Aludog

I don't have a cat, so that won't be an issue. I have a foot though. :D

The easiest thing for me would be to just send you the tabs so you can use them. I could put the guitar parts into a GP file trying to check them thouroughly but that takes quite some time and I already have a lot on my plate. Just using the song book tabs will get you good enough result for the most part though.

It's finally here, whoo: http://i.imgur.com/4e73Xf7l.jpg http://i.imgur.com/mNz0j0Ul.jpg ...and look a the size of that thing. I could kill someone with that if I wanted to. :D More importantly, the tabs look fantastic. The tab for "Franklin's Tower" i.e. looks almost as good as the one I made myself from multi-tracks and is definitely not the same used by the other song book I own. It also has fully tabbed out rhythm parts which is always appreciated and it definitely has a great and sizable selection of songs. I'm gonna enjoy working with that, I'm sure. As I said before, let me know if you are interested in anything contained in that song book which I don't necessarily want to keep for myself. ;)

"Sounds Of Science" definitely samples parts from "The End" by The Beatles. No clue regarding "Ike's Rap" though.

I have song books for Marley and Robbie Robertson ("Up On Cripple Creek" is in there as well) so I can help you out with the guitar part on those. Just let me know.

This just hit me listening to the original, so I thought I'd let you try as well: Btw, whatever happened to Robbie Williams? He sure got quiet even though I see he's still making music.

Happy birthday, man. Here you go: https://www.dropbox.com/s/s9ii8tdfswrdx9f/Rolling%20Stones%20-%20Under%20My%20Thumb%20%28Aludog%29.gp5?dl=0 It looks quite different and plays quite differently but this seemed the most interesting and most memorable way to play it, so I went with it. There's alternatives like always but I think you'll see the advantage of playing it like this and it's good pinky practice. :D I've also realized that I got a lot better at playing with my pinky and I that I subconciously started to use it more in my transcriptions where I previously used ways to avoid it.

I'm not sure A430 is perfect for guitar as well but we'll see. I try to get tab done today.

I'm looking at the tab for "Under My Thumb" right now and I can already see quite a few things wrong with it and not only on the measures you mentioned. Give me some time and I'll try to work out a proper bass tab. Also, it does look like the pitch is not A440 and closer to A430 which I tested by pitch shifting it in Audacity. Playing along with the bass line sounds like it is tune then. For convenience sake, I'd suggest pitch shifting in Audacity anyway, so the player won't have to retune. I always do that for my customs when necessary even if Ubi doesn't bother doing that.

You don't need to be Russian to love Igor. :D I'll never be able to play like that but at least I can always watch him do it.

Well, his name is in the tab. He's called jordANTHRAX and has an ebay account where he sells his transcriptions: http://www.ebay.ph/usr/jordanthrax?_trksid=p2047675.l2559 @@Bagman bought two CoC albums and sent me all of "Deliverance" and "Wiseblood". I can share it with you if you want and because I don't think Bagman would mind as long as you get some CoC into RS. :D

Here's a tab for Albatross that I got from @@Bagman who bought them online from someone who transcribed a few CoC albums: https://www.dropbox.com/s/qtegmce601b5has/02%20ALBATROSS%20full%20step.pdf?dl=0 They look very solid and I actually promised to do one of them but haven't done it yet. Damn those alternate tunings. :D

Well, the testing aspect as you propose it should ideally be possible in a social group like this; that's why I created open testing forums. It's just that no one feels obliged to actually test any of the songs if they are not something one's really interested in. We will have to find some dedicated testers if we want quality control. Regarding your concept of the collaboration process: Seems all very reasonable but the more people are involved the more difficult the whole process becomes. Anyone of them can introduce errors or just keep the custom from getting done because he's not doing his part, etc. I personally would propose a two man or three man team at most to do the work. Creating or correcting GP tabs and syncing goes hand in hand for me because up to that point there's a lot of work with the actual arrangement; the rest is either cosmetics or technical work, which can be done by someone else who doesn't necessarily have the skills for the former process. A third person could focus on vocals but I personally like to fine tune them in EoF manually and that can be quite tricky, so whoever does that for me, will have to put in the appropriate amount of work. :D Anyway, something to think about.

