How can you prove to yourself once and for all whether there really is or is not a Tooth Fairy?
My ten year old Austin had an idea. I thought it was clever.
For some time he had a loose tooth. A molar that was really starting to bother him when he chewed food. I offered several times to just yank it out and be done with it, but he didn't want to hear it!
Finally one day it fell out. But it fell out while he was with his friends at the Y. He told no one about it. Thus began the test. If he keeps this information from mom and dad, what will happen when he puts the tooth under his pillow at night?
He tested it. Like Gideon awaiting the dry ground and wet fleece, he put his faith in the Tooth Fairy to the test. And, well, his tooth was still waiting for him when he awoke in the morning. He tried it again the next night. Nothing.
His conclusion? There's no such thing as the Tooth Fairy. Surely a benevolent Tooth Fairy, who freely gives quarters and dollar bills for baby teeth would also be omniscient!
But Austin, we said, you have to tell us you lost your tooth so WE can tell the Tooth Fairy.
He didn't buy it.
Unfortunately for him, Austin has forfeited his opportunity for some cash flow over the last remaining years of baby teeth.
Sunday, February 22, 2009
Friday, January 30, 2009
Inaugural Photo
When you go visit this page, you may shrug. What's the big deal? A wide angle photo that captures a[n] historic moment.
Don't be deceived. Notice the zoom buttons on the left of the photo. This high resolution multi-photo-glued-together image will blow you away. It is really quite impressive.
Thought you might like it.
Don't be deceived. Notice the zoom buttons on the left of the photo. This high resolution multi-photo-glued-together image will blow you away. It is really quite impressive.
Thought you might like it.
Sunday, January 25, 2009
Things are not what they seem
On Inauguration Day, Raleigh got about four inches (or more) or snow. This is not necessarily a critical piece of information, except it explains how I was able to stay home all day (because the church offices were closed) and watch the entire inauguration. My northern friends won't understand this, and believe me, it's taken me a while to overcome the urge to just go drive in the snow because "I know how." It's simply an issue of infrastructure. Little exists in Raleigh to treat the roads. Maybe the highways were treated, but that's about it, so it is considered unsafe to drive around town until the roads dry up. So due to the church offices being closed for MLK day, I benefited from a little snow to extend my vacation an extra day.
Anyway, it was great fun to sit together as a family around the TV and follow along with all the pomp and ceremony unfolding before us. One unexpected musical performance was an arrangement of Simple Gifts set by John Williams for some of the finest musicians in the world: Cellist Yo-Yo Ma, violinist Itzhak Perlman, pianist Gabriela Montero and clarinetist Anthony McGill. The performance was exquisite, and so was the writing. It was so artistically refreshing and so nice that the American people were subjected to such fine art! (music snob alert). I was SO impressed by the musicianship in the 20 degree weather! Amazing. Perhaps the elegance of the performance was magnified by the whatever-that-was that proceeded it in Aretha Franklin.
A couple of days ago, a freind informed me that in fact, the performance we heard was not what was played while we watched. What we heard was previously recorded. This explains why these classical musicians were using in ear monitors. I wondered why they couldn't hear each other, sitting so closely. Turns out, they were playing along to themselves. They were bow-synching.
I was devastated.
Here's a CNN report of the Yo-Yo-Vanilli scandal.
Anyway, it was great fun to sit together as a family around the TV and follow along with all the pomp and ceremony unfolding before us. One unexpected musical performance was an arrangement of Simple Gifts set by John Williams for some of the finest musicians in the world: Cellist Yo-Yo Ma, violinist Itzhak Perlman, pianist Gabriela Montero and clarinetist Anthony McGill. The performance was exquisite, and so was the writing. It was so artistically refreshing and so nice that the American people were subjected to such fine art! (music snob alert). I was SO impressed by the musicianship in the 20 degree weather! Amazing. Perhaps the elegance of the performance was magnified by the whatever-that-was that proceeded it in Aretha Franklin.
A couple of days ago, a freind informed me that in fact, the performance we heard was not what was played while we watched. What we heard was previously recorded. This explains why these classical musicians were using in ear monitors. I wondered why they couldn't hear each other, sitting so closely. Turns out, they were playing along to themselves. They were bow-synching.
I was devastated.
Here's a CNN report of the Yo-Yo-Vanilli scandal.
Friday, January 16, 2009
Are You an Organ Donor?
This discussion came up at lunch a couple of days ago. The question is whether you have that little box checked on your driver's license that says your organs may be used in the event of a brain-dead trauma.
The follow up question is this: Is there a biblical directive to be an organ donor? Is there a biblical directive against it?
What do you think?
The follow up question is this: Is there a biblical directive to be an organ donor? Is there a biblical directive against it?
What do you think?
