Finale 3D provides for basic inventory management as described in Basic inventory management in Finale 3D, which obviously includes deducting a show’s product quantities from stock counts. Finale 3D also provides an integration with Finale Inventory, which expands the capabilities of inventory management to include stock reservations, sales orders, packed shows, quotes, and other real world complexities. Documentation on these inventory management options, however, is tailored to the company doing the inventory management. What if you have scripted a show in Finale 3D using a product list from a 3rd party company, and you want to provide that company with the product quantities used in your show so they can be reserved or relieved from that company’s stock counts? This section explains how to export the data, and walks through an example of how a 3rd party company might import your data as a stock change using Finale Inventory. You may be in a situation in which you have no idea what inventory management system the 3rd party company is using. Your responsibility may be simply to give that company a list of product quantities from your show in a format that can be processed.  From Finale 3D, do the menu item “File > Print > Report > basic_product_totals_portrait” (portrait vs. landscape doesn’t matter in this case) and in the file selection dialog, choose XLS or CSV as the output file format, instead of the default PDF. That will product a report like the one shown in Figure 1.   Figure 1 – Printing the report “basic_product_totals_portrait” and choosing the XLS file format.   The two important columns in this report are the Part Number column, and the Devices (quantity) column. The other columns are useful to keep around as a sanity check, but one can assume, if you are providing quantities for specific products, that your part numbers match the inventory system that they will be applied to.  If you are given the choice, the XLS file format is usually preferable to CSV because importing CSV data into Excel is prone to errors like Excel removing leading zeros from part numbers, if you are not careful.   Example of importing the product quantities into Finale Inventory The mechanics of importing the product quantities as a stock change or sale order in an inventory system will obviously depend on the inventory system, but using Finale Inventory as an example, the process will be something like the sequence of steps described here. The first step will be to open the product quantities file in Excel and reformat the data as required for the inventory system.   Finale Inventory uses the term Product Id to mean the same thing as Part Number in Finale 3D.  Finale Inventory also expects to see a Quantity column, which is often called Devices in Finale 3D to be unambiguous with respect to chain counts.  If you simply want to relieve these product quantities from stock on hand in Finale Inventory, you can do a “Stock Change” operation.  In preparation for this operation, you can manually add two columns to the product quantity file, Product Id and Quantity.  The Product Id column simply refers to the Part Number column values with an Excel formula.  The Quantity column refers to the Devices column, negating the value so the stock change operation will deduct the product quantities from inventory counts.  The modified file prepared for importing into Finale Inventory is shown in Figure 2.   Figure 2 – Adding the two required columns and negating the quantity” and choosing the XLS file format.   The Devices column in the report produced from Finale 3D counts the number of devices, meaning individual shells or other physical units.  Thus chains count as the number of shells in the chain.  If the convention being used for inventory management is that chains count as one item, then you will need to divide the chain quantities by the number of shells in the chain in the XLS file before importing. Having prepared the data, you can select “Import” from the home page in Finale Inventory, and the “Batch stock change” as the operation to be performed.  You select the sublocation to apply the change to, as shown in Figure 3.   Figure 3 – Importing as a batch stock change in Finale Inventory and choosing the XLS file format.   Figure 4 shows the next page in Finale Inventory, after copying and pasting the data from Excel into the input box on the Finale Inventory page.  Notice that only the Product Id and Quantity column are recognized.  The other columns are ignored because their column headers don’t match any of the columns relevant to the stock change operation.  If a Product Id in the imported data did not match an existing product definition in Finale Inventory, you would see that in the form of a warning on this page.  If there are no warnings, the operation will be a success.  Click “next” and you are done!   Figure 4 – Columns with matching column headers import.” and choosing the XLS file format.  

