albatross213

@@RubberDave - Old versions of Wwise are available here, using the top dropdown menu.

@@Euther - Any reason you decided to necro a two month old post rather than just posting on the record page? Anyway, my guess would be that you didn't download the DD version. Does the file end with "DD_p.psarc"? Do you see the purple "towers" above the yellow segments at the top of the screen?

@@chris1169 - I don't think there's an official list anywhere. I have a list of bands that I've made customs for that use 5-string and 6-string bass on some of their songs in my workshop (see signature). For my customs, this is usually available as the bonus rhythm path (if there's a rhythm path for guitar) or normal rhythm path (if no rhythm path for guitar). You can also try searching for it. Now sure how much it will be useful, but here are my results when I do an advanced search for "5 string bass" (6 string bass seems to be the same, so it's probably just getting "string bass", which hopefully is mostly mentioned when it's unusual). A lot of those may just be B standard and lower 4 string paths, though (that is, they don't ever use the high strings)

To expand on Ray's answer, the camera only seems to work as desired when you're on a part of the song that's over one of the yellow lines that's displayed above the song (in the first image that's the entire song, as I think the last bit is always what's left over after your part ends). So the second song should have a functioning camera as soon as you get past the beginning of it. Adding sections with phrases creates the segments of the yellow bar above the song. Adding dynamic difficulty levels (usually via DDC in the toolkit) then creates the purple "towers" that rise from the segments (but which aren't necessary for the camera to work).

I've updated all of my customs (with 3 or so exceptions that didn't work) to fix the 100% bug, and they should all be done uploading now. If you have any problems with newly downloaded (sometime after the time of this post) customs, let me know so we can figure out what's going on with them.

That's basically the right idea. Between the two bend tech notes the bend will progress linearly, so if you have just have 0--------2-------0 both the bend and the release will be gradual, which may not be quite what you want. Something like 0--0--2--------2--0 would be a short hold of the initial note, a relatively quick bend up a step which is then held a while, then a relatively quick release of the bend. You can imagine other configurations that should be able to get you what you need. Also, I'll say that you can often see bends in EoF using spectrogram view (see for example this post). In the image you can see how I aligned the tech notes to match the relatively gradual bend and quicker release.

Well, the latest build started hanging for me when taking any action. It works on my laptop, but no longer on my desktop, and I've tried replacing the files, using a new folder for the files, and things like that. Not sure what's going on with it, as it had worked for me about 4 hours ago when making a song and I can't think of anything I did after that would have done anything to it. Edit: Well, with the new build that was just uploaded things seem to be working again. Yay.

@@BluePotato - The problem you're talking about happens when custom has 6 or more arrangements (most often because many people added DD arrangements as bonus arrangements), while the new UI for learn a song was only intended to display 5 (the maximum number in any official DLC). I heard a streamer say he could get past it by just quickly pressing enter to reach the tuning screen and spending as little time as possible on the song page, but I haven't tested that myself.

@@Raamie - It's already been done a bunch. You just need to use a guitar track so you can use (up to) 6 strings, and most customs put them on the bonus/alternative rhythm path. I mention a bunch of bands that have 5-string and 6-string charts in the main post in my workshop page, and there are others out there (I know that some of the Hamilton and Funkadelic songs have 5-string charts, and there are probably a lot more I'm not thinking of right now).

@@Tompisjuh - The game has a setting called the Real Tone Cable Gain which will override whatever you set manually. Try setting the cable gain manually (and then calibrating and whatever it asks you to) if you want a consistently higher volume.

@@chickentacos - I'm not planning on doing much Overkill. Not because they're unworthy, but because the tabs I've looked through were pretty uniformly terrible (missing solos, wrong riffs, wrong song structure, or some combination thereof). If you know any tabs that you can pretty much guarantee will work I'll be happy to work on them, but I've given up on looking for good tabs that seem to be the proverbial needle in a haystack.

@ - I've had some problems with the auto update for recent updates as it freezes after doing it, and it seems it traced back to some of the dll files not being replace. Downloading the full package and replacing the whole folder (it would probably be good to avoid some files, like tunings and other user settings, but they're easy enough to set up again I've just replaced them) and making sure everything goes through has worked for me.