Tuesday, January 06, 2009
Tuesday, December 30, 2008
Beyond Opinion
Beyond Opinion: Living the Faith We Defend by Ravi ZachariasMy thoughts on this book
rating: 3 of 5 stars
This book was not written by Ravi Zacharias. I just wanted to get that out of the way. I noticed right away (but only after I got the book in my hands) that each chapter is written by a contributor, and is edited by Zacharias, though he does contribute to a few of the chapters.
Though the book is organized in a logical manner, it would work fine to take the segment you are interested in and read just that portion. One of the strengths of a book like this is that if you tire of a particular author, you only need to wait until that particular essay is finished, and the next chapter will contain new information on a new subject written in a completely different style. This was a strength and a weakness of this book. From chapter to chapter one could find great depth in reasoning and arguments for faith. Some of the chapters may require a couple of readings to really grasp the breadth of all the author is saying. Other chapters are quite informal and are full of anecdotes which may or may not be very useful though at least entertaining.
The chapters I found most useful and eye opening were "Challenges from Science" (John Lennox), "The Trinity as a Paradigm for Spiritual Transformation" (L. T. Jeyachandran) (one of the most thought-provoking things I've ever read) and "Challenges from Islam" (Sam Soloman)
Probably the greatest thing I will take away from this book, however is the idea of teaching apologetics to my kids. Not in a formal way, but in the casual everyday encounter with culture and life and the Bible. We as a church have lost that intentionality regarding our young people and I am determined to make apologetic thinking a part of their education and skills! Check back in about 10 years and we'll see how that worked out.
We used this book as a small group tool. We meet weekly and read a new chapter each week. There was usually plenty to discuss from the readings. Each chapter was usually 20-30 pages each.
View all my reviews.
Check Out My Landing Page
Just for fun I've created a landing page. What is a landing page? It is an attempt to solve a problem created by multiple social networking outlets. The solution to a problem only the internet could create. I decided to create it after reading this article.
The idea behind a landing page is that it can be tailored to suit the audience who arrives on it.
Think about why people click the URL on a Twitter profile?
Most times that I do it - I want to know more about the person behind the Twitter account. I want to know who they are, what they do and how I can connect with them.
Being taken to the front page of their blog doesn’t really answer all of these questions without me having to do some more work (looking for an about page, sifting through their latest posts etc).
Also, in an attempt to be creative, I managed to secure a cool domain name with the ".me" extension. So I got "Brian Is Me"
Wednesday, December 24, 2008
My Christmas Gift to You
OK, it's not entirely from me. OK, it's not from me at all--at least not in the sense that I created it, I'm just bringing it to your attention.
For all you Firefox users out there, install this clever little add-on. It will enhance your Google search results by providing a context cloud of related terms to your search. Very handy. Hard to describe, just give it a try!
I hope you all have a great Christmas!
For all you Firefox users out there, install this clever little add-on. It will enhance your Google search results by providing a context cloud of related terms to your search. Very handy. Hard to describe, just give it a try!
I hope you all have a great Christmas!
Friday, December 19, 2008
Harry Connick Jr Concert
We had a great time with Neil and Kimsu at the new Durham Performing Arts Center Wednesday night, taking in a Harry Connick, Jr. holiday show.
It was more than just a holiday show, however, as Connick's two hour-straight performance turned in several classic New Orleans blues, such as Beale Street Blues and St James Infirmary.
As a special bonus, his good friend Branford Marsalis joined him on stage for a couple of tunes. Marsalis is not part of the tour, but since he lives in the Durham area, he was a welcomed and easy addition to a great show!
Here left to right are Connick at the piano, Lucien Barbarin on the trombone, Mark Braud on the trumpet, and Marsalis on the Soprano Sax.
Here are some random things I enjoyed about the concert:
1) the venue. The new "DPAC," as it's called is elegant and state of the art. It seats 2,800 (most or all of which were full) and sounds and looks outstanding.
2) the band. By this I mean the horn players, in addition to a couple of excellent soloists, the horn section was tight, confident, and in perfect sync. There were three trumpet players, three trombone players (including an excellent bass trombone player) and three saxes (tenor, alto/tenor, bari). This was scaled down from the normal big band of 4/4/5. I imagine Connick had to do some revoicing and rearranging to make all that work.
3) the rhythm section was outstanding as well. The bass player in particular was spot on with time and intonation. He and the drummer worked so well to create deep, deep pockets.
4) the intonation. Trumpets in octaves, the band harmonies, and balance were perfect.
5) great time. Everyone knew where the pulse was. Even when Connick intentionally played so far behind the beat on some of those blues tunes. It never slowed. Just a perfect feel.
