What’s in 8.0.1

If you’re an existing Pro Tools 8 owner, you’ll want 8.0.1:

• Improved interface performance (“snappiness”!)
• Improved selection drawing in audio
• Workflow improvements, fixes

Those of you who grabbed the update in the last week or two, I’ll be curious to hear what you’ve found in some of those subtler improvements. Avid, to their credit, does do a lot of work on these point releases, not only in bugfixes but in other improvements, as well.

Software update for 8.0.1 (LE + HD + M-Powered)

End of the Line

Pro Tools 8.0.1 is the end of the road for quite a range of "legacy" hardware. 8.0.1 (in one or several of its LE, HD, and M-Powered flavors) will be the last version to support:

• Original Mbox
• Expansion|HD Chassis
• Macintosh PowerPC Computers
• Pro Tools MIX-era Peripherals

See last week’s End of Software Support announcement. Now, I suppose you can look at this as glass-half-empty or glass-half-full; it means if you have a studio with that gear in it and a PowerPC-based Mac at its center, you have a stable, modern, brisk version of Pro Tools that could last you a while.

PowerPC support is generally waning; Apple also dumped PowerPC for its own Logic. But there’s still a surprising amount of life in the processor. MOTU’s Digital Performer 7, released this week (news story on that coming) will actually run on a 1 GHz G4; see their System Requirements. I wouldn’t recommend that system, necessarily, but if you’ve got a fast Mac tower with a PowerPC, it could still make a fine studio machine. And DP7 is also compatible with Pro Tools HD, including Pro Tools 8. Ableton Live, also popular around these parts, also still runs on a PowerPC.

New OSes? Not Yet.

Absent from the 8.0.1 update is support for either Snow Leopard (Leopard only is supported) on the Mac side or Windows 7. Now, in fairness, Windows 7 isn’t even shipping yet, though in stark contrast to Vista’s RTM version, developers I’ve talked to have found their software runs without modification – and can run better without intervention than under the previous Vista release, which is something that almost never happens.

Ordinarily this wouldn’t be a problem, but it does mean that studios with “legacy” gear could wind up with a version that doesn’t support Mac OS X 10.6 or Windows 7, if 8.0.1 is in fact the last version of that gear. It obviously won’t matter for the PowerPC Macs, since they run neither Windows nor Snow Leopard, but I can imagine some folks with the HD chassis or MIX peripherals who won’t be thrilled. It’s a small handful of people, but – well, before you complain in comments, yep, I’ve figured it out, too.

While better-known software names may get the attention, Renoise, a music making tool in the mold of a tracker, has long had a lot going for it. It runs on every platform you own (Windows, Mac, Linux) with just one license, applies a unique approach to musical arrangement and composition with a more modern interface, and allows speedy production with lots of keyboard shortcuts. As a tracker, the pattern editing in Renoise allows a “granular” level of control, for quick editing in textual views instead of visual blocks as in a piano roll. Whereas some retro-styled trackers don’t support modern features, Renoise has multi-core support, MIDI, VST instruments and effects, ASIO, audio recording, built-in effects, and flexible routing and mixing. It also has a built-in sampler and sample editing, so you can do audio manipulation from within Renoise as well as make use of your suite of instruments and effects. And the whole thing costs EUR49.99.

Renoise is about to get a major 2.0 update, with support for:

• An overhauled engine with better timing and precision
• Plug-in delay compensation — although what’s interesting here is that this promises to impact more than just hardware DSP platforms like Universal Audio; it also “also compensates your MIDI gear and midi cables wired to other hosts.”
• Audio Unit plug-ins on Mac, plus improved VST support

The AU plug-in support alone could help Renoise crack the Mac community. I also like some of the other features, including new plug-in browsing, drag-and-drop, new filters, and quantization.

Renoise 2.0 Product Page (note: there’s no public beta as such, but if you’re an existing, registered Renoise user, you can access the beta releases; everyone else will for now have to try the 1.x demo)

Discussion on Renoise Forum

Because Renoise is a bit different from the music tools to which you’re probably most accustomed, and because this is an important release, I had some quick questions for main Renoise developer Eduard Mueller (aka Taktik)…

PK: For those who may not have tried trackers before, how would you suggest getting started with Renoise? What should they do once they’ve grabbed the demo in those first fifteen or thirty minutes?

