[TC_Halogen]

12th Official Tournament Batch - Set 1

[7/10] A Baptist Church In Georgia {The Flashbulb} (Pizza69)
- offset is solid
- some PR improvements can be made overall, particularly in situations to prevent some minor pitch relevance collisions
- why are the lower piano notes ignored in the earlier parts of the song but not the later ones? there’s a strange emptiness in some areas that can be alleviated by accounting for those lower notes to keep pace
- 43.249: the large BPM shift two beats earlier to over 103 BPM actually makes this colored improperly, as the first note here should actually be 1/32 before the downbeat - also, the timing is a bit incorrect starting at 43.578.
- 43.907: because of the improper start time/BPM change, the two notes after this 4th are colored differently when they are equidistant - they should all be the same color.
- not too bad overall, but the patterning definitely irks me.

FIX FROM POST #79:
- PR looks improved for sure, nice work!
- good job on the tempo change fixes, definitely better looking in appearance
- patterning is a bit cleaner as well.
- nice job on these fixes! [8/10]

[8/10] A small journey that starts from a morning glow {cosMo@BousouP} (bmah)
- offset appears to be slightly early (-1.405 -> -1.412)
- nice PR play in the opening, a subtle but well thought out detail
- 20.953: triple feels a bit out of place only because the cymbal crashes are arguably stronger accents but don’t quite receive the same respect in your layering scheme
- 30.173: missing note for incoming snare, which is only important to me because I was going to suggest moving the [13] at 30.311 to a [14] as the snare is clearly audible beyond the fade to me
- 37.398/37.535: I feel like these notes should be placed for the guitar, but arguable.
- 38.499/38.636: regardless, these two notes are missing piano notes and should more likely be added to your current structure.
- 42.145/42.696: missing triples for cymbal crashes? I can understand the omission of the first one because patterns don’t work in your favor and your accent structure makes it more worth leaving it out, but the second instance can be added without any sort of issues
- 47.444/47.581: missing notes for chip melody
- 1:09.531: if you’re following percussion earlier in this section, you should definitely be adding at least an 8th note here (and potentially more)
- really enjoyable file, pretty tough to play through but certainly fairly accounted for

FIX FROM POST #87:
- offset fix applied
- instances of missing notes for the most part were taken care of
- other little subtleties/missing cymbal crashes throughout seem to have been picked up as well, good job
- better overall, good stuff. [8.5/10]

