Hi David, First of all, many [public] thanks for having done this work: it’s remarkable, and extremely helpful to me.
q.v. On Wednesday night, I was out for a drink with a musician friend, who “admires” me because I use Lilypond instead of Finale or Sibelius. I used this exact feature/fix as an example of how amazing Lilypond — and the community — are! I asked him how often and quickly new features that he wants in Finale are added… he said nothing and had another [big] swig of his beer. ;) > One problem that Kieren noticed is evident in the last example When the > padding is set to 0, all names are as far right as they can go and still be > properly aligned one to another. When, however, the padding is changed, > inconsistencies are seen. With padding = 1, we would expect "Sop./Bar." on > the second system to be the same distance from the system-edge as "Piano" is > from its bracket on the last system--that is the goal of this function. Yet > there is inconsistency, and this inconsistency varies when padding is > adjusted. The workaround — which is, in the end, ‘perfect’ to my eye — is: \override Score.InstrumentName.padding = #0 \override Score.InstrumentName.extra-offset = #’(-N . 0) where N is the amount of “padding” you actually want. While ever-so-slightly “hacky”, I consider this to be light-years better (and less “hacky”) than the conventional workaround of adding a terminal space to instrumentName. And the positioning is truly reference-engraving (e.g., Barenreiter?) quality to my mind. Thank you again! Kieren. ________________________________ Kieren MacMillan, composer ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
