[psychoangel691]

E-lectixilent (Elekton) [8/10]
Artist: Se-U-Ra -- Perms: OK

- 2.615/2.693: jumps for kicks like 1.760/1.838? if those two jumps are because of combined layering with percussion, then only 2.693 needs to be a jump
- 3.159: seems like this should be a jump as well
- 5.646/etc: notes mentioned for first four measures apply since the next four are (mostly) a copy/paste/mirror
- 19.869/24.843/29.584/29.817: missing note for electric piano (I do realize that some of these might be omissions as a result of the hard hitting bass that kinda floods the soundscape, but not all of them are)
- 37.045: missing jump (it looks like there’s more, but this is the only jump that would be placed that lands on a bass kick while not having three consecutive jumps in a row here)
- 39.688: remove jump
- 53.055: missing note
- 1:02.382: this section seems to focus on combined layering for jumps involving the kick and the melody; this should be a jump in this case
- 1:10.309/etc: this section has the same notes as the previous one on account of being a substantial copy paste from the first instance
- 1:47.460/1:48.781/1:49.947/etc: missing jump(s)? this is another section that seems to have combined layering between percussion and the melody, but only some of the instances seem to have proper combination
- chart is a bit redundant in terms of patterning; there are a lot of repeating motifs but they’re not within a section, they’re moreso song-wide, which can get a little stale at times -- the whole alternating D/L stuff for the left-handed piano notes is cool to listen to and identify as a separation, but it could be moved around a bit for more pattern variation
- solid structure overall, just needs a few more jumps added and it’s good to go

Ex Nihilo (VisD) [7.5/10]
Artist: Fractal Dreamers -- Perms: OK (alias)

- 15.882/19.193/etc: missing note(s) for amen break sample
- 22.089: ghost note
- 22.400: the break sample hasn’t changed at all, so the minijacks here feel out of place given that there’s no representation of them earlier on
- 40.607: next few notes could have better PR here
- 1:08.227: should be a jump with your layering
- 1:20.951: missing note for percussion
- 1:21.365: given the next few notes and how hard hitting they are, this jump likely should go away
- 1:36.055: yikes, these are pretty hard compared to other stuff earlier; not a bad thing, just might be something to keep in mind for difficulty balance
- 1:48.779: ghost note
- 1:49.089: this is a pretty nasty pattern
- 1:54.986/1:58.503: missing jump
- 1:59.020: this is pretty rude and I believe the only instance of an actual 32nd trill in the entire song, spread it out - please
- chart’s decent, structure is coherent and follows the song well

Happy Arnold=) (hi19hi19) [8.5/10]
Artist: Reizoko Cj -- Perms: OK

- 2.352: first three jumps are fine, but this one definitely just feels like an echo
- 8.044: pretty hard hit, should be a jump most likely
- 15.218: would be nice if this got moved to L to reduce that right-hand strain
- 35.593: minor thing but noticeable on a waveform, move up a 96th
- 37.333: having the burst change to split with no gap like this is pretty rough given that this is a short 506 BPM burst
- 1:02.708/1:09.348/etc: some missing hi-hats here
- file is quite polished
- this chart is pretty conscious of pattern placement and strain overall; it takes some pretty intense structures but transitioning is fairly easy through all of them if you have the speed and control
- great submission.

Patron Tequila (mi40) [6/10]
Artist: mi40 (!) -- Perms: OK (producer)

- repeated taps in the intro do feel a bit off, up until right before the “so fucked up” lyric
- 27.328: move to [R] to get the repeating vocal sample
- 37.041: missing note for vocal sample
- 39.623: moving this to [L] gives you a bit more relevance on the layering of vocals that alternates
- 42.574: move this note off of [D] and place either on [L] or [R] to make room for the more noticeably repeating sample at 42.820
- 47.861/48.844/57.697: doesn’t quite sound like there’s a vocal sample here?
- 49.213: minijack on [u] should actually be separated and most likely have the note at 49.336 moved to [D]
- 51.180 to end: the structure starts to deteriorate a bit, unfortunately:
------ 51.918/etc (incorrect) vs. 1:07.656 (better): this 8th note has the same characteristics as the first four jumps you have (in that there’s the synth + chopped vocals) yet seems to stand out as a single? it’s not that big of a problem because it’s consistently applied as a single, but I’m not certain why.
------ 52.410/52.779, 1:08.516 (incorrect) vs. 36.672/37.041 (better): why utilize minijacks for vocal samples that are different words, where one of which is a bit less clear? The earlier utilization was a much cleaner choice.
------ 56.098 (incorrect) vs. 32.492 (better): the [u]’s starting at 32.492 properly capture the repetition of the sample in the proper rhythm, whereas neither L/R at 56.098 utilize repetition to properly capture all the notes
- structure in this isn’t too bad, but there are some issues with layering and representation of musical elements
- song’s unfortunately a bit too short for OT purposes and I don’t feel like it does enough in the way of testing skill sets to be useful even at the short length

Track title (klimtkiller) [7/10]
Artist: Reizoko Cj -- Perms: OK

- fill out your metadata properly, your artist field is blank
- 32.202 to 46.201: jump usage in this section is definitely too heavy; section would look a lot better visually if the jumps were only on beats 1 and 3 for a good majority of it -- if you have intent on following the little 8-bit melody in the background, you should definitely have more jumps on 8ths beforehand -- you can tell that your layering structure is counterintuitive when you have a brighter melody and your layering decreases as a result (41.090)
- 42.868 to 46.201: even without my note about this section, your structure is inconsistent against itself by not having jumps every 4th in this last part
- 53.424: barely audible, but really abrasive; jump should come off of this burst or it should be reduced
- 1:19.422: move this off of [UR] since it’s a different percussive element
- 1:21.533: this is a normal (for the song) kick, so this particular blip shouldn’t be a colored effect
- 1:32.977/1:33.422: these are mean, holy shit -- on top of being inside of an unrelenting 270 BPM 16th jumpstream, please keep in mind that these bursts are 202.5 BPM 32nd minitrills at this speed
- 1:59.088: should be 16th jumps, not 32nd burst
- 1:59.977: picking here because the measure lines are impossible to scroll through; the first two notes of this are approximately 33ms apart, which means the closer part near the end of this is even faster than that - this trill needs to be reduced
- 2:15.533: no
- 2:16.866: this 32nd burst is brutal coming after those previous blips
- 2:21.977: keep in mind how fast this is; having these two bursts right back to back is exceptionally difficult, given that the second one also doesn’t really have a clean entry
- 2:58.586: missing note
- ok, so this ending color bullshit looks REALLY fucking cool - not gonna lie. However, you need to control the difficulty -- even though it’s only jumptrills for the most part, the speed of which you have to execute is absurd at times: the craziness has note distances ranging from 22ms to 25ms (it averages around 45 NPS at peaks) between each note - the part at 4:10.653 comes out to an extended wall of approximately 168.75 BPM 64ths, which is just too much to demand
- 4:30.341: what is this red wall of nothing
- this file has solid structure and is brutally hard - but fair, until the end, which is bordering on unplayable
- control the difficulty a bit better; remember, at 270 BPM, you don’t have the ability to be as freeform as you would like without the patterning getting stupid