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Programming Guitar Strums


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Whenever I'm programming guitar using the matrix editor, I usually end up programing chords. But how could I program a strum?


Just like running a pick across all open strings...


I'm imagining that you would "staircase" (thanx 4 verbage Toysun) MIDI notes in the Matrix Editor. Each note would need minutely increasing offset times from the first, and they would definitely have to overlap, right?


Do you guys do this? Have you seen it done? Can it be done? I haven't tried this yet; just daydreaming about it.

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Q flam in extended parameters (quantize settings) might get you in the ball park. Positive and negative values for the up and down strums. I've used it a few times and when I'm done I back the whole thing up a bit because it assumes that the first note in the chord is the "anchor" point. I like to have the strum spread over the beat.
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Yes, you're spot on - staircase - never heard it called that, but that's the technique. I've used it, and with careful programming and the right patch it sounds very convincing. Don't forget upward strums as well - for variation.



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I love stuff like this...

Grab some .mid files off the net of songs with guitar parts that sound similar to the type of strum you are looking for. Analyze the note properties (timing, velocity, etc). Use this info to program your own; transpose for your use; create a template with it; etc.


To go a step further, you can go for a neat piece of freeware: Power Tab Pro. HUGE library of user submitted/created songs, which are basically .mid files. However, the PTP software is squarely aimed at guitarists and bassists, which means you should infd TONS of usable tidbits amongst it all, and thus be able to build a pretty solid foundation for creating your own. Bonus: PTP has people doing full transcriptions of some songs; yeah, guitar, bass, drums, keys, synths, piano, voices...everything! The PTP software simply uses the GM soundset as the patch selection per instrument/track, thus attaining portability. It isnt Sibelius or Finale...but, it is free! A step up would be the under $100 Guitar Pro tab/scoring software which also has a HUGE user created library (for free). Also not up to Sibelius or Finale grade, but I would stack it up there close to Sibelius G7...better in some ways, worse in others. Very cool for the guitarist/bassist or songwriter looking to "score" out parts in TAB and/or notation.


BTW- as a bonus, PTP or Guitar Pro, since they also allow drum tracks, make an excellent way to collect drum fills, snare patterns, hihat patterns, fills, etc...basically, yet another great training/learning tool thru the analysis and utilization of pre-scored songs!

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PowerTab Pro seems to be only for windows?



I don't have any Intel chips... :cry:


Guitar Pro is ok for OS X though. I just might get it ! Could I drag and drop a .midi file from Finder into Logic's Arrange window ? Must I import it?


It sounds like I could make a lot of apple loops with this!


I think it would be awesome to load some of the .midi files from other uses, open in the matrix editor, and rearrange stuff. It looks difficult to program strums from scratch lol!


btw, nikkik, who do you think has the bigger library, PTP or Guitar Pro? Size matters.


Real Guitar looks good, but it is pricey :x .

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Q flam in extended parameters (quantize settings) might get you in the ball park. Positive and negative values for the up and down strums.....


I'm glad this is coming up because I haven't gotten this yet either.


First, though, the disclaimer: I'm not a guitarist, and I'm familiar with only the most basic physics of sound construction, so I welcome any correction or other input from those who know better (and there's LOTS of 'em on this forum).


I've tried "flamming" from the keyboard, super-quick, five or six "strings" maybe hundredths of a second apart, trying to approximate the practically simultaneous strikes of a fast strum. But that doesn't quite get it, and I wonder IF it's partly because each note sampled or otherwise programmed is still "plucked" individually in Logic, no matter how quickly. Each Logic note resonates (maybe not the most precise term) more than in an actual physical strum (at least with more rapid strumming, more typical in rock/pop).


Maybe a ROUGH analogy: accurately mimicing the effect of a strum seems like trying to synthesize, say, a sax solo — so many variables of embouchure, breath, reed quality and position, harmonics, that it's dang near impossible. We can get really close (and get some way cool alternatives), but the ear always knows something's different.


I've wondered if maybe something with EQing may help. Maybe playing the strums as chords, duplicating the track, and applying one small range of slightly varying EQs for the down, and a subtly different still small range of EQs (maybe a little more high end than the down) for the up. Then I'd have to go in and delete the up strokes from the down track and vice-versa,


Sounds like a fair amount of work that I haven't yet had time to try. Anyone else have other suggestions?



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Oh wow...I did not realize Power Tab was XP only...sorry 'bout that..


Guitar Pro 5 is actually decent. I own it, but rarely use it since buying Sibelius.

No idea which has the larger library...

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over the years, I've just learned how to approximate guitar strums by rolling my hands up or down depending on the strum I'm looking for.


Way cooler than editing MIDI flams and getting all scientific!


I've done both but the flam thing is cool. One thing you can do to make it all a little more intuitive is to select all the downbeat stums (a bit picky but not that hard to do just shift-select the downbeats as you go through the part in the matrix) cut them and then Edit>Paste At Original Positition in a new region on a subtrack. That way you can apply the flams globaly, up flams for the first region, down flams for the second. And it's easy to make a quick adjustment to hear how it sounds.


If you have some sections where it would be nice to have quicker strums then the rest, you can chop those bits out and make them separate regions.

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