[TC_Halogen]

12th Official Tournament Batch - Set 3

[8/10] Old Skool {Televisor} (bmah)
- offset is fine
- 25.550/etc: would not mind a bit more detail with regards to these little grace notes in the bass instrument
- 1:10.790: missing note for the percussive trailoff here
- 1:17.990: missing note for the bass
- file is generally polished and for the most part seems good in layering, though it’s quite heavy at times

[6.5/10] One For All, All For One {Virtual Riot} (Xiz)
- offset looks to be a tiny bit early, -0.008 seems to work best; also, what’s with the mess of BPM changes in the beginning? Opening the correct (you have two, please remove one) .mp3 as used with the SM chart leads me to finding a BPM of 145.000 with an offset of 0.038. I’ll work with your 0.000 offset for judgment, but once you apply any notes here, be sure to correct the BPMs/offsets accordingly.
- 26.859 to 38.445: from this point until the build-up has finished, the patterning itself doesn’t seem that coherent; I understand the choice of rhythms/layering, but there seems to be an inordinate number of connecting/repeating notes that don’t really have any impact.
- 40.721/etc: this clearly makes sense from a layering perspective; however, you’re implying a five-note bass with your patterning here instead of a xx-xx by using the up arrow as a part of your layering for the percussion (this change will be especially good for 47.548, where you actually have four repeating bass notes at 47.962)
- 48.893: I would personally remove this note, but if you do decide to keep it, move it off the down arrow so that the next four notes get a bit more emphasis
- 56.031: to give a bit more attention to the ascending pattern, you could switch these patterns to something like 1-2-[34]-1-2-3-[124] to much more clearly show the increasing scale (you have a five note up-down trill that kinda obscures that)
- 57.893: there’s a little blip here that could make for another flam accent, if you choose
- 2:11.134: aw man, with this sound effect I thought for sure you were going to do more than single notes here, liven this transition into the triplets up a bit more
- 2:15.823/etc: this jump bothers me a touch when compared with the three jumps before it, all of which land on a percussive instrument. I know that the bass is all accented this way throughout the section, but I feel like it’s a bit ill-advised, especially when you later sections where you acknowledge in your layering that those faster basses are too quick to use jumps later on. Make this and 2:22.444 single notes.
- pattern connections from the earlier drop apply to the last one as well, otherwise things look fine
- 3:05.651: eeee, I can see why you do this, it’s just a really cruel thing to do at the end of a file of this difficulty; a compromise where the second to last jump is just a [3] instead would be really nice here
- 3:18.064: remove, for consistency with your earlier section as well
- this file executes reasonably well as a whole, just could use a bit more polishing; clean up your sync as well with the notes provided after applying everything else

[7*/10] Outbreak {Feint} (Xiz)
- offset is a touch early, changed from -0.100 to -0.110
- this opening drones on; I understand the pattern play and what you’re doing here, and it’s kinda neat, but it takes forever to get to, not the kind of thing I personally want to have to deal with in the tournament
- 43.995: this introduces the percussion, and a faster bassline as well - while you could argue the BPM can stay the way it is here, it absolutely should be doubled on the chorus
- this file is wild. The layering is a bit higher building things up, but the pattern structure is very harsh, certainly cementing it as the most difficult section.
- it’s also very explicitly done. I can very clearly see exactly what you were going for here, and it’s done consistently throughout the chart; you definitely took care in making sure that you had a stringent motif there
- this is a really tough call but I think it’s done well enough; I get a sense this is going to be the kind of file that is polarized in terms of liking and disliking, with very few people just thinking it’s “ok” by the way it’s done.
- conditionally accepted on the removal of colliding mini-jacks in the buildups at 1:05.481/1:27.452, they kinda take away from the rest of the structure which kinda relies on that kind of technique to perform well.

