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-   -   2019 September/October Set 5 (http://www.flashflashrevolution.com/vbz/showthread.php?t=151313)

psychoangel691 09-28-2019 05:27 PM

2019 September/October Set 5
Set 5
Judge - TC_Halogen

!!!Chaos Time!!! (Ghost_Medley)
!!!Chaos Time!!! (Uncut Ed!t!on) (xXOpkillerXx & Samurai7694)
Amnehilesie (Gradiant)
Decipher.#003 (AutotelicBrown)
HandThrow [Insane] (DarkZtar)
Hyperdisco (FFR Pro 21)
Mondo Brutale (choof)
Please Don't REmember (Shxfted)
Reluctantly Accepting Temporary Overexhaustion V2 (Deamerai)
Sinthasomphone (Shxfted)
Symphonies_of_Suckness (klimtkiller)
Tachyon Beam Cannon (Shxfted)
The Little Devil's Heart-Pounding Amusement Park (Pizza69)
Ubiquity (EzExZeRo7497)
Viking Spirit and Rage (M0nkeyz)
VIS--CRACKED (Dragolord)

Shxfted 09-28-2019 09:00 PM

Re: 2019 September/October Set 5
Go easy on me AJ

TC_Halogen 09-28-2019 09:05 PM

Re: 2019 September/October Set 5

Originally Posted by Shxfted (Post 4699548)
Go easy on me AJ

Please Don't Remember (Shxfted) - 1/10, don't tell me what to do
Sinthasomphone (Shxfted) - 1/10, don't tell me what to do
Tachyon Beam Cannon (Shxfted) - 1/10, don't tell me what to do


psychoangel691 09-28-2019 09:10 PM

Re: 2019 September/October Set 5

Reshiram 09-28-2019 09:54 PM

Re: 2019 September/October Set 5
AJ is lucky enough to avoid my files this time lmaoooo

Ghost_Medley 09-28-2019 10:00 PM

Re: 2019 September/October Set 5
you misspelled my username :(

psychoangel691 09-28-2019 10:07 PM

Re: 2019 September/October Set 5

Originally Posted by Ghost_Medley (Post 4699556)
you misspelled my username :(

My typing skills suck, I've also been working on FFR all day and have burnt out. It's fixed now.

Shxfted 09-28-2019 10:18 PM

Re: 2019 September/October Set 5
AJ don't make me submit something dumb

psychoangel691 09-28-2019 10:38 PM

Re: 2019 September/October Set 5

Originally Posted by Shxfted (Post 4699559)
AJ don't make me submit something dumb

oh please do

choof 09-28-2019 11:56 PM

Re: 2019 September/October Set 5

TC_Halogen 09-29-2019 12:02 AM

Re: 2019 September/October Set 5

Originally Posted by choof (Post 4699585)


choof 11-5-2019 08:40 PM

Re: 2019 September/October Set 5

Ghost_Medley 11-5-2019 08:43 PM

Re: 2019 September/October Set 5
(Delays until choof un-nerfs Mondo Brutale)

TC_Halogen 11-8-2019 03:28 PM

Re: 2019 September/October Set 5

Originally Posted by choof (Post 4701444)


Originally Posted by Ghost_Medley (Post 4701446)
(Delays until choof un-nerfs Mondo Brutale)

I took the time to judge a little today; this batch closed a little bit ago and I've not forgotten. I'm gonna try to get some done a little bit the next few days.

TC_Halogen 11-14-2019 10:57 PM

Re: 2019 September/October Set 5
Another update: I'm 3 files away from finishing. Notes almost certainly will be released on Saturday.

EDIT: I write my notes on Google Drive - for the 13 files I've judged (because I was given one extra), I've written about 9 pages of notes.


TC_Halogen 11-16-2019 01:18 AM

Re: 2019 September/October Set 5
The Little Devil's Heart-Pounding Amusement Park (Pizza69) [8.5/10]
Ubiquity (EzExZeRo7497) [8.5/10]
Amnehilesie (Gradiant) [8/10]
Please Don't Remember (Shxfted) [8/10]
Tachyon Beam Cannon (Shxfted) [8/10]
!!!Chaos Time!!! (xXOpkillerXx & samurai7694) [7.5/10]

Conditional Queue
VIS--CRACKED (Dragolord) [8*/10] clarification required on color gimmicks to ensure they're not there for no reason
Mondo Brutale (choof) [8*/10] no specific reason; playability testing required to ensure this chart doesn't require pattern changes
Reluctantly Accepting Temporary Overexhaustion v2 (Deamerai) [7/10] resolve notes to get score above acceptance cutoff
Sinthasomphone (Shxfted) [7/10] resolve notes to get score above acceptance cutoff
Symphonies of Suckness (klimtkiller) [7/10] resolve notes to get score above acceptance cutoff
!!!Chaos Time!!! (Ghost_Medley) [7/10] resolve notes to get score above acceptance cutoff

