Kim Patrick Clow wrote:
Hi everyone:
I'm curious about how members of the list handle proofing of your
files. I find that when I do this, my mind really beings to wander
about 20 minutes into doing this. I typically check files at least
four times, and I still find mistakes.
I know that the big boys such as Barenreiter must have a whole set of
proofers on staff when they check files, but I obviously don't have
their budgets. While I am more forgiving of myself for a wrong
editorial decision, allowing wrong notes into my score simply because
I failed to catch them during a proofing process just drives me nuts.
My first line of proofing is listening. I don't care about instrumental
fidelity, and I can forgive horrible trills and such, but I listen as
carefully as I can for incorrect pitches or rhythms which don't line up
as they ought to.
My second line of proofing is also listening, but I do it the next day,
when I've either worked on something else or haven't worked on anything,
so I'm not as jaded as I would be after 8 hours of working on a score.
My third line of proofing is visual, but this is where I find I often
skip things. Our brains and eyes are so trained that the brain can
often make up for visual mistakes (think of that sample paragraph where
all the words are not spelled correctly but contain all the correct
letters and how relatively easy it is to read that and understand it).
Then I extract parts (or with 2007, edit a single part) and listen to
playback of the parts individually.
Finally, when everything is exactly as I want it, page turns, dynamics,
articulations, text blocks, everything, I listen one more time all the
way through to make sure all the repeats, DC, DS whatever work properly
and still listen for incorrect pitches.
Then it goes out the door. Sometimes still with a mistake or two. :-(
--
David H. Bailey
[EMAIL PROTECTED]
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