I have been copying using Finale since version 1.0. (Before that I used HB Engraver.)

Some highlights (and low-lights):

My first job on Finale was for Jule Styne. A week after I purchased the program.

Because of pressure from producers to move into the digital realm, I was recommended to a number of the larger Broadway copy shops to help them learn the software. In the process I learned to copy. I was hired by several of them. As a sideman copyist I worked on many Broadway productions, from Nick & Nora to High Society to The Lion King to Cabaret and Chicago and Steel Pier and Jekyll & Hyde and The Boy from Oz, The Look of Love, The Visit, The Look of Love, etc., etc., etc.

I've copied from pencil scores, orchestrator files, MIDI files (I've done a few movie scores directly from MIDI files), and transcription.

I've been the supervising music copyist for Broadway shows, including Caroline, or Change, Spring Awakening, Amazing Grace, and Spider-Man: Turn Off the Dark, as well as many off-Broadway and out of town productions, and for Ringling Bros./Barnum & Bailey.

I've worked directly for a number of theatre and "legit" composers: Jonathan Larson, Andy Teirstein, Eric Starr, André Pluess, Alan Menken, David Pogue, Doug Katsaros, Ari Frankel, Vincent Agustinovich, etc. I did some work for NYC Opera back in the day (some well-known and aging tenor needed some keys lowered — shocking!).

If you owned a copy of Finale between versions 3.0 and, I think, 2012, you have a copy of my Visual Index, and I composed or set the tutorial files.

Most of my friends don't understand what I do, introducing me as "The guy who wrote the music for Spider-Man," before I explain that no, I didn't write it, I wrote it down.

There was a two-part blog post/interview with me at the FInalemusic website: