk.script.

Bart
55
I need to work on lua myself. 

I tried to learn LUA a few months ago, but I must admit it was tough for me.
That's the reason that I started a new topic in the tips and tricks section. My "sibling" script and some explication may help new LUA script writers to avoid some pitfalls.
https://forum.noteworthycomposer.com/?topic=9327.0
56
"This tool mutes the active staff and adds 2 copies with all its relevant information into 2 new sibling staves with two different instrument patches."    -- added as suggested --

For the people who want to learn LUA as a scripting language for Noteworthy Composer, I can distribute a LUA script I made myself a few months ago. I didn't publish it because it is all hard coded and therefore only usable for people who can make their own customization. I created this tool to speed up things, and didn't want it to slow down with user input boxes, etc.
Therefore it is not usable as a universal user tool. If you want to "tune" the tool, you will have to hack the code.

I must admit that it took a lot of time. There are only a few examples in the documentation and it was - for me - not the most comprehensive source of information. For creating my script, I combined the LUA documentation (https://lua.noteworthycomposer.com/) with the examples I found in the cloud. But most of my knowledge I got from examples that Rick G and Opagust posted in the forum. Without their work I wouldn't be able to create this script.

As far as I understand,  LUA is the preferred scripting language for user tools.  I am not aware if it is also a good choice for user objects.

There are different modes for LUA scripts and the mode should correspond with the option how a user tool should run. In this example FileText mode is used. A check for this mode is made with the method "nwcut.getprop('Mode')" in the first line of the main processing module.

LUA is a nested table oriented tool and has more flexibility in (nested) table manipulation as in text strings. These nested tables (also defined as objects) can be mapped on the structure of NWC files.
If "nwc.setlevel(2)" is specified, nwcobjects are interpreted as objects (or nested tables). You can force your script with a lower level (1) in text mode but it turned out - for me - that this is less flexible.


The structure of my script is as follows:

(1) check mode and returnmode
(2) define an object (or empty nested table) "mt" where the whole existing nwc-file will be staged and which can be printed out at the end of the script.
(3) loop over the nwc-file and collect interesting properties in variables, modify the properties - if desired -, and stage the result (original or modified) in "mt"
(3.1) all non-current staves are staged (almost) unmodified in "mt"
(3.2) the "current" staff is staged modified (muted) in "mt"
(3.3) the "current" staff is twice duplicated as "siblings" and - with modified visual and sound properties - staged in table "ST1" and "ST2".
(3.4) existing siblings of the "current" staff are skipped.
(4) at the end, all staged staves are "printed out".  If nwcut.status is rc_succes the existing score is overwritten, if nwcut.status = rc_Report, the output is sent to the log window - wich is very useful in debugging mode.

I make a detour to strings before using "newItem.new" to achieve real duplicates and not new pointers to the same content. This was a real pitfall for me!

Code: [Select · Download]
-- $NWCUT$CONFIG: FileText $
nwcut.setlevel(2)
nwcut.status = nwcut.const.rc_Succes
--nwcut.status = nwcut.const.rc_Report

local progname = 'Sibling'
local ASI   = 0              -- Active  Staff Parameters
local ASN   = "UnDefined";
local CSI   = 0              -- Current Staff Parameters
local CSN   = "UnDefined";
local DSG  = "SIBLINGS"
local DSPN = "SiblingInstrument"
local HelpMsg = [[
This tool mutes the active staff and adds 2 copies all its relevant information into 2 new sibling staves.
The active staff is slightly modified if it is not already in this state: the instrument is explicitely specified [line 33] and the staff is muted [line 34].
If staves with sibling name <original_name>_Sibling1 or <original_name>_Sibling1 already exist, they will be removed [line 36].
2 (hidden) sibling staves are added at the end of the score based on the ActiveStaff (named : <original_name>_sibling<i>) [line 67 and line 68].
The midi channels used for sibling staves are 15 and 16 [line 48] and since they are at the end of the score, they will override midi definitions for staves that were assigned earlier to these channels.
The sibling staves are made invisible to avoid sibling them again [line 52].
The sibling staves receive Instrument Patches 00 (piano) and 89 (Pad 2 warm) [line 56].
Instrument changes in the ActiveStaff are skipped in the sibling [line 58].
]]

--------------------------------------
-- Main processing -------------------
--------------------------------------
assert(nwcut.getprop('Mode')       == nwcut.const.mode_FileText, "Input type must be 'File Text'")
assert(nwcut.getprop('ReturnMode') == nwcut.const.mode_FileText, "Under 'Options', check 'Returns File Text'")
mt = {} ; mt[0]={}
for item in nwcut.items() do
    if item:Is('Editor')          then  ASI = item.Opts.ActiveStaff + 0 ; end--if
if item:Is('AddStaff')        then  CSI = CSI + 1 ; mt[CSI] = {} ; CSN = item.Opts.Name.Text ; CSOGN = item.Opts.Group.Text ; if CSI == ASI then ASN = CSN end ; end--if
if item:Is('StaffInstrument') then  if not item.Opts.Patch then item.Opts.Patch=0 end ; if not item.Opts.Name  then item.Opts.Name="\"NN\"" end ; end--if
    if item:Is('StaffProperties') and ( CSI == ASI ) and ( item.Opts.Muted ) then item.Opts.Muted="Y" end--if

if not ( string.gsub(CSN,'%-','_') == string.gsub(ASN,'%-','_').."_sibling1" or string.gsub(CSN,'%-','_') == string.gsub(ASN,'%-','_').."_sibling2" ) then table.insert(mt[CSI],tostring(item)) end--if

if CSI == ASI then
       SS1 = nwcItem.new(tostring(item)) ; SS2 = nwcItem.new(tostring(item))
       if item:Is('AddStaff')  then
          SS1.Opts.Name = CSN .. "_sibling1" ; SS2.Opts.Name = CSN .. "_sibling2" ;
          SS1.Opts.Group = DSG ; SS2.Opts.Group = DSG  
          ST1 = {} ; ST2 = {} ;
       end--if
       if item:Is('StaffProperties') then
          if ( item.Opts.Muted or item.Opts.Channel or item.Opts.Volume or item.Opts.StereoPan)  then
            SS1.Opts.Muted = "N"    ; SS2.Opts.Muted = "N"               
            SS1.Opts.Channel = 15   ; SS2.Opts.Channel = 16          
            SS1.Opts.Volume = 100   ; SS2.Opts.Volume = 100  
            SS1.Opts.StereoPan = 64 ; SS2.Opts.StereoPan = 64
          elseif item.Opts.Visible then
            SS1.Opts.Visible = "N"  ; SS2.Opts.Visible = "N"
          end--if
       end--if
       if item:Is('StaffInstrument') then
          SS1.Opts.Patch = 89    ; SS2.Opts.Patch = 0 ; 
          SS1.Opts.Name  = DSPN  ;  SS2.Opts.Name  = DSPN             
        end--if
       if item:Is('TempoVariance') and item.Opts.Pause then SS1.Opts.Pause = 0 ; SS2.Opts.Pause = 0 ; end--if
       if not item:Is('Instrument') then table.insert(ST1,tostring(SS1)) ; table.insert(ST2,tostring(SS2)) ; end--if
    end--if
end--for

for j=0,CSI do
   for i=1,#mt[j] do nwcut.writeline (mt[j][i]) end--for
end--for
for i=1,#ST1 do nwcut.writeline (ST1[i]) end--for
for i=1,#ST2 do nwcut.writeline (ST2[i]) end--for
57
You could also try to leave some lyric lines - for instance the even ones - empty and put your lyrics only on the odd lines.
To avoid loosing the correct line I once made a score where I skipped the 3rd, 6th lines effectively creating multiple groups of 2 verses.
I admit, this isn't as flexible as Ricks solution - no control over spacing -, but you can keep all lyrics in one staff.

Bart
58
Thank you, Rick, Lawry, for your feedback.
I will follow the paths that you indicate.

Bart
59
I like a sound that is a combination of a slow starting sound (like synth strings/warm pad) and a fast decading sound (like grand piano). This is also helpful to identify low quality chords when I am working with a new arrangement for our choir.

To achieve this kind of sound, I always duplicate all my staves and allocate the desired midi channels to both of the staves.
But, this way, when I want to rework some of the measures, I always have to make the corrections twice.

Therefore my question: Is it possible to send a single staff to 2 or more midi channels instead of having to duplicate the staff?

If it is not possible - what I think - what options do I have?

* Should I create a new soundfont based on existing sounds?
* Should I try send the output to a kind of VST (synthfont/midiox/...) where duplication could be "easier"?
* Or ... ?

Bart
60
Thank you.

I think I will try a work around with a tempo track (as explained in the previous postings about swing notes).
Faking length modifications with tempo variations seems perfectly possible.
"One" final modification in all staves isn't that hard.
Code: [Select · Download]
!NoteWorthyComposerClip(2.75,Single)
|Clef|Type:Treble
|Key|Signature:F#|Tonic:G
|Tempo|Tempo:120|Pos:-8.5
|Note|Dur:8th|Pos:0
|Note|Dur:8th|Pos:-1
|Note|Dur:8th|Pos:-2
|Note|Dur:8th|Pos:-3
|Note|Dur:4th|Pos:-4
|Note|Dur:4th|Pos:-4
|Bar
|Note|Dur:4th|Pos:-3
|Note|Dur:8th|Pos:-2
|Note|Dur:8th|Pos:-1
|Note|Dur:4th,Dotted|Pos:0
|Note|Dur:8th|Pos:0
|Bar
|Note|Dur:4th|Pos:1
|Tempo|Tempo:80|Pos:12.5
|Note|Dur:8th|Pos:0!1
|Tempo|Tempo:240|Pos:8.5
|Note|Dur:8th|Pos:-1!1
|Tempo|Tempo:120|Pos:-7.5
|Note|Dur:8th|Pos:-2
|Note|Dur:8th|Pos:-1
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:8th|Pos:3
|Note|Dur:8th|Pos:1
|Note|Dur:8th|Pos:2
|Note|Dur:8th|Pos:6
|Note|Dur:Half|Pos:4
|Bar|Style:Double
|Key|Signature:F#|Tonic:G
|Note|Dur:8th|Pos:0
|Note|Dur:8th|Pos:-1
|Note|Dur:8th|Pos:-2
|Note|Dur:8th|Pos:-3
|Note|Dur:4th|Pos:-4
|Note|Dur:4th|Pos:-4
|Bar
|Note|Dur:4th|Pos:-3
|Note|Dur:8th|Pos:-2
|Note|Dur:8th|Pos:-1
|Note|Dur:4th,Dotted|Pos:0
|Note|Dur:8th|Pos:0
|Bar
|Note|Dur:4th|Pos:1
|Note|Dur:8th,Dotted|Pos:0!1
|Note|Dur:16th|Pos:-1!1
|Note|Dur:8th|Pos:-2
|Note|Dur:8th|Pos:-1
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:8th|Pos:3
|Note|Dur:8th|Pos:1
|Note|Dur:8th|Pos:2
|Note|Dur:8th|Pos:6
|Note|Dur:Half|Pos:4
|Bar|Style:SectionClose
!NoteWorthyComposerClip-End


