UltraStar Update: Vocaluxe (Beta)

Posted in UltraStar with tags , , on February 27, 2012 by kokairu

“Vocaluxe,” an entirely new take on open source karaoke software, has now been released in beta status. I’ve just been excitedly playing around with it, and though it is not very stable yet (it crashed a couple of times on me), it’s a glimpse into the future for all fans of UltraStar.

Song files for UltraStar will still work for Vocaluxe, so you can see for yourself how it compares:

http://sourceforge.net/projects/vocaluxe/

I particularly like how you can set up profiles (including pictures) for all potential players. I never really bothered entering player names before, but I can see it being a lot easier to switch between names when new people step up to take the ultimate singing challenge. This means that the high scores will now mean something!

Vocaluxe also supports duet mode, which is definitely one of the better later additions to UltraStar. I’m glad it lives on!

On the downside, there’s no Party mode yet (and I do love my Party mode!). However, there’s nothing to say that this won’t be added at a later point.

I’m also a bit dubious about some of the graphics – there doesn’t seem to be a way to change how the text lights up during game play for one. I liked the way it used to lift up or enlarge in UltraStar Deluxe – it made it a lot easier for those with eyesight problems to see it properly. At the moment, it just changes colour.

Moreover, the song selection screen isn’t quite as snazzy as it was in UltraStar. But the last two points are nit picky - they don’t exactly affect the gameplay itself much. Plus, I’m aware that a few people are working extremely hard on this – asking for no money in return – so it’s not at all within my right to moan about it. I am eagerly awaiting the first proper release!

 

Why I’ve Adopted Veganism

Posted in Veganism with tags , , , , on November 25, 2011 by kokairu

A few months ago, I was discussing veal production with my extended family. The minor details of this conversation are fairly irrelevant (well, I hope they are, as I can’t remember them). The key aspect was when my older sister commented that the cheese industry and the veal industry are heavily interlinked (in short, for enough milk to be produced for cheese, many calves must be produced that have no other role to fulfil).

At the time, I was eating a largely vegetarian diet (I like the taste of meat, but as my partner is a vegetarian, I was naturally eating less of it), having adopted full vegetarianism a handful of times in the past. I had eventually developed the philosophy that there is no problem in consuming meat, as long as the animal(s) in question did not suffer prior to their death(s). I was drawn to free range meat in particular, but this dietary restriction was easy to ignore when I wanted to purchase something with ease from the small corner shop or eat out at a restaurant. After listening to my sister’s comment, it quickly spurred an entirely different take on my dietary choices.

I began to consider the implications of an interlinked meat and dairy industry. It’s not just the revelation that cheese is related to the slaughter of “cute wickle calves,” as anyone who knows me will be aware that one of my biggest gripes is upholding a strong moral code when it comes to cute animals but disregarding that mentality when it comes to those that are less pleasing on the eye. I just suddenly realised that to support one means to support the other; I began to understand the mentality of the vegan lifestyle that had been lost on me in the past.

In the weeks following this conversation, I did a number of things. On my next trip to the supermarket, I sought out foods that were free from animal products. I’d not decided anything for definite (and a part of me assumed that, even if I did adopt a vegan lifestyle, I’d give up sooner or later), but I was curious. Passing through the various aisles with my trolley containing fruit, vegetables, corn cakes and soya milk, my mind was put into motion again. So much cheese. Milk. Chocolate. Eggs. Chicken pieces. Pepperami. Meat feast pizzas. Cakes. All packaged up and ready to eat for our convenience. All these and so much more involve animal products… and in just one supermarket. How on earth could these things be so readily available to us without entailing a streamline that disregards the welfare of the lives that either are or produce these foods?

I also started to research meat, egg and dairy production in more depth. I watched as much of the documentary “Earthlings” as I could stomach. The image of pigs being kept in disgustingly overcrowded conditions and cows being hung upside down while their throats were cut (flailing in mad panic in the process), before the film cut to the more familiar and aesthetically pleasing image of a selection of packaged meat products on a few supermarket shelves, served to reinforce my earlier assumptions. I didn’t want to turn a blind eye to the stories behind these products anymore.

Yes, the horrible accounts of animal welfare that I referenced in this time would’ve used the most gruesome material possible. However, I do feel that there is little way of knowing exactly where your food comes from, especially when you buy from a supermarket (which is, really, the only place most of us can afford to shop at). When it comes to animal products, they have the added implication of intense suffering – and in turn, your purchase of those products serves to increase demand for that suffering. It is the latest point that embodies the core reason for my decision to go vegan: in reducing demand for food and drink that includes animal products, there will be less need to supply those products. In turn, less animals will undergo intense suffering, and in needing to keep less life stock, conditions for animals bred for their milk, eggs or meat could improve greatly. I am confident that my choices entail clear goals.

I do not uphold that we should all live on plant-based diets. However, if more people could sacrifice the norms of western meals (i.e. meat dishes, with a token cheese option for the vegetarians) in their food choices, it could lead to a better world for animal welfare. Do I wish, then, to promote veganism to others? Yes, of course I do. I’d like to think that this blog entry has covered that much. I do not, however, plan on pressurising my friends verbally on the matter. What good would it do anyway? It’s got to be your own choice, I’d hate it if people blindly followed my lead (the thought is unlikely and somewhat amusing).

