[macamatic]

I have a maxed out DLC PS3, I have my XBox360 bought for your customs, and I’m now when it comes out getting a PS4 for Rock Band 4. 3 completely different systems with completely different setlists.

 

Almost all your PS3 DLC will transfer to Rock Band 4, so it won’t be a completely different setlist. Only major differences at the moment would be the RB3 vs. RB4 discs (no RB3 export as of yet). It’s unclear what will happen with the DLC under expired licenses (e.g. Metallica) but it’s assumed that they won’t transfer unless/until Harmonix is able to reacquire those licenses. Regardless, they estimate that 95% of songs should make it to the next generation.

 

I’m tired of all the negativity about keys and Wii versions and not being able to transfer DLC across platforms. I’m freaking stoked. It’s sad that it will probably negatively impact the customs community but I don’t mind playing my 500-ish official songs, especially with the cool-sounding new game mechanics.

[macamatic]

something like Panic Attack, where there doesn’t seem to be much rhyme or reason to it.

 

http://www.drumnuts.com/wep/member-imag … ualPic.jpg

 

Note the mini cymbals on the right side of the screen and understand why it’s never gonna be translatable in game anyway.

 

Heh, I’m quite familiar with Portnoy’s kit. I’ve actually watched a video of him playing Panic Attack (where you can clearly see him switching between cymbals without any real pattern), which is why I knew it made such a good example.

 

Having listened more closely I’m no longer concerned about the drums. I’ll have to make some minor changes but overall I’m happy with my drum chart. Guitar is another matter…

[macamatic]

On closer examination, I think I overstated the crash problem. It really sounds more like 2-3 cymbals at different velocities than something like Panic Attack, where there doesn’t seem to be much rhyme or reason to it.

 

3) In the case here (also, without hearing the song at all), I would probably not chart any 3-note chords unless they produce a very loud and powerful sound. I would agree to the alt strumming on green, and then for the chords, it’s hard to say without hearing. If you post a link to the song (or if you wish to keep it a secret then PM me), I can be of better help here.

 

4) In a faster song, it’s usually best to avoid quick/sharp transitions to and from 3-note chords. You can get away with little 3’s if you use the spacing to your advantage with 2 note chords. Next to each other (ie, GR, RY) are good for quick and softer chords; Small gaps (GY, RB, YO) are good for larger and more full sounding chords; and the 2-gaps (GB, RO) are nice for strong and distinct chords that you want to stand out. I personally avoid the GO. It’ll take some practice, but use how the chord sounds/is produced to guess how it should be charted.

 

No problem. I considered constant alt-strumming on G with mostly G/X chords but it just felt “wrong” to represent the song that way. On the other hand, that may be preferable to having ridiculous chords all over the place.

 

5) Most ways for charting out descending (in your case would be):

 

– 3 notes sections lowered: OBY, BYR, YRG, OBY, BYR, YRG…

– 4 notes decending: OBYR, BYRG, OBYR, BYRG, OBYR, BYRG…

– 4 notes alternate: OBYR, OBRG, BYRG, OBYR, OBRG, BYRG…

– Alternating decending: OYBRG, OYBRG, OYBRG…

I’m familiar with the typical OBY/BYR/YRG pattern from playing, but never paid much attention to how it’s handled when they go beyond three. Is it normal to just wrap around from YRG back to OBY? I remember a GH3 song wrapping all the way around (although it was single, much slower notes) from O to G and it was very obvious and very weird. I guess it’s a little easier to hide in a solo.

 

I’ve gone ahead and uploaded the solo tab and audio so you can get an idea of what I’m trying to decipher. Measures 68 and 70 are particularly head-scratching due to the effects, but measure 69 is where the most troublesome scales are – removing the context of having played Rock Band for years, it’s actually kind of hilarious that I’m trying to represent that with five colors.

 

Unfortunately, I’m not all that musically inclined, so it’s difficult for me to just go by “feel” as is so often necessary when it comes to charting guitar/bass. I think the relative lack of ambiguity is probably one of the things I find so appealing about drums.

 

Thanks again!

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