One of the annoying features of GarageBand and some other software recording programs is that you can see the Notation View (the music notes on the staff) of only one track at a time. So if you want to add a synth bassline or a simple counter-melody in flute or sax, for example, you must either hope you've memorized the chord progression, or you must waste paper printing a multi-page music score you need for only a few minutes.
Easy fix:
1. Select by highlighting the track name of the track that is your main instrument (already recorded); for me it is usually grand Piano. In this case, if you select just a note within the notation view, this hint also works.
2. Select File > Print.... but don't print.
3. Click on Preview and then slide the preview window over to the side where you can see both it and the GarageBand main window.
4. Click on the new track where you want to record the counter-melody or bass (etc.) track, and begin recording, using the Preview window as your guide.
This is obviously a simple hint... but I printed out a fair number of sheets that I then discarded before I realized I could easily play from the Preview window.
Much joy in finding 'shortcuts' in music!
©2018, 2011 DianaDee Osborne
Updated version published 16 March 2018
Thursday, August 25, 2011
Tuesday, August 23, 2011
Deliberate Percussion Mistakes
Drums and percussion can add deeply to your song's mood... including to reflect angst and sorrow with DELIBERATE mistakes. For example, the ear rather expects the kick drum to always fall first on either count 1 or 2 depending on the song, and then to stay there through the song.
But suppose you keep alternating where that kick falls? An off-kilter, "something's not right" feel is added to your song. And if your words have the message that Life is off-kilter and just not right.... well, your percussion mood punches fantastic emphasis into your song.
An easy example: In my song COMFORT IN MISTAKES, I used a standard jazz 4/4 drum loop that had the quiet, sad feel of the words. BUT... the song is written in 3/4. RESULT: The kick and the high hat and everything else "feels" off-kilter when you really listen. What's really cool though is that people generally don't focus on the percussion at first unless that's "their instrument." So the song gives an off-kilter "MISTAKE" feeling that can't be explained from the main instruments.
You'll find this example song at www.DiDoReflections.com after my studio records it next week. And this blog topic is explored further under my blog,
DianaDee Easy Songwriting Hints for Song Writers, dated 28 July 2011.
http://dianadeeosborne.blogspot.com/
Much joy to you in *deliberately* making mistakes that reflect your song's message!
©2018, 2011 DianaDee Osborne
An updated version published 9 March 2018.
But suppose you keep alternating where that kick falls? An off-kilter, "something's not right" feel is added to your song. And if your words have the message that Life is off-kilter and just not right.... well, your percussion mood punches fantastic emphasis into your song.
An easy example: In my song COMFORT IN MISTAKES, I used a standard jazz 4/4 drum loop that had the quiet, sad feel of the words. BUT... the song is written in 3/4. RESULT: The kick and the high hat and everything else "feels" off-kilter when you really listen. What's really cool though is that people generally don't focus on the percussion at first unless that's "their instrument." So the song gives an off-kilter "MISTAKE" feeling that can't be explained from the main instruments.
You'll find this example song at www.DiDoReflections.com after my studio records it next week. And this blog topic is explored further under my blog,
DianaDee Easy Songwriting Hints for Song Writers, dated 28 July 2011.
http://dianadeeosborne.blogspot.com/
Much joy to you in *deliberately* making mistakes that reflect your song's message!
©2018, 2011 DianaDee Osborne
An updated version published 9 March 2018.
Saturday, August 20, 2011
Extending Live Guitar Decay Time (easy)
When you tune your guitar, your hit of the string ("attack") sets the tuner's needle "right on" when the string is in tune. But you notice that needle hold for a few seconds and then slowly drift downward as the sound dies out, called "decay".
It's easy to control decay length with guitar pedals or even amp settings. But we often record live guitar straight into the computer as a "clean" guitar, to give us full control for later changes.
Here's an easy way to lengthen your final live guitar note (or notes) even in a clean recording:
1. Leave yourself "headroom" on your guitar to move the volume knob upward.
2. After you hit the final note, as the note's sound begins to decay, gradually turn your volume knob up until the note is as long as you want.
3. Then just lower the volume control knob at whatever speed gives you the sound you want.
That's all there is to it... an easy way to let your guitar "cry" or "scream" or whatever much longer than the note(s) would last with a single hit and nothing else.
Much joy in making your guitar sing... or scream:)
©2018, 2011 DianaDee Osborne
An updated version published 27 February 2018/
It's easy to control decay length with guitar pedals or even amp settings. But we often record live guitar straight into the computer as a "clean" guitar, to give us full control for later changes.
Here's an easy way to lengthen your final live guitar note (or notes) even in a clean recording:
1. Leave yourself "headroom" on your guitar to move the volume knob upward.
2. After you hit the final note, as the note's sound begins to decay, gradually turn your volume knob up until the note is as long as you want.
3. Then just lower the volume control knob at whatever speed gives you the sound you want.
That's all there is to it... an easy way to let your guitar "cry" or "scream" or whatever much longer than the note(s) would last with a single hit and nothing else.
Much joy in making your guitar sing... or scream:)
©2018, 2011 DianaDee Osborne
An updated version published 27 February 2018/
Friday, August 19, 2011
Changing Music Score Key while Saving Your Music: MIDI ONLY
Have you ever created a studio project in Garageband setting the key and tempo along with the filename, then played a fantastic track.... and THEN realized that you set the project for the wrong key? Result: Your music score may have so many sharps or flats in it that only a college music major would want to try it. This hint shows -- it's NOT too late to fix your score!....
....even though the GarageBand program makes you think it is. After you've created a beautiful music track, if you look at the score (fancy GB wording: in the Notation View), you CANNOT simply change the GB key. Changing the tempo or signature there keeps all notes the same, but if you change the key, GarageBand transposes all your music to that key.
For projects with only MIDI tracks (hence ability to create score):
EASY FIX so that the score's signature shows the key you want but your recorded music won't change:
1. SAVE your project. Just in case you want to revert to the existing file :)
2. TIGHTEN your view (the slider under the top window) so you can see all or most of your track. (It also helps to do a Track > Hide Track Info for long tracks. If in the Loop Browser, first Track > Show Track Info.... another of those weird hints not in all instruction guides.)
3. Select the entire track (dark green... the track, NOT the notes in the track). and CUT.
Hey, now you understand that suggestion to first Save!
