Arturia V Collection 6 — Endless Creative Possibilities for Avid Pro Tools and Sibelius

A famously tall tower of award-winning vintage keyboards just got taller, and Avid has it for Pro Tools and Sibelius owners for the first time at a head-turning price. Arturia V Collection 6 is here, and it builds on its predecessors with emulations of vintage gear that has been heard and used by, well, everyone!  Its 21 software instruments offer an exceptional value but that’s only the beginning; each one is upgraded with extensive add-ons like polyphony, arpeggiation, more filters and oscillators, integrated amp and effect models, and the full range of automation and MIDI enhancements included with Avid Pro Tools. Use the included Analog Lab for instant access to more than 6,000 presets created by Arturia and their constellation of sound design experts, or dig into each instrument as deeply as you like.  Open up any of the 8 analog synthesizers, 4 digital synthesizers, 3 electric pianos, 3 organs, a piano with 12 sub-models and one string machine and you’ll be hard-pressed not to experiment with their infinite sliders, wheels and knobs—some part of the original hardware, some courtesy of Arturia.

We’ve been using some of the new instruments in V Collection 6 and they’re all faithful recreations that show the love and rigor that our friends at Arturia still pour into their products. Each is a deep-dive into the legendary hardware and a no-compromise emulation that is great-sounding and visually stunning.

The latest additions will put a smile on any keyboardist’s face, including a new Clavinet, legends from Yamaha, Fairlight and Buchla that everyone has heard, everywhere that keyboards have been part of the mix, and virtually everywhere in the world.  Let’s have a look at some new goodness in V Collection 6.


The Mother of All Samplers,” and a groundbreaking additive synth, the Fairlight CMI redefined pop music production following its release in 1979 and lent signature sounds to hits from Michael Jackson and Madonna to Devo and the Buggles. Arturia adds 10 multitimbral, polyphonic slots to design your sound, real-time waveform shaping, effects, a sequencer, and even a brand new “Spectral” synth that can scan and mix sections of audio, so you can create your own wavetable synth sounds.


If you’ve ever listened to the radio, watched a film, or owned any 80s records, you’ll have heard the DX-7. Notoriously tricky to program, Arturia’s recreation simplifies the process by vastly improving the interface, and expands its synth capabilities with a mod matrix, customizable envelopes, extra waveforms, a 2nd LFO, effects, sequencer, arpeggiator, and more.

Buchla Easel V

A gift from the late Don Buchla in 1973, the Music Easel changed the way people created sounds by emphasizing performance-focused parameters. Perfect for exploring alternative sound design, creating ambient, widescreen textures, and unfamiliar sequences. Taking Buchla’s experimental vision one step further, Arturia have added Gravity, a physics-based synth engine that lets you take your music where no one has gone before.

Clavinet V

Introduced by Hohner in the 60’s the legacy of the Clavinet is everywhere. Its funky, energetic tone breathed life into disco, R&B, prog rock and pop, the percussive, soulful sound of this legendary performance keyboard is reborn in Clavinet V. Arturia’s version lets you change the physical properties of the instrument, and ad classic amp and effects combos into the mix.

Like poetry and painting, it’s rare that music is created in a vacuum. The essential offerings in Arturia V Collection 6 weave through the records, tours and streams of listeners from every age, every background and from everywhere in the world.

If you’re looking for instant access to a vast and growing library of presets from the masters to inspire you or to meet a deadline, V Collection is your secret weapon.  And when you’re ready to dig in, open the hood on some of the instruments that have inspired the very best of music, and create sonic textures that have never before been heard, you can do it right here, too. Come to Avid Marketplace, pick it up, and dig in!

Get 40% off Arturia V-Collection 6

V-Collection 6 gives you access to every keyboard & synth you ever craved—right here, right now. What will you create?

Make your mark with Pro Tools

Create music or sound for film/TV and connect with a premier network of artists, producers, and mixers around the world.

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.

Avid Creative Software — The Right Tools for You

At NAB 2018, we announced a comprehensive line-up of video, audio and notation software that empowers creative professionals and aspiring artists alike.  Whether you’re scoring, recording, mixing or editing, you can create at the speed of inspiration using the tools embraced by the industry. Now, there are products for everyone—and they’re more affordable than ever.

We’ve expanded and better aligned our creative software brands to make it easier to understand the product tiers and grow within the family as you develop your skills and career.


• The popular entry-level “First” products are all free and make it even easier to unleash your creativity.

• Need more power? Step up to the full versions. This tier offers more functionality to help you tackle increasingly complex projects and tighter deadlines.

• The “Ultimate” products are the most advanced and comprehensive. With unparalleled collaboration tools, connectivity and game-changing features, you and your team can increase productivity and accelerate your workflows.

