Karmeleaux

It's not really necessarily they signed an exclusivity contract (those are usually around one-three years rather than indefinite, which would have expired by now), but Harmonix confirmed during the release of that that AC/DC is very against digital distribution hence why that trackpack was never downloadable content and instead had to be bought at Walmart. It's possible we'll see them on the next disc in the same way we saw Arctic Monkeys on-disc, but I'd be (pleasantly) surprised if we ever saw them as DLC.

I usually edit together all the guitar parts beforehand in the Guitar Pro file myself. Tech notes don't copy with the notes they're modifying (even if you copy an earlier part from the same track), and I imagine it's probably not an easy fix if it hasn't been adjusted yet. Speaking of probably not easy fixing, I've noticed that when I change the tuning of a part it adjusts all the frets but doesn't adjust slide locations. If that's something that can be easily fixed, I'd appreciate it. (I also wouldn't mind if it did this if one changed the values via Ctrl++/Ctrl+- but I'm not holding my breath for that because it's probably around 50/50 that people want to do that) Regardless, I've VERY much appreciated recent fixes, the dead note chord fix and the linknext shortcut have significantly made my charting easier, and the most recent one fixed a Guitar Pro import crash I assume I'd cause. So thanks for your hardwork.

Tried it today and everything worked as expected now, thanks.

I think you might need to elaborate on the exact scenarios of when and what it re-generates as I ran into some things that differed from my expectations. I was workin' on a multitracks song today and changed the DLC Name, Song Title, Song Title Sort, and the audio (all as part of the standard procedure for making multitracks), and it didn't generate new IDs, but then I went out of my way and changed the Version number as you explicitly said and it re-generated. Is that the only piece of information it re-generates on, or is this unexpected behavior? Additionally, it appears while it does re-generate IDs for guitar and bass parts, the vocals parts IDs did not seem to change as the lyrics showed up fine in the standard version but did not appear in either of the alternate two versions, forcing me to delete and re-add vocals (as clicking edit on vocals still gives an error) on the no bass/guitar audio versions. Is it intended that vocals IDs do not re-generate? Thanks for your time,

Hey, so I'm havin' a few issues with the current beta build: -The folder paths are relative to the package's xml's file position, so when I reorganized my files after computer problems every field points somewhere that doesn't exist. This isn't a huge deal on its own but: -I cannot edit the filepath for any arrangement after I've added it, the path and the browse button are grayed out. Combined with the above, I have to delete and readd every arrangement. -When doing multitracks and trying to edit the vocals arrangement to increment the arrangement ID, I get a big ol' error (in spoilers below), which means i have to delete and readd vocals two more times. None of 'em are huge issues but a fix and/or insight to any of 'em (the latter two far moreso than the first) would definitely help me out. Thanks for your time,

Search 'multitracks' in Ignition. Boom. (I can also whore out my tutorial, why not: http://customsforge.com/topic/16707-how-to-create-customs-with-multitracks/ ) It's also worth noting that the FAQ on that site you linked states 'The tracks are made in many ways, ranging from beefed-up MIDI files to manual recording of every instrument. The quality will of course vary, but hey, it's all free!' so they might not be entirely accurate in sound or tempo. I hadn't poked around on it much, but just a caveat.

The most recent test build seems to allow me to save packages again, but the Configuration information seems to constantly blank itself still. That is, no matter what I change in the Configuration tab, it resets to blank (or the first option for lists) the next time I check it, even in the same session. Anyone else having this issue? I notice a lot of the information doesn't match up with a file created from scratch (AppID in particular defaulting to Amber by 311 in Configuration, whereas the Toolkit still defaults to Cherub Rock with a new project), so is it mostly visual or? Thanks for your time, (also i love the ability to bypass Wwise entirely so i just thought i'd say thanks for that as well)

Thanks VERY much for this update, just got back into town so haven't tested it yet myself but I appreciate it. I'd second a Linknext keyboard shortcut myself, I know I abuse Linknext and I like being enabled to feed my addictions.

Apologies if anyone has run into this issue before, I looked through the topics here and didn't see anything. Instead of rendering dead note chords as X boxes in the same chord shape (official DLC example in spoilers), I've noticed my recent CDLCs that I've charted are rendering them as a separate chord box that alternates with any non-dead note versions of the chord. This isn't just ugly but seems to have performance effects, as my game chugs a bit when I get to this chorus the first time. Firekorn was able to help me with pointing out that they are being rendered as separate chords in the xml file, though they have the same fret and finger information. I've tried a few things to try to automatically regenerate the xml file, but everything short of manually editing it seems to result in this for me. The notes.eof for this particular project is available at: http://www.cdlc.wit-n-wiz.com/Me%20Enamora/ Any assistance in resolving this problem would be appreciated, thanks.

