Dash Riprock’s Show Floor
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Hey All,
I’ve been doing this customs thing for about 5 months now, and feel like I’ve made significant improvements in technique in that time. But there’s only so much one can learn on their own, and yet is always more to learn.
I think I’ve taken this one about as far as I’m able without some proper guidance, so that end, I offer for your consideration…
Collaboration with EmotionalDaisy
ZIP – project archive
RPP – current Reaper
CON – current build
Project Notes:
Now I’ve done it. I’ve got a ridiculous amount of RB equipment, but I never got around to buying a Pro Guitar for XBox. Consequently, I am unable to fully test this. Seeing as I only just figured out how to chart Pro Bass,
(Damn, it’s hard to find info on pro charting!) I figure it’s going to need some testing before release.
” src=”/wp-content/uploads/invision_emoticons/default_SA_wink.gif” />Expert only atm.
I am also experiencing an issue with this song that I’ve been unable to resolve.
Choosing Solo Vocals has been locking up my system. Every other aspect tried has run as expected.
Turned out to be user error. Go figure.
[Jan-23] I reviewed the drum chart again this morning. Found one omission and one animation error. Omission necessitated a change from green to blue tom.
Revised solo section of Pro Keys/Keys. PK for sustain. K for progression.
I am also experiencing an issue with this song that I’ve been unable to resolve.Choosing Solo Vocals has been locking up my system. Every other aspect tried has run as expected.
Do all phrases with Overdrive match exactly in timing, placement, length, etc. between solo vocals and harmonies? If not that could be it as it seems to be one of the biggest errors Magma won’t stop always, other things might be a wrong track name, corrupted file due to something glitching out during compile, etc.
I am also experiencing an issue with this song that I’ve been unable to resolve.Choosing Solo Vocals has been locking up my system. Every other aspect tried has run as expected.
Do all phrases with Overdrive match exactly in timing, placement, length, etc. between solo vocals and harmonies? If not that could be it as it seems to be one of the biggest errors Magma won’t stop always, other things might be a wrong track name, corrupted file due to something glitching out during compile, etc.
Well, VOCALS is an exact duplicate of HARM1, save the name, and HARM2 phrasing/OD has been pasted from there as well, with empty phrases removed. I’ve quantized for position and end, and aligned lyrics. Track names are correct, and this has still persisted through many builds.
” src=”/wp-content/uploads/invision_emoticons/default_SA_frown.gif” /> 
Track name is incorrect. This is exactly why we provide a template, so that nothing obvious and nothing game breaking slips through. Every time you touch anything that relates to the template, well, don’t.
” src=”/wp-content/uploads/invision_emoticons/default_SA_wink.gif”> I can understand you copied over HARM1, but then probably proceeded to delete the PART VOCALS marker and renamed HARM1 to VOCALS. That is something even seasoned and confident authors don’t do: don’t change the template, don’t touch any part of it or you will just lose time. Next time, copy over the content, with the original track name marker, and just delete HARM1 leaving PART VOCALS untouched. I’m gonna stress it again: never meddle with the template, you run the risk of introducing fatal errors. With that said, how this passed Magma is beyond me.
Just so you know, I always start from the C3 template.
Typically, when I do this, I delete everything from the destination but the track name, then paste everything from the source from home, preserving positioning, then delete the incorrect track name.
I guess I deviated in this case. That said, thank you muchly. I have absolutely no doubt that is the issue at hand.
Revisions will be up post haste.
Just so you know, I always start from the C3 template.I can see that, but you need to resist any urge to touch the template in any way, outside of the things you need for authoring of course. Anything touched in the template, from track name to a simple shift of a pixel in the track positions, will cause errors that are very hard to debug and that do not fall in the usual Magma errors groups we can easily help you with. Anyway, the fix is pretty easy in this case so crisis averted.
” src=”/wp-content/uploads/invision_emoticons/default_SA_wink.gif”>Gave this a quick look-over. Comments do not address reductions, since CAT reductions are basically no reductions.
Drums – Good
– There’s some missing kicks that are correctly there on Hard, but were removed from Expert?
– Weird quantization issue at 50.4
– What is 54.3? It should be a cymbal swell
Bass – Needs work, some systemic issues but a decent start
– Many too-short sustains (minimum sustain length is usually 3/16ths, maybe 5/32nds at slow BPMs, but definitely not 2/16ths or 3/32nds, which this chart has)
– Charting inconsistencies; 9.3 and 13.3, for example, should be the same, and sometimes you chart muted strums (17.2) but not always
– Most of the forced HOPOs should be strums
– 7.1/11.1/25.1/etc. isn’t a chord
– Spots like 10.4 should have the Y gems much closer to the Rs
– Some other sustain length issues (too short, too long, etc.)