@@raynebc - This folder should have what you need. Here are some screenshots to save you some time to see what they look like in game. The "FHP Interrupt" defines a new FHP at the third chord, the "Section Interrupt" has a section (and thus new FHP) at the measure boundary, and the "Manual Fix?" is like the FHP Interrupt but manually redefines the handshape where the new FHP is defined (which works, but it would be nice to avoid having to do it, and more importantly having to recognize instances where you have to do it). In all cases it looks like it's the redefinition of the FHP that breaks the handshape. As for whether it has to do with remastered, no, it was there before. It was how I noticed (or really, started caring about the fact) that EoF was adding extra FHP a beat before the sections began a few weeks back.

Yeah, I noticed that if I switch to bass from one of the guitar paths by clicking on the arrangement in Learn a Song (rather than doing Ctrl or whatever to switch paths as you had to originally) that it automatically switches to emulated bass. Which is annoying, because that's not what I want it to do and it seems like there's no way to change that behavior.

@@raynebc - Regarding @@Rockfirstlast's suggestion, would it be possible to have EoF automatically redefine handshapes when an FHP interrupts a defined handshape (which should usually happen at a section boundary. You could also do it to always redefine a handshape on the first chord after a section boundary, since that might be easier)? It would be nice if EoF automatically dealt with situations like those presented, rather than having to manually recognize them and redefine the handshape after the section boundary. EoF isn't explicitly forcing handshapes to end at section/phrase boundaries, but redefining the FHP, which it does force, seems to break handshapes (which, if you'll recall, is how I recognized that one of the previous EoF versions was often adding extra FHP a beat before section boundaries).

@@SmellsLikeMonkey - I can use a grid snap value of 24 per beat just fine, which is 96 per measure. Does that not work for you?

I don't think things like unpitched slides usually have ignore status. The way they register you only have to hit the pitch at some point during the slide (for pitched slides, I believe you have to hit both the initial pitch and the final pitch at the appropriate times, but I don't think it really requires anything in between). As for unpitched slides being linked into actual notes, when does that ever happen? I know I've seen it on some RS1 conversions (I think Beast and the Harlot for sure, but don't really remember any others though I don't come close to having all RS1 songs), but I don't think it's something they've done in official songs for quite a while. I suppose it might also happen sometimes in guitar solos with slides out and into a position, but I can't say any where it happens for sure. And for where it does happen, they're usually quite forgiving because of how unpitched slides and sustains register. For examples of notes in official songs that I'm pretty definite are ignores, I'm pretty sure some of the fret-hand mute notes early in Walk This Way are. But other than that, if they're there I don't notice them very often.

@@Zooropa_Station - At the very least I'd recommend checking out some of the instrumental songs that I've done, of which there are a bunch... At the top of the list would probably be the Intervals songs, which are ridiculously fun and catchy and, while technical, not overwhelmingly difficult. Scale the Summit is also really cool instrumental stuff, but a lot of their songs are very technical and make heavy use of really advanced and fairly specialized techniques (namely arpeggio tapping). I'd say a lot of their stuff is worth learning, but you should expect to be able to sightread very few of their songs at any real level of competence. Then there are a few shreddy instrumental songs, the Jason Becker, Jeff Loomis (and while not instrumental, he was in Nevermore which also has some really cool riffs and solos, and Rusty Cooley songs. These are all ridiculously challenging, but can be pretty fun. I guess Blotted Science could go here as well. Then there are instrumental tracks by bands that are mostly non-instrumental. Chromatic Horizon and Elevation Path by Beyond Creation, Orbital Elements by Obscura (both technical death metal bands, but only Chromatic Horizon is particularly tech-deathy as a song), and probably a lot more that I'm forgetting. Then there's lots of other stuff with vocals, but a fair number of those use harsh vocals so that will depend pretty strongly on your tolerance of different varieties of harsh vocals. Of bands with clean vocals, I'd definitely recommend Symphony X (who I hope you've check out before) and Hibria at the very least. Probably Haken, Shadow Gallery, and Green Carnation too.

