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- 10.060: rhythm technically speeds up a bit but not a big deal at full speed anyway
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Didn't want to call too much attention to it as it's way softer than the actual 16ths right before (not to mention a lot of the noise through this section is simplified already).
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- 14.918: the siren sample technically has two very distinct pitches on the first hit here (it’s technically three, but you hear the start/stop of the pitch very clearly at 100% rate)
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This is the kind of sample I'd use a freeze to represent but I guess it's better to include the extra note in the absence of freezes (placed the note in the first pitch change which I think is way more noticeable).
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- 49.299/etc: not necessarily a 12th but this gap in general feels a bit out of place given that you can very clearly hear a sound (it’s a more clearer sound than the 12ths at 49.965, 50.251)
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I believe that's a 16th that ends up late because of the heavy modulation. Anyway, added a note on 49.287 & 58.430 and shifted following 12th by a 192nd to contrast with the other 12ths.
I don't agree with it being clearer than the 12ths at 49.965 and 50.251 (on 1.0x, those are low enough to lose their punch on lower speeds) and for that reason I didn't layer the same sound at ~50.132 & repetition as to accent those 12ths.
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- 52.346: this last note can have a nice colored accent to it to separate it out from the other four kicks that are at their normal sound
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Similar to 47.775, I think the 4th long rest in itself serves as sufficient accent. Also, I generally lean on not adding arbitrary color stuff on what is locally a notable spike in the chart (same reason for omitting white notes in some parts of the ending).
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- 52.632 to 57.203: something something noticeable amounts of direct copy-paste etc
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The specific interval you picked to mention this is a bit weird as 53.775-54.918 is unique (as a side note, I repatterned 54.204-54.632 to maintain the the mini ohtrill opposite to the one at 49.632 which was changed due to the other note).
For the repeated pattern at 52.632-53.775 in particular, it's the same as 48.061-49.204 & repetition due to patterning constraints that gives this whole section its characteristic flow. For the other repeating stuff, it sounds exactly the same in the music and the chart is supposed to reflect that. It's way too short to be a playability concern and introducing arbitrary variation goes against the music for no reason.
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- 54.489: given that you accent the bass at 53.840, it feels like there should at a minimum be a 16th here, but perhaps a bit more than that?
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I'm assuming you mean adding a 16th at 54.561, but I'd rather not as it would dillute the 16ths to the percussion (adding only a 16th) or hurt the clean transition accenting the following beat.
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- 1:06.346: this being a double in a section that has a respectable amount of triples stands out like a sore thumb
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It was meant as an accent of sorts (and technically the main drum that goes to the hands actually hits a bit earlier and is immediately cutoff at 1:06.346). Anyway, it's no big deal so I made it a hand.
Alongside a bunch of other similar faint notes through this entire section, this was intentionally omitted as I don't think it's audible enough in comparison to the actually layered notes.
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- 1:47.489: another direct copy paste; also, pitch relevance between the 8ths can be improved in both instances (they’re reasonably accurate but can do better)
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The pattern was meant to give heavier emphasis on the feeling of the percussion. Anyway, made a variation with heavier emphasis on the music box pr but I think both approaches are equally fine.
In regards to repetition, same argument as the '52.632 to 57.203' note applies.
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- ending also has a substantial lot of copy/pasting as well, which I find to be somewhat egregious given that white notes don’t have proper pitch relevance for any reason and the layering fixates heavily on percussive elements (mostly kicks)
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This is by far the hardest section of the chart and the main priority was to keep the lighter parts (js with jump every 4th) as smooth as possible, especially right before or after the harder bits. The continuous 16th stream and its patterning go to the synth which is tonal, though given the previous constraint and the density, the patterns match more its general flow instead of direct pitch.
The white jumps at 116.632 and 117.775 (& repetitions) are the only ones with notoriously bad pr (I was a bit too zealous with the transition out of the mini jumptrill right before) and I repatterned the corresponding section to make it better. 132.632 I forgot to fix after updating the previous repetition (should be consistent now). 134.918 and 136.061 aren't ideal but still somewhat neutral and I don't like the alternative of having this dense js bit mirrored. Last two at 137.775 and 138.061 I repatterned as well.
In regards to the repetition, normally I'd consider cutting one of the repetitions of the music itself (121.204 to 130.347 specifically), but in the context of this ending it feels like a very intentional musical statement and feels wrong to skip ahead. In a similar manner, I think having identical patterns for the repetition is appropriate as well, especially considering the kick is the only atonal element (and it only dictates the pattern in the dense js part which doesn't have much room for variation anyway).