MuseScore or ... ?

[Bop Head]

You don’t ever own any software, unless you have actually written it. All you do is take out a license to use the software – either a permanent license or a term-based license. The first is known as buying software, the second is known as leasing software. In reality however, you don’t buy or lease the software, just the permission to use it.


Gesendet von iPhone mit Tapatalk

"The GNU General Public License (GNU GPL or simply GPL) is a series of widely used free software licenses or copyleft that guarantee end users the four freedoms to run, study, share, and modify the software."

GNU General Public License - Wikipedia

[Christian Miller]

Hate Finale? Isn't that a tad over the top?

yeah, calm down dude, it’s not Sibelius

[sgcim]

Aren't there new sounds downloadable from Musehub? Did you install Musescore with Musehub?

I saw the video on 4.2 on you tube, got all excited, went to MuseScore and the first thing I saw was,"A new version of MuseScore 4.2 is available. Do you want to download it?"
I enthusiastically installed it, but it had pretty much the same electric guitar sound. Are you saying I have to go to Musehub to get the new guitar sounds?
If so, how do I get there? Through MuseScore or is there a separate web site for Musehub?
Thanks for the interest. I'm not a wiz at downloading sounds!

[Bop Head]

I saw the video on 4.2 on you tube, got all excited, went to MuseScore and the first thing I saw was,"A new version of MuseScore 4.2 is available. Do you want to download it?"
I enthusiastically installed it, but it had pretty much the same electric guitar sound. Are you saying I have to go to Musehub to get the new guitar sounds?
If so, how do I get there? Through MuseScore or is there a separate web site for Musehub?
Thanks for the interest. I'm not a wiz at downloading sounds!

What operating system? Windows? MacOS?

Musehub is a program that gets installed with Musescore.

EDIT: Seems like there are only new orchestral sounds on Musehub but no guitars. But AFAIK you can use VST instruments with Musescore. Never tried it. I only use the cheap standard piano sound of the vanilla soundfont. If I want a guitar sound I play guitar.

[Bop Head]

yeah, calm down dude, it’s not Sibelius

First of all it seems like I mixed up Finale and Sibelius somewhere along the line of this thread. If the "hate" thing Joel is talking about is related to me saying I detest software subscription models: I am a strong advocate of open source software like Musescore, Lilypond, Libreoffice, Firefox, GIMP, Inkscape etc. on Linux. I never used Finale (which has no subscription model) nor Sibelius (which has one) so I cannot say much about those programs (and Dorico which is the third big player in the music engraving business) other than the things I hear about them on the notat.io forum.

[joelf]

Free is a nice price.

But that's a big part of what sucks about Web life: it has so much free, stolen or stealable shit that so many businesses get shredded and/or killed. Who's gonna pay for anything when there are 20 free options? A Rothschild?

Granted, certain business outlive their usefulness and/or are supplanted by others with a better product, harder workers, better marketing or all 3. But so many are just murdered by the availability of free shit. Even the big arena rock bands give away CDs and make big $ when beer and such is sold at concerts (at least that's what I've heard). Not to mention all the 'free' come-ons that turn out to be not free at all, or have short 'trial periods'. (In fairness, the Websky and new technologies also create new jobs. So the Phoenix can rise too.)

And songwriting? Are you kidding? The songwriters who are rich got in the game way before the Web, and their royalties came in before too. My friend David Woods was the son and executor of the estate of of Harry Woods, composer of Try a Little Tenderness, I'm Looking Over a Four-Leaf Clover and other hit songs. David used to make enough to feed and clothe his family from the percentage of royalties he'd receive from this job. After Web theft kicked into high gear royalties dwindled to almost nothing, and David had to pack up his wife and kids and put the house up for sale. And a songwriter starting out now has an uber-uphill climb when people will steal their shit and just post it---nada in royalties for the creator(s). And if you catch one and make them stop 20 more will pop up out of the woodwork, cockroach-like. A songwriting guru with a track record once advised me to make money by licensing my songs to music libraries---b/c the old ways of collecting just aren't viable any more.

