Authoring du chant

Règles d'authoring

La piste vocale ne doit être chartée qu'une seule fois. Les différentes difficultés changent la tolérance du moteur de détection des notes. A la différence des instruments, la piste vocale n'est pas chartée par quantification (cad en la basant sur une grille fixant la valeur des notes), ce qui peut rendre l'authoring plus long.

Généralement, l'authoring est fait à l'oreille, et en regardant la piste audio pour déterminer le moment où les notes doivent commencer et finir. Vous devriez désactiver l'ancrage, ou utiliser une subdivision de grille très précise comme la quadruple ou la quintuple-croche (1/64ème ou 1/128ème de mesure) afin de placer vos notes de la manière la plus précise possible. Si vous utilisez une grille basée sur les doubles ou triple-croches (1/16 ou 1/32ème de mesure), vous aurez inévitablement des notes décalées par rapport à l'audio, ce qui nuira au scoring.

Multiples parties vocales et partie solo

Pour les chansons utilisant les harmonies, consultez le document Authoring des harmonies si vous voulez créer plusieurs pistes de chant pour différents chanteurs. Les harmonies ne sont pas obligatoires; cependant il y a quelques règles à suivre pour charter la piste solo (PART VOCAL) si plusieurs pistes de chant existent. La règle primordiale pour choisir quelle partie charter est de faire l'authoring de la partie que vous chanteriez en choeur si vous écoutiez la chanson à la radio.

Si une partie se répète plusieurs fois, restez aussi cohérents que possible. Ainsi, ne chartez pas la partie vocale principale dans le premier refrain et les harmonies dans le second. Cela induirait le joueur en erreur, surtout s'il connait mal ou pas du tout la chanson.

Si différents chanteurs chantent différentes parties à des moments différents, inclure ces différentes parties est toléré. Pour un exemple, voir "Spoonman" de Soundgarden.

S'il y a des overdubs et que le dernier mot d'une phrase et le premier mot de la phrase suivante se chevauchent, vous devrez décider où couper les phrases. Généralement, vous couperez le dernier mot de la première phrase afin de garder l'intégralité de la deuxième phrase, mais tout dépend du mot le plus audible et du mot qui a le plus d'importance du point de vue des paroles.

Notes

Les notes MIDI C1(36) à C5(84) sont utilisées pour charter les parties vocales. <-- Update: Evitez la note 84, qui ne fonctionne pas correctement avec RB Blitz.

Même si Rock Band s'ajuste automatiquement à l'octave la plus adéquate pour le chanteur, il vaut mieux charter la piste de chant à la même octave que la partie originale, pour que les choses restent claires et cohérentes.

Les charts vocaux de RB sont souvent des transcriptions légèrement simplifiées de la performance vocale originale. On en chartera pas les détails les plus infimes de la performance, comme les vibratos ou les anacrouses très courts, qui ajoutent un degré de complexité inutile rendant la chanson moins fun à chanter.

Un principe de base est que les CONSONNES situées au début et à la fin des syllabes NE SONT PAS incluses dans les notes chartées. C'est ce cette manière que les gens reconnaissent naturellement la valeur (longueur) des notes lorsqu'ils chantent, et le scoring ne fonctionne pas sans que les notes aient une hauteur (le nom de la note, par exemple Do), hauteur qui est contenue dans les voyelles des sons.

Ceci étant dit, il existe des exceptions. Si vous excluez complètement une longue consonne clairement audible (ex. "sh" ou "s") au début de la note, celle-ci semblera être placée trop tard. Dans ce cas, on inclut la toute fin de la consonne dans la note.

L'endroit où une note s'achève (et spécialement une longue note) dépend de son caractère audible dans le jeu. Si une note a l'air trop longue dans le jeu parce que la note devient inaudible (recouverte par d'autres instruments, par exemple), vous devez réduire la longueur de la note afin qu'elle soit équivalente à ce que vous entendez.

Il est important de placer le début de la note de manière très précise, puisque le joueur se concentre principalement sur son arrivée, l'emplacement de fin de la note étant un peu moins important. Parfois on réduira la longueur de la note pour privilégier d'autres aspects du gameplay, par exemple pour que le joueur ait le temps d'activer l'overdrive, ou pour qu'il ait un peu de temps pour reprendre son souffle.

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.

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.

Autogénération des parties vocales

Nécessite d'utiliser des multi-pistes.

Paroles

In Rock Band, each MIDI note in the vocal part must have a corresponding MIDI lyric event which is placed exactly at the start of each note in the vocal part; this lyric will be shown onscreen along with that note. Each lyric should correspond to one syllable in the song, so you will need to break up multi syllable words into their component syllables.

You should load your lyrics into a plain text (.txt) file, format your text separating each syllable or plus sign with a space, select the notes for your transcriptions of the vocal part, and then import that text file into your Reaper session using the "import lyrics for selected notes from file" action (Shift+L). This action will create lyric events for each selected note, and import the lyrics from your text file.

