dropbeat dev log @dropbeat-log - Tumblr Blog

这里是so_music01.dat\sound_list.csv,已经把出现的几个日文字符翻译为英文了： XPz SoundList,Ver1.0,,,,,,

[BPM],122,,,,,, [RHYTHM],4,4,BeatsPerMeasure : GridsPerBeat,,,, [MEASURE],2,,,,,,

SE Data,filename,priority,bread,Volume,Exclude,,command [SE_01],m01_o_01.vag,0,0,0,,,LR [SE_02],none,0,0,0,,,Down [SE_03],m01_o_06.vag,0,0,0,,,L-Rot [SE_04],m01_o_05.vag,0,0,0,,,R-Rot [SE_05],m01_o_04.vag,0,0,0,,,On [SE_06],m01_o_07.vag,0,0,0,,,Dash [SE_07],m01_o_03.vag,17,0,0,,,fall1 [SE_08],m01_o_08.vag,18,0,0,,,fall2 [SE_09],m01_o_09.vag,19,0,0,,,fall3 [SE_10],m01_o_10_2.vag,20,0,0,,,fall4 [SE_11],none,0,0,0,,,fall5 [SE_12],none,0,0,0,,,lvup [SE_13],m01_o_11_2.vag,0,0,0,,,bonus [SE_14],m01_o_12.vag,16,0,0,,,dec_1 [SE_15],m01_o_14.vag,15,0,0,,,dec_2 [SE_16],none,14,0,0,,,dec_st [SE_17],m01_blk_delete.vag,13,0,0,,,dec_lp [SE_18],none,21,0,0,,,rap

Track Data,filename,小节数,loop,bread,Volume,command, [TR_01],m01_01.vag,2,0,0,0,, [TR_02],m01_02.vag,1,2,s,0,, [TR_03],m01_03.vag,1,2,0,0,, [TR_04],m01_04.vag,1,2,s,0,, [TR_05],m01_05.vag,1,2,s,0 [TR_06],m01_06.vag,1,2,s,0 [TR_07],m01_07.vag,1,2,0,0 [TR_08],m01_08.vag,1,2,s,0 [TR_09],m01_09.vag,1,2,s,0 [TR_10],m01_10.vag,1,2,s,0 [TR_11],m01_11.vag,1,2,s,0 [TR_12],m01_12.vag,1,2,s,0 [TR_13],m01_13.vag,1,2,s,0 [TR_14],m01_14.vag,1,2,0,0 [TR_15],m01_15.vag,1,2,s,0 [TR_16],m01_16.vag,1,2,s,0 [TR_17],m01_17.vag,1,2,0,0 [TR_18],none,1,2,0,0

Seq Data,Playback Track index,,,, [SEQ_01],1,,,,,<back:255:130:130:110>,<eff_on:spec:40:0:0:0:0>,<eff_on:ab> [SEQ_02],1,13,,,,<back:255:130:145:150>,, [SEQ_03],1,13,5,,,<back:255:130:160:140>,, [SEQ_04],1,2,5,4,,<back:255:120:130:160>,, [SEQ_05],1,2,5,4,7,,, [SEQ_06],1,8,4,,,<back:255:130:130:140>,, [SEQ_07],1,8,4,5,9,<back:255:120:130:140>,, [SEQ_08],1,11,4,5,12,<back:255:110:130:110>,, [SEQ_09],1,11,4,12,,,, [SEQ_10],13,,,,,<back:255:80:80:60>,, [SEQ_11],5,7,8,,,<back:255:130:130:130>,, [SEQ_12],5,7,8,6,,,, [SEQ_13],5,7,8,6,14,,, [SEQ_14],8,,,,,<back:255:80:80:60>,, [SEQ_15],1,2,4,5,8,<back:255:110:110:910>,, [SEQ_16],1,2,14,5,8,,, [SEQ_17],1,17,,,,<back:255:80:80:60> [SEQ_18],1,5,2,4,17,<back:255:140:140:160> [SEQ_19],1,5,7,4,17, [SEQ_20],1,13,,,,<back:255:80:80:60> [SEQ_21],1,15,16,,,<back:255:130:150:160> [SEQ_22],1,15,16,11,, [SEQ_23],1,6,,,,<back:255:100:100:80> [SEQ_24],1,6,16,11,13, [SEQ_25],1,5,6,3,11, [SEQ_26],1,3,,,,<back:255:100:100:80> [SEQ_27],1,2,4,3,, [SEQ_28],1,2,3,5,7, [SEQ_29],1,2,13,5,7, [SEQ_30],4,4,,,,<back:255:100:100:80> [SEQ_31],4,2,,,,<back:255:100:80:100> [SEQ_32],4,2,14,,,<back:255:160:160:160> [SEQ_33],4,14,,,,<back:255:80:100:100> [SEQ_34],4,2,5,,,<back:255:150:150:150> [SEQ_35],4,2,5,7,,<back:255:60:20:30> [SEQ_36],1,18,,,, [SEQ_37],1,5,6,7,,<back:255:140:160:110> [SEQ_38],1,6,7,8,, [SEQ_39],1,8,15,16,, [SEQ_40],1,4,,,,<back:255:100:100:80> [SEQ_41],1,4,16,17,,<back:255:140:160:110> [SEQ_42],1,4,,,, [SEQ_43],4,2,,8,17, [SEQ_44],4,5,2,17,9, [SEQ_45] ,4,5,2,17,12, [SEQ_46],4,16,,,,<back:255:100:80:100> [SEQ_47],4,3,16,9,17, [SEQ_48],4,3,16,9,, [SEQ_49],4,9,,, [SEQ_50],4,3,5,9,10

1) Music as the primary game mechanic 2) Rich story to motivate game progression 3) Unique interface to take advantage of the hardware.