EM: Beyond the manual and the tutorials, the best way to get started with Renoise is to go to YouTube and search for the word “Renoise.” Many proud users show many aspects of the sequencer and “tracking culture” on there. Of course not everything you will find is an epic masterpiece, but the enthusiasm is there, and you get a good vibe for what Renoise is all about.

What was important to you for this release?

EM: The most important feature is the engine overhaul which introduces precision and timing. It allows for level of quantization and accuracy never seen in Renoise before. Moreover, this massive engine overhaul is essential for behemoth features in later releases, such as Zooming, the Arranger, Audio Tracks and maybe even a Piano Roll.

Ed.: Wow — putting a piano roll in a tracker would be a new development, for those who occasionally want the best of both worlds!

What would you suggest to Renoise users wanting to get the most out of Renoise?

EM: Learn the shortcuts. Renoise is like an instrument. It’s like learning a guitar, or a trumpet. You have to get a feel for your QWERTY keyboard to get the most out of it. Of course you can use the
mouse, and that’s not wrong in any way, but the shortcuts allow you to get the most out of the workflow.

CDM: We’ll have more on Renoise soon as the 2.0 release launches, including how you might integrate with workflows in other tools. Stay tuned.

If you’re interested in generative and algorithmic music – music that evolves organically rather than being pre-composed in start-to-finish linear fashion – you won’t want to miss this site. Nodal is a free (for non-commercial use) app for developing generative musical systems and transmitting MIDI. You’ll need a Mac (PowerPC/Intel) to run the software, but even if you’re on Windows or Linux, you’ll find a number of interesting research papers on the site. vinayk writes:

The program is called Nodal – osx only, BEAUTIFUL interface, and FREE, it does a bit more sophisticated things but I basically plugged the output into sculpture – and it sounded amazing… well worth a look! And if anyone can tell me how to sync this to live or logic then i’d be much obliged!

Since it sends MIDI, it’d also be interesting to use this hooked up to visuals or triggering clips in Ableton Live.

Nodal Project Page, Tutorials, Examples, Research [Monash University]

I’ll be giving this a try soon. If you know of other generative software and research we should be checking out, perhaps we can put together a full round-up.

See also Noatikl / Mixtikl, from Intermorphic – developers who built the ground-breaking Koan generative system for Brian Eno. And we’re getting close to the release of the game Spore, which will feature a new generative engine and Eno’s composition.

noatikl: New Generative Music Engine, So You Can Rock Out Like Eno

Generative iPod? Deep Modular, Generative Music System Bound for iPhone, Phones, Windows, Mac

(Note that we learned this week that Mixtikl is not coming to iPhone in the immediate future. It’s available on plenty of other platforms, however, and if you’ve got a Mac for both, let the generative music making commence!)

Native Instruments is releasing some cheaper ways of getting at their software guitar modeler, Guitar Rig, in the form of a cheaper software version and a hardware bundle:

• Guitar Rig 3 XE is a "lite" version of Guitar Rig, focused on the basics — 5 guitar/bass amps, 12 cabinets, and 21 effects. It also some of the "helper" modules from Guitar Rig, including a metronome, tapedeck, and tuner — but no looping module, which is one of my favorites. (See the full list.) US$99 on its own.
• Guitar Session bundles the XE software with Cubase 4 LE, some pop drums for KORE player via a soundpack, and the Session I/O audio hardware. US$250 for the bundle, available June 1 worldwide.

The audio hardware, of course, is the highlight of the bundle. It’s USB 2.0, has some nice converters (Cirrus Logic), and has 2 inputs, 2 outputs — both mics do line and Hi-Z for guitars and basses; one also has mic in with phantom power. 24-bit / 192 kHz is probably overkill for the guitar hobbyist target market — it’s overkill for me, too. But I’ve been really happy with NI’s recent audio hardware, as have the other folks I know, particularly those who have tried their Audio 8 DJ interface. (Ean Golden DJ Tech Tools just did a review.)

Guitar Rig Session Product Page

In fact, there’s nothing that means you have to be a guitarist to get this bundle. Guitar Rig sounds very nice as a general-purpose effects suite; I’ve used it on everything from drums to sitar, and it’s especially nice on keyboards. And the audio interface comes at a nice price.

