This is the change log that is provided for Mac users:

5.2.377
Jul 28, 2015
Update to support features in Notion for iOS v2.0:
Add Simplified Chinese as a supported language
Option to transpose chord symbols with instrument added
Part names automatically labelled on score
SATB template added
Fill with Rests now does not overwrite the single measure repeat sign
Tenor voice uses Treble 8vb clef by default, instead of bass

Fix adding a trill action in the Rules Editor, making the UI blank on Windows
Fix an issue on Windows when selecting a chord diagram from the Chord Library
Add missing Select Chord Symbols menu item on Windows

Best,
Thorrild

Nice !

Thanks to you both.

Alain

Unfortunately, the "bring up the mixer window while playing and blow up Notion" bug has not been fixed.

I've just ran into it a couple more times.

Oh well. At least it gives me time to go and get another pot of coffee while the tune reloads...

Kurt

Same thing just happened to me... there goes 20 minutes of work.

To avoid the dreaded crash involving the Notion mixer window_

After creating a New Notion 5 Project "SAVE IT IMMEDIATELY" before opening the mixer window.
(If a crash occurs there is the "recovery file" or the original to load again.

I think the "recovery file" is created and follows the Undo/Redo list after being saved to disk in the current Notion session.
And, the DocDelta files are created when 1st created or opened before being saved to disk.


Id' say, after startup of Notion 5 "never" open the mixer without 1st saving important edits to disk. Then! open mixer.
I'm just sayin'_

,Newberry

Lots of unresolved issues. *sigh*

For reference, the NOTION 5 Mixer problem does not occur on the Mac under Mac OS X 10.10.4 (Yosemite) or any of the earlier Yosemite versions, so it must be a Windows phenomenon like the SampleTank 3 problem, where SampleTank 3 (IK Multimedia) also continues to work nicely on the Mac . . .

This is an updated version of my original Jazz composition featuring the Sassy Cuban Trumpet from the "DIscovery Series: Cuba Collection" (Native Instruments), which is an intriguing set of Cuban instruments for Kontakt 5 (Native Instruments) . . .

[NOTE: There are a few occasional short duration glitches, where the worst one occurs when I first start adjusting the Timeless 2 echo unit, and this is caused by the screen and audio capture software (ScreenFlow [Telestream]) in combination with NOTION 5 tending to overwhelm the Mac Pro (Early 2008) here in the sound isolation studio. The glitches coincide with clicking on stuff, so it's clearly a matter of the increased graphic processing that ScreenFlow is doing. It's not clipping, and it's not something that NOTION 5 was doing. If I had a faster video card, it probably would be fine, but faster video cards for older Mac Pro computers cost way too much. The workaround is not to show the music notation, since it's the visual activity and ScreenFlow capturing all of it that overwhelms the 2.8-GHz 8-core Mac Pro (Early 2008) with 32GB of system memory but the slowest factory video card here in the sound isolation studio . . . ]



[NOTE: This is the audio-only version where the visual component is the CueMix FX (MOTU) Fast Fourier Transform (FFT) Analyzer. For this YouTube music video, I exported the audio from NOTION 5; exited NOTION 5; and then played the exported audio in iTunes while capturing the audio and screen with ScreenFlow. With everything NOTION 5 and the intensive system resource VSTi virtual instruments and VST effects plug-ins are doing, it's too much for the Mac Pro here in the sound isolation studio to handle with ScreenFlow capturing the audio and screen in real-time. There are no audio glitches, as expected, so it's all good. For reference, there is one difference, and it is that the Timeless 2 echo unit "wet" control is set to 0 dB, so instead of the cascading echoes being more subtle in the first half and more obvious in the second half, they are obvious for the entire song. If NOTION 5 had automation capabilities, I could have done it exactly the same, but this is something I can do once I get everything recorded in a DAW application, so it's fine with me, and I like the stronger cascading echoes . . . ]



As you can see in the music notation in the first version, i do not use articulations, dynamics, and techniques (or playing styles) other than what is in the raw audio samples and some occasional glissandi, since (a) it is entirely too much work and (b) it's easier to do with effects plug-ins and by selecting samples where the musicians played their instruments with the desired articulations, dynamics, and techniques, which usually is possible, although for some genres it doesn't really matter when you set levels correctly. You also will notice that I have all the NOTION 5 Mixer volume sliders pegged to 0 dB, except the volume slider for the Sassy Cuban Trumpet, which is the case because it only has the Timeless 2 VST effects plug-in. So rather than tinker with the NOTION 5 volume sliders, I tinker with compressors, limiters, and other types of VST effects plug-ins to get the volume levels and presence the way I want it. This works for me, and it's an excellent way to discover how the specific knobs and buttons on VST effects units work. it makes it possible to do more precise fine-tuning once the various knobs and buttons make intuitive sense . . .

There is no problem with the NOTION 5 Mixer on the Mac, other than it disappears every time a VST effects plug-in is closed, which also happens when you click on the main NOTION 5 window, which is a bit annoying but is not a showstopper . . .