Fixes Required
Decipher.#003 (AutotelicBrown) [6/10]
Viking Spirit and Rage (M0nkeyz) [6/10]
Hyperdisco (FFR Pro 21) [5/10]
Hand Throw (DarkZtar) [2.5/10]

TC_Halogen 11-16-2019 01:21 AM

Re: 2019 September/October Set 5
!!!Chaos Time!!! {t+pazolite} (Ghost_Medley)
Rating: 7/10

- offset is good
- 5.493 + 5.727/7.368 + 7.602 (etc): these triples accent the same melodic note + backing instrument, so having them change like this feels a bit strange
- 8.891/9.126: these two pitch bent notes are different musically and are separated by a single note, which gives you no real excuse to not properly apply some pitch relevance
- 10.180: making this a [123] triple will break away from the [4] an eighth note before/after for better pitch relevance as well
- 13.051: remove 16th and place at 13.169
- 14.458: there may be a 16th note here for the melody as well, a little tougher to hear though
- 15.454: move this to [2] for better relevance
- 16.919: missing note
- 20.727 to 24.243: layering here is a bit confusing; 20.727, 20.962, and 21.196 all have jumps, but the third jump doesn’t have two instruments landing at the same time and if they’re all supposed to accent percussion, then there’s numerous jumps missing afterward. Furthermore, if they’re following that synthesized vocal sample, then you’re also missing a jump at 21.665. All in all, fix the layering here.
- 30.337: move to [4], to make it a [4] -> [1] -> [2] -> [3] ascension
- 32.641: personally think this note should be removed - the two offset 32nd notes are fine, though
- 41.305: patterning should be changed to give this guitar wail a one-handed trill like you do earlier at 35.305; if you feel the accenting isn’t strong enough, then a brief color gimmick could give attention to that wail and can be applied to both
- 44.680 to 56.680: in general, it feels like there are some missing jumps. The layering scheme seems to toss the faster melody on top of the percussion, but there are single notes that fall in situations where the melody and percussion play at the same time; it doesn’t feel like accented layering because numerous kicks are isolated to single notes as well
- 1:00.109/1:01.984: these BPM changes are unnecessary; the kicks shifting from once a beat to once every 1.5 beats every other measures doesn’t clearly signify any sort of pace changing and the music’s intensity arguably doesn’t change enough for these BPM cuts
- 1:01.984: additionally, the 32nds here definitely don’t feel right - they’re pitch bent notes and you handled them in a different way at the start of the song, in a way that was pretty neat - could be a nice little interruption using similar pitch-relevant flams like you did the first time
- 1:06.086: noticeably incorrect PR
- 1:12.178: missing jump, remove jump at 1:12.531 and 1:13.000, etc. Check your melodic representation; some jumps are missing and others do not belong where they are - the tail end of the phrase seems to have a lot of jumps added for kicks but there’s no representation of jumps for kicks earlier on in the phrase so it feels a bit strange as a layering boost, etc.
- 1:26.359 to 1:30.109: another section where layering is not the most pronounced - if this is intended to be a break down, then directly layering the percussion with the melody will keep the layering reasonably light
- 1:31.281/etc: the blips in section should be 24ths - you may want to adjust your layering as things get faster, though
- 1:45.156/1:50.110: change this to a [12][34][12] to keep the difficulty spike manageable, this will kill off AAA runs for a chart whose difficulty was relatively tame through this point for players that are able to handle much higher than the stuff beforehand

Amnehilesie {MisomyL} (Gradiant)
Rating: 8/10

- offset is good
- 46.226: I kinda feel like you should have some opposing 8th note repeats to counteract the previous ones, but this is an extremely minor gripe
- 47.399/etc: these 24th blips should technically be 32nds
- 1:45.051: not entirely sure why this jump is here
- 1:45.704/etc: wish the stream patterning had a bit more attention to the song but I also understand that it would be a rather substantial spike in terms of difficulty if you boost the layering so what you have is ok
- solid file, I think the community will enjoy this one quite a bit, though they may want to hurt you for that last polyrhythmic mess around 2:06

