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If you have a permissions issue with your library, you might be able to resolve the issue by using the Photos library repair tool. How can I cleanly do this? Is there a way to keep the metadata? As for getting them into the cloud? Because Apple favors its iCloud infrastructure, there are—so far—no plug-ins for Photos that let you easily drop in Amazon, Dropbox, Google, or Microsoft, all of which are reasonable cloud options for storing, managing, and searching photos.
I always recommend using a local backup, like Time Machine for archives or Super Duper or Carbon Copy Cloner for clones, and a cloud-hosted encrypted backup like CrashPlan, which incorporates redundancy to guard further against loss.
As a result, you have to work quite a bit harder. Each major service offers a different way to upload images. With other services, you have to make choices. Select your library and Control-click to select Show Package Contents. Amazon dropped its cloud sync tool, but third-party GoodSync includes an option for Amazon Cloud Drive. You can select multiple folders and automate synchronization. Dropbox can be set to import photos automatically when a device is plugged in or a camera card is inserted into a Mac-connected card reader.
Dropbox recognizes and indexes all photos and videos uploaded. But all images it manages have to be within its main folder. Google Photos has its own sync agent that lets you select which folders to pick select Preferences from its menu. I was able to point it to the Photos library, and it appears to have sorted out the correct images to upload without duplication—the only exception being images I modified in Photos, which sometimes appear in original and edited versions.
Email yours to mac macworld. Mac cannot reply to email with troubleshooting advice nor can we publish answers to every question. Note: When you purchase something after clicking links in our articles, we may earn a small commission. Read our affiliate link policy for more details. This can be a problem, if there are thousands of Photos in your iCloud Account and you want to download them all to your Windows computer.
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In this post we will look at git subtree and show why it is an improvement — albeit not perfect — over git submodule. It is one of several ways Git projects can manage project dependencies. The version installed by homebrew on OSX already has subtree properly wired, but on some platforms you might need to follow the installation instructions. If you just want a couple of one-liners to cut and paste, read this paragraph.
First add git subtree at a specified prefix folder: Friendship quotes from the epic of gilgamesh. The common practice is to not store the entire history of the subproject in your main repository, but If you want to preserve it just omit the —squash flag. As you can see this records a merge commit by squashing the whole history of the vim-surround repository into a single one:.
If after a while you want to update the code of the plugin from the upstream repository you can just do a git subtree pull:. This is very quick and painless, but the commands are slightly lengthy and hard to remember. We can make the commands shorter by adding the sub-project as a remote. We can freely commit our fixes to the sub-project in our local working directory now.
Yes you can. You can still use the merge strategy even if for some reason git subtree is not available. Here is how you would go about it. Serial numbers revolver harrington and richardson. We then read the content of the latest tree-object into the plugin repository into our working directory ready to be committed:.
Now we can commit and it will be a merge commit that will preserve the history of the tree we read :. When we want to update the project we can now pull using the git subtree merge strategy:. As usual, with all things Git, there is a learning curve to make the most of the feature. Follow me on Twitter durdn for more things and stuff about Git.
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There are, however, some addtional things to consider depending on what type of sound sets are being combined. Multiple sound sets may also result in duplication of instruments i. There are three distinct cases worth noting. Two or more sound sets, with autoload Mixing multiple autoloading sound sets is the most straightforward combined usage scenario.
The playback configuration can be created normally, and should include at least two active devices one for each sound set. With each device assigned to a different sound set, save the configuration and close the Playback Devices dialog. Sibelius will then allocate and load sounds for the staves in the score using the instrument definitions found in the active sound sets.
Two or more sound sets, without autoload Not unlike multiple autoloading sound sets, using multiple sound sets that require manual sound set definitions is a matter of activating an appropriate number of devices and assigning them to the different sound sets. When assigning channels, each device will display the patches from the sound set is has been assigned.
Two or more sound sets, mixed autoload Fundamentally, this scenario is the same as the others. A device needs to be added to the configuration for each sound set that will be used, and for the sound set requiring a manual sound set, setup requires the same steps as if it was used on its own. The issue that presents itself here is the possibility of saving automatically loaded sounds with the configuration. Double-loading may not be a serious issue for you depending on how powerful your computer is specifically, how much RAM is available and the size of the score.
