Music notation software has long been seen as a two-horse race, a Pepsi versus Coke stand-off between Finale and Sibelius. But not only are there other alternatives, too, here’s one tool that’s making free and open source notation viable. I’ve spoken previously about engraving tool Lilypond, but it’s not entirely graphical, even with GUI front ends. MuseScore will look more familiar to users of something like Sibelius, and just as the latter released a major upgrade, it also had a big 1.1 release with major new enhancements.

MuseScore has a robust notation engine, capable feature set, and it’s even catching on in a number of academic institutions around the world. There’s an iPad-based score reader, which in turn is a revenue source (no reason open source software can’t generate income). You can enter music with keyboard, mouse, or MIDI, use the usual complement of symbols and layout features, and import and export both MusicXML and Standard MIDI files. You won’t find a big orchestral sample library as in Sibelius 7 and Finale’s Garritan-based sounds, but there’s still support for soft synth playback, and you can run for free on Mac, Windows, and Linux. It’s been translated into some 43 languages and counts more than 2500 downloads daily.

Given the coincidence of Sibelius and MuseScore getting their upgrades at the same time, I asked the MuseScore developers directly how they thought they compared. Let’s bring on the fighting words – after all, a little friendly competition drives better tools. (Ask the engineers on contests like Robot Wars.)

Improved interoperability also means you don’t have to choose sides. With MusicXML import/export in MuseScore and recently expanded in Sibelius 7, you can exchange files between the two tools – as you should. (After all, the whole point of notation is the ability for anyone to read it — for the exchange of ideas.)

First, here’s what’s new in MuseScore 1.1, with improvements like jazz and lead sheet functionality:

• Lead sheet enhancements, including MuseJazz jazz font, chord symbols on bars without notes, keyboard shortcuts for moving between bars, more chord symbols, and slash notation (via a plug-in) … see the beginner and advanced tutorials, and separate blog post.
• Connect is a Web-baed social feature for sharing scores, checking out tutorials, and following Twitter MuseScore discussion, all within the program. (Actually, I’m surprised more music software doesn’t do something like this.)
• Improved stability and reliability, including 60 bug fixes. To be honest, that’s probably what has held me back from spending much time with MuseScore, so I’m intrigued. This isn’t a review, but I’ll have to do some scoring work so I can try it out.

MuseScore isn’t as fully-functional as tools like Sibelius and Finale. For may purposes, it will do the job; it just lacks some of their maturity and extensive feature set, which means you should research its current features if you have particular notational needs. But that’s changing. On the roadmap for a more significant version 2.0 are critical notation features like tablature, and linked parts so you can edit music simultaneously in extracted parts and full score.

Sibelius versus MuseScore?

I asked MuseScore developer Thomas Bonte to follow up on how MuseScore relates to Sibelius with news of the two coinciding:

Well first off all, we have to be honest about it, Sibelius is a superb product. Many of my friends use it and I dropped the ambition to convert them to MuseScore However I learned that every year there is a new group of aspiring musicians following music education. The way we see it, is that MuseScore is growing up together with them.

MuseScore strongest selling proposition against Sibelius and others is it’s price: $0. While that seems an unbeatable price, MuseScore faces very steep competition from pirated versions of Sibelius or Finale. When I go around in music conservatories and I ask who has a legal version, only the teacher raises a hand. So MuseScore needs to do better than just the price and that’s where the Open Source kicks in.

If you look at it economically, it’s all about reducing production costs. Translations, documentation, import & export filters, plugins, … The only thing we (the core team) need to take care off is that the contributor community can work together. To facilitate this collaboration, we invested a tremendous amount of time in building a full featured community website on musescore.org using Drupal CMS. It is the main reason why the contributor community around MuseScore has doubled every release, up to 150 people for 1.0. You may have an open source project, but without people, that means nothing. And that’s how we really compete. With our community of contributors and users. The former improves the product, the latter does the promotion.