Check out the comparison charts to learn more:   Pro Tools    |   Sibelius   |    Media Composer

So what’s the BIG news?!


• Sibelius welcomes a new FREE entry-level version—Sibelius | First
Sign up to be notified when it’s available.

• Media Composer is now available at a super affordable price point- starting at only $19.99 USD – get it now

• Media Composer | Ultimate offers advanced functionality and options that were only previously available as add-ons – get the details

• Pro Tools | HD is now called Pro Tools | Ultimate and includes additional options – get the details


Are you currently using one of these creative apps? Upon your next product update or renewal:


• Paid Sibelius | First customers will become Sibelius customers. You’ll get the same great product, simply with a new name.

• Sibelius customers (version 2018.3 and earlier) will become Sibelius | Ultimate customers. You’ll have the same best-selling product—with a new name.

• Pro Tools | HD customers will become Pro Tools | Ultimate Along with the new name, you’ll also benefit from some new options.

• Pro Tools and Pro Tools | First customers won’t see any changes. You’ll still be able to create, record, edit, and mix music and audio with the industry standard.

•Media Composer customers (version 2018.3 and earlier) become Media Composer | Ultimate. Along with the new name, you’ll also see some new options.

•If you use Media Composer | First and would like to upgrade to Media Composer, you can do so at a new, lower price point.


Also, did you know that Avid updated its versioning terminology? Now, software updates align to the year and month of release. For example, Pro Tools 2018.4, is an April release.


Get the latest details about our exciting product announcements:

Pro Tools — Power your sound with the tools that power the industry

• Sibelius — The fastest, smartest, easiest way to write and share music

Media Composer — The professional’s choice for creative editorial

Make your mark with Pro Tools

Create music or sound for film/TV and connect with a premier network of artists, producers, and mixers around the world.

Discover Media Composer

Accelerate storytelling with the tools embraced by top movie, television, and broadcast editors. And power through HD and high-res editing faster and easier than ever.

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.

What’s New in Sibelius 2018.4

We’re really proud to announce the release of Sibelius 2018.4, making huge steps forward in many areas of the program. In summary, we’ve expanded on the recently added multi-edit workflows to now include the ability to enter and edit multiple text objects; given our note spacing rules a complete overhaul; enhanced the way you can interact with tied notes and much more, spanning over 70 individual improvements.

If you can’t wait to dig in, head over to your My Avid account to download the latest installers, or run Application Manager to check for the latest updates. If you’re on an older version of Sibelius, you can upgrade via the webstore or from one of our resellers.


A note about the product name

As you will have seen, Sibelius, Media Composer and Pro Tools nomenclature has been aligned so we will have the same three tiers for each product line. To read about this announcement, please head over to the separate announcement. To keep things easy, we still use “Sibelius” as a collective term for all three flavors of the desktop application. As you will have read in my previously posts, all notation products we build here at Avid are done with a common code-base, allowing us to build Sibelius | First, Sibelius, Sibelius | Ultimate, the Sibelius Cloud Publishing render engine and the Avid Scorch iOS app all using the same core notation engine. This means that all our notation products will benefit from the improvements, for example the note spacing or the low level optimizations I’ll cover below.

So, the improvements are…


Multi-edit workflows – Text and more

Following on from the award winning release of Sibelius in January this year, April’s release of Sibelius takes the multi-edit workflows a step further, by introducing the ability to add text to multiple notes or passages at once. Editing multiple pieces of text is simple too. Here’s a preview of what’s now possible:

This new feature deserves its own blog, so to find out more about how this works, and how you can start using it, head over to this page. (don’t forget to come back here to find out more about the amazing new improvements we’re releasing!)



As with our last release, where we introduced the ability to add ties intelligently across passages of music, we’ve given them more attention in this release too. Direct from user feedback from our social media forums, we’ve added the ability to edit the left hand note of a tie, and all notes to the right move with it:

This saves a nice little amount of time so you no longer have to individually select each note that’s tied, which can be fiddly across complex passages of music. This even works across multiple bars too:

Complete overhaul of note spacing

Note spacing in Sibelius has always been great, but has had a few reliability issues, especially when writing in multiple voices or when adding and deleting objects. More often than not, you have to do Reset Note Spacing, or nudge the spacing with Shift+Alt+arrow keys, or even worse, manually set the position of the notes using the X properties in the Inspector. Now though, the need to do those things will be really really rare.

As you’ll see below, there are huge improvements in the clarity of music in multiple voices. There’s no more ambiguity around which note is dotted, or even what the note values are themselves. Sibelius also automatically spaces the notes like this now so you no longer have to manually move notes individually using the “X” property in the Inspector.



Here are many of the common examples of the cases we’ve been working on. In all cases, you can see an obvious improvement.

