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The End of Finale

finalemusic.com

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Re: The End of Finale

#181
post #57

Earlier quoted context omitted.

They just announced that they're stealing back the product they sold to their erstwhile customers. "It could be way worse" is a hell of a response to that. "We just stopped support for your Silverado. You can drive it for one more year, then we're coming to take it out of your garage. We have a deal with Ford for you to get an F-150 with a discount." "It could be way worse, at least I get to use it for another year,…

What’s with the outrage? Do you own a Finale license? I’m sorry if you do, this does suck for people who still want to use Finale, but “stealing back” seems like hyperbole. The product (along with their income stream related to it) is shutting down permanently. It died, and no amount of commentary is going to bring it back. Assuming you have a vested interest in the outcome here, what do you actually want to have hap…

I "own" Finale and the Garritan instrument package, which cost me around $600 on a student license. I remember having to guide my music composition teacher through installing his MIDI interface which connects his keyboard to Finale when he upgraded his computer.

He is the conductor of a local musical group and rewrites the scores for different instruments depending on the orchestra he can find/pay.

This guy has spent thousands of dollars over the years, and now he is faced with.... what? Relearning the interface? Can he still open his old scores, and (rather importantly), will the score "work" in its entirety, with all the accidentals in the right place, the lyrics in the right position and split to the correct notes to be sung, the trumpets in the right key, the timpani using the correct symbols, the repeats and coda correctly defined, the personal additions still working? What about linking each instrument to the correct MIDI output or instrument package?

This goes way beyond just cost, even if for a musician who doesn't make tons of money. The intellectual investment over decades is hard to express to someone who doesn't write music for a living.

Re: The End of Finale

#182
post #178
post #171

Earlier quoted context omitted.

Tantacrul was mentioned. Otherwise I wouldn't have mentioned Tantacrul.

Ah okay, maybe it looked at the time like my comment was part of the other Tantacrul thread. I never mentioned Tantacrul and you replied to me, but I think the comments were next to each other at first. I’ve done that before. No worries.

Oops, could be. I was half awake when I responded. Apologies!

Re: The End of Finale

#183
post #49

As people are talking about Dorico, a little story about how it happened (and, very nearly, didn't). So Sibelius began as a project by the Finn brothers, then in their early 20s in Cambridge, some time around 1990. Originally it was written for the Acorn Archimedes, a British desktop computer running on ARM RISC processors. (They were decent machines, but having a big platform for native software was THE thing that m…

Sorry to respond again, but this is germane to my work in diligence and is a really great warning story to over optimistic "rationalizers". I'm curious if you can share sources on this. thanks

Sure.. so the beginning of the story up to the Avid acquisition is publicly documented as Sibelius' history and so on.

The development and release of Dorico has also been written about in depth on Daniel Spreadbury's blog, "Making Notes". There used to be some on his Twitter as well.

The middle bit is alluded to here, for example: https://newmusicusa.org/nmbx/avid-keeps-sibelius/

And there were long, if somewhat speculative threads on Gearspace (fka Gearslutz) and various composer forums at the time. A few bits I got word of mouth from friends who worked at Yamaha at the time.

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