It’s just a matter of time before MuseScore can handle professional typesetting work. Via initiatives such as the Open Goldberg project, we want to show that MuseScore is getting ready for more demanding work.
Open Goldberg @ Kickstarter

One more thingy related to Sibelius: finally, Sibelius 7 has MusicXML export on board! A huge amount of users were asking us how they could convert their Sibelius files to MuseScore. (e.g. https://www.facebook.com/caleb.foreman/posts/10150374776437678 ) The Dolet plugin was obviously way overpriced to be a democratic solution. This is a huge relief now for e.g. educators, who have lots of material in Sibelius and wanted to convert it for their students who are using MuseScore.

Some of Sibelius 7′s features do have comparable features in MuseScore – and in some instances, MuseScore was first. Thomas observes:

MuseScore had a tabbed document interface (like a web browser) since the start of the project
MuseScore is of course native 64 bit (if compiled on a 64 bit machine)
PDF export has also been there from the beginning
Multi core playback is not available in MuseScore but the synthesizer runs in a second thread (so at least dual core)
MuseScore had import of SVG images since many years now
Upcoming MuseScore 2.0 has full screen support

Version 2.0 is likely to be the big release, in my mind; we’ll be watching. Thomas says they’re also working on improved branding and visual appearance in preparation for that release, and all of this is boosted, he says, by revenue from the iPad score reader. That makes an interesting new model for free and open source software.

A side note, as my biggest criticism of the free engraving tool Lilypond at the moment is its lack of two-way MusicXML file interchange. Thomas notes:

MuseScore has been able read and write MusicXML for several years now.

MuseScore exports Lilypond. It used to have Lilypond import as well, but that was dropped in 0.9.6 because it was better to spend out limited resources on improving MusicXML import. We expected to see MusicXML export in Lilypond anyway, but apparently that’s far from trivial since it still didn’t happen.

And what about compatibility for ABCjs, a JavaScript-powered, text-based notation format so simple it’s been implemented on mobile phones and Web browsers?

Yes there is. And the way this works is a very nice example of how hackable MuseScore is. It’s written out nicely in this post here but basically what happens is: a plugin in MuseScore let’s you browse for the ABC file, it then sends the ABC file to a web service at http://abc2xml.appspot.com which is made by one of the MuseScore developers, and finally that web service sends MusicXML back. Et voilà. (Note: as stated on the announcement: The webservice uses ABC4J. ABC4J supports ABC 1.6 only)

And for more comparison:

We made a comparison table between Sibelius and MuseScore:
Google Spreadsheets Comparison

This may help you to get an idea where MuseScore is and where version 2.0 is heading.

One note: MusicXML export is not available in Sibelius Student or First. Only in Sibelius 7. Bummer.

I think it should be plainly obvious: there’s room for more than one notation tool. There’s room for more than two notation tools. Competition between tools can drive capabilities forward, and better motivate tools to match what users need. Free and proprietary tools can both learn from one another, and even exchange files – there isn’t a gulf between free and open source and proprietary as some may have found in the past. The availability of better tools means the expanded ability of musicians to express themselves.

And MuseScore is becoming a viable option for notation. That can only be a good thing. If you use it in your work – or you have anything you’d like to share about how you create digital … scores – we’d love to hear from you.

http://musescore.org/

August 29 will be the deadline for initial comments on the FCC's proceeding to set the relationship between applications for new LPFM stations and those for FM translators, a date set forth in a Federal Register publication of the FCC's Notice of Proposed Rulemaking on this topic.  We wrote about the FCC's NPRM here.  But it bears emphasizing that the decisions made in this proceeding will impact the processing of the thousands of FM translator applications still pending from the window opened for these applications back in 2003, and the potential for a new filing window for LPFM applications in the near future.  The NPRM also will decide whether FM translators can be used for the rebroadcast of an AM station if that translator was granted after the FCC first authorized the rebroadcast of AM stations by FM translators.  Up to this point, AM stations can only use translators granted before May 1, 2009 to rebroadcast their signals. 