6) great improvisational solos. No one played a bad solo. Connick's playing is so tasty. Somewhere between his former teacher, Ellis Marsalis and Thelonious Monk--he has a strong blues influence but also plays very percussively and angularly at times.
7) great singing. Connick knows his limits vocally and stays right in his comfort zone--keeping everyone listening in their comfort zone!
8) great entertainment. Part of what made the show so enjoyable was the fact that Connick is great at talking. Plenty of humor and improvisation which was a lot of fun.
If you ever have a chance to see Connick, do it. You won't regret it!
It was more than just a holiday show, however, as Connick's two hour-straight performance turned in several classic New Orleans blues, such as Beale Street Blues and St James Infirmary.
As a special bonus, his good friend Branford Marsalis joined him on stage for a couple of tunes. Marsalis is not part of the tour, but since he lives in the Durham area, he was a welcomed and easy addition to a great show!
Here left to right are Connick at the piano, Lucien Barbarin on the trombone, Mark Braud on the trumpet, and Marsalis on the Soprano Sax.
Here are some random things I enjoyed about the concert:
1) the venue. The new "DPAC," as it's called is elegant and state of the art. It seats 2,800 (most or all of which were full) and sounds and looks outstanding.
2) the band. By this I mean the horn players, in addition to a couple of excellent soloists, the horn section was tight, confident, and in perfect sync. There were three trumpet players, three trombone players (including an excellent bass trombone player) and three saxes (tenor, alto/tenor, bari). This was scaled down from the normal big band of 4/4/5. I imagine Connick had to do some revoicing and rearranging to make all that work.
3) the rhythm section was outstanding as well. The bass player in particular was spot on with time and intonation. He and the drummer worked so well to create deep, deep pockets.
4) the intonation. Trumpets in octaves, the band harmonies, and balance were perfect.
5) great time. Everyone knew where the pulse was. Even when Connick intentionally played so far behind the beat on some of those blues tunes. It never slowed. Just a perfect feel.
6) great improvisational solos. No one played a bad solo. Connick's playing is so tasty. Somewhere between his former teacher, Ellis Marsalis and Thelonious Monk--he has a strong blues influence but also plays very percussively and angularly at times.
7) great singing. Connick knows his limits vocally and stays right in his comfort zone--keeping everyone listening in their comfort zone!
8) great entertainment. Part of what made the show so enjoyable was the fact that Connick is great at talking. Plenty of humor and improvisation which was a lot of fun.
If you ever have a chance to see Connick, do it. You won't regret it!
Wednesday, December 17, 2008
Drive faster!
I cannot be convinced that school buses driving on the highway, even in the right lane, with lights flashing on top, and behind and in front and beneath, is remotely safe when they move at 45 mph while traffic all around them moves at 70 mph. This cannot possibly make things safer all around. In the last two days I have encountered dangerous traffic conditions, once in the morning and once in the evening because of school buses going too slow.Drive faster or get off the highway. Someone's going to get hurt. In an effort to make things safer for the kids on the bus, bus drivers ironically create unsafe conditions for everyone around them.
Monday, December 15, 2008
60 P.S.I.
Some advice for you, but first my boring story:Last week I went to a gas station a block from the church to fill up. I didn't go to fill up my gas tank, I went to fill up my tires. I have had this Buick for about three months now but I had not yet put air in the tires. It turns out they were all under-inflated by about 10 lbs each. I was unclear however exactly what the tires SHOULD be inflated to. I couldn't find the information on the tire (besides, it was night and dark), and the sticker inside the driver's door that usually has this information was torn off.
So I put 32 PSI in each tire and drove off. It occurred to me later to check the owners manual. Oddly, the manual didn't say anything about the recommended tire pressure--except for one tire.
It said in big bold letters to be sure to keep the spare doughnut tire inflated to 60 PSI. I wasn't even sure where it was! The next day I found it hiding under the "floor" of my trunk and checked the pressure. The pressure was so low, it barely moved the needle on my gauge. Only to about 10 lbs.
So I took it back to the gas station with free air and after about five minutes of standing there pumping air in the tire, it is now completely inflated to 60 PSI. Hopefully I'll never have to take advantage of that.
My advice to you, again, 1) keep your regular tires inflated to the recommended spec. 2) find your spare (and I don't mean the one around your waste.) 3) inflate it completely. 4) pray that you'll never need it.
Would there be anything worse than having a flat tire on some highway, pulling over, jacking up the car, replacing the tire with the spare only to find out your spare is flat too? OK, there might be some things worse, but this is such an easy preventative fix!
Sunday, December 07, 2008
The Five Love Languages of Children
The Five Love Languages of Children by Gary ChapmanMy review
rating: 4 of 5 stars
If you have children, you should read this book. The love languages apply to more than just children of course, they relate to everyone, but this book focuses on relating the love languages to children.