Decipher.#003 {Aquellex} (AutotelicBrown)
Rating: 6/10

- offset is good
- 3.413: move that [3] arrow to a [4] arrow to prevent the unnecessary 12th note minijack
- 7.486/15.697: break these jump-jacks apart, you use separate jumps earlier on for kicks that play on 16th notes
- 22.033/(etc): the last note of these 3-note sequences has a slightly different sounding pronounced release, making it a bit more appropriate to use a two-note mini-jack into a three note one; besides, at 232, using a 3-note jack may create a situation where a 2-framer and 1-framer come back-to-back
- 25.912/(etc): not that this is rhythmically incorrect, but when you consider how this is going to be played on FFR, a good majority of this section is literally spamming [34] and [12] (over the course of about 4 seconds) - this is pretty ridiculous to play in general
- 49.704 to 1:05.609: while the color gimmick is interesting, I’m absolutely not a fan of the execution at all because the opportunity for pitch relevance is just completely missed
- 2:05.413/2:09.551/(etc): I understand the reason behind doing this, but it’s better off not having a collision; you’d be better off briefly breaking layering and giving attention to the kicks by making the preceding triples opposing doubles or something like that, mostly because some jumps for kicks are ignored in general
- 2:28.947: disconnect the [3] from the triple to make the pattern difficult but not unmanageable.
- 3:10.749: same stuff w/ color gimmick as 49.704
- 3:24.558: disconnect the [4] from the triple to give more accenting power without making the last hard section ungodly less fun having to transition from it
- could use some tweaking before being put in

!!!Chaos Time!!! {t+pazolite} (xXOpkillerXx & samurai7694)
Rating: 7.5/10

- 13.930: I can see the PR in this sequence, but the repeated left arrow looks a little strange given that the same melodic repeat/pattern deviation at 15.219 doesn’t carry that; percussion is all the same too, so that’s slightly anomalous
- 14.731: for more accuracy, pitch bend should be accented by placing the 48th after, not before
- 16.508: not the same note as 16.274 - moving it to a [D] will remove the strange repeated note and gave you better PR overall
- 17.094/18.031: missing jump for snare (you do this earlier)
- 18.500: oof, that’s a nasty (albeit brief spike). Technically accurate with your layering scheme, though it might look a bit better accent-wise to make 18.735/19.203 doubles instead of triples, since the other two notes actually have cymbal crashes on them.
- 19.613: sound is quite subtle to force this jarring of a motion and actually isn’t a repeated sample, might be nicer to break the mini-jack here
- 20.375 to 27.875: trying clearing up your layering/structure a bit to give maximal accenting towards the repeating notes in the melody - it looks a bit cluttered because some instances of repeated notes are very easily spotted (21.078, 22.719, 24.828, 26.469), and others are a bit ambiguous (21.899, 22.133, 23.188, etc)
- 27.875 to 31.391: jumps are a little ambiguous here too - I understand the deliberate omission of the snares in the structure and giving emphasis to the kicks, but some other jumps seem a bit out of place (are you following the “hey!” vocal?)
- 40.063 to 52.063 -> 52.063 to 1:05.616: I love the first half of this section for sure; fits the grungy hard feel of the song and is brutally layered; however, the second half of this is so underwhelming for a section that still contains what you were following earlier on with such aggressive layering - I understand not wanting to make things messy, but it might be more cohesive if you find a way to incorporate that aggressive layering when the 24ths aren’t being played so that it feels like it’s a better part of that section
- as a note: that second half solid in terms of PR, rhythms and layering in current state, it’s just very underlayered compared to the previous section is all
- 1:05.616: I actually really like this transition into the next section; it’s visually memorable, super jarring, and just fits to get back into the swing of things, kudos
- 1:09.483: unlike earlier at 14.731, the pitch bends into the note and not out of it, therefore the 48ths should come before the actual rhythm in this case; also - switching the triple at 1:09.366 in a way that allows you to make this flam at 1:09.483 a [u]/[R] will give you a complete pitch relevance for that little phrase which is always nice
- 1:14.054 to 1:28.819: so, normally I’d knock you for a pattern structure like this when the melody returns — however, with the addition of the repeating vocal sample, that “bounceback” pattern between hands just feels so right to play through in that section that I can’t really find it in me to penalize for it. It feels great to play and is appropriately interrupted with the sample stops - instead of being a detriment to the file through improper relevance to other elements, it becomes a memorable section.
- 1:46.632: move this to a different jump so you don’t have two [LD] jumps representing two different percussive elements
- 2:48.733: totally not a big deal here, but I’d totally make this a quad, it’s a super jarring interruption to what is otherwise a very soft section, haha
- 2:51.296: I like the repeating jack motif that shows up here like I do at 1:14.054; however, you might be hitting the point at which players are feeling like the song is getting a bit repetitive since they heard this exact melody a minute ago and brief portions of it are direct copy/paste (2:54.811 to 2:57.507/3:01.960 to 3:03.366 and 3:04.421 to 3:05.421); perhaps the patterning can be switched to be a bit different (maybe [LU]/[DR] for the jumps?)
- 3:11.393: missing note (you accent this at 3:11.862)
- 3:16.843: aaaaa, ok - I hear what you’re following here, but think about the motion that has to be played to accent this barely audible thing; this is a bit too jarring
- 3:19.538: missing jump for melody?
- 3:26.746: might be a little rough at 265 BPM to do anything other than 3-note splits…
- despite how long the notes are for this, this chart is actually quite solid! There are a lot of places where things can be polished up and approached a bit more effectively, but I can see this file being accepted as is, personally.