In summary

  • Unisons in two voices with different noteheads no longer collide
  • Rhythm dot spacing and placement is improved
  • Dotted minims and semi-breves in voice 1 no longer collide with simultaneous notes in voice 2
  • Leger lines of voices at the same rhythmic position no longer touch
  • Semi-breves in two voices, same pitch, now go side by side and are not super-imposed
  • Crossing voices are now laid out head-to-head, rather than stem-to-stem as they were in previous versions
  • Unison dotted notes of the same value now always share a rhythm dot

All new scores created from now on will use the new note spacing, however all old scores will open up and appear in exactly the same way they did before. This is important as we need to give you the confidence that nothing will change. To turn on the new spacing though, choose Version 3 Voice position rule in Engraving Rules > Notes and Tremolos.

If, in your old file, you have manually set the positions of notes using the X property in the Inspector, here are the steps you need to take to reset the spacing and take advantage of the new voice position rules:


  • Go to Engraving Rules > Notes and Tremolos and choose the Version 3 under Voice position rule
  • Select the music you have respaced
  • Go to Appearance > Design and Position and click Reset Position
  • Go to Appearance > Reset Notes and choose Reset Note Spacing

You’ll now see the notes and rhythm dots line up nicely


More subtle improvements to note spacing

When entering notes in multiple voices, Sibelius now helpfully adds or removes space around notes as you enter or edit them. This always makes sure your music is well laid out. Here’s a comparison of the same passage of music written out using the old and new spacing algorithm:

The hope is that this new note spacing intelligence in Sibelius will go unnoticed, as it’ll always do what you expect it to do. What it’s doing in the background is resetting the space for that bar as you enter and edit notes. However, we’ve added a new Preference in Sibelius in case you’d prefer to turn this off. You’ll find it in File > Preferences > Note Input and you can untick “Respace multi-voice passages during note input and editing”. N.B. toggling this on/off doesn’t change the spacing you have in your score.

Many of these improvements are pretty subtle, for example rhythm dots are now taken into account when spacing passages of rests. This, of course, happens automatically so you don’t need to manually respace your score. To show you the old vs. new spacing, here’s a comparison – notice the dots on the 16th-note (semi-quaver) rests:

In addition to this, deleting lyrics or guitar frames now automatically respaces the affected music, so you aren’t left with extra space where these objects once were. Here’s a comparison of old vs. new so you can see the affect when deleting lyrics:



There are further improvements to the spacing before a start repeat barline. This is now always correct but was only correct before when preceded by an end repeat barline. This is more noticeable with note stems that line up against the start repeat line.

Sibelius now also takes articulations into account when spacing notes. A small but important detail to enhance Sibelius typesetting finesse, especially in cases where space is very tight.

When you have “semiquaver, quaver-rest, semiquaver” beamed together, the fractional beam of the rest collided with stem of following note. As well as this, the spacing was different depending on the direction of the stems. You’ll now find this is spaced well and nice and consistent:

What else?

There’s more, you ask? This release includes a slew of further improvements to Sibelius that will collectively make a huge difference to the way you use the program. They are:

Drum roll please… it’s now possible to delete the first bar of a score without losing the System text that’s attached to it e.g. part name, title, composer, copyright, tempo etc.. If you need to delete these objects too, you’ll have to actually select them and delete them. You can add bars to the beginning of your score, delete them as your will commands, and you’ll find the System text remains attached to bar 1.

In 2018.1, we introduced a change in the way you can access the Ribbon. In 2018.4, we’ve added a shortcut “,” (comma) to give the Find in Ribbon box focus. This means you can now access any feature in the program by simply hitting one key. Enjoy!

In response to user feedback from our release in January, it’s now also easier to change the types of barlines in a score. Simply make a passage or System selection and when you change the type of barline, it’ll change them all. Of course, Start and End Repeat barlines are exempt from this and continue to be added at the start and end of the selection.

As well as all these improvements, there are smaller fish we fried:


  • In rare cases, typing into Find in Ribbon would crash on Mac. This no longer happens.
  • The space after a cautionary Key Signature change is now not too wide. If you find it is, add a System Break at that point and reset note spacing. This will snap things into line again.
  • Highlights are now displayed and printed correctly once more when they span across multiple systems and pages
  • When selecting a coinciding double barline and rehearsal mark, alt-clicking elsewhere in the score no longer creates a new rehearsal mark and double barline in the wrong place
  • When copying and pasting from one slurred phrase to another, slurs are no longer duplicated
  • On Windows, the Help button (question mark in the right top corner) in the Print Spooler window was unnecessary so has been removed
  • In very rare cases, Sibelius would crash when opening a score with a different playback configuration from the Quick Start
  • Plug-ins > Simplify Notation > Remove Overlapping Notes no longer says its effect cannot be undone
  • Comments containing em dashes (–) now display correctly once more
  • It’s now possible again too to add lines to passages of bars that only contain rests
  • A low level issue in our undo queue that would occasionally cause Sibelius to unexpectedly quit is now resolved


To paraphrase Columbo, just one more thing…


  • Wide spread low-level improvements have been made to the way Sibelius handles certain data structures – particularly noticeable when working with large scores on slower computers.