Bart

61
During composing new music, I frequently want to hear how my score would sound if I change some note lengths on a specific moment in the song (for instance modifying 2 eights into a dotted eight and a sixteenth).

For best evaluation I need to change these note lengths in all staves. Until now I always modify the notes in the different staves consequently. And undo everything when I don't like the new rhythm.

In the newer versions of NoteworthyComposer, when moving into another staff with pageup/pagedown, the selection is automatically on the same time frame. This is a really useful feature for this kind of purposes!!

But when enlarging the note lengths, the mechanism selects - of course - also the neighbour notes which are in the same new enlarged time frame.

Are there other / better / easier alternatives to change note lengths (or other modifications like adding staccato's, accents, ...) on a specific "position" in all staves at once?

Bart
62
Last week, when I was browsing some midi related programs I found VirtualMIDISynth from Coolsoft.

It is a free program based on bassmidi.dll (developed by Ian Luck and also mentioned in Gunther Nagels' document)

It is the easiest soundfont based midi tool I have met until now.

After installation and setup, you simply modify your midi configuration in NoteworthyComposer so that it points to the new driver, and then, everytime when you start noteworthycomposer, a child process with a handy midi mixer starts in the background. And when you close noteworthycomposer, this child process disappears too.

I hadn't any conflicts with other sound related device drivers yet.

It is not a VST host, I suppose, because it has only a few features. But you get soundfont based quality music very easily, and that's what matters for most of us, I think.

I haven't thoroughly tested VirtualMIDISynth yet, but if it proves to be stable, it could become my default NoteworthyComposer companion in the near future.

For those who are interested, just check : http://coolsoft.altervista.org/en/virtualmidisynth

Bart
63
I see what you mean (checked with version 2.51a), but I can live with that.
Worse it becomes when one needs dotted notes in layered staves.
Just add a dot or a double dot in each of the staves in the above example, and it will be clear that then the score becomes hardly readable.
There is no way to move the dot to the right for x positions, isn't there?

Bart
64
General Discussion / Re: Beam restchords
Code: [Select · Download]
!NoteWorthyComposerClip(2.75,Single)
|Chord|Dur:8th|Pos:-2|Opts:Stem=Down,Beam=First|Dur2:8th|Pos2:0
|Chord|Dur:8th|Pos:0|Opts:Stem=Down,Beam=End|Dur2:8th|Pos2:2
!NoteWorthyComposerClip-End

The previous code shows how nwctxt changes when switching the direction for a chord with notes in different directions. The beamed notes come first, all others are added at the end but without a possibility to add a beam clause.

Layering is the way to go to achieve "multiple beamed chord notes".

Bart
65
General Discussion / Re: Beam restchords
I don't think it is possible today. Especially since the duration of your rests (16th) are different than the duration of your notes (8th).

If you compare the nwctxt formats for normal beamed chords and your chords, it seems that it is not forseen to keep this double information (options for some notes in the chord, options for other notes in the chord). That may also be the reason why in a chord with different stem directions you can only beam one direction (UP or DOWN, but not both).

Code: [Select · Download]
|RestChord|Dur:16th|Opts:Stem=Down,ArticulationsOnStem|Dur2:8th|Pos2:0
|RestChord|Dur:16th|Opts:Stem=Down,ArticulationsOnStem|Dur2:8th|Pos2:2
|Chord|Dur:8th|Pos:-2,0|Opts:Stem=Up,Beam=First
|Chord|Dur:8th|Pos:0,2|Opts:Stem=Up,Beam=End

Bart
66
Well, given the spyware built in to W10, my next machine will be linux.  Might take a while though - I still run XP on most of my boxes, though 2 do have Win7 - I prefer XP...

Many times I wanted to switch to Linux, but - at least for me - it was not easy to get Noteworthy Composer running on Linux. Installing Wine and NWC were the easy parts, but configuring Timidity++ was hard. Finally it worked, but after a week or so, playing (midi) failed again, and I had to debug the configuration. Eventually, I even reinstalled it from scratch.

