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WHERE IS NOTION 4 AND LION SUPPORT????

A Forum to Discuss NOTION

Re: WHERE IS NOTION 4 AND LION SUPPORT????

Postby pcartwright » Mon Aug 01, 2011 6:45 pm

Indeed. +1
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Re: WHERE IS NOTION 4 AND LION SUPPORT????

Postby bogdan1 » Mon Aug 01, 2011 8:03 pm

Thank you Notion !!

This year as theory assistant, I'll be in touch with our studio professor from U Ottawa and definitely I 'll recommend Notion as main tool for composers.
Everybody is hungry for writing fast and easy !!
best
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Re: WHERE IS NOTION 4 AND LION SUPPORT????

Postby dcoscina » Tue Aug 02, 2011 11:45 pm

For sheer speed of composing, nothing touches Notion and I have spent plenty of time in Sibelius land for the past year. The new S7 update with its 38gb library sounds like complete doo-doo. I even brought up Notion's superior sounds to Avid and they dismissed it. Big surprise.

I do hope there will be other methods of note entry aside from a lot of reliance on the mouse in future updates or versions in Notion however.
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Re: WHERE IS NOTION 4 AND LION SUPPORT????

Postby joswyl@telenet.be » Tue Sep 13, 2011 9:12 am

Thank you people for the Lion compatibility and other small features. Notion is such a wonderful program (easy to use and with glorious performance capabilities). But still, I miss a few things ((semi-)mordents, scoring and real page editing, multi-measure rest editing, spacing for text items and repeats, for systems... The whole lot to be able to edit the view of a page (score) to print. Now it's all reduced to basics, which is not bad, but not satisfying to print neat parts and scores.
I'm pretty sure (from this forum) that most of the composers are willing to pay good money for a major upgrade. This would for once finish the competition between Finale, Sibelius, Encore... and Notion. The latter is in many ways the best one, except for layout matters... Hence... :lol:
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Re: WHERE IS NOTION 4 AND LION SUPPORT????

Postby Timoty » Thu Jul 26, 2012 6:09 am

I whole heartedly second the idea (or should I say notion :mrgreen: ) of video integration! I would absolutely pay any dollar amount to be able to score to a video right on Notion...especially with NTempo! Guys, we could bring back real scoring and finally destroy the Zimmer monster.
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Re: WHERE IS NOTION 4 AND LION SUPPORT????

Postby Leosc » Fri Jul 27, 2012 5:38 pm

Timoty wrote:Guys, we could bring back real scoring and finally destroy the Zimmer monster.


I registered here just to support this very post.
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Re: WHERE IS NOTION 4 AND LION SUPPORT????

Postby Surfwhammy » Fri Jul 27, 2012 8:34 pm

Leosc wrote:
Timoty wrote:Guys, we could bring back real scoring and finally destroy the Zimmer monster.


I registered here just to support this very post.


The idea of doing the music for a motion picture is intriguing, and I like to add music to the science fiction radio style stuff that I do every once a while, but I am not so clear on the reference to the "Zimmer monster", where my best guess is that it refers to Hans Zimmer and the particular way he and a few other Hollywood folks tend to hog the spotlight, in which case it is a stellar bit of sardonic humor . . .

[NOTE: Any similarities to "Walk Don't Run" (The Ventures) and "I Want To Hold Your Hand" (Beatles) are entirely coincidental, and for reference this was done with real instruments, since it was several years before I discovered NOTION 3 and VSTi virtual instruments, really . . . ]

Extreme Gravity™ Volume Two: Chapter 9 Epilogue (The Fabulously Fabulous, Marvelously Marvelous, Wonderfully Wonderful Science Fiction Theater of the Imagination™) -- MP3

[NOTE: Abstruse segue alert! ]

On the other side of the coin, one of the more curious aspects of Joseph Schillinger's System of Musical Composition (SoMC) is that some of the techniques are excellent for doing motion picture scores where specific music needs to be adjusted in an artfully logical way to fit within the time constraints of a scene, with the SoMC providing rules for various mathematical and geometric techniques for doing this . . .

Whether anyone actually uses the SoMC at the dawn of the early-21st century is another matter, but my understanding is that was one of the best kept secrets in Hollywood half a century ago, as it might continue to be . . .

[NOTE: For reference, I have been working on the first chapter of the two volume SoMC lessons for decades without understanding much of anything, but the diagrams are very good, which is the way I make sense of it, with this being one of the fascinating aspects of the SoMC, which specifically is that there are different ways to understand it, where for me the geometric perspective is the one that makes the most intuitive sense . . . ]

NOTION certainly has vast potential for becoming all the more amazing, for sure . . .

For sure! :)
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Re: WHERE IS NOTION 4 AND LION SUPPORT????

Postby Timoty » Fri Jul 27, 2012 11:36 pm

"Zimmer monster" is a reference to the fact that Hans Zimmer doesn't actually score films, he merely writes a soundtrack of music
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Re: WHERE IS NOTION 4 AND LION SUPPORT????