[6.5/10] Alien Lair {Shanbubula} (MarioNintendo)
- sync actually needs a tiny bit of work. Some points are fine, other points are anywhere from 5-8ms off looking at waveforms; take a look at this and adjust accordingly.
- 3.180: this particular bass note gets a stronger accent simply by not sharing an instrument?
- 4.807: unlike earlier, this note plays with another instrument and gets no attention paid to it, which appears to be a bit more incorrect only because the immediately incoming section uses them for layering
- 5.274/(etc): while the right arrow jacks are technically accurate, the left jacks are not because they’re two different tom pitches
- 15.896: personal preference, but i’d change the down arrows through 16.480 to left only to keep the continuity of the snares being on up and down only.
- 21.262: should be 12ths
- 32.578: change to jump (makes more sense since it’s both the snares which you’re accenting with jumps + a piano both repeating their same note twice)
- 33.978: ^, if you’d like.
- 34.037: move down 1/64
- 40.862: based on the 8th earlier in this section and the incoming jump, layering would dictate that a jump should be here
- 49.182: theoretically could be a R because the same percussion plays three times in a row, not two.
- 50.584: what’s this jump for? There is a snare that is… relatively close to this, but it should be a polyrhythm that lands on an 8th like the earlier section
- 56.592: got a bit of a pattern collision on the down arrow between the piano holding [23] and what seems to be the snare/kick; change the Ds to Ls after the [23] at 56.845 and you should be good to go
- 57.778: change to U for the repeated piano notes
- 58.710/58.943: more instances of potentially repeated piano notes?
- 1:00.226/(etc): curious as to why these particular notes were omitted?
- 1:02.015: see 50.584
- 1:09.793: this rhythm’s actually not quite right and actually bothered me at 100% speed despite being not too — it needs to be ever so slightly earlier.
- 1:13.726: another situation where the rhythm is slightly off, but just enough to be noticed on assist tick without slowing it down
- 1:13.993 to 1:27.293: your jump usage in this section is all over the place. One moment, you’re giving precedence to the kicks, another time the piano, another the bass, etc.
- 1:25.893: I understand the introduction of the chip is worth accenting, but you’re giving it a somewhat boring pattern that is redundant and doesn’t really accentuate the scaling, which honestly isn’t a huge deal: the bigger issue is that the really strong pianos come in along with this chip and then you bomb the player with a glut of jumps to accentuate the piano once the chip disappears when the earlier, harder hits at the aforementioned time are just ignored.
- 1:38.376: noticeable misrhythm, should be 8th-24th-24th into the 8th [DU] jump
- 1:39.815: see 50.584
- 1:46.810: can add a jump here, that piano note’s got some pretty significant volume against the repeated notes
- 1:49.382: misrhythm
- 2:02.293: definitely not the right rhythm, listen a bit more closely
- 2:23.215: etc, see 50.584
- 2:41.260: see 49.182
- 2:46.626: very bold decision to pick the counter-melody in the background here, but I like it only because of the ending with the 3/16 accents; I’d almost like if the opening notes at 2:48.026 were doubles and the percussive splashes were triples too, just because it gives more attention to that.
- 2:58.915: >
- this file has a LOT of mistakes
- however, a lot of the mistakes are small; they just add up quickly
- there is some layering/structural finesse in some parts that make this chart really memorable, but in other areas, the layering is so convoluted and it feels a bit overdone in many areas.

[4.5/10] Aguazaur Destroys The Plastic World {odaxelagnia} (I like it)
- offset seems fine
- 1.900/2.200: missing note for a kick
- 6.476: missing kick
- 10.076: the rolls fade quick enough to make this constant motion feel a bit off; remove notes 4 and 8 in the 9-note burst to give it that staggered feel
- 10.676 to 19.376/27.476 to 28.676: Concept is cute, but not properly executed; if you’re going to play with patterns based on the panning of the track, your notes should go towards the panning, not away from it. Mirror all the 8ths so that it’s something like [34] 4 [12] 1 [34] 4 [12] 1, etc.
- 29.876/etc: the repeating notes for the vocal samples would be a nice touch, but the lyrics change and you do away with it the moment the percussion comes in. The vocals are active enough to change the layering scheme and cut out repetition, maybe that could help?
- 32.127/36.927 with your current layering scheme, this should be a jump
- 33.777: your patterns should be changed up to give accenting to the kicks; jumps at 33.927/34.227, remove jumps at 34.077
- 39.477/etc: smart idea to repeat the patterns here, but ill-conceived in that musically this section is quieter yet your layering has actually grown. Revise this idea by keeping the repeating patterns while reducing the layering a bit. Pay attention, because not all of these are the same: some have cymbals, others don’t — use that to your advantage for structure.
- 48.177: ayy, more panning play
- 49.077 to 58.678: again, you’ve got the opportunity to change up your layering scheme but you don’t really take it; this chart is pretty redundant with the jumps on 4th kicks, so you’re going to have to put more effort into changing things up a bit
- 58.678 to 1:08.278: your layering scheme here is not only redundant, it reduces the effectiveness of your progression by basically using chains/repeated notes everywhere, in a situation where repeated notes was actually a part of your structure in the section before to help make things different
- 1:00.978: missing jump for kick
- 1:07.978: might be worthwhile to cut this roll short since it fades a bit
- 1:15.328: missing jump for kick
- 1:17.803: missing note; also, why do the next few notes have no layering?
- to be honest, the file is just a lot more of the same and I don’t think going further is going to change the decision much. I do notice that later on, you add some triples for vocal accents which is a good touch, but a lot of the remaining file is just more of the same. Clean up the structure a bit and try to make it more interesting.
- this song might need a cut, to be honest. I know it’s only 2:40, but it feels much more than that, unfortunately.

[8.5/10] Aublia {onoken feat. ALIAKE} (bmah)
- offset changed from -1.490 to -1.495
- 14.427: missing note for the little guitar flourish
- 16.398/19.475: very noticeable missing notes here
- 17.648: no accent for the guitar flourish here?
- 31.302/32.456: move these two notes off of U, because the second and fourth instances of that seemingly repeated riff don’t play the first note
- 49.187: I’m personally having a pretty hard time hearing this; I can hear it on a lower rate but it’s barely discernible and might be a jarring accent for something much tougher to pick up.
- 50.244: missing flute note
- 52.168: is this worthy of that little 64th flam accent you did earlier? Arguably a difficult sound but might still be worth looking at.
- 53.225: I’d move this note to R, and then shift 53.610 to a LD jump; it carries the melody better visually while still providing the repetition on the L arrow that you wanted
- 54.187: move the third note off of R, it’s just like the one at 48.225
- 59.187: feel like this should be a jump too, an opposing jump would work fine
- 1:01.494: ooooo shit now we gettin’ it on, love the song change
- 1:04.379/(etc): these notes, while not cymbal crashes, are pretty damn hard accents. Might be worth using triples on these in appropriate situations where the sound is not only loud, but also quite full and holds until the next note more than a beat later.
- 1:07.552: jump seems a bit off, hard to tell what it’s accenting/layering on
- 1:16.302: missing note
- 1:28.418: might be nice to get that little guitar flourish in, no need to add layering, just a nice little spritz in this section
- 1:46.831: missing 32nd note
- this song fucking rocks; really happy to hear something like this in the tournament
- chart is great! A couple of little tweaks to make it perfect. That second half is fantastic and shows some impressive pattern symmetry/repetition that help make the song much more intense.

FIX FROM POST #87:
- fixed: 31.302/32.456, 50.244, 53.225, 54.187, 59.187, 1:16.302,
- 1:04.379/etc: this is FUCKING DELICIOUS NOW
- 1:07.552: me not picking this up was really stupid, apologies
- that midsection is even more awesome than before. [9/10]

[7.5/10] AVALON {SASAKURATION} (bmah)
- 56.559: a bit heavy-handed on the layering here, no?
- 2:20.524/2:28.924: missing notes for hi-hats
- only real grievance is that pitch relevance could have been executed a bit better, particularly in that final stream; in a situation where you’ve got a fast moving ascending/descending melody like that with jumps accenting a melody, pitch relevant jumps with the general ascending/descending motion can usually be done well.
- chart’s fine. Nothing special about it, but to be fair, the song doesn’t offer too much either. Layering at the end is a strange decision, but I understand why it’s done, personally.

FIX FROM POST #87:
- hi-hats fixed at 2:20.524/2:28.924/etc
- nothing else really modified beyond that. [7.5/10]


