Earlier today, Finale 25 was released by MakeMusic. The program (Windows/Mac) features new 64-bit architecture, bug fixes from previous versions, transposing playback (see instruments at their written pitch, hear them played at their played pitch), and an expanded library of Garritan Sounds. For those of you who interact with pro audio applications, you can now do that through ReWire (I don’t use pro audio applications for my workflow).
I have only been working with Finale 25 for a little while today…I was given a preview copy, but I had some installation problems on my old MacBook (those difficulties disappeared when I used the public installation file that was released today).
My first opinion: Finale 25 opens and runs like Finale. As much as that seems like the understatement of the year, remember that this program has been reworked extensively, so to have a program continue to look and operate as it did before is no small feat. It is also important that previous users are able to open the program and use it. Remember the nightmare for Sibelius users when a new version changed the operation of the program with Microsoft Office-like ribbons? As another example, Finale has encouraged “simple entry” for years, yet those of us who have used the program for a long time (I raise my hand here) still use “speedy entry.” Both options still exist, and menus all seem to be where they ought to be.
The upgrade price is $149 from a previous version of Finale, and of course, if you have bought Finale recently (e.g. last week), I would contact MakeMusic directly to see what they can do.
Should you upgrade? Obviously, MakeMusic would prefer it if you did–and there is nothing wrong with that. Your upgrade helps the company keep the lights on and continue development on the program.
If you are a Mac user, MakeMusic has let some versions of Finale fall into obsolescence on the Mac due to “old” OS conflicts. I don’t expect MakeMusic to continue supporting old versions of any operating system, so if you have a Mac that can run El Capitan (current) or Sierra (coming), it might be worth the upgrade price to guarantee continued operation in the future.
If you are a Windows user, you are going to need a 64-bit machine to run Finale 25. Sadly, my Windows machine is an Asus T-100 Transformer that runs 32-bit programs. It is time to send that computer to the farm (it doesn’t feel that old, and in fact, my MacBook is older). To check whether your old Windows computer is compatible, open the Windows Start Menu, Choose “System” and then look under “About.” There is a category called “System type,” and my Asus reads, “32-bit operating system, x64-based processor.” Time for me to buy the Surface 4 Pro, I guess (but in truth, I need a new MacBook and 12.9″ iPad Pro first–as well as a few more ukuleles!).
If you have a more recent machine, the 64-bit program should be marginally faster and more stable than Finale 2014. If you are running Finale 2012 on a 64-bit Windows computer, it is time to upgrade. If you are running Finale 2014, you’ll have to decide whether the new features of transposing playback, expanded Garritan sounds, and ReWire integration are worth the upgrade to you. If you export audio tracks for rehearsal files, the expanded Garritan sounds should make the purchase worthwhile, and if you are a band director who makes scores for your students, transposed playback will be a nice (must have?) feature.
Missing in Finale 25 is scanning, which was recently pulled from the product. Have no fear–there are still ways to get music from paper or PDF into Finale, you’ll just have to do it outside of the Finale sandbox. Although I will blog about that in the future, look at Neuratron’s PhotoScore Ultimate 8, Notateme/PhotoScore on iOS and Android, and the latest version of Musitek’s SmartScore X2. All of these programs export scanned materials to MusicXML, which can be read by Finale.
So…congratulations to MakeMusic, and best wishes for a great launch and continued success!
This is a long review, and I apologize for the length, but I am very fond of these items and they deserve some coverage. If you want to read a very quick summary, check out my last post. I also had to publish an incomplete draft in order to add in-document links, so if you received e-mail notification about the post and it was incomplete, I apologize.
I love technology, and I love teaching others about technology in relation to what they are doing in their classrooms. I have a special affinity for technology that “changes the game” and makes technology easier to use or easier to incorporate into our lives. As a music teacher and a musician–there are few occurrences where I am bursting with excitement about a product. This is one of those situations.
This review is going to look at a CME’s XKey Air and the CME WIDI BUD. You can click on either of those last two links to skip to the section about that product, and there is a (20 minute) video at the end of the review.
If you want to buy these devices, visit the CME Website. Whie the WIDI BUD website is “live,” at the moment, the only place to buy the WIDI BUD is B&H (This will change over time). Special thanks to CME and Virgin Musical Instruments for making these products available for this review and for the sessions that I will be presenting in the 2016-2017 academic year.
