albatross213

One that I remember that might be helpful is the rhythm path to "For The Love of God" by Steve Vai. It's pretty much all slow arpeggiations of barre chords, so can be great practice for making sure you can make every note ring with the one hand position, though you have to police yourself and not cheat by just fretting each note individually as they come. And when using riff repeater it can be made quite slow, so learning from it should be quite doable. It's official, though, if that's a problem.

I've updated the main post with some of the more recent updates to songs. Do you think there's anything else that would be helpful? Perhaps which songs have certain techniques (slap bass, bass chords, bass tapping, bass arpeggios mixing fretted notes and harmonics, linear tapping, arpeggio tapping, ...), in order from easiest to hardest? And I guess there's also room for aesthetic improvements with album covers and such if people want that.

@@MountDoom - There's not really a way to filter CDLC by genre. There are CDLC tags, which can help find some things if you do a search in the "Submitted CDLC" subforum, but tags are pretty inconsistent. One thing you can do is open the list of artists, open a list of stoner, doom, or sludge bands (e.g. the ones from rateyourmusic top albums for stoner, doom, and sludge), then use Ctrl+F search to see whether a band is in the list or not. Stoner and sludge definitely seem to be lacking outside of a few specific bands, though. Not a whole lot out there that I've seen.

Since the topic by @@TheBestAlex was discontinued and we've had a lot of additions, I figured I should make something to better organize what songs are available, and also what songs you can play with what instruments, since their songs are all played on extended range instruments. All tracks are playable with a 7-string guitar and a 6-string bass, though many are playable with 6-string guitars, and 5-string or even 4-string basses. Carving Desert Canyons (2009) 1. Bloom LRB, all paths available in Eb, bass also available for 5-string 2. Sargasso Sea 3. The Great Plains 4. Dunes 5. Age of the Tide LRB 6. Glacial Planet 7. City in the Sky 8. Giants The Collective (2011) 1. Colossal LRB (all paths in B tuning) 2. Whales B 3. Emersion LRB 4. The Levitated LB 5. Secret Earth 6. Gallows LRB 7. Origin of Species LRB 8. Alpenglow LRB 9. Black Hills B 10. Balkan LRB 11. Drifting Figures LRB B-side: Redwoods LRB The Migration (2013) 1. Odyssey LRB 2. Atlas Novus LRB 3. The Olive Tree LRB 4. Narrow Salient B 5. Oracle LRB 6. Evergreen B 7. The Dark Horse LRB 8. Willow B 9. Sabrosa 10. The Traveler B V (2015) 1. The Winged Bull B 2. Soria Moria B 3. Pontus Euxinus B 4. Trapped in Ice LRB 5. Stolas LRB 6. The Isle of Mull LRB 7. Kestrel LRB 8. Oort Cloud B 9. Blue Sun LRB 10. The Golden Bird LRB Lightbox (2014), Chris Letchford's side project which includes Mark Michell on bass for many tracks) 1. The Star Boys B, both 5-string and 4-string versions 2. Earthen 3. Sign of Four 4. Zodiac B, both 5-string and 4-string versions 5. Rayless 6. In Force 7. Piedra Falls 8. Pearl 9. Ghost Orchid 10. The Gentlemen B, both 5-string and 4-string versions In progress (more or less in order from most complete to least, but all of which I'm confident will be finished eventually): Secret Earth - 6-string bass, B guitars Oort Cloud update - E guitars (and maybe B also?). Will probably be last song from V I'll do guitars for. Narrow Salient- Lead drop D and/or B, rhythm B The Traveler guitars? Probably both in E, but some parts may be awkward City in the Sky - guitars only (tab I could find doesn't have bass), both in E. Playable with 4-string bass: Bloom Origin of Species Emersion Atlas Novus The Olive Tree The Dark Horse Trapped in Ice Stolas The Isle of Mull The Golden Bird The Star Boys Zodiac The Gentlemen Playable with 5-string bass: In addition to the ones playable on 4-string, Whales The Levitated Alpenglow Black Hills Balkan Odyssey Soria Moria The Winged Bull 6-string guitar arrangements (in chronological order of the band's release. All others are playable with drop pedals or 7-string guitar except The Levitated which requires a 7-string): Bloom lead and rhythm Age of the Tide lead and rhythm Emersion lead Origin of Species lead and rhythm Alpenglow lead and rhythm Balkan lead Drifting Figures lead and rhythm Redwoods lead and rhythm Odyssey lead Atlas Novus lead and rhythm The Olive Tree lead and rhythm Oracle lead The Dark Horse lead Trapped in Ice lead Stolas lead The Isle of Mull lead Kestrel lead and rhythm Blue Sun lead and rhythm The Golden Bird lead I think that should be a good start. Probably will add more later.

