Stepmania University: We'll make your files suck less (under construction)

[jimerax]

yeah wave filter sometimes works, but sometimes doesn't.
basically I trust my ears over eyes, so it's just my personal method maybe.

didn't notice the function of changing the volume of assist tick, that would be convenient.

[jyris1]

Yes, I find myself trusting my ears a lot as well.

Since were on this topic, One thing has to be made clear:

IMPORTANT NOTE ABOUT TRUSTING YOUR EARS IN DDREAM (as of v. 1.50)

EDIT: I have revised the material and put it on the DDReam tutorial page.

http://www.ddreamstudio.com/manuals/...de.html#sysreq

Read the section called "HOW TO TEST YOUR COMPUTER TO SEE IF IT WILL RUN DDREAM NICELY (as of version 1.50)"

[Wineandbread]

Is there still space left? I'd like to join as a student.

[gnr61]

lolol oblivion is not an easy song to step well jeez
it will be great for highlighting everyone's specific styles though because it can be interpreted in a million ways.
homework is due tuesday before class by the way everyone : )

[t-rogdor]

Okay, if i take this assignment seriously and don't joke around (read: Actually try) Could you try to take me seriously for once?

[ducky285]

Originally Posted by kommisar[os]

holy **** its ducky

holy **** it's kommisar

yeah, I've been out of the loop for a while. I guess I can give some expert advice even though I never open SM anymore.

[TC_llama499]

ok im stuck on my file i cant think of anything else to put in it, its just getting repetitive. anyone want to take a look at it? its pretty bad as of now haha

[omgitznpv]

uh if it's the same thing being played over and over again randomly changing or adding things to it isn't really a good idea most of the time

so don't step repetitive stuff (kinda given)

[i hate you]

I'll like to join as a student please

[t-rogdor]

Alright. I have my first draft of Kommi's assignment somewhat finished. Could i get one of you not professors who is a decent stepper to look over it real Quick?

Just message me on AIM.

[xferrarix]

yo i wanna be a tutor/student gogogo

[TC_Halogen]

Sent in my assignment. Probably flunked the hell out of it. Dx

[dood gone krazee]

****tt I hope someone recorded that semenar I just got home and I need help on layering. :[[[[[[

EDIT: oh k

[gnr61]

its ok, kommi wasn't on so i couldn't mute the channel and thus couldn't talk much anyway. here are my lecture notes turned into complete sentences

Definition of hands
-In spread-style file making (what we are doing), using the term "hands" is a bit of an obvious misnomer as it refers to the ITG-style pad steps that require you to use your hands to hit notes because your feet are otherwise occupied. Unfortunately, it is convenient and it has kind of stuck over the years, so I will continue to call them such except in specific references to triples or quads.
-The term "hands" refers to 3 or more simultaneously hit notes and more rarely jumps/triples hit while holding a freeze.

First step in learning to use hands
-DONT be afraid to use hands. FFR-steppers especially. While it is possible to overuse hands (depending on their musical context), we play spread. Hands are quite often the best possible way to represent something in the music, whether simply adhering to whatever layering theory you are currently using or choosing to apply them for climactic purposes.

When hands are appropriate (layering)
-The simplest description of when to use hands when layering is obviously when three or more sounds (that you are currently following or would otherwise intend to follow) coincide simultaneously. Using triples for this purpose is generally acceptable and is the most common application of hands in spread stepping. If it just pains and pains and pains you to think that there may be a consistency and/or layering error in your simfile, or even if you just want to maintain the best technical representation of your song that you can, layering theory is usually a fair bet to be successful at placing hands.

When hands are appropriate (climax theory)
-Another approach to placing hands is in climax theory. Quite simply, climax theory (in this particular use of the phrase) describes the placement of jumps, triples, and quads on accented notes. In doing this, there does NOT necessarily have to be three sounds occurring at once; in fact, its pretty much acceptable to place hands on especially intense drum hits (PSH sounds in dnb, for instance, see: crow's ghost) or melody notes whether or not they are technically layered in with 2+ other sounds. If you are the kind of stepper who only likes to leave 1.0x when absolutely necessary and is more interested in the "feel" of the file rather than what dondon would think, this kind of application suits you well. Note that this and layering theory are not mutually exclusive, it is usually best to find a balance of using both while stepping.

When hands are appropriate (chords)
-It is also acceptable to place triples or quads on chords in the music played by one instrument. If you are following a piano or guitar and you feel like you know what you are doing when it comes to picking out chords, feel free to place hands where appropriate even if they don't necessarily fit according to your layering (see: Puppet's Demolizione).

When hands are INappropriate (layering)
-When following several instruments that coincide in a way that would form hands if you stick with layering theory, it is always best to have some notion of climax theory rolling in the back of your mind. Pretty much I just mean if you are layering something gay like a hi-hat or other quieter percussion, it is not always best to make them hands. A jump including a note in the lead and a snare shouldn't feel much different from one including a note in the lead, a snare, and a hi-hat; adding an extra note to the jump is too abrasive and even feels inconsistent.