We hope you enjoy the many improvements in this release that span both Sibelius and Sibelius Ultimate. If you have a current update and support plan or subscription, you can download the new version from within Avid Application Manager on your computer, or directly from your My Avid account.

If you’re new to Sibelius, you can download our free 30-day trial and buy from the webstore or from one of our resellers.

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.

Introducing Sibelius Multi-Edit Text Workflows

In January 2018, we introduced huge enhancements in marking up your score quickly with slurs, hairpins and other types of line. With April’s release, we are adding to that the ability to add and edit text on several notes on a single staff or across many different instruments at once.

As soon as we released the Multi-edit workflows in 2018.1, we were bombarded with “well, this is great, but what about text, and what about even more intelligent ties”… so we listened and set to it.

Multi-Edit Text

Sibelius 2018.4 introduces the ability to enter and edit text across multiple staves all in one go. Entering text in Sibelius has always been easy to do, but if you wanted to apply the same text to several instruments at once, you’d have to copy and paste the text manually across to those other staves, and even then would have to do this process one at a time if the music didn’t all start on the same beat. Now though, it’s much easier and can be done in far fewer steps.

To enter text across multiple staves, simply make your selection and enter the text as normal using the standard keyboard shortcuts e.g. Ctrl/⌘+E for Expression text or Ctrl/⌘+T for Technique, for example. Before you start typing, you’ll see cursors appear under the note you have selected. When you start typing, the text is entered across all staves:

Of course, like adding slurs, hairpins and other staff lines across multiple staves, Sibelius will enter the text on the first note that’s under the selection, allowing you to quickly mark up the score with dynamics and other technique text:

Editing text is simple too. Select more than one piece of text of the same style, and press Return or F2 to start editing. As when entering the text, you’ll see all text objects update as you type.

What is supported, and what isn’t?

When editing more than one text object at the same time, ensure you have the same type of object selected i.e. Expression text or Technique text. Sibelius won’t allow you to edit when you have a selection that includes a combination of several text styles e.g. Fingering and Figured Bass, say.

It’s worth noting too that changes will be applied to all the text items that are selected, so after editing all text items in your selection, they will end up with the same content. This is useful if you want to change several different dynamics to be the same, say.

Multi-edit text also only works for Staff text, but does not work for Chord Symbols or Lyrics, nor any System text.


Multi-edit overview

As you can see, combining the multi-edit lines with the new multi-edit text, it’s possible to mark up a score incredibly quickly:

Sibelius 2018.4 doesn’t just include these new enhancements but spans new improvements to note spacing, working with tied notes and a total of 70 improvements. To read more about all this, head over to the What’s new in Sibelius 2018.4 blog post.

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.

Arranging for the Pageantry Arts: The Writing Process

Welcome back to my Sibelius blog for composers and arrangers in the world of the pageantry arts! In my previous blog, I discussed creating a customized template, and assigning sounds within it. For this entry, I’d like to share some of my thoughts during the early part of the writing process.

One of the first things that needs to be done when you’re writing for marching band, is inputting the material you’ll be “molding” into your arrangement. Some of the music you may write will be original, or in some instances there won’t be a score available so you’ll need to transcribe it off the recording, but most of the music will be arranged from a score or sheet music of some kind.

Before I begin inputting, I find myself following a process similar to this:


  • Go through the score while listening to the source recording and add time markings at every major rehearsal mark (this helps as you study the score and later reference dynamics/articulations/voicings).
  • Identify the specific sections you will need to input (you don’t want to input material you won’t use).
  • Within the sections you will be inputting, identify doublings, so you aren’t inputting unison lines multiple times.
  • Within the sections you will be inputting, identify chords when you can, so you can input chords at one time, versus one line, then another line, etc.


Once you’re ready to start inputting, I highly suggest the first thing you do is go through and indicate the different meters throughout your template. This will save you tons of time versus adding them WHILE you input the music. As I mentioned in my last blog, make sure you utilize the custom beaming as you indicate the time signatures, so as you input (and then arrange), your beaming will be as you want it.

