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In Defense of Dorico

Hi , Dorico community,

I wanted to put in my two cents about a few things regarding the initial release of Dorico.

I just read a post in a thread about chord symbols that said because chords won't be in v1.0, Dorico itself is a "waste of time and energy."

Please, everyone, go read the Development Diaries! All of them. Look at all the careful, thoughtful work Daniel and his team have been putting into this product. These guys are completely changing the playing field for notational software! Do you for a moment think that Dorico will never support such an important feature? No, after three years of development, and with a professional level price tag, Dorico is in it for the long haul. Of COURSE it will have chords, and bell x and whistle y... We just have to be a little patient.

Am I disappointed by certain aspects of v1.0? Well, yeah... But I still intend to put my money down for Dorico on day one. I still have both competing products (A & B), and I still expect my expertise in them to be relevant for a while. Meanwhile, I can start to get acquainted with Dorico and it's new approach. The features will come, and I'll be ready for them, at my crossgrade price thank you very much!

I also have to say that Daniel is AMAZING. I have never once seen this level of community interaction from anyone outside of independent developers. He responds to forum posts, he responds to emails, and he is the guy in CHARGE of the product, not someone from PR or way down the food chain.

I just read over this post and I don't think I said anything profound or earth-shattering, but I really want to say publicly that I hardly think the work the Steinberg team has done is a "waste of time and energy." On the contrary, it is very much appreciated, and I intend to show my appreciation the old-fashioned way: With my wallet.
by JWink
Wed May 18, 2016 8:07 pm
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Re: In Defense of Dorico

Yup got to agree with this. Of course there are going to be features missing initially that we all want, which is why I'll still be upgrading to Sibelius 8 from 7.5 before the end of June to cover myself professionally in the meantime.

That said I fully intend to lay down the money (at that nice introductory crossgrade price! :) ) when Dorico lands, it''ll be a great opportunity to get to grips with the basics of the program while the team catch up and add those features we all crave so much (and in my case much more than just chord symbols!). One thing I do intend to test is just how good at importing and interpreting MusicXML files Dorico is, it's a good excuse to just keep doing my main work in Sibelius for the meantime whilst testing out Dorico on the side. ;)

Personally I'm in this for long haul. Sibelius took many years to get to the level it is now and I'm quite sure Dorico will blow it out of the water eventually as long as we're all patient and let the team do what they are best at. I fully expect I'll dump Sibelius completely perhaps two or three years down the line from now. :)
by Terry Jones
Sat May 21, 2016 12:11 pm
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Re: Crossgrade eligibility (time-sensitive question)

Many thanks for your helpful replies. (I had searched the forum for "crossgrade" but should have looked for variants such as "cross-grade.")

@Daniel and Steinberg: Thank you for treating Sibelius customers better than Avid does! Looking forward to switching to your new product.
by aef110
Wed Jun 01, 2016 2:36 pm
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Re: When will Chords be available?

Maybe Dorico is intended more as an engraving tool than a composition and arranging notation tool.

Have you watched the YouTube video of Daniel's MOLA presentation? There are features in there that already blow away the competition as a "composition and arranging tool". OK, maybe in version 1.0 you will need to export your Dorico arrangement to another program to trade off poor quality engraving against chord symbols, but you might still be winning overall.

Remember the quote attributed to Henry Ford: "If I had asked people what they wanted, they would have said 'a faster horse'." It seems pretty clear to me that Dorico is a lot more than just "a faster horse".
by Rob Tuley
Mon Jun 06, 2016 6:33 pm
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Re: Midi Out Options?


Thank you for that. By the way, I wanted to say congratulations on Dorico. At first I thought as most probably did, and that was "who needs another Engraver" But this, with the sequencing of midi data that does not affect the engraved notes and ability to get that type of performance while scoring music....That is something else entirely. And the method you are approaching it, is what game, film, TV composers have been dreaming about for years. And to do it with the type of control and power that the Dorico engine provides, will save so much time for us composers under budget and time to get accurate mock-ups as well as great....heck, fantastic looking lead sheets for players.

I wasn't going to buy Dorico, but now, with all of this information provided on VST and Playback...I am in.
by haidendvim
Sun Jun 12, 2016 5:09 pm
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Re: G.P.

There is a more reliable way of doing GPs in Sibelius than that, but (rolls up coat collar and looks furtively to left and to right before continuing, talking past the back of hand) this isn't the place to talk about it. But go to Robert Puff's Of Note blog and type in GP to its search feature, have a read, and then destroy this message.
by chichestermusicpress
Tue Aug 09, 2016 4:21 pm
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Re: Transport toolbar

I think you will find that very, very few software products you use in your day-to-day life have that level of HF research in them, largely because it's incredibly specialised and hugely expensive. Aside from Microsoft, Apple, Google and Adobe, very few companies have the resources for that kind of analysis (and even then, I'll bet they haven't done research with eye trackers -- that's the sort of thing you'd only find on software for jet fighters).

What we *do* have in the team is 100 years of experience of developing music notation software, even more experience of being software end users in our daily lives, and the hundreds of years of music experience of the many composers, arrangers, engravers and copyists that have passed through our door over the last few years. The design of Dorico is the distillation of all that, and many, *many* hours of discussion in the team (often quite heated, as we are all incredibly passionate about it!).
by PaulWalmsley
Tue Sep 06, 2016 8:54 pm
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Re: Integration with Cubase

I hope that despite the basic level of playback/MIDI editing functionality present in the first version, you will be able to see where we're going, and I hope that you will be patient with and supportive of us as we work to shape Dorico into the tool that we all want it to be.

Thanks Daniel, very thoughtful of you to post this but you don't need to explain yourself or (nearly) apologise for what you think people are going to miss. I think most people here are keeping an eye on the forum and your blog so know what is not there yet, and what is. However expressing where they would like to be taken with the app is what a forum is for, even if it is sometimes wishful thinking. As an earlier poster said 'we got your back' - I think I speak for most people here when I say we have a whole lot of respect for what you are trying to achieve with Dorico and are not gonna knock you if V.1 (or even 2 or 3) don't have everything all at once. Meaningful progress takes time.
by Mike Dunn
Wed Oct 05, 2016 9:47 pm
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Re: Surely, it must feel good!

I was in such shock when this happened that I felt almost depressed, truly. Although I am a performer first, the income I make from arranging, orchestrating, and on occasion composing, is very significant, and that work is also a very enjoyable part of my life. I always felt I could count on "the team" to be on my side, and it felt like being part of a community. When 'the team" was sacked, I felt professionally abandoned! I was so thrilled to know that these wonderfully talented people were recognised for their skills and hired to work on a new project. And as for the support Daniel, it was of course crucial that you first got that from Hamburg, but do know that countless people such as myself were cheering you on, because one reaps what one sows.

Congratulations again!

Claude Lapalme
Music Director
Red Deer Symphony Orchestra
by Claude Lapalme
Fri Oct 14, 2016 10:14 pm
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Re: Congratulations!

IF I ever foolishly thought I might not, after all, buy Dorico, I, after seeing and hearing the Dorico live stream at , know that I will buy it. Today.

Thank you ever so much, Daniel, the team, and Steinberg. All of us, the professional composers and musicians, can finally throw away whatever scoring program(s) we used to use to prevent us from writing what we wanted to write.

When I started using computers to write – I repeat: write – music about 30 years ago, I knew this is and will be bad. And it was, it has been. I am not blaming my good old friend Finale (since 1992) about anything. It was only what it could be and is what it can be. Thank you, Finale.

Dorico takes us back to what composing used to be and should be: Write whatever you want however you want. I just might even stop missing my pencil, rubber eraser and sheets of paper - the only tools that ever worked before Dorico.

Thank you again.
by Jode
Tue Oct 18, 2016 9:30 pm
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Re: Such elegance and simplicity!


I am Australian and there is a rock in our country called Uluru. See a picture at
Now it looks like a pretty big rock doesn't it? But it puts it in perspective to know that the vast majority of the rock is underground.

Dorico is like that rock. What's visible is magnificent but there is an incredible amount of invisible work that has gone on that's underground - that's not visible to the user that will seep to the surface as users begin to engage deeply with the program.

Even if we focus on what is visible with Dorico there has been so much blood, sweat and tears poured into creating an interface that will empower professionals but be accessible even to young children. My son is seven years old and a keen musician and I plan to use Dorico to TEACH HIM ABOUT MUSIC AND MUSIC THEORY. There is at least a couple of terms of music theory lessons built into Dorico. The very fact that Dorico will automatically fill bars with the required rests, group music so it doesn't go across the half bar, or rebar music when time signatures are changed will provide enormous insight.

Like it or not software in the way it is designed is both empowered and limited by the chosen design from the beginning. It's a case of making a bed and then everyone has to lie in that bed. The wonderful thing about Dorico is its creators have spent YEARS thinking about what kind of bed we all get to lie in. And we haven't tried it yet but I have a feeling this bed is going to be a very comfortable one indeed.

People are so short sighted. I predict that it won't be long before that enormous work put into Dorico is taken for granted. Oh well. I refuse to be one of those people. I am not criticising people for making suggestions or even criticisms - I plan to make plenty. But we need to realise that a group of people have given the musicians who can relate to notation around the world (an important subset of the world's musicians) an extraordinary present that will lead to an explosion of creativity and productivity - it will completely change the way in which some people spend every day. I have used Personal Composer, Finale, Overture, Sibelius and have longed for a program that works as well as Dorico will. And I plan to be grateful EVERY SINGLE TIME I USE IT that I can focus my energy on the music and not on clerical work or wrestling with notation.
by substanceoverstyle
Wed Oct 19, 2016 1:52 am
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Re: Such elegance and simplicity!

Oh and I forgot to say something important.

Have you stopped to consider the effect of the Dorico team's raising of standards? Their work will cause developers of other programs to feel obligated to provide a better experience. Whilst "the best in the world" is now a far higher standard than before but so is what you might call "acceptable". The notation features provided in some programs have as a result of what the Dorico team have done now gone from appearing just ok to being pretty much unacceptable....and we can also thank the Dorico team for causing that to happen.
by substanceoverstyle
Wed Oct 19, 2016 1:58 am
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Re: When will the download link activate?

I was indeed. Congrats on a wonderful first release! I know this is just the beginning of the craziness for you guys; thanks for all you do. Cheers.
by curtislindsay
Wed Oct 19, 2016 12:09 pm
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Definitely worth the wait

Now THIS is what a music notation program should be! Everything just makes sense and I feel "at home" already. Many thanks to Daniel and his team for creating such wonderful software which will make all of our lives easier. :D
by davidhicken
Wed Oct 19, 2016 12:23 pm
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Re: Educational Pricing

Went to my Admin Centre at university and asked for a letter of enrolment. When they said it took two working days to get one you can picture my face ( :cry: )

Dug around my emails, finally found an enrolment email, however panicked this might not be enough information.

Sent it off to Steinberg and received a 'Educational Verification Request Successful) email two minutes later (my face was now :D .) Talk about great customer service! I am already a satisfied customer and have been from the very first blog post of Dorico. The team are just clued up. Anyway, here we go - time to download!
by T Earl
Wed Oct 19, 2016 2:33 pm
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Positive Vibes

Hi I just wanted to give Kudos to Daniel and the dev team.

I just had my first walk around the park with the new baby and my basic feeling is this is great software. Sure there is a bunch of stuff missing and some bugs etc but we all knew that right?! If you have a publishing deadline to meet by tomorrow and you expect to do it on Dorico without even looking at what was missing/included before you bought the program and also expect a version software to be fault free then maybe you should rethink your working methodology a little...

The essential premise that Daniel has been talking about is very much intact though... a rethought and more intuitive approach to input and engraving. I really like the step midi input and how the input is activated. After using Sibelius for so many years I couldn't stand the randomness of when Sibelius would sometimes want to input from stuff i was just auditioning. I don't know if you guys know what I'm talking about but my esc key was hit many times in frustration followed my multiple CTRL Z's... Another thing I'm already loving is the the way bars/beats are recalculated and also the insert mode. Also enjoying typing in time sigs wherever the hell i want and the popover concept in general. Haven't spent much time in the engrave/layout modes yet but I already like the text frame at the top of pages and the concept of master pages. Going to make it really simple for adding titles etc to consequent pages - which was pretty convoluted in Sibelius and Finale as well.

Anyway. I'm a convert for sure. I won't really be able to get going on it full time until chords come into functionality but until then I'm gonna spend time getting my input chops up on it and giving feedback regards anything i think is a glaring fault that hasn't already been mentioned in this forum.

