[TC_Halogen]

Benson & Hedges (Venetian Snares Remix) (ositzxz369) [7.5/10]
Artist: Shitmat -- Perms: OK

- 12.960: the three repeating 8th notes are a recurring theme (12.960, 14.355, 15.751, 18.541, ), but it’s really hard to understand why the third repeat is there in most instances, as only the first two notes are really audible over the percussion. Additionally, your PR can be improved if you’re going to actually represent those pitches as a part of your structure.
- 36.941: I hear what this is following, but it’s definitely tough to hear at 100% rate; might be worth reducing/removing.
- 42.609/42.697: delay these notes by 1/64 to properly capture the attack of the reverse snares
- 55.865: given that you’re pretty big on instrument relevance, you’d be better off changing the pattern so that this becomes a [u], to correspond to the [u]’s at 55.342 and 55.604
- 59.529: nifty pattern choice here, I like it
- 1:00.576/1:01.186: another opportunity for strong instrument relevance - if you change the [D]-[R] mini-trill to an [u]-[R], then the pattern at 1:01.186 is a continuation because they both use the same instruments (and are tied to the same arrows)
- 1:05.895: ghost note
- 1:13.134/1:13.221/1:13.308: these three notes correspond to snares, and those same snares play at 1:13.831 -- these are opportunities to really tighten up your chart structure and maximize the flow against the music
- 1:16.884: mini-jack is a bit out of place
- 1:21.157 to 1:42.610: this section is very well done, excellent work!
- 1:38.076: VERY spicy pattern, I like that timing on a sudden increase of abrasion there
- 1:43.672: this white note is way early; you could move it to 1:43.751 to be more accurate (there’s a waveform peak that should help you find it)
- 2:14.180/2:18.366: missing jump for kick (you do them at 2:12.785 and 2:12.959)
- 2:33.715: since you’re working with a drum solo and not any sort of melody, you can afford to mix up the patterns a bit while still keeping the relevance - a simple mirror for the repeating drum patterns will make this feel a lot less dull
- this song really drags on quite a bit, but it’s not because of your chart - it simply repeats the same kinda drawn out melody numerous times which gives it a perception of a deeper length
- chart’s effective and does some pretty nice pattern play for relevance; you definitely made what you could with the song

Circle Pit (ositzxz369) [7/10]
Artist: Venetian Snares -- Perms: OK

- took me a bit to understand the white note usage here in the opening, glad I played it through a few times
- 26.118: not entirely sure why the switch from [L] to [u] for the snare happens; part of me wants to think that it’s for the bass that’s kinda pushing out, but that starts at 25.773
- 35.773: ^, but at 35.428
- 41.383: this white note feels a bit off because it starts immediately; the other instances in this section are fine, it’s just this one
- 44.738: given that you opened with normal color for percussion and white notes for vocals, omitting them when there’s clearly still percussion going on feels strange
- 1:50.428: I do believe this is a missing jump for that lower instrument you’re following every three 8th notes
- 1:55.773: this pattern is kinda rude; I know it can be executed basically as a roll but the fact that you’ve got three 8th jumps in a 32nd burst like this makes this the worst burst in the chart by far
- 2:06.893: ghost note, unless you’re following the lower synth -- in that case, you have numerous missing notes ahead that are pretty noticeable
- 2:13.014/2:13.704: instance 1, same notes not repeating; instance 2, same notes, repeating?
- 2:14.566: if the patterning behind this is dictated by the instrument’s pitch, then this should also be an U (which will force you to resolve a minijack)
- 2:19.221: missing jump for… I guess that’s a background organ? Hard to tell but it appears that’s what your jump structure conforms to.
- 2:28.876: ^, same deal
- 2:32.324: don’t see a need for the mini-jack here
- 2:41.980: missing jump for kick
- 2:56.635/2:59.049/(etc): missing jump for kick (you do it at 2:54.221)
- 3:03.014/3:03.531: both of these [u]’s should be moved given that the first [u] is not a snare
- 3:09.221: same musically as 2:59.566 - why are these only jumps (or better question, why are there 16ths after the jumps in the first instance?)
- 3:09.954: this is a ghost note; technically there’s a flam on the 4th so I can understand why you’d put something here, but they should be separated out
- 3:10.428: flam here, with 3:10.471 and 3:10.514 removed
- 3:23.269/3:23.787/3:23.959: why ignore this percussion here?
- 3:36.459: same deal with the background organ as mentioned at 2:19.221
- 4:07.159: these bursts, and other variants of them -- look pretty bad visually compared to the rest of the chart which is generally really clean; I think you should either let color or pattern changes capture the cutoff cymbals there, because adding the jumps artificially adds difficulty by forcing players to arbitrarily speed up their rolls to hit the jumps properly
- the repeating pattern concept at the end was well conceived, however...
- jump usage in this chart has a tendency to focus on things that aren’t quite on the forefront, which makes it a bit strange to play at times; if for some reason the things mentioned were not the focus, then the chart carries a much larger issue of inconsistency than noted
- coming from you and how dominant you’ve been with your submission -> acceptance rate for Venetian Snares files, this is a touch more inconsistent than I’m used to seeing
- clarity will go a long way on this one

Corporal Jigsore Quandary (mi40) [5.5/10]
Artist: The Berserker -- Perms: OK

- 3.248 to 7.743: you don’t need to constrain yourself so badly during this; feel free to flip up the patterning a bit so long as it keeps the same layering each instance -- this is the luxury of working with instruments that don’t really have a tone
- 14.297: you correctly change mini-jack patterns on the 3rd instance of the guitar chugs (the key changes), so you should do it here as well with something like [R]-[R]-[D]-[D]; this structure is basically the way you can maximize relevance every four measures -- repeat the same mini-jack sequence twice, then have a second and third mini-jack sequence to properly capture the key changes
- 20.289: keep it consistent, put those mini-jacks there
- 20.897: ghost note
- 21.225 to 33.225: song progresses, and the chart does too, but jumps occasionally don’t land on something clear (21.975, 23.475, 24.975, 26.475, etc)
- 33.131: should be a jump, given the jump at 32.943
- 42.125: should be a jump, given jumps immediately previous to this one
- 42.825 to 1:06.825: tough to deal with; very close to the previous section -- it’s not incorrect in layering or anything and does occasionally add an 8th note for the vocal, but it doesn’t do enough to take advantage of the vocal element that comes in
- 1:10.004: mini-jack entering into the stream?
- stream patterns are very clean
- 2:16.880 to 2:36.080: some missing jumps for snares (2:18.380, 2:23.180, 2:27.980, etc); also, what is dictating the change from runningmen to trills?
- 2:36.549: missing note for kick
- 2:36.080 to 3:00.080: given the layering structure you did earlier, and how familiar I am with this song, I expected just more of the same -- I was very pleasantly surprised with the aggression taken here and honestly, this might be more of what the chart needs in the earlier half as well where the lyrics are, as it’s an effective progression into more intensity
- 2:39.268: there’s a vocal note 1/24 before this one
- 2:58.393: add these funky rhythms as well to really shake up the layering
- 3:05.580: add the missing guitar note
- 3:06.180/etc: ^
- 3:08.480/etc: nothing special here; still just the running 24ths -- you could most certainly use colored accenting to capture them but there’s no need for arbitrary bursting/flams
- 3:23.481: pretty nasty boo-trap to have players do two more [R]’s after six [UR]’s at 150 BPM 16th equiv
- 3:42.729: jump should be a 16th later for snare
- 3:46.783: not immediately clear why the jacks are suddenly only minis and switching up; the guitar doesn’t quite adhere to that
- 3:57.512: sync this up with proper colors; these are pretty clear hits that don’t really have any interpretation to be colored
- 4:01.831: if these snares are gonna be triples, then maybe the big crashes should be quads for the purpose of separation
- 4:44.012 to 5:02.027: patterning feels kinda randomized here, especially with the highly intrusive one-handed trilling and then random breaking of trills without huge noticeable reason within the music
- 4:46.492: pretty abrupt one-hand trilling here
- 5:00.527: missing jump for snare
- some interesting sections in here, but the structure is definitely unstable at times

Marianas Trench (Pizza69) [7.5*/10]
Artist: August Burns Red -- Perms: OK

- opening 8th note PR is respectable; can be improved slightly but it definitely works as is
- patterning really shines with the 16th streaming; dual-layer PR is not easy with only 4-keys but you do it about as well as you really can with the space you have
- 31.927 to 51.647: patterning seems to become a bit unclear at times; sometimes the drums come in and provide some fitting trills
- 56.718: feel like [DR] would be a bit better here to prevent the repeated [u], unless it’s a contouring thing for the PR (you don’t do it at 1:04.957, though)
- 1:25.247: having a jump for the tom feels a bit off as an accent, given that 1:25.568 is noticeable as well -- either remove here or add the jump at 1:25.568 for a clearer accent
- 1:28.626: missing jump? all guitar chugging seems to be repeated jumps until the triples come in at 1:32.376
- 2:01.032: missing note for kick
- 2:10.974/etc: personal opinion, but I feel like making the power chords triples might make them stand out and give the guitar more of a punch (2:10.974, 2:11.974, 2:13.974, etc)
- 2:29.287: missing note for snare
- 2:44.351: not a fan of this, given that the guitar was introduced with single notes -- the kick appears to be used as a layering structure, considering there’s four repeated notes at 2:45.394 that don’t go for the guitar (the last note of the four repeating should be something different if so)
- 2:54.472: missing note for snare
* 2:54.537: this BPM change to shift to a red note does not need to happen and it pushes the chart’s sync to a yellow note until you reset the BPM with some changes at 3:19.711 -- that cymbal crash is on an off beat; additionally, the cut BPM feels very strange as a whole because the percussion paces very similarly to how it did in earlier sections -- the change in overall presentation shouldn’t have happened until the BPM switch at 3:21.690, in my opinion
- 3:17.885: 24ths are a misrhythm - should be a 32nd after the 8th here, and then a gap, and then the next 32nd at 3:18.081
- 3:18.994/3:19.125: missing notes for drums
- 3:47.074: missing jump?
- 3:35.536/etc: are these being omitted in favor of the snare a 16th before? you accent other cymbals, but consistently ignore these
- 3:53.767/4:01.151: four note jack here, but nowhere else?
- structure gets a little dicey at the end, but the chart’s fairly coherent overall and has some nice PR control in the opening
- CQ on the offset fix