If labels printed using the standard labels templates in Finale 3D do not align with pre-cut stickers on a sheet of labels, the problem is usually that the printer driver is scaling the document to fit the printable area of page.  Many labels specifications, including the popular Avery 5260 labels,  define label dimensions that extend slightly outside of the printable area of the page, which is about 3/8″ on the margins.  In actuality, most printers can print the full area of the labels including the “unprintable” area, so you can correct most alignment problems simply by selecting the “Actual size” printer setting. In your printer settings dialog, look for options that might scale the document, like “Fit” or “Fit to page” or “Shrink oversized pages”.  Uncheck them!  Replace them with the “Actual size” setting to turn off scaling. Figure 1 – Look for the “Actual size” setting in the printer settings dialog; avoid “Fit” or “Fit to page”.   Unfortunately, some printer drivers and some printing programs do not expose these settings to the user, and in some cases the settings simply do not work.  If you are unable to fix the alignment problems by finding and changing the printer settings, you should try printing the pdf files from a current version of Adobe Acrobat running as a separate application and not running from within your browser.  If that also doesn’t work, the next step is to confirm that the printer driver is actually the cause of the problems, as opposed to a modified or customized labels template from within Finale 3D. Table 1 includes a download link to Avery’s template file for the Avery 5260 labels.  The template draws an outline around all the labels, which is handy for debugging printing scaling problems.  Download and print this file with scaling on, and scaling off, to see if the printer setting is making any difference.  Also try printing the template on a sheet of actual labels, to see if the the outlines in the template correspond to the label edges.   If printed correctly, the bottom margin of the Avery 5260 labels sheet should be approximately 13mm.  If printed incorrectly (scaled by the printer driver), the bottom margin may be 18mm or thereabouts, making the labels unusable. Figure 2 – If the template provided by Avery doesn’t align with Avery labels, then the printer must be scaling the document.   If you are unable to stop the printer from scaling the document, you may be out of luck.  You’ll need update your printer drivers, or contact customer support for the printer, or find another printer or computer to print from. In addition to printer scaling problems, there are other possible causes of minor printing misalignment — printers have minor variations; paper loading and feeding can shift the printed image by more than a millimeter; off-brand label sheets sometimes do not have the exact same dimensions as the brands that they copy.  For these types of misalignment, you may find it helpful to adjust the labels dimensions in the Finale 3D labels template by editing the template (“Script table window > Blue gear menu > Create or edit labels template”).  Figure 3 shows the labels template customization dialog. Figure 3 – The interior margins create extra space around the text to prevent minor misalignment from clipping text.   One approach is to adjust the settings of the top and bottom margin in the settings to try compensate for the misalignment. A second approach is to expand the interior margins of the labels to create extra space around the text area of the labels, providing more leeway to accommodate minor misalignment. Neither of these approaches works satisfactorily to resolve printer “scale to fit page” issues, but they are fine for solving minor, non-accumulating alignment problems.   Table 1 – Template file provided by Avery for debugging printer scaling problems Download link Explanation avery-5260-template.pdf Avery template for 5260 labels

Here are some frequently asked questions about Finale 3D features. Effects Question Answer Does Finale 3D come with a library of effects? Yes. Finale 3D includes a built-in library of generic effects ready to use immediately. Additionally, the software features Supplier Catalogs, which are collections of specific products from real-world manufacturers (containing accurate part numbers and simulations). You can enable catalogs for the brands you use in your Supplier Catalog Settings. Can I create my own effects? Yes. You can create new effects simply by typing a description in VDL (Visual Description Language), like “3in Red Peony”, and the software will generate the simulation automatically. For precise visual control, you can use the Effect Editor to fine-tune simulation parameters beyond standard VDL capabilities. Can I import my own list of effects? Yes. You can import your personal effect list from an Excel or CSV file. For descriptions composed using common fireworks terminology, Finale 3D will automatically create visual simulations based on the descriptions and other optional specifications such as height and duration. To get started, check out our guide on importing inventory from a file. The software also understands effect names written in a wide range of languages.   Inventory Management Question Answer Can I keep track of my inventory counts? Yes. You can import your inventory quantities from a spreadsheet to populate specific columns like On Hand, Available, and Quotas. This allows you to see exactly how much product you have (or how much is allocated for the specific show) and tracks the Remaining balance in real-time as you design. For a complete guide, see Basic inventory management instructions. Does Finale 3D integrate with inventory management software? Yes. Hobbyist and Pro users can sync directly with Finale Inventory, a system originally built for the fireworks industry to handle ATF compliance, barcoding, and stock synchronization. To learn more, see Finale Inventory prices and features.   Special Effects & Drones Question Answer Does Finale 3D support DMX flames and other special effects? Yes. The Hobbyist and Pro versions allow you to design hybrid shows using DMX fixtures like flames, sparks, and lights. The workflow is the same as for pyro: simply add effects to your fixtures on the timeline. For a complete list of supported devices, check our list of supported DMX fixtures. You can export DMX scripts for firing systems that support DMX. Does Finale 3D support drone shows? Yes. The Pro version allows you to import drone show files (.VVIZ) from third-party drone design software. You can combine the imported drone show with fireworks in the 3D view to design hybrid shows and render stunning videos. For details on the workflow, see Importing drone shows.   