Arobas Music - Guitar Pro

Started by Kostas Greece, January 22, 2009, 01:50:46 AM

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Kostas Greece

Arobas Music Guitar Pro
https://www.guitar-pro.com/en/index.php


Hi. I want to import my guitar pro files to cubase. How can I do that? Di I have to to something to make


it sound more realistic?
Fender American Lone Star Strat (HSS+floyd rose), Roland VG-99, FC-300, Roland GR-20

sjamus

#1
Hi Kostas.

Try to load the Guitar Pro file in Guitar Pro and save it as a midifile (be sure to untick RSE in order to play in strictly Midimode). Open Cubase and import the file as a standard midifile.

Hope it solves your problem.

Best.

Sjamus

futuresman

#2
Okay, I'mm going to order the Gr-55 in a few days and need a little advice. Is there a place where I can get tabs for piano/horn/synth sounds. Meaning those particular parts I want to use the GR-55 for, shown in standard guitar tab form? Or do I have to learn to read music and go that route? I'm excited about this and know that this will take a huge time investment on my part, so looking to do it as quick as possible  ;D
Thanks

Brent Flash

Welcome to the group futuresman!  :)

admin

Google


"Tabs + Song of interest "

Myself I play by ear.

Toby Krebs

Get a music theory book. Music Theory For Dummies is a good one despite the name. You need to have some knowledge of chord theory and know the formulas for altering chords from their basic dominant forms to cover keyboard parts effectively from the guitar synth. Ear training is also very important. Isolate and pick out parts and try to play them with the appropriate PCM tone. Lastly find a good jazz keyboard player in your area and take 5 or 6 lessons. Seek out and play with keyboard players if possible and pick their brains.

Good Luck and Welcome!

T.C.

musicman65

+1 on getting some theory under your belt. Guitar chords and fingerings do, in part, translate to most keyboard parts...just not the fingerings you are most familiar with.

So, here's what you do:

1. Learn all the inverted fingerings of Major, Minor, and their 7th, add9, 9th, 6th forms. There's more but that's enough.

2. Learn the Nashville Number System which is an easy way to get acquainted to the 7 chords formed by the cycle of thirds in any key. Its a visual pattern, just like everything on the fretboard.

3. After you can play any chord in any position and understand the "chord scale" of the Nashville Number System, learn the major scale pattern fluently in all positions around those chords. This pattern forms the 7 modes...all the same pattern, just starting from different points in the pattern.

That should get you started! Easy Peezy. 8)

bd

futuresman

Thanks for the input guys, I appreciate it

realmrocks

QuoteMyself I play by ear.

I prefer fingers... ;D

Sedgewick

There are some Guitar Pro files out there that have keyboard and horn parts arranged for guitar tab.  Many of them have been converted from MIDI files ( some are better conversions than others ).

Cricket

#10
Myself, I would suggest learning to read standard notation, at least a little.   That would give you the most "bang for your buck."  It's not that hard, that is, to read music well enough to learn from printed music.   Personally, I think standard notation is far superior to tab for two reasons:

1)  It conveys more information with shorter symbols

2)  It lets you share ideas with musicians who play something other than guitar

The difficulty of reading music is overstated.  Sight-reading difficult charts is challenging, on any instrument, but particularly on guitar, as so many notes have multiple locations and multiple fingerings.   It is not always clear which is best, and your choices can have repercussions several bars "down the road."  While that is a worthwhile goal, that's not what I'm talking about here.

What I'm talking about is getting a handle on how written music works, enough to "decode" printed music and learn from it.  That's not too difficult, and will open up all the resources out there for sax or piano (or whatever) to you.

Not sure what kind of music you're looking to play, but a couple of further thoughts on horns and pianos... quick and easy things you can do to get the right sound....

3 notes is plenty, most of the time, to get the effect.

The 3rd and 7th are the most important notes of any chord.  When arranging for piano or horns, try to get these in.   You don't need the root too often.   Next note you probably don't need is the 5th.

For horn section parts, try to include some half-steps.  Don't spread the notes out to a b9, put them right next to each other.  For example, on a Bb7 chord, try voicing 3 horns as, low to high G, Ab, D.  The clash works really well with a horn section, and gives you that authentic funky sound.  Major 2nd and tritone intervals are also really, really important, especially for horn section "jabs,"  Less so if you're going to let the horns sustain.

