You should move the count in 2 measures before the drums come in, so that it still provides its function.

For testing purposes, post a CON and a separate RPP+audio package, so it’s more convenient. I’ll take a look at it once it’s up.

I’m sorry to disappoint you but I can’t give meaningful feedback, this kind of electronic music I just don’t get (as in “I don’t understand it so I can judge exactly what you authored”, not as in “why would you ever listen to this”). It looks clean, the tempo map seems solid although the audio comes a bit early, judging by the waveform (also, lol @ the sound saturation, tempo mapping like this is a nightmare). Drums wise, electronic music like this is just compromise in terms of authoring and assigning what sounds like a tom to a tom, etc. The only 2 things I can say with certainty is that you should limit those B+G cymbal hits in such a tempo because they’re awkward to hit (also, when translating a drum machine is not bad to fudge it a bit because a human isn’t playing that anyway to being with) and that you have plenty of kicks that doesn’t sound in the song (M39-42 in example).

I’m gonna have to refer you to somebody with experience with this music for the rest, though from the looks of it the work is clean and well organised.

Drums wise, electronic music like this is just compromise in terms of authoring and assigning what sounds like a tom to a tom, etc

 

also, when translating a drum machine is not bad to fudge it a bit because a human isn’t playing that anyway to being with

He actually does play live drums for this and most of his other songs – he just likes to layer shitloads of effects and digital drums all over it. ” src=”/wp-content/uploads/invision_emoticons/default_SA_cheeky.001.gif”> But I agree that you just have to compromise, and I did the best I could.

Most electronic material is then played live, but it’s not played live during recording, hence composition takes usually in account very little of how the track will be played. For that reason drum machines will usually be unnatural to play: a good example is a fast series of hi hat notes that on a drum machines can easily be straight while if composed with a human playing it in mind will result in a two handed disco beat.

you have plenty of kicks that doesn’t sound in the song (M39-42 in example)

Yeah. This was one of those compromises. The effect makes it hard to tell whether this is actually supposed to be a kick or not. I had considered assigning those “kicks” to the yellow tom, but the same part is played a little later with the ride over the top (M67-70), so that would have made it awkward as hell. I didn’t want to drop the notes completely so for the sake of consistency I went with the kick.

Kicks are the most distinctive sound you can get in Rock Band. Even snare can be assigned to something different (a flam has snare on yellow too) and other sounds can be assigned to red (the rim shots, an electronic strong pad, etc.), but not kicks. That’s something that would prevent the song from being released in the C3 pipeline. If you do a lot of electronic music an important aspect of the drums is choosing what can stay and what should go, because unless you have stems and you can mix the song differently, something will just not fit in.

Briefly going over it again, one other important thing is chords. 3 note chords should usually be left for big chords, as you know. Now, in a song like this where you only have 3 note chords (single notes not withstanding) and a very processed guitar, using 2 note chords for most of the song and leaving the 3 note chords for specific sections will give a better feel to the song and make it less awkward to play (considering, again, the nature of the song).

Nyx just posted a comment on a song in PT: “I dislike the idea of the drums struggling to keep up in a soft rock song”. That’s a great rule of thumb. When something needs translation always ask yourself: what’s the feel of the song and how should it be played? Never make a somewhat easy song something awkward to play in game. HMX did that once in a while and it wasn’t good. ” src=”/wp-content/uploads/invision_emoticons/default_SA_wink.gif”>

from the looks of it the work is clean and well organised.

This is about as good a response as I could have hoped for. ” src=”/wp-content/uploads/invision_emoticons/default_SA_smile.gif”>

 

So, the big question. From what you have seen, once this is complete (with overdrive markers, fills and lower difficulties), do you think it will be good enough for a release? I mean obviously it will go through more rigorous testing and scrutiny… but what do you think?

Can’t see why not, we have surely seen far worse.

1:06 and out have some sustains that are too short. A sustain need to be long enough to be possible to whammy, so it should at the very least be 2/16th long (at the very least, and even that is too short above 160bpm). If that is impossible to do without overlapping or touching sustains, make it unsustained.

Or, quicker, run CAT that includes a Fix sustain command that takes into account HMX rules and BPM to trim sustains. ” src=”/wp-content/uploads/invision_emoticons/default_SA_smile.gif”>