Destination Helios {Renard}
Rating: 5.5/10
- 4.995: since you’re using 32nds in the intro, it seems like you’re trying to get a decent representation of the proper rhythm; you’re gonna need some finer coloring than that to get it right - it’s noticeably mistimed at normal rate to me personally
- 6.139 to 24.442: are you trying to follow the percussion here? It seems like you are, but there are numerous missing steps, even for things that are a bit more prominent (see: 7.212, 9.786, 10.930, 12.860, 14.647, 15.219, etc).
- 21.011: this is fine, but 14.361 has similar crashes (albeit different spots) with no special attention
- 24.156: carrying this 32nd roll all the way to the next beat prevents you from utilizing a triple for the cymbal crash at 24.442 - all of which were previously triples (making this implicitly important).
- 25.088: missing note for melody
- 28.605: missing jump for kick
- 31.332: I understand the u/d trill for the prominent snares, but accenting the next five notes here goes against your structure and implies that you should also be accommodating for notes like 28.103, 28.390, etc (which you really shouldn’t do, to be honest)
- 34.777: don’t be afraid to add this jump here
- whether or not it was intentional, the streams seem to have some light pitch relevance to the streams; it’s not perfect, but it’s not bad either
- 56.595 to 74.969: very unclear structure here; some jumps follow the melody in the second half, other jumps attempt to follow percussive accents in the first half; a few jumps are strangely placed (59.753, 74.610/.753/.897), melodic elements missing on occasion (missing jumps in first half, note missing at 68.007)
- 83.725: avoiding a pattern collision is alright, but when you have 100% of the notes on 4ths and 8ths being jumps before this gap, it looks -very- strange (same with 84.012)
- 91.045: sectional conflict: earlier in this same bass rush, you used triples for the cymbal crashes, here you avoid them - I understand omitting the first one because of the burst, but why the others?
- 92.194: what you do here on the 4th jumps is actually kinda clever and an interesting structure that you could try to carry a bit earlier on in this stream as opposed to arbitrarily keeping the jumps to one spot from this point forward
- 101.380/103.677/105.973: missing jump for layering between percussion and melody (104.251/104.825 seems to indicate this direct layering)
- 107.122: misrhythm, should be 3/32, not 1/12
- structure isn’t the most clear in some areas, and the chart as a whole could use some polishing
Gamma Stop Sending Me High Quality Rips {Kurorak}
Rating: 5.5/10
- 6.597: given all of the harder accents, definitely not worthy of a triple here
- 7.041: add a triple here to separate this particular crash from the other heavy layering
- 7.597: either add a jump here, or remove the jump before and the next two jumps after
- 10.374: again, no need for a triple here
- 12.374: removing one of the notes out of the jump before this will allow you to make this particular note a triple, which gives a bit more relevance
- 12.486: since you’ve got some intense percussion here that also goes in and out of accents, notes like this that have no percussion element behind them can actually stand out better as single notes
- 13.930: not gonna happen, make it a one-handed trill if you want that same jarring feel
- 14.263: nothing separates this note from the next in terms of accenting, make a jump
- 15.319: missing note
- 16.541: layered mini-jacks at 270 simply aren’t gonna fly
- 17.152/etc: I am ok with these, though
- 18.597: nope - the most you’ll get away with is putting those jumps on one-hand and even that’s pushing it at 270; you’re better off using opposite jumps to make your point, but if you do that, make sure the mini-jacks flow cleanly; the odds of them staying clean in terms of flow will be better if you use up or down arrows most likely
- 20.597: at this speed, this pattern is exceptionally jarring and it’s not following anything that is easily defined, remove
- 24.874: missing note
- 27.097: move to up for increased relevance via repetition
- 30.152: add triple here; this is arguably the most solid cymbal crash in the song thus far
- 30.819/31.263: turn to jumps; you’re gonna likely want to give the triple usage for either special accented sounds within this chaotic structure, or for the purpose of extremely filling cymbal crashes like the one at 30.152
- 31.874: missing note
- 31.986: remove note
- 32.430: nope
- 33.819: very clear missing note here
- 33.930: this one-handed trill is not really necessary; nothing particularly stands out as worth accenting with that strong of a pattern
- 34.819: switching accenting to 16ths here is strange given that the bass kicks are just as prominent as before
- 35.152: gonna stop listing this from here on out, but not gonna fly
- 35.374/35.819: missing jump?