4. Select Control > Show Tempo (if you're not already there).
5. Change the Key to whatever you like.
6. Hit HOME to put the red marker at Measure 1 count 001.
7. Ensure that the correct track name is highlighted. Then do Edit > Paste.
Your original track will be pasted in exactly as it was.... NO transposition done after you changed the key. Now when you check the score, it most likely looks a lot easier to play!
Much joy to you in defeating those little quirks in GarageBand!
©2018, 2011 DianaDee Osborne
An updated version published 20 February 2011
Updated version published 16 February 2018
....even though the GarageBand program makes you think it is. After you've created a beautiful music track, if you look at the score (fancy GB wording: in the Notation View), you CANNOT simply change the GB key. Changing the tempo or signature there keeps all notes the same, but if you change the key, GarageBand transposes all your music to that key.
For projects with only MIDI tracks (hence ability to create score):
EASY FIX so that the score's signature shows the key you want but your recorded music won't change:
1. SAVE your project. Just in case you want to revert to the existing file :)
2. TIGHTEN your view (the slider under the top window) so you can see all or most of your track. (It also helps to do a Track > Hide Track Info for long tracks. If in the Loop Browser, first Track > Show Track Info.... another of those weird hints not in all instruction guides.)
3. Select the entire track (dark green... the track, NOT the notes in the track). and CUT.
Hey, now you understand that suggestion to first Save!
4. Select Control > Show Tempo (if you're not already there).
5. Change the Key to whatever you like.
6. Hit HOME to put the red marker at Measure 1 count 001.
7. Ensure that the correct track name is highlighted. Then do Edit > Paste.
Your original track will be pasted in exactly as it was.... NO transposition done after you changed the key. Now when you check the score, it most likely looks a lot easier to play!
Much joy to you in defeating those little quirks in GarageBand!
©2018, 2011 DianaDee Osborne
An updated version published 20 February 2011
Updated version published 16 February 2018
Saturday, August 13, 2011
Violin Synth that Sounds More Real
How do you tell whether the music is using real violin or "fake" violin created on a synthesizer? This hint-- for any program -- will make it harder for listeners to know if you didn't use a skilled violinist for your music.
Recording programs... even basic ones like GarageBand, do a great job of giving you realistic violin sound. After studying violinists and comparing their sounds to synth violin, I found this main difference: The ending note of a violinist wavers as it fades. The ending note of a synthesizer has a nice but steady fadeout.
Easy solution for long ending violin notes: Use your Track Volume control and a lot of volume automation points. But really, only 7 pounts give a nice fade.
1. Highlight the violin track and open the piano roll. If needed, extend your final note.
2. In your track area, extend the zoom slider to make the note you'll be changing very long. (I slide to about 2/3 the zoom line in GarageBand.)
3. Click on the track name area's triangle to open the Track Volume line.
4. In GarageBand this is important (not so much perhaps in other programs): Adjust the overall volume of the track WITH the other music of the entire project to be what you want. Once you add points on the Track Volume line in GB, it's hard to change the overall volume.
5. Right after the long final violin note begins, add 7 evenly spaced automation points -- just click along the volume line. You can use more, you can use less....
6. The first point stays at the overall volume, unchanged. Raise the 2nd point above the line, the 3rd point below, the 4th point above, and etc. How much? It's up to you. In the example "Desperate Prayer" (www.DiDoReflections.com -- free downloadable example), I used these 7 points: 0.4 db (my main volume level), 2.7, minus 2.2, 2.7, minus 3.4, 1.2, ending at 0.4 so that the volume is set for the next region.
You won't hear much of a difference except when really listening... as musicians often do when they 'play the game' of trying to figure out if your music has live musicians or just a keyboard's great synth instrument. Just this touch adds a bit of professionalism.... and perhaps your great music will attract a violinist to ask you, "Hey, can I record live violin for you?"
Great joy in music to you! ©2018, 2011 DianaDee Osborne
An updated version published 13 February 2018
Recording programs... even basic ones like GarageBand, do a great job of giving you realistic violin sound. After studying violinists and comparing their sounds to synth violin, I found this main difference: The ending note of a violinist wavers as it fades. The ending note of a synthesizer has a nice but steady fadeout.
Easy solution for long ending violin notes: Use your Track Volume control and a lot of volume automation points. But really, only 7 pounts give a nice fade.
1. Highlight the violin track and open the piano roll. If needed, extend your final note.
2. In your track area, extend the zoom slider to make the note you'll be changing very long. (I slide to about 2/3 the zoom line in GarageBand.)
3. Click on the track name area's triangle to open the Track Volume line.
4. In GarageBand this is important (not so much perhaps in other programs): Adjust the overall volume of the track WITH the other music of the entire project to be what you want. Once you add points on the Track Volume line in GB, it's hard to change the overall volume.
5. Right after the long final violin note begins, add 7 evenly spaced automation points -- just click along the volume line. You can use more, you can use less....
6. The first point stays at the overall volume, unchanged. Raise the 2nd point above the line, the 3rd point below, the 4th point above, and etc. How much? It's up to you. In the example "Desperate Prayer" (www.DiDoReflections.com -- free downloadable example), I used these 7 points: 0.4 db (my main volume level), 2.7, minus 2.2, 2.7, minus 3.4, 1.2, ending at 0.4 so that the volume is set for the next region.
You won't hear much of a difference except when really listening... as musicians often do when they 'play the game' of trying to figure out if your music has live musicians or just a keyboard's great synth instrument. Just this touch adds a bit of professionalism.... and perhaps your great music will attract a violinist to ask you, "Hey, can I record live violin for you?"
Great joy in music to you! ©2018, 2011 DianaDee Osborne
An updated version published 13 February 2018
WHY SPLIT? Hint for Perfect region copying
This hint works for any studio recording, not just Garageband-- an easy way to "know where you are" when you copy a region to another place on that track where the music of other tracks is the same. Such as, when you decide after finishing a song to add one region of your violin track to go with another verse.
An earlier hint shows how keeping regions on a track separate comes in handy when you later decide to add a verse (e.g.). This goes one step further: When your regions do not all nicely begin on the same measure, so you can't just "copy down" all the regions in a section, copy them, and paste them elsewhere.
