8/16/16. The latest version of Finale was announced today by MakeMusic, and it’s evident that MakeMusic has put a good deal of thought and effort into this release. Finale is finally a true 64-bit application. On my venerable 2009 MacPro running OS X 10.11.6, after installation, I opened a few scores to poke around in.
The first thing I noticed was a substantial speed increase with certain operations. For instance, on a large score, Human Playback, which was glacial in 2014.5, loads almost instantaneously. Editing within a larger file seems much more responsive. On Mac, the system requirements are OS X 10.10 or later (Yosemite, El Capitan). Intel Core 2 Duo processor or better. You’ll need 700MB of free hard drive space to install the software, and at least 2 gig of RAM. Graphics on both Mac and PC are now rendered using CoreGraphics.
Color and image handling is crisp and clean on my setup, even using a standard monitor. Finale on Mac no longer requires Apple Java 6, although you will still need an if you plan to run older versions of the Finale software concurrently. On the PC, the system requirements are Windows 7/8/10 (64-bit compatible). You’ll need 600MB of free hard drive space to install the software, and at least 2 gig of RAM.
Signs Point to Yes: Shipping plugins are now all 64 bit as well, and word on the street is that Robert Patterson , Tobias Giesen and Jari Williamsson are all working on updating their plugins to 64 bit. Robert Patterson’s website states that the Patterson plugin “Codebase is updated and positioned for the future.” More information about this will be forthcoming. Classic Eighth Beams, Count Items, and the Band-in-a-Box plugins have been removed in this version. It’s worth noting that many of the shipping plugins are still not accessible in Finale 25 when working in Parts, forcing round-trip to the score for many types of edits. Sound Sets: Finale 25 comes with an updated, which includes the Concert D Grand Piano from, full choir, esoteric additions such as recorders, dulcimer and didgeridoo, as well as a number of other useful samples from the and libraries. The Aria Player has also been updated.
At least 4GB of available RAM is recommended for use of any additional Garritan and Tapspace (AU) sounds: the more RAM you have installed, the more sounds can be loaded and available. MakeMusic has stopped version dating the application by year; moving forward it will be simply called “Finale”. If you look in the “About Finale” dialog it says version 25. Also, the retail box identifies it as version 25. Version 25 is appropriate, since this is the 25th major release of Finale since 1.0 was introduced. This naming change is also reflected in the application menu.
For someone like me, who relies heavily on Macros for automation, this small touch is a welcome addition, since it means that next year, I won’t have to reprogram my shortcuts yet again to access items in the Finale menu: Dashed Curves and Dashed Slurs are a feature I have wanted to see for some time in Finale, and these have been added to the Smart Shapes palette in Finale 25. Dashed Slurs follow the symmetry, thickness and slur tip settings of regular slurs, while Dashed Curves are curved lines sharing the same thickness as the default straight line Smart Shapes. However, it’s puzzling to me that separate controls for Dash Length and Dash Space of these new curved shapes were not provided for this new Smart Shapes offering. Currently, all lines in the Smart Shape palette, whether straight or curved, must share the same Dash Length and Dash Space characteristics. However, while it isn’t yet possible to have both a Dotted Curve and a Dashed Slur Smart Shape in the same score, it.is. possible to create Custom dashed straight lines (e.g.
Brackets) with different Dash Lengths than the curved Smart Shapes if you need to conform to a particular House Style. “Save Preferences When Quitting Finale”, which has been automatically handled on Windows for some time, is now done in the background on both platforms. The checkbox for “Use Finale’s Page Orientation Instead of the Printer’s Page Orientation” has also been removed, as this is now handled in the OS Print Dialog. The “Save and Print” Preference Pane has been renamed “Save”: Reset All Preferences is a new addition to the Preferences dialog. This button allows you to restore all of Finale’s Default Preferences without having to “trash your preferences” in the event something goes wrong.
