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Five Stars for You Here (NfMH Expert Guide)
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zsjostrom35  
 
 



Joined: 17 Feb 2008
Posts: 2130
Location: Columbus, Ohio

PostPosted: Sun Jul 27, 2008 9:22 pm    Post subject: Five Stars for You Here (NfMH Expert Guide) Reply with quote

Nothing for Me Here Expert Five-Star Guide

Introduction:

It is almost universally agreed-upon that Nothing for Me Here is one of the five toughest songs to five star in all of Guitar Hero III. Some people (including myself) would even go so far as to say that it is the second hardest, topped only by Through the Fire and Flames. No matter what you would rank it, however, I think it’s clear that a five-star guide for this song is long overdue. Now, Jowhannez does have a guide for this song here, but that one is not as technically detailed as I intend this one to be, nor is it very specific as pertains to the five-star.

What makes Nothing for Me Here so hard? It’s a bit like Raining Blood in the way that it relentlessly hammers at you for every second of its 2:53 length. Your only defense is to be just as relentless, keeping your focus until the last note leaves the fretboard. A good rule of thumb is this: if you break concentration, you will break combo. Not that you’re not going to break combo anyway; this song is still very difficult, which is where the guide comes in.

Now that you’re sufficiently scared out of your wits or sufficiently convinced that I’ve lost my mind (or both), you’re ready to begin. Let’s go to work getting you those 167,354 points you need for five stars.

Table of Contents:

  1. Introduction
  2. Fingering Key
    1. Numbering
    2. Hand Positioning

  3. Section-by-Section Analysis
    1. Preliminary Section (Your Key to Victory)
      1. Part A
      2. Part B
      3. Part C
      4. Part D
      5. Practice Mode
    2. Killer Riff 1a
    3. Solo 1
    4. Verse 1
    5. Killer Riff 1b
    6. Chorus 1
    7. Verse 2
    8. Killer Riff 1c
    9. Chorus 2
    10. Bridge
    11. Solo 2
    12. Chorus 3
    13. Solo 3

  4. Star Power
    1. Star Power Philosophy #1
    2. Star Power Philosophy #2

  5. Conclusion
    1. Thanks


Fingering Key:

Numbering:
1 = Index
2 = Middle
3 = Ring
4 = Pinky
Underlined Numbers = Anchored finger
Red Numbers = Tapping finger
X = Strum
d = Downstrum
u = Upstrum
h = Hammer-on
p = Pull-off (I will only use pull-offs in sections that involve anchoring. If a higher note is followed by a lower note that is not anchored, I will still refer to that as a hammer-on)

Hand Positioning:
First Position: 1 on G, 2 on R, 3 on Y, 4 covers B and O (will use 24 for chords ending in YO, however)
Second Position: 1 covers G and R, 2 on Y, 3 on B, 4 on O
Second Position, Green Anchored: 1 on G, 2 covers R and Y, 3 on B, 4 on O
Third/Fourth Position: Index finger on yellow/blue, respectively. If a lower note appears, index will slide to it, then slide back. Generally used only for fast zig-zags and trills higher on the fretboard.

Note: For ease of wording, I assume that the player is right-handed (right hand strumming, left hand fretting). Apologies if this inconveniences lefties.

Back to Table of Contents
____________________________________________________________________________________________________________________

Section-by-Section Analysis:

Each section contains general advice for how well you need to be able to play it for the five-star, as well as more technical advice to actually help you hit it. Since I was only recently able to five-star this song after quite a bit of work, I hope that my tips will be especially helpful to those who are in a similar position to where I was until a week or so ago (around 140k missing every single YO chord in the song).

Fingering Disclaimer:
It should be noted that I am extremely prejudiced against first position. I will attempt to present first position fingerings as best I can, but as I never use them there may be errors.


Preliminary Section (Your Key to Victory):
------------------------------------

In my introduction, I drew a comparison between Nothing for Me Here and Raining Blood, noting the similarity in the front-to-back difficulty of each. There is, however, one significant difference in the way these two songs present that difficulty. While Raining Blood is extremely varied in the arsenal of skills it requires you to have in order to five-star, Nothing for Me Here is really very simple: hit this and you’ll five-star it; miss it and you won’t. Depending on your point of view, this is either a source of glaring weakness or great strength of the song. My goal is to turn it into a weak point; the vulnerable spot where you can strike a deadly blow to slay this beast of a five-star (is that laying it on too thick?) It’s probably going to take a lot of work, however, so I’ll just shut up and we can start.

Part A:

------

This section is very simple from a fingering standpoint; you can hit it without much trouble from either first or second position. The strumming on the other hand (in particular the presence of a hammer-on at the first red), makes this one of the most deceptively difficult sections in the entire song. I’ll deal with these issues separately.

Fingering:

First Position:

------
11222_1------
11223_2------

Second Position:

------
11111_1------
11112_2------

Here's a hands vid by rott3np3anut illustrating the second position fingering for this and the other three parts: http://www.youtube.com/watch?v=QGKvS2Qdwhs

Strumming:

Straight Alt-Strumming:

------
dudud_d

Given the tendency of the GHIII engine to register overstrums, I would generally advise against this method unless you are ROCK SOLID with your fretting and strumming timing. If not, this is the quickest route to a high percentage and a low score.

Downstrumming; Using the Hammer-on:

------
ddhdd_d

This was my method of choice for a long time and it worked fairly well, as I have a very quick double downstrum. When I finally got serious about five-starring the song, however, I noticed that my having to focus so much on strumming quickly was distracting me from the tough chord changes that follow in Section B. Maybe it’s just me, but I usually find it pretty hard to change focus from strumming to fretting quickly. When I switched to the next method, it helped a lot.

Alt-Strumming; Using the Hammer-on:

------
duhdu_d

Once I got this method down, this section became almost effortless to FC. I highly recommend it.

If all else fails and you're getting desperate, you can try Djdunn80's method: just downstrum through it as fast as you can, concentrating only on the fretting. It's certainly not going to be pretty, but it can actually work surprisingly well.

Part B:

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

This is by far the most innocent-looking combo-wrecker in all of GHIII. There’s no three-note chord “overcharting,” no questionably-placed HO/POs, and it’s not fast; you just…miss it. A lot. There are few revelations to be had here as far as fingering, but hopefully some of the practice techniques that I’ll give you later will help (incidentally, those practicing techniques will also explain why I’ve split up this already-short section, and why the GR sustain is in both of the first two parts).