I discovered this EASY hint while adding two more interlude sections to "Desperate Prayer" (www.DiDoReflections.com -- free download to check for the example) ... that was not going to be an easy addition because the violin track had multiple regions which bridged from one region to the next of every other track (such as beginning several measures ahead of piano and flute).
This hint works ok for WAV tracks (audio of any type) but it's easier in MIDI; and it assumes you've followed an earlier hint -- aligned (quantizied) notes before and after an area to split.
As always, save your project before doing any major changes so you can easily do a File > Revert to Saved if needed.
1. Put your red place marker right at the beginning of the main region; for me, it was where the piano interlude had just ended and a verse was starting. Check your Score to be sure you're not one count off.
2. Select (turns dark green in GarageBand) the region you want to copy that bridges on both sides of that marker (which, yes, has a professional name I'll skip). For me: violin.
3. Select Edit > Split (remembering that the track name must be selected/ green in GB).
4. Select the two pieces now of that region, and do an Edit > Copy. Notice that the split is right at the red marker, at the beginning of your main region (my Piano verse #2 region).
5. Now put the red marker at the corresponding place of the main track's other main region (my Piano verse #4 region)
6. Ensure the correct track name is highlighted (mine: violin). Selected Edit> Paste.
7. Test first, through the end. Then select the separate 2 pieces of your newly pasted region and do Edit > Join. Do the same for the 2 pieces of the region which you had copied.
The new regions now will fit perfectly with the rest of the music including on your main track. An easier copy than trying to match up measures for a track that goes across multiple regions of other tracks. Much joy in music to you! ©2018, 2011 DianaDee Osborne
Updated version published 30 January 2018
An earlier hint shows how keeping regions on a track separate comes in handy when you later decide to add a verse (e.g.). This goes one step further: When your regions do not all nicely begin on the same measure, so you can't just "copy down" all the regions in a section, copy them, and paste them elsewhere.
I discovered this EASY hint while adding two more interlude sections to "Desperate Prayer" (www.DiDoReflections.com -- free download to check for the example) ... that was not going to be an easy addition because the violin track had multiple regions which bridged from one region to the next of every other track (such as beginning several measures ahead of piano and flute).
This hint works ok for WAV tracks (audio of any type) but it's easier in MIDI; and it assumes you've followed an earlier hint -- aligned (quantizied) notes before and after an area to split.
As always, save your project before doing any major changes so you can easily do a File > Revert to Saved if needed.
1. Put your red place marker right at the beginning of the main region; for me, it was where the piano interlude had just ended and a verse was starting. Check your Score to be sure you're not one count off.
2. Select (turns dark green in GarageBand) the region you want to copy that bridges on both sides of that marker (which, yes, has a professional name I'll skip). For me: violin.
3. Select Edit > Split (remembering that the track name must be selected/ green in GB).
4. Select the two pieces now of that region, and do an Edit > Copy. Notice that the split is right at the red marker, at the beginning of your main region (my Piano verse #2 region).
5. Now put the red marker at the corresponding place of the main track's other main region (my Piano verse #4 region)
6. Ensure the correct track name is highlighted (mine: violin). Selected Edit> Paste.
7. Test first, through the end. Then select the separate 2 pieces of your newly pasted region and do Edit > Join. Do the same for the 2 pieces of the region which you had copied.
The new regions now will fit perfectly with the rest of the music including on your main track. An easier copy than trying to match up measures for a track that goes across multiple regions of other tracks. Much joy in music to you! ©2018, 2011 DianaDee Osborne
Updated version published 30 January 2018
Friday, August 12, 2011
Keep the Mood with Ending Space
Is your goal to distribute your Indie music on the Web? Then this hint can be useful. As a musician-recording studio, you can control how long the 'mood' continues at the end of your song.
What do I mean? Here's an example: I downloaded from my website a beautiful, quiet meditative orchestra song and one of my fast-moving ragtime songs. Two MP3 tracks copied onto a CD. (They're free to download by anyone, including me:)
I listened to DESPERATE PRAYER's relaxing, peaceful, Renaissance style flute and violin music. But within a moment from the last note, my player suddenly blasted out that loud ragtime.
Well, it did awaken me quite efficiently. Thus I learned this hint:
When you go to burn a CD, you get a couple of choices of adding a few seconds between the CD tracks. You don't get that choice burning song files in MP3 format, at least in some programs. And much music online ready to be downloaded so people can learn how great your music is, is in MP3 format. The result: Your listeners just might lose the mood of your first song when the second song immediately plays and blasts away that mood.
Easy fix (in any recording program): At the end of your longest recording track (e.g., the piano track), add two blank measures. If your program assumes the song ends with the last note, it's easy to fool it (you win) by adding a fast high-pitch note at the end of that 2nd extra measure and lower the volume as far as it will go.
How much time? I just listen to the song's end and count beats in my head until I'm ready for the mood to end. A good test is to copy any loud-song mp3 onto an extra track, slide it to the end of your song, and see how much space you'd want between your song and the temporary test track. Just a hint for keeping your mood.... your song, your control! Much joy in being able to control Something in Life! c2018, 2011 DianaDee Osborne
Reprinted 2 Feb 2018
What do I mean? Here's an example: I downloaded from my website a beautiful, quiet meditative orchestra song and one of my fast-moving ragtime songs. Two MP3 tracks copied onto a CD. (They're free to download by anyone, including me:)
I listened to DESPERATE PRAYER's relaxing, peaceful, Renaissance style flute and violin music. But within a moment from the last note, my player suddenly blasted out that loud ragtime.
Well, it did awaken me quite efficiently. Thus I learned this hint:
When you go to burn a CD, you get a couple of choices of adding a few seconds between the CD tracks. You don't get that choice burning song files in MP3 format, at least in some programs. And much music online ready to be downloaded so people can learn how great your music is, is in MP3 format. The result: Your listeners just might lose the mood of your first song when the second song immediately plays and blasts away that mood.
Easy fix (in any recording program): At the end of your longest recording track (e.g., the piano track), add two blank measures. If your program assumes the song ends with the last note, it's easy to fool it (you win) by adding a fast high-pitch note at the end of that 2nd extra measure and lower the volume as far as it will go.