Postby Surfwhammy » Sat Jul 28, 2012 2:13 am

Timoty wrote:"Zimmer monster" is a reference to the fact that Hans Zimmer doesn't actually score films, he merely writes a soundtrack of music


I think that I understand the difference, although there probably are several perspectives on the definition of a what qualifies as a "film score" . . .

If a "film score" equates to a symphony where there is a higher-level organization and structure, then it makes sense, where for example, although it might not be a symphony, if the music for "The Nutcracker" ballet is like a film score, then I understand the concept and the difference . . .

If a film score exists at the same level of importance as dialogue, acting, cinematography, foley work, costuming, set design, lighting, make-up, and so forth, then it is consistent with the way I define everything . . .

But here in the sound isolation studio, the most important rule is that music is not incidental, and the way it works currently with respect to the legal aspects is that the only people in the entertainment business who have their act together are the folks who compose, perform, and publish songs, which makes sense when you understand the rules . . .

The easiest way to understand the rules is to observe that you can rent a motion picture and a console-specific game, where the basic rule is some of the author's rights end for these things with the first sale, where "first sale" has a specific definition . . .

For example, I can purchase a copy of motion picture ("first sale") and then rent it, where I get to keep all the rental income, but this is not the way it works with songs and computer software (where computer software is treated as if it were a song, which is very different from the way console-specific games are treated) unless the folks who own the rights to the songs explicitly grant rental rights and so forth, with the exceptions being public libraries and schools . . .

The way I discovered this useful bit of information is that when I started doing radio plays I did a bit of research and learned that spoken word with incidental music is treated the same way as motion pictures and console-specific games, where someone can purchase a copy but then rent it and keep all the rental income without having to pay the author, composer, voice actors, and so forth a penny . . .

So, I did a bit of research on what distinguishes a "song" from "incidental music", and my perspective is that it mostly is a matter of determining whether the overall entity is sufficiently different without the music . . .

In other words, if it works just as well with or without the "music", then the "music" probably is "incidental", but if removing the "music" changes everything, then the "music" is not "incidental", but defining everything this way allows too much wiggle room, hence is a bit too fuzzy, so in addition to having an abundance of music I also include the correct symbol for the notice of copyright for "phonorecords embodying a sound recording", which is a "P" enclosed in a circle:

Image

There are subscription music services, but they have to make specific agreements and pay royalties, which is not the case with copies of motion pictures and console-specific games, although there are exceptions for motion pictures, where for example you cannot buy a CD of a motion picture and then broadcast it on television without having an agreement with the folks who own the rights, and so forth, hence the motion picture folks had at least a few moments of clarity in their thinking sometime in the distant past with respect to the long run . . .

And there is a way to record a song without explicit permission, at least in the US, but you have to follow elaborate rules and provide regular accounting reports, as well as make regular royalty payments based on accurately kept books and so forth, which makes getting permission the best strategy most of the time, although there are services that make it easier with respect to getting permission and doing the accounting, reporting, and making royalty payments . . .

From a related perspective, if the director and producer are the ones who control the "film score", then I probably would not call it a "film score", which is based on the general rule that directors direct; producers produce; actors and actresses act; composers compose; and so forth and so on . . .

Using an absurd example, if Alfred Hitchcock hired Amadeus Mozart to do the "film score" for a movie but Hitchcock told Mozart exactly what to do in great detail, then I am not so certain that in this scenario one could call Mozart a "film scorer" or whatever, although (a) Mozart in this scenario probably could have a bit of FUN and actually do a proper film score and (b) Hitchcock certainly had sufficient sense not to interfere with a composer like Mozart, but so what . . .

So what!

In other words, my perspective is that if the music (which includes singing, songs, themes, and everything else that can be specified with music notation) is not so important, structured, and designed as the screenplay, then I would not call it a "film score", but regardless if I were doing the music I would call it a "song" or a set of "songs", unless it was a work for hire and I either (a) got paid or (b) got a personally autographed pair of Christina Aguilera's underpants, which is fabulous . . .

Fabulous! :P

P. S. I watched "Inception" last week, and it is memorable motion picture, but if all I had to do to get a personally autographed pair of Christina Aguilera's underpants was to hum a few bars of any of the music, my dream would continue to be just a dream . . .

In contrast, consider the Alfred Hitchcock motion picture "Rebecca" (1940) with music by Franz Waxman . . .

"Rebecca" (Alfred Hitchcock) -- Opening Sequence -- YouTube movie

The opening sequence is a personal favorite, and while the dialogue and voice-over by Joan Fontaine are stellar, the music makes it magical, as does the cinematography, lighting, fog, miniature sets, and so forth, and if this is what everyone is calling a "film score", then I agree, for sure . . .

For sure! :)
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Re: WHERE IS NOTION 4 AND LION SUPPORT????

Postby Timoty » Sat Jul 28, 2012 3:11 pm

The real difference is that if you score to a film, you watch the scene and write to what is happening during it. If a character has a certain theme you might pull it in when they appear or time the music to their footsteps for dramatic effect. A good example of this is anything by John Williams.

So Hans Zimmer, while a great writer, doesn't score movies he just does soundtrack work!

Both methods are valid, Notion with video would let us conduct to the scenes for genuine scoring
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