Vocal Authoring - Revision history

Doa: /* Animation Markers */

2024-05-15T17:38:38Z

Animation Markers

Doa: /* Animation Markers */

2024-05-15T17:33:14Z

Animation Markers

Doa at 04:21, 25 January 2024

2024-01-25T04:21:59Z

Doa: /* Pitched */

2020-11-08T00:37:19Z

Pitched

Doa: /* Multiple Vocal Parts and Solo Vocals */

2020-10-12T15:42:55Z

Multiple Vocal Parts and Solo Vocals

Doa: /* Phrasing */

2020-10-08T16:53:25Z

Phrasing

Doa: /* Authoring Rules */

2020-10-08T16:40:23Z

Authoring Rules

Doa: /* File Alignment */

2020-10-08T16:33:51Z

File Alignment

Doa: /* File Alignment */

2020-10-08T16:11:08Z

File Alignment

Doa: /* Animation Markers */

2020-10-08T05:14:38Z

Animation Markers

@@ Line 239: / Line 239: @@
 |}
-[idle] and [idle_realtime] markers are pretty responsive and the singer quickly goes to mic down position. Because of this, it looks more natural to put those mic down markers a beat or so after, not immediately after the last note tube. Also if the space between phrases is shorter than a measure, it’s always a good idea not to put mic down and up (markers like [idle] and [play]) one after another. The singer will not move their mouth while in [idle] or [idle_realtime] so be sure to put the singer into [play], [mellow], or [intense] for any sections where there's singing.
+[idle] and [idle_realtime] markers are pretty responsive and the singer quickly goes to mic down position. Because of this, it looks more natural to put those mic down markers a beat or so after, not immediately after the last note tube. Also if the space between phrases is shorter than a measure, it’s always a good idea not to put mic down and up (markers like [idle] and [play]) one after another. <span style="color: blue"><s>The singer will not move their mouth while in [idle] or [idle_realtime] so be sure to put the singer into [play], [mellow], or [intense] for any sections where there's singing.</s> Lipsync works regardless of animation cues (C3 Edit).</span>
 The percussion animation markers like [tambourine_start] mean the system switches to a set of percussion animations for the singer on tambourine. This switch occurs on the camera cut following the animation marker. The percussion animation sets have 2 states, play and idle, and the singer will continue using the last animation they were in when switching over to the percussion set.

@@ Line 233: / Line 233: @@
 |-
 |[idle] || The character has their microphone down and dances to the beat.
 |-
 |[idle_realtime] ||The character has their microphone down and is not synced to the beat. Use this for intros and ends of songs, or anywhere else you don’t want your singer bopping to the beat.

@@ Line 20: / Line 20: @@
 <div class="large-6 columns">
 {| class="wikitable"
-|https://dl.c3universe.com/s/doa/mediawiki-images/snaptogrid.png
+|https://keepitfishy.com/customs/docsimages/snaptogrid.png
 |-
 |style="text-align:center;"|'''Figure 1''':  The snap-to-grid button in Reaper.
@@ Line 35: / Line 35: @@
 {| class="wikitable"
-| https://dl.c3universe.com/s/doa/mediawiki-images/spoonman-rb2.png
+| https://keepitfishy.com/customs/docsimages/spoonman-rb2.png
 |-
 |style="text-align:center;"|'''Figure 2''': Rock Band 2 - "Spoonman" vocals.
@@ Line 41: / Line 41: @@
 {| class="wikitable"
-| https://dl.c3universe.com/s/doa/mediawiki-images/spoonman-rb3.png
+| https://keepitfishy.com/customs/docsimages/spoonman-rb3.png
 |-
 |style="text-align:center;"|'''Figure 3''': Rock Band 3 - "Spoonman" vocals

@@ Line 63: / Line 63: @@
 It is important to make note-on timing very accurate, as it is a big focus of attention for the player, but note-off timing is less so. Sometimes we make note tubes shorter than they actually are to give other elements of game play higher priority--for example, when there are not enough places to deploy overdrive, or there is not enough room to breathe.
-If the last tube in your phrase is pitched, and the next phrase begins with a non-pitched tube, leave a 16th space between the end of the first phrase and the beginning of the next one even if it means cutting the phrase short. There is a rare bug in Rock Band 3's vocal system that makes the phrase extremely difficult to combo if such a space is not there. This mostly applies to short phrases; if your phrases contain long tubes, the bug may not manifest; still, it's best to follow this practice to ensure a bug-free vocal chart.
+If the last tube in your phrase is pitched, and the next phrase begins with a non-pitched tube, leave a 16th space <span style="color: blue">(four 64th notes)</span> between the end of the first phrase and the beginning of the next one even if it means cutting the phrase short. There is a rare bug in Rock Band 3's vocal system that makes the phrase extremely difficult to combo if such a space is not there. This mostly applies to short phrases; if your phrases contain long tubes, the bug may not manifest; still, it's best to follow this practice to ensure a bug-free vocal chart.
 Much like Guitar/Bass sustains, all vocal notes need to have at least some amount of space between the end of a note and the beginning of the next note.   This is especially important when you have slide notes (using the + lyric event) because the slide is drawn in the space between the notes.  A small amount of space will create a quick jump from one pitch to the next, while more space will mean a slower, more gradual change in pitch.  If there is no space at all, however, your slide notes will appear in-game as separate notes with no lyrics attached to them.

