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Software » Windows
Capella Audio2score Pro v5.0 screenshot
P2P | 08 November 2024 | 516 MB
capella audio2score analyzes your recording, e.g. an MP3 file. The recognized notes are examined, sorted and then sensibly poured into a new arrangement. This can be done for piano or for a quartet, for example - it's your choice.

capella audio2score pro does not show you an exact transcript of the original. Please imagine the result more like a piano reduction or a particell (depending on your settings). Export to Midi, capella or MusicXML format as well as PDF.

Feature list
•Note by note recognition
•AI-assisted note recognition
•Distinction of three timbres: 1. winds, 2. strings, 3. piano
•Optimized mode for solo piano
•Recognition can be combined with the recognition of a singing voice
•Suitable for pieces without vocals (stereo suppression of vocals and sole recognition of accompaniment possible, depending on recording)
•Recognition of polyphonic sounds of any instrumental recordings (except percussion)
•Automatic arrangement of the recognized notes for various ensembles (selectable: piano, string quartet, wind quintet, guitar, monophonic, etc.); independent of the original
•Intelligent distribution of notes to voices (no fixed split points, but formation of lines)
•Specification of different levels of difficulty for piano arrangements; Level of detail slider

Harmony detection
Harmony symbols

Holistic recognition
•Suitable for pieces without or with vocals
•Recognition of the melody (instrumental and/or vocal; with differentiation)
•Bass line detection
•Realization of accompanying voices based on the harmonies
•Predefined ensembles selectable (piano, orchestra, band, ...)
•Robust, well playable result even with complex pieces

Further recognition
•Recognition of barlines (can be corrected if desired)
•Key detection (can be corrected if desired)
•Tuning detection (concert pitch a')
•Automatic local derivation of enharmonic changes (“F sharp” or “G flat”?) according to the harmonic context
•Free configurability: set up any desired ensembles with individual voices, recognition settings, quantization and accompaniment patterns
•Combination of note-by-note and holistic recognition; creation of templates for new projects
•Notes can be transposed if desired
•Support of transposing instruments

Editing
•Support from the sound tissue, which provides visual insight into the sound
•Display of tones as tone boxes (piano roll view) and as note images
•Intuitive editing in both views, real-time synchronization
•Post-processing of harmonies (accompanying voices adapt)
•Barlines and beat strokes: changeable by manually setting marks
•Barlines: changeable by tapping along with playback
•Adjustable formatting of the notes (page size, bar numbers, ...) partly
Voice editor for the score layout of all voices (clefs, line spacing, solid barlines, etc.)

Operation
•All settings with visual and acoustic preview in real time
•Qualitative playback of recognized notes via soundfont (capella-tune)
•Control listening of the result by simultaneous playback of the original (mixer function), at any tempo (time stretching)
•Mouse mode: playback of original and/or recognition by mouse swipe at any tempo
•Voice filtering for tones boxes and playback
•Modern MDI interface in which multiple documents / views can be placed side by side
•Easy-to-use, limited wizard interface for getting started
•Switch to the main program (complete features) and back possible at any time
•Direct transfer of the notes to capella
•Help notes in the program and detailed documentation



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comments

  Releaser 21.07.2012 16492 7185
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  Resident 21.06.2018 454 15981
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  Resident 15.10.2020 149
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Very nice
  Resident 21.04.2014 1805
+392
I remember when I was young, I would press the button on my cassette recorder countless times, determined to capture the solos of jazz musicians to write on sheet. I even slowed down the cassette tape motor to better hear the intricate passages of particularly challenging solos, after done, meticulously transcribing them in their original key.

Back in 1999, there was no Timothy Gondola channel on YouTube, nor was there a robust Internet to rely on. We engaged in fantastic auditory training, honing our skills through sheer dedication. Today, we have talented individuals, including some from Japan, who create flawless transcriptions of Oscar Peterson's jazz, among others.

When the remarkable time-stretch software emerged in the 21st century, I was captivated. It quickly became an invaluable tool for musicians like us. This technology allowed us to slow down music without altering its pitch, making it easier to dissect complex solos.

However, while transcription tools have advanced, they still face limitations. The traditional score, as we know it today, is based on a straightforward logic. Instead of merely attempting to capture a multitude of naturally occurring harmonics, these software programs could leverage the underlying principles of musical composition to produce more accurate transcriptions. It's astonishing that even AI has yet to fully grasp this process, and it seems we still have some time before we reach that level of sophistication.

If someone produces softwares like this, don't follow the main stream of frequencies, invite me, because you are on the wrong path. I will give you a tip:

"Within philosophy there is Heidegger who makes you deconstruct an idea or thought and rebuild it, understanding all the steps until the end of the process."

Kontakt came from this idea of ​​what already existed, but innovated in technology so as not to swallow up all the RAM.
  Resident 21.04.2014 1805
+392
Sorry, need to talk about the prices of_Capella.

The price of software is outrageous. If you were to purchase all the software produced by the company Capella, it would cost nearly $917, almost €1,000, which in Cuba and other countries is enough to buy two cars or even build a house.

When digital media and web streaming emerged, I thought to myself: there are no heavy logistics involved in delivering this package. There are no employees carrying heavy boxes of CDs, DVDs, vinyl records, or tapes on their backs.
There’s no need to fill trucks to transport all this material along long roads that cross borders, nor to pay drivers who have always been underpaid for this laborious and exhausting service.
There are no shopkeepers trying to convince us that certain artists are worth our time, nor cashiers to handle the money for these products. Import and export taxes are eliminated, and there’s no need to print CDs or any physical media, nor to produce covers, etc.
Additionally, we have the corrupt record companies behind all this, along with greedy producers—many of whom I have encountered, both American and European—most of whom have succumbed to cancer, heart attacks, strokes, and, fortunately, Covid-19 has taken care of the rest; one of those big guys, who Michael Jackson used to call him on stage as the devil 'Tommy_Mottola', living, for now.

I understand why the world operates as it does; they will complain and toil until the end of time, driven by their greed, until their demise, which will likely be due to one of the ailments listed in the medical menu.

Vinyl was the most expensive product to manufacture, relying on petroleum derivatives and numerous costly machines. When it finally reached stores, after all the complex logistics, it never cost what it does today.

Yet, I still ask the question: why does all this cost so much?

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