Hand Throw {Venetian Snares} (DarkZtar)
Rating: 2.5/10

- this file has a coherent structure; however, it is entirely reliant on long-jacking at 200 BPM which is vibro territory. Not all of the long-jacks resolve in a way where an overlay setup works either.
- not much to say. Not something that should be in game, honestly.

Hyperdisco {Annoying Ringtone} (FFR Pro 21)
Rating: 5/10

- offset changed from -0.097 to -0.087; BPM changed from 250.001 to 250.000
- 7.287/8.967: while the kick does kinda quiet down, it’s still very noticeable and leaving them out makes for strange feeling gaps
- 11.247/11.487: layering conflict with the [UR][LD] jumps earlier for kicks
- 12.567/13.527: these single jumps seem to go to the background vocal “get up, get up”, but it’s only a single jump and it feels improperly accented given that jumps are added for the kicks shortly at 14.247
- 19.047: jump also feels unnecessary here
- 19.287 to 26.967: your structure goes from unconstrained jumps to locking snares on the same jumps, which gives an implication that the first jumps might have some other intent on accenting; mix up all of the jumps to keep the accenting strictly to layering, or constrain all of the jumps every so often so that the snares are locked (essentially, start with a particular jump and only use that until you hit a new measure or two, or… something along those lines).
- 36.087/etc: while I see what’s being done here, I’m personally not a fan of the back and forth shifting between vocals with jumps and kicks with jumps because the connection points create visual conflicts against the most prominent musical element; example - 36.087 and 36.207 are jumps, but kicks are no longer important and are represented as single taps, then three lyric notes at 38.127/38.247/38.367 happen but there’s four jumps, to transition back to the kicks again - more a visual note than anything, but something to keep in mind, I guess
- 42.327 to 50.007: the vocals are introduced yet you retain a similar structure as earlier and keep the vocal ignored when it’s an opportunity to reduce redundancy
- 52.167/57.327: missing jump for snare
- 57.687 to 1:13.047: more of the same repetition, unfortunately. Despite having only been running for just over a minute, it’s draggy because the song changes but the chart’s approach barely does.
- 1:28.047: the previous section to this was a nice and refreshing change, though the jumpstream spikes are a bit rough given the rest of the chart - however, once we hit this point, despite receiving an entirely different musical phrase and potential for making things a bit different, the structure remains generally the same
- 1:40.647: there’s some aggressive vocal sampling in the background that could give you some 16th notes to follow those vocal stutters
- file is generally more of the same; very repetitive and unfortunately gets stale as time goes on

Mondo Brutale {Komprex} (choof)
Rating: 8*/10

- there’s not much to be said about the structure of this file, although I do wonder if there’s actually strong enough side-chaining off of those kicks to merit the 16th notes to produce those streams
- 37.651: this technically is 9 consecutive kicks, and you do have 9-note jumptrills later…
- 41.543: detach this triple from the right arrow to give better representation of separating samples
- 48.462: I’d personally move these to [14] jumps simply to prevent that jack, given that you’re not actually using jacks for accenting the distorted guitar (I know it happens later but there’s actually more layering to make it a bit more understandable)
- 1:16.413: why is this a jump but the notes following it not? The first jump makes sense landing on the kick and all
- 1:17.062: this note colliding into a jump that starts the next stream is a bit of a rough entry, it might be reasonable to shift the three note jack and detach it off of the jump
- 1:19.765: this feels like an inconsistency to break the stream given that the same separation between the kicks and whatever sample comes out from them a 16th note later is still there; in fact, I’d argue that it’s more prominent.
- 1:23.224: ^, though, 1:23.656 seems like it has actual gaps between things
- 1:50.792: the vocals are far enough off to actually land on 8th notes here
- ...all things aside, I would like to keep this file in a holding state for a bit longer, just to test the viability of it. I feel like the file is too nerfed to really have the intent you desire for it, given that the tempo is high enough to make this chart’s hardest points stagger-jumptrillable.