[6/10] Beauty and the Beast {Diabolik Blaze} (Hairy Cabbage)
- offset is noticeably late (switched from -0.042 to -0.032)
- 42.032/(etc): these 24ths are incorrect: starts as 12th notes until 42.304, turns into 16th notes until 43.122, where the 32nds are passable
- 45.441: not a 32nd burst, the snares are hard and distorted but they are individual hits and are much slower (45.441, 45.509, 45.594, 45.679, 45.747, 45.816)
- 50.179: move up a 64th
- 59.872: should be moved up to the nearest 32nd
- 1:00.032: shouldn’t be a burst/flam or anything of the sort
- 1:13.122: I like this idea; however, the earlier parts of this section don’t follow suit. Switch up your jumps to indirectly accent the change of the notes in the melody like you do here.
- 1:26.486: this split-handed bit lasts for a bit too long; also, the kicks actually repeat in sets of 3, so you can play with the patterns a bit better than this (you could repeat patterns in sets of 6)
- 1:35.253: same situation, percussion repeats in sets of 3 so you have two excuses to break the extended split-handed stuff here
- 1:42.577 to 1:44.759: boy with a file this hard, you should be upping the layering pretty damn hard in a section like this, let’s attack the player relentlessly
- 1:46.668/1:51.032/1:55.395/etc: 24th burst for hi-hat?
- 1:48.713/1:48.782: missing notes
- 2:01.941: missing 32nds, though these can remain omitted since they’re a lot quieter than the rest
- 2:21.577: a few missing notes here, might be worth adding
- 2:22.350/2:22.441: missing notes for snare (they are 12th notes, but starting on the 8th so break out them 24th snaps)
- 2:22.872: missing note for snare
- 2:22.350: missing note for snare
- 2:23.554/2:23.827: more missing notes; check the rest of this section and make sure you’re catching everything; with as aggressive as this song and chart is, you should definitely be grabbing everything that exists in the song as much as possible
- 2:24.032: technically a misrhythm; starts with four 16th notes, and on the fourth 16th note, turns into a 32nd burst - if you don’t want to use 32nd notes for the sake of differentiated patterns, 24ths are fine, but clean up the opening of it by using three 16th notes and then doing the rest of the burst that way
- 2:26.622: this should be a 5-note 32nd burst, not a mini-jack; the burst following it is strange and off-rhythm if you want precision but in any case, it should be faster than 16ths
- 2:27.850: check your rhythms here, not quite a straight 32nd burst and noticeably incorrect at 100% speed
- 2:33.441: should be 24ths, not 16ths
- 2:45.577: still 32nds, not 48ths - maybe a pattern inversion or accent or something could help here
- 2:56.213: should be 16ths, and actually starts a 16th before the beat. Feel free to keep them as one-handed trills, though — I like that idea a lot.
- 3:12.577: there is a repeating synth here that really should get some love (single notes will likely do fine)
- 3:21.441/3:23.622: changes to 24ths here, also the jump at 3:21.782 is ghosted
- 3:39.850 - see 2:56.213
- did not particularly enjoy the last minute only because while the song did tone itself down, there were opportunities missed to still keep the player engaged, imo.
- this file has the potential to be a really memorable, and brutally difficult chart; you’ve got a solid foundation, but the structure has a number of misrhythms and could use some cleaning up.
- beef up the layering in some areas! The song is so heavy and harsh, yet some areas have single notes/jumps and it’s just blaaaaaaaaah.

[8/10] before… {yassu} (AutotelicBrown)
- offset is good.
- 17.194 to 30.909: I feel like the pitch relevance could be a touch better with respect to the highest note being anchored to the right arrow; it’s noticeable but I feel like some notes are not quite accounted for. Not a huge deal, though.
- 32.623/39.480: feel like the last note of this trill should be moved off, since it is a different pitch to the notes before
- 1:10.766: missing jump for cymbal crash?
- 1:29.623: missing note for piano?
- 1:32.944: move up to 1:32.909 (12th note); seems more correct and feels more natural
- solid file! No major complaints overall, this is a good mid-level challenge.