If I weren't attracted to this StaffPad thing I'd probably get a free one like Musescore. I'm as guilty as the next guy of feeding this monster. But my sense of morality whispers in my ear 'Give it up!' So I have premium youtube now, and gladly pay a small monthly fee rather than being interrupted by ads every minute. They catch up with people watching 'on the arm', and tell us to disable ad-blockers. Say 'no' to them and good luck watching anything. If I thought the $ was going to the creative people we watch and listen to I'd happily pay twice as much. (I'm on there a lot).--- But it's not, instead it goes right into youtube execs' pockets.

That's the way it be...

[Bop Head]

Free is a nice price.

But that's a big part of what sucks about Web life: it has so much free, stolen or stealable shit that so many businesses get shredded and/or killed. Who's gonna pay for anything when there are 20 free options? A Rothschild?

Granted, certain business outlive their usefulness and/or are supplanted by others with a better product, harder workers, better marketing or all 3. But so many are just murdered by the availability of free shit. Even the big arena rock bands give away CDs and make big $ when beer and such is sold at concerts (at least that's what I've heard). Not to mention all the 'free' come-ons that turn out to be not free at all, or have short 'trial periods'.

And songwriting? Are you kidding? The songwriters who are rich got in the game way before the Web, and their royalties came in before too. A songwriter starting out now has an uber-uphill climb when people will steal their shit and just post it---nada in royalties for the creator(s). And if you catch one and make them stop 20 more will crop up out of the woodwork, cockroach-like. A songwriting guru with a track record once advised me to make money by licensing my songs to music libraries---b/c the old ways of collecting just aren't viable any more.

If I weren't attracted to this StaffPad thing I'd probably get a free one like Musescore. I'm as guilty as the next guy of feeding this monster. But my sense of morality whispers in my ear 'Give it up!' So I have premium youtube now, and gladly pay a small monthly fee rather than being interrupted by ads every minute. They catch up with people watching 'on the arm', and tell us to disable ad-blockers. Say 'no' to them and good luck watching anything. If I thought the $ was going to the creative people we watch and listen to I'd happily pay twice as much. (I'm on there a lot).--- But it's not, instead it goes right into youtube execs' pockets.

That's the way it be...

There are companies that make big money with open source software like Red Hat or Canonical (Ubuntu Linux). Their Linux operating systems are free but companies using it are paying for reliable software support (AFAIK e.g. the French police uses Ubuntu Linux on their computers. They save millions for not having to pay software licence fees to Microsoft every year, money that can be spent otherwise and better by a public institution.) Other open source apps are developed by communities that get so many donations by grateful users that they can employ fulltime main developers who are supported by hundreds of volunteers who help to make the software better every day. It is a different business model and has noting to do with stealing. (And regarding songwriting copyrights there are even people who decide to publish there arts under a free Creative Commons License. Of which there are different models. You can restrict the free use to non-commercial and if the big Hollywood producer wants to use your Creative Commons song in a movie soundtrack he has to contact you and make a deal with you. I do not know if that has ever been used so far but that model exists.)

Open source means that the source code of a software application is published publicly. Code is sort of text written in a programming language. This is what a certain little part of the programming of Musescore looks like:

https://github.com/musescore/MuseSco...erptnotation.h

(By the way Github, the website where this source code is published and which has become one of the most important websites of its kind is owned and run by a certain company called Microsoft.)

You need another piece of code called building instruction which tells a program called compiler to combine all those little parts into one program and to translate the human readable source code (meaning someone knowing the programming language could read the source code and understand the programming) into machine code, basically zeros and ones the hardware can make use of.

So called proprietary software means the source is not published (closed source). You have no real influence on the software development. The company might listen or not to what you ask them to do. When the software company goes bankrupt you are FCKed. You can only use the latest version with its bugs (of which proprietary software often has a lot as well) and maybe it does not run on a future version of your operating system any more so you have to keep a dedicated computer around with an older version of the operating system just to keep that program running (people do this). Or you switch to another program, learning curve, and the money you spent is lost.

