I need to set this, but it does not quite work in MusGlyphs:
Is it possible? Any tips?
I can tweak it and send it to you via DM.
Thank you. But what if I need a whole lot more? Can I do it myself?
This arises from a failure to be able to make this dynamic other ways, such as a playing technique.
In my lilypond versions of this string quarter I have about 200 or more custom dynamics. They are trivial to make, and they have proper dynamic semantics. I have understood why Dorico does not allow this. but it sure is high on my feature request wishlist. I will buy pizza for the whole team if this implemented. 
Whatâs preventing you from making them as playing techniques? Sure, they wonât have dynamic semantics, but visually itâs certainly possible.
Here: https://www.dropbox.com/s/pb6uunmplidw2x8/MusGlyphs.otf?dl=0
all s, f, and z dynamics are kerned appropriately. I canât say it works yet for any combination of dynamics, but certainly the one you want here, and probably others.
But yeah, Leoâs right that a PT is the way to go here. Skyâs the limit.
You could also add a ârealâ dynamic mark at that same location and hide it.
Iâve managed to do 12 F and 14 p without any problem
To put this as sympathetically as possible: Why?
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I think he is just testing the boundaries.
My sffffz/ppppp really occurs in the score. Itâs a case of descriptive rather than prescriptive practice.
As a musician I would feel patronised if Iâd see one of these dynamics.
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Donât forget that the ânew complexity schoolâ is a global pandemic for which no vaccine exists⌠You just have to live with itâŚ
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I do think it is a very old-fashioned way of treating musicians, with disregard to their own musical imagination.
Reminds me of a time, when musicians had to stock up their income by selling candle wax and helping in the kitchen. Their employer treated them with disrespect and him or his pals - if in bad mood - would kick a musicians a* in the absence of other victimsâŚ
These times are over one would hope.
Iâd like this bashing of New Complexity to cease please. Itâs narrow minded and unfair. I had quite enough of that on the Lilypond user list, where for many things I need, I get bashed for being out of Common Era Period practice. I hope to find more open minded folks here. Letâs focus on the technical issues please. As a newbie to Dorico after a decade of professional engraving with Lilypond, I do not find this musical attitude welcoming.
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Itâs definitely not bashing from my side, Iâm dependent on these people for a living. My point was merely that theyâre here to stayâŚ
OK! I get over-sensitive about it
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I realize it must be difficult to be professionally obligated to satisfy the composer who does not have to take into consideration the potential limitations of notation software. I have to wonder how players react to such markings and how much rehearsal time that takes up (which is the composerâs challenge, not the copyistâs); but then, if these are players who regularly play this composerâs work (and it is a string quartet as I think you have written), perhaps the markings have ceased to be an issue.
I think most performers and composers agree that such notations shouldnât be taken literally. But an attempt to perform it literally produces the musical result the composer wants to achieve. Itâs an alternative to verbal playing instructionsâŚ
I am sorry, I did not want to start bashing composers.
A good composer is mainly a musician him- or herself.
I second that notion.
Also, just for clarification, my initial comment was in no way directed at the notations presented by @Andro, but rather at the idea of double-digit dynamics, given the current extremes on record.
My initial thoughts on seeing this was it could have been part of a theatrical piece or similar (perhaps vocalisations or accompanying them) with various text descriptions we do not have.
I see it as being out of context and simply a question of Dorico procedures (or possibilities).