CME XKey Air (25 Key Model $199, 37 Key Model $299)
The XKey first came to my attention in late 2014, as a representative from CME (or more specifically, their distributor in the United States) contacted me about the product and their coming attendance at TMEA. While the company has been around since 1993, the current CME was formed in 2012. After reading some reviews on the Internet, I can’t tell when the original XKey came out (my best guess is 2014) as a high quality portable MIDI keyboard. The features of that keyboard included high quality materials, full sized keys, function buttons (instead of wheels), velocity-sensitive keys, and low-travel keys. While the keyboard can be used for performance, the target was portable studio and notation work–something it is perfect for.
I remember stopping by CME’s booth at TMEA, seeing the XKey for the first time, and showing them the Miselu C.24 keyboard. I asked them to consider BLE (Bluetooth Low Energy) MIDI with their keyboard. At the time, my C. 24 was one of the few of those devices “in the wild” as they sent it to me early so that I could show it at various music education conferences. Just a word about the C.24–I lost mine in Nashville at NAfME. The C.24 was an exciting device as it was the first BLE MIDI device on the market. It promised to be a device that could be used as an iPad cover, and featured the ability to “flip” the device into form to make a playable keyboard that worked with magnets (not springs). You could combine multiple units to make a longer keyboard. The keys were scaled on an old model of a “woman’s” piano (apparently, piano keys used to be a relative item, based on the desires of the purchaser versus an industry standard). The C. 24 works, and is still available from Miselu at a (now lower) cost of $149. I do worry about the durability of the C. 24 (all the moving parts to flip open the device) and the future of the company (it still hasn’t released a promised control module to backers)–plus the function of the case changed when Apple changed the design of the iPad and the C.24 could no longer be used as an iPad case. This means that the market is still open to a high quality BLE MIDI portable keyboard, and the XKey Air fits the bill.
In addition to my feedback, CME heard that same feedback (“Please add BLE MIDI”) from a number of users, and ran a Indegogo Campaign to provide the capital to start that product. That project was funded by August 2015, and started shipping this spring.
In form, the XKey Air and the original XKey are identical. In fact, the only difference would be a Bluetooth sticker on the XKey Air, as well as multiple LED indicators and a power button on the Air. In my video review, I talk about the packaging of the XKey Air, which may seem irrelevant. After all, why does the packaging matter? I don’t know why, but it does. Part of the joy of buying an Apple product is the unboxing experience, which was carefully designed for the user. The XKey Air comes packaged in the same thoughtful way as an Apple device, and would fit perfectly on the shelves of an Apple Store. There are a couple of instruction sheets in the box, as well as a labeled micro USB cable. If you have other micro USB cables in your house, you can use them with the XKey Air–but I like having cables labeled so you know what device they came came with.
As for the keyboard, it is a joy to use. It pairs effortlessly with BLE MIDI on the iPad. As with most BLE MIDI devices, it is instantly detected by the iPad and connects with a single touch. While the keys do not have the tradition “travel” of a piano keyboard, they are pressure sensitive and every button works as it should. Some reviews of the original XKey longed for a way to attach a sustain pedal to the keyboard (instead of pressing a key on the XKey Air), but this is a portable keyboard–attaching cables and secondary pedals defeats the portable purpose of the keyboard. The low-travel keys should make the keyboard more resilient to throwing it into a backpack and running along. I had issues with other previous portable USB keyboards that I have used over the years (One example was an M-Audio 25 key unit that did not stand up to portable use).
My only complaints about the XKey Air are minor. First, the 25 key model costs $199, and the 37 key model costs $299. The original 25 key XKey is $99, and the 37 key XKey is $199. As both a consumer and a music educator, I would love to see the price point drop on these models. That said, if you have an original XKey, you can attach a Zivix PUC+ to it and make it a portable BLE keyboard for the same cost of $199. In other words, the price point isn’t terribly inflated, but I would still love to see a small price drop . I would imagine that some kind of education pricing (for the original XKey or the XKey Air) could be obtained if you reached out to the company. My other complaint is that it would nice if the XKey Air included a light bag of some kind to offer protection as you throw it into a backpack.
Is it worth buying the XKey Air for $100 more than its equivalent XKey? It depends on what you want to use it for.