The authors, Gary Chapman and Ross Campbell say that by the ages of five or six you will be able to see characteristics of a dominant love language emerge in your child. The five love languages identified by the authors are 1) Quality Time, 2) Physical Touch, 3) Words of Affirmation, 4) Gifts, 5) Acts of Service.
The reason the love languages are important is because it is how you can uniquely identify with your child to help the feel loved the most. It is also a way for you to recognize when they are attempting to dispense love in their most meaningful way.
Besides simple recognition, the book spends a couple of chapters dealing with the love languages related to discipline and learning. Without a full "love tank," children will not respond well to either discipline or learning.
Again, for parents with children living at home, I would highly recommend this book.
View all my reviews.
Thursday, December 04, 2008
[sic]
We rarely eat Chinese food. In fact, I would say most of the time, Chinese is something that always sounds like a great idea until you're in the middle of eating it--then you wonder why you thought it was such a great idea.
Anyway, I was struck by the wisdom that came my way via the "fortune" cookie at the end of the meal. It read "Only talent people get help from others."
It may be that they're trying to see if we've been paying attention to the "Learn Chinese" found on the opposite side of the "fortune." Unfortunately "chun juan" (Egg roll) isn't going to help me with this quote.
I have been pondering the meaning. Could it really be saying that only "talented" people get help from others? But then why would that be the case? If they're so talented, they should be able to help themselves. Should it be "tolerant" people? Can someone please help me with this?
Anyway, I was struck by the wisdom that came my way via the "fortune" cookie at the end of the meal. It read "Only talent people get help from others."
It may be that they're trying to see if we've been paying attention to the "Learn Chinese" found on the opposite side of the "fortune." Unfortunately "chun juan" (Egg roll) isn't going to help me with this quote.
I have been pondering the meaning. Could it really be saying that only "talented" people get help from others? But then why would that be the case? If they're so talented, they should be able to help themselves. Should it be "tolerant" people? Can someone please help me with this?
Saturday, November 29, 2008
Mr. Fix-it
Most kids, when they dream of and look forward to Christmas think about the snow, or the lights, or putting up decorations, or opening presents. I looked forward to those things as a kid too, but the thing that Christmas meant more than anything to me was that we got to set up the train around the tree.
This was dad's train, a collection of Lionel engines, tracks, and cars accumulated since the time he was a kid (and we know that was a very long time ago). Somewhere about the time I was 12 or so I was allowed to take over the annual "setting-up-of-the-train." I enjoyed it a lot. Probably because of the fantasy of running the machines, pretending I was actually in the engine and making it go, the wires, the set up, the layout. It was kind of the analog version of Sim City.
So fast forward a couple of decades and now I have the train, though the excitement has worn off a little, it's still fun to get excited about seeing it run yet another year, especially through the eyes of Reece, who just can't get enough of it. Anyway, crawling around on the hardwood, trying to assemble a couple of tracks, and get wires to plug into the right things, and set the wheels just right on the track to avoid a short, and don't touch things or you'll get a little shock just didn't have the same appeal it used to.
One of the set of engines that we had was this diesel model. A Union Pacific engine that just never quite worked right. I have memories of it roaring but not moving. Seemed it didn't have the weight the cast iron engines had to pull a lot of cars. Even when the load was lightened, it still moved reluctantly. I can remember dad taking it to have it worked on. I think this happened more than once. A little lubrication, an adjustment here or there, and it at least moved again, but still didn't compare to the robustness of the locomotive models.
Well today I ran the train for a while--Reece and Lindsey couldn't wait for me to do it! and all of the sudden the U. P. train just stopped. Light stayed on, but the train made no sound and went nowhere.
This happens occasionally. Tracks become separated, or the engine is sitting on a dirty part of the track, making a poor electrical connection, but nothing I did could get it moving again. So I picked it up and examined it. I found a loose wire underneath where the gears are. OK, that could be something--question is, do I want to get into this tonight? I figured out how to pop the top off and when I flipped it over on the inside, I discovered a different loose wire which had broken from the top of the motor.
I decided to operate. I found my little soldering pen, some solder, got my wire strippers, and went to work.
Reece just couldn't stand it. Totally beside himself with curiosity. Using that iron again brought back all the memories of breathing in that second-hand lead-rich smoke.
Anybody who has ever done any soldering will tell you it's a three handed job. I was having a hard time getting the iron hot enough....
..So I switched from the 10-watt iron to the 75-watt gun. THAT did the trick.
This was dad's train, a collection of Lionel engines, tracks, and cars accumulated since the time he was a kid (and we know that was a very long time ago). Somewhere about the time I was 12 or so I was allowed to take over the annual "setting-up-of-the-train." I enjoyed it a lot. Probably because of the fantasy of running the machines, pretending I was actually in the engine and making it go, the wires, the set up, the layout. It was kind of the analog version of Sim City.