Fingering:

Second Position:

------------
1------1_2_3------
2------__4_4------

http://www.youtube.com/watch?v=QGKvS2Qdwhs Same vid as Part A.

Third Position:

------------
1------1_1_2------
2------__3_3------

This method, primarily endorsed by jesse0986, enables you to use your dominant fingers for the tricky chord change, but it requires a lot of hand movement. I personally find it difficult to use correctly, but you should definitely try it out if you get stuck.


Part C:

------

This section really is not much different from Part B, but for some reason it’s much easier for almost everybody to hit. You can use pretty much the same fingerings as before or the additional option of first position:

First Position:

------
1_3_3------1_3_3
__4_4------__4_4

I think it’s easier to keep the yellow fret pressed for the single B at the end. You don’t have to do that, but that’s what I’ve charted here and in the other two fingerings.

Second Position:

------
1_3_2------1_2_2
__4_3------__3_3

http://www.youtube.com/watch?v=QGKvS2Qdwhs

Third Position:

------
1_2_1------1_1_1
__3_2------__2_2

Again due to jesse0986. More hand movement, but uses dominant fingers.

Part D:

------

Probably even easier than part C.

First Position:

------
1_3_2------2_2_2
__4_3------3_3_3

Second Position:

------
1_3_1------1_1_1
__4_2------2_2_2

http://www.youtube.com/watch?v=QGKvS2Qdwhs

Incidentally, the only reason I’ve included these two easy parts is that together all four parts make up the entire chorus. The sequence generally goes Part A—Part B—Part C—Part A—Part B—Part D. In the rest of the guide (especially in the fingering sections), I’ll refer to the ABC string as Chorus Riff 1, and the ABD string as Chorus Riff 2. I will also refer to Chorus Riff Part A for part A alone on occasion.

Speaking of the entire chorus, I realize that I've been assuming you're going to downstrum everything outside Part A. If this is a bit too fast for you to downstrum comfortably, here's an alt-strumming method from TheThirdDay:

------------------------------------
dudud_u------d_u_d------d_u_d------u_d_u_dudud_u------d_u_d------d_u_d------u_d_u_

Practice Mode:

Using Practice Mode effectively is necessary to learning this section. A couple months ago, I decided that I was going to learn how to play the chorus of this song, so I spent upwards of an hour simply playing through it on lower speeds. This did nothing for me (here), as I was never able to hit that chord change more than about 75% of the time on SLOWEST. So I gave up. About a week ago, however, I finally decided that I was going to get my 69th five-star, so I set about working on it again. This time, however, I used Practice Mode intelligently, which made all the difference.

The first thing you need to do is bring up Chorus 2 in Practice Mode. It’s the longest of the three chorus sections in the song, and so gives you the most opportunity to work on things in between restarts. You should then go through the following exercises, starting each on Slowest and working your way up to Full Speed:

Exercise #1:

Play through Chorus 2, hitting ONLY the instances of Part A. The idea here is that you need to isolate the hard parts of the chorus and learn them all separately, which (for me anyway) is much easier than trying to learn the entire thing in one big chunk. Chances are that without the rest of the chorus to worry you, you’ll do just fine on this little part. This is exactly what we want.

If you’re still having trouble, especially on the slower speeds, make sure you’re being very deliberate with the pace of your strumming. Even if you’re attempting to use the hammer-on, it’s very easy to overstrum if you go too fast.

Once you can FC each instance of Part A on one speed, move up to the next speed. Once you’ve mastered Full Speed (or can at least hit it 90% of the time), you’re ready to move on.

Exercise #2:

This is generally the same as Exercise 1, except that we’ll be starting with an even smaller chunk. Play through Chorus 2, hitting only the . You shouldn’t have much trouble with this; the idea is that you want to get used to hitting that transition. The problem with me was that I had played through the song so many times without ever once hitting the YO chord that I essentially had to “de-program” myself from missing it. If you get through the chorus without missing those two notes when they come, play it again, this time adding the BO chord at the end. Once you master that, add the GR sustain at the beginning. This is where it gets tricky, because committing your middle finger to that red fret is part of what makes the jump of that finger up to the yellow fret so difficult. Make sure you’re doing this on Slowest first.

Once you feel like you’re getting the hang of this, you can start adding Parts C and D. Do not play Part A, however, we’re still keeping that isolated. Once you can hit everything but Part A on Full Speed, it’s time to go on.

One very important note here: do not be afraid to drop any and all sustains if it will help you hold combo. This is especially important for the first GR sustain (because once you drop it you can set up your middle finger on the yellow), but it may help you in other places as well.

Exercise #3:

This is where you string it all together. Go back to Slowest, and attempt to play the entire thing. Now, the reason why I had you play the GR sustain in both earlier practice sessions is that it is the transition spot between Part A and Part B. You need to use that break to change gears mentally between the first part, which is strumming-intensive, and the second part, which is fretting-intensive. Keep at it, and don’t worry if you feel like you’re not making progress. This section is very tough (if it wasn’t, everybody could five-star this song).

One thing to keep in mind is that entirety of Chorus 2 is worth almost exactly 35,000 points in Practice Mode. I was not able to five-star the song until I could get 25,000+ consistently, so you should shoot for that before trying to take real runs of the song.

If you're still having trouble with this section, here's one last tip that may help you out:
jesse0986 wrote:
I actually play almost everything in the chorus just a little bit earlier than I first think I should. I personally feel the note chart is slightly ahead of the music, and as soon as I just started strumming everything just a tiny little bit earlier, I was holding much better combos everywhere.


And now, we move on to the individual sections of the song.

Killer Riff 1a:

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

Nothing for Me Here wastes no time throwing you into its meat-grinder of a chart, giving you a fast descending quad leading into that riff you just spent hours practicing. The first green of the riff is a hammer-on, however, which causes me to overstrum every time if I try to use the same strumming technique as the chorus. If you have the same problem, you may want to use the hammer-on and execute a single upstrum for the second green to give yourself a better sense of the timing involved. Even if you do, this part is very tricky to hit; fortunately, it won’t matter much in the long run.