@@DanPro777 - Awesome that we're finally getting it! My guess would be Metropolis Pt. 1 (confirmed), Pull Me Under, and one of Panic Attack (possible with the new approach to low tunings. Possibly explaining why we'd get a pack now and not previously) and Fatal Tragedy, but lots of other stuff could show up (that I'm sure I'd find lots to appreciate in, even if it's not one of my favorite DT songs).

@@delwin - I actually have materials ready to make a decent number of their songs, but I've always found something else to focus on instead. I'll see if I can find time to fit in at least a song or two of theirs soon.

The problem with a lot of these things is that there will be exceptions to pretty much everything since some people do crazy things on guitars. Anyway, here are some ideas: Regarding slides: It would be nice if pitched slides respected the current FHP (that is, if you slide up two frets, the current FHP goes up 2 frets, and not some other amount). Currently the new FHP will often (at least for slides up. Maybe not for slides down. Can't remember right now since they're somewhat less common) just be the end fret regardless of which finger the slide would be done with, so if you have something like 8 10/12 10 The FHP will go like 8 12 10, when really there's only one shift there that follows the slide. This creates a lot of visual noise and makes sections with lots of slides even harder to keep track of. This could cause a problem if the new FHP would be calculated to be a non-positive number (in most cases I'd argue that either the previous FHP or the slide wouldn't really be accurate, though) or higher than the 21st fret, but it should be easy to cover that with exceptions.Otherwise, the main problem with this is that it relies on the accuracy of the previously generated FHP in order to make the new one, which maybe could lead to some weird things Regarding some other shifts: If you play something like 5 7 9 7 5 right now the FHP goes 5 9 5, which isn't ideal, since even if you might play it with a shift it would be a small one (to 6th fret), not a big one up and down. Not sure how to propose something algorithmic to fix this without introducing other problems, unless you created special logic specifically for FHP that only last for one or two notes. It would make a lot of charts look a lot cleaner, though still not perfect. There might also be a way to do it by pattern matching with some common licks, but that might get too intricate. Regarding tapping: I still think the idea of not allowing FHP shifts on hopo notes (except open notes) has merit. It still allows shifts on the tapped notes if necessary, and would also fix some problems like the previous one mentioned if the stretches are hopo'ed. A potential problem to worry about: what about hammer-ons from nowhere. It could work with lookback logic to see if the previous note is on the same string (to see if it should be considered a "true" hammer on or a fret hand tap), but that wouldn't handle cases where you sustain a note, pause, then have a tapping lick begin on the same string.It also wouldn't be perfect for things that alternate tap - open - hammer - open - tap ... if the tap and hammer frets are widely separated (like T12 p 0 h 7 p 0 T 12 ...) Regardless, I'm guessing it will take some iteration and beta testing to find something that works pretty well (at least with good tabs. I'm sure you could make a tab that makes no sense that ends up poorly if you start giving special status to certain notes). Also, what other things can you think of that are handled especially poorly at the moment? The most obvious thing that comes to mind is diagonal scale runs (often three notes per string, but sometimes two for diminished 7th or similar riffs), but I'm not sure if there's any nice way to handle those.

@@Brooklyn_Sounds - I was about to ask if you were on the task or whether I should give it a shot. Good to hear it will be ready soon!

Run With the Devil has been added, and the main post has been updated to reflect that (and the updates to In My Darkest Hour and Communion and the Oracle).

@@raynebc - From what I remember the game displays real fret numbers (with the capo placed on the neck and with open strings being displayed as usual but registering at the capo'd fret), but EoF displays notes relative to the capo. As is it's fine for me since I've figured out how it works, but I have to admit that it isn't particularly obvious how to change the tuning on a track with a capo without doing some trial and error (and consequently, some people will get it wrong. I remember there being one track that ended up being in F tuning with a capo on fret 2 instead of E tuning with a capo on fret 3 because he tried doing that and said it sounded bad. The only reason I could think of for that is because it ended up in the wrong key because of something like this).