Yes, there’s really a surprising amount of poor craftsmanship in the details. I guess what’s most compelling about those hymnals to me is the paper and binding. The ELCA in particular is just gorgeous… Without a doubt the most beautiful paper and layout I’ve ever seen in a hymnal.
In their defense, whatever software they used, it certainly wasn’t Dorico, which means most of these settings were likely not automatic and had to be checked in the editing process. That’s not an excuse for typos, but I do understand the difficulty. I don’t usually need to pay much attention to things like beam angles or dot placement, thankfully.
There are very few decisions that Dorico makes automatically that I can’t set globally. There certainly are a few, but they are infrequent enough that it’s easy to catch them. Finale was much more problematic in this respect. As a result, the handful of hymnals I did before switching to Dorico had a few of these sorts of errors: dot placement was a particular annoyance, since it had to be checked religiously.
It’s easy to be sharp in the editing process when there’s much less to check. When every note, slur, dot, and beam could be completely wrong, the weariness sets in…