Invisible bard is going to be buffing their friends with auditory (oratory) Bardic Performance. I'm aware there's questions/arguments about how detectable/pinpointable they are at the exact moment they're doing that; not wishing to rake that over again.
However what I am curious about is the combination of bardic performance and movement. Does bardic performance involve constant sound, thus rolls to pinpoint them can be made throughout, or can the bard start in place X, call out "Oh friends, you're so great, you're so great they can't def(e)ate! So great!!" and then move?
Meaning enemies know where they were at point X when they said that, but it's then opposed Stealth vs Perception to get where they went from X to Y?
The key thing is whether the bardic performance being maintained is a constant backing track or a regular repetition of that support...
I'm the GM in this instance, so it essentially comes down to my call. But I want to get a sense of if there are any exist rulings, or bits of the rules I've missed which make it clearer.
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The key thing is whether the bardic performance being maintained is a constant backing track or a regular repetition of that support...
A bardic performance cannot be disrupted, but it ends immediately if the bard is killed, paralyzed, stunned, knocked unconscious, or otherwise prevented from taking a free action to maintain it each round.
As the effect "ends immediately" when the bard is "killed, paralyzed, stunned, knocked unconscious, or otherwise prevented from taking a free action to maintain it each round." I would say that the bard is performing the whole time.
Without the "immediately" it would end only at the start of his turn if he doesn't maintain it, even if killed etc., but with "immediately" it ends when the bard is stopped. So the performance is continue.
As the effect "ends immediately" when the bard is "killed, paralyzed, stunned, knocked unconscious, or otherwise prevented from taking a free action to maintain it each round." I would say that the bard is performing the whole time.
Seconded - stopping the performance instantaneously ends it, which in reverse means the Bard has to keep actively performing to provide any bonus. Also, the performance "can be maintained each round as a free action" - "maintain" means you keep doing it, not that you repeat it. Contrast a Witch's Cackle, which inflicts a one-term-effect each time you use it, but has the cost of requiring the same original action each round to maintain a hex on a target.
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keep in mind a bard can still cast spell while maintaining performance, even tho most of the spells (all bard spells?) have verbal components.To supply back-up for this:
Every bard spell has a verbal component (song, recitation, or music).Also to add on to my earlier post, the enemies should get a free check to pinpoint their square, both when they maintain, and they move while providing a bardic performance.
True, but look at the part I bolded. As I see it, the bard is capable to mix his performance with the spellcasting, doing both at the same ttime.
Plus:
If a bardic performance has audible components, the targets must be able to hear the bard for the performance to have any effect, and many such performances are language dependent (as noted in the description).
If the bard isn't maintaining his performance even off turn it can't be heard. Having it work only during the bard turn makes it mostly useless.
I agree that the rules aren't clear, so we will have to choose an interpretation of how it works. For me, the best interpretation is that the bard is performing all the time.
I will ponder, but I vaguely lean towards free action to be aware that yes, there's someone making noise and a rough direction, but move action to pinpoint (barring likely 'You're right next to them').
As the effect "ends immediately" when the bard is "killed, paralyzed, stunned, knocked unconscious, or otherwise prevented from taking a free action to maintain it each round." I would say that the bard is performing the whole time.Seconded - stopping the performance instantaneously ends it, which in reverse means the Bard has to keep actively performing to provide any bonus. Also, the performance "can be maintained each round as a free action" - "maintain" means you keep doing it, not that you repeat it. Contrast a Witch's Cackle, which inflicts a one-term-effect each time you use it, but has the cost of requiring the same original action each round to maintain a hex on a target.
Aye, that works for me. Agreed that the Witch's Cackle is clearer that you're 'topping up', but the whole 'immediately ends when they're dropped' makes it a lot clearer to me that they're making noise throughout the round, not just on their bit of it.
Ventriloquism.
https://aonprd.com/SpellDisplay.aspx?ItemName=Ventriloquism
Also, if you have lost your phone and had to call it to find it, it takes a move action at least to pin point it’s location.
Aye; I'm aware of that spell, but I'm running a module and that bard doesn't have it. And, TBH, the situation she's in is strong enough that I'm not inclined to give her it. I just wanted to get an idea of, and be fair with, her Performance to buff her allies.
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Ventriloquism.
https://aonprd.com/SpellDisplay.aspx?ItemName=Ventriloquism
A bard is trained to use the Perform skill to create magical effects on those around him, including himself if desired.
Ventriloquism can move the point of origin of your voice, not the point of origin of a magical effect. Plus the effect of the bardic performances is "around him (the bard)".To change that you need something way more specialized than a generic first-level illusion.