Congrats to the devs for rethinking the process and coming with a solution. Looking forward to the updates.
by bullquartz
Thu Oct 20, 2016 1:04 pm
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About speed

Many great things here. The software is of course immature, but the overall design is a marvel, really. I have entered a movement of a string quartet this morning and am obviously getting used to the interface as the number of times I use ctrl-Z seems to be diminishing! I know everyone will clamor for their favourite feature. I have seen a few of them, and many deal specifically with notation and/or playback, but I thought I’d put a list of what matters to me and why.

I am fast. VERY fast. Speed is one of the things that make me competitive. Already, I can see where the design of Dorico will eventually take me in terms of its time-saving capabilities, both in terms of what’s there and what’s obviously to come. It is clearly designed to make input and preparation faster in theory (although I’d quibble about a couple things in terms of the properties panels, but that’s for another post). But I would like to share what makes me the Usain Bolt of arranging/orchestration, and would like to see in future patches and versions of Dorico. I know full well that the team is flooded and I'm certain they are aware of all of those things. So this is simply just another list.

1. Fast code. Right now, Dorico is sluggish on large scores. Even small projects show some delays with certain commands. I realize that will take time and has been mentioned already, but it is not a bad idea to reiterate.
2. Filters. The great power of Sibelius lies in its filter IMHO. To be able to select and isolate voices, notes on top, all quarter notes, lyrics only etc … is of massive importance to me. I was aware they would not be there, but I am surprised how little this has been mentioned by other users. I use filters dozens of time on any project, even small ones. My use of filters makes me 40% faster than if I did not use them.
3. Explode/Implode. Which I absolutely did not expect to see in a first release, but I put it to you anyway as I use this a lot as well.
4. Better selection for large chunks of music. I tried copying a couple of hundred bars in order to move them from one flow to another. Even reducing view to 25%, I had to do it in two batches with the marquee tool. In this case, I realize I might be missing something though …
5. Multicopy. Which someone else as mentioned. Again, I did not expect to see it in this release.
6. Transpose tool. Big time saver!

This coming April, I have a project (which I do every year) which involves children tunes for small orchestra and children choir. I typically write about 30 of them. The more these features are added, the likelier I will be to use Dorico for all of it. I will use Dorico for some of it anyways!

Congratulations on the development team. It will be an exciting year!
by Claude Lapalme
Thu Oct 20, 2016 5:03 pm
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Viva el Polymetric!

Maybe it could interest you good people that I made a little commercial for polymetric excersises using the excellent software Dorico's polymetric possibilities. Please enjoy!
by arnberg
Sat Oct 22, 2016 6:55 pm
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Re: Why we should support Dorico even with all of its bugs

I purposefully did not take advantage of the crossgrade discount. There are no free lunches — and there are things worth spending money on.
by LSalgueiro
Sat Oct 22, 2016 3:34 pm
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Re: Why we should support Dorico even with all of its bugs

LSalgueiro wrote:I purposefully did not take advantage of the crossgrade discount. There are no free lunches — and there are things worth spending money on.

Same here, and I'm glad I did!
by Fuzzface
Sat Oct 22, 2016 3:45 pm
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Re: What is Steinbergs answer to this - they seem to be igno

Thanks for the reply Anthony & Ben.
Ben you say "let's try and keep it constructive", I believe this is, as £450 is a lot of money for software that is not working properly, and to add yet another car related quote, how would you feel if you bought a new car at full price but had to keep your old one to drive around?.
I really hope you guys do keep your promise and don't suddenly launch v2.0 in twelve months time expecting us to pay for the upgrade and features we should already have.
I have been a Cubase user for years & years way back when I needed an Atari to run it - but it was never sold in such an unfinished state as Dorico has been. I was, and still am I guess, very excited about Dorico but I don't think you have done yourselfs or your customers any favours by releasing it in this state, im sure that Avid and the developers of Finale are loving you for this though.

So come on, prove me wrong......please.
I view it like a Kickstarter investment, but this is one where we get to use the product before it is finished. I have owned and used both Finale and Sibelius. I was about to upgrade Sibelius in 2012 when they laid off their development team, so I waited and watched. Sibelius struggled for a long time and I lost faith. Like so many people who are here, I have waited years while Steinberg invested a huge sum of money and a lot of time to make Dorico happen. My patience paid off, and now Dorico is here for me.

I don't trust Sibelius/Avid, and disliked the Finale user interface. I am willing to bet my money on Steinberg and Dorico. Sure, you can consider it a gamble, but the Dorico team has demonstrated that they are focused on quality first, and clearly they have learned many lessons from their experience at Sibelius. Sure, they have far to go, and I suspect that they need funding now, not later. I consider my purchase to be an investment, because I believe that the seed money that I give them now through my Dorico purchase will help it become the product that I can use to leave my compositions to posterity.

Sibelius and Finale marketing will jump all over each other to compare themselves feature for feature with Dorico in the short term, but they will be missing the point. If I am right, then Dorico will eventually overtake them in usability and quality. When you look at the final scores, Dorico will win.

Yeah, pun intended. :-)
by Staff Paper
Sun Oct 23, 2016 12:03 am
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Excellent output!

Daniel and team,

I wanted you to know that I agree that the output in Dorico is superb!!!! I have studied lots of music over the last 25+ years, and you guys have really hit home with the way the notation looks. I haven't used every feature of the software yet, but so far I am finding the output to be incredibly good. I printed up a part last night to look at the way it came out. And it is quite excellent. I didn't touch a thing and it is very readable, and the little things like shortening the ledger line so the accidental sits where it should really shows the effort you went into.

As someone who always had to tweak files in Finale and way more so in Sibelius, I want to say thank you!!! While I can still see where I might have to get in there and fix things by hand, it will be far less than what the other programs require.

by Robby Poole
Fri Oct 21, 2016 5:41 pm
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Let me say one thing

I am sincerely displeased for what I am reading about Dorico on this forum.

I have never seen a transparency and an attention to users like Daniel did in the previous 4 years of development, with such an enthusiasm and details to describe in depth what they was creating.
He always answered to each question and everyone had the opportunity, an let me say "the lucky" to follow all the development process.

So what I this is: you already know what you can expect from this first release of Dorico. Daniel has always been clear with this point. So I think we should support him and encourage him to go on with his great work (not forgetting the big investment Steinberg did to give us the opportunity to have a new tool to work on our compositions), with constructive criticism and not attacking him and the team this way.

That's what I think.
by Flandes
Sun Oct 23, 2016 10:07 am
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I love this software. Works great on my 2011 Macbook pro 8g ram Sierra . It's so much easier to use than Sibelius ( which I have had since v1) . Insert is a thing of beauty and the keycomands are very straight forward.

well done team !

by ed buller
Sun Oct 23, 2016 5:25 pm
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Re: Why we should support Dorico even with all of its bugs

I would like to add my vote of confidence and thanks to Daniel, his team, and Steinberg. I've already moved my current composition project to Dorico and after some head scratching the first two days, am now more productive (and happier) than with Sibelius. As far as I can tell, Dorico is the only product that is under active, intense development. We all want good tools so let's support the best toolmaker!

(I also bought full-price Dorico despite having a Sibelius license)
by novice
Mon Oct 24, 2016 4:13 am
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Re: Daniel go to bed!

Can somebody please explain to me why the person in charge of Dorico thinks he has the right to be offline! I have two million complaints that I need to tell him and everyone on this forum about in order for me to get instant gratification! I think I'll just create a new thread about each problem separately, that way, it will be nice and much easier for him.
by T Earl
Mon Oct 24, 2016 6:12 pm
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The Bigger Picture

I haven’t downloaded Dorico only because I’ve been completely slammed the past few days. But in that time I’ve learned that it’s apparently, for quite a few people, disappointing, buggy, crashing, not ready, etc.

I never wanted to use Finale because it came with an Encyclopedic user volume to learn and in my estimation was a left-brain’s dream. When I found Sibelius it was on an Acorn computer in the computer lab in college and when Sibelius 2 became available I IMMEDIATELY purchased it. I learned the manual in a weekend and was off writing. (What a far cry from Noteworthy Composer!)

Then I learn of Avid’s acquisition of my beloved Sibelius and their firing of the staff. Despair. What was to become of the talented team? Avid seemed content to charge me $300 for marginal ‘upgrades’ to Sibelius.

Then I learn of the Steinberg deal, as did all of you, and plans for this team to write, mind you, an entirely new program that didn’t infringe on the copyrights of the best thing they had built with Sibelius. Could it be done? Would it be better?

Well I’m here to say that I will be buying it anyway, no matter how rough this first release is. Call me ‘fanboy’ if you want but I see it as an investment in a company that has all the fundamentals in place which is owned by people that say, ‘hey, write it however you want! Just make it good!’ I certainly don’t want Finale and we all know what Avid is.

This first release of Dorico is the first swing at a problem we’ve all been begging for. We wouldn’t have been begging for it if there weren’t a problem. I have every confidence it will be amazing because that’s who these people are. Give them a break and be glad they didn’t all take jobs selling cars or in I.T. at a manufacturing plant or something. They chose to take this insanely problematic venture on.

Dorico, you have my confidence, (and soon, my $!)
by jeremiahwas
Mon Oct 24, 2016 9:11 pm
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Re: Lyrics and slurs very bad organized...

Hello Daniel!

I tried to change the formatting, and it helped,
now the distances are quite good and useable.
Thanks for your kindness
and I wish you the best for your work on Dorico.


by hgpa
Tue Oct 25, 2016 7:52 am
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Re: How good is Halion Symphonic Orchestra?

... also seems strange to me, that if you are "cross grading" from a competitors product (eg Sibelius/Finale) you can get a discount, but if you are a long term customer, and already have the other products, you cannot be treated
with a bit more cred and respect from SB

I absolutely agree, as I don't own sibelius or finale, but I own Cubase 8.5, Absolute Collection, Nuendo5, HSO, Cubasis2, The Grand2, Virtual Guitarist2, Virtual Bassist, Halion2, Hypersonic, Wavelab 6, The discontinued DolbyDigitalEncoder from Nuendo2 :evil: , ...

Well, Steinberg is Steinberg. You got your point and I agree, but with the Steinberg products I've earn a bunch lot more of money that what I've paid for. I hate much more the crap of Avid with their despicable subscriptions model.

Dorico is expensive and of course is unfair for the owners of Cubase Pro, Groove Agent, myself to pay more than the 'outsiders'. But I feel more motivated than ever with this new piece of software Dorico, I've never liked nor feel comfortable with Sibelius, I always felt chained to it...with that mixture of old software that wants to look slick but it sucks. Dorico is a baby boy with beta issues but it doesn't suck. Dorico looks good, feels good.

And now you know what? I'm gonna make worth every f****** euro I pay for Dorico, I'm gonna write more music than ever, I'm gonna squeeze the sofware up and I'm gonna get from Dorico more than I gave.

by JMGmusic
Tue Oct 25, 2016 1:49 pm
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I bought in today

I bought Dorico today. I was a reluctant purchaser when pricing was first announced, even though I was entitled to a competitive upgrade. I decided I didn't need it for the things I do, mainly studio charts and an occasional choral composition. Already owned the Steinberg sounds, etc. Then, 2 things happened:

1. I needed to import an old Encore score (anybody remember Encore?) into Finale and prepare it for a performance.
2. I watched Daniel's presentation on rollout day.

OK, so I had to reinstall an older version of Finale, because the newer versions have dropped the Encore import capability. Then save it as Finale file, open in more current version, and get to work editing, etc. After many hours, and pulled hair, I still don't have a very presentable score. I'll get by, but I'm not excited by the result.

In doing the editing, I remembered just how clunky the interface still is. I can't get it to do what I want, every simple move requires deleting and re-entering bars at a time, etc. Might have been better off entering it all from scratch, but still saddled with the funky way of entering dotted rhythms, getting lyrics to line up properly, etc. I mean, yes, I can produce a decent score, but I have to do it by trickery. I'm really not complaining about Finale, either, though it may seem like it. It was there when Encore went under, and was way better! It was just a different time in the cycle of improving PC capability.

Daniel, when I saw the default output of your entered music I got excited. But the kicker for me was watching the ease with which music can be entered without the constraint of the bar line barrier. That sold me. I know, I know, it still has features that are missing, bugs, perhaps, etc. I've heard the complaints.

All I can say is I hold you, all the developers and Steinberg in gratitude. Here is a product developed with a true vision of how good it could be (will be) when it has matured. You really started with the fundamental questions. I'm willing to take a small risk and purchase now to validate the enormous risk you have all taken, and to support you in continuing to refine and expand it.

