Last post by Flurmy -
Well, the problem is not NWC but your synth/soundfont.
To complicate the matter even more, the dynamic response of the synth is not standard. Every manufacturer, if not every model, has a different curve. I have an old document comparing some instruments, but I can not attach it here because, even zipped, it's oversize.
The best would be to use a soundfont editor to level off each instrument volume of your preferred soundfont, but it's not so easy for a not techie.
The simplest solution is to use the part volume in NWC to obtain the desired voice balance. Usually I do the local volume changes using the "expression" MPC so as to leave the "volume" free to be used as a master channel setting.
Last post by Jorge D. Fuentes -
Good morning, all! I haven't posted in a long time, and the search function for this isn't yielding results that are relevant, so I'm gonna ask:
Is there a listing of Noteworthy Composer "Default Dynamic Velocities" table for orchestral instruments? I have created several scores using NWC, but the playback has a few issues due to dynamics.
For example, a flute is not as loud as a trumpet, so the Fortissimo (ff) marking for a flute should switch the velocity of the flute to a value that is lower than the Fortissimo marking for a Trumpet.
I need the default dynamics, if anyone has them, for orchestral instruments for playback. Instruments that overpower others with their relative loudness would have higher values for their dynamics (trumpet, saxophone) than them (flute, etc.).
Does such a list exist? And if not, does anyone have any advice? The instruments needed are the orchestral set, plus saxophones, piano, and choir. So: -Piccolo -Flute -Oboe -Clarinet -Bass Clarinet -Bassoon -Alto Sax -Tenor Sax -Baritone Sax -F.Horn -Trumpet -Flugelhorn -Trombone -Bass Trombone -Baritone/Euphonium -Tuba -Piano -Soprano Voice -Alto Voice -Tenor Voice -Bass Voice -Violin -Viola -Cello -Contrabass
I would imagine the loudest instruments (Trumpets, Saxes) would have louder relative velocities than the softer instruments (Flute, Strings, etc.). Any help on this would be greatly appreciated. If there's an User Tool one can use to quickly create the overrides, that would be great, also.
Last post by David Palmquist -
There's no attached file, but I would think you would just let the Lyric Line Count on staffs 2, 3 and 4 to be zero. Since the lyrics for those staffs will be deleted, I would copy them to a text file first, so you can just copy them back when you're ready for lyrics in those staffs.
Last post by David Palmquist -
You're using essentially 2-note chords. When you enter the "active" note, you can set the note colour, so you would have one default note (black?) and one coloured, say, red or blue.
The Scriptorium has been updated with works submitted by :
Richard Woodroffe Die Mainacht D194 (Schubert) Mike Gibson Vespers (Monteverdi) Lorenzo Prada Dein ist mein ganzes Herz (Lehar) Lorenzo Prada Virgo Maria (Anonymous) John Hooper Lord, let me know mine end (Parry)
If you would like to be notified every time the Scriptorium is updated, please send an e-mail requesting Scriptorium Update notification to nwcscriptorium "at" gmail "dot" com
Last post by hmmueller -
The software being "dead" is, IMHO, different from no longer maintained: NWC can be used as it is on Win 10 and Win 11 without any problems.
For maintenance, my honest take is this (being a software architect in a medium-sized special-software company - not a product manager, but knowing lots about writing and delivering software):
a. The expected level of features of a typical music editor (like NWC) has grown significantly over the last 10 years: Part creation is of course necessary; also roughening out usage weirdnesses from old times; creating apps for at least listening, maybe assembling play lists or the like; but the most important thing is a modern sound rendering engine with qualitative initial sound configuration, and of course the ability to connect to all known sound rendering standards. MuseScore, with its 4.x rewrite, and Dorico are two baselines against which small(er) music editors need to position themselves, IMHO.
b. As I know NWC from long ago, I'd guess(!) that the organization would need quite some overhaul to make it fit for the features under a. - mainly because you need specialists in a few areas for this. MuseScore, as an open souce project; and Dorico at Steinberg can do that: Tapping deep-knowledge personnel from nearby areas. I would doubt that "an enthusiast" is, as of nowadays, easily capable of that.
I dont want to cast deathspells on anything; and I quickly returned and return to NWC for most of my work after learning MuseScore 4, with a real course, and "even" writing a few scores with it. For actual composing and arranging, there's nothing better than NWC. Yet, I'm now setting up tool chains (e.g. with Opagust's NWCConvertor) that embed NWC in a somewhat larger ecosystem to compensate for missing features, especially in the sound rendering area.
Last post by SimonJShaw -
I'm sure this is an old topic since the last update was years ago. I'm still using NWC at present, because I'm so used to it, and for certain very specific things that it does well. So I would be disappointed to hear that no further development will be undertaken, but such is the fate of all software eventually. - To whom does the company / product IP belong? - Could the product be given or sold to an enthusiast to develop further? Or made open source? Anyone with info please let us know? Or (kindly) direct me to another thread.
Do Re Mi Fa Sol La Si Do = C D E F G A B C for a "C" major scale.
Thank you Lawrie, yes we familar with the above, those are the note in number that we sing when we learn to a song. I will read and lear the website that you gave me.
That's good, and I hope the links help.
Quote
Anyway when you said. over 7 hours on the road. Where did you go in Australia. Is it far from Adelaide?. The family of my daughters is in Adelaide. We went there when our 2nd grand daughter was born in 2018. I wish we could meet at least we call, when we go there someday.
From where I currently am it's about 1100km to Adelaide (maybe 12 to 12.5 hour drive depending on the route), and I just travelled around 450km (took so long because of traffic congestion and road repairs).
To give you some scale, it's about 4000km from Sydney to Perth (across Australia from East to West) - Adelaide is about 1400km from Sydney, so about a 1/3 of the way from Sydney to Perth.
For scale, New York to San Francisco is around 4600km.
Do Re Mi Fa Sol La Si Do = C D E F G A B C for a "C" major scale.
Thank you Lawrie, yes we familar with the above, those are the note in number that we sing when we learn to a song. I will read and lear the website that you gave me. Anyway when you said. over 7 hours on the road. Where did you go in Australia. Is it far from Adelaide?. The family of my daughters is in Adelaide. We went there when our 2nd grand daughter was born in 2018. I wish we could meet at least we call, when we go there someday. If you have time you can visit my website, that I made myself by learning how to make website from Youtube. But my kids live in Indonesia, Australia and US now. Thank you, Frank. https://franksitumorang.com/about.html
Last post by Lawrie Pardy -
Hi again Frank, I've finally reached my destination, over 7 hours on the road - bit tired now...
The links below will help, but you will need to learn what they show - there may well be better/easier resources, these are just some I found after a very quick search. They look OK.
I'm not sure how the number system you use relates, but I'm sure it does. The basic sol-fa system relates directly to major: Do Re Mi Fa Sol La Si Do = C D E F G A B C for a "C" major scale.