Now that your meters are in, and your score is marked up, it’s time to get to work! I like to have the score in a place I don’t need to hold it, but can easily see the music. I prefer to have my hands free so I can 1) manipulate the computer keyboard and utilize all of my shortcuts, and 2) work on the midi input keyboard. By simultaneously doing both, you can really cutdown on the inputting time, and improve your workflow. If you simply input on the computer keyboard, you will definitely add time to your project.

One technique I use throughout my arranging process, especially after inputting, is the “explode” feature. Say you inputted a low brass section chorded in triads. You COULD then copy and paste to each staff, and then delete the individual notes you don’t want (click by click, or through the delete filter), but that would take forever. With the explode feature, simply copy the line as you would (command-c), select the segment on all 3 staves (picture 1), and then instead of using command-v to paste, utilize shift-command-v. This will bring up the “Arrange Styles” box, where you’ll select “explode” from the top of the options (picture 2). Click OK, and there you go (picture 3), an orchestrated section from a block chorded section on one staff.

A few notes about the “explode” feature… Invert the chords the way you want them before you explode, this really cuts down on work time. Also, if you are pasting to 3 staves, and there are a few chords with 4 or 5 notes, you may get some voice 1 and voice 2 sections once you explode.

As I get older, I have found my eyesight isn’t what it used to be, and catching meter changes isn’t as easy as it once was. SO, if you’d like to incorporate big time signatures into your scores, here’s a quick rundown on how to do so:

BIG Time Signatures:

It’ll take some work on your own to get these to look exactly how YOU want, but here are the basic steps:


  • In the ribbon, go to “Appearance”, and click on “Engraving Rules” (the shortcut for this is shift-command-e). From there, select “Time Signatures”, then select “Time Signatures (huge)”. Now select “edit text style”, and change the font to “Opus Big Time Std”, and the line spacing to 100%. You can also toy around with the “size in score” number, I like it around 30. Click OK and OK…
  • Still in “Appearance” go to “Design and Position” and click on the arrow near the bottom right (default positions). Make sure “Text Styles” is selected, then scroll down (or press “t” to skip down) and select “Time Signatures (huge)”. Here, try different numbers in the “vertical position relative to staff” boxes (make sure both of them are the same), I like it around 2 (negative numbers also work). Click OK…
  • Lastly, still in “Appearance”, select “System Object Positions”. Here, you can select WHICH staves you’d like the meter changes anchored to. I typically select Flute, A Sax, Trumpet, and my top low brass instrument. You can obviously find the combination that works best for you and your instrumentation (up to 5 total).


I hope you’ve found something in this entry useful that will help as you plug away through your writing season, and I’ll talk to you again soon. Now get back to work (more talking to myself)!

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.

Anne Dern on Composing for Film with Sibelius

Anne Dern is a composer of music for film, television, and video games, including the beautiful and charming animated film Leap!, ABC’s Galavant, and Microsoft’s HALO V: Guardians. Her music credits range across many genres, from jingles, to film score arrangements of pop songs by songwriters Sia and Chris Braide, to theme park rides in Korea and China. Dern has collaborated with composers including Klaus Badelt, Christopher Lennertz, and filmmakers such as Julien Kerknawi and Enrico Natale.

As with her music, Ms. Dern values a high degree of versatility in the software she uses to create her work. When she started composing with software, she found that the tools available didn’t have the intuitive look and feel to help her create music quickly. A lot of functions and features were more complicated than they should have been.

When she tried Avid Sibelius (at the time version 4), it didn’t take very long to realize how features such as Dynamic Parts, and later Magnetic Layout, could give Dern the freedom to create scores in the formats she wanted much more easily.

One feature Dern sought was customization for her score layouts, in order to create unique charts for film scoring sessions, which are different from symphonic performances. Because film cue recording sessions are often more expensive, there is little time to get just a few takes from the ensemble. The performers need music that is flawless and easy to follow. Dern uses Sibelius to give the players just what they need to get the best possible performance.

Readily customizable tools not only save session time, they make it easier for Ms. Dern to compose music by letting her create her own Manuscript Papers in Sibelius, as well as her own libraries of customizable sounds and samples. Plus, Sibelius’ ability to create dynamic, expressive playback samples for showcasing her work helps to expand opportunities, and is critical for a busy composer.

Sibelius | First is Avid’s music scoring and notation software built to help every composer and arranger create music quickly, by providing the most critical features of Sibelius in a ready-to-use format, with ready-made Manuscript Papers for creating scores, libraries of sounds, our intuitive, user-friendly design, and the ability to share your work with the Avid Artist Community.

Now you’re ready to put your music in front of performers, directors and listeners. Look to Sibelius | First to raise your score.

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.

Sibelius Users — Sell Your Music Today to Millions Worldwide with SMP Press

Sibelius users, did you know that you can publish and sell the sheet music you have worked so hard to create with SMP Press from Sheet Music Plus? SMP Press is a digital self-publishing platform that allows composers and arrangers to sell their music on sheetmusicplus.com.  As a Sibelius user, you are already creating compositions and arrangements with high-quality engraving and with SMP Press, you can put your music to work for you! In this post you will learn about the advantages to joining SMP Press and how to export your Sibelius files to PDFs and MP3s, which are the file formats compatible with SMP Press.

SMP Press is free to join and there are no annual fees. You earn a 45% commission on sales of all original compositions and public domain arrangements! Your sheet music will have worldwide exposure to 3 million monthly visitors from over 200 countries. SMP Press is non-exclusive and you maintain all rights to your original compositions and public domain arrangements, meaning you are welcome to sell your music on your own personal website or through other publishers or on other platforms. There’s nothing to lose! Dust off those sheet music files taking up hard drive space and upload them to SMP Press today.

As an SMP Press member, you also have exclusive access to our groundbreaking program, ArrangeMe. ArrangeMe allows you to legally arrange over 1900 copyrighted songs and sell them exclusively on Sheet Music Plus! There are no fees to participate in the program and Sheet Music Plus handles payments to copyright holders on your behalf so you have more time to create. The song list includes music by current pop artists, Broadway favorites and even video game music. View the full list here. 

It is very easy to upload your music. All you need is a PDF, which is very easy to export from the Sibelius program. Take a look at our instructional video below.

You can also upload sound clips to accompany your product. No professional recording? No problem! We encourage you to export your Sibelius sound files as mp3s and use them to provide an audio clip for your product. Customers like to be able to listen to music before they purchase it. Sheet music with an audio sample sells much better than no audio sample, even if the recording is computer-generated. Here’s how you can export to mp3 with Sibelius:

Since you use Sibelius, you clearly have a need to create sheet music, whether you’re a student completing an assignment, a teacher who needs to rewrite a part, or a professional composer. We have found that if you have a need to create music, then someone will have a need to play it. That’s why the mission of Sheet Music Plus and SMP Press is to make the world’s music playable. Even though we have the world’s largest selection of sheet music, with over 1,000,000 titles in our online catalog, everyday customers request sheet music we simply don’t have. We would love for you to join our community of independent music creators.

What current SMP Press Members are saying:

“I’ve always dreamed of composing and arranging for a living (as opposed to just a hobby or sideline) and now my dream is coming true!”

John Dempsey; Inez, KY

“Joining SMP Press was one of the most significant and beneficial decisions I’ve made in my musical career.”

Jim Colman; Adrian, MI

“There’s no risk and SMP is terrific to work with.”

Phyllis Avidan Louke; Portland, OR

“I have been impressed with the sales and even with SMP’s percentage taken out I have done at least as well financially as I did with my own web site…and have been having good growth as well.”

John Gibson; Vancouver, WA

“I love the fact that my works are available to sell around the world and that they will sell with little marketing effort on my part.”

Samuel Stokes; Natchitoches, LA

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.

Sibelius Comes to the Avid Artist Community

Welcome to the Avid Artist Community!

We warmly welcome all Sibelius users to join the Avid Artist Community, a place for artists and media professionals around the world to connect, share work, collaborate and expand creative opportunities.

Established in 2016, the Avid Artist Community is an online community designed to foster creative connections and professional opportunities. Since then, it has grown from strength to strength by introducing new ways to create groups, chat and even hire pro musicians.

We’ve introduced the ability for Sibelius users to upload their scores directly from Sibelius to the Artist Community, from which they can make them public to showcase their compositions, engraving prowess, or even educational worksheets.


Getting started

First of all, open your score in Sibelius and click the Share button from File > Cloud Sharing:

This will upload your score to the Avid Media Central platform for processing, and shortly afterwards will display this message:

Once that’s done, you can head over to the Artist Community page, at https://ac.avid.com. If it’s the first time you’re doing this, you’ll be asked to create an account and Portfolio page. It’s on your Portfolio page that that your scores will be showcased. Once you’re through that setup, you’ll find your Portfolio here:


To see your scores, click the Scores tab in your Portfolio:

From here, you get a Dashboard similar to the one in Sibelius that lists all of your shared scores. It’s here that you can choose which scores you want to publicly display on the Artist Community (or not). To make a score public, simply click the ‘Public’ button. Once that’s done, anyone in the world can then view your score here. To see the scores in the account I set up for this, visit this portfolio:


Once a score is public, anyone can view your scores by clicking on their titles. This will open the score in a new browser tab and even play back—it even works on your phone!

Best of all, it’s free. Check it out for yourself and we hope to see your scores on the Avid Artist Community soon!

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.