Show Design Question Answer Can I add music to my show? Yes. You can import WAV or MP3 audio files directly into Finale 3D. The visual timeline displays the waveform so you can sync your fireworks perfectly to the beat. Hobbyist and Pro users can add unlimited audio tracks, allowing you to mix multiple songs directly in the software. Can I visualize my actual shoot site? Yes. For a quick setup, you can import a photo of your venue as a backdrop. For realistic planning, the Pro version integrates with Google Maps 3D to import real-world terrain and buildings. You can also import custom 3D models (SketchUp .SKP or .GLB) to recreate any environment, from a simple stage to a massive stadium. Can I change the camera angle? Yes, though the capabilities depend on your version. Lite includes standard Front (Audience) and Top (Layout) views. Hobbyist and Pro users have full 360° navigation and support for Camera Animation, allowing you to program cinematic camera moves for your simulation videos. Can I simulate weather conditions? Yes. You can go to File > Render settings and adjust the wind speed and direction. This allows you to see how smoke and effect trajectories will be pushed by the wind.   Firing Systems and Racks Question Answer Which firing systems does Finale 3D support? Finale 3D exports scripts for over 40 major firing systems. The script files are properly formatted and ready to load without any modifications necessary. It also supports generic CSV and Excel formats for do-it-yourself firing systems. For a complete list, see Firing system script file formats. Does Finale 3D support racks? Yes. Hobbyist and Pro users can generate rack reports to calculate the exact quantity of equipment needed. The Pro version features powerful graphical rack layout tools, allowing you to visually arrange racks on your site, optimize module placement for efficient wiring, and generate detailed PDF rack diagrams for your crew.   Exports Question Answer Does Finale 3D provide paperwork for setting up my show? Yes. Finale 3D generates a wide range of reports, labels, and diagrams for show setup. The Lite version includes a streamlined set of PDF report and label templates. Hobbyist adds a comprehensive selection of detailed reports and labels, plus support for Excel and CSV export. The Pro version adds site and rack layout diagrams, and the ability to fully customize any report to match your specific workflow. Can I export a video of my show? Yes. You can render realistic simulations to share with clients or upload to YouTube. Hobbyist users can export HD video (720p) for personal, non-commercial use, while Pro users can export stunning 4K Ultra HD videos suitable for commercial presentation. (Note: The Lite version does not support video export.)   General Question Answer Do I need an internet connection to use the software? You need an internet connection to activate your license initially. After that, you can use the “Login offline” feature to run the software without an internet connection for up to 14 days at a time. All features work identically when offline, except for syncing online inventories (My Effects, Supplier Catalogs, and Finale Inventory), which requires a connection.  

In Finale 3D, report and label templates are saved as “Blueprints“.  In the Hobbyist and Pro versions, blueprints also store the built-in and custom table layouts that are represented as puzzle piece icons in the Effects and Script windows.  In the Pro version, blueprints are further used to store rack layout diagrams, site layouts, and addressing blueprints.  Future versions of the software will support saving blueprints to the user’s account in the cloud, or to a company account, but as of January 2025, all blueprints are saved as part of a show.  Thus, if you add or customize a report, label template, or anything that is stored as a blueprint, you will only have access to that blueprint when you open that specific show. However, this does not mean that each time you start a new show you need to recreate your custom reports, labels, or any other blueprints. Instead, you can easily copy blueprints from one show to another by following the instructions in this article.   Steps to copy specific blueprint(s) from one show to another show Go to “File > Open” and open the show that includes the blueprint(s) you would like to re-use. Go to “Window > Blueprints window” to open the Blueprints window. In the Blueprints window, press Ctrl, then left-click on the row numbers for the blueprint(s) you would like to copy. Press Ctrl+C to copy the blueprints to your clipboard. Close the Blueprints window. With the blueprints copied, open the show in which you’d like to use the blueprints, or open a new blank show. If the show you want to use the blueprints in was already open before you did step 1, you can switch back to that show from the bottom of the Window menu. Open the Blueprints window again, which now shows the blueprints in the new show, then press Ctrl+V to paste the blueprints from your clipboard. Save the show. Note: If the show that you paste the blueprints into already contains blueprints with the same name, then you may end up with duplicate blueprints. Pasting a blueprint with the same name will result in a new blueprint with (01) at the end of its name, it will not overwrite or update the existing blueprint of the same name. For example, if you copy a blueprint that has the name my_custom_lables into another show that has a blueprint with the exact same name, the name of the pasted blueprint will become my_custom_lables(01). If you end up with obsolete or duplicate blueprints, you can delete rows in the Blueprints window to delete the unneeded blueprints.   Steps to copy all blueprints from one show to another show Go to “File > Open” and open the show that includes the blueprint(s) you would like to re-use. Go to “Window > Blueprints window” to open the Blueprints window. In the Blueprints window, press Ctrl+A to select all, and Ctrl+C to copy all the blueprints to your clipboard. Close the Blueprints window. With the blueprints copied, open the show in which you’d like to use the blueprints, or open a new blank show. If the show you want to use the blueprints in was already open before you did step 1, you can switch back to that show from the bottom of the Window menu. Open the Blueprints window again, which now shows the blueprints in the new show, press Ctrl+A to select all, then press Delete on your keyboard to delete all the blueprints, then press Ctrl+V to paste the blueprints from your clipboard. Save your new show with the customized templates.   If you find that you need to copy and paste the same blueprints each time you create a new show, a better solution is to create a Start-up template. This will replace the default blank show that you see each time you launch Finale 3D with a show that contains your blueprints and settings. To create a start-up template, configure a show with your blueprints and preferred show settings, then go to “File > User settings > Save show as start-up template”.

Most firing systems can ignite multiple e-matches from the same pin, so the addressing functions in Finale 3D make efficient use of your firing system hardware by automatically assigning multiple e-matches to the same pin when possible, up to a limit of the maximum number of e-matches per pin that you specify.  For multiple e-matches to use the same pin, two conditions must usually hold: 1) the effects are at the same position, and 2) the ignition times are the same.  Figure 1 shows a pair of shells that could use a single pin.   Figure 1 – Two shells at the same position and with the same ignition time can share a pin.   The red circles illustrate the two effects are at the same position, and have the same ignition time.  These two shells are different sizes, so their effect time (break time) is different, but their event time (time of ignition) is the same.  If these two shells were placed on the timeline with the same effect time, then their ignition times would be different and they would not be candidates to share a single pin. The “Addressing > Address show…” function, and other addressing functions, bring up a dialog such as shown in Figure 2.  The “Max e-matches per pin” limit is right there near the top.  Setting this limit to 1 (the default) will result in each effect utilizing its own pin, with no sharing.  Setting the limit to two or more will allow sharing in the right circumstances. Figure 2 – Specifying a limit of the number of e-matches that can share a pin.   The two conditions mentioned earlier for sharing a pin are the usual conditions.  Getting technical, there are some circumstances in which these conditions are not required.  In Section 3 of the addressing dialog in Figure 2, the modules are restricted to a single position by the word “Position” in the first field.  That restriction means that a module is not allowed to serve multiple positions, which prevents the need for scab wire or long e-matches extending between positions. If the module is restricted to a single position, then all its pins must therefore be restricted to a single position.   That is actually the reason behind the usual condition (1), requiring effects sharing pins to be from the same position.  If you address the show without the “Position” restriction on the module or pin, then condition (1) goes away.   Max e-matches per pin for piggy-back modules Sometimes people address shows using “Piggy-back” modules or slats that are physically located at different positions but have the same module address.  They may be wireless modules configured to have the same channel, or they may be wired modules that are connected to each other in parallel.  From an addressing perspective, modules with the same address are the same module.  The addressing functions don’t even realize that you have multiple piggy-back modules at different positions.  The addressing functions think you have a single module, located somewhere, and it serves all of the positions that you imagine sharing the piggy-back modules.  Thus while the image in your mind doesn’t have any pin sharing because each effect connects to a piggy-back module at its own position, the image corresponding to the addressing logic does involve pin sharing across the positions because the effects at the piggy-back module positions all reference the same module and pin address.  Thus for the addressing functions to work, the max e-matches per pin limit must be set to at least as many positions as share piggy-back modules.      

