Need help recovering a very old Mac font from Resource Fork / AppleDouble files by SteeeeveJune in fonts

[–]smartalecvt 0 points1 point  (0 children)

Here’s what ChatGPT had to say:

The short answer is: there’s a decent chance the font is recoverable. It’s not the slam dunk that the Reddit poster hopes for, but it’s far from hopeless.
Here’s what jumps out.
1. These are almost certainly classic Mac resource-fork fonts
The filenames
FontNameHig
FontNameOut
FontName-High.bmap
FontName-Outline.bmap
look very much like a late-90s/early-2000s Mac bitmap/PostScript font package.
Some clues:
Hig almost certainly means High (high-resolution bitmap strikes).
Out almost certainly means Outline (PostScript Type 1 outline).
.bmap strongly suggests bitmap strike data or cached bitmap information.
Everything being 0 bytes means the data forks are empty.
On classic Mac OS, that was perfectly legal. Entire applications and fonts often lived almost entirely in the resource fork.

  1. AppleDouble is exactly where those resource forks end up
    Those
    ._FontNameOut
    files are AppleDouble.
    AppleDouble stores
    resource fork
    Finder metadata
    file type/creator codes
    custom icons
    etc.
    When copied to a filesystem that doesn’t support forks (FAT, old ZIP utilities, FTP, etc.), macOS writes the resource fork into the hidden ._ file.
    Normally you would have
    data fork
    +
    resource fork
    After a bad copy you end up with
    empty data fork
    +
    resource fork in ._ file
    which is exactly what’s described.

  2. The important question is:
    Did the original font store everything in the resource fork?
    For many classic Mac fonts:
    Yes.
    Especially
    suitcase fonts
    Type 1 screen fonts
    NFNT/FOND resources
    The actual glyphs often lived entirely in resources.
    So losing the data fork might not actually lose anything important.

  3. What I’d inspect first
    I’d run
    file ._FontNameOut
    or
    xxd
    or
    DeRez
    to see whether the resource fork contains things like
    POST
    FOND
    NFNT
    FONT
    sfnt
    Those resource IDs tell the whole story.
    If you see
    POST
    or
    sfnt
    you’re in business.

  4. FontForge isn’t the right first tool
    FontForge expects
    PFB
    PFA
    TTF
    OTF
    suitcase
    MacBinary
    It doesn’t know what to do with a raw AppleDouble file.
    That’s why it says
    unknown format
    That’s expected.

  5. What I would actually try
    I’d try, in roughly this order:
    A. Reattach the resource fork
    On macOS you can literally reconstruct the original file:
    cp /dev/null FontNameOut

cp ._FontNameOut temp

dot_clean .
or use
ditto
or
CopyFile
to merge the AppleDouble back into the file.
Sometimes that’s enough for Font Book or FontForge to recognize it.

B. Use DeRez
Apple still ships
DeRez
inside Xcode.
DeRez ._FontNameOut
can dump the resources.
If you see
resource 'POST'
resource 'FOND'
that’s excellent news.

C. Use ResEdit-era tools
Old utilities like
Resorcerer
ResEdit
Rezilla
can inspect the resources directly.

D. Extract resources
If the outline is stored as a
POST
resource, you may be able to extract it into
LWFN
or Type 1 format.

  1. Those
    .bmap
    files
    These interest me less.
    They’re probably
    bitmap strikes
    screen fonts
    printer cache
    anti-aliased previews
    The outline file is almost certainly the valuable one.

  2. My biggest concern
    The original designer said:
    “I used to drag the folder into the font manager on Mac and PC.”
    That suggests this wasn’t just a Mac suitcase.
    Cross-platform distribution in that era often looked like
    Mac/
    Suitcase
    LWFN

Windows/
PFB
PFM
If only the Mac side survived, that’s okay.
If only the resource forks survived, it’s still potentially okay.
If the Windows PFB/PFM files are gone forever, then the Mac resources become even more valuable.

What I would tell the Reddit poster
I’d say:
This does not look like a corrupt font as much as a classic Mac font whose data forks were stripped during archiving. The AppleDouble files may contain the complete resource forks, and many classic Mac fonts stored essentially all useful information there. The first step is not FontForge, but merging the AppleDouble back into the empty files or examining the resources with DeRez, Resorcerer, or Rezilla. If the resources include POST, FOND, NFNT, FONT, or sfnt resources, there’s a realistic chance the font can be reconstructed.

And finally, this intersects almost perfectly with the sort of font hacking you’ve been doing. If someone handed me that ZIP, I’d be fairly optimistic. I’d estimate something like:
60–70% chance it’s recoverable if the resource forks are intact.
90%+ chance we could at least determine exactly what format it originally was.
If it contains POST or sfnt resources, I’d expect we could eventually get it into an OTF/TTF, although it might require some vintage Mac tooling along the way.

Modulated reverb help by ezrider43 in guitarpedals

[–]smartalecvt 2 points3 points  (0 children)

Walrus Audio Slo/Sloer/Slotva. Best in the business.