Now take e.g. Musescore.

(BTW as I have written above Muse Group, the company behind Musescore, recently has recently acquired Hal Leonhard Publishing. Big money behind it. They do open source software like Musescore or the audio editor Audacity but also closed source software like .... StaffPad!!! It is the same company!!!!!)

Say you are not happy with the development. You wrote them on Github that you discovered a certain bug or need a certain function but no one reacts. (Or Muse Group decides to give up Musescore. Then the source code is still around.) Now you can decide to make your own spin-off of the application (a so called fork). Most open-source licences like the GPL (see above in this thread) only require that you give it a new name. So let's say you fork Musescore, call it JoelScore and program (assuming you knew how to program) that function you need so desperately for writing your scores yourself. Or you fix that annoying bug yourself. You can also give your bug fix back to the original program development. Or you might have the money to pay somebody to program your Musescore spinoff. As it is based on open source you only have to publish your new source code as well because the license remains with the fork.

Another aspect is computer security. Each and everybody can look at the source code (or parts of it as a bigger program has millions of lines of code) and discover security flaws. Open source communities are often much quicker and more willing to fix such severe problems.

If you integrate open source code written by others in an otherwise closed source program you have to reveal and publish that open source code part. The famous mixing board company Harrison sells a digital audio workstation called Mixbus. You can get an emulation of the sound of famous analogue Harrison consoles on your PC with an intuitive user interface modelled after the surface of an analogue mixing desk for rather cheap. It is based on of the open source digital audio workstation Ardour (which was started by people who wanted to program something like ProTools but free and open-source). They hired the main developer (programmer) of Ardour who now works on both programs, the open source base Ardour and the paid and closed source proprietary Harrison algorithms used in Mixbus which is basically a sort of plugin for Ardour.

I have to admit that I have used cracked versions of proprietary software when I was younger. Then I was a thief, now I have a clean consciousness. I am not a boomer but an X-er but i like the hippie spirit behind open source. A "Jewish boy", Richard Stallman, who was one of the originators of the open source idea put it this way: "Free but not only free as in free beer but also free as in free speech."

And if you finally should decide to buy the closed source StaffPad you would even support MuseScore's development somehow.


EDIT: BTW YouTube = Google. I use open source frontends like Invidious. No tracking, no ads. Google makes enough money selling your collected private data. Better make a donation to an open source project.

Anonymous Google search via proxy server: startpage.com


EDIT 2: Barry Harris' teaching was somehow open source. You went to an affordable workshop and the knowledge was shared freely. And you are allowed to give it further to someone else. He still made enough to go to horse races. (Of course he did not have expenses for rent, living for free in the house of Rothschild heir Pannonica for decades even after her death.)

You study with C. Banacos' heirs and you pay a lot and put your signature under a confidentiality and non-disclosure agreement. That's closed source teaching.

[joelf]

It's not just the money thing. Open source, open shmource say I.

It's the entire culture, especially around 'digital toys' (read: especially iphones) that makes me ill. I may be in the minority, and I don't even care anymore, but to me for the last 20-25 years or so the world is a way worse---not better---place. People atomized and walking down streets always looking down in self-absorbed reverie, thinking they're connected to things when in reality they are totally isolated. They're 'connected' all right: to little images on a little screen on a little box. This is sick!