The XKey Air is an ideal device for anyone wanting a portable MIDI keyboard interface without wires. When I am working with my iPad or my MacBook, I prefer not having to deal with cables. Additionally, an iPad needs a USB dongle (an additional $29 purchase) to work with a a USB MIDI keyboard.
If I were creating a school MIDI lab with fixed computers, I would consider the original XKey (even above a comparable M-Audio product). They are going to look great in your lab and will hold up to the rigors of daily use. This would also be true if I was teaching with Chromebooks…you probably are not going to buy a WIDI BUD (more on that in a moment) for each Chromebook.
However, if I needed keyboards for a 1:1 iPad school where student iPads were the MIDI lab (not a separate room), I would consider the XKey Air (even at $100 more per device). Why not go truly mobile with your lab? Also, if I was the teacher and I did any work at all in GarageBand (SoundTrap, Soundation) or notation programs, I would want a portable keyboard, particularly if the device I was using was a portable device (MacBook, iPad, Chromebook). As a warning, in a 1:1 scenario, each XKey Air has a unique MAC Bluetooth address, but show up as “XKey Air 25 BLE” on the Bluetooth MIDI interaction panel. This would make connecting difficult–much as we found with our Bluetooth QWERTY keyboards in our 1:1. If every device has the same name, how do you know which one you are using? Zivix has a unique identifier with every name, so I know it is possible to uniquely identify each BLE MIDI device, and I hope that CME is able to add this functionality in a future firmware update (if it isn’t there already, which I may have missed while looking through they XKey app).
In short, I think both CME XKey keyboards are wonderful. They are high quality portable keyboards and a far better solution (in my opinion) than mini keyboards like my old Akai LPK 25, my old M-Audio key stations, and even the Miselu C.24. Do you need the BLE MIDI feature? That’s up to you–I would say, “Yes,” because if you want to add it later, you can (Zivix PUC+) for relatively the same price-but then you again need cables (of a sort) to use the feature. It is wonderful to be able to connect without wires to your iPad, MacBook, Windows laptop, or Chromebook. I do wish the pricing was a bit lower on the XKey Air ($150), but $199 isn’t terribly out of the ballpark. When I spend money on devices, I have to ask if they save me time and frustration in the long run over doing things another way. In the world of iPad, the XKey Air allows me to connect to my iPad without a dongle (as it would to a newer Mac [2012?] than may 2008 Aluminum MacBook) which is a separate $29 purchase. It means less time to connect and take down, and less things to forget going from place to place. So if you are going to use a keyboard with your computing device–in terms of convince, it simply may be the best option to spend an extra $100 for the Bluetooth capability.
So yes, if you are interested, either the XKey or the XKey Air is a “consider buying” item.
When I opened the package from CME, my initial reaction to the WIDI BUD, packaged in a small blister card with minimal instructions, was, “HO HUM.”
That initial reaction was really, really, really wrong. It is going to be a while until BLE MIDI is packaged with every device. If you have a newer iPad or MacBook, you have it already–but old Apple devices, many Windows devices, most Android devices, and most (all?) Chromebooks do not have BLE MIDI capability.
This little dongle, which looks like a newer flash drive, gives BLE MIDI capability to nearly every device.
This means that you can use an XKey Air with an older iPad, MacBook, Windows computer…you get the idea. There are limitations (you have to be running Windows XP SP3, Ver 4 of Android, iOS 4.2, Chrome 43.0) but generally, if you have a modern device, the WIDI BUD can add BLE MIDI to your computing device if it does not have it.
Last summer, Web MIDI was announced, and over the last year, programs have been adding it: Noteflight, Flat.io, SoundTrap to name a few.
With this dongle, you can make a Chromebook into a BLE MIDI device, utilizing Web MIDI on these programs. Sure, you can also add a wired USB connection, which is what you would do for students (you would have a stack of physical keyboards that they would check out, use, and return). But for YOUR use…go wireless. Trust me on this one.
What is amazing is that the WIDI BUD makes a connection with a BLE MIDI device on its own. I haven’t tried having two BLE MIDI sending devices turned on at the same time, so I do not know how the device would respond to two competing devices for its attention–but plug in the WIDI BUD, and turn on the XKey Air, and it works. That’s it. The WIDI BUD will remember that connection until it loses power. So, if you want to connect another BLE MIDI device (such as the JamStik+ or the PUC+), turn off the XKey Air, turn on the JamStik+, and plug in the WIDI BUD.