How much time? I just listen to the song's end and count beats in my head until I'm ready for the mood to end. A good test is to copy any loud-song mp3 onto an extra track, slide it to the end of your song, and see how much space you'd want between your song and the temporary test track. Just a hint for keeping your mood.... your song, your control! Much joy in being able to control Something in Life! c2018, 2011 DianaDee Osborne
Reprinted 2 Feb 2018
Thursday, August 11, 2011
WHY SPLIT a TRACK?
This hint works for any recording program: WHY would you want to split a track? Many guides tell you that you CAN but don't mention the advantages.
Three good reasons for splitting:
1
If you have created a music introduction and then a section that will be repeated (like Verse 1 and Verse 2), it is useful to split the track after the intro. Then you can easily copy the remaining track section through the end of verse 1 over and over until all verses are there.
HINT: Ensure the red marker bumps right up to the end of the previous section... it's easier to see this if you widen the view to make the notes larger in Score mode.
2
Seeing the splits also gives you visual info, to see where each verse actually is, in case you start layering in flute and other pieces that belong in a specific place within each verse.
3
If your kits (drum) track is more than one single sound, you might have a number of tracks kept separate so you can keep control over volume balance. As you develop the different drum segments, it's useful to see where they fit on your main track's region... especially if that region is split to show you where each music movement begins and ends. Not only does this make copying a piece easier, but you can also quickly compare MIDI notes to ensure you've copied to the right place.
Much joy in your music days! ©2018, 2011 DianaDee Osborne
Reprinted 30 January 2018
Three good reasons for splitting:
1
If you have created a music introduction and then a section that will be repeated (like Verse 1 and Verse 2), it is useful to split the track after the intro. Then you can easily copy the remaining track section through the end of verse 1 over and over until all verses are there.
HINT: Ensure the red marker bumps right up to the end of the previous section... it's easier to see this if you widen the view to make the notes larger in Score mode.
2
Seeing the splits also gives you visual info, to see where each verse actually is, in case you start layering in flute and other pieces that belong in a specific place within each verse.
3
If your kits (drum) track is more than one single sound, you might have a number of tracks kept separate so you can keep control over volume balance. As you develop the different drum segments, it's useful to see where they fit on your main track's region... especially if that region is split to show you where each music movement begins and ends. Not only does this make copying a piece easier, but you can also quickly compare MIDI notes to ensure you've copied to the right place.
Much joy in your music days! ©2018, 2011 DianaDee Osborne
Reprinted 30 January 2018
Wednesday, August 10, 2011
Why won't that STUPID Track Split Right???
To split a track... or REGION in the track, here's a hint that's learned "the hard way" since not generally in the manuals. Most manuals say something like (1) "You can split a track." Duh.
(2) Manual: Select the region you want to split; But no instructions on how. My previous hint does, but I'll repeat it quickly below.
(3) Manual: Move the "playhead" over the point where you want to split; another duh, though "red line" or "marker" might come to mind sooner than "playhead."
(4) Manual: Choose Edit > Split. But it doesn't tell you why that option might be grayed out in the Edit menu; my previous hint fully describes the the most common answer, but the problem is eliminated in the following hints.
WHY WON'T THAT STUPID TRACK SPLIT RIGHT?
(1) FIRST, you have to highlight the track name.... not simply the track, which you're already smart enough to know you'd have to select. 'Twould be nice if manuals mentioned that 'track name' thing!
(2) WHERE do you put the red marker? (Sorry, "playhead" isn't in my vocab today.) Ensure that you're in "Score" mode and not "Piano Roll"... it works either way but is a lot easier to see in Score. Put the marker right after the measure bar, but just in front of the first music note. It's ok if it touches the note.
WHY DID MY NOTE DISAPPEAR????
Another question not answered in standard manuals. Deep frustration is rewarded in sharing hints one has learned with other musicians like you: If a note disappears on either side of the split, there are two easy fixes.
(1) Hit UNDO. Well, Edit > Undo or your computer's quick key, like apple-Z. That removes the frustratingly wrong splitting.
(2) Use Enhance Timing to "quantize" the notes in both the measure before and the measure after where you want that split to go. That is, select (highlight, turn them green) all quarter notes. "Enhance Timing" changes to say "Align to". Select 1/4 Note for quarter notes, and so on.
(3) By quantizing both sides of the split, you should now be able to return to Edit>Split.... after you remember to highlight that track name yet again, sigh.
AAAGHHHH!!! THE NOTE IS STILL DISAPPEARING!!!
Excuse me. That's a quote I've used a few times. Here's how to resist the urge to repeat it yourself:
(1) By quantizing above, the first note in the 2nd measure should be in its proper place.
(2) So if the track split still makes a note(s) disappear, most likely you have a note (or more) that's too long in the first of the 2 measures around the place you want to split. If a note goes past the measure bar, it will indeed disappear when you do a track split. Easy solution:
(3) Now it's time to go into Piano Roll, though it's easiest to have the red marker at the place you want to split first... makes it easier to find the right place. You will probably immediately see the note(s) in the first of the 2 measures that is so long it extends into the 2nd measure.
(4) Just grab the end of each note that's too long and shorten it. Then return to SCORE mode.
(5) Try Edit>Split again; this time, the split should be right along the measure bar.
GRRrrrrrr..... Note still disappearing? Tell your computer you're going to win.
(6) Return to Piano Roll. Select all the notes in the measure. Do Edit > Cut. Well, you might want to do a File > Save first:)
(7) Try the split again. If it worked right, now all you have to do is to
(8) return to that first measure and do Edit>Paste. Notes should all be there now. If not, there's always Pray-And-Repeat :)
Much Joy to you in music... despite the sometimes-frustrations of missing hints in instructions.
©2018, 2011 DianaDee Osborne
Reprinted 26 January 2018
(2) Manual: Select the region you want to split; But no instructions on how. My previous hint does, but I'll repeat it quickly below.
(3) Manual: Move the "playhead" over the point where you want to split; another duh, though "red line" or "marker" might come to mind sooner than "playhead."
(4) Manual: Choose Edit > Split. But it doesn't tell you why that option might be grayed out in the Edit menu; my previous hint fully describes the the most common answer, but the problem is eliminated in the following hints.
WHY WON'T THAT STUPID TRACK SPLIT RIGHT?
(1) FIRST, you have to highlight the track name.... not simply the track, which you're already smart enough to know you'd have to select. 'Twould be nice if manuals mentioned that 'track name' thing!
