Originally Posted By: Matt Finley
I think you will have to do this adjustment in the DAW.
Exactly, that is how my brain works. Do the adjustments in the DAW. I suppose it is possible to pencil in changes to the bar numbers on the sheet music but why? In my mind the sheet music is the dog and the DAW is the tail. And the dog wags the tail, not the other way around.

I recall seeing one that had a pre-roll setting so Bar 1 could be wherever you wanted it. Most people have a lot of space at the beginning of a DAW file before anything musical happens.
In Studio One, Bar 1 can be placed anywhere. You can drag the waveform to the right or you can add negative bars and drag to the left. But from what I am observing in S1 if you start with the sheet music and the DAW/audio file initially in sync throughout the whole song and then you change the playback tempo without accounting for the change, then your bar numbers will be out of sync. And I don't want them out of sync.

In BIAB, I think you can designate bar one as a lead-in bar; I'll have to look for that. And exporting a song, I think you can prevent exporting the 2-measure filler. But again, I would need to experiment.
For me, at this time, this is not about forcing BiaB to do anything non-standard. It is about working with my DAW so that under any count-in or tempo situation that the DAW will be aligned such that it's understanding of the numbering agrees with the sheet music. Among other things, if I want to practice Bars 22 - 30 I can place my looping brackets in S1 between Bars 21 - 30 and loop it till the cows come home. As I play thru this range what I hear thru my monitors at any point will be what I am reading at that point and will be what I am playing at that point. So there are 3 separate things that are in sync; the notes on the sheet, the music I hear and the notes under my fingers; no real-time math or mental adjustments needed smile

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BiaB 2025 Windows
For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.