Jefbyos

Sorry man, I thought you were advising to redo the tab from scratch, in case the guy needed to amend it. My bad.

You can also modify the tab on any song, yes. RST has an option that allows you to unpack the songs, so you can edit the songs. In order to do that, I advice to take a look to how to make a CDLC from scratch, that is quite close. You won't have to redo everything though, just correct what's needs to be corrected.

So, basically, you get decent latencies using another piece of hardware for input, instead of RS cable. Which I assume is very much depending of the ability of your hardware to get that result. 7ms roundtrip seems pretty decent to me, even though some (more expensive) audio gear can do better i could live with those values. I'll just have to know how bypass that cable. @@Alex360 : I'm sorry the topic goes off because of me, it's a discussion that interests me but maybe it would worth move it elsewhere.

I have some experience in audio, not as developer but as user, I'd say ASIO-based cards do have made some progress (if you consider the latency AND the stability = keeping the promises). I can't say about Wasapi or direct sound drivers, that I avoid to use for audio-based applications since years (that is also why I pay for a decent audio interface). Again, I would not dream to get the values you speak of... If you have any advice to get there, on a different topic if you feel we are off topic, I would be grateful.

I never did any measurement on my RS setup, but that seems more like it to me, 19 ms at best. And to me 19 ms is too much. @ Absolutely. User-wise, it's not rocket science... if your audio interface offers a decent multi-client support. ;) I just launch the standalone version of the amp sim (set to 48khz, ASIO) then RS2014. That allows me to listen my guitar or my bass on the same speakers as the game, with a good-sounding amp simulation, and decent latency (my interface is not then fastest on the market, but achieve >5 ms roundtrip, which is pretty good for 48 kHz sampling rate) I don't use bias software, but I guess that should work as well.

The current windows audio driver system can reach latencies of 3 ms. What do you mean ?? 3 ms roundtrip ?? At 48 kHz ?? Without any glitch ?? Under Windows seven ??? 3 ms is what you might get, using a decent audio interface, and it's dedicated low-latency drivers, with audio-oriented software, if your OS is decently debloated/optimized for audio. Personally, I have all above boxes checked, except that rocksmith don't use those low-latency drivers... So I use a Guitar Rig/Ampeg SVX software solution in parallel of RS, as others use external gear as their guitar amp or MFX pedals. But I can't use internal RS sounds, as the latency is way too big. So if you have the recipe, feel free to share. Given the number of people that prefers to use an outboard gear solution to solve latency issues, you'll make tons of happy musicians...

All right ! Never noticed that issue, because I never play in-game tones, too much latency. I probably would if the game utilized low-latency drivers, such as ASIO on windows.

What is that dead tone bug ? I noticed volume can sometimes be lower than expected in score attack, first launch. Just have to stop/restart the song from beginning to get the expected volume... Is that what you meant ?

like lessons was? it doesn't go if you didn't hit the note? :) it was poorly done in rs 1 so i think it was pulled out for a reason, but they could bring it back huh Yup, that. Not that I would use it that often, but for fast riffs/solos... ;)

Indeed, and i also like : - Riff Repeater navigation has been made much smoother. - The rate of Dynamic Difficulty can now be adjusted or removed altogether. Because i Never use DD, and rather slow the tunes down to grab the correct finger positions. So any improvement on handling DD and seeking parts is more than welcome. If only they could think of a note-by-note mode for learning purposes (by example for solos, the software waiting you playing each note) would be a neat idea.

@@DeadlyPower One other thing you should consider when acquiring gear is how it works with the rest of your setup. It's critical, especially if you go for old-school techs like valve amps, which generally have a well-defined sonic personality. And that, usually, are incompatible with versatility. That is also why i earlier advice to rent gear and spend a bit of time to reharse in well-equipped studio, if possible. You'll never realize those things better than in situation. The Bugera you're into looks to me a lot like Marshall Plexi, so i'll assume you won't get the most satisfactory result from any pedals on the market. To me you'll probably pass on digital MFX with that amp, and probably wants to take a look on classic overdrive to push the embedded crunch to lead sounds, and/or treble booster... TS808 or TS9 are classic solution to boost embedded overdrive sound without spending fortunes on it.