(2) WHERE do you put the red marker? (Sorry, "playhead" isn't in my vocab today.) Ensure that you're in "Score" mode and not "Piano Roll"... it works either way but is a lot easier to see in Score. Put the marker right after the measure bar, but just in front of the first music note. It's ok if it touches the note.
WHY DID MY NOTE DISAPPEAR????
Another question not answered in standard manuals. Deep frustration is rewarded in sharing hints one has learned with other musicians like you: If a note disappears on either side of the split, there are two easy fixes.
(1) Hit UNDO. Well, Edit > Undo or your computer's quick key, like apple-Z. That removes the frustratingly wrong splitting.
(2) Use Enhance Timing to "quantize" the notes in both the measure before and the measure after where you want that split to go. That is, select (highlight, turn them green) all quarter notes. "Enhance Timing" changes to say "Align to". Select 1/4 Note for quarter notes, and so on.
(3) By quantizing both sides of the split, you should now be able to return to Edit>Split.... after you remember to highlight that track name yet again, sigh.
AAAGHHHH!!! THE NOTE IS STILL DISAPPEARING!!!
Excuse me. That's a quote I've used a few times. Here's how to resist the urge to repeat it yourself:
(1) By quantizing above, the first note in the 2nd measure should be in its proper place.
(2) So if the track split still makes a note(s) disappear, most likely you have a note (or more) that's too long in the first of the 2 measures around the place you want to split. If a note goes past the measure bar, it will indeed disappear when you do a track split. Easy solution:
(3) Now it's time to go into Piano Roll, though it's easiest to have the red marker at the place you want to split first... makes it easier to find the right place. You will probably immediately see the note(s) in the first of the 2 measures that is so long it extends into the 2nd measure.
(4) Just grab the end of each note that's too long and shorten it. Then return to SCORE mode.
(5) Try Edit>Split again; this time, the split should be right along the measure bar.
GRRrrrrrr..... Note still disappearing? Tell your computer you're going to win.
(6) Return to Piano Roll. Select all the notes in the measure. Do Edit > Cut. Well, you might want to do a File > Save first:)
(7) Try the split again. If it worked right, now all you have to do is to
(8) return to that first measure and do Edit>Paste. Notes should all be there now. If not, there's always Pray-And-Repeat :)
Much Joy to you in music... despite the sometimes-frustrations of missing hints in instructions.
©2018, 2011 DianaDee Osborne
Reprinted 26 January 2018
Saturday, August 6, 2011
Join Tracks (Merge Tracks) GarageBand Hint
This hint works for ProLogic, Protools, any recording program. Example: One online GarageBand manual I found is almost 100 pages long. In 100 pages, this is what it says about joining or merging regions:
you can. Instruction: "Select the region, then choose Edit > Join."
Well, it's a bit harder to do than that. Without any manual in hand, I learned after much frustration that in GarageBand you first have to:
3. (Steps 1 and 2 are explained below).
Click on the instrument's track name (left column) to highlight it. Until then, the Edit>Join menu option stays GRAYED OUT,
___even if you've highlighted the regions you want to join,
___even if your cursor is in the editor,
___even if you've selected a MIDI note or highlighted a wave in the editor.
I'm still a bit miffed to think of all the frustrating time I spent trying to figure out why the logical Edit>Join did not work. May you have a bit more joy in missing out on that annoying omission in technical manuals that should have been user tested with complete novices like I was!
4. This step is logical even if you have no manual: Highlight the regions and select Edit>Join (duh).
5. Here's a hint I learned the hard way because it wasn't in the manuals: BEFORE you hit File>SAVE, always play your full piece of music for the newly joined regions to be sure you didn't accidentally move anything while highlighting the regions.
In fact: Here's a really cool hint (imho) I worked out from personal experience:
ENSURE YOU DIDN'T SHIFT YOUR REGIONS while highlighting them....
which is easy to do. If either region is bumped one tiny count as you touch it with your cursor, your entire piece will be off... and you will be quite frustrated as you try to repair "whatever I did." Especially if you save the file immediately after joining (merging) regions. To avoid this easy mistake:
1. BEFORE you do the three steps above, SAVE your file.
2. After you highlight the regions to be joined, go to Edit> and ensure that the Undo item is still gray. Hit UNDO if it says you need to undo anything! Especially "Change position of region"!
It's still a safety feature to check with Step 5 above, but not so essential if you've first done these two steps.
Much Joy in music to you! ©2018, 2011 DianaDee Osborne
Reprinted 23 January 2018
you can. Instruction: "Select the region, then choose Edit > Join."
Well, it's a bit harder to do than that. Without any manual in hand, I learned after much frustration that in GarageBand you first have to:
3. (Steps 1 and 2 are explained below).
Click on the instrument's track name (left column) to highlight it. Until then, the Edit>Join menu option stays GRAYED OUT,
___even if you've highlighted the regions you want to join,
___even if your cursor is in the editor,
___even if you've selected a MIDI note or highlighted a wave in the editor.
I'm still a bit miffed to think of all the frustrating time I spent trying to figure out why the logical Edit>Join did not work. May you have a bit more joy in missing out on that annoying omission in technical manuals that should have been user tested with complete novices like I was!
4. This step is logical even if you have no manual: Highlight the regions and select Edit>Join (duh).
5. Here's a hint I learned the hard way because it wasn't in the manuals: BEFORE you hit File>SAVE, always play your full piece of music for the newly joined regions to be sure you didn't accidentally move anything while highlighting the regions.
In fact: Here's a really cool hint (imho) I worked out from personal experience:
ENSURE YOU DIDN'T SHIFT YOUR REGIONS while highlighting them....
which is easy to do. If either region is bumped one tiny count as you touch it with your cursor, your entire piece will be off... and you will be quite frustrated as you try to repair "whatever I did." Especially if you save the file immediately after joining (merging) regions. To avoid this easy mistake:
1. BEFORE you do the three steps above, SAVE your file.
2. After you highlight the regions to be joined, go to Edit> and ensure that the Undo item is still gray. Hit UNDO if it says you need to undo anything! Especially "Change position of region"!
It's still a safety feature to check with Step 5 above, but not so essential if you've first done these two steps.
