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Post by Dave Dexter on Sept 14, 2018 21:12:55 GMT
In the above screenshot, you can see an excerpt of the 1st violin part from a piece I'm recording. Logic has a habit of not quite exporting to .pdf what's in the score - in this case, the hairpins are ever so slightly higher in the export (right) than the Logic part (left). I feel the dynamics are also moved upwards a little, but the main thing is the disparity. Tiny difference, but now the notation isn't quite lined up as I wanted. Still readable, but it's setting off my ocd and annoyance. It's the 1% difference that takes the parts from being obviously hand-arranged but neat, to a bit shoddy. Occasionally it creates clashes and hard to read notation as elements print over each other. Does anyone know why Logic does things like this? And how it can be stopped?
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Post by Bob Porter on Sept 14, 2018 22:26:03 GMT
Dave, Even dedicated notation software misses the mark on occasion, and has to be tweaked. As a musician reading the exported part, I see no problem. But if your ocd has truly kicked in, I notice that each of the three dynamic and hairpin groups is on a different plain. As far as looks go, that would bother me.
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Post by Mike Hewer on Sept 15, 2018 6:46:56 GMT
I can’t help with Logics notation Dave, as I don’t use it, but if I may, at b3 you could take off the slur on the first 2 crotchets to enhance the crescendo to ff. The added bonus is that the last note in your excerpt would then end on a down bow, which would also feel more natural and easy for the diminuendo. This assumes a downbow at the beginning of the excerpt and does not take into account what follows. fwiw, Bob’s right, the part is clear and professional.
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Post by Dave Dexter on Sept 15, 2018 14:05:59 GMT
Dave, Even dedicated notation software misses the mark on occasion, and has to be tweaked. As a musician reading the exported part, I see no problem. But if your ocd has truly kicked in, I notice that each of the three dynamic and hairpin groups is on a different plain. As far as looks go, that would bother me. I've been doing nothing but parts prep and export the last week and perhaps I'm too far down the rabbit hole of tweaking everything 0.5mm. The differences are miniscule, it's just the annoyance that I'm not master of my NS. I would put them in front of players as is with near-complete confidence, but it all feeds back to some extent, and I get paranoid about a musician thinking the parts look unprofessional because a dynamic is off-centre and then playing less involvedly as a result. I have my own reasons for placing the notation on different planes Bob . . . and I have had to make my peace with them. That's a great point Mike, and you're right - b16 starts with a downbow. I haven't forgotten these conventions, but I noticed with my previous session that the bowing was not always in sync and I concentrated more on ensuring my bowing didn't try to cover too many notes, which I think was the issue. That's come at the price of a more louche attitude to up/downbows arriving on cresc and decresc though - I'll get back on it. You have no context to know from, but in this piece probably I'd remove the slur from beat 3 or 4 of b18, probably 3, as beats 1 and 2 are an enormous climax. Ha, ha . . . climax.
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Post by Mike Hewer on Sept 16, 2018 7:56:54 GMT
giggling....grow up Hewer.
As a reminder, there are occasions where a lot of notes can be covered in one bow. The deciding factors are dynamics and tempo, or rather time, along with simple physics. In a very quiet passage long slurs covering more notes can be executed with minimum bow pressure.
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Post by Dave Dexter on Sept 16, 2018 9:52:04 GMT
giggling....grow up Hewer. As a reminder, there are occasions where a lot of notes can be covered in one bow. The deciding factors are dynamics and tempo, or rather time, along with simple physics. In a very quiet passage long slurs covering more notes can be executed with minimum bow pressure. Absolutely - I've been overshooting here and there with orchestral stuff though, generally at points of high dynamism where sticking to my bowing would weaken the sound thanks to bloody physics. There are a few longer slurred passages in my 4tets which worked thanks to the lower overall volume and delicacy of the pieces. Musicians really should be able to violate basic physical laws when performing my work.
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