At best it will increase the time needed to load the configuration as sounds are loaded, unloaded, and loaded again; at worst, it can result in Sibelius crashing. Miroslav Philharmonik - Sibelius Sound Set User Manual 25 The best way to avoid this is to create your mixed automatic and manual loading playback configuration before opening a score.
This will allow you to create the configuration and save your manually loaded sounds before Sibelius attempts to load anything automatically. Once saved, open a score and Sibelius will then load those sounds it can automatically, preserving your manually loaded sounds and preventing the doubleloading problem.
Note: In a default Sibelius 7 installation, the Playback Devices dialog is not accessible until a score has been opened. In order to create a mixed configuration as described here, Sibelius 7 users can either create a new Blank score, or assign a keyboard shortcut to the Playback Devices window so it can be opened prior to opening a score. Even though the patch names in the sound sets are probably different, to Sibelius these two solo violin sounds are equivalent because the underlying sound ID is the same.
This poses a problem because Sibelius will arbitrarily select one of these sounds which may or may not be the desired sound. To instruct Sibelius from which device a sound should play, Preferred Sounds rules can be added in the playback configuration.
Using Preferred Sounds, sounds can be assigned very specifically or very broadly to a particular device based on their sound IDs. Note: Preferred Sounds, despite their use in directing sounds to a device, are not a replacement for a manual sound set when one must be used.
They should be used in addition to any channel assignments made in a manual sound set. Select a sound ID using the expanding list at the left of this dialog. The more specific your selection, the more targeted the preferred sound rule will be. Be sure to save the playback configuration after adding or editing rules so that the changes are stored. Miroslav Philharmonik - Sibelius Sound Set User Manual 27 An important aspect of preferred sound assignments is the use of wildcard characters in the sound IDs that are selected.
Using the solo violin example, the complete rule is: For the sound ID: strings. In this case, not only has the solo violin sound been assigned, because of the wildcard character, violin section sounds have also been assigned to this device.
If the violin section sound should play from a different device than the solo violin sound, a second rule is required: For the sound ID: strings.
House Styles 6. A root patch is any patch defined as the default sound for an instrument e. Staves are not defined for individual articulations e. Depending on the library and its programming, these staves perform a variety of different functions that aid in the integration of the sample library.
Their primary purpose is to ensure sounds allocate properly and articulations switch correctly for every patch in a library. Secondary purposes include altering transpositions, normalizing SoundStage positioning, panning, providing alternate microphone positions, string tunings, and other similar functions.
Staves are further sorted within the ensemble by instrument type brass, wind, etc. Each individual staff contains a prefix identifier in brackets indicating what library the staff is designed for. Miroslav Philharmonik - Sibelius Sound Set User Manual 29 The staff name displayed in these dialogs consists of the library prefix, the patch name, and any additional identifying information e.
This name is for your reference only and will not print in the score. The names written in the score generally reflect standard naming conventions for the instrument. In-score names can be changed to whatever you like without compromising functionality.
Several different staves may be available for a single instrument that account for different ways of writing for that instrument. In cases where multiple staves are available for a patch, they are equivalent as far as playback and sound allocation; the difference is how the staff appears in the score. Using the changes defined in the dictionary, Sibelius is able to match written techniques to the appropriate sound in a library or device, or choose the closest matching sound if an exact match is not found.
The Miroslav Philharmonik House Style contains a significantly modified and extended playback dictionary in order to accommodate all of the sounds available in the Miroslav Philharmonik library. As such, certain entries and definitions are present in all of our playback dictionaries even though they may not be required for that particular library.
Where exceptions are made and default entries are modified, we research those entries, their behavior, and use throughout most every sound set available and will only make the change if it will not have an adverse effect on other integrations. The ability to move these settings collectively is one of the factors that makes integrations like this one possible, however, it comes with an unfortunate side effect: playback and staff settings can not be separated from score presentation.
As a result, when a House Style is imported or a manuscript paper template is selected, settings that may not fit your layout and presentation needs are brought in as well. The settings transferred in the Miroslav Philharmonik House Style are intended solely for playback purposes and they do not impose, alter, or require any specific layout or formatting settings e.