Another important strumming issue is the GGRRY at the end. This pattern appears twice in the song and so is a good thing to learn. It is the same speed as the first half of Chorus Riff Part A; however, the yellow sustain is a hammer-on in addition to the first red. If you normally alt-strum through Chorus Riff Part A you should continue to do so for this, but you should eliminate your final strum otherwise to avoid overstrumming.

Fingering:

First Position:

[Chorus Riff 1]----------
4432[Chorus Riff 1]_11223----------

Second Position:

[Chorus Riff 1]----------
4321[Chorus Riff 1]_11112----------

I purposely omitted the Chorus Riff from this fingering section because the fingerings that you use for the rest of the song should have no bearing on how you finger that. Do what you need to do to hit that Chorus Riff regardless of what you need to do elsewhere.

Solo 1:

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

The first part of this (up to the YO mini-trill) is rather easy to hit. While it’s not strictly necessary to do so, it’s pretty clear that by hitting more of the easy stuff you enlarge your margin for error in the harder stuff. You will probably break combo at the trill, but you must FC out from there because the quad strumming is a very important star power phrase. In fact, you might as well restart if you miss that phrase, as it’s very close to the beginning and one of the easiest ones in the song.

The main problem with this quad strumming is that the first note of each group of four (except the first) is a hammer-on. I would advise against using these hammer-ons, since it makes the strumming rhythm much more difficult; however, this can (and often does) create problems with overstrumming. If you’re having trouble with this part, my main piece of advice is to slow down, and concentrate on timing your fret changes exactly with your strums. This cures my overstrumming problems 99% of the time. If you are willing to try to use the hammer-ons, however, HoorayItsMike has posted a method on doing so.

Lastly, I’ll address the trill, even though it’s not necessary to hit it and you probably won’t. It’s important to note that the first orange must be strummed (it’s very easy to forget this when the trill is coming at you at full speed). Many people find it helpful with their timing not to anchor yellow here, try that and see if it works. You might also try third position, but you should scrap that if it in any way causes you to start having trouble with the strumming that follows it.

Fingering:

First Position:

------------------------------------
12344------1_3------1_4------2_3------1_3_42421_2222333344444444111122224------4------

Second Position:

------------------------------------
11234------1_2------1_3------1_2------1_2_42421_1111222233334444111111113------4------


Strumming:

In the interest of saving space, I’ve only listed two different methods here, despite there being four different combinations of downstrumming vs. alt-strumming and using all the hammer-ons vs. strumming through the quads. Mix and match anything you wish.

Primarily Downstrumming; Using All Hammer-ons:

------------------------------------
dhhhh------d_d------d_d------d_d------d_d_dhhhh_duduhdudhdudhdudhdudhdudh------d

This method involves Barracuda-like gallops after each hammer-on in the quads. You could also use DUD UDU for these gallops if you prefer that to starting each with a downstrum.

Primarily Alt-strumming; Strumming through the Quads:

------------------------------------
dhhhh------d_u------d_u------d_u------d_u_dhhhh_dudududududududududududud------d

Verse 1:

--------- [Long Pause] ------------------

This section is pretty simple; it’s essentially the same as Chorus Riff Part A with all the fast strumming taken out. You should be at a 4X multiplier coming out of the star power phrase in Solo 1, so hit this for an easy 4200 points. 2.5% of the cutoff down!

Fingering:

First Position:

--------- [Long Pause] ------------------
1_2_2_1---------1 [Long Pause] 2---------1_2_2_1---------1
1_2_3_2---------1 [Long Pause] 3---------1_2_3_2---------

Second Position:

--------- [Long Pause] ------------------
1_1_1_1---------1 [Long Pause] 1---------1_2_2_1---------1
1_2_2_2---------1 [Long Pause] 2---------1_2_2_2---------

Killer Riff 1b:

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

This section starts off with a BO trill that can be fairly tricky to hit. This is frustrating because the rest of the section is pretty much cake, which means that a miss will cost you several thousand points that you would have had easily otherwise. This trill is actually not terribly fast, but it is followed by a fairly quick jump down to green that makes third position rather difficult to execute. See the fingering section for a discussion of the pros and cons of second vs. third position.

As I indicated above, the rest of this section is very easy; it’s basically just the Chorus Riffs with all the fast strumming and tricky chord changes taken out. As such, you definitely need to hit it. If you're having trouble comboing this, a likely cause is that you’re rushing it. I usually find that slowing down and concentrating on the rhythm takes care of any problems that I’m having here.

This section (minus the trill) repeats itself once, the only difference being that there are only two RY chords at the end of the second time through and they come a bit faster. It’s nothing too hard, just pay attention.

Fingering:

Trill:

Second Position:


3 4 3 4 3 4

If you have a fairly fast pinky, this is definitely the way to go. I can sometimes hit it this way, but one of my main problems is jumping down to the green to soon and failing to hit the final orange. You should make dead sure you’re not doing that; my thinking is that a miss on the green won’t cost you much (if any) more than a miss on the orange, and it gives you a chance to hold combo. Hit the green late if you must, but hit the final orange at all costs. One thing that may help you with that is yksi-kaksi-kolme's method of anchoring green throughout the trill. This leaves you free to concentrate on the oranges without having to worry about getting your index finger to the green afterward. You may lose a bit of finger speed from stretching your hand like this, but the trill isn't too fast to start with. It looks like this:


1 1 1 1 1 1 1
3 4 3 4 3 4

Third Position:


2 3 2 3 2 3

Third position is, once again, a trade-off; sacrificing easier hand shifts to hit a section with stronger fingers. The advice above about making sure you hit the final orange applies even more here. It’s very easy to try to shift down early in anticipation of the large jump; you must not do that.

You could try the index anchoring technique with this method, but unless you have very long fingers chances are you won't be able to stretch that far.