Mots comprenant plusieurs syllabes

Multi syllable words are broken up with dashes:

Hello:: Hel-  lo

The dash tells the game to combine the syllable with the following syllable, so a three syllable word would look like this:

Thunderstruck:: Thun- der- struck

Syllabes comprenant plusieurs notes

If a syllable is sung across multiple connected notes, then each additional note has a plus sign (+) lyric event to correspond with it. These lyric events tell the game to connect the start of that note with the end of a previous note using a straight line. Plus signs are also used for slides, bends, and trills, using a new MIDI note with a new plus sign event for each note:

Yeah (over 2 notes):: Yeah +

You can also insert multiple notes in the middle of a Multi-Syllable word. Note that the dash is included at the end of the syllable, not at the end of the plus sign.

 Thunderstruck (with 2 notes on "der"):: Thun- der- + struck

Traits d'union

Hyphens are displayed by adding an equals sign (=) to the end of a syllable. This also combines the syllable with the following syllable, but also inserts a hyphen between them:

Ex-Girlfriend:: Ex= Girl- friend

Mots sans note

Non-Pitched words are words that are spoken or shouted, and don’t really have a distinct pitch to them. These words are marked with a pound sign (#) at the end of each syllable. We do not mix pitched and non pitched syllables in the same word.

All right!:: All# right!#

Mots comprenant plusieurs syllabes sans note

place the hyphen before the # or ^

indefatigably:: in-# de-# fa-# ti-# ga-# bly#
cowardice:: cow-# ard-^ ice#

Mise en page des paroles

We capitalize the first syllable of every phrase. We also capitalize proper nouns (Ex. "Ted", "Barbur Boulevard"), words that follow a ! or ? mid-phrase, and certain acronyms that would look wrong in lower case (Ex. "CIA", "MVP"). These are the only cases in which we use capital letters; other uses of capitalization will likely be flagged during playtest/review.

If in the process of authoring your song or after having received feedback during Playtest, you make changes to the placement of any phrase markers, don't forget to edit your lyrics so that the capitalization is appropriate for the new phrase locations.

The only end-of-sentence punctuation that should be used is question marks and exclamation marks. We try to use these sparingly and only when we feel appropriate. Commas and periods should not be used for punctuation, though periods can be used for abbreviations; for example, A.M. or P.M. If there is a question mark or exclamation mark in the middle of a phrase, capitalize the next word. We avoid using quotation marks.

To keep our hyphenation consistent, we refer to Merriam-Webster Online Dictionary (http://www.merriam-webster.com/). If a word is not hyphenated on m-w, use dictionary.com (http://www.dictionary.com/) as an additional reference. In the event that a word is broken down differently between the two reference sites (for example, "eve- ry" on dictionary.com and "ev- ery" on m-w.com) either method is acceptable. Just make sure you stay consistent if the word occurs multiple times in a song.

Sometimes a singer will break up vowel sounds with a glottal stop (http://upload.wikimedia.org/wikipedia/commons/4/4d/Glottal_stop.ogg). Use hyphens to add each extra syllable created in this way. Here's an example from Blur's "Song 2": "but nothing i-is".

Since neither m-w.com nor dictionary.com have any suggested hyphenation for multi-syllable contractions, the preferred hyphenation is: It- 'd, It- 'll, Must- 've, Should- 've, Would- 've, Could- 've, Should- n't, Would- n't, Could- n't, Must- n't, etc.

Spanish has rules for syllable division that do not match the rules in English. For more information, see Spanish Syllables.

Outil de vérification des paroles

RBN Creators Club member "MIMZIC" has created a Web-based tool that allows you to view your lyrics outside of the game environment. The tool can be found here:

http://www.mimzic.com/authoring-tools/

Simply browse for your MIDI file which you have exported and the tool will display your lyrics as formatted in your MIDI (with Overdrive phrases highlighted). Click "Plain Text" to view the lyrics as they will appear in-game in the Static HUD. Although you should always check your lyrics in the game, this tool is a great way to double-check for errors before submitting your song to the Creators Club.

Sons ne valant pas note

Even though the scoring systems for non-pitched notes can handle consonants at the beginning and end of note tubes correctly, we follow the same general rule of note tube placements as with pitched syllables. This is, again, because of how people naturally feel the timing when they see note tubes. Also, we like to keep the way we author consistent to avoid confusion for the player.

We avoid making a partial word non-pitched. If one word has both pitched and non-pitched syllables, we make an entire word one way or another, whichever makes more sense. We try to avoid mixing pitched and non-pitched syllables in one phrase whenever possible. Sometimes it is hard to see a non-pitched word in the middle of a pitched phrase and to have to adjust your vocal cords. We normally try to group at least a few syllables to make the Vocal HUD easier to read. This rule applies less strictly to the first or the last word in a phrase.