Aha, fair enough, I didn't know of that shortcut, my bad.

Not a huge issue, but if it's not much effort I'd like some modification to the Ctrl+X and dead notes in general. I'd like: -Ctrl+X to retain the fret information when used on a note --(currently turns the note into an X fret as well as turning on the 'muted' toggle marking it as a dead note, Rocksmith reads these as open notes) -Ctrl+X to be a toggle, just toggling the 'muted' toggle that marks them as dead notes -Dead note chords with the same chord shape as a non-dead note chord to copy the fingering from normal versions of the chord --(currently have no fingering information, which has them display as a new chord box in Rocksmith rather than X boxes in the same chord shape) I used to work around these, but coming back in I kinda forgot about these and ran into them, so I figure I'd mention them here and see if they can just be easily implemented.

I was asked to try to explain working with multitracks, so here goes. I don't think I've written a tutorial before, so there's your warning. Images are hidden behind spoilers currently because I think most of them aren't necessary to the general public, I can remove the spoiler tags if this proves to be untrue. Preamble Ramble: This tutorial assumes you know the general process of creating CDLC and focuses mainly on the differences in the process for using multitracks. Reading The Third Way to Chart Customs is strongly recommended, as a decent amount of this may be that information just more poorly phrased. A lot of credit also goes to the user todtod, who taught me most of this process via PM when I was starting out here. Now, by far the easiest way to get multitracks is to create a Frets on Fire forum account and use bluzer's topics for Rock Band and Guitar Hero (for those unfamiliar, there's a fair bit of overlap, I tend to trust Harmonix/Rock Band more for these cases but it rarely matters). There's a few other ways, but that's the simplest/most organized in my opinion. Editor on Fire: If you choose MIDI Import in EoF and choose a notes.mid in one of the folder, it should import a perfect beatmap (and sections, though not phrases, marked), an advantage which cannot be overstated. Tangent: Also most of the time (any Rock Band song, GH:WT and after for Guitar Hero), vocals will import (though you have to remove +'s and stretch out the previous syllable for its length if you want them to be perfect, and some Guitar Hero imports miss a few syllables of words in my experience). And on very rare occasions a very accurate Rock Band 3 Pro Guitar/Bass chart that needs minimum tweaking will be imported as well. But as stated, once you import the notes.mid, it should have a perfect beatmap with a few seconds of silence at the beginning, and default to the isolated guitar track. If you're importing a Guitar Pro (or equivalent) file, the first thing you have to recall is these imports start with usually three beats of silence, so you have to insert that many beats of silence to the file you're importing. If you're charting from scratch, I will cover some advice later in this chart. Once you import the guitar chart, you should sit down and listen to it. You've got the lead guitar by itself, you have an advantage on nearly every tab out there on the internet, make sure you exercise it. After going through the guitar chart, choose 'Load OGG' and switch over to bass (titled rhythm.ogg) to repeat the process. There's VERY few tabs online that are hyper-accurate on both guitar and bass throughout, so keep your ears open for discrepancies. Wwise: After you finish the chart, the best way to handle the audio is to load all the oggs into a single Audacity (or equivalent) project, then mix it down to a .wav file. Mute the guitar track, then mix it down to a .wav file (with 'No Guitar' or something appended). Unmute the guitar track, then repeat the process with the bass. Finally, or perhaps beforehand if you want to test a bit earlier, mix it down to an .ogg and import it into the EoF file to create the preview. Do the Wwise stuff as normal, just including the No Guitar and No Bass versions as well as the standard version and the preview. I personally don't bother making a new preview for each version, after I'm done with the Wwise I just make two copies of the preview .wem and rename them for the other versions. Rocksmith Custom Song Toolkit: Create the standard version .psarc as normal. Do not create No Guitar/No Bass versions yet, as you might find some errors when testing your standard version and currently you have to regenerate each version separately, so focus on your standard version until you're happy with it Now that that's done, create your No Guitar and No Bass versions. You have to change the DLC Name (I just append NoGuitar or NoBass) for each version, and I suggest appending '(No Guitar Audio)' or '(No Bass Audio)' to the Song Title as well. In addition, you have to change the Arrangement Identification number for each arrangement in each version (I just increment it by one per version, remember that it's Hexadecimal). For vocals, this requires you to outright delete the Vocals arrangement and then add it again to generate a new value, as the Toolkit does not allow you to manually change those. Finally and most obviously, switch the audio over to the appropriate No Guitar or No Bass version. Now it's time to test your No Guitar and No Bass versions. Once you load your library there should be three distinct versions in your library, and make sure to test that they accurately do lack the audio they're said to, they display vocals if you've charted them, and should all load. Ideally any major crap-ups should have been caught in your standard version testing, but it might become more apparent that your tones just aren't to snuff or something in this round. Unfortunately for any mistakes at this point, you'll have to reload, change, and regenerate each separate package, so try as I said really lay into testing your standard version. Flying Free – Charting By One's Self: Now, let's say you've got some balls on you and want to test your hand at charting from scratch. It's actually not as daunting of a task as it sounds, having the isolate guitar and bass lets you sit down and feel it out on your own. But there are options for shortcuts, the most notable being the paid program Celemony Melodyne. It's an expensive piece of software that's design for professional use, but if you're routinely working on this the $99 dollar version works well for single note riffs, including most entire bass tracks or solos. The more expensive versions help separate out chords, but frankly I don't find it worth the pricetag if you're not doing professional work. Below an example of an entire bass track (Rock Rebellion by Bang Camaro) loaded into Melodyne. It contains a few glitches (the shorter the bit you put in the more accurate it is) and may not be intuitive to read at first glance, but the information is invaluable if you use it routinely. Melodyne is by far the easiest and quickest way, but if you're lookin' for something cheaper well your brain came free with your body. Use any knowledge you have about the song, the key, chord progressions, common tricks of the specific band, whatever. Enhance it with music video, live performances, covers, whatever you can find. Keep throwing all of the knowledge you're able to bring together until you're able to finish it. It's not a simple task for most people and I strongly, STRONGLY recommend if you try this without much education to do it with a simple single-note-focused song. Also, I heavily recommend the Scale Racer minigame. I'm sure others might be able to recommend tons of stuff to help with learning by ear, I might edit in some here after the fact on other people's recommendations. So that's about all I can think of saying, any questions or comments are welcome.

