[TC_Halogen]

Originally Posted by M0nkeyz

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.

I did notice/feel the omissions in the stream and I do give you some credit for actually taking the initiative to try and control the difficulty. If you didn't take a look at the link I provided in my notes, it might be an idea for some other approaches you can take for that section. If you don't like them, full streaming could work: you don't have to eliminate all jumps though. Maybe you could add jumps for snares/crash cymbals only, for example. Something that's worth noting though: if you're going to go the single-note route, be very careful with your pitch relevance and patterning. It seems like the melodies in this song have a lot of back-and-forth arpeggiation, meaning you'll end up with a ton of runningmen/anchor patterning. You'll likely need to come up with some creative patterning to accent the more prominent parts of the melody as opposed to doing everything directly.

@ Autotelic:

- 3.413: This jump goes to a different thing than all the [14] following 24ths, so it makes sense to be different. From a difficulty perspective there are no 16ths afterwards and the minijack is clean on the right hand (not to mention this is nothing in the context of the chart as a whole). Compare to 6.646 where I used [14] to soften the pattern.

Looking at your response here, I can see this contour pretty clearly actually. The three previous 24th blips end in a [14] for a snare, but the one that I mentioned ends in a kick and the offending note is freed immediately after.

- 7.486/15.697: The other 3 note 16ths to the kicks make a jumptrill to avoid a 3 note jack, otherwise I'd rather be consistent with the 8ths and keep repeating isolated kicks on the same jump.

Hmm, I can't quite level with this only because of the pattern that is used for the mini-jacks themselves. If you're trying to consolidate pattern usage due to speed and only leverage the mini-jacks when it's two notes, perhaps the happy medium is to put the notes for the jump-jacks on the same hand. These split-handed mini-jacks are really jarring for a sound that occurs earlier at a higher frequency.

- 22.033/(etc): I'm a bit confused because this happens only once but anyway, it should be changed to a 332.

In retrospect, I'm not sure why I put (etc) here. You're right, this is only one instance.

- 25.912/(etc): I did design this section to be played as a controlled jumptrilling making the faster rhythms rolls starting from appropriate notes, and they all happen in isolated short bursts. For reference, this is how it converts to:

I see the patterning, and perhaps "ridiculous" was the wrong word to put here. This situation kinda comes down to the fact that there's a lot of detail put into these rhythms here, but players are going to be ignoring them at the core of what you're doing: creating a controlled jumptrilling section. On the flip-side... at this speed, I suppose there's not too much that can be done. I just don't agree with the visual presentation at points.

- 49.704 to 1:05.609 / - 3:10.749: Note that the 48ths go to the actual 48th swing which I didn't step as is to not make this section ridiculous to play. As their pitch is connected to the previous chord I only forced them to be on the anchored 8th.
The pitch relevance of the main melody is followed by the chords themselves within the restrictions of difficulty balance.

I'm not quite following what you're referring to as the "actual 48th swing" in this case. I'm hearing the 16ths for the background chip, 8ths for the main melody whose sustain seems to be an oscillation of 64th notes (but this is too minor of a detail at this tempo to accent reliably), and percussion also lies on 16th notes as well. Aside from trying to pull an additional accent, I'm not quite following where 48th notes would be utilizable at all in this case.

- 2:05.413/2:09.551/(etc): I was a bit on the fence on including those but I'll just remove them. I was just worried that this section in general would just be autopilot for most players playing this

The section itself has some pretty abrasive transitioning and also features polyrhythmic structures at points - it'll be everything but autopilot, I'd like to think

- 2:28.947: Knowing in advance that the [14][23][14][23][134] converts as 2-1-2-2 frames I believe this shouldn't be a problem as it happens in isolation.

While I understand your sentiment, I don't like the idea of saying "yes" to this simply because it converts well as this would be a point that I would be mentioning if it were played somewhere like Etterna/osu!mania as well. This split-handed jumptrill colliding into a mini-jack that is controlled entirely on one hand in a section that's relatively isolated feels problematic to me, and suddenly saying "yes, this is ok because of conversion" sets a dangerous precedent.

- 3:24.558: Yes.

I don't know what this means but I hope it's a good thing.