![]() My aim is to involve you as directly as possible in the development of our new program, and to listen to your thoughts and ideas so that we can take them into account. At the same time, the number of companies actively working on professional music notation software is very small, and perhaps now numbers only two (one being Steinberg, the other MakeMusic). We are looking forward to contributing directly to the amazing portfolio of products and technologies that Steinberg has built over its near 30-year history. Every one of our new colleagues that we have met shares our passion for music and delivering to customers what they want. Steinberg builds tools that change musicians’ lives, and that comes from a deep understanding of what musicians need, often before they know they need it. Steinberg is the ideal home for our new venture, and we are beyond delighted that its leaders asked us to join their team. I will share plenty more details about how that vision translates into design considerations in future posts. We have a vision for a flexible, powerful music notation application that is equal to the task of notating today’s most challenging art music and capable of producing graphical results of the highest quality, while providing an environment for composing and arranging that is as close as possible to the simplicity of writing music with pencil and paper, or improvising at your instrument. (Of course there are dangers inherent in starting again from scratch, but since we don’t have any code of our own to use, we have no choice in any case.) It’s rare for an established development team to get the chance to develop a whole new application in the same area as their previous one, and we believe our combined experience gives us a unique perspective on how to design a new application that will overcome the limitations of existing programs, escaping the legacy of code that is 20-plus years old. The core of this same team was responsible for developing six major versions of Sibelius, introducing hundreds of innovative features over the past 14 years. We know we have a big mountain to climb: we’re starting work on a new professional-level application for Windows and Mac (and hopefully mobile devices later on) and looking to bring it into a crowded market that already has two very capable and mature competitors, not to mention an explosion of new products that exploit mobile devices and the web.ĭespite the magnitude of the task ahead of us, I believe we can be successful because of three things: our experience, our vision, and because we have the support of a great company. The 12 of us who currently make up Steinberg’s scoring team have, between us, nearly 100 years’ combined experience in developing world-beating professional notation software. ![]() ![]() Our mission is simple: to create a next-generation application that meets the needs of today’s composers, arrangers, engravers, copyists, publishers, teachers and students. ![]() Is a post-event, not a rhythmic-event, so no, there isn’t.Welcome to Making Notes! I’m Daniel Spreadbury, and you may remember me from other notation programs and other blogs, but I’m very happy to be starting something new here, and to chronicle the development of Steinberg’s new music notation and composition application. Of a note, to be more semantically correct? Want to separate presentation and content, so using the edition engraverĪnd is there a version of ^"" that is attached to a moment instead What’s so bad about having a manual adjustment? I’d rather Lily wereĬleverer in such situations, but this is asking _very_ much. Write an intelligent algorithm that decides when it makes sense to shift How can I move the texts to be next to the rehearsal mark (without Of the notes, the question might be “How do I combine \mark\default andĪ custom text into a single RehearsalMark?”. That (except perhaps alignment should disregard the quotes for a moreīalanced look), but if you want the text to refer to the section instead It's attached to the note instead of the barline (it's a ^""). The second one, the name of a song, is too far too the right, since The former has a higher outside-staff-priority (see Of the MetronomeMark aligned to the note at the same moment. Well, both are placed exactly according to standard conventions: theĬenter of the RehearsalMark aligned to the bar line, and the left edge The first one, a \tempo, is placed *under* the rehearsal mark instead Re: Place text next to rehearsal mark, or with left edge over barline if there is noneĪs you can see on the screenshot, both texts are misaligned. Re: Place text next to rehearsal mark, or with left edge over barline if
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