FIX FROM POST #88:
- all suggested updates for missing notes/rhythms resolved. [8.5/10]

[7*/10] Boy & Bear {Pogo} (Psychotik)
- offset changed from -0.080 to -0.104, changed BPM at beat 99.75 (57.104s) to 127 BPM, changed back to 105 BPM at beat 100 (57.222s) — is this some sort of song cut error?
- 19.389/etc: move to R for proper pitch relevance, a mini-jack is incorrect here - this seems to happen throughout the intro, resolve accordingly
- 27.389: tough to discern, but might be a vocal note here?
- 31.104: definitely a missing note for vocal here (make it a 192nd instead of a 16th to keep it consistent)
- 42.544: this should be the 192nd after the 8th, not this 16th here
- 44.830: ^, etc
- 59.507 to 1:17.793: The mini-jack usage here is passable, but the jump usage seems a bit strange to be in that the jumps on beat 1 of each measure don’t really have anything dedicated that they’re following.
- 1:17.793 to 1:36.079: on the flip side, the mini-jack usage into beat 2 (1:18.222, 1:22.793, 1:25.079) doesn’t feel as impactful. In the earlier section, you had vocals running into another type of accented vocal sample, and while it’s not the most relevant visually, it feels right on the hands.
- 1:21.364/1:30.364: first time - this mini-jack is fine pattern-wise, but it should be pushed down a 32nd note; second time - there’s no mini-jack at all when you can have it for better structural consistency.
- 1:44.079/1:53.222: a [24] jump is probably best here; it creates the connecting mini-jack that you’ve had for these samples throughout the earlier part of the chart and remains fairly friendly in terms of patterning.
- 1:52.079: this is note-for-note exactly the same as the previous instance. Change it up.
- as an easier file, I actually like this. It’s got a fairly coherent and explicit structure. However, there are some noticeable misrhythms that need to be addressed, as well as some pattern clean-up that needs to be done, before this can be considered.
- conditional acceptance on 192nd note jump rhythm fixes as well as BPM/sync fixes listed above

FIX FROM POST #78:
- looks good from previous suggestions. Accepted. [8/10]

[8*/10] carnation {aaaa} (Elekton)
- offset is good
- 18.238: I WANT MORE ACCENTING THESE NOTES ARE SO LOUD JEEZ FFFF
- 1:51.426: this is gross; I personally feel like the 16ths are much more prominent and give separation compared to the 12ths you have earlier — as it stands, this is also a very large difficulty spike
- I can’t… put my finger on it, but the layering of the calmer sections just doesn’t feel right to me, particularly from 31.551 to 41.676 and 48.051 to 58.551. It’s not criminally incorrect or anything, it just doesn’t feel right to me for some reason.
- on a more positive note, I dig the repeating pattern motif at 1:10.551 and 2:07.551, though I wish it wasn’t the same note-for-note
- conditional accept with that polyrhythm section removed

FIX FROM POST #81:
- polyrhythms triggering the conditional queue flag have been removed; file looks great! [8.5/10]

[8*/10] Cest What {Terminal11} (DarkZtar)
- offset changed from -0.200 to -0.224; BPM changed from 240.200 to 240.195
- 0.378/1.472 (etc): first time - arguably missing note, second time - definite missing note for bass guitar; fix as needed throughout
- 24.829/etc: any 16th mini-jacks exiting onto the same hand at this tempo = nope
- 35.195: I feel like the kicks probably deserve more precedence here, given your later accenting
- 41.596: at 240 BPM, this 32nd is pretty tight against the previous R; switch up the pattern slightly
- 1:00.674: a bit too subtle to have a mini-jack, I think
- 1:09.417: should be 3/64 instead of 1/24 (only five 3/64 notes with a 16th gap into the 4th)
- 1:14.330/1:22.323: could add another jump for the second part of that intrusive chime
- 1:17.411: see 1:09.417
- 1:37.395: oh god what in the everloving hell is that burst
- 1:54.688: this mini-jack is too tight, change up the pattern
- 1:56.936: remove note
- pretty tough patterns when stuff gets going.
- conditional acceptance on the fixing of all mini-jacks tighter than 1/16, as well as ensuring any mini-jacks resolve on separate hands.