Well as before if you want any help with testing/transcribing the bass parts for the first two just let me know. I know from experience how crappy online bass parts can be even on tabs with exceptional guitar transcriptions (and vice versa), though there are those that are close enough on both to get you there easily enough.

The bonus songs unlocked from completing missions are just that, bonus. They're relatively unknown songs by relatively unknown bands, which the developers are fans or part of. The songs that get uploaded are not those. I'd say the issue with displaying official 'on-disc' songs in the search is that DLC is incremental, so you don't start with it. The songs that are official DLC change (as in increase) in time, and people don't start with them, so it makes sense for them to be added both to promote and to communicate that those are NOW officially done. The setlist for the 'disc' is static, it has not and will not change since the release - and everyone has them, everyone should at least know the big songs in the setlist. To me, the more intuitive and ideal solution would be people should just check the official setlist of Rocksmith and Rocksmith 2014 on Wikipedia before working on a really mainstream song that they're not sure about. (Or just load up the game and check.) I feel adding the setlist is not a solution to this pretty rare problem, and even if it was done some people (no one specifically, just in general) would end up ignoring it anyway. Just my two cents.

Again, I personally think rather than difficulty which is subjective (or perhaps in addition to), an option for the charter to mark techniques used (and perhaps how much) in the song - bends/complex bends, slides/unpitched slides, vibrato, power chords/barre chords/open chords/WTF chords, two-handed tapping, harmonics/pitch harmonics, pop/slap, et cetera. I think this information is more objectively useful because it's completely rooted in fact - one might not have a problem with difficult bass lines in general but might struggle with pop and slap - and thus could find songs to practice this technique better (or avoid it, like a baby). Just my two cents. I know right now you could use tags for that, but given they max out at ten and you can also use them for genre/decade/multitracks, it's to a point where you generally have to make a choice about the information to communicate there.