The Rest:

First Position:

---------------------------------
1_2_2_1---------1_4_4------1_4_3------1_3_4_1_2_3_2------1_4_4------1_4_2_2_ 2_ 2
1_2_3_2---------1_4_4------1_4_3------1_3_4_1_2_3_2------1_4_4------1_4_2_3_ 3_ 3

Second Position:

---------------------------------
1_1_1_1---------1_3_4------1_4_2------1_2_3_1_1_2_1------1_3_4------1_4_1_1_ 1_ 1
1_2_2_2---------1_4_4------1_4_3------1_3_4_1_2_3_2------1_4_4------1_4_2_2_ 2_ 2

Chorus 1:

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

Nothing here you haven’t seen before; just a quick descending quad followed by two instances of Chorus Riff 1 + Chorus Riff 2. You should finger the quad the same way you did in Killer Riff 1a, The strumming, however, is a little different as Neversoft graciously removed the hammer-on status of the first green this time around. This means that you can strum the first one the same way you do every other Chorus Riff Part A without fear of overstrumming.

It will be extremely helpful if you can hit the first part of this (the quad followed by the first Chorus Riff 1) as it contains a star power phrase. In general, you probably should not be missing more than about twice per chorus.

Verse 2:



This is another must-hit section, both for points and for one of the easier star power phrases in the song. It’s not too fast, but you may have trouble with its somewhat tricky fingering if you haven’t practiced. Get used to anchoring different notes and learn where the shifts are.

As it’s almost impossible to play this from first position, second and third position are your only real options.

Fingering:

Second Position:


414141314242413141414131424231314141413142424131414141314242

Third Position:


313131213131312131313121313121313131312131313121313131213131

I haven’t personally tried this, but the transitions don’t seem too bad; just a lot of index sliding. You may wish to give it a shot if this section is giving you trouble.

Killer Riff 1c:

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

Identical to Killer Riff 1b, except the end of the section the second time through has a very fast descending triplet instead of the double RY (the end of the section the first time through is the same as before; I omitted it to save space since I already covered it). You should be able to hit all of it (except maybe the BO trill); however, you may want to skip the triplet purposely if it starts to screw up your ability to hit the descending quad leading into the chorus that follows. That quad is the start of a star power phrase, so it’s much more important than whatever precedes it.

The only new thing is the triplet, so I’ll list fingerings for that and the transition into it (probably unnecessary, but let it never be said that I am not thorough):

First position:

----
1_4_3----321

Second position:

----
1_4_2----211

Chorus 2:

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

Hey, it’s our old friend from Practice Mode! You should be very familiar with this by now (maybe not so much the quad at the beginning, but even that you’ve seen twice already), so do as well as you can. Again, you probably should not be missing more than two or three times here (it’s twice as long as the first chorus), and pick up that star power phrase at the very beginning if you can.

You probably already know this from practicing, but the third time you hit Chorus Riff 1, Part C has ------ instead of ------. Pay attention. Here are the fingerings for that (again, probably unnecessary, but I just can’t help myself):

First Position:

------
1_3_2------1_2_3
1_4_3------1_3_4

Second Position:

------
1_3_1------1_1_2
1_4_2------1_2_3

Third Position:

------
1_2_1------1_1_1
1_3_2------1_2_2

Bridge:





Just when you thought you were getting the hang of this song, it nails you with a brief set of Mosh 1 quads followed by an F.C.P.R.E.M.I.X.-esque section of nearly constant strumming with fret changes on every note. The part after the quads repeats itself, which makes this section very long and very helpful to getting a five-star if you can hit it. There are also two star power phrases here, so learning all of this will certainly boost your score by a significant amount.

As with F.C.P.R.E.M.I.X., the main issue with this is being able to keep your fretting and strumming on the rhythm. For that reason, I would advise against anchoring anything here; fretting each note individually usually helps with timing. Another thing you can do to help stay on the rhythm is fret each hammer-on triplet faster than it’s charted. This in no way jeopardizes your chances of holding combo with GHIII’s lenient timing window, and finishing the triplet early will allow you time to reset mentally with the next batch of strumming. Make sure your next strum is dead on the beat, then all you have to do is last until the next triplet.

Invader4480 has a different method of holding the rhythm, which is to strum through everything at a constant speed, even the triplets. This means that you will only hammer-on one of the notes in each triplet rather than two. I haven't tried this, but it's something with which you can experiment if you have trouble here.

I would advise downstrumming this section unless you’re already very good at combining alt-strumming with fast fret changes. I’ll show the alt-strumming method in case you’re interested, however.

Fingering/Strumming:

I really can’t see any way around second position here. If anybody uses another method, please post it and I’ll put it in.


432132113_432_1_3_2_1_1_2_1_3_2_4_2_3_4_2_1_3_2_4_2_4_3_2_1_3_2_4_2_3_4
dhhhhhhhh_dhh_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u


2_321_1_3_2_1_1_2_1_3_2_4_2_3_4_2_1_3_2_4_2_4_3_2_1_3_2_4_2_3_4
d_uhh_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u_d_u

If you don’t like the idea of index sliding at the end of the second descending quad, this fingering can also be very effective:

43214321

Solo 2:

------

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

Although it’s the easier of the two remaining solos, this one is still pretty tough. It throws a lot at you: more of the fretting/strumming seen in the bridge, triplet HO/POs, two additional BO mini-trills, and the same quad strumming seen in Solo 1. Obviously, the more you can hit of this the better off you’ll be, but you don’t have to hit all of it. Here are some general guidelines:
  • You can afford to break combo at both BO trills. Don’t worry at all about that.
  • The triplet HO/POs are not that fast. It probably wouldn’t take you a whole lot of effort to learn them in practice, the resulting score boost certainly wouldn't hurt. Furthermore, this is one of the desired activation spots in one of the paths I have listed later, meaning if you can't hit it you'll be forced to move that activation to a less-profitable section.
  • The eight notes following the quick GRY constitute a star power phrase. You should skip that preceding triplet if it helps you to get the phrase (you’re probably going to break combo on the following trill anyway, so it doesn’t really cost you much.
  • You should definitely FC from the quad strumming on out. You’ve already seen it once and doing so will give you a 4X multiplier heading into Chorus 3. Remember: if you’re overstrumming, slow down.


Fingering/Strumming:

There are some unexpected strums in this section as well as some fast strumming parts, so I’ll go ahead and list strumming technique along with the fretting. You shouldn’t have to alt-strum anything slower than the quads if you don’t want to, but the method is listed if you do. Remember that you can use HoorayItsMike’s method of using the HO/POs in the quad strumming if you want.

