Select the notes or rests immediately to the right/left of deleted rests, then deactivate the corresponding Starts voice or Ends voice properties in the Notes and Rests group of the Properties panel.
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Iâm using a trial version of Dorico 5 for a few days. This morning I bought the app. Iâm a Finale converter. To verify it do I need to delete the whole applciation I have at the moment and install it again or there is a more simple way to validate my purchase?
You shouldnât have to download everything again: itâs just a matter of getting the licence linked up.
You should receive an email from Steinberg Checkout with a code and instructions for what to do.
Hi - @benwiggy is correct; just to elaborate a little, if I mayâŚ
What youâve bought this morning is a license to convert what youâve already installed onto your machine, from a âTrialâ version into a full Dorico Pro (or Elements) edition. All âTrialâ installs of the app are the same (full) code - itâs the license you buy that determines what âeditionâ will be launched (Elements, Pro).
I believe you have to enter the Download Access Code first (check your email from Steinberg) into the Steinberg Download Assistant, in order to actually get an âActivation Codeâ - these are not included in the confirmation emails sent out. You donât of course, as was mentioned above, need to download/install all the components again.!
At this point, you shouldnât need to do anything with the Activation Code yourself - having gone through the process I describe, the app should automatically activate in the background, on first launch; if for some reason it doesnât (and thus wonât launch.!), its worth double checking in the Steinberg Activation Manager applet first, to see if Dorico has been properly activated.
If it says âDeactivatedâ next to the entry, just click that same button to âActivateâ. If it says âActivatedâ and it still doesnât launch - try a good olâ reboot of your machine.! That should wake the SB servers up to properly activate your product.
Sorry, I know that may be a bit much - but it only sounds a lot more than it actually is⌠
Hope that all helps.
Bob
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I am trying to recall if all the sound files came with the Pro Trial. It might make sense to check the SDA just to be sure one has everything one wants from the Dorico5 page.
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6 posts were split to a new topic: Handbell notation and playback
Just curious, what kind of MIDI controller are you using?
If it has stuff like Percussion Pads, extra programmable buttons, or plenty of octaves of âregular keysâ to work with, itâs possible to establish a custom âstep inputâ methodology where you wouldnât need to touch the computer keyboard at all.
In Edit/Preferences/Key Commands, youâll find that incoming MIDI events can be bound to Dorico commands.
It should be possible to bind your MIDI Controllers transport controls, and assign a lot more custom âremote controlâ capability.
I.E.
Tap percussion pads (or reserve an octave or so of keys) on the MIDI keyboard to switch the note duration value. Assign a few buttons to do things like move the carrot forward or backwards. Etc.
Some MIDI controllers, when connected via USB, also include the ability to send actual âcomputer keyboardâ keystrokes (typically the four move cursor keys), programmable âkey combinationsâ, and sometimes even complete sets of âtimed macrosâ. Check your controllerâs Ownerâs ManualâŚit just might have a lot of goodies you didnât realize was there.
I.E. The old Akai MPK2 series has a few buttons that send keyboard âcursor moveâ events over a regular âcomputer keyboard driverâ by default. Several other buttons could be taught to send actual âkey combosâ instead of âMIDI eventsâ.
In some cases a MIDI controller might provide the ability to send strings of events for some buttons that you donât have any âcustomizedâ control over (canât change it in the controllerâs firmware settings).
They might send a number of events in a way that the âlearnâ button in Dorico isnât quite adequate to snoop out âjust the bitsâ you need to make the button useable. In this case, you can grab a free evaluation of something like bidule or Bome to have a peek at what the keyboard transmits when you touch the button, âtranslate itâ into something new and thusly retransmit it on to Dorico.
I.E. Iâm using bidule to capture some of the less âprogramableâ button events from an Arturia Keylab mkII, change them to something else, and then send it over a virtual MIDI port as simpler MIDI messages that wonât conflict with normal note/pedal entry. I do translations that are easy for Doricoâs âlearnâ button to pick up, and thusly to bind to Dorico commands. Here the âmkII Transport Commandsâ bidule-group translates a bunch of stuff the mkII sends, and sends it out a virtual port C. Only Dorico listens to that C port on my system, and heâs been taught to totally ignore the B port. Dorico uses C port events to âdrive my Dorico transportâ (and a few other things as I add them gradually over time).
Since I also use Cubase, sometimes simultaneously with Dorico, a good bidule or bome setup also allows me to have the controller treat each host I run on my computer differently according to their needs. Cubase can pick up and use complicated protocols like Mackie Universal Control protocol, where Dorico cannot, it also has the ability to custom craft very complicated controller interfaces that Dorico doesnât have (yet)âŚhaving bidule and a few virtual MIDI ports âin the middleâ allows me to get the best of both hosts at all times. I can isolate and have âeach hostâ make use of the mkII simultaneously in their own unique ways. In the example above, I can have Cubase ignore that C virtual port, and receive everything that comes over virtual ports A and B raw and unmolested.
