Lovely City
Lovely City (A1) – 6/10
- the white note usage is quite messy throughout the file because there’s no cohesion – if a special sound effect happens to land on a particular spot, you could clean up the layering tremendously by adding cohesion rather than leaving things separated [-1]
- 32.745: questionable; why does the layering drop so harshly (or, why does the layering structure change?) when the piano is still pretty active? [-0.5]
- triple usage is consistent with the “hey!” but it’s hardly warranting compared to other instruments being played
- wondering why PR is so sketchy on repeated sounds throughout the song (why are there 3-note repeats instead of 5-note repetitions?) [-1]
- 67.745: forgot about the “hey!” there (not that I agree with this structure in the first place).
- 127.745: given that other areas use claps as single taps, why is there so much aggression here? not only is it inconsistent, but given the structure of the song and how this is a breakdown, this is really heavy compared to the next section [-0.5]
- another problem that you see in this file is that the difficulty waivers a LOT (sometimes quite violently, look at 74.411 which is maybe standard-like, compared to the C/VC like section immediately before this); there are plenty of things that could be followed to solidify this with one difficulty [-1]
- there is some structure, but the file never really seems to decide how it wants to approach the song
Lovely City (A2) – 5/10
- visibly interesting pattern placement; not the most pitch-relevant in some cases, but the most visually recognized [+0.5]
- various instances of added/extra 16ths; the necessity to accent background percussion is acceptable if trying to maintain a higher difficulty, but be sure that you do it properly [-1]
- some off-color notes are placed a bit strangely or incompletely (27.541/31.534/42.215 + 42.882 but not 43.541?, etc) [-1]
- 18.208: not feeling that [-0.5]
- 31.541: stream has no purpose here; that sound you’re following plays in the background for the entire time [-0.5]
- 33.208/43.875: missing jump for synth; kinda breaks PR a bit [-0.5]
- 54.708/60.041: this could have been represented with different taps; not only is it not the same in terms of pitch, but the percussion differs here! [-0.5]
- 72.875 to 74.208: split-handed jumptrill + jack at the end = massive difficulty spike [-1]
- 95.541 to end: some sounds inconsistently accented [-0.5]
- like A1, has a somewhat recognizable structure, but there are many inconsistencies/improper accents
Lovely City (A5) – 7/10
- PR is lacking in many areas, something that should be paid attention to when a good majority of the melody is at a reasonably slow pace [-1.5]
- lots of other sounds effects can definitely be added without spoiling the difficulty too much [-1]
- missing jump for vocal at 32.078 [-0.5]
- 74.412 to 95.412: it took me two playthroughs to realize why the patterning was so strange here; patterns are actually constrained so that the “hey!” lands on the same note without adding any jumps, that’s kinda cute [+0.5]
- 95.745 to 106.078: same as the previous note, this is actually a really interesting structure here [+0.5]
- 106.078 to 127.412: meh… nothing wrong, just boring. [-1]
- easier file, eh? it’s surprisingly well structured; could use a bit more work on the detail
Lovely City (A14) – 6/10
- not a fan of the separation between the white notes/4th notes; if you have an effect, just color the whole thing rather than adding artificial difficulty through separated frames [-1]
- 56.822/62.489: coloring is kinda cute, but again – it’s unnecessary here; there’s nothing else to accent around this to require this to stand out over something else, it’s just… right there. [-1]
- 74.489: REALLY bad cut here [-1.5]
- 95.822: ignoring the claps here is strange given that you use them to build your chart up a bit [-0.5]
- that cut is a shame, christ. This chart was actually quite respectable, but the cut is the most jarring thing ever.
Lovely City (A15) – 8/10
- 27.988 to 47.822: the repeating taps outside of the main melody just feel wrong; they might be following the bass but they certainly feel like a ridiculous contrast to the more notably repeating synth [-2]
- 53.988 to 63.988: not a fan of the triple usage in some instances – with an easier file, the cymbal crashes feel fine, but the others, not so much. [-0.5]
- 63.988 to 74.655: really interesting patterning [+0.5]
- this is a nicely executed, low-to-mid difficulty file.