But, you say, 'What about What's App or Face Time, wherein you can talk to someone overseas, say, and no long distance bills---plus you can see them? Well, there is some truth in that, granted, but 2 things are disconcerting: 1: I'm no fan of telephone companies, but long distance monies are dead. (I'm sure they picked up the slack and profit from other things, b/c profit is their entire M.O.) This could very well have resulted in job loss for down-the-food-chain employees. 2: You may see the person's image and vice versa, but it's still once removed from the real thing. Thank goodness there are still real social settings like the bar I went to last night. You can interact in a non-fake way with people there, kibbitz; talk to barflys who actually look up and look at you; order your food or drink from a human being and not some goddamn 'app'. And there's still live music (though patrons think they have the right to record you with no payment, let alone offering the common courtesy of asking permission). If all this imaging leads to the real thing, as in you meet in the flesh someone you'd only videoconferenced with, then Salud! I'm all for it.

When I lived in Philly I used to frequent a bookstore (one business that thankfully hasn't been murdered). I had a talk about all this with a young woman clerk there once. I could glean that she was the thoughtful, sensitive type or I wouldn't have broached this subject, so I dove in. She listened, and I could see her getting increasingly upset. Finally, with a look of utter despair flashing through her eyes, she turned to me and said 'I'm 23. All I know is this shit'. I could only rejoin 'Then really look, and you'll find an alternative'.

And that's our best hope for the future: that like-minded, thoughtful, dissatisfied and usually young and idealistic folks will start a groundswell that may just put the world back to where it was re social interaction before all this nonsense started. And they can use the technology to have virtual meetings (or announce actual ones) that will be skull sessions on improving everyone's lives.

So, yeah, I have my iphone (which I totally dislike, it's way too complicated to use, and forever interrupts my current activity to suggest another one, or just break my balls un-asked for); my laptop (which I much prefer---it's so much easier in every way to use, especially typing with characters I don't miss and have to re-type 2-3 times, plus the screen is wide enough that I can enjoy a movie and not have to squint reading things). I know you can adjust the view on iphones, but all the other annoyances are seemingly here to stay; and an iPad I guess I need to learn how to use.

OK, so to make this not just a rant screed, let's look at the good: I can email charts or non-music documents anywhere. That's free and convenient even though it's taking business from the USPO. I can watch any vid on youtube---now w/o disruptive and annoying ads, b/c I pay for 'premium' and am happy to. Youtube provides a great way to learn tunes or just entertainment like movies or archived TV news shows which give historical thumbnail sketches. (But again, who's getting paid? There's so much fucking bootlegging turning up there it makes me dizzy: guys stealing movies by going to the theater with video cams, then posting them and the credits are backwards. Nada paid in royalties, of course. Or thieves like 'Bernie's Bootlegs', who post all kind of recordings w/o giving up a red cent to the artists' heirs, let alone the composers). And youtube itself doesn't pay shit! I put a song up that I co-wrote with Jimmy Norman in tribute to the Jazz Foundation of America. It was a vid featuring luminaries such as Quincy Jones, Dr. John and Freddie Hubbard. It went worldwide and made Jimmy and myself 'famouser'. But we didn't earn a dime. And after a young musician told me about 'monetizing' I tried it. Youtube pulled the ads, no consulting me (Jimmy's dead), no nothin'. And good luck trying to contact the MFers.

But back to the positive: you can get to so many people to teach or reach. The only problem: with the glut of folks doing the same how do they find you? Serendipity, and thank goodness for that. I can make a video of me playing and post it here, on FB, or wherever, and have people, if they like it, become supporters and come to gigs. That's no small thing. And that's what I do like and appreciate about the Web: it's a sort of digitized town crier, announcing events. When someone, as a result, shows up they are in a real place with real people to meet and interact with. Or they or myself can watch vids of Barry's classes. That brings back vivid memories, as I was on that scene, especially in the '80s at the JCT. There's just so much good stuff it's almost overwhelming---so you pick and choose or your brain may swell and break.

So, yeah, I'm venting and please forgive me. I know we can't go back to the old ways and I'm trying to adjust and see and use the good. I really am trying to make peace with what after all is just the way it is. Onward and upward.

Still, sometimes...