So yes…the WIDI BUD works with ANY existing BLE MIDI device. (See note)
Let me copy and paste that again…
The WIDI BUD works with ANY existing BLE MIDI device. (See note)
So…the JamStik+, the PUC+, the Korg MKey Air, and the few keyboards sold with BLE MIDI…should be able to work with the WIDI BUD.
I have now said this for over a year…reliable MIDI interaction with a BLE MIDI device is a game changer in ease of use and functionality.
Chromebooks being able to use MIDI keyboards over a wired USB connection is a major step forward, and it means that I could teach Music Theory (mostly with Noteflight or Flat.io) with Chromebooks, and I could teach a Music Technology class (SoundTrap, Soundation, Noteflight, Flat.io) using Chromebooks. But to be able to connect wirelessly means that using those programs for my own use (not just in teaching) becomes a possibility.
Being able to use any BLE MIDI device with just about any host computing device is a game changer, too. At that point, you are only limited by the apps and programs that are available on your computing device. And remember…on Chrome OS, the best apps require a subscription to get all of the features that you want to use (Noteflight requires a subscription to even use MIDI recording). I don’t think there is anything wrong with that, because companies deserve to earn money. But it is something that we need to teach IT departments as they typically don’t plan for annual subscriptions.
My only complaints about the WIDI BUD are the size of the device (it has to be that small, but people will lose them), and they are a TIGHT fit in your USB port (which is probably intentional so that you leave it plugged in). I am leaving this WIDI BUD in its package after I use it, so that I can keep track of it.
My only other complaint is that I can’t find the pricing for the WIDI BUD on CME’s website, so I am hoping that it is released soon and will be affordable!
As you can tell, if you have a computing device that does not have BLE MIDI, I think the WIDI BUD is a must buy. I don’t know anything else like it on the market.
Thanks again to CME and Virgin Musical Instruments for allowing me to review and show off these devices. A video appears below.
Two major items hit the news today that have the potential to impact our lives as musicians and music educators.
The first is that MusicFirst introduced PracticeFirst, a new system that will allow green note/red note assessment for $6 per student, with additional titles being added for an additional cost (teachers can also provide their own literature, which is what I would do). I haven’t see or used the system (other than some screen shots at http://www.musicfirst.com), so I cannot tell you how the service compares to SmartMusic or Music Prodigy. I can tell you that the pricing does come very close to affordable for even my current situation where student socio-economic factors are an issue. $6 per year, for the same general ability to assess student pitch and rhythm, versus $40 for SmartMusic and $30 for Music Prodigy, is one heck of a deal. Furthermore, PracticeFirst is web-based (meaning any device, potentially including phones), and it is also supposed to assess tone. I still need to see what Weezic will release in this area. I would still love to see a buy-once app that didn’t have to rely on servers, as $6 per student is still nearly $2000 for my program. That is $10,000 over five years, and $20,000 over ten years. That is a significant investment, and SmartMusic and Music Prodigy would be more! Remember, you aren’t getting much content with PracticeFirst, but with advances in scanning, it is easier than ever to scan music, and furthermore, you shouldn’t be assessing full pieces of music…you should be selectively choosing the measures you will assess. For the cost savings over SmartMusic ($11,000 for my program), I can make my own assessments, plus as a choral director, I always had to make my own literature assessments anyway.
Again, we don’t know how PracticeFirst will compare with other programs, but it will be fun to find out.
As a side note, also check out the resources at www.odogy.com for additional green note/red note applications in music. There is a web application called CommunityBand, as well as a Recorder Application, a Music Share Application, and a Duet Maker. All are priced very affordably for music education.
Finally, the handwriting music on a tablet space has really heated up. The Sibelius Blog covered StaffPad, a handwriting app mainly for the Microsoft Surface Pro 3 and the Microsoft Surface 3 [The Pro is the better option with the larger 4:3 screen], about two weeks ago. This week, Neuratron announced its pending third version of NotateMe for iOS and Android. Today the Sibelius Blog broke the news about TouchNotation, a new handwriting music app from Kawai (the link is a referral link. If you buy the app from the link, I will relieve a 7% commission from Apple, but the cost is the same, and the company makes the same amount). The app was live in Japan first, and there is a free version available as well. The app is on sale for $7.99 until the end of April, and has various in-app purchases. I have only played with the app for a few moments, but it seems to work well enough, although there doesn’t seem to be a way to add lyrics (not so great for a choir director or general music teacher).