Robert Desire (Ghost_Medley) [7/10]
Artist: 403 -- Perms: OK

- 3.726/etc: kick/snare accented as jumps here, but only snare accented at 1.226/etc
- 4.560/etc: if we’re going to have the guitar chugs here that land into some layering, you should pick up the missing one at 2.143/etc (you do this at 14.393)
- 10.893/11.560: one of these two pairs of the same arrow can be in a different spot (two different instruments)
- 15.476: no jump? musically the same as earlier where you have a jump in this position
- 24.726: can move all of these to [D] for better relevance
- 33.560: move to [R] for better PR
- 37.226/37.560: two [LD] for two different instruments; change one for better instrumental relevance
- 54.893: adding jumps for kicks here messes up your structure because kicks run through the remainder of this phrase
- 1:46.560: you might be better off starting/ending this phrase with two split jumps; you’re missing a jump for a tom at 1:46.810 and you can make those three consecutive hits one-handed -- you’re also missing another at 1:47.143
- 2:08.393/etc: ghost note, or barely audible -- there are a few other instances in this section
- chart needs some slight structural cleanup; it does an acceptable job controlling difficulty overall

The Government (Qrribrbirbel) [5/10]
Artist: Stone Banks -- Perms: OK (label)

- 5.770: smooth this pattern out; no need for this kind of burst at 170 BPM
- 11.594 to 21.476: stream kinda is just… there; there’s still plenty of stuff to add relevance to
- 30.829: that squeaky sound in the background is offbeat 24ths that start on the 16th here, so snap to 48ths and go down 2 ticks, drop a note, rinse and repeat
- 31.182: melodic note, which should be a jump according to your structure
- 36.535: the deep bass actually doesn’t land on 12ths, it’s a tighter rhythm than that if you want to feature some sort of polyrhythmic structure
- 42.476: same as 31.182
- 45.829: watch your structure; this sound has been alone before and this is the first time it’s a triple without any real standout reason (previous instances: 28.888, 31.711, 34.535, etc)
- 47.417: misrhythm; should be 1/64th down (it’s noticeable given the low tempo)
- 47.888/48.241: why the random switches in this? the trill itself is pretty mean, but it does have a very justifiable reason to be there
- 48.300: the notes for these vocals are noticeably off at 100% speed; slowing it down, some notes are off by as much as 60ms from where they actually should be
- 1:22.532 to 1:39.120: while there’s not much going on musically, the high pitched synth gives you something to pay attention to for pitch relevance and technically gives an opportunity to even utilize colored notes to catch the players eye, neither of which option seems to be taken unfortunately
- 1:44.767 to 2:07.356: see, now this is an interesting approach -- the double BPM ups the energy appropriately, which I’m alright with
---------- 1:45.826: nice idea going by creating some mini-trills to the choppy melody - this would be more effective if the placement of the one-handed mini-trills were actually to the chopped melody because the player would very strongly feel that increase in strain
---------- 1:53.238: this is respectable use of runningmen/anchors here
- 2:13.091: missing note
- 2:18.061: vocal note is way too early for the second syllable of “government”
- 2:26.767: whether or not the ad-lib vocals are accurate, the patterning on this is extremely intrusive overall; pairing the anchor together with this is not the best idea in general
- 2:31.885/2:34.709/2:37.532/(etc): remove jump - continue the removal when necessary on the layering increase starting at 2:41.238
- 3:05.944: this kind of situation is where you can utilize an extremely short copy-paste (two beats) to generate a nice repeating motif between the streams and the polyrhythms, all to simply follow the repeating vocal “problem”
- 3:20.414: the sound effect that comes in here doesn’t have a defined rhythm, but the percussion at 3:20.591 does; you should color the first bit, or change the rhythm so it’s better separated
- 3:46.179: when you presented this musical phrase earlier in the chart at 1:53.238, it had a double BPM -- here, it’s getting cut, why?
- 3:49.003: ^?
- ending 48th blips don’t quite line up with the sound effects at the end
- inconsistent structure and occasional misrhythms hit this chart pretty hard; the parts that aren’t erroneous don’t stand out as particularly noteworthy with the exception of the first double BPM instance, though it gets mitigated by a lack of application in a second repetition
- this song could probably be cut a bit, as well