Please Don’t Remember {The Flashbulb} (Shxfted)
Rating: 8/10

- numerous instances of missing bass notes as well as 24th notes for them that should be represented as 32nd notes in the first minute
- a few bursts are missing (or notes connecting 3-bursts to make them 5-note bursts) in the faster second half.
- jump utilization in the chart could use a little bit of work as some jumps are not the most clear due to accents for bass notes as well, also for the first minute
- be weary of bursts that have mini-jacks as a result of how fast they are as FFR frames could make things quite a bit more disgusting
- one thing that I dislike about this file is your clearly deliberate stringency in jump selection for snares, with most being [UR] or [LR] if there is a large echo - this gives your chart a high probability of not being particularly enjoyed in the way you intend it as mirror detracts from that particular accenting direction
- chart is very solid overall, just needs some polishing

Reluctantly Accepting Temporary Overexhaustion v2 {Terminal 11} (Deamerai)
Rating: 7/10

- offset’s fine
- 4.894: a jump can be added here if you want to maintain the kick on top of the vocals, just make it colored as a 192nd as well
- 5.514: this jump feels a bit out of place
- 6.763/7.012: these notes not being followed but 7.262/7.325 being followed feels strange as the former are much more prominent
- 13.569: missing note for synth
- 14.069: missing note for hi-hat
- ^, lots of little details like this exist throughout the chart in ways where them being deliberately omitted is unlikely given representation of those same details with notes later on at points, just do a quick pass through to make sure you catch them
- 22.000: repeated column 3 notes?
- 32.866: given the next burst and what it accents, this 7-note burst feels off because you really can’t hear what it goes to compared to what comes just moments later
- 42.608: keep your accenting consistent, missing jump for a kick here (and 46.355, 46.605, 47.355, etc). Sometimes it seems like the melody is being followed with jumps, but then there are instances of only kicks taking precedence as jumps.
- 50.602/etc: if you want to be a bit cruel, you can actually anchor your patterns to the chime melody that takes 8th notes and throw in some nasty runningmen/pattern locking and it’ll be perfectly justifiable with the music, too
- 1:22.035: not hearing all of these notes, just simply sounds like a 32nd note right before the 4th and that’s it (nothing after, either)
- 1:43.433 to 2:08.536: when you’ve got a section that is this messy in terms of rhythms, it is usually prudent to reserve jumps for the most prominent of accents; some of the jumps here don’t really have a substantial purpose - play this section at 100% pace and follow your jumps, and just make sure you’re capturing sounds of substance when you leverage them. Jumps like 1:55.672/1:59.669 aren’t really impactful, as an example.
- 1:48.241: either remove the jack at 1:46.243, or add another one here (and consistently apply it wherever else)
- 2:05.414: remove jump, snare does not play here
- speed-up to end: jump utilization needs to be cleaned up a bit, percussive accents are missed and in other times over-accented. Numerous missing notes for percussive samples that are not bursts/deliberately ignored due to being too fast.
- 3:10.3096: there is a slight chance for this to be a nasty 1-frame -> 2-frame [D][LUR][L]; a triple might not be the wisest idea for an accent given the mini-trill right after.
- I was feeling this file, up until around the 2 minute mark; jump structure got a little too convoluted for me.
- This file has a very solid foundation and has the potential to be absolutely iconic simply by name and being v2 of something so important to FFR; your chart does the song justice for a good majority of it, but I think it just needs a little bit more just to get through.

Sinthasomphone {Venetian Snares} (Shxfted)
Rating: 7/10

- 13.741/etc: while I know it’s not the constant stream that used to exist before, it still just feels like too much, honestly… the sound fades away and yet it’s one of the more constant parts of the chart. It feels counter-intuitive.
- much like Please Don’t Remember, this chart carries similar issues in structure with jumps, where the same instrument/accents are represented in different ways that make it seem a bit inconsistent (see: 28.291/.441/.591 for kicks vs. 31.441 which is a kick separated away from bursts and can easily, safely be a jump for a kick, etc)
- 28.741: this burst is fine technically, but it might be more accurate if notes 4 and 8 were removed from this burst to give a bit more of a representation to the separation in the overtoned snares
- triples also seem to have their own inconsistencies: see v. 33.541,
- 35.341: these bursts aren’t quite right - it’s arguably only two audible snares but if you truly want to catch the reverb, you’ll put notes at .372, .409, .447, .484 (that last one takes the place of the 8th normally at .491)
- 36.091: ^, similar application but different times
- 49.291/57.691/etc: compared to the last two instances, this note really doesn’t have the same impact as a triple
- 58.141/etc: don’t see the merit in this quad; it’s consistently applied, but feels quite overdone
- 59.341: not quite the correct rhythm, but it still works effectively because it does give a proper separation in abrasion between the two percussive sequences
- 59.828: this being an offset 16th jack is going to be absolutely awful come conversion time
- 1:03.616: this is technically the same percussion sample as what you’re following with the jacks, so a 5-note jack would be appropriate here
- from about 1:20 on, there are very noticeable accents represented with the exact same patterns which really drags on for a bit; vary up the patterns a bit more and ensure that you’re actually representing things properly (1:41.491 for example is a clear incorrect copy/paste of an earlier jumpglut but the musical phrase changes clearly enough to make this look like an error immediately at full rate)
- 1:39.591/1:50.091: missing 24th note
- take a look at the mini-jack construction of the chart and ensure that it is consistently applied; there’s a concept of pattern contouring that has lots of mini-jacks colliding into jumps and triples deliberately which is alright in the way it is applied, but there are instances of accents where those mini-jacks should be applied that don’t seem to be there (more frequently towards the end of the chart)
- chart’s close to good enough to be put in as is, but not quite