Seems like a solid idea but every system like that only works if enough people are actively participating and as far as I can see, activity in the forums has radically reduced over the last few months. I hope that most of them will become active again after the end of summer but who knows. Nonetheless, I'd be open to work on such a project if we clarify what it really is about. Is it more or less just group internal testing with extensive feedback and the occasional help at correcting issues or is it cooperative custom creation where a few individuals work as a group making customs? I wouldn't mind either but the latter is something I always wanted to do and the few times I tried it, it never worked how I wanted it to. You really need to find people you can fully trust to do a good job and who can really achieve the standard you are aiming for because otherwise you end up doing it yourself anyway. Also, having people who can transcribe and correct issues by ear as well as being well versed in how EoF and the toolkit works is essential. I know that's the exception but otherwise it becomes tedious to work as a group if there are obvious errors no one knows how to fix. Something of note is also the selection process for group projects and having a very similar music taste or at least having a very open mind about different genres and bands seems like a requirement for close collaborators as well because working on stuff that does nothing for one of the group members might be ok from time to time but won't keep them motivated for long. Well, those are just some pointers if we want to go that route. Let me know what exactly you have in mind and we can discuss it more in depth.

Damn. You make it hard to feel free. :lol:

I thought, I participated as a Free Bird as well last week but I don't get a batch of honor? I feel like the dirty kid at the playground nobody but the man in the bushes wants to play with. :(

Gotcha. Let's just hope that won't happen.

Almost always? Well, I take it anyway. :sob:

@@albatross213 Most of the knowledge I have about that subject stems purely from making my own transcriptions for Jamerson bass lines as well as looking at other peoples transcriptions and it's easy enough to see a pattern with all of those, especially once you read up about his technique or watch the mentioned documentation. Also, this is not purely a Jamerson thing because many other famous session bass players from that period had a similar play style (very likely influenced by Jamerson though), so you could say it relates to the times and genre as a whole and gives you a good idea of how to work with bass lines from that era. Of course, you can take that with a grain of salt since it's all based on personal experience and I have no formal education or deep knowledge of music history but just goes to show how much you can learn just by transcribing music yourself. It's without a doubt the single most valuable thing any musician can learn and I encourage anyone to try it. Btw, I'm actually thinking about studying music at my university to get some formal education and deepen my musical knowledge which is all self taught up to now but I'm not sure yet; maybe if time allows.

I'm pretty sure it had to do with the new conversion of the wav file. Anyway, I'm glad you got this solved. Also, judging from the playthrough, I'd just like to mention that it's more likely Jamerson stayed in first position for all of this. That was his style, considering he needed to use open strings a lot to get a good and fast groove with his one finger "hook" technique. That's also why many of these classic Motown tracks are either in F, C, D or G major, so Jamerson could tear it a new one in his favorite position. :D Going up to the 8th fret seems therefore very unlikely and unnecessary because he rarely switched positions if the progression didn't ask for it (which it seldom did). I know it's up to personal preference, I just thought I'd mention it. Well played btw and the tab seems very solid too.

I had a similar issue once where wwise messed up the conversion and the song was cut off early and it took a while to figure out what the issue was. It seems the same thing happened here. Using the RS toolkit for conversions I haven't had that issue (yet) but if it ever happens again you know what to look for first. :)

Could you clarify what chords you mean, so I can fix it. I'll improve the sync as well even though I never had any issues with that but I guess it can't hurt. I'll also finally fix the tab on "To Cry You Song" per your suggestions. :)

I'll do the same. :)

"Open & Close" is done. Enjoy, guys.

Well, time to make an appearance again: http://i.imgur.com/qb3BKndl.jpg http://i.imgur.com/v13goCSl.jpg Put me down as Freebird because I'll be long gone before any of this gets relevant. :lol: