albatross213

Well, I rebuilt it on my end, and played all paths. Bass and rhythm worked as expected (or close enough that I couldn't tell the difference), while on lead I got a gap of 5% or so between mastery (lower) and accuracy, which I think is consistent with what was found earlier. I guess that rules out the recent toolkit update being the cause. Looking at things in EoF, the only thing I see that jumped out is that there are a few notes that are slightly unaligned (this could have happened while I was looking at it. I'm not really sure when and why it happens, but I don't think I've really touched anything other than scrolling through and changing difficultly levels). One example is that the last D the orange string in the second mod-chorus (just before measure 74 or 2:05) is just to the left of where it should be on levels 6 and 7, but in the right place on level 8. I don't know how the internal machinery would react if a note that's present on a lower level is slightly shifted on a higher level. It could be that both notes count for mastery % but not accuracy (which seems to be a simpler calculation of notes hit divided by notes encountered) which causes the discrepancy. Edit: Resnapped all of the notes on all difficulty levels and rebuilt it. Will now test to see how the scoring goes. Edit 2: @@firekorn - Resnapping all of the notes seems to fix the scoring.

@@firekorn - My guess would be this is related to the attempt to fix the scores when ignore status is used, as I remember @@Billkwando testing it and finding a similar mismatch (though if I remember correctly his mastery was higher than his accuracy, but that may be because it was on a chart that used ignores). For what it's worth, I haven't used the most recent build of the toolkit yet (I've been using bc4b8042 for a while now as it hasn't given me many problems), and haven't noticed anything like this on things I've built recently, but I never do manual DD so it's possible it's related to that and not the toolkit version.

Jason Paradise also posted on /r/rocksmith. TL;DR is that it's a free update, many improvements like text search, more efficient RR, and several other features (and hopefully bug fixes). The 6 new songs will be available as a DLC pack, but also come if you buy the Remastered version at retail. Anyway, I'm sure more info will come at the livestream. Stay tuned.

Updated the list with some of the things that have been uploaded recently. Some of the bands that had songs uploaded recently were Nile, Death, SepticFlesh, Carcass, Behemoth, Suidakra, Be'lakor, Obscura, Abdication, and probably some others that I'm not remembering right now. Have fun working through the new songs!

@@Copernicus - Is it possible that the song you're charting has the bass on a 5-string bass (even if it doesn't use the highest strings)? A tuning of BEADG would import into EoF as a relative tuning of 0 (for 5 and 6-string arrangements, it bases the relative tuning off of BEADGC), which would then import into the toolkit as EADG and lead to the behavior you're describing.

Had a few goes at Transylvania on bass. It took a little bit of work on some trouble spots, but I eventually managed this: http://i.imgur.com/bZuKiAH.jpg I think that was one missed note (which makes wonder how @@Limesak missed two with that streak). Main spots that gave me trouble (with regards to Rocksmith note detection) were the fills in the first half with the slides (usually either the slide itself or the transition to the Eb string after the fill) or in the second half where there are the quick ascending minor pentatonic hammer-ons before the string of high Eb's (where I often miss the Db just before). Outside of Rocksmith, I find it somewhat difficult to play everything in time on this given the speed and feel of the song. On this last run I think I got the feel right for most of the fills in the second half, though there were definitely one or two I played much closer to a straight feel rather than a swing one. The fast stuff in the first half of the song I find very tough to really be on rhythm for, and often turns to me spamming 16th notes or an arrhythmic mess. Edit: Also, since the arpeggios on bass have become a topic of conversation... I remember when I played The Trooper the first time totally freaking out when I got to the riff under the first solo and there were these panes appearing and I didn't know what was going on. Which makes me ask, you have played The Trooper @@missis sumner, right?