Issues to be addressed in this proceeding include:

• Whether the FCC's proposal to use a market based analysis to determine which 2003 translators can continue to be processed (dismissing all translators when there were few opportunities for new LPFM stations) is justified?
• Whether the technical basis of that analysis is accurate (as the FCC used the same model to assess the availability of channels in a market - overlaying a grid onto each market, and determining if LPFM opportunities existed at set points on that grid - the grid size was uniform in all markets, even though markets obviously are not uniform in size and shape)
• Whether the assumptions about the number of LPFMs that are needed in each market were justified (the FCC concluding that there should be opportunities for at least 8 LPFMs in the Top 20 markets, 7 in Markets 21-50, 6 in Markets 51-100, and 5 in Markets between 101 and 150 and in smaller markets where at least 4 translator applications are pending - if there were not that many opportunities available, then all the FM translators pending in that market were proposed to be dismissed).
• How should future opportunities for filing new LPFM and FM translator applications be handled?  What would be the priorities between such applications?

In addition, while this proceeding is pending, all "move-ins" of FM translators into rated markets, where they have become much in demand to rebroadcast AM signals or signals from HD-2 stations, are frozen.  So, many are anxious for the resolution of this proceeding - not only those with 2003 FM translator window applications still pending and those who are anxious to file for new LPFM stations, but also those looking to move a translator into a larger market (and we're sure that the FCC is anxious to resolve this matter too).  So file your comments by the August 29 deadline, and your replies by September 12.

And here is that fabulous mix I was tweeting about the other day! A thirty minute set by the legendary Osmani Soundz for Bobby Frictions show on the BBC Asian Network … Absorb the drumscapes! …

Via The National, Andy Battaglia discusses the inspiration behind Biosphere's most recent long-player, N-Plants: Japan's nuclear power stations.

It’s been a long time coming, but legendary DJ Eddie Halliwell has finally released his much-anticipated debut single, "Neon." To celebrate this unification of DJing and producing, he’s also released the first of his "ED-IT" productions – a series of tracks with parts that enable people to remix and re-edit the tracks in the studio or live on stage in their DJ sets. In his 15 years as a DJ, Eddie’s achievements include hosting his own radio show on BBC Radio 1, seven Essential Mixes, and launching his own Fire it Up radio show. We spoke to him to find out why he’s now decided to take the next step in his career and turn his skills to producing…

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The Swedish producer chats on camera about wax from Armand Van Helden, Lone, Baby Ford and MMM, recorded in the Amoeba Music store in LA.

Our first Spotify Playlist ... and hopefully the start of a regular weekend thing. 5 songs of fresh music to start the weekend!

There's a vague Animal Collective meets Sun Airway vibe here ... Avant-pop is probably a good word to describe this. It's spacey and echoey, but never gets lost in the ether like Panda Bear. It flirts with spacey oblivion, but always brings it back into a kind of a loose-based pop format. Check them out with an advance MP3 of the song "Top Bunk."

MTV is bringin' that beat back ... 120 Minutes officially re-debuts on Saturday, July 30th with the title 120 Minutes with Matt Pinfield.

Feist has just unloaded a fresh set of tour dates for her upcoming Metals tour. Metals is her new album, due out on Oct. 4 via Arts and Crafts. Check out a video that's part of an going series of Feist Metals videos that lead up to the album's release, it shows Feist and others in the studio working on the album.

"How do you photograph a man in a dress without making him look like a drag queen?" Photographer Katrina James and the Australian producer attempt to provide an answer.

San Diego dwelling group The Tree Ring made the long haul to our Dickies Showroom in Los Angeles recently for an exclusive performance.

The group performed their tune "Dreams Where I Am Sleeping" from their album, Generous Shadows using a stand up bass, violin, acoustic guitar and some softly hit drums.
Keep checking in for more Dickies Showroom performances.

Watch the video below courtesy of Dickies and check out www.facebook.com/dickies for tons more exclusive videos.