5 Lane Keyboard Authoring - Revision history

Doa at 04:21, 25 January 2024

2024-01-25T04:21:06Z

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Doa: /* Trill Markers */

2020-10-12T21:38:27Z

Trill Markers

Doa: /* Trill Markers */

2020-10-12T21:37:58Z

Trill Markers

Doa: /* Trill Markers */

2020-10-12T21:31:03Z

Trill Markers

Doa: /* Solo Sections */

2020-10-12T21:27:07Z

Solo Sections

Doa: /* Easy */

2020-10-12T21:25:18Z

Easy

Doa: /* Solo Sections */

2020-10-12T21:23:50Z

Solo Sections

Doa: /* Solo Sections */

2020-10-12T21:10:53Z

Solo Sections

Doa: /* Easy */

2020-10-12T21:10:20Z

Easy

Doa: /* Medium Tips and Tricks */

2020-10-12T21:03:42Z

Medium Tips and Tricks

@@ Line 415: / Line 415: @@
 *MIDI note 127 (G8) marks trill sections.
-Trills markers trigger free form lanes to appear on the track that allows the player to play a trill, between two notes, without playing the actual authored rhythm of the part.  As long as the player is alternating between the two notes at 160ms or faster, they will be allowed to continue playing in the free form lanes.  If they dip below 160ms, the free form lanes will disappear, and they will be forced to play to the rhythm at which the part is authored.
+Trills markers trigger free form lanes to appear on the track that allows the player to play a trill, between two notes, without playing the actual authored rhythm of the part (Figure 31).  As long as the player is alternating between the two notes at 160ms or faster, they will be allowed to continue playing in the free form lanes.  If they dip below 160ms, the free form lanes will disappear, and they will be forced to play to the rhythm at which the part is authored.
 :The threshold of 160ms is a hard coded number, so edge cases can creep up, if the tempo of the song is too low or too fast, where using a trill marker may not feel as good as just playing the authored rhythm.
@@ Line 422: / Line 422: @@
 | https://dl.c3universe.com/s/doa/mediawiki-images/trill-marker-rb3.png
 |-
-|style="text-align:center;"|'''Figure X''': Rock Band 3 trill markers.
+|style="text-align:center;"|'''Figure 31''': Rock Band 3 trill markers.
 |}

@@ Line 413: / Line 413: @@
 == Trill Markers ==
-MIDI note 127 (G8) marks trill sections.
+*MIDI note 127 (G8) marks trill sections.
 Trills markers trigger free form lanes to appear on the track that allows the player to play a trill, between two notes, without playing the actual authored rhythm of the part.  As long as the player is alternating between the two notes at 160ms or faster, they will be allowed to continue playing in the free form lanes.  If they dip below 160ms, the free form lanes will disappear, and they will be forced to play to the rhythm at which the part is authored.
 :The threshold of 160ms is a hard coded number, so edge cases can creep up, if the tempo of the song is too low or too fast, where using a trill marker may not feel as good as just playing the authored rhythm.
 Notes should be authored according to the rhythm of the song, and trill lanes placed above them.

@@ Line 413: / Line 413: @@
 == Trill Markers ==
-* MIDI note 127 (G8) marks trill sections.
+MIDI note 127 (G8) marks trill sections.
-* Trills markers trigger free form lanes to appear on the track that allows the player to play a trill, between two notes, without playing the actual authored rhythm of the part.  As long as the player is alternating between the two notes at 160ms or faster, they will be allowed to continue playing in the free form lanes.  If they dip below 160ms, the free form lanes will disappear, and they will be forced to play to the rhythm at which the part is authored.
-** The threshold of 160ms is a hard coded number, so edge cases can creep up, if the tempo of the song is too low or too fast, where using a trill marker may not feel as good as just playing the authored rhythm.
+Trills markers trigger free form lanes to appear on the track that allows the player to play a trill, between two notes, without playing the actual authored rhythm of the part.  As long as the player is alternating between the two notes at 160ms or faster, they will be allowed to continue playing in the free form lanes.  If they dip below 160ms, the free form lanes will disappear, and they will be forced to play to the rhythm at which the part is authored.
-* Notes should be authored according to the rhythm of the song, and trill lanes placed above them.
-* Remember that this can only be used for two note trills, three note trills or higher will break the game.
+:The threshold of 160ms is a hard coded number, so edge cases can creep up, if the tempo of the song is too low or too fast, where using a trill marker may not feel as good as just playing the authored rhythm.
-* <span>'''Note:''' Make sure your markers are authored with a high velocity, or MagmaCompiler may report note spacing errors when authoring on lower difficulties.</span>
 == Character Animations  ==