Windows doesn't always do what "I" want, but at least it "works" quite well without much investment. Linux is more configurable, but without extensive configuration "I" get much less "out of the box". Keeping Linux up to date seems to be a major concern in comparison to Windows.

Don't hesitate to try Linux and if it fits for you, don't hesitate to use it. But don't expect it to be as easy as M$ Windows. And keep in mind that the time you loose on your OS is not available anymore for (learning) applications (like NWC).

Bart

QUOTE : "If time is money, how poor, then, is someone without time?"
67
Nice conversation!

I am suffering too from my old - bad - habit to press F6, just to be sure the song has really stopped.
In the past, I never had bad experiences with failing drivers, so I didn't bother when I pressed F6 unnecessarily. With the new pop up screen, this has changed.

I think the confusion starts because one single key (F6) has a different behaviour depending on the fact that there is a song playing or not. I think this is not the optimal choice.
I would expect that if I ask to stop a song (F6) that isn't playing anymore, nothing happens!

Now, when the song has already stopped, the meaning changes in a - mostly - "unwanted" panic reset, and I always blame myself for not being careful enough.

It seems that there are at least 3 keys that can stop a playing song:
F6 of course and its corresponding "stop" button,
ESC (as Rick learned us in Reply 4),
but also F5  and its corresponding "play" button. F5 and the play button seems to be a toggle key between playing and stopping.

If the STOP function would be removed from F6 - there are alternatives -, this key could be exclusively reserved for a panic reset - maybe even when the song is still playing. But mistyping between F5 and F6 is likely, therefore I would prefer ESC to be reserved exclusively for a panic reset - Sorry, Rick.

In most other softwares ESC has no meaning at all or a special meaning. That's why it seems perfect for the unusual purpose of a panic reset. And I would be perfectly happy with a warning message when I didn't ask for unwanted panic resets (by pressing F6 at the wrong moment).

Bart
68
Tips & Tricks / Re: Breathing spaces
Addendum:

Futher checks prove that I loose these "hacks" when exporting and importing via midi-format.
So maybe not really what you are looking for.

Bart
69
Tips & Tricks / Re: Breathing spaces
MusicJohn,

With the example given by Rick and with your own explanation, I suppose, that you could try
  • inserting a zero-delay breath mark (for the visual effect)
  • inserting (hidden) performance style changes - sostenuto seems to be usable since it is somewhere between tenuto and staccato - (for the musical effect)
I admit that it only works for certain instruments like flutes or violins and that it is hardly audible for piano - I suspect the specific piano Attack,Decay,Sustain,Release envelope for obscuring this effect - http://making-music.com/wp-content/uploads/2012/07/Envelopes-ADSR.jpg, but you could give it a try.

Your question (as I understand):
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.51,Single)
|PerformanceStyle|Style:Tenuto|Pos:5|Visibility:Never
|Instrument|Name:"Violin"|Patch:40|Trans:0|DynVel:10,30,45,60,75,92,108,127|Pos:10|Wide:Y
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|Note|Dur:4th,Staccato,Slur|Pos:0
|TempoVariance|Style:Breath Mark|Pause:0|Pos:9
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th,Dotted|Pos:2
|Note|Dur:8th|Pos:1
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:-2
!NoteWorthyComposerClip-End

My (approximate) "solution"
Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.51,Single)
|PerformanceStyle|Style:Tenuto|Pos:-8|Visibility:Never
|Instrument|Name:"Violin"|Patch:40|Trans:0|DynVel:10,30,45,60,75,92,108,127|Pos:10|Wide:Y
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:0
|PerformanceStyle|Style:Sostenuto|Pos:-12|Visibility:Never
|Note|Dur:4th|Pos:0
|TempoVariance|Style:Breath Mark|Pause:0|Pos:9
|PerformanceStyle|Style:Tenuto|Pos:-8|Visibility:Never
|Note|Dur:4th|Pos:0
|Bar
|Note|Dur:4th,Dotted|Pos:2
|Note|Dur:8th|Pos:1
|Note|Dur:4th|Pos:0
|Note|Dur:4th|Pos:-2
!NoteWorthyComposerClip-End

Bart
70
H.M., Rick,

This discussion comes in an area where my knowledge is limited and your last remarks are - at least for me - not very clear anymore.

I understand that too much midi commands or too large soundfonts can badly influence the playback performance.
But how can I know what is too much/too large, or in other words: how can I see how much stress I put on the system with a chosen configuration?
And: Are there some rules of thumb that can be used to check the quality/badness of an option (to predict that some scores will give problems on systems that are x times slower)?

I tried to check with Midi-Ox the 91 tempo changes in your simple example (reply 13), Rick, but I didn't detect the bad behavior.

Bart

(Yes I am trying to steal your knowledge in this field)
71
Rick,

Am I right if I think that you want to show an example where it can go wrong?

A similar procedure as the one explained for dynamics in Tina Billets "mpcguide" ### can be a workaround for this problem, can't it? Or am I raving out nonsense, now?