I am intrigued by the entrance of Kawai into the app space. NotateMe remains the app I would recommend on iOS or Android, as it allows for the PhotoScore In-App Purchase, which is worth its weight in gold. And I don’t have a Surface Pro 3 (I would buy myself a new MacBook and an Apple Watch first), so I have not purchased StaffPad (which would not work so well on my Asus T-100 tablet without an active stylus). But it seems that StaffPad has captured the excitement of a number of musicians and executives at Microsoft. I have seen a number of musicians who are buying a Surface Pro 3 just for StaffPad. On a similar note. I know musicians who bought iPads for forScore and unrealBook.
I also hope you didn’t miss the news about the next version of Sibelius (8?) that will also utilize the Surface Pro’s active stylus. It seems that if you are a musician who uses Windows, it is time to buy the Surface Pro 3.
So…that’s the big news today…PracticeFirst, odogy.com, and Touch Notation, as well as mention of StaffPad, NotateMe 3, and Sibelius. Aren’t options wonderful?
My day in technology began with a note from Philip Rothman, the author of the Sibelius Blog (a wonderful blog that goes beyond Sibelius, and has the best connections with the music notation industry), who wrote about StaffPad, a new handwriting music notation app ONLY available for Windows, specifically the Surface Pro tablet. You can find that post here.
My immediate reaction was to question the business model. I have long stated that the Surface Pro is a wonderful machine, but that I would have a hard time justifying the purchase of one when I can buy a new MacBook for less than the cost of a Surface Pro plus the Surface keyboard. StaffPad will require the active pen that comes with the Surface Pro, so my Asus T-100 Transformer will not work with the program. I have no qualms with a company developing an app for a specific platform–even Neuratron prefers the Samsung Galaxy Note tablets (although they do offer NotateMe on iOS as well). But to this point, the Surface Pro has not been wildly successful (Although the latest version has done better).
This was followed by news of Microsoft, which introduced the Surface 3 (not the aforementioned Surface Pro 3). The older Surface tablets ran Windows RT, a “light” version of Windows 8. From this point forward, the Surface models will be smaller versions of the Surface Pro, running “real” Windows, and they will also work with the active pen (although you have to buy it with the lower price Surface). Had Microsoft simply taken this route with the first Surface, perhaps the Surface would be as popular today as the iPad, and perhaps the Chromebook would not have found its place in education. Anti-Apple IT departments went to the Chromebook as there was no valid solution from Microsoft. The new Surface 3 is a fatal mistake finally corrected..but is it corrected soon enough? I may buy one of these devices myself (and sell my T-100).
One thing to be aware of with any Windows device…you will need to run anti-virus (and other anti-spamware) programs, where such programs are not necessary with iPads or Chromebooks, and if you work in a school deployment model, schools usually run all kinds of background systems on school devices that ultimately use up valuable system resources. When it comes to Windows devices, always buy the device with this highest specs that you can afford (this is not unusual–I recommend not purchasing an iPad with less than 64GB of memory today).
Back to the original news…this means that StaffPad will work on the new Surface 3 (shipping in May), at a significantly lower price point, meaning that perhaps StaffPad is perfectly situated for the future.
Finally, several new Chromebooks hit the market today (or were announced) such as two $149 versions (guess what YOUR school will purchase?) and a “yoga-type” Chromebook called the Flip, which will allow you to flip the keyboard on the back of the screen and use the Chromebook like a tablet.
I am still waiting for a true tablet Chromebook or a Transformer-like Chromebook. And once those arrive, web apps have to be created that take advantage of the touch interface, and in music, we need to see Chromebooks that come with Core MIDI and other features that allow the devices to be better used in music education.
In recap, StaffPad is out as a recommended program for Windows Surface tablets, the Windows Surface tablets are finally fully featured and might offer a logical option versus an iPad, and new Chromebooks are breaking the price barrier and are starting to act more like tablets.