This isn’t the behaviour that I would expect, so be careful relying too much on turning this option off/on. It’s not really intended for regularly switching on/off for the same layout – it’s kind of a fundamental difference in how you want to approach managing vertical spacing for the whole layout.
We know that some users would prefer spacing in general to work differently, so we’re well aware of the request.
I do agree that Avoid Collision and Hide should be properties of every object (ultimately).
Yes, indeed.
I tested it. WITH Collision Avoidance turned off, you can add rehearsal markers, text, or other elements without affecting the spacing, and it stays in place after moving them manually even when you turn it back on. I already set up an a key command using Keyboard Maestro to toggle Collision Avoidance. It works perfectly.
I would still like it to have a vertical spacing lock for any staff and element, just like in a real layout program. That would make it perfect.
Dorico already allows you to lock the number of measures per system with system break signposts, so why not add a vertical lock? Maybe someday?!
I feel your pain, Thomas, and, like me, I suspect you’re impressed with Dorico overall. The biggest learning curve for me has been changing my entire workflow with regard to manual positioning.
I’ve worked mostly for publishers for the last 30 years or so, and it’s been difficult to resist tweaking things—even on a first proof—so editors won’t complain. The problem is that, when music is subsequently added or changed on a later proof, a manual adjustment can sometimes create a new collision or other engraving issue elsewhere. If I fail to notice it and the editor does, it can reflect poorly on me and cause the editor to question my skills.
Editors generally want to check the things they have changed, not recheck the entire score from the beginning. If they discover a new problem in an area that was previously correct, they then have to go back and proofread everything again, which is understandably frustrating for them and looks bad for me. In that respect, notation software that tries to do a great deal of the engraving automatically—like Dorico—can actually produce problems that didn’t exist on an earlier proof if manual positioning has been used and the music later changes.
Over time, though, I’ve learned to understand Dorico’s automatic behavior and use it to my advantage. I’m now able to avoid much of that manual positioning while still producing work that editors are happy with. Thankfully, my clients seem very pleased with the engravings I’m producing for print publication.
So, stay the course and have faith that a great deal of thought has gone into Dorico’s design. It does get easier, AND your frustration is valid.
I agree with everything you write. When I drive my car, I enjoy the automatic transmission—in fact, I love it most of the time. But occasionally I like to select the gear manually, especially when going downhill. My car makes this easy, and Dorico should too.
The workaround I found helps for now, but a lock for items, staves, and an entire page seems like a simple thing to implement, and it would be much appreciated by people who need this kind of control.
Let’s leave it there.
I, too, add my vote for a way to lock everything, selected, so no further interference from Dorico occurs. I got it the way I want it so leave it alone seems reasonable enough.