Bart

###non-working link removed, please follow Rick's link in Reply 15### 
72
Hi, Lawry,

You are right, it was also for me the first time that I saw this strange indication. That's, in fact, why I posted this question. I believe that the maker of the original document (probably not made with noteworthy composer) could't find the proper presentation and customized something himself.

I am not really interested in getting an exact copy of what I have on paper, so I don't care if I have to use different presentation.
I want the NWC files to sound good and to be easy to understand - with minimal effort, if possible, that's all.

When I will prints a score myself, I would go for the best quality and that is definitely with your fonts (especially since I see how easy you made the installation process). [I even tried Lilypond, but I wasn't really excited about the result/effort balance.]

If I distribute the NWC file itself, I prefer one that looks good for everyone, also for people that didn't customize their pc.
[I first hoped to implement a jpg - or your font characters - in user objects to get rid of the need to make customizations]
But Mike's solution perfectly fits for what I tried to achieve this time.

I highly appreciate your suggestion for the conductor staff.
I was investigating the "nwsw_Unjazzify.php" script to convert it into a "Jazzify" script. But with your conductorstaff solution this is not necessary.
Less work and even a better alternative (because: easy, effective and no redundancy).

Many thanks.

Bart
73
Mike,

Your third option is the most general and so easy.
It is exactly what I was looking for.
With a hidden staff for the music and a muted staff for the visual presentation (as in attachment jazzified.nwc), both components can seamlessly combined.
Thank you so much.

Bart

74
Thank you fathafluff.
The reason why i asked for the name is because I wanted to google for it, but I didn't find any useful hits. 
So I hoped to get better results if I knew the correct official or unofficial name.

Mike.
I first also thought on font sets, but in the past I downloaded some files from the scriptorium - and not having installed the right font - they looked awful, This reduces their potential "reachability" and that's why I find the font set solution only a good "second choice".

I saw your user object for slurs - very impressive and most of all very useful - and because I spended (much) time in reverse engineering your script, I was wondering if rhythm indications could also be created as user objects.  I found a slur object defined in the API, but I wasn't sure if these kind of "custom objects" would be available (or composable). Thank you for indicating that user objects could be possible. I will further investigate the possibilities.

Bart


75
I have a music score with a rhythm indication on top which states that 2 eight notes should be sung/played as triplets (see Capture.png in attachment).
What is the correct name for this indicator?
Is there a way to add this indicator in NWC songs with the current 2.51 version?
Could the future user object facility be used to create these kind of objects?
76
Indeed, Rick.
I confused channels with instrument changes, but the latter aren't shown (yet). Sorry.
Maybe these and other properties could be useful too, but I like the current sober layout.
Bart
77
Thank you, Richard,
"3. In the status bar, there is the clef, the time sig, the bar number , the channel used for that staff , the group name and the staff name."
for pointing to this little gem in the status bar.

Key signature should be useful here as well. Hopefully in the next ... ?

I see that the timing is hiding the status when playing the song.

There is also a little risk that if there are (master) repeats in the score, clef, channel or key signature could have been changed in successive passages. I see that the property of the first passage is always displayed. This could be misleading.

Bart
78
Hi, Al,

Of course my work around is not at all a word wrap solution, but with the GO-command (CTRL+G) you can jump easily to a specific bar number.

This needs of course some sort of administration, but it helped me in the past to speed up the work.

Bart
79
Better? I agree. But also slower!

I remember the days where, for instance, I could change the instrument of a staff with the keyboard only. In all the new versions I have to position and click the mouse several times to achieve the same result. Especially annoying when I want to find the best sound for my song.

The same happened with the selector buttons. Beautiful and elegant, but, instead of one click, you now need at least two clicks (and again position the mouse).

All these new things are slowing down the process of entering scores! And this has always been the distinctive key feature of Noteworthy Composer, I believe.

Noteworthy is still the easiest and fastest score editor for me, but the key thing that made me fall in love on this beautiful piece of software - speed -, is disappearing.
:-(

Bart

80
I was thinking of Lyrics (on a separate layered staff with only invisible notes), but it seems to enlarge the measure.
So, it is probably worse than what Rick did, but maybe in ideal circumstances you could try Lyrics.


81
It is not a solution for your problem, but as a work around you can save the file as a noteworthytext file, where you can see (and modify) your text in a text editor of your choice.
82
Just to verify I reïnstalled version 2.1 and in a new score I added 3 chords (G46,C36,C35).
Adding a tie to chord G46 only adds a tie on the G.
Adding a tie to chord C36 adds 2 ties, one on E and one on G.

I exported to nwctext (added below) and see indeed the ties "-2" in the first chord and  "-4 and -2" on the second.

|Chord|Dur:4th|Pos:-5,-2^,0
|Chord|Dur:4th|Pos:-4^,-2^,1
|Chord|Dur:4th|Pos:-6,-4,-2


I appreciate the improvement, but hardly see situations where every chord note should get a tie.

