[TC_Halogen]

In an effort to expedite notes for batches, I’m going to refrain from extremely detailed notes. Feel free to inquire if necessary.

Christmas Ain’t The Same {Skyelle} (Psychotik)
Rating: 7/10 [+?]
- offset changed from -0.039 to -0.045
- this chart’s a bit on the tough side to judge, because I definitely see some deliberate omissions and structure control in the non-chorus sections
- that being said, jump usage feels a bit strange even with the omissions to me, with the exception of the chorus areas which have a bit more attention to everything in general
- 57.725/etc: missing notes for some vocal riffs (you follow a similarly indirect riff moments later at 59.581 as an example)
- some patterning structures could be improved a little bit (some examples: 7.158 could be 1-2-3 as opposed to 4-3-4 to better separate lower and higher vocals - or even, 1-2-4, 4-3 -> 1-2-4, 4-3, to give both separation and relevance to the vocals; 16.127 is the first of three different pitches on 8th notes yet captured by only two columns, etc).
- chart’s not too bad overall and takes a fair approach for an easier chart, but I do think it can be better in terms of representation

Fake Santa {S.S.H} (Psychotik)
Rating: 7.5*/10 [+.*]
- offset is slightly erroneous in the intro but changing it affects the notes I give so do it last: I had my red notes synced to an offset of -0.864 and then adjusted the sync in the early slowdown because changing it to that made everything super late. Do that part last because any times I give you are before this change.
- with regards to the intro, I understand balancing both melodies is important, but it is likely a better aesthetic choice to give pitch relevance precedence to the Rudolph melody, since the other notes are basically extraneous/filler compared to that - it’s not bad, but can be better
- overall, this file has a solid explicit structure; layering is generally on point and pretty clear/concise
- pitch relevance detail can be improved as a whole
- there are a few instances of mini-jack collisions that don’t really need to happen (52.682, 1:00.460, etc) and honestly ruin the flow of the chart
- there are numerous missing guitar notes throughout the chart that can easily be filled in either by adding notes or layering (melody: 24.904, 29.904, etc; missing: 42.034, 42.589, 54.534, 56.756/etc)
- mix up your patterns a bit more while resolving for pitch relevance, as there is some noticeable copy/paste in sections
- conditional queue on everything in red
- there’s some good in here for sure; needs more polishing

Gay {Venetian Snares} (ositzxz369)
Rating: 5.5/10 [?]
- much like your Choprite submission in another batch, this song has numerous BPM changes that simply don’t need to happen - simply set the offset to -0.465 and set the BPM to 199.830, and you’ll be good to go. Don’t be fooled by the early sampling that comes before the first actual beat: the start of the waveform isn’t always the downbeat in every song.
- this chart is incredibly imbalanced in terms of difficulty; a good majority of isn’t layered yet there are instances of 4-note minijacks at 200 BPM in other spots along with uncomfortable transitions, making this very frustrating to play for just about everyone
- the chart’s structure has a somewhat accurate approach and does pay attention to vocal sampling nuances, but the single-note gimmick grows old very quickly, especially near the end where there are long sequences of 8th note jacks
- the current approach to the chart as it stands is not something that I believe is queue-worthy

Jingle Bells (Bass) {Basshunter} (Psychotik)
Rating: 7/10 [+?]
- offset changed from -0.045 to -0.050
- 6.639: another synth note here to make seven consecutive 32nds, should you choose to follow it
- 44.621/48.050/51.478/etc: what are these jumps for?
- 54.050: with kicks generally being ignored in this section, making this either three Ls or three Ds will be a bit more friendly to newer players while still getting your relevance across (it also gives more attention to the cymbal crash on [LR] a moment later)
- 1:07.978: should be 32nds starting here for the kick coming in (also, having it a 323 is a bit of a spike compared to the rest of the section)
- 1:35.192: misplaced mini-jack (it should connect into the 4th note, not out of it)
- 1:37.192: pay attention to situations like these, where you can get accented mini-jacks out of the melody as well
- 1:39.907: and, make sure you’re catching all repeated notes in your chart structure, it’ll make for more relevance in your chart (however, if you must avoid them, then remove the mini-jack that occurs at 1:54.764)
- with a song that has such a prominent melody, you could definitely work it out to be a bit more accurate. Comb through it again and make sure you’re covering your bases on all things aren’t arguable omissions.

Killing All Your Aggressions {Doormouse} (ositzxz369)
Rating: 8*/10 [+.*]
- offset changed from -0.140 to -0.145
- around the minute mark, perhaps a bit later, your jump usage seems to get a lot looser than earlier, sometimes becoming unclear
- some pretty good effort to get rhythms correct early on, it’s been noticed
- 2:11.428: add a BPM change to make the note at 2:11.484 fall on a 4th note, as the chart goes to blue note syndrome from this point forward without any discernible reset in percussion structure
- what a weird song and chart
- conditional queue on BPM fix for last bit of the chart
- chart is actually quite solid, might be one of the best things I’ve seen from you so far

South for Winter {The Flashbulb} (Ghost_Medley)
Rating: 7.5/10 [+.]
- the motif of anchoring to a note on the 16ths could definitely be flipped around a bit more than you had been doing, particularly earlier on (changed off of R at 5.771, then back on again, etc)
- omission at 1:00.642 feels a bit strange
- not a fan of the structure at 1:11.515 that features added jumps, which seems to come as a result of the lower piano actually striking subtle chords - the issue with this is that the volume of those lower chords arbitrarily increases/decreases, but there’s no real way to arbitrarily accommodate for that in your structure: you’re either bumping up the layering, or you’re not.
- with that being said, chart is acceptable as it is.

Unborn Baby {Venetian Snares and Speedranch} (ositzxz369)
Rating: 8/10 [+.]
- I hate this song and want to reject it purely off of the song itself and nothing else
- again with the BPM changes that don’t need to happen: an offset of 0.660 with a BPM of 218 will do fine; it’s ok to have colored notes for ad-lib/lyrics, so long as the conclusion of them resolves with whatever you’re following actually properly timed (do this change after applying any notes)
- 6.908: this is an extremely difficult transition
- 23.973: considerable spike in difficulty here
- that burst at 23.973 is really offputting compared to everything else and I very nearly conditional queued it off of that alone but I don’t think it’s impossible to execute personally, so it’s alright
- out of all of the things you’ve submitted, this is by far the worst songwise; fortunately for you, it’s got respectable execution

X’mas Night {Silvia} (Psychotik)
Rating: 6/10 [?]
- 8.165/etc given that you use repeated notes at 8.992, the 8th at 8.165 and the note following it should be the same
- 11.062/etc: additionally, be sure that you’re applying repeated notes appropriately for maximal relevance; this is an instance that should not be repeated at all (note: the repeating U-R-L is a nice touch, just don’t have the two U taps).
- 30.717/etc: this note actually doesn’t represent the melody and repeatedly misrepresents the melody throughout this bridge
- 53.062: the snares here are actually not 16ths; they’re 12ths - at least up until 55.131
- in general, relevance can be improved substantially; the chart doesn’t need to have perfect pitch relevance to the point where the structure gets overly redundant and boring; patterns can be better oriented to represent the melody better. For example, at 31.648/34.959/38.269 - you properly represent the three repeated notes in that particular area of the phrase, yet you miss the third repeated note at 1:02.062/1:08.683, and generally break convention at 1:04.752 (yet follow it at 58.131, etc).
- there are a lot of instances of repeated notes that aren’t quite clear as to why they’re exist, which makes the structure a bit more messy particularly in the last minute of the song
- layering is generally alright, but relevance to the song itself can be improved to make things a bit more interesting and better as a whole