For Edim maj7 try C7#9/E as it often emphasises the b5 better than the Eb/E slash chord altermative. The C (#5) will often be left out of the equation as the root of the chord but if it does sound it often reinforces the diminished W/H scale sourse so it still sounds good IMO.

The Emin7b5sus4 might be obtained by other workarounds like A7susb9/E but be careful of the unwanted embellishments that sometimes creep in with altered dominants. If something doesnt sound right you can disable embellishments for a certain instrument in the style pattern editor.


Adding notes to chords using BIAB should be explored rather than as Mario suggests, using a sequencer. It looks complicated on paper but is actually a breeze to do in reality once you get the steps memorized.

1 Move the the generated chord part to the melody channel (copy >move tracks),

2 Set up a new melody harmony with only melody and a low root voice shifted up to the piano range.

3 Then move your original chords to another part of the sheet. Replace with just the note you want added and a slash root of the original chord for the bass.

4 Mute the piano channel and when you regenerate the track and the melody harmony will add the desired note somewhere in the chord.


5 Go to Edit melody and convert harmony to melody,.. then move your original changes back in place. Keep the piano channel muted. your chords should now sound as you want them.

I'll add this workaroud to the tips section as I find myself repeating it a lot.

Total control over chord voicing is possible in BIAB when you combine this technique with another i'll go into on that forum. It may be even more work intensive but its worth it in the end if you have unusual cluster and non-tonal chords in mind.

Hope this helps


Alan

Last edited by alan S.; 10/29/09 10:03 AM.