This kind of got lost in my recent post so i am still wondering if anyone can answer the 3 questions below. Thanks in advance!



I could see the value of Super Midi Tracks for the Melodist and Soloist....Is that most likely on the way? Perhaps super midi tracks for Guitar Chord melodies or Solos or Melodies that also show notation..........Now thats exciting!

Why are the 176 new "simple real tracks" something of value? Does that means the others are too complicated? Why is this a good thing?

I forgot the name of this item......but why is being able to Edit a track and change it from say clean guitar to distortion something desirable? Why not just use the correct one in the first place?

BBB

1.) I could see the value of Super Midi Tracks for the Melodist and Soloist....Is that most likely on the way? ...

There is no way of any of us knowing that and PG Music doesn't seem to announce features in advance.

2.) Why are the 176 new "simple real tracks" something of value? Does that means the others are too complicated? Why is this a good thing?

More options. You might like the sound and texture of a real track -- but you might think it is too busy. It is like getting two real tracks in one.

3.) but why is being able to Edit a track and change it from say clean guitar to distortion something desirable? Why not just use the correct one in the first place?

Again, more options -- and again it is like getting two real tracks in one. Plus, you might have your own favorite effects that you want to add to the guitar part instead of what PGM has selected for you.

I might also point out that items 2 & 3 on your list are direct results of users on this and the Wishlist forum asking for those two features.

Many people who use the program to do cover tunes and write their own popular songs asked for simpler RealTracks to suit. And PGMusic responded.


There were also quite a few asking for the "dry" guitar, bass and electric piano realtracks so that they could make use of their various amplifier/cabinet/effects software plugins and again PGMusic responded plus added the Amplitube program into the mix so that those who did not already have a plugin like that could take advantage. Being able to dial up your own effects/amplifier/speaker cabinet onto these tracks can really change the flavor of them, yields many more options. We also have the option of just ignoring that and loading the exact same player and RealTrack using the sound that player originally used to make the RealTrack. The latter, of course, is likely the faster thing to do and comes in handy as well.

--Mac

BBB, I will add that you should put your SuperTracks for the Melodist and Soloist idea on the wish list forum. I

Quote:

---

Why are the 176 new "simple real tracks" something of value? Does that means the others are too complicated? Why is this a good thing?

BBB

---

It should mean that the 'simple realtracks' have less embellishments in the passages, such as:

1. less passing notes

2.less extensions (preferably none)

3.alterations (preferably none)

the ones marked 'preferably none' can still be created by the user if he so wish, so realistically, there's no need unless it's a jazz piece. Even the passing notes, sometimes might be tricky. These are all options, they do not change a chord progression, because they do not change the function of each chord, they only change the 'appeareance'.

Sure, all the above can sound great if you know what you are doing, but if you throw them here and there haphazardly, can be very annoying if you, like me, know what you are doing and know what you want from your music.
For example, you might want to write a completely diatonic progression in C major, but BB could throw in an F# in some chords I write, which means that the key is temporarily reinterpreted as C lydian.

While this might make great sense in jazz music, it does not in many other styles of music, such as pop, classical, semi-classical, etc

The F# can sound very powerful in any style, but only if you know why, and if you want it. If you don't it could completely destroy the music's character and even sound just plain bad, e.g. clash badly with a melody I wrote.

It's like a waiter sprinkling a spice on your disk without asking you. The example I made with the F# is more extreme and does not happen often with BB, but even with passing notes and diatonic extensions....more often than not, less is more, especially in non-jazz styles.

Even if you don't play jazz...even some passing notes can make the music sound fussy, busy and overcrowded.

I am not a music teacher, but one thing I learned is that a good music teacher will always tell you to say more with less. When I was a beginner I did exactly that mistake, cramming in as many things as possible in a music passage, believing that it would make it sound better and more sophisticated.

But this almost never works too well.

But it's also a mistake to believe that only the 'simple tracks' would play well. In fact, it would be a big mistake. I suggest you just search for the realtracks you want and then compare a normal version with a 'simpler' version, listen carefully, and let your ear judge for itself. Then just keep the one that sounds best.