Code: (nwc) [Select · Download]
!NoteWorthyComposer(2.0)
|SongInfo|Title:""|Author:"<Name>"|Lyricist:""|Copyright1:"Copyright © 2012 <Name>"|Copyright2:"All Rights Reserved"
|PgSetup|StaffSize:16|Zoom:4|TitlePage:Y|JustifyVertically:Y|ExtendLastSystem:N|DurationPadding:Y|PageNumbers:0|StaffLabels:None|BarNumbers:None|StartingBar:1
|Font|Style:Staff Italic|Typeface:"Times New Roman"|Size:10|Bold:Y|Italic:Y|CharSet:0
|Font|Style:Staff Bold|Typeface:"Times New Roman"|Size:8|Bold:Y|Italic:N|CharSet:0
|Font|Style:Staff Lyric|Typeface:"Times New Roman"|Size:7|Bold:N|Italic:N|CharSet:0
|Font|Style:Page Title Text|Typeface:"Times New Roman"|Size:24|Bold:Y|Italic:N|CharSet:0
|Font|Style:Page Text|Typeface:"Times New Roman"|Size:12|Bold:N|Italic:N|CharSet:0
|Font|Style:Page Small Text|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User 1|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User 2|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User 3|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User 4|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User 5|Typeface:"Times New Roman"|Size:8|Bold:N|Italic:N|CharSet:0
|Font|Style:User 6|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|Style:Standard|Layer:N|Color:Default
|StaffProperties|Muted:N|Volume:127|StereoPan:64|Device:0|Channel:1
|StaffInstrument|Trans:0|DynVel:10,30,45,60,75,92,108,127
|Clef|Type:Treble
|Chord|Dur:4th|Pos:-5,-2^,0
|Chord|Dur:4th|Pos:-4^,-2^,1
|Chord|Dur:4th|Pos:-6,-4,-2
!NoteWorthyComposer-End
83
In previous versions, when you applied a tie on a chord, the tie for note members did not appear if the following chord did not have that note.
In the newest versions (2.5.1 and  2.5.4) the tie for chord members does appear and remains until that note appears again.
I doubt that this feature was introduced on purpose.

Code: [Select · Download]
!NoteWorthyComposerClip(2.5,Single)
|Clef|Type:Treble
|Instrument|Name:"String Ensemble 1"|Patch:48|Trans:0|DynVel:10,30,45,60,75,92,108,127|Pos:8
|Chord|Dur:Half|Pos:-6^,-3^,-1^
|Chord|Dur:Half|Pos:-7,-5,-2
|Chord|Dur:Half|Pos:-6,-4,-2
!NoteWorthyComposerClip-End
84
I think the system break only works on the top staffs and on bar lines, but I don't see  any bar lines in the top staff between measure 348 and measure 365. The bounded 18  rests seem to prevent the layout that you want to achieve.

Bart
85
Rik,

I know that the Flemish "Susa Nina" is sung as a counter part for the German Christmas Song "Stille Nacht".
I put the notes on a score for you.

Code: [Select · Download]
!NoteWorthyComposerClip(2.0,Single)
|Clef|Type:Treble
|TimeSig|Signature:3/4
|Note|Dur:Half,Dotted|Pos:-4
|Bar
|Note|Dur:Half,Dotted|Pos:-2
|Bar
|Note|Dur:Half,Dotted|Pos:1
|Bar
|Note|Dur:Half,Dotted|Pos:-2
|Bar
|Note|Dur:4th,Dotted|Pos:-5
|Note|Dur:8th|Pos:-4
|Note|Dur:4th|Pos:-2
|Bar
|Note|Dur:4th,Dotted|Pos:-3
|Note|Dur:8th|Pos:-4
|Note|Dur:4th|Pos:-5
|Bar
|Note|Dur:Half|Pos:-4
|Note|Dur:4th|Pos:-3
|Bar
|Note|Dur:Half|Pos:-2
|Note|Dur:4th|Pos:-6
|Bar
|Note|Dur:4th,Dotted|Pos:1
|Note|Dur:8th|Pos:0
|Note|Dur:4th|Pos:-1
|Bar
|Note|Dur:4th,Dotted|Pos:-1
|Note|Dur:8th|Pos:-2
|Note|Dur:4th|Pos:-3
|Bar
|Note|Dur:4th,Dotted|Pos:-4
|Note|Dur:8th|Pos:-3
|Note|Dur:4th|Pos:-4
|Bar
|Note|Dur:Half|Pos:-2
|Note|Dur:4th|Pos:-6
|Bar
|Note|Dur:4th,Dotted|Pos:1
|Note|Dur:8th|Pos:0
|Note|Dur:4th|Pos:-1
|Bar
|Note|Dur:4th,Dotted|Pos:-1
|Note|Dur:8th|Pos:-2
|Note|Dur:4th|Pos:-3
|Bar
|Note|Dur:Half|Pos:-4
|Note|Dur:4th|Pos:-3
|Bar
|Note|Dur:Half,Dotted|Pos:-2
|Bar
|Note|Dur:Half,Dotted|Pos:-1
|Bar
|Note|Dur:Half|Pos:0
|Note|Dur:4th|Pos:2
|Bar
|Note|Dur:Half,Dotted|Pos:1
|Bar
|Note|Dur:Half|Pos:-2
|Note|Dur:8th|Pos:-4
|Note|Dur:8th|Pos:-3
|Bar
|Note|Dur:Half|Pos:-2
|Note|Dur:4th|Pos:-2
|Bar
|Note|Dur:Half|Pos:-2
|Note|Dur:4th|Pos:-2
|Bar
|Note|Dur:Half,Dotted|Pos:-2
|Bar|Style:SectionClose|SysBreak:Y
!NoteWorthyComposerClip-End
86
I always used to implement a workaround where i split the dotted half into a half and a quarter tied together - which at least gave me the correct sound.