On the Mac OS X, at least, Application Preferences files are not visible by default or easily accessible, so this feature makes sense. However, as this obviously has the potential to blow away quite a number of custom settings, a warning dialog gives you the option to reconsider: It’s worth noting that if you forget to save your currently open score, you won’t lose any work as a result of invoking a reset; Finale will prompt you to save any work before shutting down. Because I have so many settings different than the defaults, I still plan to make an archival copy of my Finale preferences file as soon as I have everything set the way I like, just as I have always done, but this feature could be a “Get Out of Jail Free” card for less experienced users to quickly get back up and running again. Print Parity: Another interface change I really like on the Mac side is the removal of the intermediary dialog when printing parts. All of this functionality has all been moved to the Print dialog in FInale 25: Print Parts has been part of the Windows print dialog for some time; there were no changes to the print dialog on the Windows side.
On Mac, I note a couple of minor issues related to printing. If your score is in concert pitch, or is a different size than the parts, the “Display in Concert Pitch” and “Page Size” warnings are always displayed. For both, you can check “Don’t show this message again”. Secondly, when saving to PDF from the Mac print dialog, Finale 25 doesn’t currently retain the score file name – you have to manually name your PDF files for now. Hopefully these minor issues will be addressed quickly in a point release. It’s About Time: Previous versions of Finale didn’t make it very easy to show large Time Signatures in the score, while showing small Time Signatures in the parts. The reason was that Large Time Signatures should only show on a few of the staves of a score, while they need to be shown on every part staff.
However, previous versions of Finale only had one “Time Signature” visibility checkbox item in Staff Attributes which applied to both Score and Parts. In Finale 25, there are separate Time Signature visibility checkboxes for Score and Parts: This same control is also available in the Global Staff Attributes, and Staff Styles dialog boxes to help you to set up your scores quickly with Large Time Signatures. A simple and elegant solution. I Hear That! I previous versions of Finale, transposing instruments like Clarinet or French Horn sounded correctly at concert pitch on playback of the score, but would sound at their transposed written pitches during entry. As someone who has engraved quite a number of scores from existing transposed parts, I personally find auditory proofreading more cohesive if the auditory feedback during entry is in the same tonality as the rest of the piece. So I was very glad to hear that Finale now correctly plays back sounding pitch on input by default. However, if you are one of the handful of Finale users who finds this new lack of bitonality upsetting, you can turn the old behavior back on from the Device Setup menu: Rewire sync support has been added to Finale 25. I was up and running with Finale slaved to Digital Performer 9 in just a couple of minutes.
MakeMusic did a nice job with this; you don’t need to install any additional software (at least on the Mac) and the whole process was just a couple of steps: First, you open your DAW (in my case, DP) and create a new stereo audio track with its inputs assigned from Finale: (Make sure you are monitoring the audio output on that stereo track): Next, open your Finale score. On my setup, the score doesn’t initially draw until you start the transport in the DAW.
Open the playback controls in Finale to confirm that the score is slaved via ReWire: That’s all there is to it. MakeMusic has removed the movie window in FInale 25, since sync to picture is obviously now going to be handled elegantly in Cubase, Logic, DP etc. Good Housekeeping: Do you ever use this dialog in Finale 2014.5 or earlier? Neither do I. And if you do, you shouldn’t. I’m happy to report that as of Finale 25, you can’t. Formerly known as the, the Tempo Tool would create tempo changes in your score without leaving any visible mark in the score at all, and was frequently at odds with the Playback assignments of visible Tempo Expressions in the score.
The Tempo tool had become, in a word, insidious. So, I was very glad to see that the Tempo Tool, along with the Mirror Tool (you old timers originally called it the ) went Bye, Bye (You’ll be ask to convert Mirrored notes to regular notation). Frankly, I applaud the strategy of removing chaff features for which there is a better, more modern equivalent in Finale. If you are still hell-bent on inserting mysterious and invisible Tempo instructions into Finale, you can still get to the arcane “Fit to Time” tempo control from the MIDI menu.
MakeMusic really needs come up with a way to expose hidden MIDI data like this to the user; MIDI Tempo data in particular is potentially still in conflict with visible Text Expression data in the score. As a side note, it would be nice to see “Fit to Time” updated to create visible Tempo Marks rather than inserting arbitrary hidden tempo changes into the score that conflict with existing Tempo Text. A healthy number of fixes have been incorporated into both the Mac and PC versions of Finale 25. I won’t bore you with the, but suffice to say, more stuff works in this version.