Many happy versions!
by rtorstrick
Tue Oct 25, 2016 7:43 pm
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Re: Halion Sonic Window and playback question

Again thank you. I remember when I many years ago started with Sibelius (from Cubase and Logic). Helpless. Nothing worked for me in the beginning. So I have spent the day looking instruction videos and tried all the elemental things. And now the Ravel Pavane is copied to a brand new Dorico-Score. Everything works, and the strength of Dorico is opening up. Also the playback sounds good. Dorico is really fine of a version 1. I wish you and the staff congratulations and a good work in the future.
by Dich
Wed Oct 26, 2016 4:29 pm
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Re: Viva el Polymetric!

Just a quick bump to inform you that due to popular demand (well, at least one person has asked) there is now a prog version of the Etude Polymétrique. Please enjoy!
by arnberg
Thu Oct 27, 2016 7:46 am
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Sadly, Dorico is not crashing (Win 7)

After installing Dorico yesterday on my main computer with 64-bit Windows 7 and Microsoft .NET Framework 4.6.2, I today spent my first four hours playing with it. It (and the audio engine) worked perfectly, did not crash even once.

Having read people's posts, I was expecting some crashing (and would not have been disappointed, if I had encountered crashes). No avail. ;-) Needless to say, I am happy. :-)
by Jode
Thu Oct 27, 2016 4:38 pm
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Re: I'm with Dorico, no ifs, no buts

I composed a free-rhythm classical guitar piece within hours of getting the programme. This programme *may* be the future of music notation for others, but it *is* my present, and what a lovely present to receive.
And I still have other software to do multi-instrumental music while I'm learning this software. To capture the free flow of musical ideas I couldn't recommend any other programme but Dorico. Already.
by John B
Thu Oct 27, 2016 4:06 pm
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...A dream ! Thanks

Actually I work on my very first score created with Dorico.
It's a pretty unusual way to write music and it work as a charme!

No key signature, no time signature, Beaming across bars...

Just GREAT...

I did the same score ...years ago with Finale !
Was a treamedious amout of «tweaking» and camouflage !

With Dorico v 1.0 it is like natural, like handwriting process.

Thanks to the Dorico's developper team

Alain LeBlond
Composer born in 1957
by Alain LeBlond
Sat Oct 29, 2016 3:13 pm
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Re: Sternberg Download Assistant crashes on start

If you are having trouble with the download then you can download the program directly here:

Please use Firefox as your web browser and be sure to select "save". Since it is a rather large file, please make sure your computer is not in a power saving mode such as "sleep mode" during the download. 
by Joshua Matlock
Fri Oct 28, 2016 10:01 pm
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Re: Hide empty bars

Sorry Daniel, that's why I couldn't find the answer because I was using the wrong term. I should have said "Hide empty staves". But I knew that . . . silly mistake!

Daniel, I am so impressed with Dorico. I know it's not perfect but I applaud you and your team. I have not had many of the difficulties others have had. I guess I have a powerful computer. Thank you for all your hard work and I look forward to years of updates.

David in Toronto.
by David26
Fri Oct 28, 2016 5:29 pm
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Re: ...A dream ! Thanks

Me too - now I've got the hang of the note entry/editing system it feels so fast, solid and reliable, and I can focus on the music instead of the tool (which never happened with Sibelius for me). Things that used to take me minutes of fiddling can happen in a couple of key presses, particularly when modifying existing score, composing etc. This is how score editing should have been done from the start; it's not about manipulating symbols, it's about manipulating music.

I'm also blown away by printing. I often need to export as image files to load into viewing software for performance, and in Sibelius it was always a fiddly job trying to get margins and aspect ratios right, then the results would invariably come out blurry and hard to read. Diroco just effortlessly nails this; I have full control to get it to lay out exactly how I want, and store that as a printing template for next time, and the images come out clean and clear, regardless of the size/resolution I require.

Sure, there are some important bits missing, and some features not quite right, but that'll come. Fantastic work, Dorico team, I can't wait for the updates!

by NeilDurant
Sun Oct 30, 2016 4:30 pm
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Re: System breaks...

That's great! See, that's what I mean with thinking in other software's paradigms as opposed to Dorico thinking. I'm still thinking of the analogy Flow-Score, or Flow-Piece, when in fact Flow can be anything. Takes some getting used to, but it's definitely worth it!
by DonMusic
Thu Nov 03, 2016 10:01 am
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Re: Lyric verses

Thank you, Daniel. These are very elegant implementations, and the Lyrics page of Engraving Options is tremendous.
Dorico's implementation of lyrics already knocks spots off its rivals!
by musicus
Fri Nov 04, 2016 1:57 am
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Re: first crash!! - autosave? and delete empty final measure

Thanks Daniel -- for your reply, and for the fabulous work you and Dorico folks have done. This has SO much potential.
by dfroom
Mon Nov 07, 2016 12:51 am
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Re: How does one create a Title page?

From the Engrave window, you should see a "Pages" dialog on the top right. At the bottom of the dialog there's an icon showing a page with a plus sign next to it. Click it to add a blank page (wherever you want in the score or part).

You should now have a blank page in front of you. Still in Engrave, over to the top left there's a "Frames" dialog. Enable it, by dragging the slider to the right - so it's blue rather than grey. Immediately underneath that you should see three different icons, each of which creates a different kind of frame. The first is for music, the second (which you'll want) is for text, and the third is for graphics/images. Place these frames wherever you want them on the page, and either type into the text frames directly or use the various wildcards to display things like the Title and Composer info automatically. For example, {@flowTitle@} will give the Title, as presented in the Project Info dialog at the bottom of the file menu.
by pianoleo
Fri Oct 21, 2016 7:35 pm
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Re: Text box on blank page problem

Thank you, Daniel!
I suspected .rtf might have had something to do with it, but it's great to know that it's being addressed in the forthcoming update. Might I also respectfully request integration with system spell check ... would really polish Dorico's text handling capabilities.

Have just finished my first score in Dorico - it's off to the printer's tomorrow ... and I'm impressed! :) The learning curve was gentle and mostly intuitive. None of my scores have ever looked better ... *disclaimer* I was previously working with Logic Pro's Score Editor! While it's very powerful, and it can do everything I need, Logic's Score Editor is time consuming and, at times, very frustrating. The exclamations of delight (which I'm sure were clearly audible throughout my neighbourhood) are testament to Dorico's far superior engraving capabilities. I suspect that I've thrown in far too many dynamics, slurs and hairpins, just because I can - it's too easy! :lol:

To complete the score of my current project in Logic Pro would have taken me 2-3 weeks. In Dorico I did it in 2 days. Now, if that's not a testimonial, I don't know what is! Sophistry aside, you can't buy time.

Thank you Team Dorico - keep up the good work!
by GraemeH
Wed Nov 09, 2016 12:35 pm
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You are not authorised to read this forum.
by delgado
Wed Nov 09, 2016 10:58 pm
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Re: Print flows

I still haven’t gotten the concept of layouts, despite having read the help documents. Hopefully a manual with clear examples will teach me how to properly use this feature in the near future.

It might help to start with an over-simplified version of how the concepts fit together.
A player is a person who plays an instrument .
A flow is some music notation that can be played by a group of players , all playing together.
A layout is a piece of sheet music that contains one or more flows , joined "end to end" (i.e. the music in each flows is played sequentially, not simultaneously), and formatted onto the pages of a document together with titles, page numbers, etc, etc.
A project in Dorico can contain several layouts (e.g. a full score and a set of parts), and each flow can be included in more than one layout.
There are some extra features you can add to those basic ideas:

A player might be able to play several instruments, one at a time (e.g. flute/piccolo)
In a layout, you can select which players from the flow(s) should be included - for example, a full score layout will probably include all the players in each flow, but each part layout will only include one player.

That might help you get started understanding how the pieces fit together! For example if you delete a flow , that means you delete all the music in it, because the only place "music notation" can exist in Dorico is inside a flow. But you can have a flow that isn't used in any layouts, or a player who isn't used in any flows - presumably they will be used eventually, or you might decide you don't need them at all and just delete them from the project.

Part of the confusion might be because when you start a new project in Dorico, you get all these concepts created and linked together automatically. For example, you automatically get a layout for a full score and a layout for each part, each of which contain all the flows in the project, and with the correct player selected for each part layout. That means you can "get started" quickly without really understanding what's going on, but if you want to do something more complicated than use the default structure for a project, you have to learn how the pieces fit together.
by Rob Tuley
Wed Nov 09, 2016 10:39 pm
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Dorico demonstration video

Hi folks! Following a few posts on the forum requesting a training video for Dorico, I thought I'd slap together something quickly and put it on up YouTube. It covers some of the basics, like note and rest entry, cross-staff notes, custom beaming, lyrics, and other things. Hopefully it will help some people who are having trouble getting started with Dorico.

If you'd like more videos like this, please let me know. We can all help each other fill in the gaps until that 2,500-page manual magically appears! :lol:

Here's the link to the video:
by cantilena
Wed Nov 16, 2016 4:21 am
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Keyboard-picture with danish keycommands

‪The danish computer-keyboard does not look like the English ( and etcetera). I have revised the DORICO-keyboard to look like the keys on my keyboard, and when I find a new shortcut that can help my work writing the score of Siegfried-Idyll, I use Photoshop elements to make my own "keycommandkeyboardpicture". Maybe others can use it or give inspiration.
All in all I still work faster and Dorico becomes a better and better tool. The staff really has given us many fantastic features. Thank You.
by Dich
Sat Nov 19, 2016 8:27 pm
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Dorico: Video Tutorials in Spanish

Concepts, Keyboard Shortcuts and Tools
• Presentation and aspects of Dorico

• Write Mode Part I

• Write Mode Part II

• Write Mode Part III
by Carlos Mariño
Thu Nov 17, 2016 9:58 am
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Re: Strange XML problem

I don't know whether Finale provides an easy way to reset the visibility settings of all accidentals (in Dorico, it would be to select all the notes and do Edit > Reset Appearance), but if so, try that.

In Finale select the whole score, open the plugin Canonic Utilities (Plug-ins>Scoring and Arranging,) select "Clear Frozen Accidentals" in the 3rd dropdown menu on the left, Apply and close.
by fratveno
Sun Nov 20, 2016 2:08 pm
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/the workflow for me as a composer

alright. Some time has passed for all of us to now have experience with dorico. No question it is (at this point) like driving a car with 2 wheels or whatever analogy you want to make. and indeed we were asked to contribute money to what is a beta version (after all, this is a business that avid is apparently abandoning and steinberg wants to make money. If high-end code writers wrote me to tomorrow and asked me to contribute to the development of new software that would make composing with a computer for natural, I want not hesitate to contribute). But after living with this a while and writing music every day for a while, the paradigm works for me as a composer better than any other software notation program that I have used (except for maybe, score, which I have not used for a while. I do admire those who have stuck with it). It does not, at this point, have anything like the notation control of score (I wrote with pencil and paper then engraved it in score, but I find that I now need more immediate playback control than score provided. Not that one didn't know what things sounded like and not that one couldn't go to the piano; but the immediate feedback at the push of a key with today's programs I want, and I am not sure why).

In dorico, I feel even at this infant state much less need to trick the program when dealing with music that doesn't want to squeeze into a measure. I feel much less distracted by the needs of the software and much more myself, and this is only in the infancy of the program. I am excited Daniel, and thank you for the work of your team and am looking forward to the updates that probably will take us to next summer when we really might start to feel comfortable to take it beyond our studios. For me, it works and I am excited. It's been a long journey through score, music printer plus, finale, sibelius, and all of the free and cheaper programs. this is the first time that I have felt the kind of freedom that I felt with my pen and paper on my piano (alhough, lets face it, nothing will really replace that).
by burtonbeerman
Wed Nov 16, 2016 7:05 pm
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Dorico score default layout after xml is awesome!

Hi all,

well, I purchased Dorico. I've been opening some xml files and the default set out looks amazing. I'm so so glad I took the chance to purchase it. Thanks Daniel and all the others on the Steinberg Team for your hard work on this program. It was definitely worth it!

Steve :-)
by Steve Martin
Thu Nov 17, 2016 10:35 pm
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Re: November Music Font

Robert Piechaud, the developer of November, expects to release a new update, version 2.1, very soon that includes support for putting the metadata files in the places Dorico currently expects to find them. Those locations will change soon (perhaps in the next update) to reflect the proper locations that SMuFL-compliant fonts are supposed to use.

You're absolutely right, Daniel !
November 2.1 has full support for Dorico, and the installer takes care of anything necessary for a smooth experience.
I expect 2.1 to be released in a couple of week.
Also, there +200 new glyphs, a improved documentation (with new French section) etc.

