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Overdrive phrases represent parts where a given instrument plays an interesting part. Interesting doesn't necessarily mean difficult as much as it means memorable. Unison Phrases represent when an interesting part is being played by the whole band together.

Contents

Basic concepts and rules

  • Overdrive/Unison Phrases get authored on 116 G#7
  • Overdrive Phrases are the white notes that appear on the track in game, when captured they fill the players' energy meter to be deployed for score multipliers. Unison Phrases are Overdrive Phrases that Guitar/Bass/Drums play together, which, when captured, result in a band bonus.
  • Overdrive/Unison Phrases should be one measure in length. There are obviously exceptions to this rule, but when possible, try and stick to it.
  • Unison Phrases cannot be placed on the same measure as a Drum Fill.
  • The number of Overdrive Phrases per instrument is based on the number of measures in a song. Take the number of measures and divide by 10, this is how many Overdrive Phrases you should have, give or take (ie: 100 bars = 10 overdrive phrases, though this number may be less if an instrument is not playing for a large portion of the song). The number of Unison Phrases should be about half the number of Overdrive Phrases (ie: 10 Overdrive Phrases = 5 Unison Phrases).
  • Overdrive Phrases must be authored either one instrument at a time, or all instruments together in a Unison Phrase (ie: we author an Overdrive Phrase for Guitar, or a Unison Phrase for Guitar/Bass/Drums, but we do not author an Overdrive Phrase for Guitar/Bass or Guitar/Drums on the same measure).
  • Overdrive/Unison Phrases should be evenly spaced throughout the song. For instance, we don't want to have 8 Phrases in the first half of the song, and only 2 for the second half. This can be figured out mathematically, but another good way to check is to zoom all the way out and check for symmetry.
  • Unison Phrases should not occur, for, roughly, the last 12 measures of the song. Overdrive Phrases should not occur for, roughly, the last 8 measures of the song.

Authoring Unison Phrases

  • We start out authoring Unison Phrases, then go back and fill in the space with Overdrive Phrases.
  • Select Guitar/Bass/Drum Tracks and open them in a single MIDI Editor Window.
  • Since you are going to have 3 parts open in one window, all overlapping, try marking Unison Phrases on the Overdrive note, then toggle between the parts, assigning dummy notes, above and below, so that you can see where they are in every part, then move them into the correct spot later on.
  • The Guitar Part is, generally speaking, going to have the most interesting parts, so toggle through the parts so the guitar is in the front.
  • Look for measures where the whole band is playing an interesting part together: a lead line, breakdown, pickup, or a big build up to a chorus or solo is a good place to start. Instances of breaks or pickups are times where a Unison Phrase can be less than a measure long (the opening pickup to Supreme Girl is a good example). Again, be sure that none of these phrases happen under Drum Fills.

Authoring Overdrive Phrases

  • After adding all the Unison Phrases, zoom out, so that the entire MIDI Window can be seen. Go through and add dummy notes, on 116 G#7, evenly between the Unison Phrases. These will help you see the general area when Overdrive Phrases should be placed.
  • Once you've done this, zoom back in, and adjust your dummy notes to create Overdrive Phrases, making sure that you don't have two parts overlapping.
  • After all the phrases are authored where you want them to be, close the window, and open each part individually and make sure the dummy notes you've laid down all end up on 116 G#7.

Authoring Vocal Overdrive

  • After finishing Guitar/Bass/Drums parts, open the Vocal part and add Overdrive for Vocals.
  • Vocal Overdrive Phrases should cover an entire vocal phrase. This means that Vocal Overdrive Phrases aren't necessarily contained within one measure. Sometimes they may be a little longer or shorter, and can overlap bar lines.
  • Vocal Overdrive basically goes wherever it feels best, but should be placed over similar melodic patterns throughout the song (ie: if an Overdrive Phrase is added to the first line in Verse 1, it should be added to the same melody in Verse 2).
Important Note: Be sure to check Overdrive/Unison Phrases in full band mode in game.

Big Rock Ending (BRE)

  • BREs occur at the end of songs where the band rocks out before a final hit (see the AC/DC track pack). They are normally used when a part is too difficult to be authored and played in a way that feels good.
  • The BRE lanes are 120 C8-124 E8.
  • A [coda] command is required in the Events track at the start of a BRE.
  • Vocal parts cannot be authored during a BRE.
  • No notes should overlap the beginning or the end of a BRE. Be sure to check your work in game to make sure this isn't happening.
  • If there is a vocal part that overlaps a desired BRE section a decision has to be made to author:
    • Author the Big Rock Ending and do not author the last vocal phrase that overlaps the Big Rock Ending.
    • Do not author the Big Rock Ending and instead author all the vocals and other instruments to the end of the song.
  • The final hit of a song should occur after the BRE markers end. It is required for Guitar/Bass/Drums. This is very important, if there isn't a final note, the BRE score will not count. (Again, do not author anything for Vocals after the BRE)
  • Notes need to be authored in the Expert Guitar and Bass tracks, during a BRE, to generate rhythm for the LH Animations. Guitar/Bass/Drum parts all require animations to be authored during a BRE. If they are not included, characters will be inanimate.
  • The final hit is required for all difficulties.