@@ Line 400: / Line 400: @@
 == Solo Sections ==
-* MIDI note 103 (G6) marks solo sections (Figure X).
+* MIDI note 103 (G6) marks solo sections (Figure 30).
 {| class="wikitable"
 | https://dl.c3universe.com/s/doa/mediawiki-images/keys-solo-section.png
 |-
-|style="text-align:center;"|'''Figure X''':
+|style="text-align:center;"|'''Figure 30''': "Roundabout" - Expert organ solo (with solo marker).
 |}
-* Keys solos should be dictated by the music, which can be a gray area. Try to avoid putting solo markers on little fills and repeated lead lines, and use it only when there is an obvious solo.
+Keys solos should be dictated by the music, which can be a gray area. Try to avoid putting solo markers on little fills and repeated lead lines, and use it only when there is an obvious solo.
-* If a song ends with a solo make sure to end the solo marker as early as possible. This leaves time for the solo score marker to pop up before the track pulls out at the end of the song.
+If a song ends with a solo make sure to end the solo marker as early as possible. This leaves time for the solo score marker to pop up before the track pulls out at the end of the song.
 == Trill Markers ==

@@ Line 387: / Line 387: @@
 Easy should be really easy. No player will complain that easy is too easy, they’ll just move up to medium, so make it EASY! The easy player should be able to look at the track, see the note, look at their keyboard, move their finger to the right button, play the key, then look back up for the next note. That’s a lot to do between every note, so make sure you leave a significant amount of space.
-On easy, remove all remaining quarter notes when possible. It's good practice to leave half note spaces between notes for easy players.
+On easy, remove all remaining quarter notes when possible. It's good practice to leave half note spaces between notes for easy players (Figure 29).
 {| class="wikitable"
 | https://dl.c3universe.com/s/doa/mediawiki-images/half-notes-easy.png
 |-
-|style="text-align:center;"|'''Figure 48''': Reducing from Medium to Easy.<br/>Nightmare tier (120 BPM).
+|style="text-align:center;"|'''Figure 29''': Reducing from Medium to Easy.<br/>Nightmare tier (120 BPM).
 |}

@@ Line 384: / Line 384: @@
 === Easy ===
 * Easy Gems are MIDI notes 60 (C3) to 62 (D3)
-* Easy should be really easy. No player will complain that easy is too easy, they’ll just move up to medium, so make it EASY! The easy player should be able to look at the track, see the note, look at their keyboard, move their finger to the right button, play the key, then look back up for the next note. That’s a lot to do between every note, so make sure you leave a significant amount of space.
-* On easy, remove all remaining quarter notes when possible. It's good practice to leave half note spaces between notes for easy players.
+Easy should be really easy. No player will complain that easy is too easy, they’ll just move up to medium, so make it EASY! The easy player should be able to look at the track, see the note, look at their keyboard, move their finger to the right button, play the key, then look back up for the next note. That’s a lot to do between every note, so make sure you leave a significant amount of space.
-* Sustains on Easy should be the same as sustains on Medium.
-* There are no chords in easy.
+On easy, remove all remaining quarter notes when possible. It's good practice to leave half note spaces between notes for easy players.
 == Solo Sections ==

@@ Line 365: / Line 365: @@
 Remember, when reducing, to keep the rhythmic feel of the song. If the strong beats of a song are the upbeats, or a syncopated rhythm, make sure not to remove them in haste. Removing every other 8th note is not always the correct way to reduce. In Medium, it is better to leave more space between syncopated notes then to leave them out.
-Once you remove the additional 8th gems you are going to need to adjust your wrapping again. If you had the 8th gem pattern of O-B-Y-R, B-Y-R-G, and you remove every other 8th gem, you are left with O-Y, B-R. You could then readjust these gems so that the quarter gem pattern would be B-Y-R-G (Figure X.
+Once you remove the additional 8th gems you are going to need to adjust your wrapping again. If you had the 8th gem pattern of O-B-Y-R, B-Y-R-G, and you remove every other 8th gem, you are left with O-Y, B-R. You could then readjust these gems so that the quarter gem pattern would be B-Y-R-G (Figure 27).
 {| class="wikitable"
 | https://dl.c3universe.com/s/doa/mediawiki-images/wrapping-gems-medium.png
 |-
-|style="text-align:center;"|'''Figure 46''': Wrapping gems from Hard to Medium.
+|style="text-align:center;"|'''Figure 27''': Wrapping gems from Hard to Medium.
 |}
-When reducing triplet patterns in Medium, it is best to only keep the down beat of the triplet (Figure X).
+When reducing triplet patterns in Medium, it is best to only keep the down beat of the triplet (Figure 28).
 {| class="wikitable"
@@ Line 379: / Line 379: @@
 | https://dl.c3universe.com/s/doa/mediawiki-images/triplets-medium-2.png
 |-
-|style="text-align:center;"; colspan="2";|'''Figure 47''': Reducing triplets from Hard to Medium.
+|style="text-align:center;"; colspan="2";|'''Figure 28''': Reducing triplets from Hard to Medium.
 |}