This is really nice, actually

[Michel_Edward]

I’m a member of the Canadian Music Centre (Québec).
They generally distribute my music for me, and this is where all my scores are printed/published.

I’ve offered my services to help any Finale-refugees who need first-steps help with Dorico, and it’s been gladly accepted and with much thanks.

I’m more than happy to be of service to my fellow local composers.
This will also possibly help Daniel and the Dorico team get a better idea of any features that might be missing from Dorico’s tool palette, for future inclusion. Directly from the mouths of professional users.

[PeterRees11]

Maybe they do! No need for the snark though.

[Derrek]

They might be better able to help local users whose preferred language is French.

[Michel_Edward]

First off, thank-you for the warm and friendly comment.

What my post meant was that this is a concentrated group of professional composers, many of them university professors, most recipients of grants and commissions, all highly active in the field of composition and published as well as performed world-wide.

So it’s a chance to get real-world, immediate, condensed feed-back on how these artists are dealing with the change from Finale to Dorico.

The same would be true, for example, of someone in Los Angeles, with access to multiple composers working in the film industry making the same switch. Access to a concentrated group of Hollywood composers would definitely be an asset for information about the needs of film and studio composers.

I think that would also be “some unique insight”.

[Michel_Edward]

As has been demonstrated by the Facebook Dorico group, there are literally thousands of professionals who have never investigated Dorico. As for making Dorico “more like Finale”, this is something against which I would fight tooth and nail. My part in potentially helping this particular group with the transition to Dorico would most definitely include a strong warning to NOT attempt to treat Dorico like Finale.

I don’t think that members of the Canadian Music Centre are “so special”. It’s simply a chance to have one particularly large group of professional composers give feedback, and react to learning how to use Dorico.

Those reactions can be an excellent resource for knowing how well certain aspects of Dorico come across to new users. Or whether there are any particularly difficult transitions from other software to Dorico.

As for any features that might be missing from Dorico, we’re speaking about a VERY large group of classical contemporary composers with very special needs. One person requesting something on the forum gets noticed by Dorico’s wonderful development team. But I think hundreds of professionals indicating that yes, indeed, such-and-such a feature would be appreciated or required is significantly more impactful.

There might be features that would be desirable that no one has thought of to ask for. I’m looking at this as an overall promising opportunity, not one for snark or “mischievousness.”

I’m still sensing a defensive attitude from you, since you insist on responding to my thread with “I don’t see what’s so special about your group.” Instead, you should be excited that a large group of academic and professional composers is interested in using Dorico, and how their input might potentially help Daniel and the team see things in a slightly different way, or take different approaches to certain issues or functions, or simply get good feedback on how powerful and excellent a software package Dorico is.

By the way, I am in a relatively good mood these days, but in other times I’d have found your post offensively dismissive. You should maybe learn when it’s time to bite your tongue and not be snarky or “mischievous.” nothing in my post dismisses other users, or looks down on anyone else. I posted this as a good thing, a positive for Dorico and its creators.

The addition of a large group of advanced users from the contemporary classical field can only help Dorico to truly grow and get better and better.
In much the same way that if a group of arrangers who work with a large jazz organization, or Broadway group, or educational engravers, or any innumerable other types of professional groups, would add to the richness that is already Dorico.

[judddanby]

I thought it might be useful to share here this from @dspreadbury back in 2021:

Feature request: multimeasure play

Ha, I had a feeling that if I wasn’t quick enough to reply myself, somebody would come along and repeat my old mantra that Dorico development isn’t a democracy, which is something I say to make a particular point, rather than because I’m some kind of despotic authoritarian: on the contrary, I think it’s very important that Dorico’s development is driven by consensus, especially internal consensus among the team with immediate responsibility for specifying, designing, implementing and testing the…

[judddanby]

@Michel_Edward

The addition of a large group of advanced users from the contemporary classical field can only help Dorico to truly grow and get better and better.
In much the same way that if a group of arrangers who work with a large jazz organization, or Broadway group, or educational engravers, or any innumerable other types of professional groups, would add to the richness that is already Dorico.

For me, and I suspect for other established Dorico users, one of the exciting things about this week’s news is knowing that this forum — already chock full of a large group of advanced professionals from all musical walks including contemporary concert music — will be enriched by the presence of all our new “Finale Friends.”