So fast forward a couple of decades and now I have the train, though the excitement has worn off a little, it's still fun to get excited about seeing it run yet another year, especially through the eyes of Reece, who just can't get enough of it. Anyway, crawling around on the hardwood, trying to assemble a couple of tracks, and get wires to plug into the right things, and set the wheels just right on the track to avoid a short, and don't touch things or you'll get a little shock just didn't have the same appeal it used to.
One of the set of engines that we had was this diesel model. A Union Pacific engine that just never quite worked right. I have memories of it roaring but not moving. Seemed it didn't have the weight the cast iron engines had to pull a lot of cars. Even when the load was lightened, it still moved reluctantly. I can remember dad taking it to have it worked on. I think this happened more than once. A little lubrication, an adjustment here or there, and it at least moved again, but still didn't compare to the robustness of the locomotive models.
Well today I ran the train for a while--Reece and Lindsey couldn't wait for me to do it! and all of the sudden the U. P. train just stopped. Light stayed on, but the train made no sound and went nowhere.
This happens occasionally. Tracks become separated, or the engine is sitting on a dirty part of the track, making a poor electrical connection, but nothing I did could get it moving again. So I picked it up and examined it. I found a loose wire underneath where the gears are. OK, that could be something--question is, do I want to get into this tonight? I figured out how to pop the top off and when I flipped it over on the inside, I discovered a different loose wire which had broken from the top of the motor.
I decided to operate. I found my little soldering pen, some solder, got my wire strippers, and went to work.
Reece just couldn't stand it. Totally beside himself with curiosity. Using that iron again brought back all the memories of breathing in that second-hand lead-rich smoke.
Anybody who has ever done any soldering will tell you it's a three handed job. I was having a hard time getting the iron hot enough....
..So I switched from the 10-watt iron to the 75-watt gun. THAT did the trick.
Put it all back together, and the final result:
Friday, November 28, 2008
Finale Issues
When you use a piece of software for what feels like nearly every day for over 10 years, you feel like you've earned the right to gripe about it a little. Finale is the software program I have been using since 1994 or 1995 as a grad student at Kent State. The theory/comp teaching assistants had the duty of being in charge of the computer lab on a rotating basis. That was my first real exposure to Finale.
Since then I've developed the love-hate relationship one develops when you learn to use a tool to help you create or enhance your art, but one who's quirks and idiosyncrasies can just drive you crazy sometimes. I've been lurking on the MakeMusic Notation forum, looking for answers to some of my issues, and finding none, or at least no satisfactory answers, I decided to create this post.
Post title: I will upgrade to 2009 when...
I have been using Finale since 1997. It was version 3.5 or something back then. It's gone from being a functional notation program with plenty of user deficiencies to a functional notation program with a much improved interface but with the addition of features and functions that most people will probably never use. Yes, it's nice to be able to define the bar thickness, but really--who actively goes in and edits that?
Alright, so here's the point of my post. There have been nagging deficiencies--things that seem like they should take fairly high priority to fix--that have been broken either since they were introduced or since I've been using the program and as far as I know have never worked properly or have never been addressed.
One caveat. I will admit that I may simply not know that there is, in fact, a solution to some of the issues I list below, and if there is an easy fix, please, please let me know! HOWEVER--I will say that I have no intent to shell out another $100 every year --or ever other year for new and likely obscure features that I will probably never use when more fundamental functions of the software has yet to be addressed.
*Articulation in multiple layers -- why is it that if I have a series of notes in layer one, and I add, say, staccato articulation to them, then go back and add another series of notes in layer two, the placement of the previously entered articulation gets all screwed up? The issue worsens if I need to add articulation to the notes of layer two as well. This should not be a hard problem to solve. Does Finale really think we oughta have accents and other articulation markings appearing in the middle of the staff, or on top of secondary notes? Why do I always have to move the articulation manually when this happens? This is dumb.
*Cancel and OK quit working -- some have suggested repairing permissions to keep the dialog boxes working properly. Really? This works only for a second, if at all. I have Finale on two computers. The problem persists on both of them, and it happens in no other app that I run. If I get a staff tool dialog box, for example, I make my selections, click ok, and it does nothing. It only works when I click at some black area of the dialog box. That is so dumb. Can we fix that please?
*Rhythmic notation - I am frustrated with the arbitrary nature of the rhythmic notation. It appears on the middle line of the staff with the stem going down whether you want it to or not. I would love to be able to flip the stem, and if necessary, move the location of the rhythmic notation so I can place notes in other layers if necessary that are non-rhythm notation notes.
