![]() It’s not quite as simple as just opening it and having it work right out of the box. The MIDI tracks created by Finale’s Export MIDI feature from this score are: MakeMusic is aware of this issue, and its cause, and plans to address it soon. I say “probably,” because Finale didn’t separate KS data for my Violin I track – it was included in a single track. Finale will probably export KS signals in another MIDI track with a similar name. We should start here with a cautionary note. There are three different sets of samples for each instrument, swapped via key switch: tremolo, legato, and pizzicato. ![]() I entered only a few markings, just to see how they show up in the data. Let’s examine an exported Finale MIDI file (a small string section score) as seen in ProTools. What Human Playback Data is Exported by Finale? Robert Piechaud and the good folks of MakeMusic have invested considerable resources in this more intuitive approach, and they’ve done an excellent job. One example would be to switch string sounds from arco to pizzicato. HP uses key switches as a means of switching samples in a particular instrument during playback. Modern versions of Finale leverage HP (as mentioned above) to interpret score markings automatically, “under the hood.” While this tool still remains in the software, it’s a bit antiquated and kludgy. Human Playback – A Great Leap ForwardĮarly versions of Finale relied on Finale’s MIDI Tool to edit CC and other data. I’ll share my experiences with the process, and identify some of the details that HP imparts on the MIDI data. In this post, I’ll follow the third path listed above. In the screenshot above, you can see the automation created by HP, as it interprets hairpins in the score. As its name implies, Human Playback can produce fairly realistic performances without the need to spend hours of manually editing continuous controller (or CC) data. Working with these customers, we’ve learned that beginning projects in Finale – and leveraging Finale’s Human Playback feature (or HP) – has some very real benefits. This can provide them with greater options and flexibility in the choice of sounds, libraries, and effects. Occasionally our customers need to continue their production in a DAW. We find these sounds to be more than adequate for most customers who wish to audition their commissioned score. Because they also expect high-quality first-demos of our arrangements, we use the Garritan sounds included with Finale (called Garritan Instruments for Finale, or GIFF) in creating these demos. Creating some (or all) of a performance in Finale, then exporting Finale MIDI data into a DAW.Īt Arranger For Hire we start all of our projects in Finale because our customers require notation.Using Rewire to run a DAW and Finale simultaneously.Creating tracks in a DAW, then exporting MIDI to create charts for performance.Do you use both Finale and a digital audio workstation (or DAW)? Or do use one and collaborate with people using the other? Either way, I think the three most common ways of using Finale and a DAW together are:
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