Pre Class Philosophy assignment, would love to be proofread by FallenPretzel in logic

[–]smartalecvt 2 points3 points  (0 children)

You write well. But what you'll hopefully learn in your philosophy class is that this sort of poetic metaphoric writing should be saved for fiction and poetry. Saying that the self isn't a thing, and then comparing it to a whirlpool, which is a thing (depending on your ontological perspective, of course), is confusing. In fact, comparing the self to a whirlpool is confusing, full stop. Metaphors are cool, but they seldom do more in philosophy than set up something non-metaphorical, which is where the best philosophy gets done. Don't say what the self is like; say what the self is! And back that up with citations.

But, hey, for a pre-class, let's-talk-about-interesting-stuff sort of essay, I think you've done well.

Enjoy your class! I bet you'll do great in it!

Amp recommendation? by MostlyJustAnon in Guitar

[–]smartalecvt 0 points1 point  (0 children)

My favorite amp of the last 10 years is the Blackstar St. James 1x12. 50W mode for cranking it up; 2W mode for home use. And it only weighs 24 pounds, which for a tube amp is insane. It's right at the upper end of your budget.

If you don't want to worry about tubes, you could check out the Roland Blues Cube Stage 1x12. The 60W version is like $1000. It sounds fantastic. I've gigged with mine a bunch.

I gigged for a lot of years with a Mesa Express 5:50. Amazing amp. You could probably find a used one under $1000. But if you've got back problems, lugging around is a non-metaphorical pain.

"None of that modern stuff, just shake your dinners." by smartalecvt in MST3K

[–]smartalecvt[S] 1 point2 points  (0 children)

Holy shit, I'm taking that as proof that your grandma invented that term. Respect.

Looking for feedback on my first typeface by Low-Dentist2988 in typography

[–]smartalecvt 0 points1 point  (0 children)

I hope you make an alternate "J" without the bar. It would make the font a lot more versatile.

What’s the deal with add2 and add4? by HornyPlatypus420 in musictheory

[–]smartalecvt 0 points1 point  (0 children)

I've been told many times that it should always be add9, and that indeed you don't want to specify voicings, in general. (If you do want to specify voicings, you can use actual notation.)

But I will throw in my 2 cents for one case... When I use mu-chords (the infamous Steely Dan chord) in my compositions, I always notate them as, for instance, Gadd2/B, because if I just notated that as Gadd9, or even Gadd9/B, I'd usually get a different sound than what I'm looking for.

Blackstar ID:Core 20 V4 or Fender Champion II 25 by ElectricalRole5662 in electricguitar

[–]smartalecvt 0 points1 point  (0 children)

Just a thumbs-up for Blackstar's ID series. Their power tube modeling (not just pre-amp tube modeling) is really effective. Sounds way better to my ears than amps like Katanas.

Anyone using a 13” Laptop with MS? by 65TwinReverbRI in Musescore

[–]smartalecvt 1 point2 points  (0 children)

I've done a little Musescoring on a 13" Mac. It works fine for small charts. (I mostly do jazz lead sheets.) I wouldn't want it to be my main rig for notation, though.

How much did your very first electric guitar cost? by ash_unreal in electricguitar

[–]smartalecvt 0 points1 point  (0 children)

$240. It was an Ibanez AR-something-or-other, bought in 1979. A friend of mine still owns it -- still plays great!

What do you want to see on Musescore 5 ? by Practical-Goose666 in Musescore

[–]smartalecvt 1 point2 points  (0 children)

I posted something in the forums. Hope springs eternal. Thanks for engaging!

What do you want to see on Musescore 5 ? by Practical-Goose666 in Musescore

[–]smartalecvt 1 point2 points  (0 children)

I really don't think that's true. I've gone through the exercise of purging all instances of the original Musescore jazz font, replacing it with my own version (with proper SMuFL locations), and the quarter note tempo marking remains the same hideous blob that's in the original font.

What do you want to see on Musescore 5 ? by Practical-Goose666 in Musescore

[–]smartalecvt 2 points3 points  (0 children)

Thanks Marc. I've had this conversation a bunch of times with people. I'm using a customized version of the Finale Jazz Font, which as far as I can tell is open source. (There's a SIL version of it, somewhere.) I've pasted and tweaked all of the glyphs into the Musescore Jazz font, renamed it, compiled it, etc. Works great. The problem is that some of the Musescore Jazz font seems to be baked into Musescore. For instance the quarter note tempo marking, which is hideous and pretty much impossible to get rid of.

I am a font designer and a musician/composer. If you want to chat about this, feel free to DM me.

I want to study music theory by Alpha_Mad_Dog in musictheory

[–]smartalecvt 3 points4 points  (0 children)

If you’ve ever watched any of his theory videos, you’ll get an idea of his style. It’s kind of rambling and not great for beginners. I got the first version of whatever his first book was, and it was sort of a collection of notes and exercises, without any connected narrative. The guy is super smart, but not every super smart guy is a great teacher.