Sibelius Premium Cloud Storage Plans Now Available

I’m happy to share that you’ll now be able to expand your Sibelius | Cloud Sharing capabilities with Avid Premium Cloud Plans to add further storage to share files online with Sibelius.

With any Sibelius subscription or current software update plan, you already get the ability to share music online, directly from within Sibelius—1GB of free cloud storage (20 scores with Sibelius | First). However, if you need more space, you can now buy an Avid Premium Cloud Plan that will unlock more online storage. Note that these plans can be used across both Sibelius and Pro Tools (for Cloud Collaboration).

The majority of Sibelius users will likely only need the Standard Cloud Plan or the Artist Cloud plan levels. The Producer and Studio Cloud Plans are aimed at Pro Tools users who are collaborating with large files and need much greater capacity.


Standard Cloud plan

Artist Cloud plan

Producer Cloud plan

Studio Cloud plan







1 GB

10 GB

30 GB

80 GB


Number of scores

Sibelius | First

Number of scores


To see how far you are through your online storage, we’ve added a new side-bar to the Sibelius Cloud Sharing dashboard, which you can access from within Sibelius by going to Home > Cloud Sharing > Dashboard:

On the left, you see the name of the Cloud Plan, the number of scores that you have shared, and the percentage of your storage that these scores are currently using. Below this is an Upgrade button that takes you off to your account where you can buy one of the Cloud Plans should you need it.

The Cloud Plans are applied to your account, so if you have more than one license of Sibelius, the storage is shared across all these copies. Remember that the Cloud Plan also applies to Pro Tools, and not just Sibelius. So if you own Pro Tools as well, you’ll find that you get more storage and other cloud-based features when using Pro Tools Cloud Collaboration.

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.

Sibelius 2018 Now Available—What’s New

Avid is introducing some pretty groundbreaking enhancements to the way people use and interact with Sibelius at the Winter NAMM 2018 show. First off, the new Sibelius 2018 delivers a host of new features that will revolutionize the way you mark up your score. Secondly, we are offering you a way to expand your cloud storage to enhance your Sibelius | Cloud Sharing workflows. We’re also inviting you to join and participate in the Avid Artist Community to share and promote your music. Finally, we are announcing the new Avid Marketplace and Artist Portal, allowing you to buy and manage your music software.

Let’s dig in…


Supercharge your workflows in Sibelius

Marking up your score with slurs, ties and other lines in Sibelius has always been a repetitive task, until now.



It’s now possible to enter any type of staff line across multiple staves. Adding slurs (S) or hairpins (H or Shift+H) to a whole section at a time is now a breeze, saving you multiple steps in the process and valuable time! Sibelius is aware of the music when you add them, so it even starts and ends these lines on the first and last notes under the selection so not to run over and end on rests:

We have also changed the way lines are entered for individual staves when you have a passage selection. Now, the lines will attach themselves to the first and last note under the selection, allowing you to enter phrase markings really quickly:

After entering a line, the selection now changes to select the last handle of the line, allowing you to use Space or Shift+Space to length or shorten it. This allows for quick selection and manipulation of lines that works for all types of staff lines.

Alternatively, Cmd+Click or Ctrl+Click the notes where you’d like to start a line, then add the line to the score. You can then extend this as needed:

Of course, pressing Space or Shift+Space will advance or contract the line for all selected lines. This is incredibly useful for adding hairpins or even phrase marks to multiple instruments. This doesn’t have to be done when inserting the line and can be done at any time.


Adding slurs across multiple voices

Adding slurs to passages of music that span across multiple voices is now also done with only a few steps. In this example, it used to take no fewer than nine steps to complete. With the new Sibelius, it’s just three (select, Shift+Click to expand the selection, S to add all four slurs):

Sibelius is even aware of the rests, so you can quickly add slurs across passages like this one:

Again, this took just three steps—it would have been up to 16 steps before, as adding slurs to voice 2 always had to be done by changing voice on the keypad.

If you have a repeated pattern to add slurs to, using the new feature in conjunction with the Advanced Filter, allows you to add slurs across long passages really easily.


Adding ties between notes in chords that only had a few notes in common has always been cumbersome without a special plug-in. You had to specifically choose the notes each chord had in common and hit Enter on the keypad. Now you simply use a passage selection across both chords and the ties are only added to the notes that appear in each chord. This works with selections that span across several chords, even over systems, with tuplets and so on. Ties continue to toggle too as you press Enter on the keypad.

Here’s a simple case:

Adding ties across multiple staves that include triplets is handled nicely too, so here’s a more unusual example:

You can still create dangling ties, as required, by selecting just the note you’d like to let ring and adding the tie:


It’s now possible to select more than one barline and change their type. You can change the type to Double, Dashed, Final, Invisible, Normal, Tick, Short or Between Staves. You can also add in System or Page Breaks to these barlines, making quick layout changes or the creation of educational worksheets a breeze.