So, a few months on, I suppose I am a vegan now. That is, I strive to live in this world without using animal products; I am not yet there completely, and may never be. Animal products are everywhere, and in some cases, I am not able to avoid using them. Or at least, if I were to take it to that extreme, I may as well go and live in a cave in the mountains somewhere, or kill myself to remove one more life that’s sucking the resources on this Earth dry. Forgive me when I say that I won’t be doing either of those things.

Wherever an alternative is available, however, I plan to seek it. This includes many toiletries (such as shampoo, conditioner, and toothpaste), clothing (leather, wool, and silk are no no’s), and any product containing honey. Even where the animal product is a minute detail on the ingredients list, I will avoid the overall product. I actually think that, in some ways, it’s more important to boycott these foods than the more “obvious” things like cheddar cheese and standard mayonnaise. I say this because, where the ingredient is subtle, there is no pressure on the company to remove that ingredient, or investigate a more ethical source for it. For example, most wine is not vegan, or even vegetarian for that matter, which I never realised before recently. From a purely economical perspective, the wine maker may as well use the cheapest eggs available for the fermentation process; the consumer market that deliberately buys free range eggs over caged eggs will most likely be unaware that eggs were even involved in the wine’s production. There is no need for the wine maker to slap a ‘made using free range eggs’ note on the label at all; it would probably put a lot of people off, in fact.

Believe it or not, this is only a nutshell of my thoughts and feelings on the whole matter, but I think it covers the basics. There are a number of themes surrounding the questions that I’m usually asked, and most of these haven’t been covered here (with the exception of “Why?”). I shall summarise them in a list:

So, what WILL you eat?

One of the great things about veganism is that you get to discover a world of food possibilities that break the mould of your standard fish and chips. I naturally do have to prepare most of my own food now, but in doing so, I can pretty much whip up many standard meals with alternatives to meat, egg and dairy products. Quorn products are off the cards, as they contain egg, but Mrs Linda McCartney offers vegan alternatives, and I have discovered the world of Frys and Redwood foods, which are both stocked in Holland and Barrett. Redwood, in particular, offers some Gourmet chicken-style pieces that are to die for: the meatiest meat substitute there ever was. A lot of people nitpick this and say that it’s pointless to be a vegetarian and yet try to find meaty-tasting products, but if you’re abstaining for ethical reasons, you do like the taste of meat, and you’ve grown up with meat as a standard part of most meals, I don’t think that argument really stands.

Other alternatives for standard ingredients include egg-free pasta, soya milk (no, really, if you buy the unsweetened kind, it actually tastes like dairy milk), rice milk, vegan pesto, and egg-free mayonnaise. The aforementioned are all found quite easily.

The world of tofu is another that I’ve dipped into lately. It’s a great food: it offers a completely blank slate to work with, and it absorbs any flavour thrown at it. It can also be cooked in so many different ways to achieve different textures. This morning, for example, I had scrambled tofu on toast. Sounds disgusting? Well, it has the texture of egg and can be flavoured with whatever you like… and it didn’t come from a hen’s backside, either.

Sadly, eating out is somewhat challenging. But there are ways around it – restaurants are used to catering for a whole manner of dietary requirements, and are usually willing to provide what they can. Grabbing food on-the-go is near on impossible, but I just need to be organised and make food in advance. This saves money, too.

How will you get your <insert nutritional element of meat and/or dairy here>?

Many people wrongly assume that veganism isn’t healthy, and that you’re cutting out essential vitamins and minerals from your diet. Whilst it’s an understandable misassumption, this one does annoy me a bit. We’ve had it drummed into us that red meat contains iron, milk contains calcium, and egg contains protein. This does not, by any stretch of the imagination, mean that these foods are the only sources of these compounds. Calcium is found in a number of plant-based foods, including almonds, cabbage, tofu and oranges, and is supplemented in most soya milks for good measure anyway. Iron is found in beans and lentils, chickpeas, soybeans, and flaxseed. Protein is found in anything living, but is especially prominent in plant-based milks, tofu, rice, nuts, seed, and whole grains.

Funnily enough, the two trickiest components to acquire from natural plant-based sources are rarely brought up in normal conversation. These include vitamins D and B12, which would normally be found in abundance in the foods that I’m electing to cut out. Vitamin D is, of course, acquired from sunlight via the skin anyway – something that, I’m told, is easier for me because I am about as pasty as they come before hitting ginger territory. Vitamin B12 is found in nutritional yeast flakes. And, low and behold, they are both added to most soya milks anyway.

Vegans do, on average, live longer than non-vegans, but that’s probably more to do with the fact that they plan their diets more thoroughly.

Won’t you miss <cheese/cakes/smoked salmon/whatever>?

Every now and then, I get a craving for something that I can’t have. But what I miss the most, I think, is convenience. Yeah, a quarter pounder with cheese would be delicious right now, but mainly because I could grab it quickly from a fast food outlet in passing. If I were to head home first, get the Frys veggie burgers out of the freezer, cook them, and add some dairy-free cheese alternative to the top before serving, I’ve almost got the real deal anyway – it’s just not nearly as greasy!

I’ve also (unintentionally) conditioned myself to associate animal products with an image of what may have gone on to get that food to where it is, be it on a plate or on the shelf. Earthlings will do that to you – and it’s significantly less appetising after that notion.

What about free range products/local produce?

