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eddie1261
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eddie1261
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I have tried every switch and every nuance I can find in Real Band, but I can't make this software voice chords how I want it to. Today's adventure was a song that goes from C to Fm7 over D, but no matter how I try it, it plays some weird voicing. I then tried changing to Dm9, same result. Using all those "make natural" things. Also "Reinterpret chords" and that made it worse. Is there a "Give me normal chords, not some weird embellished junk" switch? There is subtle nuance between Fm7/D and Dm9 when it is voiced how I don't want it voiced. When I tell it Dm9 it puts all the notes together, and I want the D an octave down, with the Fm7 on my right hand and the D an octave below. But it won't play the D an octave down. So I said to myself, "Self, play that bass note manually." Well, the sonic clash was deafening. I mean, this software is my crutch to make up for how much my skills have eroded as I got older and the arthritis in my hands has gotten worse. Is there a way to make this thing do exactly what I want it to? Voice the chords how my mind's ear hears them? (Though unless I plug a USB into my brain somehow, I can't imagine how software can see what my brain hears, so there's that.)
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BIAB does not allow you to set the chord voicing for Realtracks. You get what it has to give you. Now if it is midi you can adjust the notes and freeze the track but that is a bit of a pain. Best to take the midi to your DAW. But you knew that. 
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Eddie,
As Dan suggested, your best bet is to use midi to play the one bar with the voicing you desire. If the RealTrack instrument is an electric bass, use an electric bass virtual instrument, if the RealTrack instrument is an acoustic bass, use an acoustic bass virtual instrument. Mute the RealTrack for the bar in question and playback the midi bass. Volume match the two instruments.
This is doable in both RealBand and Band-in-a-Box. The easiest way is to use an empty track for the midi and virtual instrument.
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There are a number of styles that sound great, but insist on choosing "interesting" chords.
As lovely as they sound, I've given up on getting them to work.
Depending on the instrument, you might be able to choose a simple chord, and then insert some MIDI notes to fill in the missing chordal notes. I remember watching a demo for a strummed guitar that didn't have any fancy chords. The work around was to have a second track where a note was added for the 7th of the chord, and blended pretty well.
Then again, if you had a comparable MIDI instrument, you likely wouldn't be looking to use a RealTrack, would you?
There's the free 30 day trial of Melodyne, which is capable of modifying individual notes in chords.
A Dm9 is going to be a Fmaj7/D, so I can't imagine that working out well as a substitute for a Fm7/D.
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I have tried every switch and every nuance I can find in Real Band, but [edit].. [/edit] There is subtle nuance between Fm7/D and Dm9 when it is voiced how I don't want it voiced. When I tell it Dm9 it puts all the notes together, and I want the D an octave down, with the Fm7 on my right hand and the D an octave below. But it won't play the D an octave down. So I said to myself, "Self, play that bass note manually." .. I can't imagine how software can see what my brain hears, so there's that.) Doesn't Fm7 have an Ab and Eb .. and Dm9 has a natural A/E (?) I mean F minor 7 to me is F-Ab-C-Eb That's more than subtle It's much different than Fmaj7 over D (F-A-C-E) Or am I confused? /wouldn't be the first time Is the small 'm' the issue?
Last edited by rharv; 07/27/20 01:30 PM.
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eddie1261
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eddie1261
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Doesn't Fm7 have an Ab and Eb .. and Dm9 has a natural A/E (?)
I mean F minor 7 to me is F-Ab-C-Eb
That's more than subtle
It's much different than Fmaj7 over D (F-A-C-E)
Or am I confused?
/wouldn't be the first time
Is the small 'm' the issue? Option 3, RHarv. FM7 as typed incorrectly by yours truly. The progression is a CM with a bass C an octave lower, moving to an F MAJ 7 with the bass note moving up a step to a D. Which taken in toto would see the complete chord contain D-F-A-C-E (just with an octave between the 2 halves) which I could call an Fmaj7 over D or a D9, but I need that specific voicing to make it sound like it is supposed to. If the notes were all together in the same octave I'd say D9, but the flavor of this is more scaled toward the Fmaj7. (I had to edit three times so far to say major). It's a subtle recurring kind of passage in this song. And to be clear this isn't my song. It's a cover someone asked me to as an experiment to hear my production take of her song. The story started that some years ago I heard a song of hers that sent my mind down a thought path that resulted in a completely different song, just inspired by the subject of her song. I guess I will have to play the main lines over what Real Band gives me. Damn you arthritis for making my hands so unwilling to cooperate!!!
