“I could be hitting 20 separate cuts in one scene. They’re all there in Cubase,” he says. “The markers would come over to Dorico, but they would be attached to SMPTE, and that wasn’t always going to work for me. When I start editing the music, if you don’t have the right version of the film and the timecodes adjusted, the markers are like on page 97 but the cue is only four bars long…”
So instead of bringing in the markers as dedicated marker items, Alan simply brings them in as system-attached text items, which was an option added by the Dorico development team at his request, which he can quickly edit and move around as needed. He shows a macro that allows him to switch to Engrave mode and nudge the marker to the precise position he wants it to appear, and then automatically switches back to Write mode when he’s done.
Alan is all about finding ways to work more quickly and efficiently, and this is where Cubase and Dorico really shine, particularly in comparison to some of the many tools he has used over the years before settling on Steinberg’s solutions. “When you when you work on a film where there is an hour and a half, or even two hours of music, and this process between the DAW and the notation program is there for two hours of music, every little task is going to be performed thousands of times,” he explains. “You start to put a time factor on a certain process. You develop a macro view of even the smallest elements, so, absolutely, the only reason for me to go one place rather than another is time.”
After we finish taking photos in his work area, we move down into Studio 1 itself and Alan sits on a chair on the podium to record an interview. He talks warmly about how Cubase and Dorico feel like they were made for him. “I’ve just found a kind of resonance with Cubase and Dorico,” he says, “they just feel comfortable and forward-thinking, and made for what I’m trying to do.”