Symphonies of Suckness {dev/null} (klimtkiller)
Rating: 7/10

- offset is good
- pitch relevance for the first minute or so is respectable; some improvements can be made from 30.107 to 33.107, 38.919/39.107, 41.919/42.107, for some examples
- 24th swing should be 3/64th swing instead
- 1:16.419/etc: missing accent for piano notes (they seem to have some relevance given that they are the reason why section starts are triples)
- 1:39.954/etc: either fill out all of the kicks that you are missing, or place jumps on notes like these to accommodate for missing piano notes so that the jumps terminating each 16th stream all unified
- 1:46.070: this can be flipped around since the first four notes are bass kicks and the next four are snares (i.e. [L][D][u][R] -> [D][L][R][u])
- 1:47.064: this and other instances like it are most likely 3/64th before the next note (I mention it because it could be the difference in a frame shift that could make the chart a bit cleaner post-conversion)
- 1:46.331 to end: be very mindful of dev/null’s shifting of rhythms, as there are numerous subtle but occasionally noticeable misrhythms. Sometimes things are not as simple as they see. Here’s an album of a couple of noticed subtleties at 100% rate - there are others.
- 1:46.331 to end: jump usage feels a little off to me here; dev/null is definitely quite… cacophonic in nature, but I feel like jump usage from this point on definitely gets a little rough: for example, I would argue that jumps like 1:51.157/.287/.418 and 1:52.331/.461 are great because they capture abrasive and highly distinguishable sounds, while 1:54.418/.483/.548 are not so great because they’re not only not very important, you actually ignore the accent a bit later (2:00.678)
- 2:12.352: I’d argue this jump should be removed and one should be placed at 2:12.483 to capture the kick
- 2:13.200: this is a really nice touch - I think the impact visually could be stronger by also inverting the U/R’s as well so that you alternate between LDUR and DLRU (it will be performed by players the same way at this speed).
- 2:19.461: this is pretty mean. Fair, but mean.
- 2:43.331: it might be good to shift this visually since it goes from snares to kicks
- 2:44.048: it’s actually possible to hear this as 32nds, not 48ths; given the sound effect, it CAN work as is, but I figured I’d at least put it out there
- 3:25.591/etc: shouldn’t this be a jump?
- 3:32.505: nope; I know it’s very doable but a 2-measure OHT right after 3:30 of play is not gonna fly here
- 3:40.852/3:47.309/etc: no 3-note 16th jacks at anything above 225, let’s not add the potential for 1-framers in this manner
- this file also has a lot of potential overall! Make a few improvements to playability and clean up some minor misrhythms/layering discrepancies and I think this is queue worthy, honestly.

Tachyon Beam Cannon {Aquellex} (Shxfted)
Rating: 8/10

- my god fuck that opening to hell
- 25.491/25.611: I know in execution this isn’t terrible, but god this conversion…
- 28.731: splash sound effect only hits two notes, so this triple should be removed
- 35.931: if you’re more in the mood to be a prick, there’s opportunity to add 32nd note bursts in situations like here (there are others)
- 1:13.911/1:17.750: missing jump for kick
- 1:19.491: ignoring the 16th note kicks here?
- ^, there are other instances of this in this section, check carefully
- 1:59.871/etc: technically, the syncopation of this melody would be more accurate by adding a 16th note here (and other instances), but rest everyone’s soul dying to this anchor hell
- 2:32.031: technically some missing kicks here (again, occurs in other places as well)
- 2:59.331: some missing 12th notes here that I argue are worth accenting more than the three 16ths you’ve got here
- 3:03.411 to 3:18.771: 15 seconds of copy/paste from earlier section, with the subsequent section having remnants of copy/paste in the areas where the musical structures are congruent
- this chart is absolutely ridiculous, but even in the level of ridiculousness it has, it manages to generally be pretty fair throughout. Absolutely unrelenting and will give the best at this game more than a run for their money.