[Christian Miller]

First of all it seems like I mixed up Finale and Sibelius somewhere along the line of this thread. If the "hate" thing Joel is talking about is related to me saying I detest software subscription models: I am a strong advocate of open source software like Musescore, Lilypond, Libreoffice, Firefox, GIMP, Inkscape etc. on Linux. I never used Finale (which has no subscription model) nor Sibelius (which has one) so I cannot say much about those programs (and Dorico which is the third big player in the music engraving business) other than the things I hear about them on the notat.io forum.

It sucketh.

I do wonder if Musescore might drift this way.

Dorico people are quite evangelical. Bloody expensive though.

[Christian Miller]

It's not just the money thing. Open source, open shmource say I.

It's the entire culture, especially around 'digital toys' (read: especially iphones) that makes me ill. I may be in the minority, and I don't even care anymore, but to me for the last 20-25 years or so the world is a way worse---not better---place. People atomized and walking down streets always looking down in self-absorbed reverie, thinking they're connected to things when in reality they are totally isolated. They're 'connected' all right: to little images on a little screen on a little box. This is sick!

But, you say, 'What about What's App or Face Time, wherein you can talk to someone overseas, say, and no long distance bills---plus you can see them? Well, there is some truth in that, granted, but 2 things are disconcerting: 1: I'm no fan of telephone companies, but long distance monies are dead. (I'm sure they picked up the slack and profit from other things, b/c profit is their entire M.O.) This could very well have resulted in job loss for down-the-food-chain employees. 2: You may see the person's image and vice versa, but it's still once removed from the real thing. Thank goodness there are still real social settings like the bar I went to last night. You can interact in a non-fake way with people there, kibbitz; talk to barflys who actually look up and look at you; order your food or drink from a human being and not some goddamn 'app'. And there's still live music (though patrons think they have the right to record you with no payment, let alone offering the common courtesy of asking permission). If all this imaging leads to the real thing, as in you meet in the flesh someone you'd only videoconferenced with, then Salud! I'm all for it.

When I lived in Philly I used to frequent a bookstore (one business that thankfully hasn't been murdered). I had a talk about all this with a young woman clerk once. I could glean that she was the thoughtful, sensitive type or I wouldn't have broached this subject, so I dove in. She listened, and I could see her getting increasingly upset. Finally, with a look of utter despair flashing through her eyes, she turned to me and said 'I'm 23. All I know is this shit'. I could only rejoin 'Then really look, and you'll find an alternative'.

And that's our best hope for the future: that like-minded, thoughtful, dissatisfied and usually young and idealistic folks will start a groundswell that may just put the world back to where it was re social interaction before all this nonsense started. And they can use the technology to have virtual meetings (or announce actual ones) that will be skull sessions on improving everyone's lives.

So, yeah, I have my iphone (which I totally dislike, it's way too complicated to use, and forever interrupts my current activity to suggest another one, or just break my balls un-asked for); my laptop (which I much prefer---it's so much easier in every way to use, especially typing with characters I don't miss and have to re-type 2-3 times, plus the screen is wide enough that I can enjoy a movie and not have to squint reading things). I know you can adjust the view on iphones, but all the other annoyances are seemingly here to stay; and an iPad I guess I need to learn how to use.

