albatross213

@@Cat With A Mustach - Grid lines display as yellow lines when you have the "Display Grid Lines" setting (Shift+G) turned on. So it sounds to me like you have that turned on with a grid snap setting of 1/4. That seems like it would explain everything you're seeing in the picture you posted (the yellow beat lines, the red ticks for notes that aren't on beat lines, the weird selectability of notes).

Yeah, a noguitar section should display as a normal section (a segment of the yellow bar), but with no phrases (the purple towers) and it shouldn't be selectable in riff repeater. Can't guarantee that the last one is true from a screenshot, but it looks normal to me.

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).

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.

@@Alternity - See this post, the part highlighted True 5- or 6-string bass parts:. Basically, just treat it as a guitar arrangement, and in the toolkit you just have to change the tuning frequency to 220 Hz and mark it as a bonus arrangement. I've probably made over 100 tracks with 5- or 6-string bass parts, so I can assure you that it works. The section after that also has some tips for making 4-string arrangements from parts that were intended for extended range instruments.
 
As for testing, I don't think that there's much you can do with a guitar, unless maybe you have both an extended range guitar and a drop pedal. I'd be happy to test songs for you, and I know there are some other bass players with extended range instruments who might as well (@@Zoopador and @@theoogy70 are the ones that most readily come to mind for me, though there are obviously more who I haven't interacted with as much. And plenty more 5-string players).

Just set the FHP to 13 for that entire section. Should look something like this
http://i.imgur.com/DfPepG7.png
 
when you view Hand Pos (in game, frets 11 to 20 will be highlighted for that entire region. A new section begins at measure 109 which is why I redefine the FHP there.

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.

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.

@@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?

@@Fotek - Depending on what software you have, it might be hard to merge them into one file (I remember tuxguitar 1.2 not being able to do that, but 1.3 might be different. Haven't played with it much yet).
 
Another thing that might work is to note how many measures the intro is, add the corresponding number of empty measures to the main song file, import them to different tracks or difficulty levels, and then copy+paste them together.

For DLC for the original Rocksmith, stream requires that you own the original game. If you own the game and buy the DLC, it will automatically work for Rocksmith 2014 (but for the on disk songs to transfer you also need the "Rocksmith 2014 Disk Import Tool" DLC).
 
To save money it might be best to wait for a sale, though there might not be one until the summer. In the meantime, you can try learning it from people's playthrough videos of it on youtube.

@@jhespada -
 
Is this using the latest version of the toolkit? If not, I don't think it supports 2015 versions of Wwise, and you can download older ones here by selecting them from the first dropdown menu. If it is with the newest version of the toolkit, it's possible that it's a bug that hasn't been detected yet because it's a new feature, in which case I summon @@cozy1 and @@Alex360.

What happens for the second slide (5/12) seems to be close to what you want. The "linknext" (Shift+N) status on the first 5 means that the second 5 won't have a notehead and the sustain tails will smoothly join. If the 12 is meant to be picked again (not sure if it is or not based on the waveform), then you don't want a linknext on the note with the actual slide (as it is at the moment), but in other cases you might want a linknext there as well.
 
Similarly for the slide down, linknext on the first double stop should do it.

A lot of this stuff can be done avoiding the menus, as the keyboard shortcuts are generally much quicker. For hammer-ons, it's just "h", for slides down it's "Ctrl+downarrow", for palm muting it's "M", and there are lots of other keyboard shortcuts around. Learn to use them and they'll save you a lot of time.
 
Now that that's out of the way...
1) For hammer ons, use the hammer-on toggle. Notes tagged as tapped will display as tapped notes in Rocksmith, and it would be confusing seeing those (though it shouldn't matter too much for note detection).
2) For chord slides, I think the current logic is to base things off of the lowest fret in the chord. If you want to do individual slides for each string then you'll want to use tech notes.
3) Like I said above, just select the note and press M to do it faster.

@@ianj001 - There are a few ways to tell where they are that I've seen.
 
1) Vertical red lines at the start of each section.
2) In preferences (F11), in the middle there's something that says "Top of 2D pane shows:". You should select RS sections or RS sections+Phrases and text for those will also show up at the start of each section.
3) In the Beat menu, click on "All Events". This will give you the time-stamp of each section and let you seek to the position of each one (using "Find").

