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Re: 2 question about the midi editor

Sure...

Example:

In Cubase I have all VSL-Libraries set up in a similar way. Every instrument (beside the percussion instruments) have a similar structure of matrices where all cells are set up in a similar way.
ie. in every instrument cell 1 / matrix 1 has a staccato sound.

The corresponding Universal Xmap contains 180 entries.

At some points in a track I would need additional switches/controller-switches to reset the round robin, to switch on/off the human playback or to set the slot X-Fader to a defined amount.

These events should be triggered parallel to the given articulation event. An indipendent layer 5 would do the job.

To program an Xmap which covers all needed controllers and articulation would contain 1980 (and more, I am not quite finished setting things up ;) )entries.
Using a independent 5th layer it would be only 180 + 11.
by Wizzarts
Sat Jun 04, 2016 10:27 pm
 
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Re: 2 question about the midi editor


You talk about the 4 layers that you have in your Expression Map. It may be in Dorico that this could map to less than 4. Can you give some examples, or a screenshot that shows some typical combinations?

Daniel already has a PDF that describes the freaky way I am using Xmaps.

Example:

VSL - Cornet

layer 1: staccato
layer 2: slur
layer 3: senza vibrato (text)
layer 4: baroque (text)

Result: stacc, slur and senza vibrato trigger a cell that contains a sustain sound nv with a attack of 14ms and a shortened release of 42. The baroque sets the slot cross-fader to 28 percent of section B which actually contains a softened staccato to make notes a bit more notable.

Humanizing is not involved but controlled by a CC27 lane. I would love to control this with a independent layer 5 :)
by Wizzarts
Mon Jun 06, 2016 11:15 am
 
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Re: Plugins?

thanks for your quick answer
we wish you a tremendous success with Dorico !
by François 1
Mon Jun 06, 2016 2:06 pm
 
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Re: Plugins?

Paul, Hans and all,

A couple of years ago, based on an implementation by LA orchestrator Tim Davies using the TouchOSC iPad app, a colleague and I built an expanded control surface for Finale using the LEMUR app on iPad:

http://www.rpmseattle.com/Lemur-Finale-Interface-iPad.png

The LEMUR control surface can communicate via either MIDI or the OSC (OpenSoundControl) protocol.
http://opensoundcontrol.org/introduction-osc

Neither Finale or Sibelius support direct handling of menu selection or other application control in this way, so the control surface works through the third party macro program Keyboard Maestro to run sequences of events "live" in Finale (formerly via Quickeys).

In the DAW world, some applications which support software control surfaces have implemented OSC for direct access while others are using their own proprietary i/o technology. (e.g. software based control surfaces vs hardware remotes).

A brief internet search for "OSC+LUA" turns up what appears to be a number of OpenSoundControl bindings for Lua. I'm not sure how useful the existing open source bindings would be, but the OpenSoundControl protocol seems to offer high resolution and a rich parameter space for anyone who might be interested in digging more into this.
by rpmseattle
Mon Jun 20, 2016 8:40 pm
 
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Re: Plugins?

This also interests me greatly. Here's a video discussing the application of Lemur control in Cubase using Project Logical Editor macros. This is a good example of what can be accomplished with good bidirectional communication between the controller and the app. In this case everything is Midi based, but Osc would obviously also work well.

https://www.youtube.com/watch?v=hvvx7KWTakM
by dbudde
Mon Jun 20, 2016 10:19 pm
 
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Re: Multiple Instruments = One Staff?

Paul,

Thanks! That's all brilliant, truly. As long as you guys are aware of how folks are trying to use it this way, I trust you guys to make good calls. And I realize its a very dynamic and layered problem, so I'm not sure any kind of ideal solutions are obvious. But still, great to hear it's already most of the way to solving the things I care about most.

That was the last thing I needed to know to put my wallet into this. You've sold me now! :)

-Sean
by scoredfilms
Fri Jun 24, 2016 5:11 pm
 
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Re: Integration with Cubase

I must comment again about the dev team's communication skill and readiness to be candid. How many other developers frankly discuss the limitations of the technology in a program about to be marketed? Few. This kind of communication bodes extremely well for future development, and also the tone of forum discussions.

So thanks Paul, for being real, not marketing. :D
by SteveInChicago
Thu Oct 06, 2016 4:21 pm
 
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Re: Such elegance and simplicity!

Absolutely.

I am Australian and there is a rock in our country called Uluru. See a picture at
http://cache-graphicslib.viator.com/graphicslib/thumbs674x446/6762/SITours/uluru-and-kata-tjuta-experience-with-bbq-dinner-in-ayers-rock-271686.jpg
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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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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To The Team

Daniel and the team-

I have used both Finale and Sibelius for many years.