FIX FROM POST #123:
- mini-jacks all are kept to no faster than a 16th note and converge properly on opposing hands on termination
- that pattern at 1:37.395 is still gross
- also, for some reason I didn’t mention the pattern at 1:23.155, which is not quite as gross but still falls within that realm
- 1:47.573: CONDITIONAL QUEUE - I moved this to a D to separate away from the RR mini-jack; if you’re not alright with this, apply the changes yourself and send them again - otherwise, you can just accept that one note change and not have to deal with CQ again. [8/10]

[5.5/10] Chaos {Schmutz06} (Skullbac)
- offset changed from 0.000 to -0.007
- in general, jump usage seems kinda arbitrary
- 8.007: should be a jump?
- 18.284/18.395: remove notes
- 30.337: transition into this 48th burst is kinda rough
- 43.266: this is pretty gross; a reminder that 135 BPM 48ths = 202.5 BPM 32nds, and by extension the start of this burst is essentially the equivalent of a 64th burst at that tempo (24th/32nd/48th all next to each other is a mini 96th note burst)
- 56.895: this 48th wall goes for almost 4 seconds, and for what? All percussion disappears and the vocal doesn’t merit the wall either in this case
- 1:02.007: no jump here for the snare? why not?
- 1:10.007: to me, this triple somewhat proves that a lot of this chart was done at lower rates; at normal speed, this sound’s really not that much different than others, yet on lower rates it sounds substantially accented
- 1:24.145: missing note for percussion
- 1:25.784: reminder that his a 270 BPM 16th mini-trill on both hands
- 1:26.895: 24th note mini-jack that doesn’t really accent anything and only occurs as a result of patterning
- 1:30.673: shouldn’t start right here, and regardless the sound you’re following with this 48th roll is really subtle and probably isn’t worth accenting that aggressively in the first place
- 1:33.340: remove this jump (or move it to [12]/[34] like you do at 1:39.562)
- 1:33.821: this is another 96th burst, i.e. 64th burst at 200+ BPM
- 1:34.229: see 1:30.673
- while I appreciate the attention to detail in rhythms, there is a severe lack of restraint in this chart; there are some extremely harsh bursts in points where the song is much quieter compared to earlier parts that are substantially easier to play through and the difficulty feels ridiculously forced
- layering isn’t well conceived on an accented front or a direct one either; jump usage seems to be unclear and doesn’t seem to decide on following melody, percussion, or what have you
- not necessarily a bad attempt, but I feel like the structure needs some more work in terms of being more clear as to what’s going on, as well as turning bursts down a bit

FIX FROM POST #82
- all suggestions from previous entry were made, which is nice! File has a cleaner structure in general.
- as a whole, this chart has a better structure and you’ve showcased more restraint in your structure, which is good.
- however, this chart suffers from being lacking in pattern distribution simply because you’re going out of your way to try and accent every possible sound in a given sequence of samples, which forces you to utilize rolls.
- try to play a bit more with your patterns while still keeping it reasonably playable, particularly in the faster bursts. Use breaks in between faster bursts to force different orientation in patterns and make your chart more interesting!
- conditional queued! This has been improved a fair bit compared to before. [7*/10]

[6/10] Cycles {The Flashbulb} (DDMythicalB3ast)
- I will give you a pass this one time: you supplied a .mp3 file for the chart but left it specified as .ogg in your .sm file. Non-loading of a chart typically results in a 0/10 submission.
- offset changed from -0.120 to -0.168
- 8.398/12.645: mini-jack is for what?
- 16.760: remove jump, doesn’t quite have the punch the second time to merit a similar accent
- the 32nd note swells are an interesting touch, but the patterns within them are a bit strangely composed; I think it has something to do with how the melody presents itself within the swells, but it’s not immediately clear what the relation is:

• 17.159 seems to have the fourth column on the melody (except 17.758)
• 19.283 seems to do almost the same on the first column, except 20.212 is off the anchor
• 21.406 seems to do the same as 17.159
• 23.530 seems to be missing a note on the down arrow at 24.061, etc.