When it comes to supermarket foods, I’m sceptical about what “free range” means. Regarding chickens, for example, “free range” does not automatically mean “well kept.” They often have their beaks cut to stop them pecking one another, as the conditions can still be overcrowded. With eggs, “free range” only guarantees that the hen was “free range” at the time that the egg was laid. What will happen to the chicken when its “egg-laying days” are over (at approximately 2 years old, well below the expected natural lifespan of a hen)? It could easily then be kept in the same old harsh conditions to later be killed for meat. You just can’t know, which relates to the first couple of paragraphs in this article – the inseparable link between meat produce and dairy/egg produce.

Regarding locally produced eggs, where you may see for yourself that the hens are kept in good conditions by the lady down the road, I may be tempted at a later point. I also may choose to keep hens myself one day – not for their produce, but because I think they’re lovely pets. Hens do lay eggs on a regular basis, with or without a cockerel present. It’s almost like helping yourself to a natural bi-product – they would not be used for anything otherwise.

There are, however, still counter-arguments. From having kept chickens before, I am aware that they uphold some concept of what an egg is. After all, they lay several in the same place before sitting on them. I remember when one of them laid her first egg, and she spent ages trying to cover it up with straw. You could therefore argue that we don’t have a “right” to their eggs. I don’t uphold this one firmly, however, as they don’t seem to show distress when you take the eggs away. I also don’t like projecting human emotions onto animals, because it’s clear that they see the world differently to us.

There’s also the point that the African Jungle Fowl, from which our domestic chickens descend, lay half the eggs in a year that domestic hens do. This is because the latter has been bred extensively to lay as often as it does – not a particularly fair outcome, considering that laying an egg certainly looks uncomfortable at best. It’s a similar case with wool – domestic sheep only need to be sheered because they’ve been bred to grow their coats to that alarming an extent. In the wild, they would malt like other furry or feathery creatures.

Do I offend you if I still choose to consume animal products?

Not at all, as long as you respect my choices. That’s not to say that I want you to go out of your way for me – I will always be happy to provide my own food, either before or during social gatherings. Restaurant choices are easy – we’ll just go to Pizza Express, and I’ll order my cheeseless vegetarian pizza!

 

So, now you know. I may update and add to this article at later points as I see fit.

UltraStar: Creating a Song List

Posted in UltraStar on September 6, 2011 by kokairu

Wow, it’s been a while since I got around to doing more UltraStar guides. There are only a few things left to cover: acquiring cover art for songs quickly and easily, song creation, and creating a song list. As you can see from the title, I am going with the latter today; in my experience, it can be an incredibly useful to have a printed list of songs when playing UltraStar with your friends. What’s more, there is one invaluable tool that makes it very easy for you: UltraStar Manager, which I mentioned briefly in an earlier post, is good for many things, such as Playlist creation and .txt file organisation. It is available to download on the link below:

http://sourceforge.net/projects/uman/files/uman/1.8.x/uman-1.8.0-win32-setup.exe/download

To get started, download and install this tool if you haven’t already. You should then specify the various directories that it requests on its first start up: the main UltraStar folder (usually C:\Program Files\UltraStar Deluxe by default), the playlist directory (usually C:\Program Files\UltraStar Deluxe\Playlists by default), and the song directory (usually C:\Program Files\UltraStar Deluxe\Songs by default). Depending on how many songs you have, it may then take a while to load up.

Once this is done, you will see a list of your songs arranged by folder. The best thing to do with this program is to play around with it, though be warned: there are a few options that will edit all of your songs automatically, such as correcting the capitalisation of the song titles.

To get started on the Song List, click on the ‘Extras’ tab and then the far left option, ‘Create Report.’

You should then select all of the fields that you want included in your Song List: ‘Artist’ and ‘Title’ are a given and pretty much the only ones you’ll need, but it’s up to you if you want to include something extra, such as ‘Edition’ (to help identify songs that have been taken from SingStar) or ‘Video file exists?’ (if having a background video might be important to you or other players). Do remember, though, that this list will most likely be printed off on a portrait orientation, and it therefore might not be viable to have too many fields.

Once you’re happy with the selection of fields, there are two options to click on. For those that want to get the job done quickly, click on ‘HTML Report.’ For those that are more perfectionist, and have Microsoft Access installed on their PC, go with ‘Text Report.’

For those that went with HTML Report, choose a place you want to save it, and the file will open, listing all of your songs. There you go. Just need to print that off now. The main disadvantage here, though, is that there’s no ‘fine tuning’ what’s been produced – you can’t add or remove songs from that list manually, nor can you apply the tricks that you will see with the other option below. But, as I say, it’s cheap and cheerful, and it serves its purpose.

The other option, then, is to click on ‘Text Report’ instead. Choose a place to save it, then click ‘save.’ In its current form, it may seem pretty useless, but rest assured that file contains everything it needs for the likes of Excel and Access to understand it. Some of you may be familiar with fixed width .txt files; in which case, you can skip some of the next few steps.

First of all, close UltraStar Manager and open Microsoft Access. My screen shots are from Office 2010, though hopefully they will help with an older version even if the two methods vary slightly.

Once you’ve opened Microsoft Access, create a new database and then click on the tab ‘External Data.’ After this, click on the ‘Text file’ option as demonstrated below:

In the pop up box, specify the text file that you want to import (the one that you saved using UltraStar Manager), leave the first option selected, and then click ‘next.’

On the next screen, leave ‘fixed width’ selected, and then click ‘next’ again.