– M58 has several issues
Guitar – Needs work; a little worse off than bass
– Charting inconsistencies, like bass; for instance, 5.3 is the same chord as 4.2.75
– Too many forced HOPOs, also like bass
– Quantization/timing issues (13.3 should be earlier)
– Some relative pitch issues (15.2.25, 16.2.25)
– Missing muted strums (17.3)
– 5.2 sounds more like RhY sustain than a chord to me
– I would chart notes like 6.2.5
– Funk guitar is really hard to author, and this is a better start than many I’ve seen, but it needs an overhaul
Pro Keys – Good, but could pick better instruments to follow, and a few problem spots
– Is the famous three-note piano riff really a chord? Sounds like powerful hits of single notes to me, but I could be wrong
– 7.2.5 is definitely a G; it may also have the C, but it could just be reverb from the hit at 7.1
– 13.1: Don’t overlap these, broken chords/overlapped notes are a special thing
– M15-26 is charted correctly (good job!), but the soft bells doing the main melody might be more satisfying to play. Especially true for 15-18, since you switch to these chords at M28 instead of the previous instrument; all of this applies to the other chorus as well (M35+)
– M26 has the same short sustains as bass, as does M51-54
– M45 should go on longer, missing note(s) at 46.1
– Lose the solo marker at M51
– 52.4 should be C D
– I think 53.1 has one or two too many notes
– 53.3.5 is Bb Eb G
– 54.4 is a chord
– M59/63/etc. should chart the prominent bells
– Some more sustain length issues
– Same 51-54 comments apply to M67-81
– Any of the relative pitch and sustain length comments apply to Keys as well
Vocals – Good pitches (except for HARM3), just needs some timing/misc. polish
– Don’t be afraid to make tubes very short; 8.2.00, for instance (“sup-“) should be about 1/32nd long, because it covers a lot of empty space right now. This happens a lot throughout the whole song
– Also watch the end of your tubes to make sure you’re not catching unpitched consonant sounds (the last 1/32nd or so of “posed” right after that “sup-“)
– Don’t start phrases right on a note tube (15.1/etc.)
– I think HARM3 needs some pitch work in the choruses
– A few lyrics are missing their ending hyphens or other small issues (I saw “++” somewhere)
– Minor, but I recommend not using question marks in spots like 10.4.00 unless the singer actually uses an interrogative inflection to their voice
– M13 isn’t quite right, but needs just a few minor adjustments
– I actually hear “of” enunciated at 14.2.5
– 20.4.5 should last much longer
– 25.3.5 should come much earlier
– M27 is just HARM1
– M28: “breathe= ah^”, “you= ah^”
– And, on the other side of that same coin, 29.4.5 is just a breath, not a “Huh#”
– 30.2 should be a talky
– M31: “Oh pret- ty ba- by”
– 31.1-31.2 is just HARM1
– 32.3.5 is a C on HARM2
– 55.4.5 should just be “+” on harmonies
– 59.4.75 only bends on HARM2/3, not HARM1
– 61.3.00 does not exist on HARM1 (should be all Eb by then)
– More small issues like that, but pitches are mostly solid on HARM1/HARM2, just timing/lyrics/etc. issues
Misc/Overall
– OD phrases (including unisons) should last roughly one measure, not two, especially at slow BPMs like this
– Definitely watch your sustains, both for too-short and too-long ones, on all applicable instruments
A very solid draft overall. I’d be willing to pick this up for release if you’re cool with it; I can make all changes from here, or you can do another version before I get to it, your choice. I probably won’t be hitting this until late February or March, though. Is that okay?
A very solid draft overall. I’d be willing to pick this up for release if you’re cool with it; I can make all changes from here, or you can do another version before I get to it, your choice. I probably won’t be hitting this until late February or March, though. Is that okay?
Hopefully Dash is down with this, it’s great that you can pick this one up!
Gave this a quick look-over. Comments do not address reductions, since CAT reductions are basically no reductions.Drums – Good
– There’s some missing kicks that are correctly there on Hard, but were removed from Expert?
– Weird quantization issue at 50.4
– What is 54.3? It should be a cymbal swell
– I probably just made a few corrections to the hard chart, instead of the expert. Fixed.
– It sounds to me like it’s two 16ths followed by a triplet into the crash, but it could just be five 16ths.
edit: It was five 16ths, and it’s been fixed.
– It’s actually a reverse cymbal (represented by yellow throughout) and a wind chime. I charted it yellow because blue is used for both open hat and two chinas, and it often coincides with a crash.
Bass – Needs work, some systemic issues but a decent start– Many too-short sustains (minimum sustain length is usually 3/16ths, maybe 5/32nds at slow BPMs, but definitely not 2/16ths or 3/32nds, which this chart has)
– Charting inconsistencies; 9.3 and 13.3, for example, should be the same, and sometimes you chart muted strums (17.2) but not always
– Most of the forced HOPOs should be strums
– 7.1/11.1/25.1/etc. isn’t a chord
– Spots like 10.4 should have the Y gems much closer to the Rs
– Some other sustain length issues (too short, too long, etc.)