All of this is of course assuming that I’m correct about the layering structure to begin with; it’s not quite clear if that’s what’s going on in the first place.
- 28.707: why is there a jump on this instance of the melody, but no others?
- 33.752: same thing as 16.760, feel free to leave either the first or fourth column anchored as a mini-jack, though
- 38.132: this mini-jack doesn’t have a purpose here; no melodic repetition or similar notes
- 42.513: no need for this mini-jack here; in earlier instances with jumps, it’s alright because it emphasizes a loud percussive collision, here - not so much
- 45.831: ^
- 55.654: move note before this off of the fourth column and move this note to the fourth column because the same note repetition seems to start here
- 57.513: that same repetition as before hits max volume here before fading into another one, so the fourth column notes should extend to this point
- 59.371: a similar building happens a second time; if you’re going to end this section with two repeating first column notes, then move all 8th notes before it onto the first column for continuity purposes
- 1:01.628/1:03.752/: missing note for hi-hat
- 1:03.287: if this 32nd note is to accommodate for that somewhat rough hi-hat, it’s in the wrong place: move it down to 1:03.420
- 1:08.597: not sure what this 32nd note follows
- 1:08.929: I hear what this follows, but it’s way too subtle to be accented with that pattern; you’re creating a repetition on the second column that really doesn’t need to be there; use a single colored note instead
- 1:11.185: this one is certainly more audible, but keep in mind that you’re creating a 169.5 BPM 32nd note burst into a triple for a pretty comparatively minor accent; again, a colored note might be a better idea
- 1:13.132: can hear it again, but it’s again a bit too quiet for a burst like this, imo
- 1:17.424: not sure about this 64th note flam, though
- 1:27.247: woo, now we’re gettin’ spicy, goddamn
- 1:29.371: nice little color flourish for the static there, good personal touch
- 1:34.159: some color manipulation could work for these two buzzes too
- 1:36.539: 48ths are incorrect here, the synth actually falls on the next 32nd note following the jump, so add one there
- 1:50.344: missing note there
- 2:05.344: not digging the mini-jacks there, though
- some of the repeated 8th notes in here aren’t quite clear to me; others seem to follow repetition in background instrumentation, which is fine — check these out and accommodate for them accordingly.
- this file’s got an interesting approach to it, but one that makes sense in a more abstract way. With some cleaning up, this could be an interesting chart for FFR.

[7.5/10] Disconnected HaZaRD {DM Ashura} (DarkZtar)
- offset changed from -0.009 to -0.031; BPM changed from 210.001 to 210.000
- 44.507: remove this last note from the burst, a 7-note 48th burst here works fine
- 44.745: listen carefully, the vocal sample chops here (hilariously enough, I also missed this in my chart)
- 45.745 to 54.888: not quite approving of the BPM remaining half cut here given that the driving kick present throughout the song is playing at the same pace as it was earlier
- some parts of the large stream seem a bit lazily patterned; other parts have a nice fluency compared to the melody, though
- 1:13.173 to 1:31.316: this section is really left-hand biased, which means many people are going to try and mitigate the difficulty of balance by mirroring it. Try to even out the distribution by mirroring half of the section so people can’t weasel their way out of this deceptively difficult section.
- 1:33.173: YOU’RE A DICK (keep it lol)
- having charted this before, I will say that I like your take in some sections — it’s a very balance oriented chart that keeps a fair attention to the music but focuses much more on pattern play.

