First of all, it’s fantastic. I can work in midi, and generate a pretty good score from it. I am not working from the score to generate midi; my workflow is the other way around - change the midi, the score is updated. That’s the fantastic part. Much easier to use than the old score editor, and the output is much more readable.
I’ve run into two issues:
When changing keys, the enharmonics are often crazy. When I see a double sharp in common keys, I think it’s not going to be readable. Fortunately, the respelling option takes care of it.
I have a line with a grace note as the first note, that also happens to be 8va. The 8va function works, but if the first note is a grace note, it does not bring that note down an octave. I’m hoping it doesn’t confuse the performers, and I think at worst, I’ll just get rid of the grace note. A grace note within an 8va section works fine.
What I like so much about this is that I can just work to perfect my midi, knowing that a decent readable score can be generated, by adding all of the expression, tempo, etc. symbols afterwards, and I can still change the midi.
Great job, Steinberg, way better than the old one!
Thank you Steve, after reading a bit of it, and getting lost in the weeds, I think I like the respelling option better. The problem is caused by temporarily modulating up a half step. I should probably stop doing that. You won’t find that in a hymnal, for example! I’m in the process of converting a score into parts, so hoping I can navigate through that.
Hi Leon, good to see you here.
I, on the other hand, use score edit as my starting point and go back and forth between it and the key editor to smooth out note lengths. I have not properly looked at Cubase 14 from a scoring for playing point of view although I do have some large works (from previous versions etc.) which I know will require some serious reworking – adding lyrics (again), adding my own slurs (again) etc.
My real issue as I see it at the moment, is that creating parts for scoring alone is not what I do. I also use quite a few of the parts for recording, e.g. keys. There appears to be an issue reconciling held sounds (which overlap) and using the delete overlap function (which shortens the held notes but ‘looks’ right on the score. Previous versions which had the simple ‘hide’ overlapping on the score settings window did not affect the length of sound.
If there are ways around this, I am yet to discover them but would be grateful for any assistance. I don’t really want to have to create and edit 2 versions of the same music as a work around to what I could do far more easily prior to 14.
FWIW - I’m sure I’ve read from other posts here, that the team are aware this area (‘hide’ functionality) does need more attention - and acknowledged it’s importance to folk used to the feature from earlier editions.
Hi Jonathan! I’m not sure exactly what you’re saying, but that’s ok. I used the score editor in earlier versions only infrequently, and I found it to be almost impossible to use. I could never find my way around, and I could never remember what obscure thing I had done before to get things in order. Since I want to create a great mockup in midi first, and then start thinking about the score, I really like what they did.
FWIW, I watched a video that I think might address your issue, which said that you can get rid of overlaps by first setting the Display Quantize (DQ), and then using the Trim tool (the little knife). I may have avoided this issue because I went back through my midi and fixed lengths everywhere. So let’s say I had a part where it was a series of 8th notes, but I had played it in randomly, and some would quantize to 16ths, and some to quarters. I would then quantize note ends, and I would get either 16ths, 8ths, or quarters, and then I would select the ones that were out and fix them. Maybe a little tedious, but the score came out great.
In my situation, although just my first experiment, the midi matches the score and the score matches the mixdown export. And the parts match the score and the midi and the mixdown. That is quite an achievement. I don’t have a separate version just for scoring. And the score and the parts look great. I’m preparing for a live performance of my latest piece.
Yes, the trim tool is useful for adjusting the length of the sound in small increments (going backwards mind you.).
My issue is different in this case. I want to keep the length of every note without seeing the lengths joined by ties. For example, an arpeggiated guitar riff with the notes ringing on. The only notes anyone needs to see are the starting points. Now, with the current system, this is possible but each sound would be cut short to the starting point note length.
Hope that makes sense, Leon.