For instance, I love the fact that I can append multiple movements of a long score now without having to manually assign bar numbers for the later movements. There is a long list of improvements to MusicXML. A MusicXML Preferences dialog has been added to the FileExport menu. This allows you to set defaults for MusicXML export version for backwards compatibility, whether to export compressed or uncompressed file format, and to silence error messages (they can be written to a log file instead). Among other improvements are support for the default Percussion Noteheads font, and extended characters in the Jazz font which weren’t previously recognized. Exact duplicates of articulations and slurs are now filtered.
More chord suffixes can now be exported. MusicXML exports laissez-vibrer tie shape expressions and tied notes followed by rests correctly. You get the idea. MakeMusic decided to from Finale 25 to protect the rights of composers and copyright holders, and focus on internal improvements to the program.
As a long-time Finale user, Finale 25 reminds me of a; it’s got the same unassuming exterior, but make no mistake, under the hood, true 64-bit architecture makes this a high performance upgrade. New features like Transpose on Input, Dashed Slurs and ReWire support are welcome additions. It’s also great to see improved UI parity between the Mac and PC versions. That said, with significant competition in the notation space just over the horizon, MakeMusic needs to continue to raise the bar: For instance, from a UI standpoint, The Note Mover, MIDI Tools and Shape Designer are really showing their age. And a few long-standing functional deficiencies remain as well: Octave transposing instruments still play back incorrectly in concert pitch scores. Object visibility still can’t easily be controlled separately between score and parts (show/hide in score/part for cue notes, text etc.) Useful plugins are still not available from within Parts, requiring the extra labor of repeated round trips to the score.
I’m hopeful that we’ll see a number of in upcoming point releases moving forward. The retail price for Finale 25 is $600, with the academic price discounted to $350.
If you own any previous version of Finale, or would like to take advantage of MakeMusic’s competitive upgrade, the price remains at $149; very reasonable. It’s worth noting that MakeMusic did not move to a subscription model with Finale 25, which many users will appreciate. If you don’t use any notation program, or are currently working in a competing notation program, and would like to try out Finale 25, you can download a free demo. You have 30 days to review all of the features of Finale once you install it.
robert see also: “. I didn’t read anything about SMuFL support for v.25, but that is an excellent question. If you find anything out about this, please share here!
As I understand it, the primary focus for this version was getting the codebase updated to be current and competitive 64-bit, with some other nice new features thrown in. As far as remaining bugs and feature requests, Mark Adler at MakeMusic has stated that the company is planning to do more frequent maintenance upgrades moving forward. Winrar free download.
In the meantime, you can make requests for features and fixes through the support page on the MakeMusic website: robert. Hi Greig – internally within Finale, third party plugins must be upgraded to 64 bit to work within Finale 25. Aria is already compatible and up to date. Kontakt has offered a 64-bit version of their host for some time, although I know some developers have been slow to adopt. Regardless of whether working in 32 or 64 bit, if you run your VST / AU host as a stand-alone you should have no issues. It won’t be any different than doing this in Finale 2014, but the whole experience will be faster and more stable). I believe both Kontakt and Vienna Ensemble Pro stand alone both allow you to run both a 32-bit instance and and 64-bit instance running concurrently if you have some sample playback related plugins that are still 32-bit.
As far as internal plugins, there has been no official release dates made public by the various third party software, but it looks like we are getting close: robert. Hi Keith, Finale 25 actually uses the same file format as Finale 2014 and 2014.5, which is great. You don’t need to export to open and round-trip between 2014 and 25 – the files open as is in both programs. The process to back save to Finale 2012 is as it was in Finale 2014, you export as a 2012 format file; one more step, but it generally works well, in my experience.
To back save to earlier versions than Finale 2012, export as MusicXML. Within Finale 25, of course, you can open any earlier Finale file.
I just purchased the upgrade and so far so good. I LOVE that my program doesn’t crash now when using the playback cursor.
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I can’t wait to see all the other new upgrades in action. One thing I’ve noticed right away, which concerns me, the margins seem to be different and somewhat off, when printing. I troubleshooted a bit, and printed the same score page from the exact same file, both in 2014.5 and then the new version 25. The printed copy from the new version had the title and other text “cut off” or omitted completely. The page actually was shifted slightly upward, causing some of that text to be “above” the page.