[5/10] Distorted Happiness Remix {cosMo@bousouP} (Deidara837)
- offset is good
- 4.160 to 18.457: because of how far in the background the amen breaks (the percussion) are, it’s a bit difficult to understand why some of the 8ths are jumps and others are not; it actually took me two passthroughs to figure out it was a direct result of layering the percussion on top of the vocal sample
- 18.713: oof
- 19.926: missing note
- 20.500 to 36.840: another situation where it’s tough to understand why the layering is so aggressive because things that are prominent within the song aren’t quite being followed; some of the 16th notes here are ghost notes even if you’re following both the percussion and the filter sound that keeps coming and going
- 36.649: three note 16th jack at 235 BPM? The sample is four notes, first off -- second off, you’re really pushing it at that tempo. Split it into two sets of two if you really want it.
- 36.840 to 53.181: YEAH HEAVIER LAYERING FOR WHISPERS I LIKE THIS (it’s fine, i’m just making a silly observation); actually, the reason I’m pointing this out is because you’re missing numerous notes for percussion: 37.543, 37.798, 38.947, 40.734, 40.989, 42.138, 45.202, etc. Listen around and see if you can catch them all.
- 42.840/46.415/48.202: no whisper here, remove jump
- 46.160/51.266: missing jump for whispers
- 1:07.926/1:08.953: some notes to be added here if you’d like, they’re not really a big deal compared to the buzz accent around though
- 1:09.266: see 36.649
- 1:09.521 to 1:23.819: check through to ensure jumps for whispers are accurate, as there are things that are noticeably incorrect at 100% speed; double-check to catch any missing percussion notes as well as there are some missing ones just like the previous section
- 1:09.330: see 36.649, etc
- 1:26.117: one-handed 235 BPM 24th trills on each hand = 176.25 BPM 32nd note mini-trills on one hand, not the best idea… this goes on throughout the entire section and I’d personally nix those. If you want more pattern variation, use 32nd note bursts instead and you can mix things up a bit more.
- 1:39.521: should not be a mini-jack
- 1:44.245: 6-note anchor, for what?
- 1:46.543/1:47.053: no triples for the cymbal crashes?
- 1:54.840: 192nd notes don’t continue for the vocal accents? The chopped vocals are the most notable thing at this point of the song, so it definitely makes sense to accent them as well
- 2:06.713 to 2:23.053: not a constant stream, unfortunately. Additionally, even if this were, 2:14.819 is a break in a constant stream
- 2:28.543: see 1:39.521
- 2:29.564: see 1:26.117
- 2:36.713: etc
- 2:37.734: etc
- 2:38.883: mini-jack out of a triple into a 32nd roll, no bueno at 235 BPM
- 2:41.436 to 2:51.649: it’s interesting that you noticed the potential for polyrhythms here, but the execution is not the best given that many notes are actually missed, and at this speed, polyrhythms make the chart exceptionally jarring
- 2:49.606: not a fan, not only because it’s all jumps, but also because it creates an unintentional four note 12th jack on the up arrow
- 2:51.138: likewise, also not a fan; it certainly makes sense but it’s a 6 note 16th jack at 176.25 BPM nearly 3 minutes into the song, ending in a triple that connects one of the jacks to the triple
- 2:53.692: why’s the layering amplified to triples here?
- 2:59.309: vocaloid plays 12th notes here
- 3:00.840: while the repeating pattern motif is neat here, there’s a ton of ghost 16ths; restructure this around the repeating [12] [23] jumps
- 3:09.138: again, I like the idea of the repeating patterns, but the leading jump is misplaced and likely should be put on the cymbal crash, so restructure it with the [23] jumps on the cymbals (they’re not in your case)
- ending is more of the same
- I can tell that there was some significant effort put into this file by some of the stylistic decisions that were made, but the detail needs work.
- clean up the layering structure and make sure that you’re fully accommodating for everything you want to in a way that is reasonable.

FIX FROM POST #133:
- I see some minor improvements in structure, but the chart is still quite rough to get through because it feels so brutally layered in sections where it’s not extremely clear as to why (i.e. sections where there’s percussion and no whispers)
- 6-note [UR] jack right at the end of the chart is pretty rude too; imagine getting through all of that only to get blocked by that jack right at the end of a song that’s encroaching 4 minutes in length
- I feel that the structure needs a bit more clarity in a few areas because the pacing of it doesn’t change a whole lot despite the song changing a fair bit. [6/10]