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 If there is a part that repeats several times, you want to be as consistent as possible.  For example, you don't want to chart the lead vocal in the first chorus and the harmony in the second.  This would confuse the player, especially if they do not know the song well, or at all.
-If there are multiple singers that sing parts at different times, it's generally OK to include both parts.  An example of this type of authoring can be found in the song "Spoonman" by Soundgarden, on the Rock Band 2 disc.
+If there are multiple singers that sing parts at different times, it's generally OK to include both parts.  An example of this type of authoring can be found in the song "Spoonman" by Soundgarden, on the Rock Band 2 disc (Figure 2). <span style="color: blue">The Rock Band 3 vocal chart differentiates the vocal lines (Figure 3)</span>.
 In the case of overdubbing, where the last word(s) of a phrase and the first word(s) of the following phrase overlap in the audio, you will have to decide how to best break up the phrases.  Most often this means not authoring a note for the last word of the first phrase in favor of authoring all of the second phrase, but it depends on which of the overlapping words are more prominent in the audio and what makes more sense lyrically.

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 A phrase marker must begin on or before the start of the first note that is to be included in the phrase, and end on or after the end of the last note of the phrase.  The minimum length for a phrase marker is a quarter-note; phrase markers shorter than a quarter-note will cause the MIDI compiler to return a "Vocal Phrase Overlap" error.
-* <span style="color: blue">C3 note: Be sure the end or beginning of phrase markers don't touch any note tubes, as this might cause visual glitches like OD notes not showing up correctly or lyrics being shown at the wrong time in static vocals mode. Sometimes it's unavoidable in harmony heavy songs, but in every other case it's better to have a 64th gap (or even a 128th gap) between the beginning/end of a phrase and a note tube.</span>
+:<span style="color: blue">C3 note: Be sure the end or beginning of phrase markers don't touch any note tubes, as this might cause visual glitches like OD notes not showing up correctly or lyrics being shown at the wrong time in static vocals mode. Sometimes it's unavoidable in harmony heavy songs, but in every other case it's better to have a 64th gap (or even a 128th gap) between the beginning/end of a phrase and a note tube.</span>
 The length of a vocal phrase should be approximately the length of one breath of an average player. In mid-tempo songs, 2 measures is a good length for one phrase. Ultimately the maximum number of lyrics in one phrase is determined by how many lyrics can fit on the screen in the static HUD. TVs with 4:3 (standard definition) resolutions cannot display as many lyrics per screen as 16:9 (high definition) TVs, so make sure to test your song on a standard definition display using the static HUD to make sure no lyrics are clipping off the edges of the screen.

@@ Line 13: / Line 13: @@
 You should disable the "Snap items to grid" option, or use a very precise grid division such as 1/64 or 1/128, when adding vocal notes so that you can place the starting and ending points of each note as accurately as possible.  If you are aligning notes to the grid at 1/16 or even 1/32, you will inevitably have notes that start a bit early or late compared to the audio, possibly having an adverse effect on scoring.
-<span style="color: blue">C3 recommends a 1/64 grid for vocal authoring. Below 90 BPM (approximately) a 1/128 grid should be used.</span>
+<div class="row">
 === Multiple Vocal Parts and Solo Vocals ===

@@ Line 4: / Line 4: @@
 But if the difference is any larger, the timing of the dry vocal file should be adjusted to the wet vocal file. This will ensure that the game scores properly, and will make your authoring more accurate if you’re using the dry vocals file for your authoring reference.
-<span style="color: blue">A dry stem or vocal file has no effects added to it. A wet stem or vocal file has effects (such as reverb or EQ) added to it.</span>.
+<span style="color: blue">A dry stem has no effects added to it. A wet stem has effects (such as reverb or EQ) added to it.</span>.
 == Authoring Rules ==

← Older revision		Revision as of 16:11, 8 October 2020
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	But if the difference is any larger, the timing of the dry vocal file should be adjusted to the wet vocal file. This will ensure that the game scores properly, and will make your authoring more accurate if you’re using the dry vocals file for your authoring reference.		But if the difference is any larger, the timing of the dry vocal file should be adjusted to the wet vocal file. This will ensure that the game scores properly, and will make your authoring more accurate if you’re using the dry vocals file for your authoring reference.
		+
		+	<span style="color: blue">A dry stem or vocal file has no effects added to it. A wet stem or vocal file has effects (such as reverb or EQ) added to it.</span>.

	== Authoring Rules ==		== Authoring Rules ==

@@ Line 195: / Line 195: @@
 == Animation Markers ==
 The animation markers used for vocals are:
-* [play]- the standard singing state.
-* [intense]- used for hard, fast sections of a song
+{|
-* [mellow]- used for slow, quiet sections of a song
+!'''Text Event'''
-* [idle]- the character has their microphone down and dances to the beat.
+!'''Animation'''
-* [idle_realtime]- the character has their microphone down and is not synced to the beat. Use this for intos and ends of songs, or anywhere else you don’t want your singer bopping to the beat.
+|-
 [idle] and [idle_realtime] markers are pretty responsive and the singer quickly goes to mic down position. Because of this, it looks more natural to put those mic down markers a beat or so after, not immediately after the last note tube. Also if the space between phrases is shorter than a measure, it’s always a good idea not to put mic down and up (markers like [idle] and [play]) one after another. The singer will not move their mouth while in [idle] or [idle_realtime] so be sure to put the singer into [play], [mellow], or [intense] for any sections where there's singing.