Tabs, time signatures and guitar pro

[maddnotez]

So I've known this bassist for a while, we've jammed a couple of times in the past but now there is an amazing drummer in the picture potentially and the bassist is requesting me to tab out my songs. Huge pain in the ass but worth the price of admission if this works out.

I've used guitar pro in the past and think it's a great tool. I downloaded the latest version trial and considering buying it. Back in the day if you bought GP you could share it with a friend with activation link. Im wondering if that is still the case?

Anyhow I've been playing forever but I cannot read music and even basic time signatures are kind of a pain for me. Example picture attached.

I can count, i know what a time signature is however I guess maybe I use ghost notes or many times when I write, the last note in a bar is actually the first note in the next bar? Maybe that one bar is 3/4 instead of 4/4?

Idk but my question is where can I find some good resources to learn how to time signature?

Guitar pro is awesome and definitely lets you know when its wrong but I'm having trouble making these notes fit in the box.

Example in the final bar in attached picture.

if this is 4/4 which I'm pretty confident that it is, the bar should end after all of the triplets on the 5th fret....then the triplets on the 6th fret would be the 2nd bar however it doesn't fit and GP makes it continue.

This is just one random example I have but I'm sure every song i have has at least something that won't fit the bar. If I remember correctly guitar pro will ghost out and not play the audio for the 2nd half of the bar maybe because the program knows it doesnt fit.

 

[ian_dissonance]

That last measure is a doozy, but I’m guessing since there’s all those triplets you might be changing tempo or possible time signatures. One thing that I do if I have a riff I’m having a hard time counting is to set a click in my daw to whatever the pulse of the riff is, record it, and literally count the beats between beginning and end. As far as starting on an upbeat from the previous measure, you’ve really just got to decide where the 1 is and start counting from there. I run into this a lot when the drummer in one of my groups writes riffs. He likes to “drop in” on the AND of the count in, but then has a hard time defining a full cycle.