A little bit of musical theory. Music is created around iterations of "Tension" and "Release." Tension is dissonance. It doesn't sound good. Release is harmony, it naturally sounds good and feels good. It's not stressful. So the sounds that are chosen from the 12 notes in Western music can either create dissonance or harmony.

Harmony, scientifically, what does that mean? non-scientifically, it's pleasing to the ear. What is that mathematically? There's a Golden Ratio, 5:4:3, which makes this all work. If you pick any note from these 12, then count four notes away, then count three notes away, you'll get something that's naturally pleasing.

Breaking the golden balance is not always a bad thing. If dissonance is followed by consonant harmony, this is a good thing. It goes back to the tension and release. Dissonance creates tension, and if you follow that by release... the iterations of that are the building blocks of music.

Why does this sound familiar? If you take any classic game, like a shooting game – if the enemy approaches, there's tension. So what do you do: take a gun and shoot him. And then the enemy dies, and your tension has been released. We are iterating against tension and release constantly to build some type of experience for hte player. So music and gaming are very good together because they share the same principles of tension and release. If we can tie that together it can create something compelling.

How about the story? I feel that a good story, any good story, a story that motivates and moves me, has the same elements as a good song. Both are time-based media. Time is a very important aspect, especially when I design my games. I try to think of the player's emotion as something that's not cut and dry. It takes time. I tend to think about it sometimes as state-based media, going from one state to another. The player runs, the player shoots. But in our designs we think about time as a very important aspect.

You create tension in the story and then you release it, giving clues to some type of mystery, and then the mystery is solved. We try to sync all that up. It turns out that music and story in game design are a really great match. They all have the same properties. They all move within the same kind of time space, time frame. We have the time constraints of music games. But if we can sync all those elements up, that sounds like a great game to me.

subcortical and cortical motor structures = metrically simple rhythm

the brain networks underlying perception of sub- versus supra-second intervals are dissociable, with sub-second intervals linked to the cerebellum and frontal operculum and supra-second intervals linked to premotor and prefrontal cortex

We predicted that performance on tests of metronome tapping and tempo adaptation would correlate, as beat-tapping relies upon the ability to use auditory feedback to correct for transient fluctuations in the timing relationship between motor output and auditory input [42–43].

We also predicted that performance on tests which require remembering and reproducing a temporal sequence would correlate, as both of these tests require subjects to hear a pattern of durations, remember that pattern, and produce a motor sequence that will reproduce the pattern

. To test these hypotheses we assessed participants on a battery of four rhythm tests that align themselves in two dimensions: 1) beat-tapping: tapping to a metronome and rapid adaptation to a change in metronome tempo, and 2) memory/sequencing: drumming along to a repeating temporal sequence and reproducing a temporal sequence from memory

beat tapping and the cerebellum, basal ganglia, and primary motor cortex

rhythm memory/ sequence perception has been linked to these same areas, it has also been associated with the premotor cortex and the supplementary motor area

One difference between the neural structures on which these two sets of tasks rely, therefore, seems to be that the rhythm memory/sequence set relies upon motor planning regions in addition to the subcortical and primary cortical motor regions on which beat tapping depends.

s. Furthermore, beat tapping may place more stringent demands on cerebellar processing than does rhythm sequence perception, as children with cerebellar lesions have been shown to be impaired on a beat tapping task but not a rhythm discrimination task that requires remembering rhythmic sequences

Alternately, rhythm memory and beat tapping may rely on different subregions of the cerebellum. Beat tapping may also place greater demands on the stable representation of microsecond timing of sounds in the subcortical auditory system

when artist buys on bandcamp

use api to get order

then send code to player

when player inputs code

server validates and allows to download files

server uses s3 to deliver

SCHEMA:

[user_account] user_uuid email password password_salt password_hash_algorithm date_signup

[user_to_bandcamp] user_uuid bandcamp_email date_linked

[purchase] bandcamp_email unlock_code_uuid content_id (likely an enum for API server to understand) redeemed date_purchased date_redeemed

[content] content_id bandcamp_url (any more bandcamp info?) artist song_title

-----------------------------------------------------------------------

DROPBEAT SERVER GET Bandcamp API sees new bandcamp_email and purchase_id interprets purchase id to content id (map? something easy)

INSERT into DB {[email protected] content_id=1 redeemed = false user_uuid=null date_purchased}

user gets email, opens deep link / enters code

----------------------------------------------------------------------

DROPBEAT CLIENT REDEEM POST {user_uuid, unlock_code_uuid} api.dropbeat.com/redeem?user_uuid=SOMEUUID&unlock_code_uuid=SOMEOTHERUUID

select * on purchase where unlock_code_uuid= AND redeemed=false set redeemed=TRUE

if redeemed is already true, then send back an error message saying to contact DROPBEAT developers if necessary

(hold onto bandcamp email)

insert user_uuid and bandcamp_email on user_to_bandcamp (update if already exists, but 1 dropbeat user could have many bandcamp emails)

----------------------------------------------------------------------

DROPBEAT CLIENT STORE GET api.dropbeat.com/dlc?user_uuid=SOMEUUID

user goes to DLC menu

select * on user_to_bandcamp join purchase join content where user_uuid=user_uuid AND redeem=true

select * on content

display list of content that was redeemed

if not redeemed, click to open link to bandcamp page

if redeemed and content is not on device, click will send GET request to server using contentID && user_uuid and return file

api.dropbeat.com/content/{contentId}?user_uuid=SOMEUUID

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11/2019

11/2019

1/2019

10/2018

9/2018

9/2018

12/2018

tile inspo

screenshot dump

#dropbeat #game

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