First Position:

------
1 2 1 3_2_4_3_4_2_4 3 2 3 2 1 4 3 2 3 2 1 4 3 2 3 2 1 3 4 3 4 3 2_4 4 3 4 3 2 34323 2 1 4 432 4 4 3 2------
d h p d_u_d_u_d_u_d h h h h h h h h h h h h h h h h h h h p h p d_d h h h h h hhhhh h h h hhh h h h h

----------------------------
1_123 1_4_3_1_4_4_2_4_4_3_2_1_3 4343 1_2222333344444444111122224------4------11222_1------3----------
_____ _________________________ ____ ___________________________------_------____3_2
d_uhh d_u_d_u_d_u_d_u_d_u_d_u_d hphp d_dudududududududududududud------d------duhdu_d------d

Does anybody here know how a first position player would hit the eight notes immediately following the GRY triplet? What I have listed is just standard 12344; I have no idea whether that’s actually correct. I’m even more at a loss here than I usually am with first position, so any help would be appreciated.

Note that the Chorus Riff Part A at the end doesn’t have to be strummed the way I have it. It seemed pointless to create three separate strumming sections to accommodate something I’ve already covered, so I just picked one and put it in. Continue doing whatever you were doing there.

Second Position:

------
1 1 1 2_1_3_2_4_1_3 2 1 2 1 1 3 2 1 2 1 1 3 2 1 2 1 1 3 4 3 4 3 2_4 3 2 3 2 1 23212 1 1 3 432 4 3 2 1------
d h h d_u_d_u_d_u_d h h h h h h h h h h h h h h h h h h h p h p d_d h h h h h hhhhh h h h hhh h h h h

----------------------------
1_112 1_4_2_1_4_3_1_4_3_2_1_1_3 4343 1_1111222233334444111111113------4------11222_1------2----------
_____ _________________________ ____ ___________________________------_------____2_2
d_uhh d_u_d_u_d_u_d_u_d_u_d_u_d hphp d_dudududududududududududud------d------duhdu_d------d

If you really hate to index slide but you don’t want to use your pinky for the triplets, you could try this fingering for the part at the beginning:

3 2 1 3 2 1 3 2 1 3 2 1 3 2 1 3 2 1 2 3 2 3 2 1_3 2 1 3 2 1 23213 2 1

Chorus 3:

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

Identical in length to Chorus 2 and almost identical in notes (the only differences are that the RY YB variation is taken out and that at the end of this one you get a
---------- exactly the same as you saw in Solo 1). This is really your last chance to rack up a lot of points, as Solo 3 is very difficult. At this point, rules of thumb about how much you need to hit mean almost nothing; you almost certainly need to get yourself within about ten thousand points of the cut-off here in order to give yourself a shot. Don’t give up if you’re further away than that, however. You could have a fluke run of Solo 3, you never know.

Solo 3:

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

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

You have to figure that Nothing for Me Here isn’t going to go out without a fight; Solo 3 certainly meets that expectation. Bits and pieces of this are hittable, but it’s very difficult to build up or hold a multiplier anywhere in this section. It’s clearly moot what part of this you “need” be able to hit; what you “need” to hit is whatever will get you enough points to clear the cut-off. Here are some thoughts that hopefully will enable you to maximize the points you can get out of this:

The part with the greens and reds at the very beginning should be strummed at a constant rate. It is notoriously easy to break combo here if you allow the hammer-on reds to throw you off; just keep strumming on the beat and get your finger back on the red immediately after hitting each green.

Unless you’ve gotten really good at those BO and YO mini-trills by this point, chances are you’re going to break combo at each of them in this section (there are four total). So even if you were to combo the fast hammer-ons that follow some of them, you still wouldn’t get that many points because you’d have no multiplier. What this means for you is that if you can’t consistently combo those fast hammer-on passages, you should definitely alt-strum them, giving yourself a chance to pick up as many points there as you can.

The quad strumming at the end alone can give you over 4200 points starting from no multiplier. Hit it at all costs.

Fingering/Strumming:

As in Solo 2, there are some unexpected strums in this section as well as some fast strumming parts, so I’ll go ahead and list strumming technique along with the fretting. You shouldn’t have to alt-strum anything slower than the quads if you don’t want to, but the method is listed if you do.

First Position:

------ ------------------------------
1------2_2_2_122_2_122_2_3_2_4__4 343432134323212343243232321432_4------42344------1_3------1_4------2_3------1_2_42421
d------d_u_d_uhd_d_uhd_u_d_u_d__u dhphphhdhhhhhhhhhhhhhhhhhhhhhh_d------dhhhh------d_u------d_u------d_u------d_u_dhhhh

----------------------------------------
43232123432321234323213 4343 1_3_4------1_3------1_4------2_3------2_3_42421_22223333444444441111222234----4------3------21
dhhhhhhhhhhhhhhhhhhhhhh dphp d_u_d------d_u------d_u------d_u------d_u_dhhhh_dududududududududududududh----d------h------hh

I don’t think it’s possible to hit the fast hammer-ons in the first half of this from first position, so I have a second position fingering listed there. Any first position player that can hit it that way or wants to present an alternate fingering should feel free to do so. Conversely, I’m not sure if the first position fingering given in the second half is possible, but I put in anyway. Corrections to this should also be posted.

Also, note that I have nothing anchored besides the BO trills. I feel that it’s much easier to stay on the rhythm this way. Speaking of anchoring, remember that you can anchor green for the BO trills.

Second Position:

------ ------------------------------
1------1_1_1_111_1_111_1_2_1_3__4 343432134323212343232121211321_4------31234------1_2------1_3------1_2------1_2_42421
d------d_u_d_uhd_d_uhd_u_d_u_d__u dhphphhdhhhhhhhhhhhhhhhhhhhhhh_d------dhhhh------d_u------d_u------d_u------d_u_dhhhh

----------------------------------------
42121112421211123212113 4343 1_2_4------1_2------1_3------1_2------1_2_42421_11112222333344441111111123----4------2------11
dhhhhhhhhhhhhhhhhhhhhhh dphp d_u_d------d_u------d_u------d_u------d_u_dhhhh_dududududududududududududh----d------h------hh

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____________________________________________________________________________________________________________________

Star Power:

Before I even start talking about paths, I want to give you a very stern warning: if you are AT ALL prone to missing notes when attempting to whammy SP phrases, DO NOT attempt to whammy this song. None of the sustains you’ll be skipping are very long, and a broken combo will cost you much more than anything you might gain from whammying. Put the whammy bar away and don’t even touch it. I will be assuming no whammy for all of the paths I’m about to discuss; if you want to whammy, you’ll have to tweak them yourself.