If you can afford spending more, though, it could be worth it. Guitarists (and others, too) will likely miss Guitar Rig’s foot pedal control, and the tape loop module is one of the gems of the suite. Also, NI’s Audio 8 DJ and Audio Kontrol 1 each have assignable headphone outs for monitoring a separate headphone mix. But for what you pay, this is a pretty good deal for someone. It’ll just have to stand up to competing budget solutions from Line6 and IK Multimedia — there’s some really intense competition in this market.

Didn’t intend for this post to go on this long. Now you know what it’d be like if I worked at Guitar Center and you had to talk to me. (I imagine lots of customers awkwardly walking away, or pretending to get a mobile phone call.)

Native Instruments remains the unchallenged heavyweight of instruments and effects. Apple’s Logic Studio 8 recently got a formidable upgrade and a big price drop (US$499), but its bundled instruments and effects, behind cosmetic improvements, are largely unchanged from previous versions. Cakewalk, Digidesign and others have also gotten in the ring, but no one can match up to the insanely massive collection of sound production and mangling in NI’s software. So, when NI offers an upgrade, we notice. I’ll be meeting up with NI next week at the AES show for a full preview of the new KOMPLETE kitchen-sink bundle and updated individual apps (plus KORE 2, due in November), but here’s a quick look.

• New Sampler: KONTAKT 3 is the latest version of NI’s flagship sampler, and in terms of raw breadth and depth of features, Kontakt appears to remain at the top of the heap. New in this version: a 1000-instrument, 33 GB sample library, a new looping/slicing/syncing Wave Editor, new envelopes, new amp and cabinet emulations, better browsing, and more. I’m curious to see how the Performance View and the updated KORE stack up to OnStage in Logic 8 (or even what it’s like using both together).
• New Guitar Effects: GUITAR RIG 3 adds new amp models, new matched cabinets, new effects (tape echo and ring mod!), and more. Guitar effects competition is brisk, but Guitar Rig’s edge to me has been its range of sound possibilities, straight out to the bizarre/experimental.
• Addition of Massive: MASSIVE is NI’s latest soft synth, especially geared for “sonic impact” (read, great basses and leads), with drag-and-drop, semi-modular sound creation.
• Lots of updates: Refreshed versions of previous synths include Absynth 4, Akoustik Piano, Battery 3, B4 II, Elektrik Piano, FM8, PRO-53, and Reaktor 5. With the exception of Reaktor, most of these have gotten feature improvements lately, and all have been updated for Vista and Intel Macs.

Partial Bundles, Lower Pricing

One problem with Komplete is that it has so much in it that it really is overkill for many people. There are two fairly sensible partially-complete (INKOMPLETE?) bundles priced at US$449/EUR 399 worth considering. “CLASSICS” includes Akoustik Piano, B4 II, Elektrik Piano, and PRO-53, and seems ideal for a gigging keyboardist. “SYNTHS” hits the electronic lovers with Absynth 4, FM8, Massive, and PRO-53. Still, you lose the sampler, and even as a non-guitarist I’ve found Guitar Rig to be very useful for effects, so if you do have the cash, you should weigh your various options.

KOMPLETE 5 is cheaper now, too: US$1149 / EUR 999 for the whole bundle, and less if you qualify for upgrade pricing. As a software instrument advocate, I have to notice both in my own work and what I’d suggest to others, this makes for a pretty incredible deal. Add Komplete to a host like Logic Studio, SONAR, or Ableton Live, load onto a $1000 laptop, and you’ve got an all-in-one production powerhouse that still costs about the same as a high-end workstation keyboard, even after you add in some extra hardware. In terms of sonic range and flexibility, there isn’t really anything in hardware that compares to the sound set. (Yes, there are still reasons to choose hardware, some having to do with intentionally having less choice. But I’m just sayin’.)

No More Spektral Delay and Vokator

That covers the good news. Here’s the bad news: Spektral Delay and Vokator, two of the more unique effects in NI’s stable, have been end-of-lifed. This to me is really unfortunate, particularly in the case of Vokator. (One option that’s out there: ELS Vocoder, though it requires a dongle, which to me is a big deal-killer.)

Also, there’s no direct equivalent to either in the existing NI suite. Reaktor has some built-in effects and even vocoders, but they’re not quite the same. I’m hopeful this will convince NI to offer these tools free for download; right now, they’re just gone.

Fortunately, NI did update both effects prior to discontinuing them. They’re both Intel Mac-native and Vista-ready, and they’re very stable and mature in their final versions. The problem will be just getting hold of them. I’ll let you know if NI decides to make them available — maybe some well-reasoned, thoughtful letters in support of this will help convince them.