I might have time to try it out later, but a few ideas in the meantime. You can check the key and tuning frequency of a song using the tONaRT demo. Just drag and drop a .wav onto it and it will tell you the key (it might give a relative major or minor instead or something like that sometimes) and tuning frequency, which can help you tell whether the recording is somewhat sharp or flat. Second, the bassline is relatively slow for much of the song, so you can probably use software to detect the pitch, which is pretty easy with bass as it's usually the lowest thing in the audio (though drums can mask it out). In Audacity you can select a region of the song and do Analyze -> Plot Spectrum, then look for the note associated with the lowest peak (and often the harmonics to doublecheck that they're the right harmonic series as the lowest peak can be uncertain enough to give the note neighboring the right one, but the harmonic series usually corrects that if it happens). I hope those ideas help some.

Yeah, it happens to everyone on custom songs without tones, but it can also happen on "good" songs (even official ones) on certain computers (it doesn't happen to me on my laptop or desktop, but it does on the desktop at my parents' house). It probably has something to do with chipset or lower computer specs, but I'm not sure since I don't have a ton of computers.

@@Brutus Erectus - You can report the duplicates so that the mods can delete them (I've already done this for yours and the other duplicate on the front page). More generally, when you click the submit button, in my experience it usually goes through and posts even if things time out and the record never loads afterwards as it should. If you're in doubt about whether it posted or not, you can always just recheck ignition (or the Submitted CDLC forum) to see if it's there before trying again.

@@sstrelok - A lot of the earlier Intervals songs use 7 strings (which greatly increases the difficulty of making a custom), but Momento is one of the ones that's on a 6-string (D drop C). There are also five songs on A Voice WIthin that are 6 string (Moment Marauder, Automaton, The Self Surrendered, Breathe, and Siren Sound). @@zinkyzepher - Uh, must have missed this comment. I'd be happy to do some of the sword, but my main problem is that my guitar and bass aren't really set up for doing anything in C: it's one of the few tunings that I can't really do (excepting excessively high tunings or 8 string tunings). I might be able to set up "test versions" for myself where i have them set up for 1st fret capo in B tuning or something. Also, this reminds me that I should probably look into doing some High on Fire as well.

A few in metal that I've noticed (and done some charting for, so I'm probably a bit biased, but I believe that these are truly great bands that deserve more recognition): Coroner, who are widely considered to be one of the best and most innovative thrash bands of the late '80s and early '90s. More technical than most, but loads of fun to play. Their top albums are rated as the #12, #14, and #44 thrash albums of all time on rateyourmusic, and around or over 90% on metal-archives. They've been inactive for a while, so they seem to be relatively forgotten after the 20+ years mostly off people's radar. Enslaved, one of the best and most consistently awesome metal bands that I know of. Hard to pin down a genre, but their style is varyingly near black metal, progressive metal, and viking metal, and might call them something near "black metal Opeth", at least on some of their releases. Their top albums are rated #23, #27, #31, #40, and #79 on the black metal page of rateyourmusic, and #29, #36, #47, #48, and #82 on the progressive metal page of rateyourmusic, and also viewed quite favorably on metal-archives. And there are a few others where I'd call their reception on here quite underwhelming, such as Disillusion and Ne Obliviscaris (both of which would probably also be worth checking out for fans of Opeth), but both of those are relatively underground metal acts, so I'm not really too surprised.