- 40.458: technically the burst ends before this point, so this 32nd is a ghost note
- 41.597: remove triple here
- at this point, gonna stop focusing on tiny things and point out extremely glaring things, because this is definitely exhausting
- as a whole: try to clean up your consistency in layering/accenting; you’ve clearly put a lot of effort in making sure that the rhythms are detailed and I will credit that…
- ...in fact, i’d also consider it a detriment as well; there are numerous situations of questionable/ghost notes where, for a song like this, you absolutely don’t need them.
- 60.374 to 61.486: this is so incredibly brutal
- 64.486: split-handed 16th jump jacks at 270… these will more often than not create one framers and will look absolutely disgusting. You’re really pushing it at this speed.
- 66.486: the split-handed jumptrill is already ungodly hard at that speed, but adding a mini-jack at the end of it, gah.
- 69.319: accidental mini-jack
- 80.708: this will undoubtedly create frame hell, and the execution of that is basically akin to [34][12][24] at 16th notes (and the first four notes are extremely tight; the next burst isn’t much better), so you’re playing with mini-jacks again
- 105.486: this patterning is ludicrous; two sets of mini-jacks, one of which is a pair of jumps that creates a set of three-note mini-jacks into a triple
- 111.041 to 114.152: holy hell
- 117.041: mini-jack into the burst, eek
- 124.152: right arrow mini-jack that’s quite difficult to discern musically
- 125.063/(etc): completely understand the intent, and this would be cool to have, if your chart were about 50 BPM slower…
- 181.930: ew
- this is tough to judge within the constraints of the token batch simply because I can clearly see that there was a huge amount of effort put into making this file the way that it is; the problem is that there is a severe lack of constraint that creates elements that are simply unplayable -- to the point where I expect the best players in the game to score worse on this than the already unfathomably difficult Undici (not to mention there’s a ton of patterns that are not really conducive for play).
Haunted {Shurk}
Rating: 6/10
- 13.918: missing jump
- 15.918: what’s dictating the melody being followed as a jump here as opposed to earlier in the section?
- 19.252: missing jump
- 25.363/26.030: try to make these jumps different since one follows the kick and the other follows the snare; this happens a few times
- 26.585: see 15.918
- 36.585: missing jump? (low bass + kick)
- 40.030: jumps here, but you utilize triples earlier on (34.696/35.030)
- 41.918: see 36.585
- 51.252/51.585: similarly to how a note was put to indicate that you should watch your jump placement, you have a similar issue with regards to your single taps with instances like this: the first down arrow indicates a kick, the second, a melody -- you’d want to do your best to maintain pitch relevance the best that you could while separating those things out for the best structure
- 56.363: missing jump for layering
- 57.030: remove jump, since single instrument? It’s a bit difficult to see what the purpose of your jumps are in this case
- 57.363 to 68.030: for this part of the drop, your structure is inconsistent: 59.363 and 64.696 are both empty for when you have snares playing in the song, yet 66.030/(etc) indicates that you clearly are placing some precedence on that instrument - this is a bit glaring
- 66.196/(etc): missing note for the bass, this happens in every section and should be resolved because it’s strange to not have that accented
- 66.918/(etc): missing note for the higher synth, also happens in every section and should be resolved because the presence of that note is rather obvious
- 72.696: the concept of a staircase is not inherently bad here, but the starting pitch of this blip actually
- 76.863:
- 82.030: should be 32nds, but I’m ok with it being 24ths in this case because your file’s a bit easier and because it stays visually accurate with the structure of the song, since it is kinda swing-oriented
- 89.363/90.585/92.696/95.585(etc): according to your earlier structure, these should be white notes; pay attention and listen for those higher synths carefully
- 91.696: same sounds as 81.030
- 96.696: strange to have numerous [12] jumps here when the pitch clearly changes; you can craft your white notes around the notes for the main melody so that the first one is still further to the right
- 110.252: I understand why you have this as a right arrow, but when you have the focus of the layering so heavily fixated on the fact that there is a repeating note on that same right arrow for the duration of the section, it makes the implication that the sound you were following with that right arrow has some sort of repeat, which it doesn’t -- this is where you need to break PR ever so slightly at 108.363: if you shift this to a left arrow, you avoid the mini-jack on the right arrow and keep your structure very stringent/specific
- 113.363: switch the focus to a different column with regards to that repetition: by this point, the player has been hitting the right arrow every 4th note for 11 seconds or so
- 126.696: shouldn’t this also be a white note?
- 127.377: remove this white note, the second note that you’re implying does not exist
- actually, on that note: the white note gimmick doesn’t seem to be consistently executed - there are numerous notes that should be colored that are not
- 134.280: right around here, you could make a change to the burst in direction or appearance to accommodate for the change in the sound
- 148.363: add a note(s) here for that woosh, you do it elsewhere
- 149.030: this blip is not quite 24ths, listen closely
- 175.363: as per your earlier structure, shouldn’t these melody overlaying notes be triples (like 86.030?)
- file’s actually not too bad, but it needs some noticeable polishing before it can be queue’d up
Love Is Over {chelmico}
Rating: 7/10
- 5.522/etc: I’ve listened to this on a low rate and can’t seem here any sort of separation in the notes to merit these 32nds (no pitch bend or otherwise); the second set of three has a pitch bend that is a 64th long, so fix that
(check this for all instances that it occurs)
- 8.522/11.346: remove jumps - hi-hats that are alone should be represented as single notes so that you have more room to accent the other, more prominent percussion with jumps
- 20.522: make a triple to accommodate for the snare
- 27.581 to 49.463: structure is… ok here, but it would be a lot better if you put more effort into better separating this structure from the earlier section. There’s a lot of vocal sampling in here that could be used to really change things up and make the file less redundant
- 34.728: this 32nd note is way off from where it should be if it’s following the first of those three vocal notes - the first note is basically right on the 4th
- 38.699: should be 64ths (i’d not have mentioned this before, but you use a 64th trill into a triple a bit later)
- 42.052: should just be 32nds (add a jump at the end of it to accent the chord that plays for the third note)
- 43.464: should be a 64th grace note here
- 44.346: missing jump
- 52.419: move down to the 16th immediately after
- 56.522: since there’s a clear differentiation between notes that play alone and notes that play in chords, you should probably utilize some jumps here like you do slightly earlier in the section
- 59.346: should just be 32nds here
- 65.169: three consecutive 64ths here, no gap
- 79.816: there’s actually a bit of a synth oscillation here that plays on 12th notes, it’s a good way to fill that gap because the sound is quite noticeable (you could even do a 24th note trill if you’d like to accommodate for this as well)
- 91.993: jack is unnecessary here, the vocal is barely audible - also, it’s not timed properly, should be notes on a 12th (92.052), a 48th (92.111) and another 48th (92.228)
- 98.522: move down a 64th, just like the first verse
- 110.081: missing note
- 115.111: because this is a rather smooth percussion accent, I’m gonna say that you should probably change the jump that hits at the end here to prevent the 32nd minijack (yes, I know it’s slow, but it’s the feel of it that matters)
- 120.934: this grace note is extremely fast compared to the others, it’s actually a 96th apart
- 121.287: this one, a 64th
- 127.111: should be a 64th grace note
- 129.140: missing note for the melody
- 129.581: 64th grace note
- 129.934: also missing a grace not here as well
- 130.243: missing note for the melody
- 132.449: similar to earlier, fix the note
- 134.875: check your rhythms here, the note you’re following on the 64th should just be a 16th (135.052) and the note that you’re following on the 8th should be on the next 32nd (135.317)
- as a whole: check your repeated taps, there are a lot of them in places that seem a bit strange and can be avoided (11.522, 17.522, 23.875, 31.993, 34.287, etc)
- this chart’s actually pretty enjoyable overall, but it has many (minor) technical issues that are easily removable.
V1 v2 {Sanxion7}
Rating: 8/10
- 1.655 to 14.628: this intro is strange; it seems like you’ve got some syncopation to the hi-hats to prevent from constant streaming, but it clashes with the introduction of the synth that comes in at 11.385 in your chart (in all actuality, it should be accented earlier, because it’s pretty audible when it actually shows up at 8.547)
- 55.169 to 79.493: these two sections can be improved a bit if you more consistently accent the last note of each little synth blip with the same arrow (or, even better, if you could actually work pattern repetition in your structure on top of the pitch relevance for the melody)
- 97.230: switch this jump so that it creates a mini-jack into the next one to keep consistency within your structure
- aside from that, I actually really like the execution of this file; the usage of a forced mini-jack patterning contour works very well for accenting the melody because it is generally choppy, and it feels awesome to take on for the second half of the song where everything just layers up; risky structure, but I definitely dig it - I would have done it the exact same way.
- file’s fun, really aggressive take on the song