Timing for adding the tie is crucial to avoid the D is also tied:
In this case I first focus on the stem-up notes (F half / F quarter / tie / G quarter) and then add the stem-down notes as chord notes (D half D half), but of course if the dotted half is

Code: [Select · Download]
!NoteWorthyComposerClip(2.0,Single)
|Clef|Type:Treble
|TimeSig|Signature:4/2
|Text|Text:"Problem"|Font:StaffItalic|Pos:8
|Chord|Dur:Half|Pos:-5|Opts:Stem=Down|Dur2:Half,Dotted|Pos2:-3
|Chord|Dur:4th|Pos:-2|Opts:Stem=Up|Dur2:Half|Pos2:-5
|Chord|Dur:Half|Pos:-4|Opts:Stem=Up|Dur2:Half|Pos2:-6
|Chord|Dur:Half|Pos:-1|Opts:Stem=Up|Dur2:Half|Pos2:-6
|Bar
|Text|Text:"Work around"|Font:StaffItalic|Pos:8
|Chord|Dur:Half|Pos:-3^|Opts:Stem=Up|Dur2:Half|Pos2:-5
|Chord|Dur:4th|Pos:-3|Opts:Stem=Up|Dur2:Half|Pos2:-5
|Note|Dur:4th|Pos:-2|Opts:Stem=Up
|Chord|Dur:Half|Pos:-4|Opts:Stem=Up|Dur2:Half|Pos2:-6
|Chord|Dur:Half|Pos:-1|Opts:Stem=Up|Dur2:Half|Pos2:-6
|Bar
!NoteWorthyComposerClip-End
87
What Rick explains in his examples is:

When the default stem length is used, flag and dot can compete for the same spot and therefor the flag pushes the dot to the right.
When using a different (longer) stem length, the flag and the dot don't have to compete and the dot can be put on its default location.

Bart
88
Version 1.75 Discussion / Re: upgrade
I don't think it was ever possible to upgrade from version 1.75 to version 2.x for free.
Maybe you upgraded version 1.75b or 1.75c?
If you have a license for version 2.0 you can for free upgrade to version 2.1 (and hopefully also to 2.5 in the future).
The Viewer is free.
89
Guido,

Layering should be possible when only a few measures are used.
Text-labels and stem directions can be used to indicate which instrument should play/sound.

Bart
90
General Discussion / Re: Forum Profiles
Greetings from Heverlee - Leuven - Belgium - Europe
91
Thank you, Rick.
I will keep using F6 and the stop button.
Bart
92
If no specific midi instructions are given, the states from a previous version are kept. So far so good. But, this can lead to unwanted behavior as you will find an example below in nwctxt-format.

F6 or the stop button (sometimes twice) is then a way to reset all the channels.

Is it on purpose that at the beginning of a new score the midi channels are not reset? Are there known disadvantages?
Are there alternatives to avoid the cacaphony in bar 3?


Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.0,Single)
|Clef|Type:Treble
|SustainPedal|Pos:-8|Wide:Y
|Instrument|Name:"Acoustic Grand Piano"|Patch:0|Trans:0|DynVel:10,30,45,60,75,92,108,127|Pos:7|Wide:Y
|Note|Dur:4th|Pos:-6
|Note|Dur:4th|Pos:-4
|Note|Dur:Half|Pos:-2
|Bar
|Text|Text:"ACTIVE SCORE STOPPED"|Font:StaffItalic|Pos:-10
|Text|Text:"NEW SCORE STARTED"|Font:StaffItalic|Pos:-17
|Rest|Dur:Whole
|Bar
|Instrument|Name:"Church Organ"|Patch:19|Trans:0|DynVel:10,30,45,60,75,92,108,127|Pos:7|Wide:Y
|Note|Dur:4th|Pos:-1
|Note|Dur:4th|Pos:-3
|Note|Dur:Half|Pos:-4
|Bar
|Rest|Dur:Whole
|Bar
|SustainPedal|Status:Released|Pos:-8|Wide:Y
|Text|Text:"WANTED BEHAVIOR"|Font:StaffItalic|Pos:-16
|Rest|Dur:Whole
|Bar
|Instrument|Name:"Church Organ"|Patch:19|Trans:0|DynVel:10,30,45,60,75,92,108,127|Pos:7|Wide:Y
|Note|Dur:4th|Pos:-1
|Note|Dur:4th|Pos:-3
|Note|Dur:Half|Pos:-4
|Bar
!NoteWorthyComposerClip-End

Kind regards,
Bart
93
Hi, Rick,

I investigated your example and if the "second" note is different, there is no problem - as you hear in this example below.