In âWindows Worldâ itâs also a big help in that the input side of USB<>MIDI System Drivers usually are NOT very friendly with âmultiple clientsâ trying to access them at the same time. Virtual MIDI ports on Windows donât suffer from those âmulti-clientâ restrictions.
(Macâs probably donât suffer as much from âmulti-clientâ driver issues. They also have âvirtual MIDI portâ capabilities built in. Usually setup in the Audio Control panel?)
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Iâm just using a Keystation 88. It does have some transport buttons but theyâre at the far left above the mod wheel, so not convenient. But Iâm not using playback often anyway. The keyboard is for note input only. You are clearly much more technically savvy than me, so my setup is much more straightforward. But good to know there are such capable people willing to offer expertise if I find myself needing to get under the hood of MIDI drivers, etc!
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That thing doesnât have âknobs, faders, buttons and percussion padsâ, but it does have loads of black and white keys.
A range of keys at the extreme left and right ends of the keyboard could be set aside. I think in the Keystation 88 case, youâd probably need bidule or Bome to isolate and transform note-on into CCs or program changes (so they wonât try to poke notes into the score when tapped), and then bind them to whatever commands you like in Dorico. It shouldnât be difficult to build it in a way where you can call up entire âpagesâ to cycle for your 88 key layout. I.E. Page one with no commands. Page 2 with commands at the left end of the keyboard. Page 3 with them at the right. Page 4 at both ends. Different pages for different demands (step input, live input, write mode, engrave mode, and so on.)
I do understand that it might not be worth the bother if you have a comfortable workstation and plenty of surfaces to use a mouse.
Just a FYI introducing you to the fact that Dorico can bind MIDI events to commands. Bidule or Bome and some virtual ports can help you train the system to zone out keys/buttons/faders/etc, and get them sending whatever you need.
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FWIW my own ancient keystation 88 has 24 rotary knobs, 9 faders, 17 buttons across the front in addition to its 12 button numeric keypad, 4 different midi zones with configurable ranges, and yah then the transport controls on the left. Plus various additional dedicated buttons for channel assign, control assign, transpose, program, store and recall. With a nice big LCD screen to assist programming and debugging.
I can understand it STILL not being the same as speedy entry because of how much a userâs hands would move. (We âre now talking feet instead of fractions of an inch.)
But if ever there were a controller that could take advantage of midi in the way you are suggesting⌠He might have one. 
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I hear ya. Itâs not a concept and workflow that works for everyone. Just wanted to touch on the fact that it is âpossibleâ for those who might want to try it.
I didnât know exactly which model. The first photo I saw when searching M-Audio keystation 88 showed a picture of something with 88 keys, some tiny transport controls, a single Volume fader, one or two wheels, and that was about it.
Sometimes moving the hand a foot to tap something is easier and less stressful than using a mouse to go wiggle millimeters at a time through popups, dials, mouse clicks, and so forth. Different level of âdexterityâ. Needs better âfocus/visionâ on the screen, etc. A drummer can probably pop off 5 or 6 hard rimshots in the time it takes to âslitherâ through some of those menus/dialogs with a mouse/key-combos/etc. A pianist could certainly rip out several keys in less than a second.
I donât see much difference in having one hand on a 10 key pad and another on the keyboard, and having either hand you chose twiddle keys at your preferred end of the keyboard. But for some it âmight helpâ to have the option at hand
Some of us barely have the dexterity and eye sight to work a Fisher Price toddlerâs toy. So these controller tricks are helpful
Different strokes for different folks.
are there any problems copying music from one dorico file to another?
Shouldnât be. Though Iâd suggest only having audio activated on one of them, so you can switch without re-loading the samples.
And donât forget that you can import any flow from any other document into your current document!
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Not especially. You can use normal copy/paste, but be aware, if you want system objects (time signatures, key signatures, etc) to copy you should use the system track to make the selection.
A safe way to transfer is to use the File>Import FlowsâŚ
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Interesting point there. Can i import only the score ie notations from a flow, but without the instruments, ?
E.g. document1 has 100 bars of a string quartet
I want to bring all notation of document1 into another document2 that has, say , a string octet ensemble ie 8 instruments.
On the same note, how to i quickly select all objects on a single staff only (without have to press shift + arrow) ? E.g. select all notes for the 1st violin of document1
Thanks
When you import, there is an option to merge the same instruments into existing Players, or create new Players.
I select the first thing and then Select to End of Flow. (Iâve assigned a shortcut to it.)
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Important: If you have hidden signposts (eg for tuplets) these will not be copied with a select all, or select to end of flow. But if the signposts are visible, they will be copied.
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I would like to reinforce what Janus just wrote about copying tuplets.
It still gets me at least 50% of the time because I often have the signposts hidden. And in my opinion it needs to be an option. I would estimate the percentage of times I would want to copy tuplets as non-tuplets at close to 0%. (End of feature request.)
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