@@noahfence - There's the RocksmithToTab program, which goes through all of your CDLC and makes GP files from it, which may be a bit overkill for what you want. There's also the Rocksmith custom toolkit, which has a "CDLC 2 Tab" tab that can be used to make either GP or text file tabs out of .psarc files of your choice. If you don't have a program to view GP files, you can download TuxGuitar for free. Hope that helps!

http://ignition.customsforge.com/search/artists It can also be found in the menu of the view of Ignition that you get in a narrower window.

I've had plenty of problems commenting on record pages, but not on the forum topics that also come with each record page, so in the meantime you can comment by finding a record through the Submitted CDLC forum. It's far from ideal since it takes far more effort to do (ignition links to record pages and there doesn't seem to be a link from record pages to forum topics like there is for the other way around), but it's at least something. Recently posted CDLC will tend to be in the first few pages, but for older things you pretty much have to use the forum search, which seems to be rather ineffective for this purpose. Edit: I also think posting comments on the forum page rather than the record page doesn't notify people who have the record added to their collection, so the uploader may not see forum posts as quickly, if at all. This also goes for other people who've downloaded it, if people want to say they have the same problem.

@@Freeker, @@sn8byte - I don't used the saved function much, but I think I figured out how to access it. The key is to use a narrow window, which displays things differently: narrower vs. wider. In the narrower window, click the menu button in the top right, then "Saved" is one of the options below. I don't think it's accessible from the wider view of ignition.

@@raynebc - Sorry, I missed the first time you asked. I'd say in nearly all cases I've seen the pre-bend and hold is intended for the part of the note with vibrato, so that sounds right. Another thing I noticed with GP imports is that tremolo notes don't import with sustain if they're under 1/4 note long (which sometimes happens in songs with lower BPMs). Would it be possible to make it so notes marked with tremolo always import with sustain?

Yeah, I actually had a few that were getting close to done when my desktop computer got messed up in early April that I hadn't yet returned to. Oracle and Origin of Species are almost done (so you should see at least one of them within a couple of days), Drifting Figures is closeish, and Balkan, Colossal, Emersion, Age of the Tide, Gallows, and Secret Earth are all pretty much arranged for 6-string versions though I haven't gotten past that. Some of them will be in B standard for at least one of the guitars (usually rhythm, but sometimes even lead).

Between @@cdeath and me there's a pretty good amount of thrash (or thrashy) bands, though not many of the "classic" bands (we've done a decent amount of Kreator, Testament, Coroner, Warbringer, HeXeN, Vektor, Skeletonwitch, Revocation, Nevermore, Iced Earth, roughly from most fully thrash to more thrash-related), and @@JokerTheAnarchist has done a lot of Megadeth and usually has a pretty good number of customs. Metalcore I'm not super familiar with most of the charters or customs since it's not a genre that I'm into too much. I've made a lot of Between the Buried and Me, which could keep you occupied for quite a while. The stuff that hasn't been updated in the past few months has crappy tones and isn't as polished as the stuff I've done recently.

@@dantheguy - It's probably best to look for charters that have done a lot of metal and have a tendency to make many (useful) sections. Off the top of my head, there's myself, @@Teinashu, @@cdeath, @[Member"firekorn"], and @@Fyres, all of whom have at least a few pages of customs, which should give you a pretty good start.

This GP file should cover a few examples of ways of I've seen things authored in GP that end up being weird in game. There might be a few more that I've seen, but I think that covers the most frequent ones. Regarding the stuff with chords, even a check for whether the "base fret" of the chords match would be useful. Slides between different handshapes are relatively rare and a check for the base fret would still catch most of the cases I'd be worried about.