@@lduperval - You can change the sustain length of a note by selecting it then using the scroll wheel or the square-bracket ([ and ])keys. You can also reduce a sustain length by placing a new note where you want the sustain to end and then deleting it.

@@Summedneox - That (D# drop C#) is the same as Eb drop Db, no? And I'm pretty sure that's in the dropdown menu.
 
As for your question, relative to standard tuning, Eb has everything down a semitone (so -1 as the baseline). The lowest string is dropped a further two semitones (for a total of -3), so the tuning relative to E standard would be -3, -1, -1, -1, -1, -1.

@@ikwtif - When you click on a note or chord, Ctrl + L will select all similar notes regardless of techniques applied, while Shift + L will select all similar notes with the "same" (I haven't tested extensively to see the exact definition of "same" when it comes to bends, slides, and so on) techniques. I think either of those will work, though the latter is probably safer to use.

How do you have the sections set up in the song? The zoom usually adjusts so that all notes in the current section as well as the one immediately following it will be contained in the visible part of the fretboard. Thus, if you have too few sections, it will just stay zoomed out the entire time.
 
Edit: based on the screenshot it looks like you don't have any sections, so it's probably that.

Adding DD to songs that don't have it is quite easy with the toolkit (provided the songs are well made. If they aren't beat synced or have some other problems, this might not work, or at least not work well).
 
Once you have the toolkit open there should be a tab named "DDC". Open that tab, then click "Add" and choose the .psarc files that you want to add DD to (you can choose many at a time). I usually use "ddc_default" with a phrase length of 4, but your preferences may vary. Then click "Generate DD", wait for the program to finish (which can take a while for some songs), and you should have versions of those songs with DD!
 
 
For a song that never registers as having been played, I think that has something to do with how the riff repeater sections in the song are implemented (or whether they are at all), and fixing that would be more invasive and would require quite a bit more work to do directly. I think the Beats & Phrases Resynchronizer tool may be able to do something regarding that, though? @@Chlipouni, any comment?

I think it's "Ignore" status. But it would be easy enough to just have the taps also be pre-bent a step, right? Though it's probably really slightly less than a step, that would be good enough to get it into the right range where Rocksmith would recognize it.

@@DiábolusCaleb - Do you have the in-game Audio Exclusivity on? I forget the exact steps I used to get audio when I record video, but I'm pretty sure I mostly followed this tutorial. It's for Bandicam, but I'm guessing it's pretty easy to translate most of it to Fraps.

I think they recently made a change to the toolkit to allow scroll speeds as fast as 0.5. Though it was mentioned it didn't play nicely with DD for some reason.
 
But really, why do you actually want scroll speeds that fast? I've watched playthroughs of Satch Boogie and I don't think I'd be able to play it like that unless I already knew the song, which kind of defeats the point of playing it in Rocksmith.

I'm not sure what the best way to deal with this is, but usually when something like that happens I just re-import the GP tab (so for various reasons i may re-import a lot). So usually I sync, re-importing when necessary but not making many changes to the tab (unless it's something that affects the sync, like a wrong time signature. And if I do make changes, it's to the GP, not in EoF for now), until I get to the very end. Then when I'm happy with the sync for the tracks, I start making the tweaks to the tab: sustain lengths, pitched vs. unpitched slides (and for pitched slides, whether they should be linknext-ed), switching notes between strings if there are illogical jumps, fixing wrong notes, and so on.
 
The most complex song that I've synced this way is Mother Man (the first song on this album. I'll need some time to work on the guitar parts, but I hope to release it somewhat soon!). It's not The Dance of Eternity, but it's still really complex rhythmically.

Not entirely sure what you're talking about. When you say "show up and work perfectly", do you mean in game, i.e. that the 5-7-7 and 3-5-5 chords don't show up when you play the game, but the other stuff on the orange string does? If so, it's probably because they're marked as ghost notes (not sure how RS handles them, but anyway). I usually just handle ghost notes by converting them to normal notes via Ctrl+A -> Note (dropdown menu) -> Pro Guitar -> Remove Ghost.
 
(also, in terms of fretboard logic, it probably makes sense to move the 9-9-9 chords up a string to 2-4-4)