I stated earlier that the difficulty of this song’s note chart is much more deceptive than that of Raining Blood; the same is true of its star power (you didn’t think I was going to let you off without at least one more Raining Blood comparison, did you?). Although Nothing for Me Here has nine star power phrases for its relatively short 2:53 duration (compared to Raining Blood’s seven phrases in 4:17), most of these phrases can be very tough to get, meaning it plays as though it had much less star power than it does. I usually consider getting five of these star powers to be a very good run. Here are the location of the star power phrases and how important they are:
  1. End of Solo 1: Must get; restart if you don’t. This one is too easy and too early on to bother yourself with an entire run if you miss it.
  2. End of Killer Riff 1b through first part of Chorus 1: Not strictly necessary, but helpful.
  3. Halfway through Verse 2: Very important unless you hit the previous phrase.
  4. First part of Chorus 2: Not necessary unless you’ve only collected one of the previous three phrases. Restart if that's the case and you miss it.
  5. Start of Bridge: Tricky, but very helpful if you can get it. Getting two of the three phrases in the Bridge and Solo 2 will likely be very important.
  6. Halfway through Bridge: The easiest one left; you probably can’t afford to miss this.
  7. Halfway through Solo 2: Unless you used SP in the Bridge, you must hit this if you don't already have an activation. Remember to skip the preceding triplet if it tends to screw you up here.
  8. End of Chorus 3: Largely unnecessary unless you can hit the phrase in Solo 3 as well.
  9. Near the beginning of Solo 3: Very tough. Obviously only helpful if you already have half an activation.

In the interest of completion, here’s the optimal no-squeeze path: http://www.bradleyzoo.com/GuitarHero/gh3-ps2/expert/nothingformehere.no-squeeze.best.png. This will probably do you little good unless you can hit all the star power, however; if that’s the case I have to wonder why you’re still reading this guide. There are basically two philosophies for creating a tweaked path:

Star Power Philosophy #1:

The main idea here is that you should use star power in areas that you know you can combo, which will probably include places like Killer Riff 1c, Verse 2, and the Bridge. Using such a path will likely give you very consistent scores (unless the amount of star power you tend to get varies wildly), the only fluctuations will come based on how well you do in the choruses. Here’s a path based on that:

Path #1:
  • Get at least two of the phrases #1, #2, and #3.
  • Activate in Killer Riff 1c. Your activation point will depend on whether you have two or three phrases here. Assuming you break combo at the BO trill going into this section, you obviously want to build your multiplier back as high as possible before activating; on the other hand, you don’t want to overrun phrase #4. If you’ve only collected two phrases, the best spot is probably on the RY chord in measure 46. If you have three phrases, push it back two measures. In the event that you do hold combo through the trill, I would say activate immediately on the green following it.
  • Get at least two of phrases #4 to #6
  • Activate in Bridge. Your goal in activating here should be at get as much of you can combo of Solo 2 under star power, since the triplets there are faster than the strumming found in the bridge. Here's a little chart to help you decide where to activate:

    _____________________-______# of SP Phrases Collected
    _____________________________2________________3
    What You_____Nothing______Meas. 79__________Meas. 79
    Can Combo____Triplets______Meas. 82*_________Meas. 80*
    in Solo 2______Through trill__-Meas. 85__________Meas. 83

    *You should actually move these activations forward a half-measure to get all the triplets.

  • You’ll probably miss at least two of SP phrases #6 through #9, which means you would have no more activations. This is generally not too bad, because the end part is very difficult to combo anyway.
  • If by chance you got two of them, activate at measure 121. If you somehow got all three, activate at measure 119.

Star Power Philosophy #2:

The second philosophy of star power use in this song takes for granted that you’re not going to have a good run of this song unless you hit the choruses, so you might as well activate there to give yourself the best chance of getting a really good score if you do combo them. Unless you hit pretty much the exact same stuff every run, utilizing this path will probably give you extremely varied results. Keep in mind, however, that if you get one run of 170k offset by nine runs of 130k, ScoreHero still says you’re better than a guy who gets 160k ten times out of ten. Here's how you should use star power if you agree with this thought:

Path #2

This path can take one of two forms based on your expectations of collecting star power phrases #5 through #7. Either way, though, it’s not too hard:

If you know you can hit at least two of the phrases specified above, you should attempt to get as many of the first four star power phrases as you can before activating in Chorus 2*. You should then get at least two of phrases #5 through #7 and activate in Chorus 3. If you happen to hit the last two phrases, activate at measure 121.

*Ideally you’ll be able to build a 4X multiplier before you activate, but you can’t afford to wait any longer than measure 59 (after two iterations of both Chorus Riffs) if you have a full bar. If you have less than that, you can move the activation up two measures for each phrase you missed. This also applies to the second activation, where you can’t afford to wait past measure 107 (or 105 if you hit all three phrases) to activate or else you’ll overshoot the chorus and hit a big chunk of a sustain instead. If you’re confident in your ability to get phrase #9, you should move that second activation back two more measures to allow yourself a chance to hit phrase #8, which would give you the third activation.

If you can’t get an activation out of the required phrases in the Bridge and Solo 2 for the path above, you’re going to need to hit phrase #2 to compensate. Get the first two phrases and immediately activate in Chorus 1. Next, wait all the way until Chorus 3 to activate again*. Since you’re expecting to miss at least two of the five phrases in that span, you won’t be wasting any star power. If you happen to hit the last two phrases, activate at measure 121.

*As in the path above, you want to build a high multiplier before activating, but not wait too long. See the note on that path for find an activation point based on various situations.

One note for both of these paths: some people have trouble activating in a chorus without breaking their streak. This is obviously a bad thing, as it can cost you upwards of 10,000 points that you might have had otherwise. If you struggle with this, try using a tilt activation during the four RY chords at the end of Chorus Riff 2. This is the easiest part of the chorus, so you can concentrate more on the activation than you would be able to elsewhere.