Much Joy in music to you! ©2018, 2011 DianaDee Osborne
Reprinted 23 January 2018
Wednesday, August 3, 2011
Ghost GarageBand Notes
Let's say you have a synth flute track that sounds pretty good except one note... and no matter how much you try to align it to a quarter note or whatever, it still sounds muddy or "thicker" than all the other notes. You've looked at the MIDI track and don't see anything different about that note. And you've checked that a same or conflicting note before it is not too long and still playing when this one begins.
GarageBand has this quirky thing... if you select a note and copy it, but forget to move your red marker to the place you want the new note before you habitually press the apple-V shortcut to copy it, GB pastes the new note right on top of the old note. So there's a possibility that you have a hidden note behind the MIDI note you see. I call this a "ghost" note. No idea what the proper word is, but hey, this describes it well.
To check to see if this is the problem, in your MIDI track's Piano Roll (shown after hitting the "snowflake" in the bottom left corner):
1. Select the problem note and drag it upward or downward.
If there's a "ghost" note, you'll see that copy still in the place from which you just moved your note.
2. If yes, there's a "ghost" -- just delete the note you just moved.
3. If no, there's no "ghost" and you need to keep investigating, just do an
Edit > Undo change position of note (or the more common apple-Z shortcut).
Then you're back where you started from but have ruled out a common-enough cause of muddy notes.
GarageBand has this quirky thing... if you select a note and copy it, but forget to move your red marker to the place you want the new note before you habitually press the apple-V shortcut to copy it, GB pastes the new note right on top of the old note. So there's a possibility that you have a hidden note behind the MIDI note you see. I call this a "ghost" note. No idea what the proper word is, but hey, this describes it well.
To check to see if this is the problem, in your MIDI track's Piano Roll (shown after hitting the "snowflake" in the bottom left corner):
1. Select the problem note and drag it upward or downward.
If there's a "ghost" note, you'll see that copy still in the place from which you just moved your note.
2. If yes, there's a "ghost" -- just delete the note you just moved.
3. If no, there's no "ghost" and you need to keep investigating, just do an
Edit > Undo change position of note (or the more common apple-Z shortcut).
Then you're back where you started from but have ruled out a common-enough cause of muddy notes.
©2018, 2011 DianaDee Osborne; all publication rights reserved
Reprinted 19 January 2018
Avoiding MIDI Jigsaw Puzzles in GarageBand
If you record in your home studio using GarageBand and then take your project to a studio with ProLogic, then all the tracks fall into place beautifully.
But suppose you then take those same tracks from ProLogic (since many of us can't figure out how to get MIDI tracks out of GarageBand and so take our .band files into ProLogic) to another program such as ProTools?
In my experience, every REGION of a MIDI track becomes a separate track when brought into ProTools. Worse.... every separate track begins at measure #1. Even if the region is at the end of the song.
Easy work-around I've found If you have no expectation of ever needing separate regions (see a future hint on the pro's and con's of merging regions):
1. Merge all the MIDI track's regions.
2. Check the measure and count number of the first MIDI note. Then grab the front of the newly joined region and drag it to begin at measure 1, being careful that the first MIDI note does not change location.
That's it. When you take this track to ProTools, it should come in as a single MIDI track.
Easy work-around if you DO want to keep your regions separate:
1. Create a duplicate track and carefully copy all the MIDI data into it from the original track.
2. Give the new track a name such as PIANO joined.
3. Follow steps 1 and 2 above for the duplicate track.
4. Either delete or, better, MUTE the duplicate track until you're sure you won't need it again.
Much Joy in recording music to you! ©2018, 2011 DianaDee Osborne
Reprinted 16 January 2018
But suppose you then take those same tracks from ProLogic (since many of us can't figure out how to get MIDI tracks out of GarageBand and so take our .band files into ProLogic) to another program such as ProTools?
In my experience, every REGION of a MIDI track becomes a separate track when brought into ProTools. Worse.... every separate track begins at measure #1. Even if the region is at the end of the song.
Easy work-around I've found If you have no expectation of ever needing separate regions (see a future hint on the pro's and con's of merging regions):
1. Merge all the MIDI track's regions.
2. Check the measure and count number of the first MIDI note. Then grab the front of the newly joined region and drag it to begin at measure 1, being careful that the first MIDI note does not change location.
That's it. When you take this track to ProTools, it should come in as a single MIDI track.
Easy work-around if you DO want to keep your regions separate:
1. Create a duplicate track and carefully copy all the MIDI data into it from the original track.
2. Give the new track a name such as PIANO joined.
3. Follow steps 1 and 2 above for the duplicate track.
4. Either delete or, better, MUTE the duplicate track until you're sure you won't need it again.
Much Joy in recording music to you! ©2018, 2011 DianaDee Osborne
Reprinted 16 January 2018
Tuesday, August 2, 2011
DianaDee Easy FLUTE TRILLS (etc!)
Flute trills are fun in GarageBand. And of course, the same applies for any instrument, including piano and sax, where you want a nice even timing to make your trill sound professional.
Definition: a TRILL starts at the root note of your chord (R), goes up to the next note in the chord scale (+1 in the scale, often 2 half steps), returns to the root, goes down to the next note below (minus 1), and ends on the root. [You can choose to go down first.] You can repeat the pattern as long as you'd like. Example:
R... +1... R... -1... R.. +1... R.. -1.. R
TIMING is usually 4 per count, such as 1-e-and-ah-2 for the above trill. Hint: You can easily slow the recording time by changing the tempo down, then just return it to the correct tempo after you finish Step 1.
1. Just go into your instrument track and hit Record (or R).
2. Play the trill as described above for the length you want, ending on the Root note. Note that instrument players often give a slight accent (harder hit) the the first and 5th notes plus a bit of an accent to the 3rd note. In the MIDI track, a harder hit note is a brighter green.
3. After you end the recording, listen to see if your trill is "close." If so, hit Save.
4. If you haven't already done so, hit the "snowflake" and then select Piano Roll.
5. Go to your MIDI notes (squares) for the trill. If any note overlaps the space of the next note, you need to shorten it to stay in its own space, so that each block is approximately the same (short) length. (Click on MIDI note so it turns green, go to end of note and click til you get straight line - not arrow- drag note to left to shorten. HINT: If it won't shorten a small amount, go to Control and click on Snap to Grid to turn that off).
