Hi Kale, > I'm looking to create student, performer, and annotated editions of some > classical guitar music. I thought editions engraver would be great, but I'm > really struggling to wrap my mind around it > > Given that Urs has passed away, the code is quite old (4-10 years), and even > the basic example from the git-hub wiki doesn't render as advertised (bad > staff should not be red, but is on 2.24), I'm wondering if those who have > used it in the past still do (and if they would recommend learning it > starting today).
I can’t imagine doing 90% of my engraving without it. If you have the stomach to go up the [non-trivial] learning and setup curve, I believe it pays off immensely. > Note that my only use-case is classical guitar music, which is typically > quite short (and I'd be focusing on those shorter works for the foreseeable > future). Here are some EE maxims, most of which you could probably have worked out on your own: 1. All scores *can* benefit from the EE… but there’s always a cost/benefit over/under. 2. Longer scores benefit more from the EE than shorter scores. 3. Scores with more versions/editions benefit more from the EE than scores with fewer versions/editions. 4. Scores where the default Lilypond output require more tweaks benefit more from the EE than scores with only a few tweaks required. 5. Scores that will be maintained and reengraved over a longer period of time (and thus may be compiled with many different versions of Lilypond) benefit more from the EE than “one-and-done” scores. Real-World Only-Slightly-Overstated Summary: If I’m cranking out a lead sheet during a rehearsal or recording session, I don’t use the EE; otherwise, I use the EE. If you need help getting started, let me know! Best, Kieren. __________________________________________________ My work day may look different than your work day. Please do not feel obligated to read or respond to this email outside of your normal working hours.