Back to Table of Contents
____________________________________________________________________________________________________________________

Conclusion:

Well, hopefully this 7000-word monstrosity has helped you get one song closer to your Guitar God status. In the extremely likely event you see a place I could improve this (especially with first position fingerings in Bridge and Solos 2 and 3), post your advice here. Feel free also to post any questions or comments that you may have.

Thanks:

  • Once again, thanks to eddyf’s freticon editor, which made my life much easier
  • Thanks to TheThirdDay for error correction and an alternate strumming method for the chorus
  • Thanks to Invader4480 for a different strumming method for the Bridge
  • Thanks to HoorayItsMike for a method of utilizing the HO/POs in the quad strumming of all three solos
  • Thanks to rott3np3anut for the chorus hands video, and thanks to Quickshot657 for giving me the link
  • Thanks to Djdunn80 for an additional strumming method for Chorus Riff Part A
  • Thanks to yksi-kaksi-kolme for the index-anchoring method in the BO trills (Killer Riffs 1b and 1c, Solo 3)
  • Thanks to NfskMjmMal for error correction
  • Thanks to teliot and Tosh1977 for informing me that my thread title was trying to be too clever to actually tell anybody anything. I've changed it, so hopefully people actually know what the guide is about now.
  • Thanks to all the people (especially jesse0986) who posted in the countless Nothing for Me Here help threads I found when doing research for this guide. It’s always a relief as a guide-writer when somebody else does your thinking for you.
  • Thanks to everyone on ScoreHero who makes this such a great community. If it wasn’t for you guys, I would have no place to put these guides.

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TheThirdDay  
 
 



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PostPosted: Sun Jul 27, 2008 9:27 pm    Post subject: Re: Five Stars for You Here (Expert Guide) Reply with quote

First reply!

Another amazing guide, man. I always try to give my suggestions for little fixes when I see a guide pop up in the forums, but seeing as how it's you, there's nothing I can really say. You don't make errors, lol.

EDIT: And I can't help but notice you used the pink HOPOs...
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zsjostrom35  
 
 



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PostPosted: Sun Jul 27, 2008 9:31 pm    Post subject: Re: Five Stars for You Here (Expert Guide) Reply with quote

TheThirdDay wrote:
Another amazing guide, man. I always try to give my suggestions for little fixes when I see a guide pop up in the forums, but seeing as how it's you, there's nothing I can really say. You don't make errors, lol.


I wish . There's no way you read that whole thing already. I'm sure I screwed several things up.

TheThirdDay wrote:
EDIT: And I can't help but notice you used the pink HOPOs...


If I see something that works, I'm going to use it. Those pink HO/POs look MUCH nicer than what I was using before, so I'm officially a convert. I've also put that method into the Guide to Writing Guides.
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PostPosted: Sun Jul 27, 2008 9:58 pm    Post subject: Reply with quote

Even though I love all of your guides, I have to say this is my favorite, because I couldn't 5* NFMH without it. The style of your guides are very comfortable and fun, and it makes them feel very bjwdestroyer-esque.

One tiny tidbit of advice I can add is that in the Bridge, I usually strum at a constant pace through the entire thing, including the triplets, which helps me keep the rhythm through the rest of the mess.

Great guide, can't wait for another!
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PostPosted: Sun Jul 27, 2008 10:22 pm    Post subject: Re: Five Stars for You Here (Expert Guide) Reply with quote

The only thing I can add is my strumming pattern for the chorus. It never fails for me. It's good for people who are confident strummers and like the altstrum, i.e. me.

------------------------------------
dudud_u------d_u_d------d_u_d------u_d_u_dudud_u------d_u_d------d_u_d------u_d_u_

EDIT: Ooo! I did find an error! In section B of the chorus, you have GR: written in the freticons.

EDIT 2: Look at the fingering for each section in the chorus; C and D are screwed up.

EDIT 3: Aright, I think this is the last one, but a size tag is messed up in the fretting/strumming of solo 3.
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PostPosted: Mon Jul 28, 2008 12:44 am    Post subject: Reply with quote

Wow, you posted this just after I practiced the chorus riff for 15 minutes. I will agree with you, this is the absolute worst song ever. This and TTFAF are the only songs I can't consistently even 4-star (still no TTFAF 4-star ) but I think this will end most of the NFMH threads.
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PostPosted: Mon Jul 28, 2008 12:53 am    Post subject: Reply with quote

Aww great. The day after I 5* this beast there's a guide out for it.

I do agree - this is the second hardest 5* to get. Because it's the second-to-last one I need to get and the last one I will be getting :P

Great work on the guide, and thank god for the freticon editor link - I lost the one I had a few months ago. The guide is amazing, though personally I don't find the BO trills before the killer riffs too difficult. Also, I didn't read through all of it (too lazy, call me a hypocrite)
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zsjostrom35  
 
 



Joined: 17 Feb 2008
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PostPosted: Mon Jul 28, 2008 1:31 am    Post subject: Re: Five Stars for You Here (Expert Guide) Reply with quote

TheThirdDay wrote:
The only thing I can add is my strumming pattern for the chorus. It never fails for me. It's good for people who are confident strummers and like the altstrum, i.e. me.

------------------------------------
dudud_u------d_u_d------d_u_d------u_d_u_dudud_u------d_u_d------d_u_d------u_d_u_


Cool; I put it in. I rarely alt-strum anything slower than about 7 nps, so I never even thought of this.

TheThirdDay wrote:
EDIT: Ooo! I did find an error! In section B of the chorus, you have GR: written in the freticons.

EDIT 3: Aright, I think this is the last one, but a size tag is messed up in the fretting/strumming of solo 3.


Fixed, thanks. Once again, you get the first error correction spot in the thanks section.

TheThirdDay wrote:
EDIT 2: Look at the fingering for each section in the chorus; C and D are screwed up.


I found the mistakes in D, but I can't find one in C. If you're referring to the extra fret held down during the YB B, I did that on purpose. I think it's easier to hold down the yellow the whole time.

Invader4480 wrote:
Even though I love all of your guides, I have to say this is my favorite, because I couldn't 5* NFMH without it. The style of your guides are very comfortable and fun, and it makes them feel very bjwdestroyer-esque.

Great guide, can't wait for another!


Now THAT is high praise! Thanks.