OK, so to make this not just a rant screed, let's look at the good: I can email charts or non-music documents anywhere. That's free and convenient even though it's taking business from the USPO. I can watch any vid on youtube---now w/o disruptive and annoying ads, b/c I pay for 'premium' and am happy to. Youtube provides a great way to learn tunes or just entertainment like movies or archived TV news shows which give historical thumbnail sketches. (But again, who's getting paid? There's so much fucking bootlegging turning up there it makes me dizzy: guys stealing movies by going to the theater with video cams, then posting them and the credits are backwards. Nada paid in royalties, of course. Or thieves like 'Bernie's Bootlegs', who post all kind of recordings w/o giving up a red cent to the artists' heirs, let alone the composers). And youtube itself doesn't pay shit! I put a song up that I co-wrote with Jimmy Norman in tribute to the Jazz Foundation of America. It was a vid featuring luminaries such as Quincy Jones, Dr. John and Freddie Hubbard. It went worldwide and made Jimmy and myself 'famouser'. But we didn't earn a dime. And after a kid told me about monetizing I tried it. Youtube pulled the ads, no consulting me (Jimmy's dead), no nothin'. And good luck trying to contact the MFers. But back to the positive: you can reach so many people to teach or reach. The only problem: with the glut of folks doing the same how do they find you? Serendipity, and thank goodness for that. I can make a video of me playing and post it here, on FB, or wherever, and have people, if they like it, become supporters and come to gigs. That's no small thing. And that's what I do like and appreciate about the Web: it's a sort of digitized town crier, announcing events. When someone, as a result, shows up they are in a real place with real people to meet and interact with. Or they or myself can watch vids of Barry's classes. That brings back vivid memories, as I was on that scene, especially in the '80s at the JCT. There's just so much good tuff it's almost overwhelming---so you pick and choose or your brain may swell and break.

So, yeah, I'm venting and please forgive me. I know we can't go back to the old ways and I'm trying to adjust and see and use the good. I really am trying to make peace with what after all is just the way it is. Onward and upward.

Still, sometimes...

the best one is when someone ripped my album and then monetised it on their channel.

Cheeky f*ck*rs!

(I do receive some American royalties but these are not broken down, so I suppose it’s possible some might be from YouTube monetisations. It’s weirdly hard to track this stuff down and I’m not sure what the mechanism is for copyright. Do I need to claim it?)

[joelf]

the best one is when someone ripped my album and then monetised it on their channel.

Cheeky f*ck*rs!

the thing is the comments were all incredibly complimentary. I feel conflicted.

Try buying food with compliments---or 'exposure'.

Plus if you attempted to sue the attorney (er, excuse me,the barrister---just for you) it would cost more than you could ever collect.

'Born under a bad sign. I been down since I began to crawl.
If it wasn't for bad luck, I wouldn't have no luck at all.'...

[joelf]

It got so I became grouchy enough to consider starting a doubter's site: Get Outta my Facebook...

[jzucker]

just a warning about musescore 4.2. It's very buggy and crashes constantly. I have reverted back to 4.1. I'll wait for a 4.2 maintenance release before trying the 4.2 features again.

[joelf]

Now a guy I know is raving about Dorico.

Never heard of it, but it's supposed to be on sale at StaffPad prices til Jan. 8th, and works w/iPads.

If it also washes my car and does oil changes I may bite...

[jzucker]

i still like musescore the best...

[Bop Head]

Now a guy I know is raving about Dorico.

Never heard of it, but it's supposed to be on sale at StaffPad prices til Jan. 8th, and works w/iPads.

If it also washes my car and does oil changes I may bite...

Dorico is by Steinberg (who also do Cubase/Nuendo and WaveLab). They developed a new open standard for music fonts called SMuFL. The (open source) Bravura font in Musescore is originally from Dorico.

If you seek advice regarding notation software I highly recommend the notat.io forum, a very nice and helpful community of notation professionals.

[Bop Head]

The selling point for me for Staffpad would be being able to have your handwriting with the Apple pen converted to a music font. That is really a cool and intuitive feature.

[joelf]

Dorico is by Steinberg (who also do Cubase/Nuendo and WaveLab). They developed a new open standard for music fonts called SMuFL. The (open source) Bravura font in Musescore is originally from Dorico.

If you seek advice regarding notation software I highly recommend the notat.io forum, a very nice and helpful community of notation professionals.

I'm having lots of fun about Dorico with my friend Charles on FB.

But I looked at a few vids, and it's more geared to classical composers/orchestrators. Besides which the iPad version, more suited to my needs, wouldn't work since my gizmo is the basic one, not the 'pro', and without enough MGs to accommodate it...

[joelf]

The selling point for me for Staffpad would be being able to have your handwriting with the Apple pen converted to a music font. That is really a cool and intuitive feature.