Creating and exporting a script for your firing system is basically a four-step process: DESIGN. Create the show by inserting effects. See Getting Started Basic Instructions. ADDRESS. Assign firing system addresses for all the effects (“Addressing > Address show”). EXPORT. Export the script (“File > Export > Export firing system script file(s)“). DOWNLOAD. Transfer the script file to your firing system controller. Depending on your firing system, the script may be downloaded using a USB flash drive (example: Cobra, Pyrosure, StarFire), or downloaded using the firing system’s software (example: FireOne, Galaxis, Explo), or by downloaded directly from Finale 3D (Pyrodigital, Pyromate). At a finer level of detail, the first three steps often expand into this list of steps: Set the show duration and other show information from the “Show” menu. Layout your shoot site by adding firing positions (“Positions > Add…”) and dragging them on the grass. Add your music (“Music > Add song or soundtrack”). Press the yellow play button or the spacebar on your keyboard to place the music, and tap “i” to insert empty cues. Insert effects by selecting a position, then selecting a time or empty cue on the timeline, then clicking the thumbnail icon for the item in the effects window. Assign firing system addresses for all the effects (“Addressing > Address show”). Export the script (“File > Export > Export firing system script file(s)“). Print a “Wiring Script” report for the crew to set up the show (“File > Reports > Basic reports > Wiring Script”). Even this deeper level of detail doesn’t include all the functions the software can perform for you, such as making videos, printing labels, or creating rack layout diagrams, but these basic steps are the steps that are common for almost all scripted shows, so they are good starting point.

Finale 3D’s rendering engine runs almost entirely on a computer’s video card, also called a graphics card or graphics processing unit (GPU), so if you are considering buying a new computer to run Finale 3D, the most important specification for your new computer is its GPU. By and large, Finale 3D will run on almost any Windows computer sold in 2018 or later, and will run on many computers as old as 2016 or older if they have good GPUs.  In the Mac world, Finale 3D works on any Mac from 2016 or later running Windows over Bootcamp or Parallels. All versions of Finale 3D have the same system requirements. Regardless of whether you are running the Lite, Hobbyist or Pro version of Finale 3D, the system requirements are exactly the same. Overview of recommended system requirements: Get a computer with at least 8GB of RAM, a solid-state drive (SSD), and the best GPU you can afford. If you can’t remember those details, you can just buy a “gaming computer” or a “multi-media computer”, because computers advertised as such will generally have the right specifications. Avoid buying a computer whose graphics capabilities are described as “Intel integrated graphics” or “Intel HD graphics” or really anything that says “Intel” or “integrated” (from a graphics perspective). The reason is because those words mean is that the computer does not actually have a dedicated GPU. Expect to pay about USD $1100 to USD $1300 for a brand-new computer with our recommended configuration.  However, you can get an acceptable new computer with a decent GPU for as low as USD $800 if you are willing to compromise on other specifications. You can save even more by purchasing a used, refurbished, or manufacturer re-certified computer; these are readily available from a wide variety of online retailers.   Table 1 – Minimum specifications and recommended specifications Specifications Operating System (OS) Graphic Card (GPU) RAM CPU Graphics driver Minimum Windows 10 64bit Intel HD Graphics 4400 8GB Any 2018 up-to-date Recommended Windows 10 64bit, Windows 11 Nvidia GeForce GTX 1060 (or better) 16GB Any 2018 up-to-date   How to compare video cards The Nvidia GeForce GTX 1060 graphics card was released in 2016, but we continue to recommend it because it is a fast GPU for a reasonable price. Obviously, you can spend more for a faster GPU, which will make Finale 3D run smoother on complex shows, but the GTX 1060 is good middle ground. However, because of its age, you are not likely to find new computers that include the GTX 1060. Fortunately, you can easily compare graphics cards on the market today by simply following these steps. Go to videocardbenchmark.net Use the search box to find the GPU you are considering. For example, suppose you found a laptop that advertises the “GeForce GTX 1650” GPU. Simply enter “GeForce GTX 1650” or “GTX 1650” (without the quotes) and click Find Videocard. Note that there are often multiple versions of a given card. In the case of the GTX 1650, you will see “GTX 1650”, “GTX 1650 (Mobile)”, “GTX 1650 Ti”, amongst others. If the computer you’re considering is a laptop, assume you will get the “Mobile” version of the GPU unless the specifications specifically say otherwise. Note the “G3D Mark”, which is the number in the first column of the table, this is the GPU’s benchmark. In our example using the GTX 1650, the G3D Mark is about 7000. Compare the G3D Mark value to our recommended card (the GTX 1060). For reference, the mobile version of the GTX 1060 has a G3D Mark of about 8000. Looking back at step 3, we can see the G3D Mark for the GTX 1650 is about 7000. This isn’t quite as good as our recommended card, but Finale 3D will still perform well. For best performance, select a GPU with a G3D Mark of at least 6000. Video 1 – How to select a computer to run Finale 3D  