The only setting that is different in the preferences, that I could see, is the Save and Print, which is now only Save. I used to have the “Use Finale’s Page Orientation Instead of the Printer’s Page Orientation” unchecked, however checking or unchecking this in Finale 2014.5 does make any difference to how the page is printed. Hi Jeff, I’ve not had any printing centering issues on Mac OSX, either to PDF or printing to my HP printers. If you are printing n-up pages, you may need to have “Ignore Printer Margins for n-up printing” checked.
The issue you describe – If you are printing 11×17, I wonder if it has to do with the Page Setup page size descriptions which changed in Finale 25. In Page Setup, there is now a ambiguously named “11×17 (Oversize)” – this page size is actually 12″x18.5″ – I see this size in other Applications on Mac OS X, and I would imagine Finale is pulling from the same info that other applications are pulling from. The true 11×17 page size is still called “Tabloid”. FWIW, the page size called “Tabloid Oversize” (12″x18″) is gone from the menus (in Finale and other applications on Mac OS X); it has been replaced with this new “11×17 (Oversize)” page size. This is unfortunate, because it is no longer possible to print 9×12 2-up to this standard 12×18 page size.
But I believe this is an OS issue, not a Finale issue. As long as the Finale supports Custom Page Sizes, you can still print 12″x18″ n-ups. All that to say, if you were printing an 11×17 page to the “11×17 (oversize) page size, or a 12″x18” score page to “11×17(oversize) the document would not print centered and some of it would be cut off Hope that helps.
Thanks for the reply Robert, I’ll keep trouble shooting. Meanwhile, I did try checking and unchecking the “Ignore Printer Margins.” plus I tried checking and unchecking “Fit to page”, which did not help. My initial attempts at 11×17 parts were fine.
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It’s only when I print my scores. My scores are either 9×12 or 10.5×14. In both cases, whenever there was text above the top margin line, this would not show up on the printed copy or PDF copy. It was either cut in half, or gone completely. Cheers, Jeff. Hi Robert, I’m running OS 10.11.6.
Older versions of Finale, including the most recent 2014.5 seem to recognize the custom page sizes without any problem. I’ve troubleshooted all of this with 3 different printers, and printing directly to PDF but haven’t had any luck finding the issue.
Again, my best guess is that when the print dialogue was changed in the newer version it’s somehow changed it so my files that were previously setup with a specific layout aren’t compatible anymore. I messed around with a file from one of Finale’s band templates and these printed fine, 9×12. So I think I’m getting closer to the answer. Hi Tina You can, of course still make use of excellent stand alone programs such as Smart Score and PhotoScore. If you already have a bundled lite version of one of these applications on your drive, these will still work and you can export to MusicXML etc via the standalone and then open the file in Finale; essentially what you have alway been able to do.
If you never installed one of the bundled versions of the scanning software programs, you can buy them as a stand alone. The full versions of both Smart Score and PhotoScore have more options for what can be translated as well. To NJ: I hoped to recommend GarageBand as a free/simple Rewire host for movie playback, but it appears that Rewire functionality has been removed in recent versions of GarageBand. I would suggest Cubase Elements as the simplest, most affordable DAW that supports Rewire with Finale and video playback ($99, 30-day free trial). These features are crippled on the “Lite” versions other other DAWs like Ableton Live and Presonus Studio One. Reaper would be another affordable option.
I just downloaded the Cubase Elements 30-day trial and found it pretty easy to get Finale synced up and import a movie for playback. Because Finale functions only as a Rewire slave, the workflow may be convoluted – you’ll have to program or import any tempo and meter changes into your DAW for it to match Finale. Makemusic’s newest upgrade of Finale is just an other huge disappointment. Going 64 bit is something other companies have done 5 years ago. They promoting it as if it were a big deal.
