Burrrrrrrrrrrnnnnnn!! 
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Better that, I suppose, than vestigial applications.
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I expected no less from @dspreadbury !
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There are some aspects of Dorico which can be off-putting to the beginner (and even to the accomplished user).
For instance, something like having the staves not justify at the end of the page by default and the way it needs to be set up in the layout options always confused me. I wish there was just one button that said āadjust staves to cover all pageā (or something similar with simple language), and it would be turned on by default on new projects if so desired. This is an example for something I did struggle as a beginner (generally vertical spacing is quite confusing because itās laid out in a very technical way).
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Btw. There is a āSave as defaultā in the Layout Options dialog. So you can have your settings in new projects applied automatically.
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Apart from missing notational features and the lua api, I would be very interested in a good audio to notation transcription system (a ārevolutionaryā good one, including timing issues due to rubato, micro-intervals, etcā¦)
AI boosted ?
Yan
Hmm.
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I think maybe what @RZDorico meant was āsimilar to Alan Silvestriā.
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Hello dear Dorico team and colleagues,
The personal wishlist of mine, for Dorico 6, includes the following:
- Arranger/Orchestrator Tool
- A tool that will allow us to easily re-arrange, or re-orchestrate a musical piece. It should work by selected group of instruments, or selected full orchestra section.
- Re-ordering the musical material by copying/cutting - pasting, and then fixing the instrument range takes time. Having a straightforward tool would be great.
- Generate Notes from Chord Symbols in Selection is a good starting point for feature Iām asking for. It already has some of the needed features.
- Ability to use Divisimate.
- This will make the orchestration process faster for those of us who are imputing notes through the MIDI Keyboard controllers.
- It offers the possibility to save our favorite instrument combinations as Presets.
- More info about Divismate 2.0
https://www.youtube.com/watch?v=-xkenDWQlHg
- Control Room in the mixer, like in Cubase.
- Would be nice to have the Control Room in the Doricoās mixer, in order to insert room correction plugins, without affecting the exported audio.
- Audio Tracks/Stems import
- This is a long time feature request.
- Grid Lines and X/Y Rulers in Engrave Mode
- Similar to Affinity Publisher:
Best regards,
Thurisaz
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In my opinion, the low adoption of Dorico in the film industry (compared to Sibelius) comes down to practicality. Dorico is still lagging in terms of flexibility and reliability. Just to give you two examples:
ā¢ Itās very easy to damage your formatting by adding or removing a blank page, etc.
ā¢ When switching from divisi a2 to a3, Dorico will not display the third voice unless the divisi change starts a new system.
Doricoās development has focused heavily on the playback engine, which is amazing for many users, but it has no application in the film world. As a result, the notation side is still incomplete in many areas, requiring time-consuming workarounds.
One of Doricoās main strengthsāthe semantic approach to handling notationāis also its bottleneck.
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Donāt forget how slowly the industry moves: just yesterday a colleague was grumbling about a team in the US sending (extracted) Finale parts that were transposed via Staff Styles - a way of working that ought to have been outlawed decades ago.
People in film music need to know their software inside-out, and are always working under pressure. I canāt think of a better thing that Steinberg could do for user adoption than enabling Cubase to save Dorico files directly, and theyāve just done that.
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More likely unwillingness to change I think.
Itās very easy to damage your formatting by adding or removing a blank page, etc.
Because this is Sibelius thinking, not Dorico which frankly is a better workflow of top down rather than bottom up. Get the music nailed down and the large structure - such as blank pages, before doing any detailed formatting.
More non Dorico thinking. Systems are logical groupings of musical data, if you need a new one for some reason, then start a new one.
Doricoās development has focused heavily on the playback engine, which is amazing for many users, but it has no application in the film world
Film composers donāt have to provide temps or WIP auditions?
One of Doricoās main strengthsāthe semantic approach to handling notationāis also its bottleneck.
Only if you donāt understand and use it. Form follows function.
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Letās not be so quick to leap on @SugarFree here. The points that he raises are certainly valid: adding custom pages to existing layouts can cause knock-on consequences to later pages in the same layout, and itās true that you cannot change divisi more than once in the same system.
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In fact this is not a āwrong thinkingā issue but actually a really big problem of implementation of the divisi functionality as discussed in this thread.
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If I understand that thread, so thereās a solution of using the system break as I indicated, but for you if under time pressure thatās not optimal, youād prefer a different approach? Personally I donāt see that as a big problem of implementation , thatās what system breaks are for and is how Dorico is designed to work, but I understand your situation.
I work in the film industry, albeit moreso on indie films where there is rarely if ever a budget for recording a live orchestra. Therefore I (and many composers I know) do have to rely on good quality mockups, at the very least to present to filmmakers, or at times to prepare something which can be brought into a DAW for mixing under a tight deadline. Even at higher budget levels where they might be hiring a live orchestra, the demand and expectation for quality (as-close-to-realistic) mockups has ony increased.
To be fair I donāt work in Hollywood or the large internal scoring circles, so I am sure in many ways you are correct. I just wanted to offer my perspective that mockups are expected to sound great with the clients and directors Iāve worked with ā if I sent them a purely NotePerformer / Halion raw synthetic orchestral mockup many producers sadly cannot see past this and often get hung up such things (āWhy does it sound so synthetic?ā etc), so I always try to present the best sounding product I can as quickly as possible, that also inspires them and reduces feedback (lol), which Dorico enables me to do (unlike many media composers who use DAWs for final quality mockups, I at least prefer to start in notation as I can work much faster and more musically that way).
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System breaks are only a halfway viable solution. If you change divisi configuration on a bar by bar basis you would need to system break after each bar to make all divisi appear, which is definitely not desired. The solution needed is that Dorico does not simply disregard if within a system the number of divisi splits is increased.
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Reminds me of the (in) famous cautionary key sig issue. The right (Dorico design intended) way to deal with it was by breaking into flows. That was fine, it worked, but it was a bit of a pain depending on people were working. The thing was though that it never went away, so eventually we got a property to manually hide them. Not philosophically design correct, but it never went away as being an issue, so we got the prop.
Iām not sure divisi breaks rises to that level, seems like one of many more specialized āby design but not always convenientā but who knows ā¦
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I work in games which is much like film, and for indies, VST output is The Way (often too for AA/AAA). Also given team sizes and budget, Dorico is essential for taking the heavy lifting of MIDI management off our shoulders. The more is done for playback the better! The humanizing has been a huge help in reducing MIDI editing, Iād love to see some rubato humanizing added to that. It, plus the line shaping and polyphonic covers much of the touchup work.
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I bet! Between indie films and games, as you have probably found as well, budgets are going down while expectations of quality are (ironically and disproportionately) going up. I would love it if for every project I work on I can convince them to hire a full orchestra recorded in a beautiful room, but Iād be lucky for most jobs if I can even rent a small studio to record a tiny chamber ensembleā¦ and yet like most clients, they would wonder why that tiny ensemble doesnāt sound like a 100-person orchestra 
Yes! One of the only things I miss writing in a DAW sometimes is the ability to easily stretch a individual part āoff the gridā for expressive purposes. I would absolutely love to be able to take a soloist line and have them play in a rubato style against the orchestra (rather than as it currently stands, automating tempo will affect the entire orchestra). To me this would be a dream to be able to easily pull and stretch the timing of parts in very expressive ways (which is usually how I interpret and play a lot of melodies myself).
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