Lovely City (A18) – 5/10
- it’s just really hard to digest this chart
- the color usage seems unnecessary, but the execution is done clean so I won’t hit for that
- 26.820: mini-jacks don’t work here; the tonality of each snare hit is different
- the chart feels way overcharted in structure; the jumpstreams/streams follow something so barely prominent and it just feels way overdone – additionally, the streams occasionally have awkward cutoff points and just feel abrupt/incomplete [-5]
- however, despite that point, there are some noticeable bits of relevancy to the melody, like the 5-note repetitions occurring in the jumpstream without added layering [+0.5]
- various misrhythms near the end; if you’re going to use aggressive charting methods with fast taps, try your best to get the rhythms correct [-0.5]
- some attention seems to be paid to the file, but there certainly could be more done to make the file interesting; the color usage was a good touch – it surprises me that someone who executed the colored notes with those kinds of subbeats would produce that as a final result.
Lovely City (A21) – 6.5/10
- more color usage; I’m all for it, but I don’t like that the color scheme seems to change constantly in what you’re accenting [-0.5]
- 3.995/9.328/(etc): these separations are strange to me given the fact that the percussion does continue to fill that same spot in other places yet they’re not accounted for [-0.5]
- 27.245: minor continuity issue here; you have the 5 repeating notes for the synth, but this right arrows stands out as slightly erroneous because what you are soon to follow doesn’t coincide with what’s being followed on this particular note
- 53.078 to 63.412: you certainly have a good ear to notice that the quiet bell plays at a slightly unscaled interval; using an arpeggiated pattern like 4212… or 4313… works really nicely here [+0.5]
- 74.412 to 95.421: weakest part of the file; it feels convoluted because of the constant switching in jump representation between the actual melody and just the snare itself; definitely not a fan [-2]
- 95.745 to 106.078: colored notes are a bit messy here because they’re not cohesively attached to other steps [-0.5]
- last repetition of the chorus felt a bit over aggressive [-0.5]
- has a respectable structure, but there’s a bit of confusion in precedence near the middle; color usage was a bit over the top for me personally
Lovely City (A22) – 2/10
- half-tempo was quite ambitious; not the most correct thing to do; unfortunately, it pushed your offset off quite a bit [-1]
- various rhythms aren’t placed properly throughout the entire file [-5]
- layering practically does not exist; PR exists but at an absolute bare minimum [-2]
- file needs substantial work
Lovely City (A26) – 7.5/10
- lots of pattern collisions that force isolated mini-jacks for no real reason [-1]
- a few rhythms could be changed to be better reflective of accents (52.706 and more glaringly, 101.873) [-0.5]
- a few notes are missing for accommodation of certain elements of the song included in the chart [-0.5]
- another easier/middle level file! This one is reasonably executed – it’s nothing special but it certainly gets the job done in my opinion.
Lovely City (A27) – 4/10
- subjectivemanias, but this cut really has no progression compared to the song; it starts with a bang and just does not feel right at all [-2]
- holy christ this chart is so overlayered [-3]
- patterning is really messy overall; many many many accidental repeated taps as a by-product of charting extremely heavily [-1]
- chart is on sync and for the most part, does attempt to follow the song; however, it has absolutely 0 restraint and it doesn’t work well, despite the occasional instances of attention to detail.