Well, here's my "sightread" for the MC bass song. I'd played it once before when I released it and RRed the first difficult riff, so it's not really a true sightread. Might have over-rated the difficulty on this a bit since there's "only" two hard parts, but it is all non-legato 16th notes at a fast tempo so it might be harder to improve on than I'd expect at this point (and also really hard to play cleanly, though Rocksmith won't really care about that). I probably also overrated the rhythm path's difficulty as I forgot exactly how much of the hard stuff it had. It's only the first two hard riffs of the lead path, so it's certainly lower than a 9. Not sure exactly what to rate it because of the length, but it probably should be somewhere between 7 and 8. I also played lead and I think my sightread was 71%, though I didn't take a screenshot. The second half (after the tapping section) is the same riff in different positions, so shouldn't be too bad to learn (and should help get my fingers better used to the fret spacing in different parts of the neck).

@@Vodka - They're not a band that I've given a real chance yet, but that was pretty cool. Not 100% sure it's my thing, but there are definitely some really cool parts. A few random observations: -Feeding and cleaning up the one guitarist was pretty hilarious. -I noticed that guitarist had a Legator, which kind of surprised me given how they're a relatively new company. My guitar is a relatively low level 7-string from them, and while it's not absolutely flawless, I've been quite happy with it given the price. -I noticed their drummer is wearing a Ne Obliviscaris shirt in the video, which is cool. If you guys don't know that band yet, I put one of their songs in the SSL :ph34r:

Sorry for not contributing during the day. I've been a bit busy. Anyway, here are a few responses: @@firekorn - It probably would work better setting things to a guitar tuning. I might try that out on some of the customs I've made where the chord detection is really bad. One thing I'd change to the thing you quoted is that there's a better way to deal with making the bass thing on a guitar track than making an extra EoF file: you can change the arrangement type by going to Track -> Rocksmith -> Arrangement type and then clicking on the appropriate thing. You could do this before importing (in which case you'd tell EoF you don't want to make it a bass arrangement and then EoF should take care of setting the tuning), or you could do it after and then adjust the tuning manually (which is what I did to fix things for the guitar track I mentioned in my last post). Anyway, from what I've observed, with the recent versions of EoF and the toolkit, it seems I don't get any note detection issues except with chords if the tunings don't match. I've probably made something close to 100 5-string charts and played them a bunch and I hadn't noticed any systematic issues with note recognition other than with chords, and for most songs those are infrequent enough on bass that I never really stopped and thought about it (on guitars it's a matter of an entirely different magnitude, but it's also pretty rare that you'd want to use a different tuning in EoF and the toolkit). @@raynebc - Regarding the tunings being set in EoF, I don't really see a problem with BEADGC displaying as 0,0,0,0,0,0 relative tuning, but I think it would be best that when it exports to Rocksmith it does the tuning relative to EADGBE like the toolkit does (as -5,-5,-5,-5,-4,-4). I'm not 100% sure if this would fix the problems with note detection because of the necessity of the low tuning fix, and sometimes needing to use guitar charts, but it would solve another problem. When you import a BEADGC tuning chart into the toolkit, it reads it as being in EADG tuning, so for a charter who isn't paying close attention to anything unless a warning pops up it will end up being in the wrong tuning (and maybe having the green beams issue if it's a "true 5-string" chart, but that's a somewhat different issue).

