I subscribe to a magazine that comes to me in PDF format.
I kind of like it. In fact, as I recall, several years ago, he began to
publish his monthly magazine in this way due to my telling him that I was
blind and could not read the print anymore. So he began to offer the PDF to
his subscribers at a reduced subscription price.
BUT, here is my question and difficulty.
There are many instances in his pdf documents, where a bunch of the fonts do
not read well with JAWS.
I have tried reading it in Adobe Reader X, my program, and I have tried to
save at text, and in both cases the replacement of fonts occurs.
It makes it pretty awful to read. I do not have a different screen reading
software at present, but I don't think that is the issue, as you shall see.
I told the publisher, editor of this.
He said that his font is Minion Pro, and that if I could put it in my Adobe
Reader that would probably fix it.
I have found and downloaded the Minion Pro font. But I have no idea how to
get it into the software. Or if it will even work.
Does anyone have any suggestions?
As an example, I will paste below a paragraph from a recent issue of the
magazine.
Notice that one of the occurrences is the replacement of the th on the word
there. And as you read, you will hear and find other thingss
Thanks.
Rik
As far as I can see, far too many musicians are in thrall to
the concept of ‘name producer,’ even though, harking back
to my starting point, the name likely won’t mean anything
to anybody outside the biz. "ere was, for instance, a period
when the late, now sainted Stephen Bruton seemed to
produce every other Austin album, and he charged so much
that artists and labels couldn’t make money on them even if
they sold worth a shit, which they didn’t, but you know, he
played guitar for Bob Dylan!
(snip)
"en there’s a personal favorite, John Chelew, who was
booking concerts at McCabe’s Guitar Shop, Santa Monica,
when he produced John Hiatt’s Bring !e Family. A$er I
reviewed it for Time Out In London, Chelew called to thank
me for praising his work but said, “All I did was set the
levels, then I read magazines while they got on with it.”
(snip)
!en Lone Justice (Ge"en, 1985) came out. Music
writers tried hard to love it, and it made #24 on Village
Voice’s Pazz & Jop poll that year, but the record buying
public, the #nal arbiters whether we like it or not, spurned
it, as did both country and rock radio (of course, those two
things may well be connected).
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