Finale 3D supports a variety of Pyromate controllers, including 32 pin and 45 pin digital controllers, 45 pin analog controllers, and SmartShow 32 pin systems.  To create and download a script for the Pyromate firing system, please follow these three steps: Address the show (“Addressing > Address show”). Export the script (“File > Export > Export firing scripts“). Download the show to your controller (“File > Download > Download firing system script to Pyromate”) Step 2 creates the script file, which is a text file with a “PMM” extension.  While it is possible to open this file in a text editor, the file is not meant for humans to read or write.  It contains only the data that the controller requires for shooting the show.  Thus, most Pyromate users will not need to concern themselves with the file format described in this section, except for some notes on module addresses for the 45 pin modules, mentioned in Table 2. Finale 3D also supports the Pyromate SmartShow-based firing systems.  If you use SmartShow, then you will only do step (1) and (2).  Step (2) will save a CSV file instead of a PMM file, which you will open in the SmartShow software for firing the show.     Figure 1 – Pyromate Digital NightHawk firing system     Table 1 – File format and encoding File format Extension Text encoding Field delimiter End-of-line Text .PMM ASCII Tab CRLF The script contains rows for the firing events, i.e., unique combinations of module, pin, and ignition-time.  Multiple effects can be combined on a single cue.  The special characteristics of the script are shown in the following table:   Table 2 – Special characteristics Special characteristics Description Sort order of rows Rows sorted ascending by effect time, then by module number, then by pin number. What rows represent Each row represents a unique firing event, a module/pin/event-time combination.  For example, a chain of five shells will be one row, not five.  A pair of shells shot together from the same position will be one row, not two, even if the shells are different effects.  A flight of shells shot together from multiple positions with the same module-pin using scab wire is still one row. Events at different times are necessarily different rows, even if their addresses are the same.  For example, two flame projector shots at different times, triggered by the same module-pin address, will be two rows because they are at different times. Header The file contains a single header row consisting of the letter N, followed by tab, followed by the show name in a padded field of 16 characters. Time resolution The Pyromate digital systems support 1/100th second time resolution; the analog systems support 1/10th second resolution. Finale 3D rounds events to the required time resolution in the export process, and displays a warning in the summary dialog indicating the number of adjustments made. Module numbering The Pyromate SmartShow-based firing systems number modules 1-99. All other Pyromate digital systems number modules 1-99 for 32 pin modules or 100-199 for 45 pin modules. Pyromate analog systems number modules 1-12 or A-L, corresponding to the 12 connectors on the right side of the panel labelled A-L (Finale 3D supports both 1-12 and A-L formats in the script window).   Module numbers formatted as letters A-L in the script window are converted to the corresponding numbers 1-12 in the exported file. Electrical constraints The Pyromate analog systems can fire multiple pins simultaneously on the same module, but cannot fire pins on different modules simultaneously. In the analog Pyromate export function, Finale 3D automatically separates simultaneous shows on different modules by a tenth of a second, or more if there are cascading conflicts, in order to satisfy this electrical constraint. End-of-file row The file contains a single end of file row consisting of the letter S, followed by tab, followed by 0, followed by tab again, followed by 0 again. This row also includes trailing CRLF characters, even though it is the last row in the file. Module addresses of 45-pin modules Digital Pyromate controllers use module address range 1-99 for 32-pin modules, and 100-199 for 45-pin modules.  Thus if you address a show for 45-pin module types, the module addresses start at 101 and count up; whereas if you address a show for 32-pin modules types, the module addresses start at 1. If you address a show for 45-pin modules and 32-pin modules (indicating the module types by right clicking positions and editing their position properties), the addressing function will address all the modules in the same sequence of numbers, but it will add 100 to all the 45-pin module addresses.  Thus a sequence with three 32-pin modules, followed by three 45-pin modules, followed by three 32-pin modules would be 1, 2, 3, 104, 105, 106, 7, 8, 9. If you prefer a sequence like 1, 2, 3, 101, 102, 103, 4, 5, 6, or any other sequence, you can set the “Start Module” field for all the positions by editing their position properties.  Make sure that positions with 45-pin modules get addresses >= 100, and make sure if positions have multiple modules that their ranges do not overlap. After the header, each row in the script has a number of fields separated by the tab character.  