Stay tuned!
by Robert P
Sun Nov 27, 2016 3:31 pm
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Re: VST Folder / Midi Devices

For this Win 7 Dorico 1.0.10 install, w/o any Cubase,

1. Whitelisted VST2 .dlls go here:
C:\Program Files\Common Files\VST2\

2. vst2whitelist.txt for VST2 goes here:
C:\Program Files\Steinberg\Dorico\VSTAudioEngine\Components\

2. VST3 .dlls go here
C:\Program Files\Common Files\VST3\

3. HALion SO .dll and its Steinberg Resource File went here:
C:\Program Files\VSTPlugins
by cemmevo
Sat Nov 26, 2016 8:49 pm
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Re: Cubase's licence broken after Dorico 1.0.10 installation

Livfall, I guess in this case the Dorico update installed one of the latest available eLicenser Control Center which might have broken it in this case. There is no incompatibility between Cubase and Dorico and their licenses. It's a separate independent eLC issue on Mac that we are currently investigating.
In your case, reverting back to an older eLicenser Control Center should address this issue.

Please download this older version:

With the eLC package you also get an uninstaller. Please use this to first uninstall the currently installed eLC.
Then install the version just downloaded. Check, whether the Cubase license is listed again in the eLicenser Control Center.
Don't panic in case the Dorico license is now missing... just run the maintenance to update the eLicenser database to add the Dorico support again.

Does this help? I have seen your email but decided to answer in here. If this does not help, I'll answer to the email asking for more details then.

Sorry for this inconvenience!
by Ed Doll
Mon Nov 28, 2016 11:30 am
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Re: Dorico was premature born,and who pay was us!

I don't want to beat a dead horse here, but to say that no professional work can be done with it is simply not true. Though it cannot do every kind of work at the moment, it can do a lot. On December 10, my orchestra will perform a light Christmas concert. For it I have composed a 18 minute long work for orchestra and narrator (2*2*22 2200 timp. 2perc harp strings), a collection of singalong Xmas carols, and a few loose string parts for a set we are doing with a youth group. Basically, half of that concert was done with Dorico and the results are rather spectacular. RDSO is a professional orchestra; our guys are pretty picky and have learned to expect top-notch in-house material from me. It's fair to say that they will be impressed.

I was told what to expect and I certainly got my money's worth.
by Claude Lapalme
Tue Nov 29, 2016 8:35 pm
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Re: Space between flows

Just to say it worked perfectly and I met my deadline working completely in Dorico thanks to help on this excellent forum. In my earlier post I said 'I'd have finished this by now in Sibelius' but I would have been more accurate saying 'I'd have finished this by now if there was a user manual'! I hope people using the demo from tomorrow access the forum as it would be terrible if they didn't give this superb software a fair review because of lack of user knowledge. Thanks to all here for your help.
by Davetoria
Wed Nov 30, 2016 12:26 am
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Re: hide individual staves OR single staff marimba

Daniel, I think you mean looking more distinguished ahead of your time!
by curlypaws
Wed Nov 30, 2016 12:25 pm
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Re: Beamed grace notes?

Hello Rossy !

I have the feeling the rythmic value of the grace notes you have input is quarter note. And then you chose to slash them in the properties panel.
You can select them all and change the rythme value (8ths or 16ths — Marquee select and then press shift+5 or 4), they should beam together. If they still do not, with all those grace notes selected, right-click and select Beam together in the sub-menu.
by MarcLarcher
Fri Dec 09, 2016 10:13 am
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Re: How soon with Dorico support more new music notation

Thanks Daniel. Cool. Of course you guys are on it, glad to hear that you're still attending to lots of matters and aiming to make the program fantastic. It already is, but I can see it getting even bettter. I'm getting more comfortable and quicker with the software. Learning curve is friendlier than expected.
Cheers to you and your team.
Very satisfied customer, and happy that I made the switch.
by aleos
Mon Dec 12, 2016 11:20 am
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Unexpected positive feedback on output

I conducted an orchestra concert last Saturday for which half of the material was produced with Dorico. I received completely unsolicited positive comments from two musicians about the quality and legibility of the output. They play my material frequently and actually noticed the change. I try to maintain very high standards in producing my material, so my Sibelius output was already very much appreciated. To have two people come up to me after the dress rehearsal to express their views on printed parts and assert that they preferred these more recent ones was a lovely surprise I thought I should share with the team!
by Claude Lapalme
Tue Dec 13, 2016 5:25 pm
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Re: Unexpected positive feedback on output

I'd like to add that I had exactly the same response. I did a concert on Saturday that I write the music for every year and this year was 100% Dorico instead of Sibelius. The improvement in quality of the printed music was mentioned on several occasions by the players and conductor.
by Davetoria
Wed Dec 14, 2016 11:56 am
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Re: Time signatures

I want to add that it's not just modern "classical" or academic or art music compositions that call for more flexible time signature capabilities. I've also done some children's music where multiple time signatures were needed. It's a part of a lot of music nowadays, so it's great to hear that Dorico is up for the task. Don't like doing it in Sibelius, so I often do it by hand. Not so fun in 2016 almost '17. Dorico is the work flow! Can't wait for the time signature functionality. And perhaps Steinberg will clean up Cubase in that regard (BTW Cubase 9 has some great workflow improvements).
by MatthewJohn
Wed Dec 14, 2016 11:06 pm
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Re: Scandinavian keyboard shortcuts

After a lot of fiddling around, and trying out alternative shortcuts, I found a workaround! :D

You can disable the dead keys through a program called Ukulele .

Instead of having ´ as a modifier key to allow ú, it now produces the ´ directly, which can be mapped in Dorico. After customizing the keyboard in Ukulele, in works natively in macOs, and I can easily switch between my new and old keyboard:
by andgle
Mon Dec 19, 2016 12:19 am
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Re: Just getting started and lost already

If you don't have a time signature, you can't "create more bars" using Daniel's method, because Dorico doesn't know how long a bar is (and every bar might be a different length). If you don't have a time signature, you can create bar lines anywhere at any time (even half way through a note - Dorico will split it into two notes tied together). You don't have to do the Sibelius thing of inventing a time signature to give you the number of beats you want.

There is no problem adding music to the end of a file using the computer keyboard or a MIDI keyboard for note entry, with or without a time signature, but if you want to enter notes with the mouse, first you have to create some empty space on the staves to click into. Otherwise you will keep overwriting the last note, which seems to be what is happening.

To create some more space on the staff using the computer keyboard, get the orange cursor displayed somewhere in the score, then hold the right-arrow key down to move the cursor to the end of the stave. Then hold the space bar down. Each "space" character will add a rest to the score, but if there are no barlines, Dorico will merge all the rest symbols into one long rest, so you won't see a string of quarter-note rests appearing.

Then, you should get an orange "ruler" displayed above the staff, marking the rhythmic positions (by default, every 8th-note. Use those as a guide to click notes into the staff.
by Rob Tuley
Sat Jan 14, 2017 11:04 am
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Re: Bug: Staff Spacing Resets on Edit

Please remember amid our sea of problems and complaints that we think you and your team are spectacular. Thank you, Daniel.
by tonywardarts
Thu Jan 19, 2017 7:00 pm
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Post what you've done so far!

This forum is of course to discuss Dorico’s performance improvements and feature suggestions. However, it could be encouraging to the team to know what is being done with the software. I will start myself with what I have accomplished since its release. I also have a full plate of work ahead! I’m curious to see what others have done with this exciting new software.

1. 8 part mass horn arrangement of the “Hockey Theme” for a Toronto flash-mob led by Sarah Willis of the Berlin Philharmonic. (It actually made television news, and so was certainly one of the first non-promotional filmed performances of a piece written with the software)
2. An edition of dance excerpts from Rameau’s “Pygmalion” for future performance
3. An 18 minute original work for full orchestra and narrator on a text by Lucy Maud Montgomery (premiered in December)
4. A simple collection of Christmas Carols for orchestra for sing-along purposes.
5. A viola duet for friends.
6. A multiple flow edition of Handel’s Messiah in view of a performing edition for myself. Was done using Photoscore and xml. Text and additional markings will be added this summer.
7. Two arrangements of Leonard Cohen Songs (Take this Waltz and A Singer Must Die) for large orchestra and vocalist, to be performed by Steven Page next month.
8. A short arrangement of a French Canadian folk tune for the Winnipeg Symphony
9. The Aria and 18 variations of the Goldberg Variations just for training (learned a lot!)
10. Several loose parts for cello (for my wife) from works by Locatelli, Sibelius, Vivaldi and others, which required transcription for legibility as they were either poorly copied facsimiles or created with partify.

Your turn!
by Claude Lapalme
Thu Jan 26, 2017 5:40 pm
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Re: Make do with piano pedaling graphics?

Thanks for the reply and I look forward to the coming updates.

This really is fantastic software. For all the noise from users (myself included) about what isn't there yet, you all should be really proud of what you've accomplished.
by scottu
Sun Jan 29, 2017 6:05 pm
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A quick Thank You to the Dorico Team

Daniel (and Team),

I have been busy working on a drum set book that will be going to a publishing house soon for mass production. I am the copyist, and am having to work with a competitor's software, as Dorico's percussion ability is lacking.

I have spent some time with Dorico working on test projects, and I wanted to say thank you for the methodical addition of features. While I would have loved to do this current project in Dorico, I am well aware that Dorico is not very capable in the that realm as of yet. But I am not angry. I have spent the last several weeks struggling to get the other software to do what I need it to do. Things are sometimes wonky, cumbersome, confusing, and all around not user friendly. I have struggled with random crashes, random hanging, etc. I have seen tools simply "give up." I can tell that some of these tools, features, etc., weren't very well tested or implemented. Things that I used to just "know" how to do, make me wonder why there are so many differences from one tool to the next.

I guess I wish that Dorico was ready, but more importantly I am thankful that as a team, you are working to not only make features work, but to make features work well. Every tool that I have used in Dorico is consistent in application. The approach to using the different tools is like using the same tool over and over (if that even makes sense). I know that you have users barking orders about what they want to see, and what improvements need to be made. And while they may have a point or might have good ideas, I am thankful knowing that you are taking the time to not only listen, but to also create a well working application. My experiences with Dorico have only been positive. And I am looking forward to what the future brings.

by Robby Poole
Tue Jan 31, 2017 5:58 am
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A Word Of Praise From An Unexpected Source

I use notation software primarily for composition. Because of this there are areas of functionality Dorico either doesn't yet have or doesn't yet do as well as I want. HOWEVER. Having watched some of the recent videos I am highly impressed with the elegance and power of Dorico's note entry, flexibility, and display abilities. I want to commend Daniel and his team for their achievements in these areas. If in future updates they can achieve anything like this degree of success with playback and VST support, then I'll be thrilled. Well done guys.
by DaddyO
Fri Feb 03, 2017 9:59 pm
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Why I made the decision to buy Dorico

The other day I watched an hour and a half video (radio broadcast) by Daniel Spreadbury talking about the philosophy behind Dorico. I have to say I was very impressed not only with his knowledge but with his commitment to make Dorico the "Gold Standard". One thing that struck me was Daniel's explanations about composers and engraving applications. When I used to compose on manuscript paper, I would jot down a theme or melodic line and play with it. I wasn't quite sure about the key or meter at the time, my purpose was experimentation. Only after I was satisfied as to what I truly wanted would I make the decision on the meter and key. This is how I used to compose on manuscript paper. In Finale I often wondered why it forced me for a title, meter and key. This is great if I'm transcribing a finished work but not if I'm composing. I would very often have to change the key or meter, this would make for many corrections on the score. Dorico allows you to experiment and only then add the key or meter. Daniel was absolutely correct in making Dorico not only an engraving application but also a composing application as well.

I used the trail version and was very impressed. I have issues, many issues, like having the ability to add the note first and everything pertaining to the note (like dotted note, accents etc... later) but my sense is that these issues will be resolved because Daneil and his team LISTEN, as I've experienced on the Dorico Forum. I've been using Steinberg's Cubase for many many years and if Cubase is any indication as to what Dorico will eventualy evolve to, then Dorico will indeed become the gold standard. I will still keep using Finale since Dorico is missing many vital things that I need but when (not if) Dorico fills the void then the decision will be easy.

I will purchase Dorico now because I feel there is a true commitment by Daniel and the team.
by nicholasG
Tue Feb 14, 2017 4:25 pm
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Re: New User No sound in Dorico

You're welcome. Well, I think Daniel helps much more on the Dorico side, but I consider myself as the good fairy behind the audio engine. Not that I actually developed it, but to help make it work on any computer.
But definitely, let me know if you have any further clues of what might have caused your trouble.
by Ulf
Sat Feb 18, 2017 10:05 pm
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Excellent & beautiful piano scores for YouTube

I have said it before but I must say it again; the output from Dorico is really extraordinary beautiful.
Especially obvious in the uncomplicated piano scores I make into Youtube-videos.

