Joseph Wakeling<address@hidden> writes:
Now consider that relative difficulty scaled up across the number of
times you might have to implement an individual custom tweak in a
50-page orchestral score, and you begin to see the issue from the
publisher or engraver's point of view. The fact that Finale may get
more things wrong initially is not an issue when correcting them is
simple; the fact that Lilypond may get so many things right initially
is not an issue when it's so much more tricky to make (and validate)
small manual corrections.
Except when you are ordering orchestral scores for Monteverdi's Vespers,
use Renaissance tuning that is usually a minor third off, play partly
with historical instruments, practice with modern instruments and would
like to have the choir scores transposed to be on pitch.
A good Lilypond source will require very little touchup work for pulling
out the (expensive) custom order.