Invader4480 wrote:
One tiny tidbit of advice I can add is that in the Bridge, I usually strum at a constant pace through the entire thing, including the triplets, which helps me keep the rhythm through the rest of the mess.


Interesting. I am usually opposed to strumming HO/POs, but if it helps you stay on rhythm it could be very useful here. I'll put it in.

ShadowDude27 wrote:
Wow, you posted this just after I practiced the chorus riff for 15 minutes. I will agree with you, this is the absolute worst song ever. This and TTFAF are the only songs I can't consistently even 4-star (still no TTFAF 4-star ) but I think this will end most of the NFMH threads.


I wouldn't say it's a terrible song, but it certainly can be very frustrating. There were times when I thought I might get TtFaF five-starred before this one.

Parama wrote:
Aww great. The day after I 5* this beast there's a guide out for it.

I do agree - this is the second hardest 5* to get. Because it's the second-to-last one I need to get and the last one I will be getting :P

Great work on the guide, and thank god for the freticon editor link - I lost the one I had a few months ago. The guide is amazing, though personally I don't find the BO trills before the killer riffs too difficult. Also, I didn't read through all of it (too lazy, call me a hypocrite)


I'm sorry I couldn't have gotten this up for you yesterday . And that's interesting about the trills, I always thought those were almost guaranteed combo breaks. More power to you, I guess.
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PostPosted: Mon Jul 28, 2008 1:42 am    Post subject: Reply with quote

This guide is almost as beastly (in a good way) as the song itself. Well done, dude.

The only thing I would suggest is maybe bolding the comment about not being afraid to drop sustains early so it stands out more. There are tons of sustains throughout the chorus and a lot of players (myself included) have a tendency to hold onto those sustains for ticks while being completely unaware of it - I'm not sure if it's a subconscious thing or what, but in any case, I think a lot of players could benefit from purposefully dropping those sustains in order to prepare for the next sequence.

Other than that, can't find anything about which to complain. Exceptional guide, one that'll definitely come in handy even as I go for the six-star sometime down the road.
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PostPosted: Mon Jul 28, 2008 2:09 am    Post subject: Reply with quote

jesse0986 wrote:
This guide is almost as beastly (in a good way) as the song itself. Well done, dude.

Other than that, can't find anything about which to complain. Exceptional guide, one that'll definitely come in handy even as I go for the six-star sometime down the road.


English major

Thanks; that means a lot coming from you. When I was looking up old threads on this song, I noticed that you'd posted advice in pretty much every single one of them. That's where I got those third position fingerings, the tip about hitting stuff early, and the original suggestion to drop the sustains.

jesse0986 wrote:
The only thing I would suggest is maybe bolding the comment about not being afraid to drop sustains early so it stands out more. There are tons of sustains throughout the chorus and a lot of players (myself included) have a tendency to hold onto those sustains for ticks while being completely unaware of it - I'm not sure if it's a subconscious thing or what, but in any case, I think a lot of players could benefit from purposefully dropping those sustains in order to prepare for the next sequence.


I didn't like the way it would look bolded, so I separated that information out instead (I think it accomplishes the same purpose). You're right, it's very important. I've definitely noticed myself holding on to sustains for dear life at times, generally to the destruction of my combo.
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jesse0986  
 
 



Joined: 05 Apr 2007
Posts: 3518
Location: near the 'E' in 'UNITED'

PostPosted: Mon Jul 28, 2008 2:21 am    Post subject: Reply with quote

In fairness, a lot of the advice that I give out, I initially receive from other members of the community (including the tilt on the RY chords in the chorus, which was first suggested to me by you and which got me the five-star in the first place... fuckin love you for that man ).
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TheThirdDay  
 
 



Joined: 27 Mar 2008
Posts: 4357
Location: Toms River, NJ

PostPosted: Mon Jul 28, 2008 4:35 am    Post subject: Reply with quote

zsjostrom35 wrote:
English major


NO FUCKING WONDER.
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NfskMjmMal  
 
 



Joined: 21 Apr 2008
Posts: 183

PostPosted: Mon Jul 28, 2008 6:09 am    Post subject: Reply with quote

Another error: When describing Part D of the chorus (Preliminary Section), you describe the first position fingering for the note as 3 3. That should be 3 4

First of all, congratulations on getting 5* on this monster.

About the guide, I, once again, cannot find words that describe how amazing this guide it.

You know that this song is very troublesome for many, and it was one of your goals to 5* it, so it was great that you could work toward one of your goals, and because you began to write one of your always excellent guides almost immediately, with great techniques that works fresh in your mind, you ended up helping a ton of people in the process. Awesome!

I think that your guides only get better as you continue to write more. This guide was incredibly in depth and detailed, but again, I think your style of writing makes this guide interesting and even more worth it to read.

You have really shown you understand exactly what it takes to get 5*, and have stressed the importance of getting those parts down by great word choice, and by going into even more detail, which I thought was one of the best things about this guide.

I thought the section about using practice mode intelligently was amazing. You have obviously mastered this tool and you are more than able to describe great methods of getting the tricky and crucial parts down.

The section covering star power was fantastic. Having experienced many star power phrases that are very difficult to consistently hit, you did an excellent job of covering alternative star power paths that can fit many people's abilities to hit the star power phrases, to maximize score.

Another thing I thought was great about this guide was you looked at many threads covering Nothing For Me Here, took tips from other players, and inserted them into your guide, giving this guide more completion, because of the multiple perspectives.

Again, it's awesome that you love writing these guides and love helping out and giving to this great community. That means a lot, and also means that you'll be helping so many people with more incredible guides in the future.

Keep 'em coming! You're the best! (In my, and many others' opinions)

I HAS GIVEN MY COMMENT
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teliot  
 
 



Joined: 03 Dec 2007
Posts: 221

PostPosted: Mon Jul 28, 2008 7:13 am    Post subject: Reply with quote

Thanks for the guide, I would change the thread title though. I had no clue what song this was for until I saw the bolded name.
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HangEmHigh208  
 
 



Joined: 05 Jan 2008
Posts: 81

PostPosted: Mon Jul 28, 2008 7:35 am    Post subject: Reply with quote

Hopefully this helps me 5*, I read your Before I Forget guide and went from 3 to 5 stars on my first try.
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