The Little Devil’s Heart-Pounding Amusement Park {...} (Pizza69)
Rating: 8.5/10

- 8.843: given that this is a second instance of a note that plays at a similar volume, it would be a bit more accurate to have it either on L or R
- 34.499: shaky pitch relevance here
- 52.203: a little disappointed to not see accents for those grace notes, but all things considered this section works as is
- 1:39.334: given that big color burst immediately before this, not having anything for arguably the most jarring sound here is a bit strange
- 2:44.189: those 24ths you had for the violin could also be put here as well
- rhythms and layering structure are pretty explicit overall; not much wrong with it at all to be honest.
- overall, I feel like the pitch relevance can be improved in quite a lot of the file. However, that doesn’t detract from the objective of the chart: a tasteful approach to a previously brutally charted file that is still hard, but much more accessible compared to its previous counterpart.
- I think this is a well executed reduction and will serve as a nice alternative to those who like the song but can’t quite handle the brutal collab between YoshL/Gradiant.

Ubiquity {Stellabee} (EzExZeRo7497)
Rating: 8.5/10

- 15.174/etc: not entirely sure why only two of these are jumps and not all four (or none)
- 28.805 to 37.396: these patterns could use a bit more in the way of variance
- the choice of anchoring the kicks to one of the two notes for the jump that accommodates for the snare was a really nice choice that keeps the layering tastefully light and as a result, the chart is super fluent - definitely a fan
- 1:23.623: this is actually the only instance in this section of the song where the crash cymbal doesn’t take a slight upward increase in pitch, so it might be more relevant to keep this as a triple
- really good chart - it’s almost rudimentary in structure, but that’s what makes it work so well - it’s simple, to the point, and very effective in delivery/accenting

Viking Spirit and Rage {DanJohansen} (M0nkeyz)
Rating: 6/10
- 1.247: given that your main focus is the guitar, I can’t help but feel like the missing notes left out after this are pretty noticeable and feel strange
- 2.029 - etc: technically the DLDL -> UDUD -> etc is not correct in terms of pitch relevancy; however, I do understand the choice behind choosing that sequence because it gives a better visual representation of the scaling, so that’s a good choice on your part
- 7.629/etc: some more details for the guitar being left out here
- 11.629 to 26.429: this is quite empty; there are other guitar notes that are not quite lead melodic concepts that can be used to fill the gap, but as it stands, this is pretty rough to just sit through; additionally, some of the guitar notes you represent as flams in the chart don’t quite have that pitch-bend that makes it work; keep that structure consistent
- 33.029: this rhythm is noticeably incorrect on 1.0x rate, tighten it up
- 38.429: what’s with all the jumps here? I can understand the jumps at 39.029, .429, etc.
- 40.229 to 52.029: the structure here is not well conceived; the melody has a clear repetition in it but your chart absolutely goes against that due to trying to put emphasis on the lower guitar as well; the only thing that works here are the jumps that accent kicks on occasion
- 52.829 to 1:13.629: missing notes at 56.962, 57.762, 1:02.162, 1:04.162, etc. Additionally, this section could use some work visually; while your jumps might be following a percussive entity in these sections, there is also a very audible guitar playing different notes too; a good visual tweak would be to keep your layering structure the same, but listen to the backing melody of the guitar and ensure that your jumps have solid relative pitch relevance - this will eliminate situations of ambiguity for long anchors (55.895 has a 7-note anchor that should only be 5, 59.495 has a 4-note anchor that’s unclear, etc).
- 1:15.229/etc: keep your layering consistent: here you have the kicks and the guitar playing at the same time but there’s no jumps, yet you have them at 1:16.429 - etc.
- 1:26.429 to 1:52.029: with the exception of the drum fills that mark the end of a half of a phrase, the layering here makes sense by accenting the lower guitars and combining it with the kicks - however, I’m not entirely sure about the jump selection itself, as there are some long sequences of repeated notes (some as long as 6-notes here?)
- 1:58.595: not quite the right starting rhythm, slow it down and get it more precise
- 2:04.829 to 2:17.629: same as 40.229 to 52.029. Something that might be viable for these sections is to leverage syncopation and only accent the more audible parts to make your chart dynamic. Here are two examples of workable rhythms you could use. The first one is likely more favorable/dynamic because it actually meshes well with the percussion which could substantially free up layering opportunities for you. Second one is also workable with layering, though you need to be a bit more careful.
- 2:17.629 to 2:32.029: again, just another section where the chart is really underwhelming - there’s really just not enough differentiation for this section and some sequences of jumps are questionable (four 12th jumps at 2:20.695, five note 12ths at 2:24.162?)
- 2:34.295/(etc): missing note(s)
- 2:39.495/etc: rhythm for kicks actually switches to 16ths here.
- 2:44.829: there’s actually a guitar note here right after this that can be used to make a flam
- 2:57.229: should likely be another note after this (a 24th after will do just fine unless you want to make it finely synced)
- 3:01.229/etc: see, these jumps/24th streams actually feel right. They are appropriately brought into the chart’s structure without the 24ths and the repeating jacks follow the kicks accordingly, allowing for there to be a solid separation between the two structures. For me, this is honestly the best part of the chart so far.
- 3:04.429: streams stop here, though.
- 3:24.829 to 3:50.429: a good majority of this is copy/pasted from the previous section with only super slight alterations.
- chart definitely needs some work to be playable; in the current state, there’s enough wrong to prevent this from being queued. The chart also starts to slog along after a bit.

