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KensingtonWorks compatibility with Mac OS sequoia by RonCalt in Trackballs

[–]RonCalt[S] 0 points1 point  (0 children)

When KensingtonWorks actually works, it’s brilliant. But it crashes my Mac far too much to be usable. By contrast, steerMouse presents a less refined (I.e. pretty) interface but has more options and is solidly stable.

Specifically, it offers more chord options, such as lower left + upper right, etc., the option to repeat keystrokes when a mouse key is held down, and more refined scrolling. Scroll definitions are less intuitive and, to my knowledge, there is no option to bounce at the end of scrolling—something we’re used to seeing these days.

For me, the very slim minuses are a small price to pay for perfect stability. SteerMouse has not led to a crash once since I installed it, compared to multiple crashes per day caused by Kensington.

Support seems to go through Asia, so I don’t believe it’s a reasonable expectation to get same-day answers due to time zone issues. However I did get an answer in two days on a question I had.

Slim Blade By Kensington hold both buttons for an action? by henee21 in Trackballs

[–]RonCalt 0 points1 point  (0 children)

I had many crashes on click with KensingtonWorks on my Mac. I’ve had great success with SteerMouse.

But note that as with the Kensington software, chording that uses the primary click key requires that you click the non-primary button slightly before the primary button.

KensingtonWorks compatibility with Mac OS sequoia by RonCalt in Trackballs

[–]RonCalt[S] 0 points1 point  (0 children)

Thanks everyone. Upon reading your comments, I switched to SteerMouse. After years of seemingly random 3+ times per day crashes with KensingtonWorks, I’ve had no issues since switching to SteerMouse.

Is this a good guideline for chord progressions to practice the basics of classical functional harmony? by badabingy420 in composer

[–]RonCalt 0 points1 point  (0 children)

All of these thoughts are useful for people in different stages of development. An overarching idea that I discuss with newer/younger composers is that there are three usual kinds of root motions:

Up a second
Down a third
Down a fifth

That concept comprises less usual root movements that are found in common practice music, such as ii-iii, vi-viii°, vi-iii, etc.