How about making dialog boxes sizable, a preference for customizing key commands for all menu entries and plugins, and tool pallets with much bigger icons, just to name a few things that every modern pro application nowadays offers, without even mentioning it as a special feature. Finale looks old, feels old, and is still one of the buggiest programs I have ever used. I so hope that the competition is kicking It hard in the next few months, so they have to become more innovative again. This upgrade is not worth it to me, especially not until all the third party plugins work with it. An other disappointing release! Hi Graham, I know for sure that the large Cut Time symbol currently exists in the Reprise Big Time Std font that ships with Finale. FWIW I did a blog article on this topic back in 2013: I remember hearing that this was in the works awhile ago, but the Cut Time symbol is still not included in the Engraver Time font that ships, and I don’t see a new “Finale Big Time” or “Maestro Big Time” font in the list of installed fonts on my system.
You might be able to get away with using the Reprise Big Time font in a pinch, but I would follow up with MakeMusic and request it again, There is certainly a precedent – as they have the Cut Time symbol for their handwritten large time signature font. Please share if you learn something on this topic, Graham. Thanks again.
You glossed over the loss of the Mirror Tool, but I’m flabbergasted that the tool disappeared. Before Finale 25 I was never part of the Finale online-discussion world, and now I feel like I’m the guy who has to defend his belief that the world is flat, because when I ask why Mirroring disappeared, all of the feedback I get are caustic comments like “Oh, you’re the one guy who used Mirrors?” or “I never touched it and I’m surprised you did.” I never had an issue with it and didn’t even know it was Finale’s most toxic asset until it disappeared, apparently by popular demand. Was Mirroring that awful for people? The loss of Mirroring (or any sort of dynamic copying apparently) is going to double the time it takes for me to create (and edit) a lot of my scores. My main questions are really: a) Why was it necessary for the Mirror tool disappear (and humor me because I honesty have no idea), b) How does one create dynamic measures now, and c) If the answer to b is “no,” why is that feature considered undesirable?
(I know I might be asking to “prove a negative” on c, but I’m really turned upside-down by this.). Hi Warren, Thank you for your well thought out comments. In order to address your comments appropriately, I think the best place to start is with the codebase. And, my apologies for the length of this comment. Until the 64 bit version of Finale required a rewrite of much of the code, many tools and features were “patched” to create updates rather than being rewritten.
Makemusic Finale 25
Finale has a lot of features where updates were cobbled together using the same codebase that was written over 20 years ago. Much of this patchwork of code being appended to existing code was, by definition, rewritten and streamlined for the 64 bit version.
This is a good thing, but of course, decisions about what tools were going to be kept needed to be made. In the beginning, because Finale was so flexible and powerful, people found ways to create requirements using tools that were not designed for that purpose. For example, a lot of people used the Articulation Tool to enter dynamics because it allowed so much more flexibility with placement relative to the Note rather than the staff. Advanced Finale users found tools like Lyric Tool or Chord Tool allowed them to enter text that was to appear along a common baseline.
These common placement options were not available in the original Expression Tool. It wouldn’t make sense to not use the Expression Tool for expressions once the placement deficiencies were addressed, but a lot of Finale users didn’t embrace the new functionality right away.
MakeMusic has a long history of leaving legacy code and functionality in newer versions. They also have a history of.not. moving forward because of outcry from some segmen.
MakeMusic Finale 25.4.1.152 RELEASE INFO: MakeMusic Finale 25.4.1.152 OS: Windows 64bit Language: English Size: 3.4 GB Finale is the world-wide industry standard in music notation software. Anywhere music appears on the printed page, Finale likely created those pages.
Finale helps the choir to sing, the band to march, the students to learn, and the orchestra to raise the excitement level in the latest blockbuster movie. Part of what sets Finale apart is its unique ability to create anything on the printed page. Where other software offers paint-by-numbers solutions, Finale offers complete freedom and flexibility. As a result, musicians around the world rely on Finale to create, edit, audition, print, and publish the widest variety of musical scores.
Finale also offers breathtakingly realistic music playback, and more ways to share music with others. Today’s Finale represents the latest evolution in music notation software, making Finale’s signature freedom and flexibility easy for everyone to use. Share your music with the world Capture musical inspiration. Engrave a beautiful score. Share your artistic vision with others.
