select the final barline (150), hit Shift-B and enter -8 in the popover …
Or delete using the System Track in Write Mode ( make sure it’s been set to be visible).
- D.D.
If bars don’t get trimmed, there still must be something in them, like a hidden time signature or tempo change. If you want to be sure you can switch on all signposts to make those visible.
I’d go with D.D.'s method and use the System track. Now that it’s implemented, it’s the perfect tool for this task and I suggest we all change our workflows when the devs offer us such tools 
I can’t believe some of us are still wasting time over “ends voice/starts voice” to get rid of rests…
I totally agree Marc. Off-topic, but I wonder if the “start/end voice” feature even needs to continue? Just wondering. Personally I always use “remove rests” since that feature has been added.
On a related note, say I’m in 3/4, and I have two voices sharing a staff, and the second voice is resting (and needs to be visible). How do I display a whole rest in that second voice? I can’t get it to work.
Also, I find “start/end voice” sometimes creates strange behavior by randomly adding rests in other measures. Perhaps I’m using it incorrectly.
With the caret active make sure you are in the correct voice, navigate to the bar needing the whole rest and use Insert Bar Rest from the right panel (bars and barlines)
[And yes, I’ll try to twist my brain - of course it’s now preferable to use the system track! 
]
Ah, thank you! I never would have thought to look there.
I use this fairly regularly. I couldn’t find it in the list of custom key commands. Is there a way to macro this?
Dear Dan,
I’d say the situation you describe is where “start/end voice” is useful now. I found (while translating a shortcut document I shared on the French speaking Dorico users FB page) that you can insert whole bar rests simply by invoking shift-b popover and write “rest”. I wonder if there’s a way to select the voice to which the rest will apply.
I don’t recall any strange behavior with rests in my experience with Dorico, but I’d say such a complex program is easily misused — and every program has some bugs… Try and reproduce the problem when it happens to troubleshoot it (should it be your mistake or a bug…)
Hi Marc & D.D. , yes finally it works! System track did it! It was driving me crazy!
Thanks for the tip and also thanks to fratveno & PjotrB, for their suggestions.
best regards
Mike
I would keep the start/end voice options just to preserve granularity for exotic cases where one might want to start a voice with a rest partway (halfway?) through a measure, but I agree that for most purposes the Remove Rests is the way to go.
Is it still officially the case that it’s not formally supported yet to be able to mix/match Note Performer with other plug-ins I may have in the same project? For example, it would be great if I could reliably use Note Performer for all of a given big band chart, but then also use just Trillian bass and Superior drums instead of Note Performer’s defaults for those particular instruments. However, I can’t seem to get this to work reliably (despite Marc’s suggestion) and the Playback Templates (where I presume in the future it would default to a “combined” template, etc.) of course doesn’t present this option…
Thanks!
- D.D.
I suspect the real problem with using NotePerformer and other plug-ins at the same time is that NotePerformer will play a second behind the other plug-ins, so I don’t think this is practical, though there’s nothing to stop you from setting it up to play that way. You just have to manually assign each instrument to the right plug-in, and set the right expression map for each channel of each plug-in in the Endpoint Setup dialog.
Just tried this now, combining NP3 and Halion, and here they play in perfect sync, which means that latency compensation is in effect somehow (?) There may be other problems of course…
Yes (Daniel): surely there’s built in latency compensation somewhere? (Just checking!)
- D.D.
Evidently there is, yes.
Strictly speaking it’s not latency compensation, because “latency” refers to delays in the audio signal chain.
The magic buzzword is “plugin delay compensation” which tells the DAW (i.e. Dorico) how long a plugin takes to generate the audio after it gets a “play a note” command. Every plugin has some delay depending on how much complex processing it does, so the DAW has to send the MIDI “play” commands to each one offset by the right amount of time so they all generate their audio in sync.
Of course most plugins have delays much smaller than Note Performer’s 1 second, but they all need timing compensation to produce “sample perfect” audio synchronization.
Even if you only used Note Performer, with no compensation the green playback line would be out of sync with what you hear.
Yes there’s definitely delay compensation in effect in Dorico, which must have been carried across from the Cubase engine where it’s definitely a feature, or I would never have been able to complete my film score project just recently which uses multiple different plugins and Noteperformer in tandem. 
How stupid would that have been, if we would not have carried it across…?