While neither will get any further updates or sales, they do remain supported, and join Intakt and others in the forums:
Discontinued Products [Native Instruments]

Ship Dates

October 1 is the promised date for KOMPLETE 5 and associated updates (KONTAKT 3, GUITAR RIG 3), with KORE 2 following in October. We’ll have a look at all of it at AES, so stay tuned.

KOMPLETE 5 [Native Instruments]

Rax, the clever audio effect and instrument host for Mac, got a major update last year with performance rigs, custom visualizer support, and a slick UI designed by plasq. It’s an ideal tool for loading up some instruments and effects and playing on your Mac, especially if you want software that gets out of your way while you play another instrument or sing and don’t need a full app like Logic or Live onstage. But it never caught on with Mac users, even after I wrote a glowing review in Macworld. And it has certainly been overshadowed by more popular plasq products for the general Mac market, like Comic Life and the upcoming Skitch. So it was clear this unknown gem needed a new home.

Happily, Rax has now changed hands to another of our favorite small developers, Audiofile Engineering. Their Wave Editor has won over CDM’s game composer / contributor Brent, so we’ll be curious to see how they handle Rax. They’ll be supporting existing customers (few of them as there are out there, I expect there’s a good chance they’re reading this). Their 2.1.0 update is a minor release to bring Rax into the AE fold:

• New Preferences window
• Integrated Help Desk
• Updated About Box
• New licensing system
• Removed PYMIDI framework, replaced with Audiofile MIDI framework

Interestingly, in their press release the developers at AE note that Rax, with its pure-Cocoa implementation and unique design, was an inspiration for their tools. (Also inspired by Rax: fluqe OnStage, a Logic Pro set management tool used by the Arctic Monkeys, among others, that I hope got some notice from the folks at Apple for the next Logic!) And Rax will continue to grow based on its existing features:

• 16-channel mixer, with 25 effects racks
• Setup of sets and songs for live gigs, with notepads / lyrics for each and preset management for your AU plug-ins
• MIDI file playback
• Live audio inputs
• One-click recording
• Live visualizer support (via Quartz Composer)
• Slick UI redesigns of the included, free Apple plug-ins
• OnStage view that you can see easily while you play an instrument

For more information:

About Audiofile Engineering
New AE Rax Product Page
Rax announcement at plasq

FXpansion has released the long-awaited Guru 1.5 update, which fixes numerous outstanding bugs and incorporates almost 100 new features. What’s amazing is that they’re offering this update for free to existing users. Again, this is another case of a company that could have slapped a major new version number on it and charged at least a modest fee for the update to existing users, and it’s evidence of FXpansion’s generosity and commitment to their customers that this update is being offered for free.

Among the new features:

• Expanded audio export options, with options to render pads, tracks, engines or full mixes, with drag n drop to the host application or even back inside Guru for further mangling. I can see this being seriously useful for loop slicing and mangling
• Expanded slicer functionality with greater precision and a new velocity implementation
• Adjustable randomizer with options to control the amount and depth of randomization
• New sample options for reversing samples, new layer modes and pre delays for fine tuning
• Improved file browser functionality
• Expanded sample library
• Windows Vista & multi-core support
• Expanded keyboard support so every function in Guru can be almost completely controlled without the mouse
• Widely expanded MIDI implementation, with much more control over UI elements
• Drop-out free audio engine, allowing for seamless transitions between kits while previewing

In short, not a whole lot of radically new functionality, but the workflow enhancements and expansion of existing functionality make this update a must-have for existing users, and will likely be enough to tip the fence sitters. I’ve used Guru on a friends machine, and while I really dug it, it just seemed to be missing a few things here and there. With this update, they’ve addressed all those problems by listening to their users on what could (and needed to be) improved. Consider me officially off the fence. When Guru was first announced, it held the promise of becoming the ultimate software beatbox. With the 1.5 update, Guru has officially arrived.

New in 1.5

Apple’s GarageBand 08, unveiled today, focuses on addressing two major areas: for beginners, making entry into the program easier, and for experienced users, fixing some holes in previous versions. Despite its user-friendly interface and the fact that it comes free with new Apple computers, many average Mac users just didn’t dig into previous versions of this music creation tool. A new “Magic GarageBand” mode is clearly aimed at getting better saturation of this tool. The remaining features, while not necessarily earth-shaking, appear to seek to make GarageBand more well-rounded for music making by inheriting tools from Soundtrack Pro (multi-take editing, visual EQ), and fixing existing complaints (automation).