Remember, too, that lots of great horn parts are a simple line played by 2 horns in octaves.  Timbre is everything.  Try a trombone and a sax an octave apart. 

The same thing applies to voicing chords.  Timbre is everything.  In the above example, give the trombone the G, the sax the Ab, and the trumpet the D.   Or whatever.   Point is, when you include those dissonant intervals, give one note to one instrument and one to another.  Some voicings that would sound awful on a guitar sound awesome in a horn section.  Really.

For piano, less is more.  3 notes should do it most of the time.  Don't put the root in the bass, or play it at all if you don't have to.  Again, 5th is optional too.   Shoot for 3 and 7 and add a melody or color tone sometimes.   If you are playing jazz at all, learn a couple of quartal voicings and milk them for all they're worth.   Pianists love them.   Try these to start:  (low to high)  C, F, B, E;  C, F, Bb, Eb; C, F, Bb, E.   Use the first for major, the second for minor, the third for dominant.   What really matters is the top note.  The structures are harmonically vague enough that, if you get a nice little counter-melody going in the top voice, you'll probably get away with whatever's underneath.  Try it.  You'll like it.

Break any of these "rules" if following them sounds bad to you.

Hope some of this helps.

Peace,

C


Jim Williams

You may want to youtube some stuff. some of the online lessons can be helpful especially ones dedicated to ear training. Watch out for the jokers that learn songs the wrong way and you will find some useful learning tools.
Skype: (upon Request)

Everything from modeling to the real deal, my house looks like a music store.

Toby Krebs

Especially jokers who play the song "The Joker" the wrong way. They really mess things up!

Cricket

Just adding a short audio sample incorporating some of the ideas for arranging in my earlier:  the Bb7 horn chord (G, Ab, D), a simple horn line in octaves, and some quartal voicings on the keys.  In fact, almost all the chords played on the keys are the most basic 4th voicing (P4, P4, P4)... it's really versatile.

But to bring this back to the original question... if the idea is "Should I do A, B, or C?"  The answer, especially in music, is usually "do all of the above."

Imitating other instruments has a lot to do with knowing how they work, playing things a  (fill in)  player would play, playing within the range of the instrument, playing in the favored keys for that instrument, &c.&c.  Even so, when you run up against the limitations of the 55, and you will, the better handle you have on what is essential to getting the right sound of a certain instrument, the more successful you will be in achieving it.

+1 on Jim's youtube suggestion, too.  It's a great way to get the details on other instruments, as a (fill in) player understands them.   Not only will guitar synth compel you to improve your guitar technique, it will also make you a better musician if you put in the time.

Peace,

C


Toby Krebs


shawnb

Address the process rather than the outcome.  Then, the outcome becomes more likely.   - Fripp

jorgedro

#16
I'm trying to use the midi from the hammond organ that guitar pro 5.2 has but when i export it to cubase it doesnt make any sounds. It does work when i change the asio controller (i have a lexicon omega) from omega asio to asio directx full duplex driver in the "device setup" panel, but it works the other way around: the hammond organ works but not the other recordings. (among the other recordings i have some vst's that i downloaded and they work the same way as the recordings).

JLL115

#17
Hi Folks,

I must be doing something wrong.  The goal is to play my guitar which is connected to the computer, and have guitar pro 6 write the tab for what I play.  So I have a Godin LGXT connected to the Gr55 via 13 pin cable.  The Gr-55 is connected to my pc through USB.  I also hooked up my amp to the gr-55 so I can better hear what I play.  The switch is set to on in the midi area of the GR-55.  The setting is mono and the correct drivers are installed.

When I open guitar pro 6, i select midi capture and the gr 55.  I hit record and I play the guitar.  The tab appears, but it is NOT what I am playing.  So the software is recording something but not the right notes.  There are eleven different midi output channels on the GR-55 and I have tried them all.  Changing the out put channel does not solve the issue.  There is probably some simple setting that solves all this but I cannot find it.  Any help is deeply appreciated.

shawnb

You must use mono mode, for the tablature to get the strings right.

Your PBR settings must be aligned, or you will get the wrong notes.

The best way to do this with a GR-55 is to play at 1/2  speed, and very carefully.

The GR-55 is far from perfect on this front.  If this were an important function to you, I'd suggest an FTP over a GR-55.

Address the process rather than the outcome.  Then, the outcome becomes more likely.   - Fripp

admin

#19