Can BIAB do that chord?

Billy

Hi Billy,

Here's my take on your question...

To get an Fadd9 sound, your best bet is to use F2. If you are using Realtracks, this may or may not exist in that instrument. It will depend on whether or not the Realtrack musician recorded it.

So try F2/D and see if it sounds OK. If it doesn't, then try F/D. Dm7 is also worth trying to if it fits the music texture.

Regards,
Noel

Thanks Noel...In this case it was a midi super track. As this is midi and perhaps I will not get exactly what I want from BIAB, I will just put it in one note at a time in my DAW.

I will give your instructions a try first.

Thanks,

Billy

EDIT...BB does not like the D minor 7 11 which is DFACG which is surely not a very strange chord. Same note as a Fadd9/D

Enter a Dm7(11) as Dm11

So the 7th is assumed?

Thanks Matt.

The piano player in this case is alternating between two chords. Perhaps a regen will do better.

A piano player gets to leave out whatever makes sense. The root, the fifth etc.

A ninth chord assumes a dominant seventh. An eleventh chord assumes a seventh and a ninth may be present.

By the way, in BIAB (not classical chord theory, but BIAB) these chords are treated identically: F2, Fsus2, Fadd2, and Fadd9

There are any number of issues to deal with in music. BIAB has it's limits and quirks like all software. Not everyone has classical musical training. Standard notation is not 100% "standard".

We have developed the Nashville number system which changes depending on which studio you go in.
All of this for the purpose of providing the ability to communicate in some type of common shorthand.

I more or less forced BIAB to play a song called Darling. To some extent it became a BIAB song and not mine. I think this must be a common issue for everyone.

I have been trying to write a R&B song today starting with a BIAB style which is much less trouble until you get to a chord you want that will not play out like you would like.

The demo style was fine with chords that it contained. It was not very happy playing a few of my chords. After being unsatisfied with what BIAB was producing, I went to my piano and played out the chord structure in the inversions I wanted. Now I have to adjust the super midi track in my DAW to get what I want.

I am beginning to understand better why people like the Midi Super Tracks. It may get to be a lot of work but midi can be made to do just about anything at least from a piano perspective.

I have not quite got the ACW figured out yet. I have been shown by Jim how that will be a useable method for reducing the styles search.

Onward through the frog.

Cheers,

Billy

I'd go with the f2/D as my first try.

I usually export everything to a DAW before finalizing a song, and generally use MIDI tracks. In the DAW I can change the inversion of the chord, remove unwanted notes (for example a C5 chord usually adds the third "E"), and do other things to take the very good output of BiaB and make it into something I hope will sound even better.

I don't use Nashville notation but I know it's a fine system. I was brought up on Roman Numeral notation and I get instant recognition in that mode.

Insights and incites by Notes

Perhaps I wasn't clear. BIAB translates these chords INTO F2: Fsus2, Fadd2, and Fadd9. They all are converted by BIAB into F2, using the pgshortc.txt file. It doesn't matter which one you type.

In cases like this I will look at the piano roll view in my DAW and move/add/delete the notes until I get what I want. In a rhythm situation were the same chord is played in many different sections/beats I copy and paste.

Because BiaB sometimes doesn't give me exactly what I want that is what I do. YMMV

Hi all, we have a tutorial on all the chords recognized by Band-in-a-Box here:

https://www.pgmusic.com/tutorial_chordlist.htm