I don’t think we have any disagreement here. Steinberg has chosen their product strategy. It is not exactly what I would want if the universe revolved around me and I could decide how everything would be in this world. But I’m sure they are making their decisions with good reason. And anything that keeps the business healthy long-term is a good thing for the user base.
One might define the continuum of product integration as something like this:
(A) Two entirely separate products that have nothing in common
(B) Two separate products that at least share some common terminology, plug-ins, documentation style, marketing options etc.
(C) Two separate products that share substantial code behind the scenes
(D) Two separate products that have some tools to make it easy to move projects from one environment to the other
(E) Two separate products that can interoperate seamlessly in real time using a common project file. In this case, each app represents a different persona for what is a single project.
(F) One unified product that can do everything for anybody any time.
Clearly, we are not headed for (F). I’d like to think that some part of (D) will be possible at some point.
one thing which could save hours and hours when working with lyrics is if the text export included an option for showing the underscore or extender line for words/syllables extending beyond one note, though NOT for tied notes where of course it’s undesirable. It doesn’t really matter what token is exported but as things stand, sometimes there seems to be a space and sometimes nothing which means there’s no easy way from the text export to identify where this occurs which is absolutely essential for virtual libraries which can sing back text.
Hey Arthur. One thing I really like Dorico for, is how helpful and polite people (including the one from the Dorico team) are. So why don’t you do us all a favour and move to another place… maybe another program. Or write your own notation software. Absolutely needless how you behave.
I, for example, after working on Finale for 25 years, finally saw in Dorico so many really helpful features and automations that intuitively screamed in me. And it’s very good that the DAW function (though not completely) appeared in the note editor. It’s become very relevant to me as a composer and arranger especially in the last 7 years. And neither Sibelius nor Final have introduced such features in their products (apparently the archaic kernel genome got in the way). Of course it would be great if it was possible to transfer from Dorico to Cubase and back. It will provoke me to switch from Ableton. But it’s important to develop the Dorico product into a complete product for composers and arrangers who write notes first and foremost, not sounds - that’s the disagreement front. I’m more comfortable writing notes and hearing them with instrument libraries, creating quality models for demonstration and beyond. Some people are more comfortable writing the sound at once and then translating it into sheet music. That’s why there are note editors and DAW stations. Not to mention the needs of sheet music engravers, they don’t always need sound virtualization. So Dorico meets the needs of the professional sector of musicians working with sheet music. And thank you for your work in this direction.
In addition to the often-requested scrub playback, I would also love the ability to have a global “tempo wheel” of sorts. By this I mean that you can adjust the playback tempo of everything by a certain percentage, even if there are tempo changes in the music. Right now, we have the ability to change the tempo to a steady metronome mark, but this is not always helpful if there is a change of tempo or a metric modulation. Sibelius and Muse score have such a feature and this would be super helpful. Thank you for the amazing work!
I’d like to see (and don’t think I’ve seen this requested, apologies if it has been) the ability to cue whole 5-line drum kit parts. I’m sure this is entirely un-trivial because of the way Dorico condenses the kit parts onto the 5-line staves. As someone who writes a lot of arrangements in pop styles, a lot of which start with a fill around the kit, it’d be handy to just use the magic cue system you can use for other instruments… (It’d also be amazing the other way, to cue pitched instruments onto 5-line drum staves)
And yes, I’ve worked out ways to do this, but it’d be nice if some D5 magic was sprinkled in this direction…
It is very easy to miss new features when they come out! I try to be good about reading release notes, but completely missed one of my long-term feature requests being filled in 4.1 (color selection choice for out-of-range notes to accommodate for colorblindness!)
FWIW, that feature, as one could expect, came as part of a more comprehensive set of color selection things.
Since my 2 most wanted features for Dorico 5 haven’t been mentioned by anybody (as far as I could tell), they are probably worthless but, what the heck?
possibility of creating configurations in the menu “Manual Staff Visibility”, so that one wouldn’t need to go through every instrument every time a change in the orchestral score is needed, but do it with just one click (months ago I was told of a wonderful workaround, but the real thing would be great).
a “condensed” cue as, for exemple: if 2 flutes are playing in 3rds and are a good cue to clarinets that will entry right after them also in 3rds; or a trumpet section entry to wake up everybody, instead of a solo trumpet line. That sounds more musical.
Besides that, Dorico is the greatest and the team deserves a “bravo”!
One thing that annoys me, as both a Nuendo and Dorico user, is actually the LACK of interdependency of similar functions in both apps. One major example is how differently the key editor behaves and appears in both. I wish the one in Dorico had inherited the fluidity and feature set of the one in Nuendo/Cubase, and it astounds me that the same parent company couldn’t come up with the truly excellent editor in the subsequent app. And I don’t have anything to do with steinberg inner organization. But it was a lost opportunity. Dorico’s editor is slow, clumsy and stripped of important workflow enhancements.
I’m sorry to hear that you find Dorico’s Key Editor clumsy compared to the one in Cubase. It wasn’t practical for us to actually reuse Cubase’s Key Editor because of architectural differences between the two applications, but we have certainly been liberal in borrowing ideas from Cubase, and on the whole I think we’ve got a very practical implementation in Dorico now. But I would be very interested to hear what specific things you find clumsy in Dorico so that we might be able to further improve them in future.
But it’s important to develop the Dorico product into a complete product for composers and arrangers who write notes first and foremost, not sounds - that’s the disagreement front. I’m more comfortable writing notes and hearing them with instrument libraries, creating quality models for demonstration and beyond. Some people are more comfortable writing the sound at once and then translating it into sheet music. That’s why there are note editors and DAW stations. Not to mention the needs of sheet music engravers, they don’t always need sound virtualization. So Dorico meets the needs of the professional sector of musicians working with sheet music. And thank you for your work in this direction. 