@@Chris11 Amen to everything you said, there is no tech or way to do things that are better than others. There may be some known formulas and habits, but the perfect rig is the one you're most comfortable with. Period. There's one thing, though : About who uses what, i tend to keep in mind that big names are also business names. Having a thing in your rack doesn't mean you rely on it, you may as well use it for alternate sounds, for tracking demos or overdubs, to reharse in hotel bedrooms... In fact, there are various situations, including never using the gear. Even the most expensive signature models are a thing and the guitar the guy really uses, another one - because the first is a reproduction of the latter, or simply because they are made in different factories by different people. Generally, artists tends to be most welcome in the customs shops, their desires gets most attention from the crews and there is no economic choices like when you sell something to the public.

I see that i'm not Alone anymore to not like line 6 amps ^^ We can (and definitely, should) talk about what's great and what's not, but the truth is it mostly depends of the player, what he does and the band you're in. For a starter, I wouldn't buy a stack (even half-stack) for an event only, without giving a thought to the regular situations I would meet - which usually are, for a beginner, mostly small rehearsal rooms and small gigging stage clubs. I should know, because that's exactly what I did :lol: (But at my times, I also was broke, and buying that old fender bassman 100w silverface was as affordable as hell - now it worth ten times what I paid for it) (But my back doesn't thank me for buying that) There's also the matter of knowing the gear to make the good choice. So maybe the best advice would be : go to a rental company to get something appropriate to your need for that very night, and have some advice and experience. Of you can, convince your mates to go rehearse on an equipped studio, so you'll get to try amps there as well as advice's from guys who have little experience. Trying the amps in real conditions, and trying the few great ones that are a standard in the Backline business, will be the best experience possible to make the wisest choice when you'll buy something. You may also buy a combo that will be perfect for most gigs, and rent an half-stack if one night the stage is really that big... Also, there are chances that very night that some other bands are here and the gear would be shared. Or rented for the occasion, you should ask...?

Looks complicated, man. You better have a booty shake master class with T.M. Stevens.

BTW, I thought tronical was kinda stuck with the Gibson licencing, but it seems the company still exists by herself and does headstock for many kind of guitars on various brands. http://store.tronical-components.com/ It's a bit of an expense, I would consider it if I was playing on stage in a band using several tunings without having to bring several guitars.

I guess if he plays loud enough or using a closed headphones, that should not be an issue :lol: I would worry more that this system would induce some extra delay because of the treatment (as if you use any kind of mfx), but I assume that should be a small one. Lazy happy owner of some Gibson instruments, with extra bucks in their pockets, can also add Tronical tuning system.

I agree with Firekorn, guessing the pitch of a song can't be a perfect science, moreover involving acoustic instruments. Not only the tuning can be a bit off even if you take great care of it, but it does not stay as is during playing, strings can soften a bit, which can be easily becoming a nightmare if your guitar is equipped with a tremolo. But even if not, just the pressure of the fingers on the strings or the power of the attack with or without mediator, makes each note pretty much different to the others... Add to that the fact that many instruments are involved (typically, one bass, one drum for which each element has it's own pitch), one or several guitars, one or several keyboards... Each one can have it's own inaccuracy, even synthesisers (at least, most vintage ones are known for that)... Interactions will lead each note to be slightly different to another. (And we won't mention old recording techniques involving tapes, that induced Wow and Flutter measurement in each step from recording to mastering, and your playback as well on tape or vinyl). Apart that, the Zplane tool you bring back to our attention should probably be helpful; i will definitely give it a try. So far for the few songs i wanted to correct, i used the pitch correction software in my DAW to isolate notes (tricking a bit with filters and gate to isolate the bass guitar more specifically), and then a tuner to have a measurement on most isolated ones i could find. Then, average the results, et voilà... Not the easiest way to get the job done, for sure.