This last week I decided to just tackle entering an existing project from scratch just to figure out Dorico. The first couple of hours I was infuriated (and ready for a refund). The second couple of hours I started to get it. And by the third couple of hours I realized I was entering notes so much faster using just the keyboard than I ever did on either of the other programs and getting very good results without tweaking.

Dorico is the prodigy child of notation software. It is not an adult. It is missing much life experience.

As both a musician and a software engineer, I get the foundation and I have faith it is going to get there.

Looking forward to the future updates.

Jim
San Francisco, CA
by jimbosf
Wed Nov 02, 2016 9:03 am
 
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Happy 40th Birthday Daniel!

I'm sure you'll join me in wishing Daniel a very happy 40th birthday today.

Hopefully he'll be enjoying the day and not be on the forum! ;)
by Ben at Steinberg
Sat Nov 05, 2016 9:02 am
 
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Re: Waves Nx effect plug-in

I already left a thank you using the thumbs up icon but think that you, Daniel, and Paul (who are most heard on this forum) and other members of the Dorico team working behind the scenes deserve more - you guys are the best!
by Mike 999
Tue Jan 17, 2017 9:59 am
 
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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.

Robby
by Robby Poole
Tue Jan 31, 2017 5:58 am
 
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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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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:
/Applications/Dorico.app/Contents/Applications/VSTAudioEngine.app/Contents/Components/vst2whitelist.txt

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
565354474152416172696120706C6179
ARIA Player VST Multi
565354474152616172696120706C6179


For Windows enter:

ARIA Player VST_x64
565354474152416172696120706C6179
ARIA Player Multi VST_x64
565354474152616172696120706C6179


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.
https://s6.postimg.org/tazg3yky5/whitelist1.png

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:
https://s6.postimg.org/gkv7qvczx/ariaindorico.png

At this point you'll hopefully see the beginnings of a score get created like so:
https://s6.postimg.org/rlqcvw58t/ariaindorico2.png

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.

https://s6.postimg.org/lnh4zebnx/ariaindorico3.png
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):
https://s6.postimg.org/41dv8csy5/ariaindorico14.png

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.
https://s6.postimg.org/ijb2gck99/ariaindorico13.png

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).
https://s6.postimg.org/ijb2gck99/ariaindorico13.png

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.
https://s6.postimg.org/8klig4lfx/ariaindorico4.png

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.
https://s6.postimg.org/wpm7xu5ql/ariaindorico5.png

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.
https://s6.postimg.org/kc9dqxg25/ariaindorico6.png

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..."
https://s6.postimg.org/unlqjl7rh/ariaindorico7.png

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.
https://s6.postimg.org/mjdmeulcd/ariaindorico8.png

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').
https://s6.postimg.org/o0z2qeq31/ariaindorico9.png

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).
https://s6.postimg.org/ss3jm68b1/ariaindorico10.png

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.
https://s6.postimg.org/9x37i0ivh/ariaindorico11.png

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.
https://s6.postimg.org/qm98ro4ul/ariaindorico12.png

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).
"Pizzicato"

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 this...........so 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.
Schubert-SQ15-Scherzo-inc.GPO5.zip

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,

Michael
by Michaelb
Thu Mar 02, 2017 8:29 pm
 
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Re: Regarding Playback ...

P.S.

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)...zero 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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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: Notes in EWQL Play never stop sounding (OT?)

Thanks Paul and Daniel. You and other members of the Dorico team continue to amaze me! I would buy Dorico anyway for the wonderful features and UI you have programmed into it, but even if I was less happy with the program, your dedication to helping users get the most out of Dorico would win me over. We are in the middle of the Easter long weekend but, regardless, I have received two responses each to two different posts over the past 24 hours. I hope you make time for your personal enjoyment, too, and wish you and other members of the Dorico team the happiest of Easter weekends!
by Mike 999
Sun Apr 16, 2017 7:07 am
 
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Re: [Solved] Routing To ARIA Player

Michael - it sounds like you may have encountered one of the current known bugs where the routing is broken for instruments created after you first change an instrument's destination. This is fixed in the next update.
Hello Paul,

Thanks for the info.

It sounds like this next update is going to be another great one and something to look forward to.

Thanks for all your hard work and dedication.

Best wishes.
by Michaelb
Sun Apr 23, 2017 6:49 pm
 
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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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Re: Expression Maps lacking some techniques?

Although we all know Dorico is work in progress, I sometimes feel that Paul is too modest :). for normal, Q&D accomodation of other sample libraries, D. is rather stable and predictable regarding Playback in my experience so far. Spent 20 minutes with a friend this afternoon, who wondered whether the excellent XSAMPLE sound library would work - which uses CC0 rather than key switching for articulation/playing technique changes . Worked without any issues... (mp3 file included as most folks won't have the xsample Kontakt library installed). In addition to the Xmap *A* there are modifications to the Playback Options.
by fratveno
Sat May 20, 2017 5:47 pm
 
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Discover Dorico....May25th...new version

WOW!

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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