MVega

About the dragging notes thing -- instead of dragging notes, after importing the GP track, I select all of the notes, copy them, then delete them. Then I position the cursor to the beat for the first note and paste. This will snap the notes to the grid you've established with the beatmap. I've found resnapping to be hit and miss -- it works if the notes are not too far off the grid. But if there are more than one note close to the grid snap points, EOF will combine them.

Have a look around, the info's in this section of the forum. I don't recommend starting from scratch until you have a good idea of what all the pedals, racks, etc. can do. But surely there must be a guitar sound close to what you're looking for -- it's not like any of the songs you mention are avant-garde experimental industrial noise.

Try Toys R US: TOYS R US - NEW YORK [6677]MANHATTAN MALL 901 AVE OF THE AMERICAS NEW YORK NY 10001 P: (212)239-7306 TOYS R US - NEW YORK [6423]1514 BROADWAY AT 44TH S NEW YORK NY 10 No guarantees they'll have it in the stores though.

Also, you might find the tones you're looking for in other customs -- there are already 11 AC/DC songs in the database. Just unpack one of them to get Angus' guitar tone (or extract it inside Rocksmith). It's not like he has dozens of different sounds. Make sure to ask permission/give credit to whoever created the tone. Although a big part of a guitarist's tone comes from the type of guitar he uses. It's going to be difficult to get Angus' SG sound from a telecaster. This is why I wouldn't get so hung up on finding the 'perfect' tone.

Yes, I'm going to have to go with @@firekorn on this one. I appreciate the effort though!

Mike, all of the 'authentic' tones for Rocksmith are available here: https://www.dropbox.com/sh/9xag4jw7i29b54d/ps4LuvWGW_ I find it hard to believe that none of them will work for you. And certainly you should be able to tweak them to fit what you're looking for. as @PC Plum pointed out elsewhere, you should be trialling tones in game -- go to the Tone Designer, select songs (either from the same artists, or from songs where the tones should be fairly similar), then get to work experimenting. Often something as simple as moving the microphone position for the cab will take a song from 'meh' to 'yes! exactly!' Once you've got a tone you like, save it and assign it to the tone stick (I'm not so sure that's necessary, though, it seems to me that ALL of the tones you create can be imported into the Toolkit). Use the Toolkit's import tool (set to locate XBOX files) to locate the folder (Steam/userdata/....it's in there in one of the numbered folders) and import the file. You'll know it's the right one, since it will be date-stamped for the time you created your last tone. Alternatively, if you like an Authentic tone as is, just download it from the link I gave you -- or download ALL of the tones in the zip file, so you'll have access to them on your hard drive. Lastly, I do not believe that a tone that isn't an exact copy of the original tone will kill the song. In fact, it can be helpful if the tones aren't the same -- this allows the player to hear the difference between his playing and the original a little better (in my opinion). The only thing that's 100% necessary is that each arrangement MUST have at least a basic tone assigned to it, otherwise the game will crash.

Depends on who you are and what you're trying to do. There's something to be said for just learning riffs and not worrying about the entire song. That's the way my son's learning guitar (from a teacher). Personally, I work on a song until I've learned the entire arrangement at 100% difficulty -- which doesn't mean I'm able to play it at 100% speed. Depending on the song, this can take me a few days or even a couple of weeks. Then I'll keep practicing that song while I learn the next. Eventually, I'm practicing a bunch of songs at a time. At a certain point, though, I'll dump those and move on to a new batch. But I'm tempted to give the 'just the riffs' method a try too.

Ah, yes, I forgot about tech notes.

The ignore toggle works great. Although I'm wondering if it's possible to ignore specific notes in a chord? It seems like I can only ignore the entire chord. But there's a catch when using the ignore function -- if any notes are set to ignore, Rocksmith lowers the Mastery -- so it's impossible to get 100% mastery. And with the song I'm working on, I set so much of it on ignore that the mastery maxes out at 35%!

I guess I'm different from a lot of you in that, if I'm not actively learning/playing a custom, it doesn't stay in my DLC folder. Instead, I keep a second folder for all customs, and it's easy to drop them in, take them out as needed. I keep a shortcut to the DLC folder on my desktop. I prefer having version numbers -- at least for customs that might still change sooner or later -- since it's easy enough to delete the older versions, or just leave them there (since they're not in the Rocksmith DLC folder). Band name should definitely come first -- there shouldn't be any discussion at all on this one! On the other hand, if psarcs had an editable property sheet, like mp3s, we'd be able to sort them by band name, by song name, by genre, even by version number and chart author.

Well, I do it the same way as you, mostly because I don't know most of the official songs. But if all you want is the same tone as an authentic tone, it seems easier to find the one you're interested in the game -- then locate the file for it in the zip pack. It's easy enough to add simple tweaks in the Toolkit (especially if all you're adding is a bit of reverb). Importing the tones from the steam folder gives you the whole list of all the tones you've created, not just the ones you've assigned. Which is not a big deal either, I guess. But whatever works for you. I like it that there's lots of different ways to get things done.

Nice. Keep up the great work!

@PC Plum: All the authentic tones are available here: https://www.dropbox.com/sh/9xag4jw7i29b54d/ps4LuvWGW_ -- there's a zip file with all of them too. Much easier!

Well, panning isn't that big a deal, since like I said, I'm running it through my mixer, so I can pan it there. And if really wanted, I could run the same channel into both sides.