*Enharmonic memory -- When you are in speedy entry and you put up an accidental in the key of C, say a G#, the enharmonic settings may be that Finale reads it as an Ab. OK, but in this case you need it to be a V/vi so you change it to G# by pressing 9 on the key pad, but then if you have another G# in the same measure, it still puts up an Ab. Duh. Really? I JUST told you this pitch is a G#. Even if my enharmonic spellings are set to favor flats, it really oughta look at that and say-Oh, he's working in sharps right now, not only will I assume that for THIS measure that's the orientation we need, but if there is a tie from the G# of the measure in question to the next measure, I'll make an appropriate note of that too. But NO.
*Placement of brackets with quarter note triplets-- can we get this right already? I mean come on, MakeMusic has been working so hard for so long to perfect the slurs, but they've completely forgotten about triplet brackets colliding with note stems or beams. Come on.
* Pickup measure help --When setting a pickup measure, why doesn't Finale auto-fill all other measures in the score with the corresponding pickup value with rests? If I have an eighth note pick up in one or two instruments, the opening measure in everyone else's part should not remain a whole rest, it should automatically be changed to the value of the pickup measure.
*Autosave -- This needs a lot of work. I have learned over the years that you never know when Finale is going to crash. It will crash, it is the nature of computers and software, and Finale is not notoriously stable. So Autosave is an important feature. It has baled me out (see untitled loop below). I currently have my Autosave set to fire every five minutes. Yes, five minutes. However, this leads to significant problems while operating in various functions of the program.
--Autosave sometimes crashes the document by putting you in a loop you can't get out of if you've freshly opened a document ("untitled") and haven't had a chance to "save as..." If your autosave kicks in and you have this untitled document open, you can't get to the box that lets you name it and save it. The only choice is to force quit. Completely unacceptable.
--Autosave needs to be kept in the background and keep it from interrupting whatever I'm doing. For example, when one becomes significantly proficient at speedy entry, you can be humming along, entering, entering, rest, note, rest, note, note [autosave] note, tie, note--dialog box--too many notes in the measure, etc. What? Oh, no I didn't --stupid autosave occurred as I made an entry that wasn't registered BECAUSE AUTOSAVE TOOK PRECEDENCE. FAIL.
--Autosave interrupts anything the user is doing: whatever menu you have pulled down, whatever speedy entry or lyrical entry you're attempting to make and totally takes you out of your flow. Again, the software should serve the user, not the other way around. Make autosave happen completely in the background and seamlessly, so I don't even know it's happening. I don't even need to see a dialog box flash up there for a second. Just do it.
* Staff expression shortcuts -- When working in a score, there are plenty of times while using a staff expression tool I would like to use the shortcut of holding down an assigned key and clicking and adding something to most of the score, but not all the score. For example, maybe I want to add a rall. but I don't need it to appear on both piano staves or both vocal staves. But it needs to appear everywhere else. Is there no global way that I can still use that shortcut but specify staff exceptions? I know about groups, but that doesn't work with short cuts [that I know of].
*Staff group extraction -- the new extraction process is the opposite of user-friendly. I cannot figure out what single thing has benefited or what advantage has been gained over the previous approach. Can someone explain to me why I can't name a staff in a group and have the group show up in the extraction window? Really? Dumb.
*Document preferences -- Certain prefs oughta stick with the document. For example, if I last leave off inputing lyrics in "section 1", save the doc, open it on my other computer (or later on the same one), and continue entering lyrics, I don't want to discover that I've been entering in default "verse 1" for the past half hour. If I leave off in section 1, save the doc and open it in another context, or on another day, it oughta remember where I was.
In fact, the doc should open to the last place I was editing, with the tool I was using, not at the very beginning, or at least this ought to be an option.
OK--I can't be the only one. What other aspects of Finale need to be addressed that have long-standing difficulties. I think most would rather see these annoyances dealt with rather than new features added.
Since then I've developed the love-hate relationship one develops when you learn to use a tool to help you create or enhance your art, but one who's quirks and idiosyncrasies can just drive you crazy sometimes. I've been lurking on the MakeMusic Notation forum, looking for answers to some of my issues, and finding none, or at least no satisfactory answers, I decided to create this post.
Post title: I will upgrade to 2009 when...
I have been using Finale since 1997. It was version 3.5 or something back then. It's gone from being a functional notation program with plenty of user deficiencies to a functional notation program with a much improved interface but with the addition of features and functions that most people will probably never use. Yes, it's nice to be able to define the bar thickness, but really--who actively goes in and edits that?
Alright, so here's the point of my post. There have been nagging deficiencies--things that seem like they should take fairly high priority to fix--that have been broken either since they were introduced or since I've been using the program and as far as I know have never worked properly or have never been addressed.