It's always tough to offer suggestions, especially if English is not your first language, a lot of words carry hidden weight that can often be forgotten. Perhaps 'Advanced Tricks Used Commonly in Official DLC?' I don't know. I mean, for what it's worth, after sync issues, I honestly think unnecessary sustain length is one of the most disorienting things in CDLCs on faster songs, because it obscures the next notes into a jumbled mess. If the tempo's 120 or below it's just unattractive to me, but start pushing past 150 and it genuinely becomes hard to decipher personally - really the reason I started making sure I fixed those during my testing. I do find sustain length is a variable though - I feel I should have different lengths for faster and slower songs, though they should never be touching in the project regardless, one of the first things I do if I import a tab is Ctrl+A then press '[' at least once (if I shortened a note that has nothing but silence following it, I'll redo its length when I get to it, chances are its length wasn't perfect anyway). Likewise, I feel the Linknext slide thing is definitely another important thing to be communicated to charters early on, I didn't figure it out until like at least my fifth custom, but again it makes the majority of those slides up and down look and feel so much better.

Heading to sleep so I could be wrong, but I'm 99% sure off the top of my head that official DLC sorts by first name - Albert King under A, B.B. King under B, et cetera (this includes Japanese names like Tak Matsumoto). Official DLC also sorts without the 'The' in front of a band. By and large I feel like these are the way it should be conformed to in this format in CDLC, but I'm not totally unbiased because that's the way I've been doing it.

At the risk of spreading myself too thin - which really is a problem for future me and fuck that guy anyway, before I go to sleep I'll go ahead and toss my hat into this ring as well. (My hat is getting around, it is the town's bicycle hat) Anyway. I was planning to do a full Alice Cooper multitracks CDLC sometime this month regardless - depending on how my poll goes it'll be Billion Dollars Babies (Live), School's Out (Studio or/possibly and Live), or Under My Wheels (Live). But in addition to those three, I also have the multitracks to: Elected, I'm Eighteen (Studio and Live), Poison, Vengeance Is Mine, and Welcome To My Nightmare. Any of those (including whichever of the poll don't get fully charted) I'd be willing to help out on - help set up as multitracks, chart the entire bass by ear for, or help determine a few select guitar parts by ear.

A few weeks ago I saw No One Knows skyrocket toward the top of request list and decided to do a multitracks version because I didn't see the song here, not realizing there was one from before this site (though it made sense because why else wouldn't it have been charted then). I've also got multitracks to 3's and 7's, How to Handle a Rope, and Mexicola, if anyone needs me to chart out a bass part for those. Hesitant to help tab out a guitar part by ear for any of those because it's more time-consuming and having done a QotSA song already my eyes drift elsewhere sorry, but if you'd need me to examine a specific part I could try it. I also have multitracks to Avon, Little Sister, and Make It Wit Chu, if the charter(s) for those want me to assist in making those multitracks versions and/or making sure they're entirely accurate from the isolated stem for bass (Make It Wit Chu doesn't seem to have one currently specifically, so I'm pretty sure I could at least improve the quality of that!). EDIT: Also Sick, Sick, Sick, forgot that in the original post.

Eh, feel awful for a quadruple post AS WELL AS bumping (am I breaking a rule here? I blame someone else if so), but updated the main post and more importantly added some polls for some upcoming projects which I don't think I'm gonna terribly get feedback all the way back here. A lot has changed since last update (firekorn brought maintaining these in the chat the other day so I was like 'ehhhh fine'), and as per usual any and all feedback is welcome.