Lovely City (A29) – 1/10
- incorrect rhythms that don’t follow the song in any way [-9][/color]
Wheelpower & Go
Wheelpower & Go (B3) – 4/10
- 3.449 to 14.218: with there being some jumps that have guitar + percussion coinciding, some of the jumps going specifically to the melody look a bit strange [-0.5]
- 15.756 / (etc incl. ending): jack to trill is a bit strange here – all 8 synth notes are the same so there should be some sort of pattern continuity that ensures the player knows they are following the synth the entire time and not potentially something else – as an example, two sets of four jacks or four sets of two would have been good here [-1]
- 19.025 (etc): be careful with your jack placement [-0.5]
- 15.756 to 28.064/41.910 to 54.218: these areas are extremely light, which is a bit strange given that the ending actually accommodates for the bass kick; light deviations between sections is perfectly acceptable, but acknowledging a really prominent element at the end when it could have been done in the beginning to level out the difficulty is a bit of an issue [-1]
- 28.449 to 39.987: while the jump usage is consistent/structured and seems to attempt to address the tonality of the vocalist, it can be improved a slightly [-0.5]
- additionally for the previous section: your triple usage isn’t consistently accenting the instrument in question (29.602, 31.141, 32.679 are good, but why is it missing at 28.064/38.833?) [-0.5]
- guitar solo accuracy needs noticeable work [-2]
- missing note at 134.025, quite glaring
- a valiant effort to create a reasonably structured file; it doesn’t quite deliver, but it’s certainly not a bad attempt – there are some instances of patterning that indicate some effort in detail
Wheelpower & Go (B4) – 5/10
- very risky choice not attacking the solo when leaving that part of the song in; with that said, I don’t like it, but I don’t hate it either
- 18.856 to 29.433: relevance to the guitar can be a bit better here; a good strategy would have been to listen to all of the common pitches and lay them out accordingly – if you did, you would have ended up repeating a structure similar to how the right arrows sit on 18.856/19.240/19.817, (etc) [-0.5]
- 31.163/37.317/(etc): not a fan of this patterning; trills could have been a bit more effective for following the synth [-1]
- 32.317/(etc): these kinds of bursts are a little messy because there are lightly forced mini-jacks; it feels like you might be indirectly trying to follow the PR of the melody still, but it’s possible to do so without the straining patterns [-0.5]
- 42.702/(etc): given the overall difficulty thus far, this burst is quite nasty [-0.5]
- 43.471 to 55.779: respectable PR for vocals; does a good job keeping patterns differentiated while maintain detail [+0.5]
- 81.933: almost a cardinal rule in simfiling: when the solo is going on, don’t interrupt it; there are times where you can do it, but if you are going to, don’t interrupt it with something as jarring as this given that a.) the guitar is actually moving VERY fast at this point and b.) you are killing playability this way – solo rhythms aren’t quite perfect for the mid-section but this boost really hurt you [-2]
- 94.240: ok not gonna lie I think that’s kinda cute [+0.5]
- 113.471/118.856: your vocals break relevance here; why? [-0.5]
- 125.010: missed the mark on the rhythms here at the end; also, you have to find the middle ground between playability and representation if you feel like the guitar is going this fast: ask yourself – is it feasible for the player to be doing 32nd note bursts/16th+24th polys/48th bursts at this speed if the guitar is shredding beyond the point of recognition? [-1]
Wheelpower & Go (B6) – 5/10
- respectable attempt at syncing intro guitar solo; however, your chart feels quite a bit fast in some spots here [-0.5]
- 29.914/30.683/32.414/(etc): accidental mini-jacks add artificial rigidity to your file, and there are plenty of them dispersed throughout the file [-1.5]
- 43.472/(etc): vocal relevance is not quite there for me [-1]
- I can see that a lot of effort was put into the guitar solos – one of the biggest issues you have with this part of the file is that if you listen closely, you’re accenting a ton of pitch-bending; it’s tough to discern for sure – some parts of the solo are near impossible to blast through because of how tight the notes are coupled with the patterning with regards to pitch (
here, and
here for two examples). [-1]
- 125.010 to 137.318: there’s waaaaaaaaaay too many notes in here; even if this is correct, this is where as a player you have to consider level of playability and what’s audible in the song; 32nd notes at 165 is extremely fast and inaccessible to a rather small crowd [-1]
- ending is more of the same of the beginning with accidental mini-jacks and the works, hence the two point deduction overall
- another valiant effort; structure certainly exists but the chart goes too far over the top and actually begins to stray away from being reasonably playable
Wheelpower & Go (B7) – 6.5/10
- 24ths don’t sync up perfectly to the intro guitar; I understand minimizing colors but you should have a few speedier bursts here to accommodate for when it does get faster [-1]
- 16.357: this note is a bit extraneous; doesn’t quite follow the guitar
- 31.164 to 43.472/138.857 to 151.164: jump placement in these sections is quite inconsistent – there really should be little to no deviation in the structure [-1]
- 43.472 to 56.933: vocal relevance is alright, not quite perfect in my eyes [-0.5]
- mid-section guitar solos need work rhythmically, but unlike other solos, they are reasonably playable and at least make an attempt to be a bit interesting with patter choices while not being overly brutal [-1.5]
- 125.010: not rhythmically accurate at all, but this was a clever workaround and I appreciate that you wanted to put more attention to the guitar solo as opposed to the ‘tutti’ (composition terminology, etc). [+0.5]
- this was a pretty good attempt, and the file does have some pretty memorable moments that are reasonably playable – had th.is person exercised a bit more care in the guitar solos and nailing their rhythms a bit more closely, this could have been quite a clean and well-balanced file.
Wheelpower & Go (B8) – 8/10
- 22.972/24.511/29.126: questionable note placement for guitar relevance, albeit the guitar doing tremolos there certainly makes it tough to tell what the base note is
- sets of 4 jacks are acceptable for relevance, but the patterning is VERY uncomfortable in general [-1]
- 46.646/48.185/49.723: personally I feel like these triples accent something generally trivial given that you’re putting so much emphasis on the jacks; additionally, there are a bunch of 32nd bursts that force mini-jacks because of this [-2]
- the middle guitar solo is great. The ending guitar riffs are absolutely fantastic. [+1]
- had this file removed the accenting on triples and cleaned up some pattern placement, it would have been a home-run for me. Very well structured, and the guitar solos are near-perfect.
Wheelpower & Go (B10) – 8/10
- opening guitar solo is decent, some slight rhythmic correction can be applied and patterns can definitely be smoothed out a bit [-0.5]
- 18.860 to 29.629: nice job actually finding a way to structure the guitar + percussion while actually accommodating the bass with the subtle repeated taps [+0.5]
- 31.167 to 43.475/138.860 to 150.398: jump placement is consistently executed consistently, but it feels weird being that the synth line is so active and there are arguably a few notes that could be considered missing [-1]
- 43.475 to 55.398/110.013 to 125.013: vocal representation seems partially correct, but it doesn’t look right visually in some cases, which is somewhat strange to me given how you took on 97.706 to 109.629 [-0.5]
- 79.629 to 83.375: another victim of pitch bending/not-strummed notes causing massive difficulty spikes in the solo – however, unlike most people, your patterns are quite reasonable and have relevance too so it’s not nearly as bad [-0.5]
- 97.321 to 109.629: this is acceptable in terms of structure on its own, but given the rest of the file, it provides no separation from the more filling chorus [-0.5]
- second guitar solo is quite good; an interesting contrast from the submission that switches between rigid transitions into 16ths and smooth transitions into 24ths – the solo here is repeating 24th note patterns and they’re all generally smooth [+0.5]
- I generally favor this as a player over the other file that got a similarly good ranking; it feels a bit smoother and less forced – however, the structure for this one is slightly weaker than the other 8/10 submission
Wheelpower & Go (B12) – 5.5/10
- minijacks are an interesting execution for this and I agree with alternating sets of two being an acceptable structure, but there are some one-handed 32nd trills that need to be removed [-1]
- 26.201/107.739: why are these separated from the rest of the trill? very rigid patterning… [-0.5]
- middle guitar solo isn’t bad, but there are a few spots that could have more accurate rhythms/PR [-1]
- 66.970: very jarring and abrupt cut in my opinion [-2]
- chart does a good job using repeating patterns to capture the changing arpeggios
- attempts to have a structure, but there are absolutely obnoxious spikes – file just doesn’t feel comfortable to play either
Wheelpower & Go (B16) – 4/10
- quite a few extra notes in the opening guitar solo; some notes don’t quite line up properly either [-0.5]
- 12.704 to 16.166: the repeating patterning was a good idea, but if you look at the pattern a bit more openly as a whole, it looks like you’re trying to accent things every 8th note as opposed to structuring a 4321-2143 scale because if you repeat it, a player is going to more notably perceive it as 43[2121][4343][2121] as opposed to the intended (4321)(2143)(4321)(2143) [-0.5]
- 27.512: repeating tap?
- 42.704: …not a great idea there; not only is the jump-trill ill-conceived, it’s also not even the right length (should be 8 notes) [-0.5]
- first chorus has… alright relevance to the vocals; there are a few questionable jump placements but it’s not terrible; things like 47.896 (with the descending jump placements on the 8ths) are good
- 61.743: jump shouldn’t be there
- 68.858: absolutely not; 32nd trills here are a bad idea at 165 BPM, making it a jump-trill is an even worse idea, and making said jump-trill split-handed is just the icing on the cake [-3]
- guitar solo was a respectable attempt, although like a few others, there are slightly too many notes because you tried accenting some unpicked/pitch-bent notes; it’s not incorrect but it is an absolutely massive spike that needs to be avoided [-0.5]
- 97.700 to 121.931: having the singing with little to elements have the same jump accenting as the actual chorus is strange – there should be at least a little deviation in the layering structure [-0.5]
- 125.008: I… kinda like this; the reason why I like it is because a.) the staircase pattern appropriately accentuates the arpeggios here and b.) the color changes accent the actual key changes of the arpeggio – separately, these would look strange on their own, but together they kinda work [+0.5]
- 150.392: see 42.704 [-0.5]
- ridiculous overuse of sub-beats throughout the file that could be avoided [-0.5]
- mmm… those spikes were really bad…
Wheelpower & Go (B17) – 5.5/10
- 2.462 to 12.654: jumps are used for the melody exclusively, but there are instances where the jumps land on melody + something else and others where they are the melody on its own [-0.5]
- 23.807: this gap is a glaring one because effectively leaving it in makes a number of other notes feel inconsistent to the melody; if it was filled, then a player could assume that the 8th notes just fill in where the melody doesn’t play [-0.5]
- 27.077 to 39.192: not really liking the structure of the vocals here; lots of unnecessary repeated taps and there’s nothing really distinguishing the tone of the vocalist [-0.5]
- solo could use better pitch relevance, but the number of notes in there feels about right [-1]
- interesting cut… not quite as jarring because of a cross-fade and it cuts at a break in the first solo, so while it’s not the best position for a cut, it is executed relatively well
- 61.312 to 73.235: doesn’t really separate itself from the more filling chorus areas [-0.5]
- 73.619 to 85.158: see 27.077 to 39.192 [-0.5]
- 88.619 to 94.773: mini-trills are not the best conceived idea here – yes, they do one-beat long arpeggios, but the issue here is that the 4th and 8th notes are clearly different notes: one of the submissions utilized pitch-relevant 16th runningmen here and I generally agree with that concept for a less intense file [-0.5]
- back half of the second guitar solo could use a bit more accuracy in rhythms/structure [-0.5]
- a bit lacking in details, but the structure is acceptably done; as a whole it could generally be improved
Wheelpower & Go (B18) – 5/10
- opening guitar solo isn’t very well structured; differentiating between speeds is one thing but when you switch in and out from too slow to appropriate to too slow in areas where it’s not merited… [-1]
- 31.164/57.318/138.856/145.010: this jump not being chained to the rest of the trill is a bit distracting to me given that the synth does play on the 4th note [-0.5]
- 31.164 to 43.471/57.318 to 69.625: jump usage is strange [-0.5]
- burst usage for a good majority of the file is weak – there are nine 32nd bursts to the synths that force mini-jacks [-1]
- 80.683: interruption in the guitar solo? [-0.5]
- 83.471 to 95.010: various guitar notes missing as a result of only using 16ths here [-0.5]
- 97.318 to 109.625: the vocals really aren’t separating themselves from a regular chorus here – yeah, the percussion is not playing so it’s not a running stream, but why is everything jumps here? just because there’s a coincidence of the quiet synth and the vocals doesn’t mean all jumps are necessary [-0.5]
- 127.702: strange pattern switch in guitar solo, and it’s a bit more jarring coming out of an already split-heavy pattern; it’s a shame because the rest of the guitar solo, while a bit rigid, was executed reasonably well [-0.5]
- patterning in this file needs work; the first and second sections of guitar solos are pretty weak, although the third one is respectable; representation of the euro-beat like melodies could be better
Wheelpower & Go (B19) – 8/10
- 31.244 to 43.552/57.398 to 69.706: solid structure, but I can’t help but notice that pitch relevance on the 8th note jumps wavers a bit [-0.5]
- the two vocal sections combined with everything else could be a bit better in visual relevance; it’s not quite clear if the vocalist’s tonality is being represented [-1]
- second guitar solo does a generally good job following rhythmic specifics, but doesn’t seem to lay off of the pitch-bends/unpicked notes which produces an extreme difficulty spike [-1]
- final guitar solo is excellent [+0.5]
- really solid file!
Wheelpower & Go (B20) – 3/10
- rhythms on the first solo are ok at best; patterning could be a bit more correct with regards to pitch [-0.5]
- mini-jacks are alright, but some of them are created as a by-product of triple usage, which I feel is overaccented; additionally, they don’t seem to be used consistently given the general usage of the repeated notes in the song [-2]
- lyric areas could use a bit more relevance to PR [-1]
- 54.241: I understand the purpose behind it, but it’s not a good idea because you’re essentially giving something less prominent a lot more accenting power than it needs [-0.5]
- guitar solo starts off somewhat weak with rhythms but absolutely tanks when going to a 32nd stream; it is extremely fast, but you have to account for overall playability as well when considering this chart [-2]
- 97.318 to 109.626: literally no distinction between the main chorus and this bridge [-0.5]
- last solo is pretty bland with no highlighting in the accented notes/no highlighting the repeating arpeggios [-0.5]
- structure is below par overall; mini-jack usage causes pattern collision and the triples make this worse – the guitar solo absolutely kills this chart, though
Wheelpower & Go (B24) – 4.5/10
- intro solo is not well charted rhythmically [-0.5]
- 18.927 to 29.504: very overcharted [-0.5]
- 31.235 to 42.773/112.773 to 124.984: jump placement feels a bit strange; some jumps aren’t quite accenting the melody and whatnot – patterns are also quite uncomfortable and bursts occasionally force mini-jacks [-2]
- 54.311/94.311/109.696: understand it, but you’re giving comparatively weak accents a bit more power designating these as triples [-1.5]
- cutting the middle solo out in entirety? hmmm… at least the cut is clean… [-0.5]
- 105.850: some notes not quite synced up with 16ths here [-0.5]
- structure isn’t very sound to me; second guitar solo is cut out in entirety and the first one isn’t very accurate rhythmically – the first half of the final solo is decent with pattern repetition but it needs work overall
Wheelpower & Go (B26) – 2.5/10
- 18.087: missing bass note kinda kills continuity there
- 18.856 to 29.433: accenting is inconsistent; jump placement isn’t clear [-1]
- inconsistent jump usage, bursts are one-handed trills occasionally, no consistency/coherency in structure, missing notes on occasion and mis-rhythms exist as well [-2]
- 83.471 to 95.010: after beginning the section not accenting the guitar, accenting it here feels strange; regardless of this, your rhythms aren’t quite correct here [-1]
- 106.548: added jumps? [-0.5]
- 121.933: at 29.625, you accent with a jump on the 4ths, but here you use straight jumps? They also end in mini-jacks which doesn’t help the cause [-1]
- 125.010: the runningmen are pitch relevant here; they might not be correct in rhythm but they accent the 4th/8th notes well [+0.5]
- 132.318: right around here though, the speed should get a bit quicker in your chart to accommodate for the faster riffs [-0.5]
- 138.356 to end: poor structure all around [-2]
Wheelpower & Go (B29) – 1/10
- 6.549: not correct, and hardly enjoyable/playable [-2]
- 31.164 to 42.510/57.318 to 69.625/: what do these jumps go to? They’re not placed very cleanly… also, the trill-bursts are unreasonable given that there are a number of one-handed trills [-2]
- second guitar solo is REALLY poor with regards to both accuracy and playability [-2]
- the third guitar solo is simply unplayable [-3]
- structure is weak, but the main reason for the deductions is simply because the chart is not sensible.