There is standard and more generous scoring for non-pitched syllables. The standard scoring is marked with "#" in lyrics and the more generous one with "`^`". As a default we use "#", but we use "`^`" in some cases. For example if a phrase consists of only 1~3 short syllables, we definitely mark them with "`^`". Also vowels or consonants without sharp attacks (ex. "w" or "y" ) tend to be harder to register, especially if you miss the beginning of long note tubes. In this type of case, we use "`^`".

Sections de percussion

Tambourine, cowbell and hand clap are the available percussions. Playable percussion notes are placed on MIDI note C6 (96) and non-playable percussion notes that simply trigger the percussion sample are placed on C#6 (97).

Place text events ([tambourine_start], [tambourine_end], [cowbell_start], [cowbell_end], [clap_start] and [clap_end]) on PART VOCALS for animation cues and set the type of samples you want to use for audio playback in the MAGMA tool. We can use only one type of percussion in one song.

Percussion sections need to be placed in phrases just like regular notes. This is so that the entire percussion part does not appear on one screen in the Static HUD. Two measures is generally a good length for percussion phrases, depending on the song's tempo and the amount of percussion notes authored.

Percussion sections are an addition to the artists’ original works, so we need to be cautious about what we add, and in the end, we need to make subjective decisions. We don’t need to put a percussion section in every available spot. If none of the percussion instruments fits the mood of a song, it is okay not to use any.

We tend to not put a percussion section in the beginning of a song just because the intro sets the mood of a song, and we like to keep it original. A long percussion section over guitar solo or an instrumental part can be very fun and it is a good way to keep a vocal player engaged.

Phrases

Phrases are how vocals are scored in Rock Band. The game evaluates in real-time how you perform each phrase, gives you a score on that phrase, then begins again. Phrase markers are placed on A6 (105).

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.

• 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.

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.

An Overdrive deploy section between phrases automatically appears if the space between the end of the last note in a phrase and the beginning of the first note in the next phrase is longer than 600 ms. As long as all the note tubes are inside of phrase markers, where exactly phrase markers end and start doesn’t matter for Overdrive deploy sections.

There are special rules for creating phrases when authoring harmonies. Check the Harmony Authoring document for more information.

Overdrive

Overdrive in vocals is attached to certain phrases which will give you energy if you earn an AWESOME score on that phrase. Overdrive phrases are marked by copying the Phrase marker up to G#7 (116). The Overdrive note and the phrase marker must line up exactly in order to work, so be sure to move your overdrive marker as well if you’re moving or expanding a phrase marker.

There are specific rules for authoring overdrive for vocal harmonies. Check the Harmony Authoring document for more information.

Octaves et registre vocal

Le moteur d'affichage du chant dans RB trouve automatiquement la note la plus haute et la note la plus basse d'une chanson (en excluant les sons ne valant pas note) et répartit les notes se situant entre les 2. Cela fonctionne avec la plupart des chansons, mais il est parfois nécessaire d'ajuster le registre vocal.

Par exemple, si une chanson a des couplets graves et des refrains aigus, les notes se situeront tout en bas dans la piste pendant les couplets, et tout en haut pendant les refrains. Cela reste ok si le registre vocal de la chanson ne dépasse pas 2-2,5 octaves.

Par contre si le registre est plus large, les notes seront difficiles à lire. Pour résoudre ce problème, on peut utiliser un marqueur diviseur de registre "%". En plaçant "%" à la fin des dernières paroles d'une phrase, les registres vocaux des parties situées avant et après le marqueur sont séparés. Des registres plus petits aident les joueurs à mieux repérer les changements de hauteur des notes.

Cette fonction ne s'applique qu'à l'affichage statique, et pas à l'affichage défilant.

Animations

Les marqueurs d'animation sont:

• [play]- l'animation de jeu standard.
• [intense]- pour les sections rapides et intenses
• [mellow]- pour les sections lentes et calmes
• [idle]- le chanteur tient son micro en main, ne chante plus et danse en rythme avec la chanson.
• [idle_realtime]- le chanteur tient son micro en main et ne chante plus. Utilisez ce marqueur pour les intros et les fins de chansons, et les passages non chantés où vous ne voulez pas que le chanteur danse en rythme.

[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.

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.

For example, If the animation state was [play], after [tambourine_start] is read on the track, the singer will be playing the tambourine at the next camera cut after the marker. If the state was [idle], the singer stays in idle state, but with a tambourine in his/her hand.

To accommodate the transition that scoring and animation system switch to/from percussion sections and to give a player enough time to prepare, we try to have at least one measure of space between singing and percussion sections. If the animation for the vocalist is set to [idle] or [idle_realtime], the lipsync animation turns off. We need to make sure the animation is set to [play] or [intense] for all the note tubes.

Derniers conseils

• Vérifiez la liste des Erreurs d'authoring fréquentes après avoir charté.

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