Yeah. Gonna stick to my plan. All this other stuff gets my head to spinning (though I admit it doesn't take much)...

[joelf]

With all this info overload I'm starting to feel like that guy in the Ace Trucking Company sketch: 'Bu-ut I JUST WANTED A HAMBURGER!!'...

[Bop Head]

I'm having lots of fun about Dorico with my friend Charles on FB.

But I looked at a few vids, and it's more geared to classical composers/orchestrators. Besides which the iPad version, more suited to my needs, wouldn't work since my gizmo is the basic one, not the 'pro', and without enough MGs to accommodate it...

With a professional notation software you can write any kind of music. I think lead sheets with chord symbols can be written with all those basic free versions of Finale, Sibelius and Dorico. They are limited regarding the number of voices.

Or do you mean the sounds that come with the software?

Or do you want those pseudo-handwritten Real Book style music fonts (I hate them*))? You could by a SMuFL compatible music font from the link I posted above and use it in Dorico.

*) I like a look that tries to imitate the beauty of hand-engraved scores from the last century.

EDIT: You can change the music fonts only in the Pro version which is over 500 EUR/USD.

[joelf]

I think the name 'iPad' was born when Jobs was heard to remark 'So we could suck more money out of customers Ipad ded the specs '...

[joelf]

Or do you want those pseudo-handwritten Real Book style music fonts (I hate them*))? You could by a SMuFL compatible music font from the link I posted above and use it in Dorico.

Naw. In the words of Sgt. Joe Friday: 'Just the facts, ma'am'.

I don't need fancy-shmancy. Last I looked my last name didn't start with Von. All I need is an easy to use program I can do simple things like lead sheets with. Fonts won't matter if I get a publisher who will do it his/her way anyway.

Maybe when I get into orchestration more I'll think about the next level.

'They say it's idiot-proof, but I found a way to beat it'---John Eckert...

[sgcim]

[QUOTE=Bop Head;1305259]What operating system? Windows? MacOS?

Musehub is a program that gets installed with Musescore.

EDIT: Seems like there are only new orchestral sounds on Musehub but no guitars. But AFAIK you can use VST instruments with Musescore. Never tried it. I only use the cheap standard piano sound of the vanilla soundfont. If I want a guitar sound I play guitar.[/QUOTE
I use Windows.
You're right. I never noticed it before, but Musehub was installed with MuseScore. They go to the trouble of making a big announcement on You Tube about the improvements in their guitar sounds, but when when you click on Guitars Vol. 1, all you get is a message saying that they're sorry, but something went wrong, and to try it again later.
On the pallet, in the Guitar section, you can click on "jazz sound', but it doesn't change that awful twangy guitar sound they have. One of the reps studied with Johnny Smith, so you'd think that he would have them do something about it.
Out of the 72 charts for jazz ensemble I've written, I only used the guitar sound for one of them, and that was only for four measures. When I get them played by a few bands I'm in, I usually conduct,. and only use the guitar for solos.

[Bop Head]

Naw. In the words of Sgt. Joe Friday: 'Just the facts, ma'am'.

I don't need fancy-shmancy. Last I looked my last name didn't start with Von. All I need is an easy to use program I can do simple things like lead sheets with. Fonts won't matter if I get a publisher who will do it his/her way anyway.

Maybe when I get into orchestration more I'll think about the next level.

'They say it's idiot-proof, but I found a way to beat it'---John Eckert...

Lead sheets should be no problem for StaffPad. It can do chord symbols

Just a moment...

and lyrics

Just a moment...

(It never hurts to look into the manual of an app before you buy it. I found it under "support" on their website.)

And you can do much more complex things with it like big band arrangements and full symphonic scores.

For the text entry I would buy a bluetooth keyboard with touchpad, costs below 50 USD (or get it used) and is much more convenient than the virtual touchscreen keyboard.

The only thing you have to make sure is that your iPad is new enough to run the StaffPad app.

403 Forbidden