A majority of these settings can be eliminated simply by importing the House Style using the options indicated in Section 4. Text Styles are a notable exception. Because certain playback settings are dependant on Text Styles, importing the House Style requires that they be imported as well.
Fortunately, if necessary, there is an easy way to restore your own Text Styles and font settings after importing the House Style for playback purposes. If your score uses these fonts, importing the House Style will be of no consequence and the steps below are unnecessary.
To restore the desired Text Styles and fonts, first create your score or import the Miroslav Philharmonik House Style as described in Section 4. Select a House Style that uses the desired fonts from the list at the left, and then deselect all import options except for Text styles.
Click OK to import this House Style. Your score now contains all of the playback settings for the Miroslav Philharmonik library and will use the desired fonts. Note: Import all House Styles to be used for playback purposes prior to importing the House Style that will reset Text Styles and fonts.
Working with Sounds 7. Symbols may also be used, but are not as common. Through the sound set these instructions are interpreted and the appropriate MIDI data is generated, whether that be a keyswitch, continuous controller change, or other similar message, invisibly, and automatically. Each of these methods creates sound changes in slightly different ways, and while standard notation practice will generally dictate which method is used in a given context, understanding how each one works together and separately is important.
Articulation Markings Includes such markings as staccato, staccatissimo, marcato, tremolo, etc. Articulation markings are in effect for the duration of the note to which they are attached, after which the sound is reset or changes to the next indicated sound. Using articulation markings is perhaps the most obvious way of changing sounds in a score, but may not be the most efficient in all contexts. Articulation marks generally change sounds by way of a sound ID change, with a fallback behavior that will simulate the technique in the event a matching sound ID is not found.
For example, if a staccato mark is written but a staccato sample is not available, Sibelius will shorten the note duration to mimic the staccato effect. The fallback behavior, while useful, is not entirely reliable with different issues appearing in different versions of Sibelius. The two most common issues, which extend to staff lines as well, include fallback behavior overriding a sound ID change and the fallback behavior being executed in addition to the sound ID change unmeasured tremolo and slurs, respectively, are examples.
Miroslav Philharmonik - Sibelius Sound Set User Manual 33 Text Instructions Given that there are a limited number of articulation markings but seemingly infinite technique variations, text instructions are responsible for a substantial number of sound changes.
Text Instructions N q. While some text instructions come in natural pairs such as pizzicato and arco, above; mute and open, etc. Differences between markup for live players and computer playback are quite evident here, but it is possible to prepare scores that play correctly without excess visible and unnecessary markup.
Staff lines require less discussion than articulations or text instructions, but the behavior of three common lines deserves a mention. Playback of slurs is dependent on a minimum of two notes, the first note to which the slur is attached and the last note and any notes in between.
While the slur marking will create a sound ID change at the beginning of the first note, the legato transition will not be heard until a subsequent note has been triggered. The transition will then sound for each note under the slur line. When written, glissando and portamento lines often indicate a transition should be applied in the space between the notes to which the line is attached. Live players accomplish this by looking ahead, finding the desired ending pitch, and applying the transition accordingly.
By contrast, Sibelius is not able to look ahead to determine the ending pitch and instead must wait for that note to be triggered before applying the transition effect.
The result is a transition that triggers in the space of the second note rather than the space between notes. Though not a perfect solution in every situation, when this control is available, altering the speed of the transition may help to disguise this effect in some small way. The Attack and Dynamic values are set in the playback dictionary, with a number in the range Different libraries and devices use different methods of controlling dynamic and attack levels, some of which respond better than others in Sibelius, but generally fall into two categories, crossfaded velocity layers and separate velocity layers.
Crossfaded Velocity Layers Crossfaded patches often abbreviated XF or DXF allow for even, continuous changes in level from the quietest to loudest sample. Crossfading frequently uses MIDI CC1, commonly mapped to the ModWheel, to control dynamics and may or may not utilize note velocity at all or may assign it to another related function, such as attack speed.