The next part is a little bit fiddly, but it’s not too hard to get your head around. Access is now giving you the option of selecting where each column stops and starts (you can simply click where you want the columns to separate). There’s a lot of stuff there that you don’t need, though – the best thing is to isolate those bits into separate columns and make sure that ‘Artist’ and ‘Title’ only have the relevant text in them. This can be achieved by clicking just before the text for ‘Artist’ starts, and right before the ‘|’ part starts, as demonstrated below. Do the same for ‘title’, and remember to scroll right the way along to the side to cut off the ‘|’ part on the far right, as demonstrated in the second image.

You also have some dud rows here, but that can be sorted out at a later point. When you’re happy that you’ve successfully separated the columns (though if you do it wrong, you can go back and try again), click ‘next.’

The next screen gives you the option of naming the columns. As only two of these interest us, make sure that Field2 is named ‘Artist’ and Field4 is named ‘Title.’ This can be achieved by physically clicking on the respective columns and labelling them in the ‘Field Name’ box.

On the next screen, select ‘No primary key’ and then click ‘next.’

Change the name of your report if you wish, and then click ‘Finish’ followed by ‘Close.’

As you will see when you go to open the newly created table (found on the left hand side of the screen), the format is a little bit of a mess, but it’s starting to look more like a proper list:

The next step is to open the table’s design view, by right clicking on the table as below:

You then just need to click on the irrelevant fields (i.e. those not titled) by right clicking on the appropriate rows and selecting ‘delete.’ You should just be left with the following:

Double click on the table on the left hand side to view the table normally (save changes when prompted), and it should look something like this:

Much better now! Just need to sort out those bothersome rows at the top. Easily done – simply select them both, right click, and select ‘Delete Record.’

We’re done with Microsoft Access now. You just need to select all the records in the table by clicking on the square in the top left hand side (to the left of the ‘Artist’ tile), and then right click on any record and select ‘copy.’ You should then open Microsoft Excel and paste the records into the new spreadsheet. Rearrange the columns in a manner that fits across a sheet of A4 paper with a portrait orientation.

As it’s your songbook, there are several different ways in which you might want to order your song list. I’ve noticed when I’ve been to karaoke nights that song books are traditionally printed arranged by the title of the song, rather than the artist. To arrange this, select column B, go to the ‘data’ tab, and click on the A-Z icon. Make sure you select ‘expand the selection’ on the next screen.

For the rest of this example, however, I will be showing screenshots sorted ascending by artist (the default setting), as that’s my preferred way of doing it. When sorting it this way, however, there is a little trick for counteracting the “The” problem, i.e. band names that start with the word “The,” such as The Beatles or The Cardigans. I for one am used to my iPod automatically disregarding this word, making finding the artist I want much simpler. We can have it this way, too – it requires sticking a formula in column C. Select cell C2 and paste the following mumbo-jumbo into it:

=IF(LEFT(A2,3)=”The”,MID(A2,5,20),A2)

Then copy this formula down to the bottom (hovering over the bottom right hand side of the icon until a little ‘+’ appears, and then double clicking, is the fastest way to do this).

This will return the same value as that in column A, except if the first word is “The,” in which case, it will simply return the remainder of the Artist name, e.g. “Beatles” or “Cardigans.” We can then order the list by column C in a similar way as described above. Once you’ve done this, you can delete the details in this column as they’re no longer required.

The next step is to make sure that the column headings are reprinted on each page for easy viewing. To do this, click on the page layout tab, and then click ‘Print Titles.’

In the ‘rows to repeat at top’ box, enter $1:$1, or select row 1 manually.

The next step is optional, depending on whether you would like to have file dividers in your song book or not, as in the picture below:

You will need to set realistic page breaks wherever you want the text to separate, e.g. between A and B, C and D, S and T-Z, etc. This can be achieved by clicking on the ‘View’ tab, and then selecting ‘Page break preview.’ You then just need to drag the markers until it separates the rows appropriately.

You may now want to double check through the print preview that everything fits nicely across a portrait page of A4.

I think that’s just about everything – make sure you get permission from whoever pays the printer ink bills before printing this beast off!

Here’s one I made earlier:

UltraStar: An Alternative Guide

Posted in UltraStar on July 19, 2011 by kokairu

I uncovered this website the other day via USDB and thought that some readers may find it a useful alternative to my guide – Chriso has written an entire PDF, and has covered things I haven’t managed to get around to yet. It also seems to be phrased very nicely:

http://test.chrisonline.biz/?page_id=910

The Simpsons on Reflection Part V: Seasons 3-5

Posted in The Simpsons on April 5, 2011 by kokairu

Apologies for the lack of updates lately! It’s been a fair while!

So, the entry that is long overdue on this blog is the next update on my Simpsons marathon. This is still going ahead and I am still very much enjoying it – I just have very little to review about the latest seasons in the run (3, 4, & 5) other than just how brilliant they are. Moreover, series 3 has been shown a lot over the past year or so on Channel 4, and series 4 makes it into my regular rotation anyway, so I have already observed the jokes from a more adult perspective.