6. Select (highlight) each note in the trill. Note the pattern -- you may need to remember it in Step 8.
7. In the Align to box, select 1/8 Note. You'll probably see the MIDI notes move a bit until evenly spaced... but some might be one above another.
8. Go back to Control and ensure that Snap to Grid is now ON.
9. Now just slide any note that's in the wrong place over an 1/8th count, to match the pattern you observed in Step 6.
That's it.... easy trills that sound professional! Don't forget to change your tempo back if you lowered it:) Much joy in music to you!
- ©2018, 2011 DianaDee Osborne
Reprinted 12 January 2018
Definition: a TRILL starts at the root note of your chord (R), goes up to the next note in the chord scale (+1 in the scale, often 2 half steps), returns to the root, goes down to the next note below (minus 1), and ends on the root. [You can choose to go down first.] You can repeat the pattern as long as you'd like. Example:
R... +1... R... -1... R.. +1... R.. -1.. R
TIMING is usually 4 per count, such as 1-e-and-ah-2 for the above trill. Hint: You can easily slow the recording time by changing the tempo down, then just return it to the correct tempo after you finish Step 1.
1. Just go into your instrument track and hit Record (or R).
2. Play the trill as described above for the length you want, ending on the Root note. Note that instrument players often give a slight accent (harder hit) the the first and 5th notes plus a bit of an accent to the 3rd note. In the MIDI track, a harder hit note is a brighter green.
3. After you end the recording, listen to see if your trill is "close." If so, hit Save.
4. If you haven't already done so, hit the "snowflake" and then select Piano Roll.
5. Go to your MIDI notes (squares) for the trill. If any note overlaps the space of the next note, you need to shorten it to stay in its own space, so that each block is approximately the same (short) length. (Click on MIDI note so it turns green, go to end of note and click til you get straight line - not arrow- drag note to left to shorten. HINT: If it won't shorten a small amount, go to Control and click on Snap to Grid to turn that off).
6. Select (highlight) each note in the trill. Note the pattern -- you may need to remember it in Step 8.
7. In the Align to box, select 1/8 Note. You'll probably see the MIDI notes move a bit until evenly spaced... but some might be one above another.
8. Go back to Control and ensure that Snap to Grid is now ON.
9. Now just slide any note that's in the wrong place over an 1/8th count, to match the pattern you observed in Step 6.
That's it.... easy trills that sound professional! Don't forget to change your tempo back if you lowered it:) Much joy in music to you!
- ©2018, 2011 DianaDee Osborne
Reprinted 12 January 2018
Monday, August 1, 2011
DianaDee GarageBand DUPLICATE TRACKS TRICK
PURPOSE OF DUPLICATE TRACKS: Full control over volume, including fade-out. This works for MIDI DRUM LOOPS that you import.... for example, that clinky bell might get on your nerves at the imported volume, but you can lower its volume in places to rest the ears IF it has its own track. Another example: I found some REALLY cool thunderstorm effects under Software Instruments at
Track > Show Track Info > Sound Effects >Nature Sounds ....
Thunder, lightening, pouring rain.... and all are MIDI notes, so I could select exactly what sound I wanted for Power songs like IN GOD'S EYE (www.DiDoReflections.com).
The problem? The rain and earthquake and crashing waves would end too abruptly--the moment the MIDI note stopped -- but if I tried continuing that MIDI note, the rain etc. lasted too long. Same for thunderclaps, etc. You can create a fade-out of a GarageBand track, but not of a single note within that track.
Here's the fun trick I figured out which might help you. Warning: This can get tediooouuussss for long songs. It's easier if you plan ahead, do these with Verse 1 before you copy it to add verses 2,3, etc. that lengthen your song.
1. Click on the track name to highlight your MIDI track. Every region of the track itself should turn rich green... IMPORTANT: This is NOT selecting individual notes in the track.
2. Select Track > Duplicate Track.
3. You now have a new track with an identical name. Notice that GarageBand (my version anyway!) does NOT duplicate the information within that track as some other recording programs do. Repeat Step 2 for each note that you have in your original tracks. Example from my simpler HOPE THROUGH DARK RAIN: Create 3 duplicate tracks.
4. As a safety measure, re-name your original track to include a word like ORIG. Example from HOPE: Storm Orig
5. Then rename each duplicated track --in order from top note's sound to the bottom -- to include the sound in the name. Examples from HOPE: Thunderclap, RainHardLtThunder, RainLIGHT.
6. Now you need the data in each track. It's easiest to first slide the button under your last trackname as far to the left as it will go, to compress your screen more.
a. Drag the first MIDI region to begin at measure 1.1.001. If you don't, the copy will start in the wrong place. (Or you'd have to move the red marker to begin *exactly* where the ORIG track begins.)
b. Put your Cursor at the end of the ORIG track (gray space), hold down the right mouse button, and then move the cursor all the way to the front of the ORIG track.
c. Go to Edit > Copy. [Note that you could not use Edit>Select all because that selects every track.) Apple-C is the short-cut key.
FIRST DUPLICATE:
d. Select that track by clicking on the track name. Press the HOME key to ensure that the red line marker is at count 1.1.001. Select Edit>Paste. Apple-V is the short-cut key. (If for some reason PASTE isn't an option, no problem... you just did something else that's in the program memory now. Just repeat 6b and 6c.)
REPEAT 6d for each duplicate track.
7. NOW YOU'RE READY FOR CONTROL!
a. Select the solo button (headphones symbol) for the ORIG track and every duplicate track.
b. Play. They should be simultaneous.
c. Fix if they aren't. If tracks don't match, one or more tracks didn't begin in the right place.... that's a hint for fixing easily that has to wait til another day, sorry! But most likely they fit. First suspect if they don't is accidentally skipping Step 6d for the last duplicate track. Future steps assume the tracks all match:)
8. MUTE the ORIG track and slide it to the bottom of your tracks, just as a future reference.
You need to have the notes section open ("snowflake" button) and Piano roll showing (no music note symbols). In this example, the notes are A#2 (Thunderclap), A2 (RainHard), and G2 (RainLIGHT)
DUPLICATE TRACK #1 (A# Thunderclap)
9. Select the first duplicate track (example: Thunderclap). Put the red marker near the end of the final track with your sounds and Play until you get to the final note("chord") of the track, ensuring that you can see it in the Piano Roll area.
