Just watched the 1.2 new features video and it looks tremendous! But before I try the demo out and get all excited I wanted to know if there’s been any progress or solution to the licencing issue for those of us that need it on two computers (one without dongle)?
If no please disregard the next question, if yes then: any developments in symbols yet? I’m particularly referring to things like accordion symbols for example that don’t require a copy paste from the web…
The policy is identical to Cubase which has had the same policy for quite a while (including the inability to take licenses off a USB elicenser and move them to a soft eLicenser.) I only expect Steinberg to change if tech forces them to–like when they moved off LPT based licensers to USB.
I’m sorry and please, please don’t take this the wrong way, but I really don’t wish to get into another debate about licencing issues. I was just checking to see if there had been any changes to policy.
But in case you missed the debate a year ago, the issue is 1.- Cubase is a DAW, it requires a studio (at least a bedroom), sound card, storage space (for libraries), etc. Dorico is a notation program i.e. can and usually is used anywhere on any system, different type of user. 2.- Cubase has the flexibility of versions that don’t require a dongle (AI, LE, Artist) if your project is not too big) 3. Other notation programs give you the flexibility of installing in more than one computer for roughly the same price or less.
My only hope is that Dorico finds its niche customer base and lovely Daniel and team don’t lose their jobs again because of this stubborn attitude by Steinberg.
I belong to both communities: daw users and engravers. Unfortunately, in the world of daw software, plugins and video games for that matter, pirating is a serious issue. Please, no one take offense, but it seems to me that music engravers are a very different breed than the home recording community and unlikely to download cracked versions of Dorico. Even if a cracked version is put out there on the web, serious users won’t touch it. The people who do aren’t going to buy it anyway and probably won’t use it for long. I hope the good folk at Steinberg will take this into consideration. Licensing is not a deal breaker for me unless the ship sinks due to lack of sales. I’ve been talking up Dorico to all of my colleagues with this in mind. The bigger the user base, the better off we’ll all be. I assume there is a triage approach to the feature backlog - features which affect the most users will get bumped up the list. Surely, licensing has gotta be high on the list for professionals in this field.
Bollen - sorry for jumping on this, I know you didn’t intend another discussion, but I think it’s helpful to keep it alive.
Aw… Sweetie! No of course I don’t mind. Plus what you are adding is not a debate, it’s an opinion and a worthy follow up. I, surprisingly, still don’t know anyone in the UK using it and part of that is the dongle, teachers and veterans can’t be bothered. The other reason of course is that it’s hard to make people change their habits, but if you add another inconvenience on top of that i.e. dongle, then well… I don’t know what they’re thinking. It’s probably because it’s a new target group for Steinberg and they haven’t realized that we are also stubborn and set in our ways…
Just to say the least: Steinberg does listen, Steinberg is aware that many people don’t make the move towards Dorico because of the dongle/license issue.
And…Steinberg is actually working on a solution, it just won’t happen over night. So it is worth checking back from time to time.
Is this a reflection of your circle of friends, or is it to be taken as generally the case that Dorico has made no inroads in the UK musical community? If the latter, I am shocked. But then, I havent yet recovered from the Brexit referendum.
I’m in the UK, and I’m currently engraving a 45 minute commission (in Dorico) for Piano Circus, from a composer in New Zealand. Stuff Brexit!
I noticed just a few weeks back that the Royal Academy or Music are still on Sibelius SIX. Their general computers seem to be 10ZiG zero clients - I don’t know whether Strindberg have a solution for licensing these sorts of networked machines. I’m sure the keyboard/technology lab has a different setup anyway…
Thank you for very much for that, I will continue to check from time to time. I do miss having Daniel and the team as support and that to me is Dorico’s greatest asset!
To be honest I have no idea, but I would call it more like a ‘circle’ of colleagues, ranging from media composers, arrangers to classical composers working for the biggies like ROH or the Proms. Even some jazzers… Personally I am not shocked because of the aforementioned reasons and also because it takes time to insert yourself into such a specialized community. And yes, I haven’t recovered either!
Yes, stuff it! Plus, it may never happen (says wishfully)… I was also on Sibelius 6 until a few months after Dorico was released. But after realizing that the licensing issue wasn’t going to be fixed anytime soon and stupid Avid removed the subscription model I upgraded to 8. Barely any improvement and not quite worth the money. But I do like that big orchestral scores don’t slow down as much (re: 64bits) and the search function in the menu so I don’t have to learn where all the things got moved to… But there you go, we’re a community that’s slow to change…