(There is something almost "henleish" about the eight-notes in the middle part, I think, & that is the highest praise I can give.)

Big thanks to the team & Dorico & a great weekend to you all!
by arnberg
Sat Feb 18, 2017 3:34 pm
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Re: First contact sci-fi sound and its remedy

Ha ha! I'm glad it is sorted now.

Have a good one, too. :-)
by Ulf
Fri Feb 17, 2017 4:29 pm
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TIP: A workaround for chords and accidentals (Mac)

While we're waiting for chord symbol support, let me share my workarounds with you. You can enter chord symbols as text objects, and use superscript to acheive alterations if that's your style. Accidentals, for now, are another story, but...

If you're a Mac user, you have the handy Emoji & Symbols viewer available from the menu bar. This gives you a means of entering accidentals without the SMuFL website (see video at

1. Type symbols in place as text objects.

2. Position the cursor where an accidental needs to go.

3. Select "Music Font" in the dropdown.

4. In the menu bar, select "Show Emoji & Symbols."

5. Select "Musical Symbols" from the sidebar.

6. Double-click your desired symbol; it'll enter the Unicode necessary to produce said symbol in your text.

7. Repeat until the release of Dorico 1.1.
by tonywardarts
Fri Feb 17, 2017 3:16 pm
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Re: grace notes

I think if you attach the lyric "Arm" to the main note and not the grace note, the spacing will work.
by Stephen Taylor
Wed Feb 22, 2017 4:04 am
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Re: Rest Mode

One of the reasons I have used the rest mode in the past was to (say) add a sixteenth/semi-quaver rest before three subsequent sixteenth notes, since the starting sixteenth was between the standard eighth hashmarks accessible by pressing the arrow key. I noticed when I watched the Discover Dorico video that, by choosing the sixteenth value first and then pressing space, I no longer had to add the rest separately. That alone was worth watching the video. Kudos to John for doing this!
by Derrek
Fri Feb 24, 2017 3:07 pm
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Comment about Dorico

I have a piano sonata that I completed in Finale that needed many corrections. I was going to fix it in Finale but decided to re-transcribe it in full in Dorico. I have to say that I was amazed at the result. First of all, I spent an awful lot of time formatting the pages and adjusting dynamics, hairpins, beams, etc...I thought at the time that I did a pretty good job in Finale but when I re-did it in Dorico, the result was assume. I found the time I spent on formatting and adjusting was a fraction of the time I spent doing this work in Finale. I'd like to thank Daniel and the development team for the great work they put in so for.
by nicholasG
Sun Feb 26, 2017 3:33 pm
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Thanks for the update (1.0.30)

Thanks for the update, way bigger than I was expecting. I'm working my way through the version history now, pulling up old files to see how the changes are affecting things.

The grace notes sound perfect in the couple of examples I've found so far. Delicious timing...
by David Tee
Tue Feb 28, 2017 12:59 pm
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Performance with multiple flows - great improvement!

The performance improvements on files with multiple flows on my Windows 10 system are significant. I am presently working on two files for chamber orchestra, one with 21 flows and the other with 17. I no longer need to use a "focus layout" on those.
by Claude Lapalme
Tue Feb 28, 2017 3:50 pm
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Re: Simple instructions to use Aria Player?

First, make sure you have the ARIA 64bit VST Plugin installed. I'm not sure where the plugins go for a Mac, but for Windows I keep mine in "%SYSTEMDRIVE%\Program Files\Common Files\VST2".

Locate the whitelist on your system:
For a Mac look in:

For a PC look in:
"C:\Program Files\Steinberg\Dorico\VSTAudioEngine\Components\vst2whitelist.txt" (Where C is the drive that you've installed Dorico).

Open this whitelist.txt file with your favorite text editor and add the following lines (you can copy and paste them from here):

for Mac enter:

ARIA Player VST Multi

For Windows enter:

ARIA Player VST_x64
ARIA Player Multi VST_x64

Here you can see what my whitelist looks like on a Windows 10 system, as I've added quite a few VST2 plugins to the list. Notice how I do not have any empty lines in the list.

First we'll explore adding tutti string sections, so at this point:

1. Launch Dorico.

2. Start a new score.

3. Click the orange tab to Add a new Ensemble.

4. Create a String Section:

At this point you'll hopefully see the beginnings of a score get created like so:

5. Click the Play Tab to enter Dorico's Play mode.

6. Click the VST slot to see if Dorico has accepted your ARIA Plugin. It should show up in the pop-up list. If so, click the Muti-Output ARIA plugin.

If you do not see ARIA listed, then you'll need to trouble shoot things to:
a. Make sure you've ARIA 64bit Plugins installed on your system, in a location that Dorico can find them.
b. Double check your Dorico white list.
Note, if you choose the regular version of ARIA all of the instruments you load in ARIA will be mixed down to a single stereo output. You'll do any manual mixing of your ARIA instruments, and the application of effects such as reverb from inside ARIA with the Mix Tab instead of with the main Dorico Mixer.

If you use the Multi Output version you'll see 16 Faders on the Dorico Mixer for each ARIA Instance right off the bat, but all of the audio will get mixed to Outputs 1 and 2 (The first instrument Slider in the Dorico Mixer for the ARIA Instance) unless you assign them to unique outputs (You get 16 stereo outputs per ARIA Instance):

If you opt to use the Multi Output version of ARIA, you can manipulate ARIA to create extra audio outputs (I'll call them audio streams) and split the signals off to independent sliders in the Dorico Mixer where you can apply third party effect plugins via Dorico's VST mixer inserts if desired; however, any effects applied in ARIA itself will always be mixed and come over outputs 1 and 2.

As a beginner, I recommend just using the Multi-Output plugin (in case you later want to take advantage of multiple outputs), but just make use of outputs 1 & 2 (the default setup) until such time as you have a need to divert some instrument (or family of them) to a unique channel in the Dorico Mixer (I.E. To apply some third party VST Plugin in a Dorico VST Insert slot). Unless you assign more outputs, it all gets mixed to the first fader (In this case our Violins 1 Fader) as describe above. You can adjust instrument mixes directly in the ARIA Mixer tab. Fewer streams/outputs might help with performance on older/slower hardware.

Later, if you want to start splitting these streams off to independent faders, you can do so by assigning new outputs in ARIA to which ever output you want in the Dorico Mixer (note, you can only redirect it to a fader that is from the SAME instance of ARIA).

7. Hopefully at this point you see that ARIA is now showing as the loaded Plugin at the top of your VST List.
Now click the little "e" icon for your first Instance of ARIA in the VST Instrument List.

This will bring up the ARIA User Interface. In this example I'll go ahead and load Tutti String Section sounds from my GPO5 Library (I'm going to use the new Garritan Orchestral Strings in this example). I'll be using Key-Switching style instruments from the "Notation" library, and I'll put Violins in channels 1 and 2, violas on 3, celli on 4, and contras on 5.

8. Next, I'll click the little arrows (>) in the flow frame to unfold all of the Player views. Here we can direct each player to use a specific loaded plugin and MIDI channel for his instrument. Lets make sure all of our players are pointing to the proper plugin in and MIDI channels. Be aware that if a player is not pointing to the desired instrument and/or MIDI channel that, we can change them by clicking the points designated by arrows below.

9. Next we need an expression map so Dorico sends the proper dynamic and key-switching events. This is not a comprehensive guide on making Expression Maps for any given Garritan Library! It's just a basic example of how to do some simple things. You'll have to build these yourself as you go, or wait around for people to make and share their own expression maps for Dorico and various libraries.

For now, we'll just keep it simple and assign some basics using the same map for all of these string instruments. At some point you'll probably want to spin off separate expression maps for Violins, Violas, Celli, and Contras, as some of them support extra bow styles. So lets begin by creating a GOS-Strings Expression map.

In the Main Dorcio Menu, choose "Play/Expression Maps Setup..."

10. Choose "Modulation Wheel Dynamics", and click "Duplicate". We can start from here since we know the Garritan Strings like to use CC1 for dynamics control.

11. Choose your Freshly Duplicated Map. Unlock it by clicking the little lock in the upper right hand corner, and set everything like so:
a. Rename your Map.

b. Change the ID if desired.

c. Change the creator and version and enter a description if desired.

d. Change the plugins field.

e. Set the dynamics type if needed. In this case we want CC1 (Mod Wheel) type dynamic control.

f. Add the key-switch for the default Acro bow style (MIDI Note 0).

g. Add any controllers you want to go with the default 'natural' bow style. I'll add CC68,0 to disengage the legato pedal if active (sent if notes live under slurs). I'll also add a CC119 at 127 because I want to remove the attack phase of these string samples unless I later give specific instructions in my score to do otherwise (I.E. A downbow mark might later change CC119 so I get more 'bow attack').

12. Next I'll make an entry for legato.

a. Under the Techniques box click the plus sign, and add a "Legato Technique".

b. Check the dynamic type.

c. Add my arco key-switch (MIDI Note 0).

d. Add my CC68, 127 Controller event (engages the Legato Pedal).

13. Next, I'll make one for Pizzicato, since I'm assuming at this point that all of the GOS Section strings have such an articulation, and they are all on the same key-switch (MIDI Note 5). In this particular case, the GOS strings use key velocity for dynamics, so be sure to change that accordingly.

12. Now I'm going to export this library to my Dorico Projects folder for safe keeping. We might need it again at some point.
a. Click the "Export Libray" tab and save the file to my choice of locations.

13. Click OK so the Expression Maps Editor goes away. Back in the Play mode of Dorico, we want to click the little gear icon by our ARIA Instance, and select the expression map we just created for all of our String Players.

At this point, we should have string section staves that support the groundwork basics of:
"Arco" Bow Style with very little attack (The Default)
"Legato" Bow Style (some cross fading on rapid note changes).

As needed, we can duplicate this as a base to multiple versions for our Violas, Chelli, etc. and gradually extend our score translation abilities for things like martele, staccato, and other bow styles that our instruments might support. We can also use these expression maps to send entire slates of CC messages to alter the attack/sustain settings, portamento amount, and other parameters supported by the instrument in real time, and ultimately call them up from inside a score with markings, text, or other 'instructions' supported by Dorico.

Also be aware that you can create combination techniques.
Example: Imagine you want to interpret all staccato notes living under a slur as 'martele' style bowing.
In this case, while making your new technique in the expression map builder, hold down the ctl key while choosing both legato and staccato techniques. Assign your relevant key-switches and CC events.

Note, for some Garritan libraries (GPO4 as an example) there are some quite old Cubase Expression Maps (Look in the library installation folder for files with the extension "expressionmap"). You can import these into Dorico, but be aware that they might well require that you go through them and tweak some things so they are more suitable for Dorico.

Note, for many types of Garritan instruments in Dorico, all you'll really need is the Mod Wheel expression map for basic implementation. Just start with that, and duplicate it and build on as needed :)

Also note that you can load existing scores, go into the Play tab, and 'change' the instruments so that they will use your ARIA Instances. Just be aware that you're going to be required to load the instruments manually in ARIA itself (Take advantage of ARIA's Ensemble presets to load your favorite combos of instruments quickly with whatever default settings you like them to have). Once you've save a dorico score in the native dorico format, it should remember all of your plugins and playback settings next time you open that score.......

Oh, I can not stress enough....PLEASE ALWAYS CHECK THE MASTER VOLUME in the Dorico Mixer before hitting play! Turn it down pretty low at first and gradually bring it up to a comfortable level. Make this a core habit to always check this when loading new scores before ever hitting play! I fried a tweeter and may have damaged my hearing for not checking be careful!

Attached is an example Score of a Shubert Scherzo (Initially provided here on the forum by fratveno , but I've attempted to tweak it out for GPO5). Hopefully if you have the Multi Output version of ARIA and Garritan Personal Orchestra 5 installed it'll load and play an example setup for you.

Here one can hear a rendering of the above score.
F. Schubert - Scherzo No. 15 (Dorico-GPO5 Rendered to MP3)

For the final mix down I just put the following Inserts:

I'm using *Steinberg*'s REverence for reverb off the FX Sends. Effects are fully disabled in ARIA itself.

On the Master Output Channel I've added the following Effects, and rendered straight to MP3 from Dorico's export option:

1. Steinberg Stereo Enhancer.
2. Steinberg Maximizer.
3. Steinberg RV22HR Dithered to 16bit.
I'm not sure which of these effects are included with Dorico. I also have Cubase 9 Pro installed, so I may have access to others?
by Brian Roland
Wed Mar 01, 2017 1:01 pm
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My Trial Of Dorico ~ My Thoughts and Reaction

Hello Everyone,

Having been a Finale user for over 25 years I felt the need to try Dorico so installed the trial version. My experinces might be of interest to other folk who are thinking of trialling.

