graemem@cs.hw.ac.uk (Graeme McLean) (02/19/91)
I've been playing around with the demo version of Finale. Unfortunately, I don't have access to a synthesiser to try out the Hyperscribe facilities. Has anybody used it? I'd be interested in your views on not just Hyperscribe but any real-time musical transcription routine. Basically, its beacuse I simply don't believe it can work well. Afterall, highly skilled professional (human) musicians are not capable of transcribing music accurately (given any amount of time to do it). I thus don't believe Hyperscribe can do what its makers claim. Whether it works in real-time or not is irrelevant. Just whether it works would be enough. Thanks in advance. Graeme. ----------------------------------------------------------------------------- | Graeme McLean JANET: graemem@uk.ac.hw.cs | | Comp Sci, Heriot-Watt Uni, EDINBURGH | ------------------"You kind of like chuck, don't you sir?"-------------------
kkothman@weber.ucsd.edu (Keith Kothman) (02/21/91)
In <2321@odin.cs.hw.ac.uk> graemem@cs.hw.ac.uk (Graeme McLean) writes: >I've been playing around with the demo version of Finale. Unfortunately, I >don't have access to a synthesiser to try out the Hyperscribe facilities. >Has anybody used it? >I'd be interested in your views on not just Hyperscribe but any real-time >musical transcription routine. >Basically, its beacuse I simply don't believe it can work well. >Afterall, highly skilled professional (human) musicians are not capable of >transcribing music accurately (given any amount of time to do it). >I thus don't believe Hyperscribe can do what its makers claim. Whether it >works in real-time or not is irrelevant. Just whether it works would be >enough. >Thanks in advance. >Graeme. I've used Hyperscribe, and it will save you a lot of time with music input. Of course you will have to experiment with quantization values and break points (esp. for keyboard music), and you will have to go back and check enharmonic spellings (fairly trivial with Finale). I used it to enter instrumental parts one line at a time, and found that the whole process was about ten times faster than any other form of note entry I've used. Rhythmically, it was able to distinguish between triplets, sixteenths, quintuplets, and sextuplets, and you are able to vary your tempo while you play. What you have to do is separate product hype from whether or not the product is really useful. Sure, it probably won't perfectly transcribe Chopin in one pass, but it will save you significant amounts of time while doing note entry. Keith Kothman