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BTW. I forgot to mention in my conversion technique for Finale - be sure to check for any entries that are not eighth note triplets (i.e. quarter notes, half notes, rests, etc.). Add a dot to quarters and halfs, and adjust other things like ties, etc. before changing meter or else you will mess with the rebarring.

Phil

Phill and Stubbsonic!!

Now that I finally had time to revisit this whole situation, I'm pleased to announce that I found the PERFECT solution!!!
It was so easy I can't believe I didn't figure it out from the beginning.


BTW, I did try your tip in Finale, Phil, but it didn't work as expected (I hadn't seen your last post yet, so I will try it now, just to see. I think that's what messed me with Finale up, as you predicted )

Stubbs, I also tried your suggestion. While it's workable, it's not something you want to keep doing (and I have a lot of chunks because I'm using Song Mode too).


SO, as it turns out, it's MUCH easier for me to do all these messing-around with tempo and time signature things in DP!
At this point, I'm orders of magnitude more agile and knowledgeable in DP than in Finale, so I just reopened the app that I know, and just figured it out...

Like this>
--- Change the time signatures normally, i.e., from 6/4 to 12/8, with a dotted quarter note as the Metronome Click beat value.

--- Then, to avoid losing the sync between tempo map and time-scaled notes, simply select both, the MIDI piano track AND the Conductor track.
--- THEN, apply the Scale Time command to increase by 150%, and watch how the tempo map and the performance "grow" together! (before I was only selecting the MIDI track alone; no wonder it didn't work).

--- Now, at this point, the tempo will be 50% slower (because of the Scale Time command). To compensate, simply invoke the Scale Tempo command and increase the full tempo map by 150%.

Voilá!!!!!

The performance now sounds EXACTLY like before, but now with correct notation and display in the MIDI Editor and correct click.

I even tried playing the new scaled MIDI performance against the previously recorded audio track (before I changed anything), and they play together to phasing perfection!

I really love DP. Especially when you can do with it basically anything you want and being able to go back to composing mode in just moments.

... and now it imports into Finale beautifully!

Ah! Of course, you'd have to include the conductor track and scale the tempo events so they are at the same points they were before! And, then scale tempo to compensate for relative change in placement. Although, that step might not be necessary, depending on what kinds of scaling and how the sequence played back after the scaling was complete.

I'm really glad you followed up with this and put your step by step procedure down. It's really useful stuff. Another person recently posted a tangentially related question about including the conductor & its tempos & markers when scaling time.

Thanks!

Glad you got it worked out, FM! Now on to making music.