The names of these fields and their descriptions are the following: Table 3 – Specifications of script fields Field name Description Row designation The letter “s” (denoting a digital script) or “S” (denoting a script for the analog system). Line number The row count, beginning with 1. Shot number The count of unique event times, beginning with 1; multiple rows with the same event time have the same shot number. Group number Finale 3D writes the number 0. Event time The time of ignition in hundredths of a second for digital systems, and tenths for analog systems. Module number For digital systems, a number from 1-99 for 32-pin modules, or 100-199 for 45-pin modules; for analog systems, a number from 1-99. Pin number A number from 1-32 for 32-pin modules, or 1-45 for 45-pin modules.   An example script is shown below.  Notice the last two rows are at the same event time but have different modules and therefore cannot be combined into a single row. N test_pyromate.pm s 1 1 0 276 101 1 s 2 2 0 286 102 1 s 3 3 0 296 103 1 s 4 4 0 306 104 1 s 5 5 0 316 105 1 s 6 6 0 326 106 1 s 7 7 0 336 107 1 s 8 8 0 346 108 1 s 9 9 0 356 108 2 s 10 9 0 356 109 1 S 0 0 Figure 1 – Example Pyromate script   Table 4 – Example files Download link Explanation test_pyromate.pmm Example exported file to be downloaded to controller (PMM) test_pyromate.fin Example show file test_smart_show.csv Example SmartShow exported file (CSV)

If there’s only one type of rack that matches an effect in the show, then the “Racks > Add racks for show” function and the addressing functions will assign the effect to that kind of rack, obviously, but if there are multiple types of racks that match an effect in the show, which rack should the functions choose?  This question often arises for companies that use fan racks and straight racks in the same show, or different kinds of racks for finale chains than for the regular shells in the show.  Some companies also have racks of specific lengths to match chains of the same length.  For all these cases, you can control what kinds of racks are used for specific shells with the “Rack Type Default” and “Rack Type” fields that you can unhide in the effects window and the script window from the blue gear menus. The Rack Type is an optional matching condition.  If a rack has a non-empty Rack Type, then it will only match effects in the script that have the same Rack Type.  Thus to make a set of fanned effects in the show get assigned to fan racks, instead of regular straight racks, you can set the Rack Type Default field of the fan racks in the effect window to “fan” (or any other word of your choice), and then set the Rack Type field of the fanned rows in the script window that you want to be assigned to these racks to “fan” also.  The matching condition will cause the fan racks to be used for these fanned effects in the show! The example in Figure 1 shows the default rack layout for a show that includes a trident of three shells in a fan, plus four additional shells straight up. Since no Rack Type was specified, the “Addressing > Add racks for show” function just adds regular straight racks for all the shells, tilting the racks as required for angled shells.   Figure 1 – Without “Rack Type”, tilted racks may be used for fanned effects   If you specify the Rack Type of “fan” for the three trident shells in the script window (leaving the Rack Type of the other shells blank), and specify the Rack Type Default of your fan rack that has tubes fanned out, then the fan rack will be used for those shells, as shown in Figure 2.  Comparing Figure 1 and Figure 2, you can see that Figure 1 shows two tilted racks on the left and right sides, whereas Figure 2 doesn’t show any tilted racks.  The fan rack in Figure 2 is rotated sideways so that its fanned out tubes are aligned with the angles of the shell trajectories.   Figure 2 – The “Rack Type” field can force fan racks to be used for the fanned effects   The Rack Type field can be used for any circumstance in which you want to specify the kind of rack that is used for specific effects in the show.  The circumstances relating to fans are usually dependent on the angles of the effects, obviously, rather than the type of effects, because the angles are the reason you are choosing the fan rack in the first place.  You can also use the Rack Type field to control what racks are used for specific types of effects. You may be wondering why the Rack Type field is called “Rack Type Default” in the effects window, and just “Rack Type” in the script window.  It’s a small difference, but it does have meaning.  Most of the properties shown in the effects window are intrinsic properties of effects, meaning that every instance of the effect in the show has the exact value specified in the effects window.  For intrinsic properties, if you change the property in the effects window, the change automatically applies to all of the effects in the script that reference it. Because the Rack Type can depend on the circumstance (you set the Rack Type to “fan” for fanned effects but leave it blank for non-fanned effects), the Rack Type values in the script can be different for different rows referring to the same effect in the effect window.   Thus the Rack Type values can’t just be references to an intrinsic property of the effect definition, or they would all be same in the script, and you therefore wouldn’t be able to change them in the script. The field in the effect window is called “Rack Type Default” because that is the initial value for the “Rack Type” of the effect when it is inserted into the script, even though you can change it in the script after it is inserted.  