This is just a preview of what’s new, not a review. I’m curious to hear what you think, though, because it seems these two directions are very different, and sum up the challenge “beginner” programs face — who, exactly, is a beginner, and what do they want? GarageBand 08 represents very different ends of the spectrum, as you’ll see.

Here’s what Apple says is new (actual hands-on with the program still to come):

Magic GarageBand: (That’s really what it’s called.) Select a genre, and GarageBand will walk you through adding an ensemble of virtual instruments. The eye candy is slick, and this should definitely take away any excuse a total newcomer might have for not getting into music making right away. But do you really need a wizard to tell you what should go in a country ensemble? (What’s that thing called? That thing you bang on? With sticks? Oh, yeah, drums! Now what about that other thing … that thing that’s like a board. A board covered with keys.)

Arrangements: Arrange songs by section. That’s it — but the implementation here is easy enough for anyone to use.

Multi-take recordings: GarageBand loops recordings in multi-take mode and saves each MIDI or audio take from which you can choose later. This has been one of my favorite features in Soundtrack Pro, so it’s nice to see it in GarageBand. It’s not new, but again, it’s implemented in a nice, approachable way — even more welcome as beginners and more advanced users alike often use GarageBand as a sketchpad.

Visual EQ: As is all the rage these days, this lets you drag equalization curves to adjust sound rather than tweaking knobs individually, all with live visual feedback as far as what’s happening in the sound. It’s a design that makes sense, so I’m all for it. Apple hopefully says, “You don’t need to be an expert to tweak the sound of your mix in GarageBand. Using the built-in Visual EQ, you can adjust a track’s equalization simply by dragging the EQ bands until you get the sound you want.” Beginners say: “What’s equalization? What’s an EQ? What’s a band? Why does this still not sound right?” But this is a welcome change, especially with live equalization previews, and you can bet this is also a glimpse of what the next Logic’s effects will look like.

Automate tempo curves and instruments: ‘Bout time. Little details like this will make sure that those who want or need to work in GarageBand exclusively can get the job done. Best of all, this means you can change tempos. (Accel., at last!)

Vocals Jam Pack: A new jam pack with vocals — great. Unfortunately, no robotic automated instruments. Too bad; I’d love to hear Fred from the Mac voices sing along with my GarageBand tunes. How about a Daft Punk-style talkbox? No?

A little bit of cognitive dissonance: Someone is apparently leaning on the copy writers at Apple to make GarageBand friendlier to beginners — while not alienating pros. That was always the intent, but speaking as an author here, it ain’t easy. Get carried away, and you wind up writing copy that does sounds a little … well … let’s demonstrate.

What’s unfriendly to beginners … stays unfriendly:

Automation of tempo effects and instruments. Set multiple edit points in a track to automate EQ and effect changes like a pro.

Then concepts that should be easy start to sound hard:

Most songs are arranged in distinct sections: introduction, verse and chorus. GarageBand brings this kind of structure to your song. With the different sections clearly defined, you can rearrange your song at any time.

I only chuckle about this because I’ve had to go back and forth with editors of various kinds trying to get this stuff right. Glad I don’t have to work in marketing.

This looks, nonetheless, like a promising upgrade. While we wait for some hands-on time, Apple has already posted tutorials for this and the rest of the iLife 08 suite:

iLife Tutorials: GarageBand

Here’s a blast from the past — an algorithmic compositional blast from the past, that is. M is a unique piece of software for “interactive composition.” With patterns, cycles, and conducting options, you can create algorithmically-generated music, adjusting various parameters for sophisticated results rather than sequencing directly. It’s a totally different approach to working, something that’s easier to experience than to describe. M launched way back in 1987 and eventually support Atari, Amiga, Mac, and Windows; it was a big hit in the years afterward. The creators were David Zicarelli (now with Cycling ‘74, and a sort of father to Cycling’s Max/MSP), John Offenhartz, Antony Widoff, and Joel Chadabe. (Check out the whole history.) I saw it for the first time at a summer program at Oberlin and loved it immediately. Now, with a computer stacked full of soft synths and the recurring desire to get out of my head, compositionally, I think I actually have more use for it in 2007.