I almost finished the work on the tempo map... I propose that i polish my work tomorrow, an i send it to you so you can work on it. What do you think ? We'll both save some time ^^

I picked your Latest Toolkit Build : Nice Work ! Thanks @@Alex360 ! Now i can directly enter the cent values i find using my tuner, to match the internal tuner of Rocksmith, and it seems to fit without hassle. Apart that, i don't get your spreadsheet... It looks to be completely off, when entering 445 Hz you'll get 450.17 in Rocksmith, is that right ? @PC Plum : I found +25 cent offset is working great - which makes 446.4 Hz on RST. But if you're not in a hurry, I'm also working to fix the Tempo map and when finished, I'll upload a V2 of Too Young To Die ;)

It looks like you're up to something ! ^^ Meanwhile i checked, and indeed it should be a discrepancy between RST and Rocksmith. Nevertheless, I assume the Rocksmith tuner is set to exactly what asked on the*.pscarc. I experimented a bit, using decimals after the Hz value which change the cent accordingly, even if i cannot change it directly, it looks like works pretty much ok on the game, despite what it shows on the screen ;) (I still can't figure why it shows - sometimes ! - 445 Hz when entered 446.00 Hz in RST, but... who cares, if it works in the end) I still have to figure the exact tuning pitch of backing-tracks - i to that by ear for the time being, i guess there whould be a more accurate way to do that. Thanks !

That's right Alex, the pic above is a screenshot from my computer. So i'm running RST 2.6.10.0-e2bfaacd beta ;) I agree, cent-based logic would be easier to handle, but for now, we make do^^ So if i understand you well i'll try to put 447 or 448 Hz, to make the game show 446 ? Why not, i'll give it a try.

As you noticed, some songs were been recorded a bit higher/lower than the standard tuning, either because the musicians chooses to calibrate their tuners differently or because of a record/playback speed variation. As a result, playing along those song gives a dissonant tone if you don't match the original recording. I already modified some CDLC that didn't matched the original calibration, but I face an issue : with some songs, i'm stuck to 445 Hz even if I entered an higher value in RST (add arrangement/tuning pitch). I can't figure why, because I found an exception (Jamiroquai's Too Young To Die, set at 446 without hassle). http://s21.postimg.org/qpn7nq9uv/Untitled_1.jpg Any suggestion ?

Not sure it fits your description, but if all the playback sound is affected (I.e. all music you hear, ingame or outside, in addition to the processed sound of your instrument), would mean you have an issue with your soundcard. There is a whole range of defects you may experience, but as you hear sound coming from your speaker - and not a ring modulator - I would first check if the sample rate is set at 48khz for both soundcard and realtone cable. Also, check your driver options, if you have eq, 3d spatialiser or other gadgets : turn all of those off.

Hi As i'm learning the process to make CDLC of my own, i thought it would be a good idea to start checking some existing ones that could be improved (IMHO). So i made few correction on one or two songs for my personal enjoyment, but now i would like to let other people try it, and share. What would be the best way to do so, in due respect for the work done before me ? Songs are : Starman (Davide Bowie), and Time (Pink Floyd). I also have a third one, Somebody to love (Queen), but the transcript taken from internet on that one was so far from the backing-track, that i did all the bass part from scratch... So that one would close to be a new presentation, i guess, if there was not a previous one totally different. PS : I mainly worked on the tempo map (to achieve the best possible accuracy), and bass part. If some people here can help on checking/improving guitar parts, or editing tones (i use external gear myself instead) or checking dynamic difficulty (i never use it either), that i plan to generate via the DD creator on the toolkit - correcting all the existing part was a bit too much work for me. ;)

Maybe there would be another possibility : i noticed that Rocksmith Toolkit creator lets you change the root tuning. I never used it yet, but i would bet that doesn't change the fret position, so basically you'll get the song a perfect fourth higher. http://s21.postimg.org/qpn7nq9uv/Untitled_1.jpg As it will sound terrible for your ears most of the times, you may want to lower your bass guitar sound in the game or on your external gear. Or you may change the root pitch of the backing-track accordingly - in that case, a perfect fourth up - which could be done by opening the *.ogg on any audio editor (if you don't have one, audacity should do the trick). Then you'll have to use Wwise to generate the *.Wem from your modified audio file, so you can put it back on your package. In the end of the day, the singer will have a duck voice, but you'll hear the same pitch as you should play.