Why, when I create an instance of Kontakt for a solo instrument, with only stereo output in Kontakt, Dorico’s mixer gives me a long list of unnecessary, unnamed, and never erased output tracks? How to remove them?
Thanks Daniel.
What if my Kontakt has 6 outputs (corresponding to 6 mic positions at Spitfire), I request 6 outputs from Dorico, and want to save each output to a separate file (for later mixing)? I don’t think I can do that in Dorico, do I? I would have to solo each outing and do the bounces one after the other (I think). We are not in Cubase!
If you’re wanting stems, that’s not a mixer thing. You can export stems in the audio export dialog.
Of course. But Dorico is limited: by instrument.
A single instrument, in my example, has 6 mics, so 6 outputs, so 6 files.
I told myself that, through the mixer solos, we could get there by doing 6 bounces per instrument. Alternatively microphones 1, 2, 3, 4, 5, 6.
You indeed cannot bounce six different outputs in a single step in Dorico, though perhaps you can get close to achieving this by repeatedly exporting the desired instrument, and muting all but the desired output each time. You would need to manually rename the resulting audio file after each export and before exporting the next one, as Dorico will overwrite audio files with the same name without warning you.
Thanks Daniel, that’s what I thought. We would like to be able to do everything, but we are not in Cubase. However, I must say that any function extension towards those of Cubase, at least around playback, would be useful. Cubase’s Score Editor is unstable and its logic is not true partition logic. The intersection of this editor with the tempo functions and the modification maneuvers that one is tempted to make, in particular touch-ups to the composition, often destroys the precise structure of the writing. To the point where we must abandon the accuracy of the score in favor of playback, rendering. Then come back to Dorico …
Dorico, for his part, is infinitely stable at the writing level. My wish would therefore be to stay there as long as possible before the real mix. For this, Dorico would have to follow and allow as much as possible the options of Kontakt (or VSL, BBC Spifire and others, etc.), including multiple microphones. Everything that is output before mixing. For the mixing, we understand that we must go to DAW. But, ideally, anything that is instrument bounce should be able to be done in Dorico. Let’s say, for Christmas!