The Finale 3D Hobbyist version may not include the visual layout of Pro, but it does include powerful tools to count the number of racks required.  The Hobbyist tools allow you to create your own racks so the counts correctly reflect the numbers of tubes in your racks and any special configurations you might have of single-shot racks.  Based on the counts, you can print reports listing the total racks required for the show, and the racks required per position. The process for generating rack counts is the same as the full rack layout process of the Pro version, except without doing any visual layout.  So even if you have the Pro version of Finale 3D, if all you want is rack counts you can follow the simplified process described here. All you need to do to add racks for the show is select the menu item, “Racks > Delete and re-add racks for show…” and choose the number of tubes per rack for the various sizes of effects, using what Finale 3D calls “Easy Racks.”  Finale 3D will add the minimal number of racks to accommodate the show you’ve designed.  After that, you can address the show and print rack reports from the “File > Reports” menu (in contrast the visual rack layout reports, which are in “File > Diagrams”).  Scripting a show with rack counts is a simple, two step process: Design show Add racks for show   Adding racks for the show Add racks for a show design using the simple menu item “Racks > Delete and re-add racks for show…”  A dialog like the one shown in Figure 1 will appear with a list of all the types and sizes of effects that the show contains.  For each type and size of effect, you can select what kind of rack applies.   Figure 1 – The “Add racks” dialog gives you choices of what racks to use for every size and type in the show.   When you click the “Add” button, the function will add however many racks are required, at the proper angles for the effects.  The dialog of Figure 1 does give you choices of what racks to use, and also options to ignore specific sizes or types of effects in the show.  For example, if you don’t use cake racks you can just click the “ignore” checkbox for the cakes in the dialog (not shown in Figure 1 because this example doesn’t have any cakes).  Similarly, you can ignore any particular size effects or effects that have any specific “Rack Type” property (see Using the “Rack Type” field for fan racks).  In the example, the 2.5″ single-shot effects are being ignored. The collection filter at the top of the dialog filters your rack choices.  You can customize your own racks with the “Racks > Create rack…” function, or you can use some of the pre-defined racks in the “Generic Effects” collection.  You can also use “Easy Racks” which are available no matter what collection filter you choose.  If you choose Easy Racks, you can specify the number of tubes per rack for each size on the fly, right in the dialog.  Notice that the Easy Rack choice for 3″ mortar racks at the top of the Figure 1 dialog has a Tubes/rack field that is editable, whereas the other racks chosen for the single-shot effects have a Tubes/rack field that is not editable, as they are not Easy Racks. The dialog shows on each row how many effects the show contains, and also how many racks are required (“Racks to add”) on the basis of your choice of rack.  The number of tubes per rack obviously affects the number of racks required, but so do a number of other factors, like the angles of effects and the optional rack constraints that you can set up if you customize your own racks.  If you have a limited number of racks in your physical inventory, you may choose to use the “Limit” field to impose a limit on the number of added racks for a size or type.  The limit applies to the total number of racks of the specified size or type.  If your show already has some racks and you are adding more racks after making a change, the limit takes into account both the existing racks and the racks to be added. The “Leftover effects” row at the bottom of the dialog indicates if any effects do not fit in rack choices on account of their angles.  Since the “Add racks” function automatically adds racks at the proper angles, leftover effects are rare and usually regarded as an error.   The field can become non-zero if you select a rack that has pre-configured angles or a rack that is defined as non-rotatable.  Ignored rows in the dialog do not contribute to leftovers. Racks that you customize yourself can be made to be compatible with all effect sizes or with size ranges.  If you select a fits-any-size rack for one of the rows in the Figure 1 dialog,  other rows may become disabled on account of the fact that the racks added by your selected fits-any-size choice for one size will also accommodate the effects of another size.  That’s why the 1.5″ and 2″ rack rows in Figure 1 are green.  The 2.5″ row is green because it is ignored.   What if more racks are required? In some rare circumstances when you address the show with “Addressing > Address show…” the addressing function may report that you haven’t added enough racks.  The summary dialog will indicate “racking errors” for the effects that are missing racks.  If you get this message, it is usually because you’ve changed the show design and just need to repeat the function to add racks, but if that doesn’t work you can just do the function, “Racks > Add racks for selected events” immediately after addressing the show (the addressing function leaves the relevant effects selected when it reports racking errors).    These circumstances can arise when you address the show with complex addressing constraints, because you add racks prior to addressing the show and thus the functions that add racks can’t take into account any addressing constraints you may decide to use.   Table 1 – Example files Download link Explanation rack_layout_diagrams_example Example rack layout diagram (Pro only) basic_rack_list_example Example rack list report (Hobbyist or Pro)