It’s not very often that vintage software gets update
d with current tech while retaining its original interface, but that’s exactly what Cycling ‘74 has done with M 2.7. Intel compatibility means it can run on your brand-new Mac Pro, but the angular throwback interface will make it look like a Mac II. (Got a good System 7 skin, anyone?) But the real story here is Core MIDI support. It allows you to plug M into your existing soft synths. Imagine M plus Logic’s Sculpture, or combined with a monster Max/MSP patch.

M 2.7 @ Cycling ‘74

It’s great to see someone recognize that it’s not only about the upgrade that’s just around the corner. Virtual Console games are selling by the millions on Nintendo’s Wii. Hopefully creative technology, even in limited form, could be next. I’ll be testing M soon; I’ll let you know how it goes.

PC users/Atari lovers: See details in comments on the freeware Atari version. But what’s this about an emulator? Time to scour eBay for an Atari ST, I think.

Sibelius 5 is a big upgrade to the notation tool, now part of Avid. The biggest change of all: real VST and Audio Unit plug-in support on Mac and Windows. This merging of audio software and scoring software has been a long time coming. We saw limited support in Finale, but Sibelius actually fully supports racks of VST and AU instruments and effects to use on your scores, integrating with the Sibelius mixer for playback control, and merging into groups for control of sections of your orchestra/ensemble. There’s even MIDI control: the Sib site says “… if you have an M-Audio keyboard you can use its own faders and transport buttons to control Sibelius’s playback.” Wow, terrific! (Um, I’m guessing that will work for any MIDI keyboard once you assign the proper controllers, not just M-Audio hardware — but still good news.)

In case you want out-of-the-box instruments and not just plug-ins, Sibelius now includes 2 GB of orchestral, band, and other instruments from Garritan and others.

Also new in this version:

Ideas Hub: This is a really interesting idea, perhaps acknowledging that people now often compose directly into notation software. Ideas Hub is a scrapbook of musical ideas you can sort and paste at will. There are also 2000 ready-made ideas included … which is, honestly, a little strange to think about. Hopefully someone out there will create a really insane, avant-garde piece using nothing but those snippets, played at impossible tempi, etc. “Preset ideas” aside, this feature could be really interesting — though it may not make me throw away my manuscript paper Moleskin.

Continuous score viewing (”Panorama”): The ability to view a score continuously rather than in page layout has long been a feature of Finale; Sibelius’ developers actually resisted implementing something similar, but apparently they’ve found a way to do it with which they’re now happy. The UI design here looks very nice; it’ll be interesting to see if people prefer this to scrolling around a page.

Easy cues / instrument changes: ‘Bout time. I had actually been one of the people pushing for real instrument changes, and wrote a lengthy explanation of how I thought it should work to the folks on the product side. I imagine I wasn’t alone: usually when you get a whole bunch of people requesting a particular implementation is when it happens. And enough of this “automatic cue” nonsense — writing cues should be copy and paste. In Sib 5, it is: “Just copy the music you want to appear in the cue, and choose Paste As Cue. Sibelius 5 does the rest for you.” Yup. That’s what I wanted.

New layout options: This is far less comprehensive than I had hoped, but it’s a start: custom margin pages for different pages, and some other layout tweaks. There are also new, more flexible tools for numbering bars, rehearsal marks, and pages — things that previously required some nasty workarounds.

Copy lyrics from text files. Again, ’bout time.

Plug-in undo. Okay, “’bout time” doesn’t even begin to cover it. Plug-ins now look actually useful.

Cluster notation! … basically, lots of other new early music / new music / theory notations and other small tweaks.

Universal Binary and Mac OS X 10.5 Leopard support.

I’ll be meeting up with the Sibelius people next month here in New York and will be getting my hands on the software soon, so expect more details. Notation is digital music, too, after all, in the age of computers. Looks like lots of little tweaks, but in notation, it’s often the small changes that make the difference — the stuff that you’ve had to live with while scoring. It might not make the glossiest marketing materials, but it’s those timesavers that really make difference. (Remember when Sibelius finally fixed its broken tuplet notation? I think I wrote twice as much scored music that year.)

Anyone wanting to have a Finale vs. Sibelius debate in comments, go ahead. I’ll try to stay out of it.

What’s new in Sibelius 5 [Sibelius.com]