For many people, Season 3 is where “The Simpsons” really begins. I disagree – I think Season 1 is more than worth a watch (even if it’s not truly established itself yet), and the show is more than recognisable somewhere in the middle of Season 2. Still, it contains no bad episodes (Season 2 did have a couple of weaker editions) at all, and as a result, it marks the beginning of the golden age. I really do think Season 4 will always be my favourite, though. The show began to use its supportive cast more, and to great effect, without merely assuming that a simple catch phrase would suffice for humour. Marge vs The Monorail remains a firm favourite of mine, though it only just avoids being outclassed by Last Exit to Springfield. The latter just hits the jokes so hard and fast, you need to pause it to get your breath back. Burns’s mistaking of Homer as a clever and dynamic new head of the union is superb use of dramatic irony, and it doesn’t just end with Homer being found out and making a mockery of himself – a route that most sitcoms would opt for – Burns realises that he was mistaken all too late, with Homer doing his… what would you call it? A “celebratory, vocal floor dance?”

“The Front” is another that stood out to me like never before – maybe, because of the Godawful Oscars episode that I watched only shortly afterwards – but the writers did exercise their talents so well in their comfort zone, i.e. writing about writing cartoons. Some of the best jokes in this one went over my head when I was younger; “… actually, I did my thesis in life experience…” Perfect on so many levels.

Season 5, after several years’ absence from my regular rotation, is a little more unusual. Sadly, this is the first time where I start to worry about the quality of the programme: there are some bland episodes, such as Bart Gets an Elephant, Homer and Apu, and Bart Get Famous (ironically, the most entertaining part of this episode is the Box Factory). With the latter especially, I may be losing marks for context again. Perhaps, at the time, the episode was successfully poking fun at the show’s excessive notoriety, and Krusty’s ridiculous attempts to cash in on Bart’s 5 minutes of fame may have been funnier at the time. But such parodies have been done-to-death in the many years since that episode aired, and I couldn’t look beyond that fact. I also noticed that the jokes just don’t come as thick and fast as this season’s predecessors. There are longer pauses between interactions and obvious time killing segments (Sideshow Bob’s rakes notwithstanding…).

It’s not a massive deal, really – we can give the show a break, I’d never say that it was truly on the decline at this stage – but in light of later episodes, it just couldn’t escape my attention. In a similar vein, Homer’s slightly more inane antics were probably passable at the time (as a 13-year-old I’dve said so, anyway), but it feels necessary to mention that we may already be seeing traces of his Jerkass ways. He’s still the same bumbling, well-intended father, but his antics are less down-to-earth and more obnoxious in parts. His tone is becoming a little louder, and I started to see him as Grimey may have done. The examples are small, mainly revolving around his elevated tone and volume, but the best example I can recollect is his hysterical laughter in Treehouse of Horror IV, in regard to the portrait of dogs playing poker. It pains me to critique the golden age in this way, but my retrospective view of it can’t be undone. On a more positive note, I paid special attention to the animation in Season 5 after reading a very interesting article on Dead Homer Society about its imaginative use in ‘Homer Goes to College.’ Parts of it are very wacky, but in a very good way – it’s deliberate, unlike the very early animation style. The Simpsons is a cartoon, so why not make the most of it? I found it very mesmerising and, in places, a perfect asset to the visual humour.

I’m going to have so much more to say about the later episodes, but how long will I last before I crack?

UltraStar: .Txt Files in More Depth

Posted in UltraStar on January 27, 2011 by kokairu

By now I think I’ve covered the main ins and outs of UltraStar, so guides from hereon are more likely to be bonus materials.

Whilst I’ve talked about the primary aspects of .txt files, it may be of interest to some people to understand exactly what the finer details of the files mean. They’re actually very straightforward files and aren’t difficult to get your head round. This is one of the many things that make the game work; I guess it encourages people to create songs for the game. Sadly, I won’t be able to produce an extensive guide on how to do this. I’ve made a handful of .txt files using the MIDI conversion tool within UltraStar itself, and I will talk about this at some point. However, this method does have its flaws and I think it is falling out of popularity with the more ‘professional’ song makers out there.

So, as I’ve mentioned before, each song file starts with a series of #tags. Those highlighted in red are necessary for gameplay. Those highlighted in green are not necessary.

#TITLE: Title of the song
#ARTIST: Artist behind the song
#MP3: The name of the MP3 being used for this song. Must have a .mp3 extension included here
#GAP: The amount of time, in milliseconds, before the lyrics start. This allows for any instrumental (or other type of) introduction to the song. It is important to note the number of the first note below. If it is not 0 (which is rare) then the #GAP will be less straightforward. If the lyrics aren’t set to start until 8 beats into the song, but the singing starts straight away, then the #GAP may need to be set to a negative number, to force the lyrics to start early.
#BPM: Beats per minute. This signifies the rate at which the text should display. Put simply, fast songs have a higher BPM, slow songs have a lower BPM. To complicate it slightly, the BPM can be upped for slower songs as long as more beats are added in the main body of the song below. If the BPM of a song is high then it generally means a good, smooth .txt file with more attention to subtle changes in tone. But if that means nothing to you, then you don’t need to worry about this tag. If it is a good .txt file, then it won’t need changing.
#GENRE: The genre of the song. As UltraStar has a ‘sort by genre’ option, it’s a useful tag to use. That, and the search option uses the word(s) in the #GENRE tag when you’re on the song selection screen, so you can automatically find all ‘rock’ songs, for example, if you use this tag.
#EDITION: Typically refers to the SingStar edition, if applicable, that the .txt file is taken from. For organisational purposes, it’s good to leave this tag in.
#COVER: Typically the single/album art appropriate for the song, to be displayed on the song selection screen. This is not necessary but it does brighten up the look of the game (and makes certain songs identifiable when not selected). This must be in .jpg format and the .jpg extension must be displayed here.
#VIDEO: The name of the video file used for this song. Must have the file extension included out of the many types of video file that UltraStar accepts.
#BACKGROUND: If you don’t have a video file, then you may prefer to have a background image displayed instead of a plain background or visualization. This must be in .jpg format and should have the .jpg extension attached. If the song is set to have a #VIDEO file and is linked in properly, then this tag is disregarded. If the .txt is set to have a #VIDEO but the video is not linked in properly for whatever reason, then the game will automatically display the background image.
#RELATIVE: This is an unusual tag that I will talk about later. It is simply set to YES or NO. If it is set to YES, then it specifies a particular format of .txt file that functions in a different way to a typical .txt file. If the tag is absent, or is set to NO, then the .txt file functions as the others do. It is essential for this tag to be applied on a relative .txt file (these are rare. If you find one on USDB then the tag will be readily applied anyway).