So, there were a couple of things I wanted to check in on. 1) There are a bunch of fairly standard chords that don't seem to have default fingerings in EoF but I think should have them. They're also not open chords, so they're often used in several different positions for each song in which they appear. This folder has a GP file with some chords I noticed don't have fingerings and a notes.eof file that has the chords with suggested fingerings. 2) This is a somewhat subtler one regarding the detection of bass chords on 5-string or 6-string charts. First, a few observations: - I (and a few others I know) have trouble getting chords detected on 5-string or 6-string charts, even if they're relatively simple ones (power chords, octave chords, the like). - On guitar I don't have any problems with chord detection, with one recent exception: I accidentally had the guitar imported onto a bass track but didn't set it to a non-bass arrangement, so the tuning in EoF was all messed up in order for it to be EADGBE (I forget what the exact numbers were). Once this arrangement was put in game with the appropriate tuning in the toolkit, all single notes were detected fine, but chords were pretty much never detected. Later this problem with detection was resolved by changing it to a non-bass arrangement type and setting the appropriate tuning in EoF. - On 5 and 6-string bass guitar arrangements, the tuning in EoF for a BEADGC tuning is set at 0, 0, 0, 0, 0, 0, while in the toolkit you have to have it at -5, -5, -5, -5, -4, -4 at a tuning frequency of A220 on a guitar path (at least for "true" 5- or 6-string bass arrangements). So, the second point makes me think that chord detection seems to stop working as one might hope when the "EoF tuning" and the "Toolkit tuning" disagree. The third point shows that, when set up the most natural way in each, the "EoF tuning" and "Toolkit tuning" on a 5- or 6-string arrangement must disagree. This could then be an explanation for the first point, in which chords on these bass charts don't get detected well. Is it possible that this is the case? I don't know what goes on "under the hood" for deciding whether a chord is correct, or have any ideas why it would be significantly different from detecting individual notes, but based on what I've seen it seems plausible. Would there be any possible workarounds (e.g. using the "Toolkit tuning" in EoF and not adjusting notes when changing the tuning) that you could think of? I'd be happy to test things out if anyone has any ideas. Another possibility is that especially low bass chords are just hard to detect well and their detection process isn't optimized for it, but it does seem to also affect chords in the "normal range" of a bass, where I think they detect much better than on the 5-string arrangements.

Using the tonart demo it looks like the tuning frequency on Uno is about A449.0 Also, for what it's worth if the pitch is just a little bit off I'll usually just shift the pitch of the audio so that it's at A440 since it sounds fine and it's much less work for me to pitch-shift the audio than for everyone who ever wants to play the custom to retune. It's definitely understandable if you don't want to mess with the original recording, though.

There are a few slides in this that are kind of silly or had their sustains mistakenly shortened to unrealistic lengths, but I managed not to get any mistakes on those. Just some straight up flubs elsewhere in the song. http://i.imgur.com/mRCi85k.jpg Also, @@Brutus Erectus - I noticed you did playthroughs of some of my Helloween customs. Is it cool if I use them (or any forthcoming playthroughs of my customs that I notice) for the record pages?

Updated The Birdwatcher a little while ago, then updated it and updated it again as I noticed a few more notes that were off. I think it should be pretty solid right now, but given that I of all people is still noticing off notes means that there might be more. Anyway, here's my best go. This was a version just before the last upload (which had an F# that should have been a G just before the outro), so I probably won't appear on the leaderboards. I think I can play each individual part of this well enough to at least get near @'s level, but there's a big question of whether I can string all of it together in one take. Might have been over-rating the difficult back when I chose this. It's hard, but there are few enough hard things that once you get used to the shifting (and remembering where the 20th fret is) it's not that bad. May be more like a hard 9 or a 9.5.

Added Charlotte the Harlot yesterday and Genghis Khan today. Have fun!

@@Nacholede - Yeah, bad tabs are a bummer. Thankfully they happen relatively rarely with Maiden.

@@Cookie_Munster - One thing I'll say is you wouldn't believe how bad many of the GP tabs are for classic rock songs. Given the level of accuracy that you need for a good chart in Rocksmith, it usually means a *ton* of work getting it into shape for Rocksmith, often including transcribing a significant part of the song yourself (which is a skill not everyone has, and more effort than many are willing to put in). It's why I stopped doing Rolling Stones customs after a few, despite the fact that their discography was (and still is) lacking many classic songs. Same goes for many other classic rock bands that I've looked at.

I forget what my previous best on this was (it was probably in score attack), but my previous best mastery % was 87.9% or slightly lower. Did a pretty good bit better than that tonight Still a lot to improve on, but I should be good to go on hard difficulty in score attack. Think I'm going to move the second "easy" part to be based around the open D, though, since I think it's easier to play there and all I was thinking the entire time when playing it based around the 5th fret of the A was "why am I playing this here"? Anything else that I should change (maybe the sometimes seemingly random placement of fret hand mutes)?

