You do realize that Elements does not include the HSO, right?
Compare the Versions of Dorico: Elements & Pro | Steinberg (under “Playback”)
Ok!
I thought Daniel’s reply to my earlier post appeared to indicate that HSO would also appear in the Lib Mgr. Thank you for clarifying to me Derrek.
Sorry, Ravindran, I shouldn’t have said that HSO would appear in the Library Manager, since you did clearly state that you have Elements. My apologies.
No problems Daniel, it did help me. My trying to dig deep looking for HSO gave me a better insight to Dorito Elements.
I want to add that the Xsample Notation Multi Script for Kontakt is a free download.
I’ve seen Dorico accused of many things but not, I think, of being a potato crisp 
(or chip as Doritos are called in their native country)
Anyway, best of luck, Ravindran, in your further exploration of the software. You’ll find it’s worth it in the end
PS spot my own typo…
Doritos, however, are corn chips, not potato.
I actually did do something similar to this for several years with Sibelius though the Soundsets Project and would be happy to do it again with Dorico / Cubase |(especially as I’ve now finally managed to upgrade Cubase to Pro 10.5). Creating my own custom Expression Maps that would work, at least on a basic level, in both programs is not something I really want to do right now (although I’m willing to have a crack at it if need be).
How is this used in Dorico?
that was precisely the “typo”!
It is not a “must” to use the multi script. You can work with the preset list and the corresponding CC#0 values to change articulations and playing styles.
For a time, I had considered not switching to Dorico because of the issue of a lack of ready Expression maps, primally in my case for the VSL libraries and the worry that it could quite a long time before “official” ones were ready. It really hadn’t occurred to me I would be able to create my own (had done a little minor tinkering with soundsets in Sibelius but no more than that). But for those of you in a similar situation of being current or recent novices, it’s not (quite) as fearsome as it might seem.
Assuming the library is relatively complex – the brand new VSL Synchronised Solo Strings and the SE Dimension strings are the two I’ve tried —you’re going to have to make several fundamental decisions including 1. which articulations are you going to use and support in the map -which may well include copying across instruments? 2. are you going to include substitute mapping for articulations which are not in the instrument at all and cannot be realistically copied from elsewhere. 3. Are you going to spell out mappings for all likely articulation combinations including complex mutual-exclusion sets or are you happy to litter your score with “ord”'s everywhere so Dorico mostly only has to deal with one Playback Technique at once (the actual graphical articulations are largely supported by Dorico and tend to be less of a problem) 4. what sort of written instructions do you want to give the players in the score? Do you have patches which well express “appassionata”, “espressivo”, “cantablile”, “dolce” and so on? You’ll need to then create new Playing Techniques for all of them.
My take is basically to largely match useful instrument articulations to EM entries. I notice the Sibelius Synchron VSL soundsets simply make their own decisions about what articulations should be called up for what is missing in the instrument but I find some of the decisions odd and Dorico already gives enough built in support through the Playback Options to render this often superfluous to my view. As for point 3., to take the Dimension Strings Vol5 SE as an example for those familiar with it, this is effectively four dimensional although usually c) and d) are taken together to define the articulation. You have a) player combination b) con sord or senza sord for all articulations c) articulation group and d) specific patch. This makes for a lot of potential combinations (the Sib soundset doesn’t support player combinations at all though makes suggestions as to how one might proceed). I’ve basically decided to compromise to date by programming the full, solo and group but not desk combos.
Now a human reading a score which says, “group 1” to replace “tutti” does not require to be told to continue to play cantabile and senza sord just because one element has changed. An Expression Map is not so clever. I actually tried to create a very basic map which knows that the EM can only do one thing at a time (exceptions being inbuilt articulations) unless specifically told how to do three. You need to put in “ord” everywhere and put in the pt’s in slightly different places and it almost seems to work but every now and then trips up. As I’ve never seen programming like that - on the contrary, most expression maps I’ve seen seem too repetitive – I assume it’s not realistic. It is reasonable, of course, to tell the EM that you cannot play both “espressivo” and “detache” and “leggiero” all at once to say nothing of the absolute obvious like “pizz” v “arco”. Again, I am guided by what techniques are actually available in the VST and the conclusion is very much a subjective matter.
From the above, all I really want to say (as several others have already done) is that it’s highly personal how you go about creating your EM once you get beyond basic things like Halion or even to a lesser extent VSL SE. If there is anyone out there using one of these two libraries wondering how to programme them in Dorico, I’m happy to share my EM’s on request as a starting point. I’m sure I’ll still need or want change a few things and would expect any user to do likewise.
Perhaps I am missing something fundamental here in the way that the keyswitch macro tool, the notation tool and the notation app interact. From the notation tool manual
“The Xsample Notation Tool Multiscript enables the extended edition instruments to work with common notation software. Please make sure to use the latest version of Xsamples Sibelius Sound Set, Xsamples Finale Human Playback preferences or Xsamples Notion Rules.”
I infer from this that Dorico would need Expression Maps (the equivalent of Sibelius Sound Sets and Finale Human Playback prefs) in order to work as designed. The Cubase Expression Maps for the XSamples Extended Edition instruments can be imported to Dorico, but they don’t seem to give expected results. I’d be grateful for any guidance here.
Here are the latest versions. I’ve renamed them, having realised that these expanded versions still barely scratch the surface.
XSampleEEStringsbasic.zip (18.4 KB)
I should add that these are not designed to work with the Notation tool or the keyswitch macro tool. I added new playing techniques to address the lower strings natural harmonics patches, but am not sure how to share these.
There is a misunderstanding. The Notatiion Tool Multi Script is designed for the extended edition(s) in order to have the same result as with the standard versions. The Keyswitch Macro Tool Multi Script has nothing to do with this.
Hello Daniel,
can You give an example how mutual exclusion groups work?
Best
Ludwig
A mutual exclusion group should contain techniques that are mutually exclusive with each other, i.e. they cannot be played simultaneously. This doesn’t necessarily reflect real-life musical performance and the physical capabilities of instruments and the people that play them, but rather whatever the developers of the sample libraries and virtual instruments have chosen to support. So, for example, for the HALion Symphonic Orchestra library that comes with Dorico, for the violin patches, say, techniques like arco, pizzicato and mute are all mutually exclusive, because HSO does not provide (say) an arco+pizzicato patch (not that it would make much sense!), or a mute+pizzicato patch, so adding “mute” means removing “pizz.”, and so on.
Thank´s a lot for the quick reply! 
So that means if I put pizz. and arco (natural) into the same mutual exclusion group I do not need to set “ord.” after a pizz.-passage to switch to arco?
That’s correct. Another way of thinking of mutual exclusion groups is that they determine what happens when you encounter a new playing technique in the score. If you have a con sord instruction and then con vibrato then you know at that point you need to play with a mute and with vibrato. However if you had arco and then pizz, you know that the pizz replaces the arco. So things that can’t be done at the same time have to be in an exclusion group.