@@raynebc - On the topic of warnings, there was one that I was wondering about whether it could be implemented without too much trouble, which is warning of "improper" use of linknext status, as this is currently something that's a bit hard to find in EoF but very noticeable in game. That is, it would warn if the end of the tail of the linked note doesn't match the start of the tail fo the next note, so it would warn if the had something like a 10 linked to anything other than a 10 (which I think I've seen happen sometimes with hammer-ons with notes ringing out from other strings), if a 10 with a slide that ends anywhere other than the 12th fret links to a 12 (which sometimes happens if I'm hasty with my use of precise select like when changing slides), and things like that. Maybe also if chords are linked but have different handshapes, if a note with a bend is linked to a note with a different bend status (happens sometimes with bends with vibrato on a tied note if the bend isn't defined properly in the GP), or things like that (which I think covers all of the cases I can think of that lead to weird things off the top of my head). Also, big thanks for the improved RS import features!

@@Xaphist - Go to File -> Preferences (keyboard shortcut F11). Do you have the "Save separate Rocksmith 2 files" checkbox (on the right side, 6 down) checked?

I can live with that for the moment. Longer term I think we should be more systematic and test sustained notes with various techniques applied to them and see what happens when a phrase interrupts the sustain when DD is added, so if necessary @@Chlipouni could add features to DDC similar to how linknexts prevent the creation of a phrase that would disrupt the sustain, or if the note techniques cause no problems they could be excluded from the check. Without something like that, we'd only be catching the problems that occur at sections or phrases defined in EoF, and based on what I've observed of many customs, I'd guess that's something less than 1/4 of the potential errors of this sort, which seems sort of silly.

@@Chlipouni - Do we only know of problems when the notes have linknext status? If so, @@raynebc, why is the warning for every note that crosses a section or phrase boundary? I imagine you can check for linknext status pretty easily.

@@raynebc - That's true, but just made me think of another thing. It definitely will not catch anything that may cause a problem when DD is added. People often have DD phrases that are much shorter than the sections defined in EoF (provided such sections are defined at all), and consequently any notes that cross a phrase boundary that is introduced in the DD creation process could end up mangled but won't have any warnings regarding them. Not sure what the best way to handle this would be, though. And thanks for the quick answer on Quick Save. Wasn't sure exactly how it treated the warnings.

@@raynebc - I think what you've proposed would work. Regarding the quick save function, some of the warnings (like the slide one) say that they modify the XML export depending on whether you ignore it or not. Does the quick save function automatically act as an "ignore", or does the XML export get modified for these cases? @@PC Plum - I agree that warnings like that can help catch charting errors, but I don't think the ones I'm talking about are going to be helping make charts that better, but instead mostly be nuisances for those who aren't obsessive perfectionists. And if everyone agrees that there should be warnings for common issues that would improve charting immensely, we should have had a warning for notes that aren't grid snapped a long time ago.

@@raynebc - Here are working examples of a pitched slide to 24 and a pitched slide from 23 to 21. I could probably find examples of a more dramatic slide in, and an unpitched slide out if necessary, but as far as I know all slides to and from frets 24 are safe. I guess you could also make a test file going through all kinds of slides to and from the high frets and see if anything causes any crashes. @@Berneer - I agree to some extent, but my beef is mainly with the most recent change to it, in which it appears EoF will give warnings if any note crosses a section or phrase boundary. Sometimes this is unavoidable if the rhythm of the song is somewhat syncopated (e.g. Tornado of Souls bassline. See how many sustains across the beginning of the measure there are. Even with sections specific to the bass part, it would be quite hard to find a sectioning of the song that's both sensible and avoids any notes going across section boundaries). For something like that I'd much rather see a solution on the side of DD (something like having all notes that cross phrase boundaries either entirely left out or left untouched, though it's somewhat against the spirit of DD) than have warnings in practically every song even if you use good charting practices.