– M58 has several issues
Guitar – Needs work; a little worse off than bass
– Charting inconsistencies, like bass; for instance, 5.3 is the same chord as 4.2.75
– Too many forced HOPOs, also like bass
– Quantization/timing issues (13.3 should be earlier)
– Some relative pitch issues (15.2.25, 16.2.25)
– Missing muted strums (17.3)
– 5.2 sounds more like RhY sustain than a chord to me
– I would chart notes like 6.2.5
– Funk guitar is really hard to author, and this is a better start than many I’ve seen, but it needs an overhaul
I’m not ashamed to admit that 5-lane stuff gives me the willies. ED did the guitar and keys chart, while I revised his already present bass chart. But it’s far too much voodoo for my liking.
Pro Keys – Good, but could pick better instruments to follow, and a few problem spots
– Is the famous three-note piano riff really a chord? Sounds like powerful hits of single notes to me, but I could be wrong
– 7.2.5 is definitely a G; it may also have the C, but it could just be reverb from the hit at 7.1
– 13.1: Don’t overlap these, broken chords/overlapped notes are a special thing
– M15-26 is charted correctly (good job!), but the soft bells doing the main melody might be more satisfying to play. Especially true for 15-18, since you switch to these chords at M28 instead of the previous instrument; all of this applies to the other chorus as well (M35+)
– M26 has the same short sustains as bass, as does M51-54
– M45 should go on longer, missing note(s) at 46.1
– Lose the solo marker at M51
– 52.4 should be C D
– I think 53.1 has one or two too many notes
– 53.3.5 is Bb Eb G
– 54.4 is a chord
– M59/63/etc. should chart the prominent bells
– Some more sustain length issues
– Same 51-54 comments apply to M67-81
– Any of the relative pitch and sustain length comments apply to Keys as well
I sourced the keys from MIDI and patched together several tracks to make this one. My goal was to make it playable, if not entirely correct.
Vocals – Good pitches (except for HARM3), just needs some timing/misc. polish– Don’t be afraid to make tubes very short; 8.2.00, for instance (“sup-“) should be about 1/32nd long, because it covers a lot of empty space right now. This happens a lot throughout the whole song
– Also watch the end of your tubes to make sure you’re not catching unpitched consonant sounds (the last 1/32nd or so of “posed” right after that “sup-“)
– Don’t start phrases right on a note tube (15.1/etc.)
– I think HARM3 needs some pitch work in the choruses
– A few lyrics are missing their ending hyphens or other small issues (I saw “++” somewhere)
– Minor, but I recommend not using question marks in spots like 10.4.00 unless the singer actually uses an interrogative inflection to their voice
– M13 isn’t quite right, but needs just a few minor adjustments
– I actually hear “of” enunciated at 14.2.5
– 20.4.5 should last much longer
– 25.3.5 should come much earlier
– M27 is just HARM1
– M28: “breathe= ah^”, “you= ah^”
– And, on the other side of that same coin, 29.4.5 is just a breath, not a “Huh#”
– 30.2 should be a talky
– M31: “Oh pret- ty ba- by”
– 31.1-31.2 is just HARM1
– 32.3.5 is a C on HARM2
– 55.4.5 should just be “+” on harmonies
– 59.4.75 only bends on HARM2/3, not HARM1
– 61.3.00 does not exist on HARM1 (should be all Eb by then)
– More small issues like that, but pitches are mostly solid on HARM1/HARM2, just timing/lyrics/etc. issues
– I went ahead and revised the vocals based on your direction. Using my eyes, as well as my ears, this time.
” src=”/wp-content/uploads/invision_emoticons/default_SA_wink.gif” />I also noticed that I completely missed a considerable portion of HARM3.
I’ll be fleshing that out presently.edit: I believe I’ve sorted out HARM3 now, along with many other minor issues.
Misc/Overall– OD phrases (including unisons) should last roughly one measure, not two, especially at slow BPMs like this
– Definitely watch your sustains, both for too-short and too-long ones, on all applicable instruments
A very solid draft overall. I’d be willing to pick this up for release if you’re cool with it; I can make all changes from here, or you can do another version before I get to it, your choice. I probably won’t be hitting this until late February or March, though. Is that okay?
At this point, OD is included mostly to avoid Magma complaints. I’ve no experience charting it with respect to full band.
Thank you for your kind words and criticism. I typically don’t get enough (of either)
” src=”/wp-content/uploads/invision_emoticons/default_SA_frown.gif” /> to help guide my technique. I would suggest that, in order to provide the best possible experience for everyone, you allow me to finish revising the vocals, and then take the ball and run with it. I’m in no hurry what-so-ever.
– The video for this song was the first collaboration between the video’s director and this artist. The director went on to have directed many videos by huge artists including several by this artist.I certainly don’t want to be a dick, but I think this might be BS.
But seriously, folks…
Seems like this might fit here. Could be wrong, of course. Nobody tells me nothin’…
” src=”/wp-content/uploads/invision_emoticons/default_SA_wink.gif” />Thanks guys.And special thanks to pksage!
Staying up all night! 
I’m all ferklempt.
No better way to make a C3 debut than in the anniversary week.
” src=”/wp-content/uploads/invision_emoticons/default_SA_smile.gif”> Plenty of people will be thrilled to play Britney thanks to you (and pksage who has just collapsed on the floor saying “I’m fine, I just need to shake this off”)
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