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Recording SoftWare for Blind people. Can anybody Please help?

Cubase 3.0 (part 5)


Score Editing

I doubt whether anyone will use all of Cubase’s facilities and modules.
The MIDI Mixer and Phrase Synthesiser obviously have much to offer. Briefly,
the MIDI Mixer offers snapshot and automated control of seemingly as many MIDI
parameters as your knowledge of MIDI extends to. The Phrase Synthesiser can
take a recorded MIDI input and modify it in an immense variety of ways. But
neither of these fall into the category of mainstream sequencing so I propose
to leave them until another day. Score editing is a different matter however
since many sequencer users are interested in putting their thoughts down on
paper as well as on tape. (The other forms of Cubase editing are still available,
although Grid Edit is now called List Edit). I recently spoke to Hans Zimmer,
the composer of the music for Rainman and K2 and many other films, who showed
me how he was using the Macintosh version of Cubase to record his scores, and
also to generate a print out which he could pass on to his copyist to make neat
musical parts for orchestral instruments. The score editing feature of Cubase
has been extensively improved with features such as: “Full page overview
and edit, drum notation, chord symbols, guitar tablature, enhanced printer support,
improved accidentals and beams, extended text option, polyphonic voices per
system”, to quote from Steinberg’s promotional material. Producing
an acceptable printed score from a MIDI sequence is never going to be an easy
or straightforward task, but it is important particularly now that electric
and acoustic instruments are being used more and more alongside synthesised
and sampled material.

Score editing has two different purposes, one is to edit your MIDI sequence,
the other is to get a printed copy of your work. There are therefore two modes
of operation, Edit mode and Page mode. In Edit mode, the object is to get as
clear a display as possible so you can move notes around according to what you
hope to be able to hear eventually. To this end there is a dialogue box which
offers a number of flags: Auto Quantise, No Overlap, Syncopation, Auto Clef,
Clean Lengths – all of which I found it better to set to On, – and No Part Name,
No Beams, No Half 3lets which I found I didn’t need to bother with personally.
The result is a score on screen that is almost always neat enough to play from
without any manual tweaking whatsoever. And if you want to fix a bum note, just
drag it with the mouse to its correct position. The only drawbacks to this are
that the screen isn’t big enough to show all the music you might want it
to – I would recommend editing just one part at a time – and the ST is too slow
to update a whole screenful of notation quickly enough. Time to trade up to
a TT perhaps?

Printing out a score properly involves a lot more fine tuning. Steinberg advise
working on a copy of your music, so that whatever you recorded stays the way
you meant it, yet the printed score is clear enough for a musician to play straight
away without having too much difficulty with strange syncopations or densely
black patches of notes. Figure 2 shows a section of raw print out from the score
editor without any manual tweaking. I printed it on my Hewlett Packard HPIIP
laser printer and as you can see the result is pretty good. You would have to
consult a session musician for an opinion on whether it would be good enough,
under all circumstances and all degrees of musical complexity, however.

David Mellor

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David Mellor



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