Aprint Studio

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FS#107 - Analyze the editing book activity

Concerne le projet: Aprint Studio
Ouverte par Freydiere Patrice (frett27admin) - lundi, 02 mars 2015, 00:25 GMT+2
Type de tâche Anomalie
Catégorie Editeur de gammes
Etat Nouvelle
Assignée à Personne
Système d'exploitation Windows XP
Sévérité Basse
Priorité Normale
Basée sur la version Aprint Studio
Due pour la version Non décidé
Date d'échéance Non décidé
Pourcentage achevé: 0%
Votes 0
Privée Non

Détails

Richard has great ideas to improve this area, and uses cases are much concrete dans really interesting

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1] The MIDI File

I used an unedited MIDI file, with illegal notes, several different percussion instruments and also some overlapping notes. It is a typical later Wurlitzer 150 arrangement.]
The first half of the file needed deleting, because it was not in very good condition, and the whole melody was also repeated in the second half of the book.

2] Editing

About 120 seconds needed deleting, so I tried to select more than one window of music.
This could not be done, so I tried selecting the start point and then using the ‘shift’ key and selecting the end point.
This did not work, either.

I then minimised the height of the window, and clicked the ‘Fit to book height’ button, to show as much of the book as possible in one window, as shown in Picture_1:




Please notice that, at this book height, it is not possible to see the timing labels, or the selection rectangle.

I had already scrolled to the approximate start of the music repeat, because of the visibility difficulty. I then played the book to the correct point, and selected the part to remove. The ‘backspace’ [or ‘delete’ on a Windows keyboard] key was pressed, and the music was deleted.

This was repeated until I had reached the start of the book.

I could see that none of the overlapping notes had been deleted, so I repeated the procedure to remove them.

The book now looked as it does in that first picture. All of the error markings were still visible, because the test file was unedited.

Observation

1] It would be better to edit the desired part of the book first, and then to save it as a new book. This will, of course, remove all of those ‘error' markings.

Space Creator Tool

Maybe this is not the best name for the tool, in English. ‘Reposition Music’, ‘Adjust Layout’, 'Move Section’, or even ’Space Saver’ - ;-p - might be better, but we need to think about it.

Repositioning the music is easy with the ‘Adjuter le carton’ tool, and the music can be moved backwards or forwards to suit the arranger’s needs.

Observations

2] There is now a section at the end of the edited book, which still contains all of the error markings from the original MIDI file. As in Picture_2.




3] The error markings from the moved section do not follow the adjustment. Please see picture_3




Questions

1] Is it possible to build into APS in such a way that ‘Error’ markings are deleted when a section of the book is cleared of ‘legal’ notes?
2] Related to this, can there be a way to clear completely the end of the book, so that the appended ‘error’ markings are not left?

Conclusions

It would be best to edit the desired section of a melody first, before removing an unwanted section, with APS in it’s current build.
Your method works very well, if the user is aware of the ‘error’ markings being left in situ when the music is re-positioned on the book.
Please note that the pictures and sound represent only a test file. The desired book and stencil will be created with the benefit of the experience gained by these experiments.

Thank-you for helping me to save a lot of time when I need to edit large sections of music again.

In case you are curious here is the sound of the unedited book, which will be used on the 36 Toyne organ after the errors are corrected, and the Bass notes are used more effectively. That Wurlitzer limitation of only 3 Bass notes soon becomes very boring to hear! The tune was composed by Will Huff, [or maybe Henry Fillmore, who used the same alias - see Wikipedia, for both names] in 1913:





With best regards,

Richard.
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