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Option 3, RHarv. FM7 as typed incorrectly by yours truly.
The progression is a CM with a bass C an octave lower, moving to an F MAJ 7 with the bass note moving up a step to a D. Which taken in toto would see the complete chord contain D-F-A-C-E (just with an octave between the 2 halves) which I could call an Fmaj7 over D or a D9, but I need that specific voicing to make it sound like it is supposed to. If the notes were all together in the same octave I'd say D9, but the flavor of this is more scaled toward the Fmaj7. (I had to edit three times so far to say major). It's a subtle recurring kind of passage in this song. And to be clear this isn't my song. It's a cover someone asked me to as an experiment to hear my production take of her song. The story started that some years ago I heard a song of hers that sent my mind down a thought path that resulted in a completely different song, just inspired by the subject of her song.
I guess I will have to play the main lines over what Real Band gives me. Damn you arthritis for making my hands so unwilling to cooperate!!!
Eddie, I think you have another typo. D9 is D-F#-A-C-E. A Dm9 is D-F-A-C-E.
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HI Eddie and Mario,
I don't usually get involved in semantics and I have a great respect for the technical
knowledge of both of you, but as I see it Ed is right the that Fmaj7/D = D-F-A-C-E
but that both of you are wrong about D9, which as I understand it is, D-F#-A-E
and Dm9 which is D-F-A-E.
If you regard D-F-A-C-E as a single chord, we would know it over here as Dm7,9. Maybe
it's a regional thing?
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HI Eddie and Mario,
I don't usually get involved in semantics and I have a great respect for the technical
knowledge of both of you, but as I see it Ed is right the that Fmaj7/D = D-F-A-C-E
but that both of you are wrong about D9, which as I understand it is, D-F#-A-E
and Dm9 which is D-F-A-E.
If you regard D-F-A-C-E as a single chord, we would know it over here as Dm7,9. Maybe it's a regional thing?
It might be a regional thing. D9 and Dm9 over here includes the 7th, the C. Here your D-F#-A-E would be called Dadd9 and the D-F-A-E would be called Dmadd9. At least that's how it was taught to me. https://www.8notes.com/guitar_chord_chart/d9.asp
Whenever I get something stuck in the back of my throat, I dislodge it by drinking a beer.
It's called the Heineken Maneuver.
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
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I concur with Mario. A 9th chord includes the dominant seventh.
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eddie1261
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I messed up the wording of the post from jump street. Here's what I need. My right hand playing F-A-C-E over a D in the left hand an octave below it. I can look at that as an Fmaj7 over D, or a Dmin9. For the context of what the vocals do I need the former rather than the latter. The intent of the post was to point out that no matter what I tried I could not make RB put the D on the left hand. (Let's remove guitar from the conversation. This is on a piano, where voicing is easier to achieve.) The way Real Band clustered those note sounded atrocious in the context of the song, so I guess I have to play it in manually. I'll take 4 Aleve tablets and have a run at it. And do it on a low humidity day. When the humidity is over 0% I can't bend my index and middle finger on my right hand to where the middle knuckle comes close to 90 degrees. The main knuckles where the fingers meet the palm (I used to know these names) are so bad I can't even make a fist. This is what I want Real Band to play. (On a Rhodes with phasing. Which my Nord does beautifully.) And it won't.  Oh, edit for PS. I am just going to program it to play the base chords and add the embellishing notes myself. I know RB can do that because it has done it well so many times.
Last edited by eddie1261; 07/28/20 02:46 PM.
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It might be a regional thing. D9 and Dm9 over here includes the 7th, the C. Here your D-F#-A-E would be called Dadd9 and the D-F-A-E would be called Dmadd9. At least that's how it was taught to me.
Thanks, Mario. I'm always interested in these variations. This is probably a Rock musician thing, a bit like the different ways Rock and Classical musicians interpret 7ths over here. Cheers, ROG.
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