@@IceTF - Well, how much does the solo need to be in Eb? Every note that's playable in Eb tuning is playable in drop D, so the only real problem should be is if there are parts of the solo that pedal off of the open strings. Are there? If so, you'll probably need to be pretty creative to get it to work. If not, you could just load the solo onto a different track, change the tuning of that track in EoF, and then copy it into the track you want to be the lead path.

@@yellowsnow4free - You should get Cherub Rock as the official DLC song. It will make your life much easier, and is well worth the money even if you don't want the song. Anyway, you'll also need a dll file. See here for instructions.

I made Heaven Can Wait recently (edit: and updated the song Iron Maiden, which now has lead and bass). I'll almost certainly be doing updates (not least adding lyrics, and hopefully a playthrough video), so any and all feedback is welcome in the meantime. I also posted in my workshop about other Iron Maiden songs I'm planning on doing. Let me know if there's anything I missed that people really want to see, or any other songs have versions on here that are lacking and I should look at doing an update on.

Among other things, I'm going to be going through some of Iron Maiden's discography and fill in some missing gaps and fix or upload my own versions of some songs that are lacking in some areas. I've already released Heaven Can Wait, and am also planning on doing (in no particular order, and with completion dependent on wheter tabs suck or not) Iron Maiden Invaders Genghis Khan Losfer Words Gangland Prowler Sea of Madness Still Life Remember Tomorrow Sanctuary Strange World The Fallen Angel Transylvania Charlotte the Harlot Lord of Light Ghost of the Navigator And a few that are somewhat more tentative, including The Prisoner (+multitracks) Infinite Dreams (+multitracks), which also has several parts where the bass is off Powerslave, since the bass goes off the rails during the solo section Bring Your Daughter to the Slaughter Mother Russia Are there any others that I'm overlooking?

I've played it a few times, and each time I miss a note pretty early on. Not sure if it's the same one each time (there might be an issue with the note?), but given the long lead-in time, I don't think I'll be aiming for 100% on this. http://i.imgur.com/LjgeiZB.jpg Pretty fun song to play, though.

Hey all. I forgot about the scroll speed issue with No Good, Mr. Holden on lead (since I think I eventually got it to work). I updated the file in the download folder with one that now seems to work as intended now, and added the notes.eof file in case anyone wants it to make further changes, but I should have time to update things if anyone notifies me of anything that's off. Anyway, my desktop computer was broken for about a month a while back and I can't really play Rocksmith seriously on my laptop (somewhat laggy/juttery), so I fell out of the habit of coming here. I'll try to stop by an participate more often in the future, but I might not have the time to seriously compete (especially across all three categories). Peace.

Updated the numbers (finally) and added a few new bands to the list. Let me know if there's anything else you think should be added!

I agree with @@firekorn that chord fingering and FHP (especially for tapping or in solos) are very overlooked and have a much more significant impact on the playability of a song than many of the things that are already here (some of which I'd never bother with because of the benefit vs. the amount of time it takes to implement throughout a song) A few other things I'd mention follow. Sections/phrases: You don't mention these at all, but IMO they're an incredibly important part of making good CDLC. From what I've seen most (recent) DLC are pretty densely sectioned (there are definitely exceptions in old DLC like The Thrill is Gone, where the entire outro is one section). I'd say usually something like one every 4 or 8 measures depending on the speed of the song, and maybe more frequently for technical things (like solos). Moreover, recently they seem to have one phrase per section most places, occasionally doing two phrases per section. Another thing that happens with sections is that they control the how "zoomed in" the note highway is, which is why a lot of unsectioned DLC are zoomed all the way out for the entire song. Linknext/slides: There's very little about using linknext status (and maybe also crazy status), but I'd say it's a big part of making some of the things that you've shown (like the chord slides) that tons of people miss. Lyrics: A lot of people just do whole words (or even whole lines) at once instead of syllables. I'd think this should be mentioned if you want to cover all aspects of making a DLC look official. Not to mention the sync is often off, but I don't think I've ever seen someone complain about the sync of the lyrics, even on some DLC where they're rather obviously off.