One caveat. I will admit that I may simply not know that there is, in fact, a solution to some of the issues I list below, and if there is an easy fix, please, please let me know! HOWEVER--I will say that I have no intent to shell out another $100 every year --or ever other year for new and likely obscure features that I will probably never use when more fundamental functions of the software has yet to be addressed.
*Articulation in multiple layers -- why is it that if I have a series of notes in layer one, and I add, say, staccato articulation to them, then go back and add another series of notes in layer two, the placement of the previously entered articulation gets all screwed up? The issue worsens if I need to add articulation to the notes of layer two as well. This should not be a hard problem to solve. Does Finale really think we oughta have accents and other articulation markings appearing in the middle of the staff, or on top of secondary notes? Why do I always have to move the articulation manually when this happens? This is dumb.
*Cancel and OK quit working -- some have suggested repairing permissions to keep the dialog boxes working properly. Really? This works only for a second, if at all. I have Finale on two computers. The problem persists on both of them, and it happens in no other app that I run. If I get a staff tool dialog box, for example, I make my selections, click ok, and it does nothing. It only works when I click at some black area of the dialog box. That is so dumb. Can we fix that please?
*Rhythmic notation - I am frustrated with the arbitrary nature of the rhythmic notation. It appears on the middle line of the staff with the stem going down whether you want it to or not. I would love to be able to flip the stem, and if necessary, move the location of the rhythmic notation so I can place notes in other layers if necessary that are non-rhythm notation notes.
*Enharmonic memory -- When you are in speedy entry and you put up an accidental in the key of C, say a G#, the enharmonic settings may be that Finale reads it as an Ab. OK, but in this case you need it to be a V/vi so you change it to G# by pressing 9 on the key pad, but then if you have another G# in the same measure, it still puts up an Ab. Duh. Really? I JUST told you this pitch is a G#. Even if my enharmonic spellings are set to favor flats, it really oughta look at that and say-Oh, he's working in sharps right now, not only will I assume that for THIS measure that's the orientation we need, but if there is a tie from the G# of the measure in question to the next measure, I'll make an appropriate note of that too. But NO.
*Placement of brackets with quarter note triplets-- can we get this right already? I mean come on, MakeMusic has been working so hard for so long to perfect the slurs, but they've completely forgotten about triplet brackets colliding with note stems or beams. Come on.
* Pickup measure help --When setting a pickup measure, why doesn't Finale auto-fill all other measures in the score with the corresponding pickup value with rests? If I have an eighth note pick up in one or two instruments, the opening measure in everyone else's part should not remain a whole rest, it should automatically be changed to the value of the pickup measure.
*Autosave -- This needs a lot of work. I have learned over the years that you never know when Finale is going to crash. It will crash, it is the nature of computers and software, and Finale is not notoriously stable. So Autosave is an important feature. It has baled me out (see untitled loop below). I currently have my Autosave set to fire every five minutes. Yes, five minutes. However, this leads to significant problems while operating in various functions of the program.
--Autosave sometimes crashes the document by putting you in a loop you can't get out of if you've freshly opened a document ("untitled") and haven't had a chance to "save as..." If your autosave kicks in and you have this untitled document open, you can't get to the box that lets you name it and save it. The only choice is to force quit. Completely unacceptable.
--Autosave needs to be kept in the background and keep it from interrupting whatever I'm doing. For example, when one becomes significantly proficient at speedy entry, you can be humming along, entering, entering, rest, note, rest, note, note [autosave] note, tie, note--dialog box--too many notes in the measure, etc. What? Oh, no I didn't --stupid autosave occurred as I made an entry that wasn't registered BECAUSE AUTOSAVE TOOK PRECEDENCE. FAIL.
--Autosave interrupts anything the user is doing: whatever menu you have pulled down, whatever speedy entry or lyrical entry you're attempting to make and totally takes you out of your flow. Again, the software should serve the user, not the other way around. Make autosave happen completely in the background and seamlessly, so I don't even know it's happening. I don't even need to see a dialog box flash up there for a second. Just do it.
* Staff expression shortcuts -- When working in a score, there are plenty of times while using a staff expression tool I would like to use the shortcut of holding down an assigned key and clicking and adding something to most of the score, but not all the score. For example, maybe I want to add a rall. but I don't need it to appear on both piano staves or both vocal staves. But it needs to appear everywhere else. Is there no global way that I can still use that shortcut but specify staff exceptions? I know about groups, but that doesn't work with short cuts [that I know of].
*Staff group extraction -- the new extraction process is the opposite of user-friendly. I cannot figure out what single thing has benefited or what advantage has been gained over the previous approach. Can someone explain to me why I can't name a staff in a group and have the group show up in the extraction window? Really? Dumb.
