TC_Halogen - 6/10
- offset is fine
- accenting in the opening feels a little overdone, if i’m being honest
- the 32nds aren’t… bad, compared to something like Arche -- however, there’s some accenting that feels a bit ambiguous:
------- 37.521 and 37.694 are two different bass notes, but they’re connected in streams
------- 38.728 is similar to above, but it’s four notes running to the 8th at 39.245, yet it has a more proper separation
------- 40.108: ^, similar situation, but accented differently by attaching the jump into a larger stream for a bass wobble that’s really not as sustained
------- 41.142/41.832/42.521: these are examples of things that are done very well; you clearly hear a single running note, you identify it, and you connect it appropriately, which is good

- 47.866: with your entire structure basically hinging on 32nd accenting for the chorus, it would be a smart idea to do something to separate this out as something notable, because it is a very different accent musically -- as of now, it just kinda gets lumped in with everything else...
- 51.142: … like you do here, as an example
- 54.030: while I understand that you have an extra note to accommodate for in the percussion here, that high synth gets a notable accent in the earlier part of the song with an increase in colors/intensity, which is a point of memorability in your chart -- you should aim to keep that in play and work your patterns around that
- 59.159: minijack is out of place here; same instrument but noticeable shift in tonality makes the minijack questionable
- 59.418: the bursts do intensify here, which is an acceptable touch given that the melody shows up, but what exactly is being followed here?
- 1:09.935: these 32nds feel a bit more erroneous given that you’re accenting a really notable, actually-32nd-note synth just up ahead
- 1:25.625: probably worth removing this note here, since all instruments get cut off briefly here
- 1:32.004: should also be 32nds
- 1:45.797: i like the concept of constraining the harder hi-hats to [R], but making triples in layering because of it isn’t the best of decisions
- file is… okay? The structure is coherent for the most part, but I think the execution is a bit too aggressive; so much relies on 32nd note accenting for a lot of similar things despite changing elements in music, making it drag along a bit more than it needs to

Wiosna - 5/10
13.901 - probably better as just one straight 24th burst
14.418/14.935 - bit of a difficulty jump from the first burst which corresponded to more or less similar sounds
22.176/22.521 - samples are pretty similar to 21.142/21.487, but the bursts here are substantially harder
47.866/1:09.935 - this is really hard even given the rest of the bursts in this section, it's mostly the double i think
1:31.745 - can't tell what this jack is going to, doesn't quite sound like 16ths
1:36.573 - missing double
1:37.176 - feels like there should be some gallop here

Most of these 32nd bursts from 32s to 1:20 are technically justifiable since there's usually some bass kick or bass wobble that correspond to them, but I personally really do not like this approach because it's very overbearing to play because the bass wobbles are so light, and I think it greatly muddles the main rhythms that a player hears in a song. That issue is a bit more pertinent when there are more melodic elements going on (like when there's a really substantial melodic synth like 59.418).

They're also very spiky at points given that some of the bursts aren't really short but rather come back-to-back, so you're dealing with 64 to 96-note runs of 32nd streams that go to fairly soft discrete sounds in general. The grace notes in the chorus are fine, though it feels a bit too broken to play at times though I know why it’s layered in the way that it is. The 32nd bursts there feel a bit much there as well but not quite as egregious as the other bursts earlier on.