You can't pause the Riff Repeater. It's the biggest failure of RS2014. So you have to find ways to work around that. If you're playing customs, there's a decent workaround: open up the file in EOF and add in more sections. You can break the solos down into as many sections as you need -- they can be as short as a single measure, if you need it. This way you can get right to the parts that are giving you difficulties. There's still a couple measures of lead in, but the turnaround is much faster -- you don't have to sit through 20 measures of rewinding. Once you've learned the parts, you can start to combine them into longer sections and increase speed. This won't work with official DLCs of course, only with psarc files.

Instead of dragging the notes, select all -- copy, then delete all the notes. Then position the cursor on the beat where the first note should be and paste. If you drag the notes, they go off the grid ever-so-slightly, even with grid snap turned on.

Since you're disabled, consider a more radical idea... Try a Steinberger. They're awesome guitars, not least because it's probably the best sit-down guitar I've ever played (I'm too old now to stand up and play for hours). The more recent models aren't very expensive -- I picked up an SS-2F for 400 euros, the Spirit line sells even cheaper, used. The Hohners are just as good, from what I've heard (but I liked the SS-2F's matte finish better). The new Transcale line is a baritone with a built-in capo -- could be really interesting for the type of music you're playing. I think they're also using active pickups, which again, suits the music you're into. I love the hell out of the neck on mine. It's not thin by any means -- it's more of a Gibson-style U, but it just fits sweetly in my hands. I don't have huge hands either. It's also a carbon-wood hybrid, so it's very responsive but nice and solid. It's got the 22 frets you want. The phenolic fretboard is really nice -- very smooth. I didn't think I'd like a non-wood fretboard, but I'm sold on it. Now that I've gone headless, I don't think I'll ever go back. It's really nice not having the extra weight of the headstock. And the zero fret makes a huge difference in playing, especially bar chords at the low end. No.... I do not work for Steinberger! As for buying online -- I only buy online, since the shops around me don't really have guitars that interest me. And I wouldn't be comfortable playing in a store anyway. I like to change guitars a lot, so it's not a big deal for me to play a guitar for a while, then sell it on when I'm ready for something else. (But if you do that, make sure only to buy brand name guitars.)

In my case, it's more like mistakes guaranteed... But I think there's a point where a custom can be considered '' finished" -- even if there's still room for future tweaks. Once the sync is good and the tab is 100% accurate, all the arrangements have been done, and the tone is at least close. I think tone will never be perfect for everyone anyway -- my guitar has active pickups, for example, so it's got a distinct sound all its own (which I don't happen to like, but I'm too lazy to change the pickups). It's not a big deal for me to go back and revise the customs I've made, because I've made a total of four at this point, working on my fifth right now. But some people have made 100 or 200 already -- I don't see them updating everything they've done. If they plan no further development on the file, it makes more sense to mark it as final. That way, if there ARE mistakes, people will probably let it be known. :-P But I'm not personally bothered by version numbers, works in progress, etc. It only takes a moment to download a new file after all.

I'm tabbing songs by ear these days. I'm tempted to create one track that's note for note accurate, and another that just gives the simplified repeats -- since this is the way most people would play it outside of Rocksmith anyway. I have a couple of midi files that will play as an entire song outside of EOF, but when I import them into EOF, only the first verse/chorus shows up.

I've had this kind of problem too, but I'm pretty sure it was a BPM problem. I think I had to set EOF's tempo to match the Gpro file to get it to work (I still had to clean it up a little after).

My tabbing system has evolved lately... Since I have two screens, I open both EOF and Guitarpro at the same time. I tab into Guitarpro while using EOF for song playback and to know where I am in the song, since EOF's beatmap is synced to the actual song. I find it easier to see what I'm doing in Guitarpro (partly because it's black notes against a white background) and of course I can playback in Guitarpro to hear what I've done -- I was making too many mistakes in EOF. BUT, I use EOF to establish the rhythm pattern -- I just slap down generic 0 notes along with the clap function -- because EOF's system is more intuitive for me. So I think the two programs work nicely as companions.(It really helps to have two screens, of course). And at the end of it, I have a GPro file too. I also use a third program, an audio editor, which allows me finer control over slowing down playback and easier looping features. And I run things through a mixer, so I can easily change the EQ settings. Makes it easier to focus on the guitar or bass parts. One thing I've been wondering -- is there a way to pan playback in EOF? Guitar parts are usually mixed to one side -- it'd be nice to be able to choose to hear only that side for playback when I'm working on that part.

I think that once the CDLC has reached a final version the version number gets dropped. That would make it easy for people to know whether a CDLC is fully complete or not (for people who don't want to try out customs that still need work). It would be nice if the charter's name could be added into the psarc's property sheet. But we can also add our names at the very end of the lyrics track, in the last couple of seconds at the fadeout. Adding our names to the file name should be prohibited. It's all about the band and the song.

Create two different sessions in EOF using the same ogg/wave. So after you've set up the bass track (since it doesn't change tempo), use the 'save as' function to create a second file, this time for the guitar track. Just make sure to give each track a distinctive name when you save them (or delete the bass track from the second). Otherwise, why not just space out the bass track to match the guitar? How do they do this on the original recording?

There's a definite difference in string tension between the two scales. The shorter Gibson scale will feel a bit looser. There's a difference in sound too -- the Fender scale has the snap and twang that Gibsons don't, but the Gibsons get that creamy sound a Fender can't. Another tip for older players: stay away from Every Breath You Take. I've got pretty large hands, a pretty good reach, but I had to give up on the song -- it was killing my wrist. Definitely evil, that one.

Have you tried generating it with just one part and not the other? Maybe try loading different tones for the arrangements?