Yes, that's possible, I suggest a solution here: https://www.finaleforum.com/viewtopic.php?f=5&t=17890#p68375

Thank you Harald,

I will take a look at the script that you have linked to!

How often do you have to do this? For me, writing it manually would seem quicker. What if Oboe 2 is alternating with English Horn? The instrument name would say Oboe 2, simply. In the orchestration list it would have to be different: Oboe 2 / English Horn fx.

Good point Anders, doubling would require something special, however I would suspect that if the voice is used in the instrumentation either normal or as a mid-measure change then that information would be available via scripting. Ive not involved myself in scripting before but my rather rusty database creating skills would suggest that a route is available to harvest the info. Some people prefer the manual approach but my engineering background makes me want to make the software automate the non creative side of the admin of producing cover page data.

I see. "Non creative" seems a bit harsh though for this kind of manual labour.

On the other hand, I can see the creative side of engineering too.

Yes, it's not personal Anders, when I was an engineering student a prime example would be "state the preferred method of drawing a gear wheel" and in hand drawing days it would be draw a couple of teeth then use construction lines to imply the rest of the gear, when we went to Computer drawing some students created one tooth then arrayed it around the cog wheel, I went one further and created half a tooth, mirrored it then arrayed. As the teeth were symmetrical it seems to me to be more logical approach, then if the design warranted a different dimension I would only have to change half a tooth! Even that method has now been reduced to dynamic templates that create the gears. The manual approach suited some people better as they were able to fully assimilate the info whilst designing the products, I guess what I am trying to say is we are all different.

Thanks for your explanation, Cliff. Actually I do appreciate both the craftsmanly manual labour of traditional music engraving, and the 'engineering' possibilities of programs like Finale. But, we all have a different blend of these two, as you said.