When the tags finish, then the main data for displaying the lyrics and notes, at the appropriate times and for the appropriate lengths of time, begins. That is, unless the song is a duet song, which I touched on briefly in my last entry. If it is a duet, then the file should start with P1, with P2 appearing somewhere in the middle.

As you will see, the .txt is sort of divided into 5 columns from hereon, with spaces separating each one. Take the first line of the .txt below, for example. The first column is :, the second is 0, the third is 2, the fourth is 12, and the fifth is Tee. Each row of .txt applies to a different syllable or note. Multiple syllables should not be included on the same line; in the example below, “Teenage” takes up two separate lines. The exception to the rule is when the note is a freestyle one, because no points are available then anyway.

Sometimes people do add more than one syllable to a line, but it technically shouldn’t be done and means that the .txt is imperfect. It’s not really possible to sing two syllables without breaking up the note. There are some exceptions, though, as you’ll see below: where it reads ‘family’ below, it is set to 2 syllables, rather than 3. This is because Mika sings ‘fam-lee,’ rather than ‘fam-il-ee.’

: 0 2 12 Tee
: 2 2 12 nage
: 6 6 12 dreams
- 12
: 12 2 9 in
: 14 2 7 a
: 16 3 12 tee
: 20 3 12 nage
: 24 4 16 cir
: 28 3 14 cus
- 32
: 32 2 16 Run
: 34 1 16 ning
: 36 2 16 a
: 38 4 17 round
- 42
: 42 2 16 like
: 44 2 14 ~
: 46 2 12 a
: 48 2 12 clown
: 50 2 14 ~
: 52 4 16 on
: 56 3 11 pur
: 60 3 12 pose
- 64
: 64 1 12 Who
: 66 2 12 gives
: 68 2 9 a
: 70 4 12 damn
- 74
: 74 2 9 a
: 76 2 12 bout
: 78 2 9 the
: 80 1 12 fa
: 82 1 12 mily
: 84 4 12 you
: 88 4 16 come
: 92 3 14 from?
- 96
: 96 1 16 No
: 98 2 16 gi
: 100 2 16 ving
: 102 4 17 up
- 106
: 106 2 16 when
: 108 2 14 you’re
: 110 1 12 ~
: 112 2 12 young
: 114 2 14 and
: 116 4 16 you
: 120 4 11 want
: 124 3 12 some

 

The first column

This can be one of 4 things: :, *, F, or -. Here’s a rundown of what they mean…

: Regular note
* Golden note
F Freestyle syllable
- Line break (separates lyrics into suitable lines).
Line breaks are different to other types of row, in that they consist of a hyphen ( – ) and either one or two numbers. If it contains one number, it determines the beat at which the previous line will disappear. For example, in the first line of the song above, the ‘Teenage dreams’ line disappears as soon as it’s been sung, on beat 12. If the line break contains 2 numbers, the first number determines when the first line disappears, and the second determines when the next line will appear. There is no example of this type of line above, as it’s a fast moving song with no proper breaks from singing – line breaks containing two numbers are generally for songs with a large instrumental break in them. Two numbers aren’t at all necessary, however, as the game automatically puts the next line up when it is approaching – it’s only if you want to control when it happens that you need to worry about the ‘second’ number.

So, effectively, the first column states the nature of the note, or if it’s a line break. It’s pretty straightforward.

The second column

This specifies the number of beats into the song at which point this syllable appears. The higher the BPM, the sooner the beat will appear. This isn’t something you can really adjust without an image representation of the notes, but it’s the way that the game understands it.

The third column

This states the number of beats that the note goes on for. The longer the note, the larger the number. Technically, the length of the note in question should finish before the next beat starts. ‘Tee,’ for example, in the first line of the example, goes on for exactly 2 beats, and the ‘nage’ syllable picks up on beat 2, immediately after ‘Tee’ finishes. If they overlap, then scoring full points for the song is rendered impossible, as you can’t sing 2 notes at the same time, even if they only overlap fleetingly.

The fourth column

This contains a number code for the pitch of the syllable. Unfortunately, I don’t have a list of which numbers correspond to which notes, though I believe that ‘0’ is C1, so I guess you work either up or down from there (negative numbers are accepted).

The fifth column

Contains the text to be sung at that very syllable. As I’ve touched on, this should specifically refer to one portion of text for any words that are over 1 syllable long. In many cases, singers extend the syllable that they sing to show off their vocal range, and as you may have noticed, the standard format to represent this is to use ‘~’ to show that you are extending the syllable to a different pitch. In the example above, ‘you’re’ would normally be a single syllable, but Mika sings that first part and drops his voice slightly towards the end, so it will read as ‘you’re~’ on the game itself.

One of the most important things to bear in mind with this column is that UltraStar will automatically join the words together. You therefore need to include spaces at the end of each word, but do not include spaces for syllables in the beginning or middle of a word.

So, in the first example, if no spaces were included after each word, the song would read like this in-game:

Teenagedreams
Inateenagecircus
Runningaround
Like~aclown~onpurpose

If you copy and paste the text in the first example, you will see that spaces appear at the appropriate points to stop this from happening, such as after ‘age,’ and ‘ing.’ Spaces are not necessary just before line breaks, but you can still use them.

Conversely, if you put a space after every syllable, it would read like this:

Tee nage dreams
In a tee nage cir cus
Run ning a round
Like ~ a clown ~ on pur pose
Perhaps this error isn’t quite as bad as the first one, but it should still be avoided as it looks… stupid. Remember only to include spaces at the end of a word, not at the end of a syllable.

Finally, it is very important to include ‘E’ at the end of the song, to tell the game when it finishes, or it will not work:

: 1602 2 12 We
: 1605 2 12 are
: 1608 2 12 not
- 1611
: 1611 2 12 what
: 1614 3 12 you
: 1618 2 12 think
: 1621 2 12 we
: 1624 3 12 are
- 1628
: 1628 1 12 We
: 1630 2 12 are
* 1632 5 12 gol
* 1638 3 12 den
- 1642
: 1642 2 12 We
: 1645 2 12 are
* 1648 5 12 gol
* 1654 9 12 den
E

Do not include anything after the E, such as an extra line break, or the song may crash the game. Also, avoid putting a line break just before the E – this can confuse the game, too.

Relative .txt Files

As I mentioned earlier, .txt files with a #RELATIVE:YES tag included are of a different nature to normal .txt files. To be perfectly honest, I hate them. If they contain errors, they’re difficult to track down and fix. However, given how different they are to normal ones, it wouldn’t be as extensive a guide if I overlooked them.

#ARTIST:Beyonce
#TITLE:Crazy In Love
#MP3:Beyonce – Crazy In Love.mp3
#BPM:198,4
#GAP:15500
#VIDEO:Beyonce feat. Jay-Z – Crazy In Love [VD#0,0].mpg
#RELATIVE:YES
: 0 2 62 Uh
: 4 4 57 oh
: 8 2 62 uh
: 12 3 57 oh
- 15 16
: 0 2 62 Uh
: 2 2 57 oh
: 6 2 57 oh
: 8 2 58 no
: 10 2 57 no
- 14 16
: 0 2 62 Uh
: 4 4 57 oh
: 8 2 62 uh
: 12 3 57 oh
- 15 16
: 0 2 62 Uh
: 2 2 57 oh
: 6 2 57 oh
: 8 2 58 no
: 10 2 57 no

As you’ll see, each line in the song counts from 0, rather from the very start of the song. These types of files are fewer and far between now, but there are still odds ones that you may come across.

I think I’ve covered the various aspects of .txt files now – most of it, of course, you’ll never have to understand, though it may be useful to know a little more about them for troubleshooting purposes, and if you fancy making your own songs, this will serve as a good starting point. Like I said, I can’t help much there, but I will do an entry soon sharing what I do know about song creation that may help to get you going.

Glee was good, then it went shit

Posted in TV with tags on January 11, 2011 by kokairu

I think Glee is often seen as a Marmite programme. As someone who very much enjoyed it when it was first aired on E4 this time last year, I think I’ve been lumbered with the label as a lover of the show. You could be forgiven for thinking that, since I obsessively watched those first 13 episodes and listened to the soundtrack non-stop. It was so fresh and inviting, amusing, had a clear idea of where it wanted to go, and I never found it predictable. It did a wonderful job of parodying the clichés of after-school specials whilst rarely falling into the same trap. The episodes were all well themed and the storylines taking place all inter-weaved at the right points. I didn’t continue to watch at E4 pace – I was so hooked, I downloaded the remaining episodes.

As you can well imagine, I was excited about the continuation of series 1 (episodes 14-26). The first two episodes were quite promising. Suddenly, a lot of new storylines sprung up out of nowhere, but in my opinion, they were necessary. So many things had been wrapped up in episode 13, on the basis that the series may not have been renewed and so needed a suitable ‘finishing place’ should the worst happen: Will and Emma finally embraced their feelings for one another, Finn found out he wasn’t the father of Quinn’s baby, Rachel and Finn were in the position to pursue a relationship, Sue was suspended for all of her misdeeds, Will found out that his wife was not pregnant after all, and New Directions came first place in Sectionals. Thus, the series needed to unleash some new ideas to continue – the only ongoing one being Quinn’s pregnancy. To me, it didn’t really matter if the storylines were launched quickly… as long as they continued at a smooth pace afterwards. In episode 14, Rachel and Finn were together, then they weren’t, then Rachel started up a romance with that lad from Vocal Adrenaline (and was heavily criticised by fellow Glee Club members for doing so), Will and Emma tried and failed at a relationship, Will canoodled with the coach from Vocal Adrenaline, and Sue was reinstated after blackmailing the principal. It was a lot to take in, but they needed something to work with.

The Madonna episode followed, and I was still hooked. I don’t like Madonna much, but the performances were some of the best of the series, and though the ‘artist-themed’ episodes would quickly become tiresome, it wasn’t a bad idea as a one-off. Everything followed on nicely from the 14th episode, though it wasn’t without its problems. As much as Glee gets away with unexpected twists, I couldn’t help but feel that it was getting to the stage of less trope subversion and more in the way of last minute, half-arsed, convenient changes to the story. Jesse moved schools very suddenly, Artie is a dick to Tina for no reason, Emma quickly decided she should sleep with Will despite being deeply afraid in the last episode, Finn lost his virginity to Santana for no reason, and Rachel’s build-up to losing hers came from out of nowhere and wasn’t picked up since. Primarily, the fact that Sue was obsessed with Madonna made little sense given her usual prudish attitude, and paved the way for the programme’s later habit of changing any given character’s personality to suit whatever ridiculous storyline was being cooked up.

At episode 16, it was near impossible to ignore the cracks that had started to appear in the show’s format. The Kurt/Finn storyline was decent, but it launched from out of nowhere. The Mercedes storyline was one massive cliché that definitely would not have been seen in its initial run of 13 episodes. Her line at the beginning of the episode is a perfect two fingers up to this sort of plotline: when Kurt assures her that she shouldn’t feel embarrassed about her body, she confidently says that she is just afraid of ‘showing too much flesh and causing a sex riot.’ But after saying that, the story slumps to the age-old plot about female body issues. Quinn has her first foreground moment of the second run of episodes so far (despite being featured prominently before), and she patronises the fuck out of Mercedes by highlighting the idea that someone that big needs to be told they’re beautiful. And the episode actually ends with Mercedes singing ‘Beautiful’ in front of the entire school… no comment.

Episode 17, ‘Bad Reputation,’ for me, showed how the programme was using the right tools from the first run of episodes and implementing them badly. Yes, the episode was given a theme under which all its storylines would fall, but it felt very forced. At the end of the episode, they attempt to make it believable that Will’s sudden reputation as a man-whore is somehow on a par with becoming pregnant as a young and frightened schoolgirl. This is supposed to be a heart-warming and touching moment within the pair, but it’s a truly terrible idea. What’s more, their use of Sue as a convenient plot device to get Emma to find out about Will’s flings with Shelby and April is just plain lazy writing. She just happens to know about it, and they don’t need to explain why or how except vaguely suggest that she’s obsessively spying on him. The show tries to pass this off as quirky and humorous rather than dragging out the secrecy of Will’s misdeeds, which is fine, but I can’t help but feel like there was very little planning taking place to sustain a decent plotline across the 13 later episodes. It felt made up as it went along: Rachel is suddenly upset about not having a mother, her mother is revealed (‘Dream On’ is the single worst episode of Glee in my opinion), Rachel and her mother are united and then go her separate ways in two consecutive episodes. Jesse suddenly turns on Rachel and goes back to Vocal Adrenaline for no reason. Quinn’s pregnancy is shoved into the background, despite everything from her financial difficulties to her parents’ reaction playing a massive part in the first run of episodes; we are only offhandedly told where she is even residing.

The season finale was admittedly rather good; I particularly liked the mashed-up Bohemian Rhapsody/birth scene. The fact that Sue voted for New Directions was a nice twist without being completely unbelievable (they’d actually given her a motive to do so), plus the fact that the group actually placed last was very unexpected. It was just the means to which it got there that bothered me. Fine, we needed to include a bit of Shelby’s back story to have it make sense that she would end up adopting Quinn’s baby, but we’ve still not seen enough of her to care that much. Quinn’s background status made the birth feel very unimportant. All in all, I felt like I’d had to invest more in watching the show (cringing, frustration, etc) than I actually got out of it.

I watched two episodes of season 2 and, after seeing no sign of improvement, officially bowed out. The same problems were reinstated in the first episode: far too much was going on and the story and characters leapt about at their own convenience. Then came the God awful Britney episode, and I’d seen enough. From the overexcited, understated yet amusing reaction to the ‘Push it’ assembly performance in series 1, the audience got into an actual sex riot over a simple performance of Toxic. It was absolutely dire, and the majority of the songs were just video re-enactments. Lazy, lazy, lazy.

So what went wrong? I think the show’s popularity was its own downfall. After the first 13 episodes, the things that went down well and the things that didn’t go down well had been vividly highlighted. Sue Sylvester was the star, and upping the character’s screen time did her no favours. The more obsessed she seemed with bringing Glee Club down, the less she was perceived as powerful and vindictive, and by the end of it, just plain pathetic. The songs were a very big part of Glee originally, but they had previously been used sparingly. Naturally, they were popular, and so more were crammed into the episodes when they just weren’t needed. Characters that were previously background material yet provided some great quirks here and there were brought to the foreground: Brittany, I’m looking in your direction.

Given the above (long) rant, I’m never really sure whether to stick up for Glee or not. I do believe that many people who criticise it have never really watched it properly: saying that it’s High School Musical in TV form, for example. But based on the majority of the episodes, I can’t say with any confidence that I think it is a good show. I am, quite simply, disappointed that it had to go downhill so quickly when it could’ve been so easily avoided. I just feel no need to make the effort to watch a programme that is putting in no effort to entertain me.

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