Keysounding hands
-An older technique of hand placement involves placing hands on specific (usually percussive) tones regardless of intensity or layering presence, usually on cymbal crashes. See: Puppet's OTAKUSPEEDVIBE.

Triples aesthetic (brief note, ver subjective)
-The more spread out/symmetrical hands, [124] and [134] typically are nicer looking by themselves than [123] and [234] hands and fit best in most situations; exceptions obviously occur often when the others are required for purposes of flow or specific pitch representation (or in larger chains of hands where you need variation). If you play through most of my DCP files you will find that a significant majority of the triples I use are [124] and [134], though you probably wouldn't even notice while playing because they just work well on that subconscious level.

Quads (super brief overview)
-Quads are significantly different from triples despite being only one note larger because they require you to press all 4 inputs at once--leaving no room for relevance in terms of pitch and disallowing them from being worked into any kind of stream pattern without forming jacks. This alone makes quads difficult to implement successfully using the straight layering method, and I typically advocate using them only for climactic purposes. The more sparsely you use them, the more climactic impact they will have by the way.

Quads defy typical layering to positive effect
-Konono no nanatsu no oiwaini, m29
-Thunderclap, m30

Quads follow typical layering to negative effect
-Drove through ghosts to get here, m64+ (not necessarily a negative effect, its just a more experimental approach that i find damaging to the flow but some others enjoy)
-Open Your Mind, m31+

[jimerax]

well that article about hands looks well-done.

I usually take hands as emphases (aka climax) rather than the result of layering, so I think the contrast between hands and silence/single/doubles is important.
I mean if you put decent number of jumps or hands around hands, the emphasis effect gets smaller (it's ok if you want to put climax on the whole section though).

btw do have any opinions about handstreams?

[omgitznpv]

um random input

handstreams are really awkward imo if it's just hands and single arrows or whatever (like one hand, then a slew of 16ths, then another hand, etc.), and in that case i would just make them jumps. i'd use a handstream if it's somewhat long and used along with jumps. don't overuse them because then it just gets annoying like heck. if you're just going to use hands and singles then probably apply it with climax theory or something; like one measure of a hand, 3 16ths in between, etc. (repeating pattern)

i don't know what i'm saying sorry

[dandandamdandan1111]

i'll be in for a student.

edit: rofl never mind this song is really stupid.

[gnr61]

Originally Posted by jimerax

well that article about hands looks well-done.

I usually take hands as emphases (aka climax) rather than the result of layering, so I think the contrast between hands and silence/single/doubles is important.
I mean if you put decent number of jumps or hands around hands, the emphasis effect gets smaller (it's ok if you want to put climax on the whole section though).

btw do have any opinions about handstreams?

yeah i should have mentioned the contrast effect.
notice how the triples in malice's O_L have very little climactic impact whatsoever while hands in almost any old school file feel way more so because they were so sparsely used and the files were less 'clustered' in general.

incorporating hands into streams for certain layering purposes is sometimes unavoidable, though in any large quantities they form huge 8th jacks which, like i said before, are generally undesirable. they can also turn jumpstreams into great big trills if you're not careful to compromise triple placement where necessary.

[TC_Halogen]

Originally Posted by dandandamdandan1111

i'll be in for a student.

edit: rofl never mind this song is really stupid.

SMU has its first drop-out.

[Patashu]

yo nother stargroup lecture coming atcha

Lecture 1.x - Importance of Playtesting

DISCLAIMER: This lecture is a first draft that was improvised in little time. Expect edits and possibly overhauls if needed.


As we all begin to step, one of the most important aspects to keep in mind is probably playtesting. Playtesting is essential if you want to create a good file, especially an art file. Creating an art file is nearly impossible without lots and lots of playtesting.


Why is playtesting important?

If you read my first lecture, you will remember that feel is more important than anything else in a file, as it is the primary factor in deciding whether a file is good or not. We play these games to follow the music, not randomly mash keys.

In order to get the optimal, best feeling, you have to experiment with almost every combination possible and try many different techniques or layering and patterns. If you don't test a file a lot, then you won't know how it feels. Try things you may not normally do, or something you think might be cool but you're not sure. Compare, and who knows, you might discover something.

Also, when you playtest, be sure you playtest a LOT. Playtest your files over and over and over and over again. It's the only way to be sure your file is EXACTLY how you want it to feel. Parts that seem awkward at first might not be that bad when you understand what you're supposed to be looking for, and patterns that seem fine at first might actually be really annoying, too bulky, or awkward.

Essentially, you're checking for the flow in a file when you playtest. Make sure nothing weird sticks out, and the transitions between each part of the file is smooth. Flow is difficult to do and even harder to describe, so be sure to PLAYTEST CONSTANTLY.


Conclusion? Playtest as much as freaking possible.


Assignment X - Pick a song to step or one that you've already started. Focus on one section (a phrase, 8 measure section, solo, or some other chunk) and keep playtesting and trying different things until you find something you like. Even when you think you've found the best possible patterns, chances are there is something better. Challenge yourself to find it.