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No, not missing Carly Simon.....
I am writing something that I can best describe as "bouncy swing" and without actually playing what I an trying to do I can't describe it well enough to tell you the amount of pull ahead I am trying to get.
Would some kind soul listen to an audio clip of me playing the tempo I am shooting for on a guitar or a keyboard if I create one?
The best way I can explain is that I need a D on the downbeat for like a 16th, then an A pulled ahead and tied on the +2+, and then the 3 and 4 I have handled. I just don't know how to make the +2+ tied like I need it. And that is ALL through the song so I really need it. It's the "bouncy-ness" of the tempo and those tied notes that are giving me grief.
I think this question boils down to "Can I tie notes and have the computer generated rhythm know I want a tie and stop strumming?"
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I don't think you can control the strumming via notation like that.
But you may find a style in which the strumming is as you want it to be.
Sometimes, I have to go to using two bars to duplicate what really happens in one bar. Notes Norton features his Expanded MIDI styles for just that purpose, you might audition styles over there and find one that is exactly what you are looking for as well. Of course, it won't be a RealTrack style, but I have found that adding RealDrums and maybe a Realtrack or two to a MIDI style, along with using a good sounding MIDI synth solution, can really mask the MIDI telltale signs.
--Mac
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It's not as much the strumming as where I want that anticipation. I can't make it come in fast enough. By playing over the BIAB track I can hide the strum and make the ear hear the tied notes. I just need to make the syncopation more pronounced and ^^A7 does not pull that A7 chord forward fast enough.
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Anybody? Please? I can send a sound byte to demonstrate what I need to happen..... I have tried EVERYTHING there is to try....
Private message me if you think you can help.
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I think that you should bop on over to Notes Norton's website and take a gander at what it is that the Expanded Styles actually do, as it sounds to me like what you want to do... http://nortonmusic.com/ --Mac
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Quote:
I think this question boils down to "Can I tie notes and have the computer generated rhythm know I want a tie and stop strumming?"
Hi Eddie,
To tie the notes and stop strumming, select a "hold" for the chord. Holds are listed under the "rest types" in the chord options dialog. Press Alt+F5 to get chord options for the measure. Select beat 2. Select "hold chord" in the Rest type drop down. Then you can click "all except..." if you only want certain instuments to hold.
Quote:
I need a D on the downbeat for like a 16th
Try a "shot" in the same rest types dropdown and see if that's what you are looking for.
Jim
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Jim can you define what a "shot" is in BIAB land? Some of these terms like "push"... it's actually a "pull" when you pull a beat forward.... stuff like that is hard to get used to. I have called this "anticipating the beat" sing I was 6.....
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A shot is a chord of short duration. This chord can have a push of 1/16 or 1/8, or no push.
I think of a 'shot' as a 'hit'.
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Roland Integra-7, Presonus 192 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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The carrat symbol (^) will make the biab style push an 1/8th and 2 (^^) a 1/16th. Place them before the chord in Biab. Ex: /G,Em C,^D/ or /G,Em C,D/ /^G
Trax
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Right now that bar says
D,^^A7 | A/B A/C# | (and then on to {D | D } and so on.....)
Beats 3 and 4 are fine as quarter notes. What I need is a QUICK hit on that first D and a strongly anticipated AND after the D into the A7. What is more critical and my real problem is that the A7 from the anticipation to the end of 2 AND be TIED and not strummed.
This is why I have been asking if someone would listen to a sound clip of me playing it on guitar, because that text explanation is hard for ME to follow and I was the one who wrote it.....
And see, here is the terminology thing. The ^ symbol PULLS the chord, not pushes it. Push would seem, to me anyway, to mean "move it further from where it should be". I am looking for "PULL" meaning "pull it forward". So now I am past the fact that what the software calls push I call pull. I just need to get it to do it how I need it, i.e. tied notes. That is what I don't think BIAB can do, though I have not yet tried Jim's notation and he showed me how to manipulate a measure to tie notes. In this particular song, I need this heavy anticipated timing in like 11 or 12 places. It's a bouncy country shuffle and this timing is the leading measure to the second half of the verses, the bridge, the solo, and the choruses.
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A better way to learn about Pushes and Shots is to Rightclick on the bar and select Bar Settings. There are dialogs there that explain things a bit better.
Calling it a "Push" is a generally accepted colloquialism that is often used among pro musicians, studio cats and the like. Look at it from the opposite standpoint - you are "pushing" the note such that it sounds ahead of its originally appointed time.
That stuff is just semantics, once you've played around with the Bar Settings dialog a bit, it should all become a little clearer.
--Mac
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Eddie,
Did you get a chance to try my suggestions? From your descriptions, I still think this is pretty close to what you are looking for. The one thing I can't do is make the anticipation greater than half a beat. (Or a third of a beat in swing.)
Take a look at the "shots/holds/pushes" help topic. You can set these with the chord options dialog (right-click on the measure), or by typing in the codes. The help topic tells you how to determine if a particular real track has these options.
Beat 1: What BiaB calls a "shot". A short duration chord. I tried this, and, in the style I chose, it did not seem louder like an accent -- It was just short.
Beat 2: You need what BiaB calls a "push" (An anticipitation), plus you need a hold, which stops the strumming and just plays the chord. You can choose which instruments should play as normal without holding the chord. (A single ^ is a stronger anticipation than ^^ except in a swing rhythm when they are both the same.)
Beat 3: You need to enter another chord to stop the hold. It can be the same chord as the held chord. This tells BiaB when to stop holding the previous chord and play normally.
If you want to try typing this in, try D..,^A... in the first half of the measure, and then another chord in the 2nd half. I was not sure from your example whether the A/B chord was supposed to be on beat 3, or in the next measure. No matter, just put something on beat 3, even if it is another A chord.
Note: One dot is a rest, two dots is a "shot", three is a hold.
If you wanted the the bass and drums not to do the hold then add the letters bd after the three dots, like this ^A...bd
I would not mind listening to a sound clip, but I don't think I could get much closer to what you are looking for without messy work-arounds.
Jim
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Jim, it got me close enough to where the live guitar played over the BIAB masked it enough to get the desired effect. It is actually VERY close on it's own.
TY!
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If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
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XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
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