My workflow is to prepare my scores in my notation editor then to take a MIDI file into my DAW (Sonar) to work on the performance.

Rather than go through Dorico's learning curve on a 'test' score, I decided to go for 'babtism by fire' and to learn on an important score. I chose to work on the score of my planned entry for the 'Friends of Garritan' Christmas CD which includes four-part vocals.

My very first impression was the quality and presentation of Dorico. This, clearly, is of a very high standard and beautifully presented.

I did feel daunted that first day but that quickly subsided as I soon found just how intuitive and user friendly Dorico is. I was soon entering notes and events and setting up comfortably.

The next test was support and I found this to be exemplary. Members are friendly and supportive here. Queries were answered within an hour for the most part and no later than the next morning. Of particular note is the fact that Dorico staff are in the forums regulary giving expert solutions including the 'Product Marketing Manager' Daniel himself. This reminds me of the days when, as a member of the Garritan libraries forums, we saw Gary Garritan himself regularly joining in together with some of his staff. What wonderful times those were. I do feel that any program can only be as good as it's support to customers.

Within a week I had completed my very important score complete with lyrics for the four-part vocals and exported the MIDI file. This opened in Sonar to perfection, ready for me to craft my performance.

I actually found the work to be enjoyable and not just a chore. Naturally, there are things I'm not keen on, this is inevitable with every program. I really don't like the 'Hub'. The majority of programs I have use some kind of 'Start Screen' and these can all be turned off including Finale and Sonar as can Steinberg's Cubase! However, I did thoroughly enjoy preparing my first score with Dorico.

There is no question in my mind that Dorico is going to be the leading notation software program as more and more of it's intended features are added in. This is going to be big!

So, am I going to actually lay out my pennies? I already have and I'm glad to be part of this beautiful program.

A huge thank you to Steinberg, Daniel and staff. Congratulations on your achievements with Dorico.

Best wishes,

by Michaelb
Thu Mar 02, 2017 8:29 pm
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Re: Simple instructions to use Aria Player?

How to handle reverb the best? Inside the Aria Player or inside the Dorico Mixer and then add Fx Reverb?

What is the best way? It depends really. The built in ARIA reverbs are pretty good, and quite efficient; however, there might be times when you just want to use something else. If you have a huge project with MANY instances of ARIA (and other plugins), it might pay off to use as few Reverb routines as possible (take advantage of the FX Send built into Dorico's Mixer so many plugins can SHARE the same reverb unit) in order to cut down on system resources required for digital processing (Helpful for me because I'm using older/slower hardware). In contrast, if you only are using one or two ARIA Instances and no other VSTi plugins, there is no reason you can't get fine results using the built in ARIA Reverbs.

If you want to mix all of your ARIA Outputs to the Reverb Fader in the Dorico Mixer then:

1. Open your Dorico Mixer and toggle the Sends tab and resize your Dorico Mixer until you can see the Sends controls.

Remember that if you're using the Multi-Output version of ARIA, all of the audio is mixed to outputs 1 & 2 (The first fader of a given ARIA Instance in the Dorico Mixer). If you want to split each instrument slot off to independent Faders you'll need to change the 'output' for that instrument in ARIA.

2. I'm not sure why, but I've found that on my system when using Third Party Plugins like ARIA in Dorico, sometimes the FX Send doesn't work at first. Fortunately they seem to always start working for me if I redirect the sends to no fader (or ------) and then reset them to the "Fx Reverb" fader.
So I go across my mixer and set all the faders of the ARIA instance to 'nothing'.

Then I set them all back to Fx Reverb.

At this point you'll hopefully find that playing the score now properly sends an AUX signal to the reverb fader in Dorico, which by default already has an instance of the Steinberg "REVerence" Convolution Reverb Unit. You can adjust the amount of reverb send per Dorico channel by click-hold-dragging on the blue band(s) in the send slots.

To make adjustments to, or to change the REVerence plugin, Toggle the Inserts Tab so that all of the mixer inserts are visible. Toggle the FX tab so that is also viewable. You might need to resize your window and scroll things around to get to this point. Clicking the e icon by the Reverence slot should bring up the plugin so you can make adjustments to it. If you want to change to a different plugin/effect, click over the plugin Name and choose your new plugin from the drop-down menu. Of course you can control the master level of any inserts assigned to slots on this channel via the large purple fader.

You can also apply plugins directly to a Mixer Channel using his own VST Insert Slot. This can come in handy if you'd like to split off different families of instruments in ARIA to use different effect chains.

I.E. Imagine you'd like to apply a compressor or envelope shaper plugin to just a percussion channel. In this case, you'd need to make sure you're using the Multi-Output version of ARIA, and be sure to set the output for your ARIA Percussion Instrument slot(s) to the desired Fader in your Dorico Mixer. At this point, the signal will first go through your FX Plugin insert, and then out of the Fx Send (if assigned and levels applied) as well as sending just the compressed/shaped signal through that channel. With insert plugins applied directly to a Dorico Instrument Channel, you'll need to set your wet/dry mix ratio from inside the plugin itself.

Sometimes it's nice to direct all instruments of a given section or family to the same Dorico Mixer Fader for processing. I.E. Putting the entire sax section on the same fader so you can apply a slot plugin to them all together in the same stream. This is why I recommend going ahead and getting used to how the Multiple Output Version of ARIA works.

Note, you might want make sure that the Reverb Effects built into ARIA are disabled at this point.

If you wish to use the built in ARIA reverbs then:

First be aware that each instance of ARIA gets a fresh reverb unit of its own, so if you're working with many ARIA instances, you'll need to set your Reverbs up, independently, in each ARIA instance accordingly. For this reason, sometimes you can cut down on CPU stress by disabling ARIA's own reverbs, and having them all share a single reverb through Dorico's mixing matrix as described above.

Here's how ARIA's built in Reverbs work:

You can add them to the mix in ARIA's Effects and Mixer tabs. The reverb output for all channels will always be mixed and come from ARIA outputs 1 & 2 (Multi-Output Version). If you use the internal ARIA Reverbs, disable the FX Send for any ARIA Channels you do NOT want sent to the Dorico FX/Reverb fader.

Be aware that in ARIA, ALL of his 'built in' reverb effects are always mixed down to outputs 1 & 2. So if you ever find a need to isolate the reverb mix from everything else, then put all of your instruments on other outputs on the Dorico Mixer...then you'll only get the reverb mix from ARIA's outputs 1 & 2.

1. Unless you want to use dual effects in parallel (both from inside ARIA, and over Dorico's Mixer FX Send) disable the FX Sends for the ARIA Instance in your Dorico Mixer.

2. Now manage your ARIA FX from his own internal Mixer and Effects tabs. (These FX sends are also General MIDI Compliant, so they can be automated with CC91 events).

For a hybrid approach:

Sometimes you might want to use the simple reverb in ARIA in combination with a nice third party Convolution Reverb like REVerence. The regular reverb in ARIA is really efficient in terms of processor usage, so this is a very useful technique! I.E. To give brass a little more stage presence resonance before it gets further 'larger room' shaping done under a convolution model. In this case you could enable just the regular reverb in ARIA and manage that from ARIA's own controls, while KEEPING your AUX Send to the Fx Reverb channel in Dorico.
by Brian Roland
Fri Mar 03, 2017 11:00 pm
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Sharing: You can do some early music after all!

Just thought I’d share this exercise with everyone. This is the first part of “Sus une fontayne” by Johannes Ciconia, an early 15th century virelai in mannered style. I’m amazed at how well Dorico handled this and how quickly I was able to enter it once I understood how to do it.

Unfortunately, Dorico cannot use prolation symbols in place of time signatures, so I decided to write them as text above the staves until the time comes that we can actually move notes around to make room for them. Still, the fact that Bravura has prolations symbols available is already a big plus.

Signposts are copy/pasteable, so doing this quickly was no real issue. Tempus imperfectum cum prolatione imperfecta (the backwards C) is a 2:3 quarter note tuplet over a 6/8. Instead of re-inventing the wheel each time I needed it, I would copy and paste the signpost on the bars where it was required and type the notes away. The Tempus imperfectum cum prolatione imperfecta (the C, a short 2/4), was inserted with Alt-Enter so it would modify a single staff; the barlines then “misaligned” perfectly. Prolations were entered with text using default spacing (which I reduced) rather than collision avoidance and I moved the bottom staves a little in order to give some room.

So yes, some early music can indeed be done. However, since I am artistic director of a period instrument group specializing in the baroque, I echo the Siebe Henstra’s sentiment that extra ornaments and ESPECIALLY figure bass will be extremely welcome once implemented.

Anyway, I attached a png and the actual file if anyone is interested. It’s best to make all signposts visible to understand the tricks since all time signatures and tuplets are hidden.
by Claude Lapalme
Sat Mar 04, 2017 10:28 pm
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Re: Adjusting Slurs

Your advice on adjusting the slurs to my liking were ON THE MONEY , with just one small change. Also the slur to staccato problem I questioned was the result of me changing one of the parameters that you suggested I might have done. I found it by opening up an old file - before I made that particular change and found the problem. I fixed it and now and it looks great!
Thanks again. Your help is very much appriciated.
by nicholasG
Fri Mar 17, 2017 4:19 pm
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Re: Should I Cross grade to Dorico?

Of course, if presently absent features are essential to your work, the cost/benefit ratio is going to be low until those features are developed. However, your crystal ball concerning the future of Dorico is quite different from mine. I’m not a dabbler: I make tens of thousands of dollars every year writing for orchestra, and I now use this software. There was a large number of Finale and Sibelius users who were getting frustrated with the limitations of legacy code, and this new product is exactly what is needed: a notation program which is built from the ground up, with a new approach which takes advantage of new technology and built by a team that had the benefit of looking closely at the present limits of the two leading applications. There are many of us doing serious work with Dorico - as is now being featured in Dorico’s blog - and I am quite surprised myself that I am presently using Dorico pretty much exclusively despite the lack of a few features. The thought of going back is quite abhorrent to me atm. Don’t get me wrong: of course I’ll be over the moon when I have figured bass and ossias available to me in Dorico. But now that I have gained fluency, I am working as fast or faster than in Sibelius, and that’s without filters and voice manipulation tools. I can’t even begin to imagine the speed and quality I will output once these features are in place, and they will be. The idea that it is a Gold Standard is indeed a marketing tool; what are they supposed to say? Buy Dorico: it’s pretty good? But in fact, in terms of engraving power and overall approach, it has indeed reached that goal and many users of Finale and Sibelius have written on competing forums that they believe this is the program to go to and that it will blow the competition rather sooner than later. I do believe this also.

Steinberg is in this for the long run. This is a very fine product they know will take time to develop and market. I don’t run the company, but it would be absurd to put the brakes on this and let it go the way of the dodo. There is no “perfect time” to release such a beast; it will either be too early or too late. However, by doing it on the early side, this team has now the advantage of being engaged with the users as it develops new features; something they have done with sincerity, celerity and professionalism during the Sibelius years. I see the same commitment now. So go ahead in expressing what you need. Rant, squirm, be exasperated and critical. I assure you they can take it and will listen to you as they do to all of us. I realise not everyone will have paid for the program and made the money back and more in just a few weeks. I represent a certain user and I know that many others have to budget these things differently since we all have different needs. But don’t dismiss the present users: like Steinberg, we’re here for the long run, and it’s already paid off for many of us. Right now, I am recommending Dorico to everyone I know.
by Claude Lapalme
Sat Mar 18, 2017 3:48 pm
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Re: Regarding Playback ...


Don't be so quick to rule out the Halion Engine. It's awesome! Content can be created with full waves, or even with tiny 'wave-tables', and more. Since Halion 6, users can now create and share libraries for Halion SE (which comes with Dorico).

It just needs the right libraries and expression-maps, which should be more plentiful for Halion as Dorico gradually shapes up with improved playback abilities as well.

Here is a quick rendering done with the new "Studio Strings" that come with Halion Sonic 3.
This Halion library is around 2,621,418KB on the hard drive.

I've done nothing fancy with this (It has far more potential with some expression-maps) extra 'techniques' in the expression map, default Dorico playback settings.

F. Schubert - Scherzo No. 15 (Dorico-Sonic 3 With Steinberg Halion Studio Strings Rendered to MP3)

So, maybe Dorico could come with these strings (or an updated variant of HSO) and load them in Sonic SE 3 at some point?

Also, HSO has a lot more potential, it just needs a tweak here and there (in this case we could work wonders with the Viola in Hailon 6, sadly we're a bit limited here in SE, but the Preset/Program could be 'fixed' and released as a content update). A better expression-map can help as well. Here's a rendering with only a few minor tweaks, most notably disabling the internal HSO Ambiance, fiddling with the air and body settings, a bit of EQ on the Dorico Mixer, and choosing something other than the default reverb in REverence.