Just as every musician is unique, so are the reasons each uses music notation software. Today’s Finale supports you, making it easy to create whatever you can imagine AND to work in the order and manner that best support your creativity. No matter where your inspiration leads you, from a simple lead sheet or student worksheet, to orchestrating for Hollywood or preparing your Broadway score, choose the solution that supports your vision. Focus on your art, not the details When inspiration strikes, Finale takes care of the details so you can focus on your music.
Capture ideas as fast as you can – with no obstacles to slow you down. Your music, your way In an instant you can move measures, change keys, or perform dozens of edits to capture, arrange, perfect, and print anything you can imagine. Finale even offers creative and editorial input, from automatically adding a drum groove to indicating when when notes have been written out of an instrument’s range. Enter notes your way The choice is yours. Play in your notes with a MIDI keyboard, mouse, or computer keyboard. You can also import a wide variety of file types, including MIDI and MusicXML™.
What’s New in MakeMusic Finale 25: Create Your Way – Whatever music you imagine, the new Finale can bring it to life, more quickly and easily than ever before. – Now a full 64-bit application, the new Finale includes many under-the-hood enhancements resulting in improved performance. But that’s only half of the equation. – While Finale has always been recognized as the software that can create ANYTHING, the new Finale also streamlines your workflow so that you can create in a more intuitive and efficient manner. – Plus there are new ways to sync with other apps, new sounds, and better ways to share your music with others.
– Take control of your music, your creative process, and your legacy. Get more done in less time Finale has always been recognized as the music notation software that can create anything. The new Finale simplifies the creation process in multiple ways. – While previous versions of Finale could create tall time signatures, like those seen at left, it admittedly took a few steps. Today it’s easy.
– When entering notes into transposing staves, the new Finale plays the correctly transposed pitch both upon entry and playback. – An all new Aria Player greatly simplifies and expedites the selection of instruments from the ever-growing library of stellar Garritan sounds.
– We’ve also made new looks possible (including contoured dashed slurs) and eliminated dozens of bugs. Connect with ReWire support – The new Finale includes ReWire support making it possible to use Finale simultaneously with top digital audio software including Digital Performer, ProTools and Logic. – Imagine you’ve created a pop tune in Logic and want to add a live horn section. With ReWire you can create the charts in Finale, press play in Logic, and hear both programs playback simultaneously – and remain in sync. You’ll hear how your horn parts work against the existing audio tracks – before the performers come into the studio to play them. – ReWire will also benefit anyone writing for film as it also allows you to synchronize with the video support found in programs like Digital Performer, ProTools and Logic.
– Connecting with other programs is one more way Finale helps you create your way. 64-Bit Support and More – Finale is now a full 64-bit application. This means that you can take best advantage of the processing powers of modern computers. – It also ensures that Finale can maintain compatibility with future operating systems and makes it easier for Finale developers to improve your user experience more quickly.
– Finale users utilizing high-end sound libraries know that many of these are 64-bit only. The new Finale will allow them to use these libraries directly in Finale, without any intervening 3rd party software AND allow them to load more samples into memory than ever before. – While a major undertaking, this 64-bit compatibility is just part of the forward-looking enhancements found in the new Finale. We’ve also overhauled Human Playback (today it responds instantly when you press playback) and expanded Finale’s MusicXML import and export so you can share music (back and forth) with users of other software more accurately than ever before. And of course you can share files with Finale 2014 without any conversion at all! New Garritan Sounds Great playback sounds inspire not only our listeners, the inspire the creative process. When you hit play and the results exceed your expectations, you push harder, too.
The library of premium Garritan sounds included with Finale has been significantly augmented with more than 100 new additions, including a stunning Concert D grand piano from the award-winning Personal Orchestra 5, dozens of exotic world instruments, plus new keyboards, brass, woodwinds, choirs, strings, mixtures, percussion, and more. System Requirements: Windows: – Windows 7/8/10 (64-bit required) – Intel® Core™ 2 Duo processor or AMD Athlon™ processor (Intel® i3 or AMD Athlon™ II X2 and above recommended) – 600MB hard drive space required for software. DOWNLOAD LINKS: Rapidgator UploadGig Nitroflare For other news, visit my profile every day! To Unzip the files use 7zip or WinRar.
I recommend to download as fast as you can or you will lose file you need ( Links dead because of Copyright Infringement ).
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