Rating: 8*/10

- rarely do I have the opportunity to say this on a chart that’s generally well done, but I’ve got no earthly idea what you’re doing with these BPM changes
- some triples early on in the song are misplaced or missing (27.916 should be a triple instead of 28.040, 29.156 seems like it should be a triple given your earlier structure, same with 29.900, 31.883 should be a triple instead of 32.007, etc); check all instances to ensure things are consistent
- 46.263: given that there are running 8ths in this section, you’re missing out on accenting the consecutive kicks that occur here. Accent with jumps or, if you don’t want to increase the layering, two-note mini-jacks can be used as well.
- 47.503: move this L to a D to capture the background vocal sampling (you do this a bit later as well)
- 49.734 to 1:05.106: with the exception of that last mini-jack, this section is excellent. Another thing I can point out: 1:01.511 actually has two repeating notes, so the 8th can be moved to the R to create a pitch-relevant accurate minijack.
- 1:31.387: there’s actually a pitch bend here with discernible notes, might be worth accenting (also, the note at 1:31.593 is a bit too early)
- 1:33.370: this note can be bumped down a 16th
- 1:52.771: sequence for the kicks changes here, this should be a jump and the jump currently on 1:52.833 shouldn’t be there anymore
- 1:57.296: missing jump
- 2:00.829: ^
- 2:13.039: this should just be straight 12ths from here, no rogue 16th and no gaps, just a 7-note sequence
- 2:43.226: missing note
- 2:49.982: misplaced jump, move down 1/32nd
- this is a great chart overall
- however, I’m going to conditionally queue this because of these color choices. If there’s reasonable intent that I’m not seeing behind it, I’ll gladly remove the CQ status.

EzExZeRo7497 11-16-2019 01:40 AM

Re: 2019 September/October Set 5

Originally Posted by TC_Halogen (Post 4702890)
Ubiquity {Stellabee} (EzExZeRo7497)
Rating: 8.5/10

- 15.174/etc: not entirely sure why only two of these are jumps and not all four (or none)
- 28.805 to 37.396: these patterns could use a bit more in the way of variance
- the choice of anchoring the kicks to one of the two notes for the jump that accommodates for the snare was a really nice choice that keeps the layering tastefully light and as a result, the chart is super fluent - definitely a fan
- 1:23.623: this is actually the only instance in this section of the song where the crash cymbal doesn’t take a slight upward increase in pitch, so it might be more relevant to keep this as a triple
- really good chart - it’s almost rudimentary in structure, but that’s what makes it work so well - it’s simple, to the point, and very effective in delivery/accenting

15.174: I alternated between doubles and singles because of timbre -- the sounds are too airy despite being prominent. I didn't think that those sounds were as shrill as snares (let alone bass kicks), so I thought that using doubles would've been too heavy. Singles would've been too light given that they're more salient sounds than hi-hats. The same logic applies to a lot of the offset notes in the chart.

28.805 - 37:396: My previous version had [14][23][14] and [23][14][23] jumptrills instead of [12][34][12] jumptrills, but I thought against using those patterns because it created too much of a difficulty spike given the intensity of the section. Using non-[12] or [34] doubles outside of the jumptrills cause the same issue (arguably more so), unfortunately.

1:23.623: I alternated between triples and doubles not because of pitch but because of timbre. I used consecutive triples in the first half of the chart because the sounds that go to those chords were particularly strong (heavy bass kick + cymbal crashes), but there were no bass kicks complementing the cymbal crashes in the second half of the song.

Thanks for the strong accept.

TC_Halogen 11-16-2019 01:44 AM

Re: 2019 September/October Set 5
All fair points; thanks for the clarification -- don't think there's any reason to make any changes for 15.174/1:23.623 in that case.

That 9-second section's not too terrible, it's just a little on the lengthy side for only [12][34]-oriented patterning.

M0nkeyz 11-16-2019 06:54 AM

Re: 2019 September/October Set 5
At work right now, but do you think I should keep the streams at the start and middle structured the way it is right now or should I remove the 16th jumps and just make it full 24th streams? It would look alot cleaner, but the jumps wouldn''t be consistent. They are also the reason I omited some notes there because I felt it would be too difficult if I included the guitar there. Thats also why I wasn''t taking PR in mind too much repeating jumps just seemed a bit easier to me. 150 bpm 24th jumpstream with 16th jumps in between is something I personally can''t do so I wanted to make the streams as friendly as possible.

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