This example shows the barlines getting individually selected using Cmd+Click (Mac) Ctrl+Click (Win), then changed to ‘Dashed’ then system breaks being added to them all using the Return key:

This works for all types of barlines, but Repeat barlines are now improved too…


Repeat lines

Adding Start and End Repeats is now simpler than ever. When you have a passage or system selection, adding either an End or Start repeat barline will now add them at either end of the selection. This saves you the step of creating the other repeat barline for every repeat structure you need:

Note Editing

Editing notes in Sibelius has been changed in this version too. Extending the rhythm of a note no longer entirely erases the next note, but erodes just the rhythm you needed. Up until now, you had to manually put the next note back in. This only happens though when extending the length of a note’s duration and will create a rest when shortening a note’s value. This works well with more than one note selected, and even in tuplets or with a passage selection—try it out!

The way Sibelius processes these notes, it allows for note durations to be changed with passage selections, like this:

This, when used in conjunction with moving notes that we introduced in Sibelius 8.1, makes editing notes and whole passages incredibly quick.

For now, this has replaced the old method in which Sibelius would erase the next note when lengthening a note value; however, we’re aware of your muscle memory and have added a new preference that you can toggle on—if you so wish—called “Replace subsequent notes with rests when extending duration”.


Find in Ribbon

Along the same theme of speeding up your workflow, we have made several improvements to the “Find in Ribbon” search box. We’ve refined the layout of the search results to make it easier to see what you’re looking for, as well as made it faster to execute the commands you need. In most cases, you now only need to remember one keyboard shortcut, and you can access everything in the program.

The shortcut for accessing the Find in Ribbon box has been made to happen immediately. Instead of doing Ctrl (on Mac) or Alt (on Win) and then separately pressing 0, you can now type Ctrl+0 or Alt+0 simultaneously. You can now also change this shortcut in Preferences > Keyboard Shortcuts to anything you like, so if you’d prefer a single key press, for example “,” then you can set this up.

Searching and executing—these are now one and the same thing. Previously, you had to know about the Shift+Return shortcut to find and then perform the feature you were asking it to do, but only after you waited for an animation to play. We’ve now simplified this and, where possible, the feature is executed immediately—e.g., type Reset Design and press Return (or in fact you only need to type “Re” and press Return as it’s at the top of the search results). When doing this, you’ll find that the design gets reset right away rather than having to wait for the glowing animation to finish.

This works for anything in the Ribbon, allowing you to type “12/4” to create a new 12/4 Time Signature, “Trill” for a trill etc. If you prefer, you can even hide the Ribbon and simply use this as a command pallet for Sibelius.

The layout of the search results is also clearer.

SIBELIUS 7 - 8.7


The name of the feature is now in bold, with the location of the feature in the Ribbon below it, followed by the description. To help you memorize your shortcuts, we’ve added this to the right hand side of the results as well.


Other general improvements

  • Grace notes are now accessible once more via the arrow keys.
  • File > Print: The page orientation is now only changed by changes in Document Setup if printing Normal pages. This no longer happens with Spreads, Booklet or 2 Pages Per Sheet and avoids the problems where these would get reset to portrait paper rather than remain landscape, as is correct for these printing arrangements.
  • The space after a Key Signature and Start Repeat barline is now slightly wider and won’t collide with each other.
  • It’s now possible to add a Dashed slur to a grace-note.
  • The “Combine Tied Notes and Rests” plugin is nice and fast when processing music in large scores.


The new Sibelius version number

This is the first release of Sibelius that uses a new common versioning scheme across all of our products. Sibelius, like Media Composer and Pro Tools, has moved towards more regular releases, and before long, the old version number scheme would get out of hand. From now, the version number behind the scenes will reflect when the release was made, for example this release is v2018.1.0.

The 2018 being the year and the .1 being the month. It’ll be .2 for February, and so on. If we need to make two releases in the same month, it’ll be year.month.1 etc.. The product is still called Sibelius, and is not called Sibelius 2018. The version number is simply a reflection of the current version of Sibelius. These days, with current upgrade plans, you simply get the latest version of the product and you’re away. You don’t need to pay much attention to the version number.

For those concerned about versions of files etc., we will address this in a future update to Sibelius. As the major version number of the file isn’t changing in this release (and hasn’t since 8.6), you’ll be able to open any Sibelius file from any previous version.


We are extremely excited to offer our customers so many new features and capabilities on Sibelius 2018 and hope that they will positively impact your work and boost your productivity. I’d like to thank the Sibelius community for all the feedback and suggestions that we’ve received and incorporated into this release and look forward to continuing to deliver the tools that help you deliver your best work!

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.