F. Schubert - Scherzo No. 15 (Dorico-Sonic SE With Steinberg Halion Symphonic Orchestra Rendered to MP3)

Here's A run with Halion SE and the General MIDI (GM) Strings that are included with that in Dorico. This uses the 'Default' expression-maps, EQ off the Dorico Mixer, and some tube compression on each Instrument Slot. I've taken out too much of the dynamic range going for a fat sound via compression and didn't want to spend more than a few minutes on this (I could tweak some and add them back) so here it is as SE GM instruments with a quick and dirty run.

F. Schubert - Scherzo No. 15 (Dorico-Sonic SE With GM Strings Rendered to MP3)
by Brian Roland
Sun Mar 19, 2017 12:24 pm
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Re: Players and flows

I would suggest a less elegant but faster way. Creating a new player for recits only which would then be taken out of the score layouts . It involves copying and pasting what is in the vocal parts to that particular player, but than it can then be added to the basso layout and set to hide "empty staves always"
by Claude Lapalme
Mon Mar 20, 2017 2:04 pm
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Re: Speed issues

Thanks Daniel for the answer, good to know.
Actually, when I continued working today, the lyrics entry speed was much better. Sometimes a restart can do miracles (or maybe a well rested brain...). Could it also depend on whether I was working in page or galley view?

I finished the music entry part of the job today, and I must say then in all fairness that the remaining layout work really was a breeze. That is IMHO where Dorico really shines, and that's worth a lot if you ask me.
by LAE
Mon Mar 20, 2017 4:52 pm
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Re: Players and flows

I would suggest a less elegant but faster way. Creating a new player for recits only which would then be taken out of the score layouts . It involves copying and pasting what is in the vocal parts to that particular player, but than it can then be added to the basso layout and set to hide "empty staves always"

I just tried this now, and used the new trick I learned from Anders to create a player, uncheck from all flows and then add it. After that I copied the music in question, unchecked the player from the score layout and checked it in the layouts where I wanted it. Worked fantastically.

The thing is that it is a bit hardwired in to my head that when I do changes, even small ones, I almost certainly will have to redo lots of layout work. This is what I still to this day have to face with Finale, even after spending so many years working with it. So adding extra cue staves like this and not have to worry is extremely relieving.

A moment of joy. Almost unbelievable.
by LAE
Mon Mar 20, 2017 7:13 pm
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Re: Tramlines

You guys have created such a wonderful program. I understand that it will take some time to cover some areas. But once again thank you. It is still the best notation program I have used and it will just get better. Love it! (having been with Sibelius for all my life).
by wessel_van_rensburg
Fri Mar 24, 2017 3:13 pm
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Re: Deeper into Exp Maps - Sordino + Spiccatto

Almost all sample libraries have immanent deficiencies, most notable in the cheap ones is the lack of round-robins, and the fact that articulations are not level matched within the same instrument, and worse still, not level matched between different instruments. In order to approach even a remote degree of realism in playback, extensive level matching of instruments is a required and time consuming operation. (As both Thomas Bergersen and Arne Wallander (of Noterperformer) have stated in interviews well worth reading.)

Amen! I've found several libraries that require low level edits to 'fix' these instruments; and, some players/libraries don't have a way for the user to dig into patches/presets to make such adjustments. I.E. Sonic SE only lets us tweak what's given in the macro page, and on the 8 Quick Controls, while Halion 6 lets us dig deep into the patch and alter every single sample and parameter, either hard-set, or via real time automation to our liking. I.E. While ARIA doesn't give this control for Garritan Instruments, we can at least pull up the sfz files and make tweaks there (even inject new CC controls and such for custom automation, which could then be driven by the expression maps in real time).

The great thing about NotePerformer is that it takes this approach many steps further. It contains a full (and growing) set of level matched instruments, and it will determine and transmit technique changes based on the musical context. It may not always top dedicated sample libraries timbrewise , but in terms of pure musicality , this is nearly always compensated for by superb phrasing.

As has been stated many times on this forum and elsewhere, Dorico is not yet in a state of playback that will allow a port of Noteperformer. Personally, I hope that Dorico will prioritize development of the audio engine so that this becomes possible soon...

No argument on the quality and efficiency of Note Performer. Please don't take my Halion Hype as an attempt to be condescending about NP. There is little doubt in my mind that they can begin releasing very nice versions of NP for Dorico in a relatively short time-frame if that is a goal. I do not agree that Dorico's playback engine is 'not yet' in a state to work with NP. For dynamics and phrasing, it simply boils down to well designed instruments that get things like interpretation of note velocity, and subtle dynamic and filter changes as notes go higher or lower right, and that part of NP is already done, no matter what sequencer plays it back. To manage the library (call up presets), it'll use similar, if not the same VST protocols as Halion Sonic. Furthermore, if NP really does live internal analysis of what is coming into the MIDI buffers (up to one second latency for this purpose I understand) to make interpretive decisions (instead of relying on soundsets/filters/maps from the DAW to send the right instructions), then it would not need very complex expression maps from Dorico at all...

From what I can surmise, with the exception of fancy groove engines, the Dorico dynamic interpretation (velocity or CC dynamic control), and expression map system is already very close, if not surpassing that of Sibelius, and NP works in that. What little may be lacking to 'maximize' NP's possibilities, I suspect is merely missing in the current Dorico UI for building/altering expression maps, but not deeper down in the actual playback engine. Case in point, we can already open up a Dorico expressionmap, or an exported library of them in an xml or text editor and see quite a few tags that aren't yet available in the UI. While I wouldn't recommend messing with/relying on them in a text editor just yet (they are subject to change since they're not yet documented and in the UI), the current state of Dorico's readiness for a good NP experience should not be underestimated given the right information about Dorico from its developers.

Sorry to drone on with the techno babble, and many apologies if my excitement about how far Dorico has come in such a short time comes across as being pushy, disrespectful, or rude-condescending. I'm just excited about the potential I see in Dorico and Halion for a superb polish in future releases, so my real point for the 'here and now' is: I've just found that there are already some methods to get much better solo strings (at least in my opinion) out of Dorico using only the bits that come with Dorico (no third party plugins/libraries required). It's not the default setup, and at first there are a number of manual steps to change things around, but it doesn't have to be this way as future versions of Dorico get released (they can always select a different set of default string sounds from existing content, or even include brand new ones).

I also have a theory that the solo strings in HSO can be improved a bit as well. Right off the bat I find that removing the legato keyswitch from the expression map is better to my ear (Currently Dorico's default string map calls up a 'slow legato' sample with a key-switch on the 'legato' technique [all the slurred notes in the score], and it's not a smooth transition from the faster bowing sample that's used as the 'natural' technique). I think we might can at least make them blend better, and have a nice smooth legato interpretation with some alternative presets (Those of us with H6 can dig in and reshape every detail in the preset, and when SE 3 is released, such presets should be possible to share with fellow Dorico/Sonic SE users).

As part of this 'user community', given a little more time to test things (If things I've tried so far can load in the current version of SE...right now I'm not in a position to stop projects and run such tests), I hope to offer some alternative Halion presets and expression maps here in the forums that'll make things easier for someone who doesn't want to spend a bunch of time making their own. I might just have to wait until Sonic SE 3 is available...not sure yet.

The Steinberg Halion engine is very capable of giving Dorico Users an impressive 'out of the box' orchestral playback experience. It just doesn't seem as high on the priority list for the dev team as getting the scoring and engraving stuff where it needs to be, and getting the core audio engine elements into place (Complete and responsive Mixer, Play Tab options, etc.). It's also only fair to give the new English guys some time to really learn the foundational audio engine that may have largely been done by German teams some time ago. In time however, I'm confident every detail will get its deserved attention :)

Already many years ago, Finale's Human Playback system introduced a feature where related articulations were governed by HP and didn't have to be explicitly entered in the score (as long as they are defined in the preferences) Whether to send the Key Switch for sustain or détaché is conrolled (deducted) by the note duration. (And who would want to put "spiccato" in an instrumental part when it's completely obvious...?) See attachment.

Already, right now, Dorico can do this sort of thing to some degree (perhaps not based on note duration or tempo yet [never knew until now Finale could do this], but that should be in the pipeline). Instead of opening "Human Playback" and creating a 'filter', we go to the Play Tab, and open the Expression Map to create a 'technique'. I can let Dorico Know that I want notes with legato(slur).staccato to play back as martele, and legato.tenuto to be portato, etc. In time, I believe we'll also get access to add 'custom' sticky techniques, so it'll be easy to change the 'exclusion group' and thus our default score translations easily, and on the fly (I.E. change that legato.staccato translation into sautille instead of martele right in the middle of a score, simply by dropping in a single technique (and hiding it if we don't want it to print out).

I know that in Sibelius, it took me more than 1,000 lines of xml just to teach it translate scores for GPO5's Solo Violin like discussed above (just knowing that dots under slurs should be martele until told otherwise), and it still cannot make decisions based on the tempo or duration of notes, nor can it do simple MIDI channel hops from a soundset, and it's decades old, and beyond version 8.5. So, I've had to rely on custom sticky nodes....uggg...not much hair left. I got sick of having to tag every single note in the score for playback properties, so I just made my Own Soundset with enough booleen logic in the "SwitchType" list to get some auto-interpretation.

I find Dorico's Expression maps are already a bit easier to create and manipulate than Sibelius's soundword, and it's still only on version 1. While Finale gives me easier access to 'build as I compose', the documentation on Human Playback is poor to non-existent (Nothing in any of the manuals explains well how the plugin filtering works). In Dorico, it's already easy and intuitive enough to simply build it up and make adjustments as I compose music (instead of shifting into a programmer's frame of mind, and having to adjust xml, restart/reload, adjust, restart/reload as with Sibelius), and communicate to the Dorico Dev teams on what I can't figure out, or think should be added/changed.

It's pretty exciting to me, how good the core Dorico playback engine already seems to be. We already get more potential dev tools as end users (I.E. We can upgrade Halion to the fully featured version 6, and make our own libraries for Sonic...not so simple with Sibelius Sounds or the Plogue/ARIA Engine [true, we can make sfz instruments for ARIA all day long and load them manually, but if we want Sibelius or Finale to auto-manage them in their score managers as part of a library, we must 'register' such libraries with Plogue...fine if you intend to sell the library, but for single or lab/classroom user purposes it puts a hamper on things]).

When we get the UI tools and user documentation to take advantage of it all, and save our favorite setups as the default, and get features similar to styles and manuscript papers in Sibelius...the Dorico/Halion combo is REALLY going to soar :)
by Brian Roland
Sun Mar 26, 2017 9:37 am
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Report on a large multiflow project. (Long)

Here is a lengthy report about a multi-flow project out in the “real world” using Dorico. It was a pleasure to do it this way. But before I discuss both benefits and issues, I feel I should give some background information first.

Every year since 1999, The Red Deer Symphony invites school children (grades 3 to 5) to sing with a small subset of the orchestra. The program is non-competitive and non invasive and the teachers, who come with various levels of training from virtually none to Master’s degrees, are encouraged to choose their own material. That material is generally music written by composers who specialize in repertoire for children; the quality is variable: anything from the latest pop tune to much more challenging short opuses by Bob Chilcott. We don’t really care either way; they can sing well, or badly; sing good music or bad music: we just want them to participate and the program is very popular.

For this, I get to orchestrate these ditties for the forces we make available to the children, namely: 1111 0100 and a small group of 7 strings. It is a separate contract, as this is not “Music Director’s work” and we want to make sure the project remains after I’m gone, since we would be likely to farm out the orchestration at that point. Doing this on Sibelius was just fine, but certain things were a bit more frustrating, especially when it came time to edit and print up to 41 of these mini-charts (38 this year, which is the average).

On the face of it, Dorico is ideal for this project as I was able to create two single files containing 22 pieces for May 1 and 17 pieces for May 8. As I have finished the May 1 book. I thought I’d share some of the advantages of this approach, which is unique to Dorico, as well as some of the remaining “opportunities” which should be addressed in the future.


1. For the first time, the musicians will play from a binder with everything in order. Previously, I didn’t have time to put all parts in order and create Tacet sheets. The musicians put their own music in order as per instruction at the rehearsal. The book will be most welcome.

2. Putting that binder in order was easy. We have a school order and I asked the teachers to give me the order of the two pieces they will perform. Flipping tabs around to reorder flows as that information became available while I orchestrated was a remarkable luxury.

