It's a huge paradigm shift, and a daunting piece of software to tackle, but in the end I think Logic's going to really be the best end-to-end solution for my workflow woes. Plus the sound I'm exporting will be great from the start without needing any post-processing, and if I need to make changes everything is situated. I could even start with the drill in Pyware, export a quicktime movie, stick that into Logic, and write directly to it layering in samples, recorded narration, and sounds from external sources all in one place. It'll take some work, but with this I can completely centralize my entire workflow. In Logic the paradigm is a lot closer-related to " make the sound you want, and the notation comes for free." The notation in Logic isn't quite up to Sibelius/Finale standards yet, even in 8, but it still produces great-looking scores with arbitrary groupings of staves (similar to Sibelius 4's dynamic parts). The ability to drag in quicktime videos or audio samples to compose directly to is a plus, and it's really easy to keep separate staves for print and playback and knock down the velocities of the print stuff if you want more control over the playback (Allen also has a pretty ingenious system of using the music font directly for articulations and dynamics, so that he can control all of the playback through the interface instead of having it interpret the crescendos and accels, etc.).Ī big part of it that is taking me some getting used to is with Finale/Sibelius you do the notation first, and then you get the playback. Honestly anything I could imagine doing is possible in Logic, and there are so many opportunities for taking control of the sound I'm putting out and really controlling crescendos, articulations, and the like. The learning curve is going to be steep, but the end result is definitely going to be worth it I believe. I talked with Allen Joanis for quite a bit, and I believe he has me sold on Logic. ![]() If any notation software would implement ReWire, all of this garbage wouldn't be necessary, but the leading two. ![]() You may even just need something like Cubase Studio 4, and that's only ~$199 on crossgrade. ![]() anyhow, I think you have to choose between Cubase ( ) and Logic. It's too bad the notation-based programs don't understand this. It does seem like if you have any audio that needs to go into a project, you're totally stuck. and adequate even with a little jiggering around is still better than the headache workflow we've dealt with for many years. My limited experience with these are that the notation isn't quite as intuitive, but they are adequate. You're in a better spot with Mac because you can choose between Logic and Cubase. ![]() Finale/Sibelius seem to want to be all-in-one without really being a midi solution. I can ENTIRELY feel for ya, and I am tired of the lack of notation integration. I'm planning on trying Cubase when I get my duckets saved up - be sure to crossgrade. I was wondering of the Mac-specific audio solutions out there (Logic, Kontakt, etc.) what would be my best bet for trying to centralize everything? If there's no cure-all solution what do some of you guys that rely on samples heavily do when composing? All the back and forth and spending hours of wasted time a session is really starting to get to me. This just takes way too long, and minor changes to the notated parts really make things unproductive by having to rip another mp3, insert back in, line it up again, etc. For example, because I don't own any modern audio solutions other than Kontakt Player 2.0 I usually end up recording an mp3 of the mallet track with wiretap pro, then dragging that into garage band, and then playing around with what instruments/samples they have available to see if I can get an idea of what the finished product would be like. I have found that although I'm very efficient at writing pit parts in Sibelius/VDL2.5, when I add sampled playback or recorded material everything grinds to a halt. An original indoor show I'm writing for the upcoming season has really made me revisit my workflow, particularly because it requires a high amount of sampled playback.
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