These patches are generally preferable in Sibelius as they allow for smooth crescendo and diminuendos over sustained notes. Depending on patch programming, the Attack value sent by Sibelius may have no effect. Because the MIDI controller assigned to dynamics typically MIDI CC7 or CC11 operates within the active velocity layer rather than the instrument as a whole, the output of low velocities at a fff dynamic is not the same as high velocities at that same dynamic.
While there are exceptions to this, the majority of devices that use velocity layers for sustaining instruments will pose a problem when it comes to continuous dynamic changes in a Sibelius score. Perhaps the best workaround is to utilize hidden dynamics and a plugin to create a smooth dynamic change that ends at the desired level.
Then, use the Cresc. By using the Cresc. Playback plugin, the entire range of is available for this upper velocity layer allowing for a distinct and noticeable dynamic change across the duration of the note. Recording Dynamics As evidenced by the workaround presented above, dynamics in Sibelius are linear in nature. In the right, or wrong, context this can result in very unnatural dynamic movement, lacking the subtleties that make the music come alive. If you are working with a MIDI keyboard or controller that is capable of inputting continuous data via a fader, knob, wheel, foot pedal, etc.
On the Flexi-time tab, select Overdub in the Existing Music section at the lower left of the dialog. Under Voices at the upper right, deselect Record into multiple voices, and then select an unused voice for the MIDI data to be recorded in. When finished, stop recording and your MIDI messages will be entered in the score as hidden text instructions in the voice designated in Flexi-time Options. With the exception of sound assignments, all of these behave as you would expect and allow for finer control of the sounds used in the score.
As these are MIDI-level controls, their values can be altered by data in the score, such as dynamic changes. For devices that offer a secondary volume control via CC11 , the staff volume faders can be used to set overall MIDI volume levels and the value will not change. If, however, the device uses CC7 alone, the value set in the mixer is subject to change when different dynamics are entered in the score.
Note that the display in the mixer will not track these changes. Although generally of little consequence, understanding how these faders operate can prevent frustration when the displayed levels seem to be changing or ignored altogether.
The virtual instrument faders in particular are useful when mixing libraries together that have widely varied output. By balancing the output levels at the plugin stage, the staff channel strips can be left to mix each instrument at the MIDI-level allowing greater flexibility and range. Sound Assignments Two types of sound assignment are possible using the mixer, device assignments and patch assignments.
However, with the exception of hardware MIDI synths, assigning sounds and devices in the mixer is bad practice and is best avoided in all but a few specific cases and even then, only as a last resort. Doing so can result in incorrect sound allocation, cause articulations and techniques to switch incorrectly, or prevent them from switching at all.
This is repeated for each staff in the score until all staves are allocated to an appropriate device and sound. The trouble caused by doing this is not often obvious, in fact, depending on the complexity of the library or device, problems may not appear right away. Nevertheless, since there are ways of controlling and guiding sound allocation within the system, including manual sound sets Section 5. Using Philharmonik 8. This configuration can be used as is, or as a template for your own configuration.
However used, it will reduce the amount of time otherwise needed to create a similar configuration as described in Section 5. The configuration includes manual sound set channel assignments and Preferred Sounds rules for the Miroslav Philharmonik instruments and divides the sounds among several Philharmonik instances.
Patch and channel assignments for the provided configuration are given in Appendix C: Channel Assignments. Using the Configuration drop-down menu, select the Miroslav Philharmonik configuration. Once selected, the sounds will begin loading automatically. When complete, close the Playback Devices dialog. To copy the default settings to a new configuration, select the provided configuration as above, and then click New to the right of the Configuration dropdown menu. Enter a name and then click OK to create the derivative configuration, leaving the original file and settings unaltered for future use.
Note: If sounds do not load correctly, you can alternatively load the Sibelius Presets included with the sound set. Each preset file corresponds to a Philharmonik instance in the provided playback configuration; the number in the preset name indicates which instance it is designed for.
Common Terms While working with the sound set, reading this manual, or corresponding with The Sound Set Project, you may encounter unfamiliar terms. To alleviate confusion and improve understanding, some common terms associated with the integrations are given below. ASIO A low-latency audio driver for Windows systems that accesses sound hardware directly, improving performance. Automatic Loading A feature available to certain software plugins whereby Sibelius is able to load required instrument sounds without user input.
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