*Document preferences -- Certain prefs oughta stick with the document. For example, if I last leave off inputing lyrics in "section 1", save the doc, open it on my other computer (or later on the same one), and continue entering lyrics, I don't want to discover that I've been entering in default "verse 1" for the past half hour. If I leave off in section 1, save the doc and open it in another context, or on another day, it oughta remember where I was.
In fact, the doc should open to the last place I was editing, with the tool I was using, not at the very beginning, or at least this ought to be an option.
OK--I can't be the only one. What other aspects of Finale need to be addressed that have long-standing difficulties. I think most would rather see these annoyances dealt with rather than new features added.
Saturday, October 25, 2008
I have a 10 year old
It's hard to believe that Austin is ten years old today. Janet has been reminding him of his difficult delivery for the last 24 hours. THAT was a story.
What does this ten-year-old want for his birthday? His own email address and his own blog. He got what he wanted but his blog is invite-only so if you want to view it, email me and I'll send you an invite. (he is a kid, after all, grateful for the security built in to blogger.)
I also took him and a couple of his buddies to Adventure Landing today where they played arcade games for an hour, played a round of 18 holes of miniature golf, a game of laser tag, ate lunch, played a different 18 holes, and called it a day. Here are some pictures of their adventures.
What does this ten-year-old want for his birthday? His own email address and his own blog. He got what he wanted but his blog is invite-only so if you want to view it, email me and I'll send you an invite. (he is a kid, after all, grateful for the security built in to blogger.)
I also took him and a couple of his buddies to Adventure Landing today where they played arcade games for an hour, played a round of 18 holes of miniature golf, a game of laser tag, ate lunch, played a different 18 holes, and called it a day. Here are some pictures of their adventures.
Saturday, September 27, 2008
Funny Picture Break
Here are some goofy things I've collected over the last couple of months for this purpose. Weird sense of humor, I know.
Blood and Thunder Review
Blood and Thunder: An Epic of the American West by Hampton SidesMy review
rating: 5 of 5 stars
I picked this book for no reason other than I loved the last book I read by Hampton Sides. His book, Ghost Soldiers, was so well-written and thoroughly researched that he became an instant favorite of mine as an author.
This book was no different. Scholarly, but not dry; dramatic, but objectively so; focused, but set on a broad landscape of the American west, while covering a range of years from the early 19th century through just after the civil war.
"Blood and Thunder" refers to the genre of twenty-five cent pulp fiction novels which were precursors "...to the modern western, briskly paced and packed with cliffhangers and hair-raising scrapes." The subject of the Blood and Thunder stories and the central character around whom this book is based is Kit Carson.
Yet this book isn't about the exaggerated way in which these novels portrayed Carson, this book was about the "real" Kit Carson. The loyal, meek, witty, intuitive, illiterate tracker of the West.
Though Carson is the central figure in the book, the book is paradoxically not exactly about him. It is a story of Manifest Destiny, of the Navajo nation, of General Kearny, of General Carleton's vision of a Utopian Indian reservation, and even the vast terrain of the west, from the Rockies to the desserts to the canyon homes of the Indians took form as an important character in this narrative.
And the narrative, expertly woven with historical and cultural backgrounds, explanations, quotes from official documents, diaries, and letters, brings the reader along as though the account given is a novel rather than actual history.
Hampton Sides has written objectively, giving the reader a good sense of the mood of the times related to western expansion, the perspective of various Indian tribes and their histories, attitudes of Mexicans, Indians, and white Americans towards each other, and the bleak hardships of life in the West in the 19th century.
I highly recommend this book, especially if your appreciation or knowledge of this time period and geographic region is lacking. After reading it, you will have received a comprehensive picture and a narrative of this era that is balanced and far more than simply anecdotal.
View all my reviews.
Thursday, September 25, 2008
Augmented Reality
This is pretty amazing and doesn't even seem possible, but it is! This video is from this year's TechCrunch50 conference and I heard about this company on this week's TWiT.
Thursday, September 18, 2008
House Review
House by Frank E. PerettiMy review
rating: 1 of 5 stars
How disappointing. I had heard such great things about Dekker and in fact, really wanted to read his color trilogy (Black, Red, White) but those weren't available at the library.
I have a solid history with Peretti, but I hadn't read him since college.
I've been in non fiction so much lately, I decided to take a break from it and get into something light and fun.
Here's the thing about this story. It's a little Stephen King, it's a little "I know what you did last summer," and it tries to be the Christian produced movie with not-so-subtle world-view mantras repeated by the characters as though people use Christianese to summarize their world-view.
I didn't care about any of the characters. I just couldn't get interested. I don't recommend it at all.
Back to my non-fiction, I guess.
View all my reviews.
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