I preferred the way it was done in NOTION 4, where the Mixer stayed on top until it was closed intentionally rather than automagically . . .

This YouTube music video shows all the VST effect plug-ins used in the song, and after reading something that Ken Scott--Beatles audio engineer for some of their later albums and songs--said about the "Yer Blues" (Beatles) recording session, I "borrowed" the idea for the cascading echoes on the Sassy Cuban Trumpet, which is done with Timeless 2 (FabFilter Software Instruments) . . .

According to Ken Scott, there was some noise or something in John Lennon's vocal track for "Yer Blues" starting in the middle of the song, so he and Lennon decided to redo the vocals for the second half of the song, and Lennon said that since they were redoing the vocals, they might as well have a bit of FUN, which they certainly did . . .

[NOTE: Lennon's vocal is "dry" in the first half of the song, but it switches to a "wet" combination of Haas Effect, intense reverb, and rapid cascading echoes starting in the middle of the song, which is an interesting producing technique that most folks--including me--probably never noticed in an immediately conscious way, which in some respects is the best kind of producing technique. For reference, according to Ken Scott, Lennon also decided to have everyone play the song live in a very small room where there were two 4-track tape machines, so even though Lennon redid the vocal track for the last half of the song, you can hear his original singing in the background during George Harrison's lead guitar solo in the last part of the song, since as best as I can determine they were playing in a room that probably was smaller than a one-car garage, which is another personal favorite recording technique here in the sound isolation studio, which is about the size of a walk-in closet (6 ft. wide by 7 ft. tall and 12 ft. long). There used to be an elaborate drumkit in the sound isolation studio, but I moved it out to make room for the calibrated studio monitor system and a virtual festival of rolls of fiberglass insulation and cubes of compressed cellulose insulation, which was necessary to remove a gnarly deep bass standing wave centered at approximately 70-Hz. Rolls of fiberglass insulation and cubes of compressed cellulose insulation are an inexpensive way to handle deep bass standing waves, and the result is that the room becomes crisp and punchy. Calibrating real-time analyzers and equalizers cannot do this type of room treatment, so the least expensive strategy is to use rolls of fiberglass insulation and cubes of compressed cellulose insulation, where the correct combination of the different types of insulation does the job nicely, noting that this also is more of a "by ear" type of activity where the general rule is that you should be able to clap your hands in the listening room or studio and not hear any reverb or echoes, which to be precise is when you are sitting in the room and listening to the room with no music playing and not wearing headphones. If you don't hear any reverb or echoes, then it's a "dry" room, which is what you want because it's the only way to be able to fine-tune reverb and echo effects units. If the room, itself, is creating reverb and echoes, then what you hear is not what actually is there, so it's important for the room to be "dry" and to have a flat equal loudness curve, which is why calibrating the studio monitor system to the room is so important and in some respects is a rather elaborate procedure, since you need to recalibrate the studio monitors after doing room treatments, so it's an iterative activity . . . ]


The Really Bigger Drumkit



I love cascading echoes, and I have been experimenting and having FUN with them for decades . . .

There are rules for cascading echoes, and once you discover a few of them, you can set the various parameters of an echo unit to cause an instrument to play counterpoint and harmonies with itself, which you can hear clearly in the new version of the Jazz composition (see above), which like Lennon's vocals for "Yer Blues" is subtle in the first half of the song but obvious in the second half, where the key is to find the "sweet spot" with respect to delay times, feedback, and tempo, but it's also important that the "dry" notes be composed and played with the intent that the notes will work nicely in the future when the cascading echoes appear, which is a technique that I call "working an echo unit" or "playing into echoes" and is something one learns when playing lead guitar and having FUN with an echo unit . . .

It's more of a "by ear" thing, at least for the first year or two, but after a while it becomes intuitive, and sometime later setting the various parameters starts making sense in a scientific way . . .

One of the vastly useful capabilities of Timeless 2 is that it does a very nice job of keying on the tempo, which makes it easier to set the delay times, although I always do a bit of fine-tuning . . .

THOUGHTS

After listening to the audio-only and FFT analysis version a few times, I wonder whether some of the counterpoint and harmonies that composers in Mozart's time (Baroque and Classical) added were attempts to have a bit of FUN with echoes before there were echo units and other types of signal processors . . .

They had elaborate reverb units (a.k.a., "cathedrals") but not so much in the way of echo units, although there are echoes if you stand at the very back of a cathedral . . .

I am by no means an expert on counterpoint and harmony, but paraphrasing Supreme Court Associate Justice Potter Stewart, I know it when I hear it . . .

I wonder if Mozart et al. stood at the back of cathedrals when their compositions were being performed and noticed that the echoes were fascinating, which then motivated them to create counterpoint and other types of rhythmic geometrical harmonies to produce the same types of echo effects when their compositions were played in more typically "dry" venues, which is fabulous . . .

Fabulous!

Control V seems to crash Notion now as well.