3. Having the whole project available at once, instead of searching and opening from a choice of 22 files, I had everything in front of me. Sometimes, as one orchestrates, we can suddenly be prompted to remember something we wish we had done in a previous chart, so having it readily available instead of maybe forgetting to do it later by opening another file was far more convenient than I would have ever thought.

4. Engraving consistency is much easier to accomplish.

5. The ability to edit and print the parts for all pieces at once is an enormous time-saver. The books are published double-sided and all I really had to do was remake a few frames and insert blank pages to facilitate page-turns. Editing parts for that book took me less than 30 minutes, and that was with the tacet situation and the formatting bug mentioned below. The cello will have one three page fold-out and the bass will have two of those. Those are the only bits of fancy taping I’ll have to do!


1. Adding flows and flipping flows takes a long time.

2. This is a known issue, but I had to make my own tacet sheets since that feature is not presently working when removing a player from a flow. I made a Master Tacet sheet and inserted it where needed once the order was confirmed. Looks like this:
Trumpet - Tacet.png

3. I have flagged a bug, which is now being looked at, about the formatting of frames (even by inserting blank pages) damaging the formatting elsewhere in the layout. 95% of the time, switching layouts back and forth would fix the issue, but sometimes a problem would “stick” and I would have to fix the odd collision manually. Looking at everything carefully in print mode is key here.

4. In searching for my files in Sibelius, a normal Windows search works well since the title of the piece is also the filename. Moreover, Windows will “see” composers, lyrics and other text embedded in the files. I tested this with Dorico, and the text content of Dorico’s files is encrypted in such a way as to not be visible to a Windows search. This is unfortunate because I have been doing this project for 18 years and have well over 500 of these mini-charts as a result. Every time a piece is given to me by a teacher, I search to see if I have orchestrated it before, since there are always four of five of those “repeats” every season. I’m not too sure what solution I can apply here, but I’ll think of something …

5. Navigating between such a large number flows without a “Go to” command can be a bit of a pain.

6. In Engrave Mode, since the default first pages do not have page numbers on them, inserting a blank page can be a bit frustrating when there is a large number of single page flows side by side. That is because there is really no way of knowing which page you are on unless you start counting page numbers from the first available page that has a page number on it.

7. Exporting a single flow to audio doesn’t seem to work, even when the play line is at the beginning of a flow. It insists in exporting the whooooole thing. Creating a focus flow for exporting audio solved that, but I feel I’m missing something …

8. This is nothing to do with the program, but I went a bit overboard with backups since having all of that work within a single file makes one a bit more paranoid about losing all of the work at once.

9. Similarly, but this time something Dorico should fix, there is no warning when deleting a player from a flow, even when that player might actually have some music. Deleting by mistake would delete that music. Automatic backup is great, but when dealing with such large projects the realization that something of the sort might have occurred may come too late for the auto-backups to be useful.

That is it. But on the whole, this is absolutely the way to go. There is no way I will revert to my previous software to do this project. Kudos to the team for implementing such intelligent features.
by Claude Lapalme
Tue Mar 28, 2017 5:03 pm
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Re: Audio Engine Timeout

Just as a final follow up. In the meantime I had an extensive exchange with user Vilnai via private mail, where we finally nailed down the problem. Actually it turned out to be a bug in the audio engine that only happens when running the computer for longer than (around) 3 months without rebooting.
It was pretty tough getting to the ground of it, we had to look at so many spin dumps and log files. But the effort was worth it, as now every Dorico user will benefit from the outcome. Needless to say that a fix for this will appear in the next Dorico update.
In the meantime, the workaround is to reboot the machine; that's enough, as the next update will definitely come within the next 3 months.
Many thanks to user Vilnai for reporting this issue and his relentless effort of providing spin dumps and feedback.
by Ulf
Fri Mar 31, 2017 7:45 am
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Post-mortem on my first professional project with Dorico

The project in question was creating a string quartet arrangement of a pop song to be used at a friend-of-a-friend's wedding. After many months since Dorico's release (I bought it the day it came out), and knowing full-well it would take no time at all to do the music with Finale (which I've used since version 2.1 or something like that ca. 1994), I decided to bit the bullet and stubbornly use Dorico and figure it out while doing the project.

This is the first music notation project in which I did not use Finale in any way, shape, or form.

The music was completed and sent to the client a little while ago, and I must say, it looks gorgeous on the page. But for me having used Finale almost exclusively (hardly ever touched Sibelius even during Daniel's-and-company's time, today using Dorico for the first time was a foray into a different universe where almost nothing I know from Finale really had a place and use.

This is the first project since 2001 in which I did not use a MIDI keyboard for input. Half the time, I used QWERTY entry, and I know very well once I get the hang of it, it will probably be my go-to method of note-entry over even my MIDI keyboard. That is saying something.

Having the functionality of Write Mode separated by a click (need to learn the hotkeys) from that of Engrave is something I will need to get used to. With Finale, it's very easy to just click on the pointer icon to move stuff around, but then again, it's just one click to get to Engrave mode.

I did not do dynamics that much, but the way one can do fp and other things like it with Dorico is nothing short of magical.

My bane was frames - a concept wholly unknown to me in Finale. Specifically, the failure of the viola part to let me put all systems into the first page. One lone system on page two... The other parts cooperated fine, and I will send an email to Daniel (if that's all-right with him) with the file in question as I know I did something to the viola part's framing to disable that ability to bring that last system onto the first page where it would have been able to fit.

One thing I was very grateful for (among many) with Dorico is how well-behaved staff systems seem to be. Sometimes even with the latest version of Finale, I will space systems evenly with one or more pages at the back of a score or part clumping up against each other. Additionally with some files, I have to adjust system borders system by system to make absolutely sure there are no collisions. Maybe there's something with Finale's functioning I'm missing, but cosmetic work can sometimes take as long as music-entry.

Even with my inexperience and quirks with the program, I enjoyed using Dorico immensely. I am convinced if the Dorico team is allowed to keep at its present course and trajectory with Dorico's development (wonderful name, btw), Dorico will de-throne the old war-horse Finale as my go-to music notation software solution for my professional and other music notation work.

Bravo, Daniel and crew, and bravo to Yamaha for allowing all this to come to pass.
by jeffrags
Sat Apr 08, 2017 6:20 am
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Re: Should I Cross grade to Dorico?

I was a little leery too. I used the trial and was a little troubled because I was having difficulty accomplishing my goals, however as I look back this was much, much more a "me" issue than a program issue. I simply didn't know how to accomplish my goals within a totally different framework.

I'm so used to pressing a button for one-click functionality of certain things... Dorico is more powerful than it looks on the surface level but certain things just have to be worked differently until those one-press features are fully baked in. To be clear, I do not think that the lack of one-press features for complicated functions is necessarily a bad thing. It is simply different. There are other very complicated things that Dorico makes very easy that are a royal pain in other programs.

Getting mad at the Dorico team is a little like being mad at Toyota because they don't offer Fords features yet. Yes, more things need to be baked in as certain features are "standard," but they have also released two (three?) maintenance upgrades in a few short months since their initial release and each one has made the program both better and more expansive. They have publicly expressed their intent to continue this trend insofar as is reasonable.

I've since purchased the crossgrade and I do not regret it in the slightest (especially knowing a few more maintenance updates are on the way). I have produced a very satisfactory piano/vocal score. It is not "perfect-perfect" but it is very, very nice. The default output of this program is miles ahead of Sibelius. I was having some major spacing issues (accidentals-UGH!) in Sibelius and things just "look right" in Dorico. While I may not have some of the features to adjust individual notes just as I want yet, I know it's coming and the Dorico version still looks better than the Sibelius even after some heavy tweaking in Sibelius.

I think the real genius of Dorico (which has yet to show its full potential) is the engine behind how it "thinks" about music. This is so much more profound (think the Bach multi-voice examples Daniel has shown before, or its ability to intelligently and properly render the same musical data in a totally different time signature!) that once all of the other specific features are added in, Dorico will be awfully hard to beat. You cant expect a new program to compete with something nearing 3 decades old. At least not out of the gate. And yet Dorico still is very close to doing just that. These engineers seriously deserve a pat on the back. Music is SO COMPLEX. They have done an awfully good job.

I disagree with those that say that this is not ready to be considered a "professional" program. Some on the forum have posted about professional work they have already done. There is one particularly impressive post by someone who arranged over 20 charts into one file as individual flows and printed all the parts for a reduced orchestra. He was able to provide a reduced ensemble full scores and parts in a quick and professional manner, all managed by the genius of Dorico. He admits the process wasn't perfect (no one claims Dorico is perfect yet) but was great nonetheless.

I am wholly in the Dorico camp now and am very excited to see what comes. Features like the page layout options, text and music frames (with professional typography controls!) are things that I will never want to go without again!
by Romanos401
Thu Apr 06, 2017 9:49 pm
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Why not!

These brand new arrangements are going to the Winnipeg Symphony and the Toronto Symphony respectively. Thought I'd use that copyright token a bit differently. Hope I'm not breaking any rules!


by Claude Lapalme
Tue Apr 18, 2017 10:12 pm
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Re: Change PDF export filename

Bash is pretty awful for handling files with spaces in. It's much easier to do in Python, Ruby or something else. Try the attached script (note: it won't change anything on your file system unless you uncomment the last line, and please try it on a copy of your data directory first!)

import os
import sys
import glob

if len(sys.argv)!=2:
print("Usage: <path>")


for file in glob.glob("**/*pdf"):
newName=file.replace(" ","_")
print(file + " -> " + newName)
# uncomment this line to rename
#os.rename(file, newName)
by PaulWalmsley
Tue Apr 25, 2017 9:43 am
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I am seeing the big picture..

I felt compelled to write this tread as I have now been working with Dorico since January 2017, working on full orchestral scores, piano reductions, choir scores etc, so I really have been putting it through its paces, and for as much as I have had questions over these last 3 months, I truly want to say that there are some genius concepts being built into this new software program and I can definitely 'SEE' and 'SENSE' the bigger picture Dorico is going after on its horizon.

Just to mention a few of my favorites:

1. Forced lock - which saves you buckets of time as it allows you to keep all the rhythm and articulation decisions you have made when you need to rely on them again but transcribed and so you simply just type in the new pitches and it will retain all other information. If you have not discovered this yet, I strongly urge you to learn this feature.

2. The copy and pasting of dynamics globally across as score - for if and when you change your mind, you only have to type your decision once and then Dorico will change it in the other parts that reflected that same dynamic pattern. Such a time saver!!

3. I love that you can fully customize so many aspect of your LOOK and FELL of your score which can to be retained as custom defaults for new projects.

4. Whilst I haven't fully utilized the FLOW component of its design, I can definitely see how I will utilize this more in future projects.

So I am fully on board and will watch with great anticipation this program going from strength to strength.

I want to thank the team for providing us with an alternative answer to music notation and being so innovative with its concepts and design. It has been a refreshing journey and I look forward to being a recipient of its 'master plan' over the months/years to come.
by amanda_film+music
Fri Apr 28, 2017 5:08 am
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Great Feature

To the team at Dorico.
Thank you! I was commissioned to write a piece for a festival which I did in Dorico (the only thing I missed was an 'explode function). The organisers decided to expand the participants and wanted to include intermediate and junior groups to the performance. I was able to create separate layouts for each group, each with its own formatting within the master file. I could open two windows and have different scores showing in each and easily copy between them. It was slow at first until I manually turned off the Halion playback then zipped along. Each ensemble now has its own score and parts to rehearse while the main score has everything for the performance. Absolutely brilliant.

Just as a note when I was extracting the parts to PDF I had to do it in small numbers, perhaps 5-8 at a time or Dorico froze and I had to force quit and try again.

Great software and love where it's going, all with genuine and caring support.
Thanks all.

(Please can we have 'explode'!?)
by Davetoria
Thu May 04, 2017 9:59 am
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Discover version


You guys don't do things by halves do you? I was gob-smacked at the new version. Ok, it hasn't got drum-mapping in it or Da Capo / D.S, but the chords implementation blew me away. I have no idea what 'Nashville' type chording is (looks like a 'floating Do system') but it certainly looks comprehensive. The Midi implementation of shortcuts and also midi out for playback.......phew! No wonder things are taking time. The different page sizing within the same project (for marching band 'lyres', again just brilliant. I hope sales are reflecting on where Dorico could be / go in a couple of years, because so much of it is, is really bang on for me. Import and Export of Flows, means getting an initial idea down when the muse strikes and the tinkering with it later in the same or different Projects is easy.

I must say hats off to the team for the 'Discover Dorico' videos as they are almost like a collection of private lessons which have been crystallised down to making each session jam-packed full of tips and real-life solutions to problems.
by althemusicwizard
Fri May 26, 2017 9:10 am
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