Code: (nwc) [Select · Download]
!NoteWorthyComposerClip(2.0,Single)
|Instrument|Name:"Flute"|Patch:73|Trans:0|DynVel:10,30,45,60,75,92,108,127|Pos:9
|RestChord|Dur:8th|Opts:Stem=Down,ArticulationsOnStem,VertOffset=-5|Dur2:4th|Pos2:0
|Note|Dur:8th|Pos:-2^|Opts:Stem=Down
|Note|Dur:4th|Pos:-2^|Opts:Stem=Down
|Note|Dur:Half|Pos:-2|Opts:Stem=Down
!NoteWorthyComposerClip-End

However, I don't think one performer is able to play your first bar since an instrument is not able to "start" playing a note which is already produced by that same instrument. Your second bar seems to me an interpretation from a performer who is trying to play the "different" parts with only one instrument. The only correct option for me is using different midi-channels since multiple instruments are necessary for what was put into one score.

Considering the technology for MIDI, I also fear that stripping off the note-off in a MIDI stream will be very hard to implement.

Bart
94
May be that this seems a silly question, but when you have to aline some lyrics a non time consuming placeholder could be interesting.
Unfortunately this zero note duration, as Dulfagd names it, does not exist (yet) in Noteworthy Composer.

95
General Discussion / Re: KEYBOARDS
Hi huntress,

Each MIDI keyboard can be connected to a computer if you have the right cables.
In the past every computer had a gameport on the soundcard and MIDI cables were supplied with the keyboard or with the soundcard. Today new computers do almost all their communication through USB-connectors.
So you should buy a MIDI-USB cable.
Once connected you should select the correct MIDI input in NWC (MPU-401 in my case) and that's it.

Bart.
96
Hello Mark,

Since Noteworthy Composer serves two goals (generating visually attractive scores and creating accoustically attractive sound) some commands serve only the former while other commands serve only the latter. Most of the options serve even both goals. As you already found out a slur doesn't change the accoustics and therefor it is just a visual tool. Ties on the contrary have a visual and an accoustic effect. Multipoint Controllers (one of the more complex tools in Noteworthy Composer) only have accoustic effects and are therefor only used by users that strive for a specific sound.

I think your choice for piano is the reason for your disappointment. The sound characteristics for a Piano, as defined by the Attack-Sustain-Decay-Release parameters, have only a short Sustain time and as a consequence the notes disappear quite fast. That's why your example 6, where you repeat your notes, gives you so much satisfaction. Sustain Pedal and Performance style (legato) can slightly improve the quality as you already found out, since your notes resound somewhat longer, but the improvement is rather poor. Chosing other instruments like Organs, Reed instruments, Flutes, Violins or even the "Ensemble instruments" sustain until the end of the note and are even more adequate .

In combination with dynamic changes that David suggested, you will sure get an acceptable result.
As Lawrie and Mark explained, you can achieve even better - almost perfect - results with VSThosts and Soundfonts, but as you already experienced, it is not an easy implementation and in fact you will then enter the fascinating world of professional music studios.

Bart
97
Tips & Tricks / Re: vstHost for Vista
William,
I installed Cantabile Light, and you are right, this is a piece of software that I like. It is very easy and works well - even on my 32-bit Vista.
Now I can playing NWC files through Midi Yoke patch cables with confidence.
Thank you for your suggestion.
Bart
98
Tips & Tricks / Re: vstHost for Vista
Hi William,

I will give Cantabile Lite a try.

Before Lawrie wrote his VST-manual, I always exported my files as midi files and generated audio files with Timidity.
The disadvantages were that Timidity was hard to configure (and to find) and that some NWC-interpretations like fermata, crescendos, ... disappeared.

Today, when I need an audio file, I just play the file in NWC - this way I am sure my fermatas and dynamics are right - and I record with Audacity where the preferred recording device can be selected. As far as I understand, Audacity gives the same flexibility as Wave Repair.

I am stuck only if I need a better "sound" than the default Windows GM, but until now, I have no real need for it.

Bart
99
Tips & Tricks / Re: vstHost for Vista
Hi Lawrie,

Thank you for your assistance.

My vista is a 32-bit version Home Premium.

I just played succesfully a piano-score and selected therefor the WST25FStein soundfont.

But when I tried to change back the soundfont to merlin_gm36 I got an access violation :
(Access violation at address 03491CCA in module 'VSTSynthFont.dll'. Write of address 0000000.)

I must admit, that when I stop the VST engine before making any changes, access violation doesn't seem to appear - but on my XP this VST-Engine switching was never necessary.

I am not desperatly looking for a solution for my problem, just wanted to share my experience with VSTHost on Vista.

Bart
100
Tips & Tricks / Re: vstHost for Vista
In the past I followed Lawrie's PDF-file and I was very happy with the results.
But on my "new" Vista computer, VSTHost or VSTSynthFont.dll are constantly crashing.
Even the last, so-called stable versions (VSTHost 1.48 / VSTSynthfont 1.060) don't last for more than one song. Especially when I try to change soundfonts, it is hurting me badly.
Also, I never managed to get usefull wav-files out of the VSTHosts recorder.
I already searched the web for better alternatives, but until now I didn't find programs that meet my expectations.

Bart