After my first few I learned the general process most people here did (and updated my pre-non-idiot ones, though about five still aren't up to snuff with my current fountain of information). Recently, though, I hoarded a ton of the multitracks from Rock Band and Guitar Hero bluzer made available on the Frets of Fire forums (about 80 gigs total). These have some really cool advantages, especially if you're looking at a less well-known song. Programs used: Editor on Fire, occasionally Guitar Pro, Audacity, Melodyne editor THE PROCESS 1. Start a new project loading one of the individual oggs from the song folder, which already have the lead-in silence. It doesn't really matter which because it'll default to guitar.ogg when we MIDI import in the next step. 2. MIDI Import the notes.mid for the song. This gives a proper beatmap and practice phrases for Rock Band, which gives you a good skeleton for section markers for Rocksmith. 3a. If the song had a Rock Band Pro Guitar part, listen through the isolated guitar part and modify it as necessary. These are usually 98+% accurate (they should be seeing how they had the isolated guitar part and were paid to do this), but they made a few issues here and there such as some notes dead that you can hear fine, some omitted slides, and Rock Band Pro didn't have bend support so you have to add those. 3b. If the song doesn't have a Pro Guitar part (the overwhelming majority, unfortunately), check online for Guitar Pro tabs. Because of silence and beatmap, usually you have to add an empty measure or two at the beginning of the Guitar Pro file before importing, then it should import fine. Then listen through and modify it like 3a. 3c. If the song doesn't have a Guitar Pro file available (or it's pure garbage for guitar), sit down and listen to the isolated guitar part and chart the entire song in EoF. As you're hearing only the guitar part, you can sit down and figure out the part by ear. For more confusing parts, you'll have to isolate and export the section in Audacity, then pop it open in Melodyne editor, which will tell you the note progression or the notes in the chord. 4a-c. Load the rhythm.ogg (which is actually almost always a bass part, naming conventions!) and repeat 3a-c, whichever is necessary. Special notes: (4a) Pro Bass parts are usually noticeable less accurate than the guitar counterparts, they're not bad but they definitely require more clean-up than Pro Guitar parts. You'll usually have to tab it out by hand (4c) more than guitar because a lot of Guitar Pro files that have passable guitar parts are atrocious for bass, but on the flipside bass is WAY easier to chart out by ear. 5. All of these files should have lyrics built in for their respective engines, the only thing you need to do is remove the +'s and stretch the note they were modifying out. 6. Import all the stems into Audacity and mix them down to a .wav (and usually an .ogg to import in EoF to make sure it sounds good/create the preview from). Then mute guitar.ogg and mix that down to a .wav of '(Name) No Guitar.' Mute rhythm.ogg in addition to the previous one and mix that down to a .wav of '(Name) Backing Only.' Unmute guitar.ogg and mix it down to '(Name) No Bass.' 7. Wwise all the .wav's you created. Create copies of the preview and rename them after the other versions. 8. Toolkit the .wem made from the first .wav with all the stems audible to test it and make sure the volumes and tones are appropriate and everything looks good in the game. Place the parts from the EoF project into DDC with log generation and make sure there are no warnings. Repeat as necessary. 9. When happy with 8, amend 'BackingOnly' to the DLCName. Add '(Backing Audio Only)' to the Song Name. Edit the Guitar and Bass parts and increment the last digit in the Arrangement Identification by a single hexadecimal digit. Delete and re-add the vocals part to generate a new Arrangement Identification number for it. Switch the .wem to the BackingOnly one. Save this package as 'Name_BackingOnly.' Generate the .psarc as 'Name_BackingOnly.' 10-11. Repeat Step 9 for No Bass and No Guitar versions. 12. Create a DD version of the standard .psarc. Test that DD works properly, and all the alternate versions are playable and have the correct parts muted. Repeat as necessary. 13. Upload and release. By and large my goal is to use this process to create Rocksmith files for songs that have no accurate Guitar Pro tabs available. Overall after I got the hang of it I have to say I prefer charting in EoF over GP itself, though I do wish I knew of a way to export the tabs I create to a GP file to make these easily available online.

I certainly wouldn't mind this feature as an option on our profile (something like 'Manual Following/Follow After Clicking Download Link/Follow After Commenting'), but there's stuff I'd much rather see first, and also I'm an information junkie so I'm almost always into seeing more even at the expense of clarity so maybe I'm not the best person to listen to anyway. In particular, when I first joined I commented on a few songs and then didn't figure out until a month later that the charters replied when I manually went to check. It'd be cool to reduce issues like that, but I mean once I figured it out it's rectified anyway so it'd still be one of the lowest of the low of what I'd say should be a priority.

Gonna admit I stumbled onto this method unintentionally just a few days ago and thought 'oh my god this changes everything' and was about to post on here then I was like 'Wait wasn't there a pinned topic title that could have applied to what I just did? DANGIT.' So thought I'd communicate, this is a really good way to do a lot of the stuff out there, especially stuff with multitracks. Having a beatmap already synced and being able to switch between the isolated stems by loading different oggs really makes this stuff simple. I sat down with the song Sons and Daughter by the 88 this morning, and I was able to tab out by hand a synced bass part before lunch thanks to the stuff already in there. So yeah, I really recommend any charter try this method at least once.

Hey guys, thanks for the tool, works great when I try it on bass. However, I was testing it on lead of one of my songs today, which has a focus on dead notes and chords off the beat, and unfortunately with the default arrangement the lower difficulties (about 50% and below) were focused entirely the dead notes on the beat rather than the root notes of the chord off of the beat. Is there a way to make DDC focus on them (is that what chord protector is for?), or is this a slippery issue than that? Alternately, am I missing something else? That's definitely possible given that I just started formatting stuff for DDC this weekend so my stuff probably isn't in ideal shape just yet. The file in question: https://www.dropbox.com/sh/1ox9wrpgc1fixfp/AACXcQex7lBeEuq0IQnQiMa-a/Alright

Aha, thanks much for clarifying.