![]() Finally, this past month, having “ripped the band-aid off” and worked exclusively with Dorico on a dozen or so “real” projects, I can say that I am generally quite pleased with it and believe I can finally work as efficiently in Dorico (if not more) as I would in Sibelius. However, deadlines and my own stubbornness/laziness prevented me from really diving into Dorico until more recently. Since that time, I attempted (though not always successfully) to put aside sufficient time to learn Dorico while still doing the “mission critical” projects in Sibelius. Eventually in 2016, Steinberg released Version 1 of Dorico, and though it looked impressive (I even attended a great early demo presentation by Dorico’s lead marketing manager Daniel Spreadbury in LA), there were several key features missing that unfortunately made it a no-go for me (notably the lack of support for chord symbols).įast-forward to late 2018, I finally purchased Dorico as soon as Steinberg released version 2.0. Not long after, I began hearing rumors about a new notation product being developed by Steinberg by the same team of former Avid developers. However, in around 2013, development and updates on the Sibelius platform seemed to be slowing to a crawl (related most likely to some corporate restructuring at Avid, where they laid off their key development team and moved development to China). You become so comfortable and dependent on your platform, regardless of whether it is the best one, that the thought of starting over from scratch can be truly intimidating. You amass dozens of your own templates, plugins, keyboard shortcuts, macros, workarounds, hacks, and so forth. As many out there can probably relate, the longer you’ve has been working on a certain platform regardless of field, the harder changing platforms can be. Last year however, I decided to change the software platform I use. Since 2008, my platform of choice has been Avid Sibelius, a choice made based on the available options of the time (prior to that I was a Finale user since 1996). As most of you know, a good portion of my work is done in the music notation world, creating arrangements and transcriptions for different types of projects.
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