10. Select the second-to-the-top note so it turns darker green. Put your cursor right after that note, hold down your right mouse button (and KEEP holding it through this step), then drag to the left until every note of the 2nd from top is highlighted AND with mouse button still down, drag downward until every note below is highlighted.
11. REMEMBER you can't use your mouse to delete notes; go to Edit>Delete. What is left is ONLY the notes that were on top. Example: Only notes on the track are A#, labeled A#2 if you hold the cursor on the green MIDI line note for a moment to see the note name and velocity (loudness).
DUPLICATE TRACK #2 (A = RainHard)
12a. Repeat steps 9, 10 and 11 to delete all notes on the top "row). (Example: Delete all A#2 notes.)
12b. Then repeat for the 3rd "row" of notes. (Example: all G notes). Now the only notes left are those that were originally on the 2nd "row." Example: The only notes on the track now are A, labeled A2 by GB.
DUPLICATE TRACK #3 (G = RainLIGHT)
12. Repeat steps 9, 10 and 11 for the top two rows notes (Example all A#2 and A2 notes now deleted). Now the only notes left are those that were originally on the 3nd "row." Example: G2 notes.
You now have one track per sound and can fade in or out as needed, raise volume, even add special effects to a single sound, such as giving that thunderclap a reverb that bounces people to attention! Much joy to you in music!
-- ©2018, 2011 DianaDee Osborne
Updated Version Reprinted in two parts January 8 and 9, 2018
Track > Show Track Info > Sound Effects >Nature Sounds ....
Thunder, lightening, pouring rain.... and all are MIDI notes, so I could select exactly what sound I wanted for Power songs like IN GOD'S EYE (www.DiDoReflections.com).
The problem? The rain and earthquake and crashing waves would end too abruptly--the moment the MIDI note stopped -- but if I tried continuing that MIDI note, the rain etc. lasted too long. Same for thunderclaps, etc. You can create a fade-out of a GarageBand track, but not of a single note within that track.
Here's the fun trick I figured out which might help you. Warning: This can get tediooouuussss for long songs. It's easier if you plan ahead, do these with Verse 1 before you copy it to add verses 2,3, etc. that lengthen your song.
1. Click on the track name to highlight your MIDI track. Every region of the track itself should turn rich green... IMPORTANT: This is NOT selecting individual notes in the track.
2. Select Track > Duplicate Track.
3. You now have a new track with an identical name. Notice that GarageBand (my version anyway!) does NOT duplicate the information within that track as some other recording programs do. Repeat Step 2 for each note that you have in your original tracks. Example from my simpler HOPE THROUGH DARK RAIN: Create 3 duplicate tracks.
4. As a safety measure, re-name your original track to include a word like ORIG. Example from HOPE: Storm Orig
5. Then rename each duplicated track --in order from top note's sound to the bottom -- to include the sound in the name. Examples from HOPE: Thunderclap, RainHardLtThunder, RainLIGHT.
6. Now you need the data in each track. It's easiest to first slide the button under your last trackname as far to the left as it will go, to compress your screen more.
a. Drag the first MIDI region to begin at measure 1.1.001. If you don't, the copy will start in the wrong place. (Or you'd have to move the red marker to begin *exactly* where the ORIG track begins.)
b. Put your Cursor at the end of the ORIG track (gray space), hold down the right mouse button, and then move the cursor all the way to the front of the ORIG track.
c. Go to Edit > Copy. [Note that you could not use Edit>Select all because that selects every track.) Apple-C is the short-cut key.
FIRST DUPLICATE:
d. Select that track by clicking on the track name. Press the HOME key to ensure that the red line marker is at count 1.1.001. Select Edit>Paste. Apple-V is the short-cut key. (If for some reason PASTE isn't an option, no problem... you just did something else that's in the program memory now. Just repeat 6b and 6c.)
REPEAT 6d for each duplicate track.
7. NOW YOU'RE READY FOR CONTROL!
a. Select the solo button (headphones symbol) for the ORIG track and every duplicate track.
b. Play. They should be simultaneous.
c. Fix if they aren't. If tracks don't match, one or more tracks didn't begin in the right place.... that's a hint for fixing easily that has to wait til another day, sorry! But most likely they fit. First suspect if they don't is accidentally skipping Step 6d for the last duplicate track. Future steps assume the tracks all match:)
8. MUTE the ORIG track and slide it to the bottom of your tracks, just as a future reference.
You need to have the notes section open ("snowflake" button) and Piano roll showing (no music note symbols). In this example, the notes are A#2 (Thunderclap), A2 (RainHard), and G2 (RainLIGHT)
DUPLICATE TRACK #1 (A# Thunderclap)
9. Select the first duplicate track (example: Thunderclap). Put the red marker near the end of the final track with your sounds and Play until you get to the final note("chord") of the track, ensuring that you can see it in the Piano Roll area.
10. Select the second-to-the-top note so it turns darker green. Put your cursor right after that note, hold down your right mouse button (and KEEP holding it through this step), then drag to the left until every note of the 2nd from top is highlighted AND with mouse button still down, drag downward until every note below is highlighted.
11. REMEMBER you can't use your mouse to delete notes; go to Edit>Delete. What is left is ONLY the notes that were on top. Example: Only notes on the track are A#, labeled A#2 if you hold the cursor on the green MIDI line note for a moment to see the note name and velocity (loudness).
DUPLICATE TRACK #2 (A = RainHard)
12a. Repeat steps 9, 10 and 11 to delete all notes on the top "row). (Example: Delete all A#2 notes.)
12b. Then repeat for the 3rd "row" of notes. (Example: all G notes). Now the only notes left are those that were originally on the 2nd "row." Example: The only notes on the track now are A, labeled A2 by GB.
DUPLICATE TRACK #3 (G = RainLIGHT)
12. Repeat steps 9, 10 and 11 for the top two rows notes (Example all A#2 and A2 notes now deleted). Now the only notes left are those that were originally on the 3nd "row." Example: G2 notes.
You now have one track per sound and can fade in or out as needed, raise volume, even add special effects to a single sound, such as giving that thunderclap a reverb that bounces people to attention! Much joy to you in music!
-- ©2018, 2011 DianaDee Osborne
Updated Version Reprinted in two parts January 8 and 9, 2018
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