For time-dependent stuff, bouncing audio quickly can cause trouble in quality and depth of sound. This is also the case with DFD. If you bounce too fast, the sample has not been pulled from the drive in time. No sound. With GPO I could see it also being a CC/HP interface issue. Controllers do modulate sound in real-time.
Finale is not going to convert the synths direct to MP3, anyhow. On fast bounce, it will make a WAV file, encode the WAV to MP3, and then delete the WAV.
So in realtime, one can argue that you get more precise sound and better quality. (Hence the ProTools approach; though fast bounce is very nice for temps and can be done with other DAWs)
Yes, Finale uses it's on (I think proprietary) software synths.
The sound is actually quite nice for what it is.
It doesnt' compare in any way to GPO, but for those Finale users who don't shell out for GPO it's quite adequate.
I'm just wondering if the restriction for making only WAV files using GPO inside Finale comes from the makeMusic end of it, or the NI side of it.
I guess what I'd like is a bit of amunition to fight back at what I consider baseless accusations being lobbed at both GPO and at MM's product.
MM alone is to blame, Michel. Any half decent sequencer can export to wav or MP3 without having to play everything in real time. You often get a choice: slow or fast export (slow export may be real-time, only soundless). And K2/KP2 can do both, fast export under the provision, that the hardware (CPU & disk transfer) is powerful enough and the tracks not too complicated for the hardware, or you get dropouts. Finale could have the same options.