[4.5/10] Planet Of The Apes {Mindless Self Indulgence} (ohitszxz369)
- offset is fine
- in general, you seem to have an inclination towards using staircase-heavy patterning throughout, which makes the chart feel quite a bit longer than it is (your chart is quite short at 1:10, so when it feels draggy, that’s not a good thing).
- 15.259: this is a section where proper patterning can help your chart stand out a bit more. The repetition of the word “no” here would make for acceptable repetition in your chart if not for the fact that the vocalist’s sung notes are changing. Something like R-R-UU-U for the “no” repeats would work better than R-R-RR-R.
- 16.667: you also have some opportunity for playing with patterns a bit more listening to the singer again: the last four notes of this sequence are very high notes that are different than the previous ones. There are a number of things you could do here: you could play with patterns and use different hands on the higher notes than the lower ones, you could use repeated notes in your chart for the higher notes in your song, you could use a color accent (white notes) -- there are many ways to play with this.
- 27.615/30.118/etc: missing notes for some drums here.
- As a whole, try mixing up your patterns so that it is still consistently clear what you are trying to convey, without using the exact same thing over and over again. Copy/paste one pattern in all of the spots, and then change out specific notes by mirroring, rotating, or just arbitrarily flipping any instance of an arrow placed on one column to an arrow placed on another.
- one of the things this chart suffers from is trying to accommodate for the first moment you hear a voice (attack) versus when you should accommodate for the most accented part of it (inflection). When you’re working on an easier chart and precision in vocals causes your chart to have some random instances of different rhythms, sometimes it is better for you to approximate for simplicity in playability.
- using your chart as an example, you have two sections of very similar areas musically: starting at 30.274, and starting at 55.299 - you have the same structures, with one key difference: your “YES” accents are in different places. The second instance, starting at 55.299, is the arguably correct approach for both of these sections: the rhythms are easy, the patterns are approachable, and the structure is clear. If you want to avoid repetition, you could use the same rhythms but mirror the patterning.
- there are some coherent ideas in this easier chart, they just need to be fleshed out to be a bit more effective.

[9/10] Poison AND÷OR Affection {LeaF} (AutotelicBrown)
- offset is good
- 16.847: hmm, not vital but some missing notes for a pretty clear instrument there
- 23.660/23.889/27.660/etc: missing notes/pitch bends for melody
- 27.097/etc: speedy little flourish for a chime here if you want to spice that up a bit, not required but it does happen more than once if you’re looking for a bit more to put in there
- Ireally like this chart. It flows really well, has the right amount of detail, and there’s some really memorable bits in your structure thanks to that well-placed repetition. Well done.

[6/10] Pouncelciot {Venetian Snares} (ohitszxz369)
- offset is good
- just as a random note, how the FUCK do we go from that MSI submission to something like this?
- this file, while not necessarily accepted, is miles ahead of that one. There’s really strong attention to detail and painstaking effort to make sure that things are placed properly.
- with some effort, this could be a really interesting, and VERY chaotic chart
- first thing’s first: I personally appreciate the attention to holding the high-pitched sound effect to a [UR] jump the whole way; it shows that you’re willing to constrain your patterns to make sure that it’s represented well. However, there are numerous instances where the [UR] jump is colliding with a mini-jack just before it and others where it’s not at all.
- second, you don’t need to keep your attention to that sound specific to the [UR] jump the whole way, just keep it long enough to hold the player’s attention with that as the accent point. You could easily switch it every relevant musical phrase since there are numerous areas where that sound disappears for some other bridge or interruption.
- third, in general, watch your patterning and make sure it has playability at least in mind: that mini-jack at 46.143 is not only incorrect rhythmically (should still just be 32nd notes), the jack you have in place has notes 70ms apart, which is brutally fast (14.2 notes per second, ~220ish BPM 16ths)
- 49.013: unintentional 16th minijack as the result of a roll
- once the saxophone comes in, there is a general increase in the number of white notes used because you’re trying to accommodate for your percussion; your drums are already being used as jumps in numerous cases and they’re essentially an area for layering -- instead, you could leverage your white notes more effectively and use them to keep accenting that sound you were using [UR] jumps for, that way they stand out amongst the chaos
- this file’s not bad at all! It needs some cleaning up, but it’s got a lot of potential to be something really interesting.

FIX FROM POST #131:
- patterns are a bit less constrained with regards to that high pitched accent - which is good, but you’re throwing the jumps around almost a bit too frequently now, as they change multiple times within short periods. If you can constrain it to a certain pattern in a group of measures (4 measures as an example), the accent can be kept tabs on as it keeps shifting.
- that nasty sequence of mini-jacks was resolved which was nice
- unfortunately, where the sax comes in, it doesn’t seem like the high-pitched sound is getting focused as well as it could be. You might be able to solve this issue by doing more rhythmic approximation so that the high pitched sounds are the only white notes, though that might not be the most viable. While the chaotic nature is cool with the song, it’s definitely difficult to really parse through what the hell is going on. [6.5/10]



[6.5/10] Puppy Parade [Tenkitsune’s DECONSTRUCT REMIX] {Foxsky} (James May)
- offset is fine
- 31.933/38.333/etc: the barking sample actually doesn’t play with the drum accent here; a jump here is fine, just don’t care minijacks as a result of those
- 50.333: this transition is the literal ass staying on the same hand, ouch
- 1:01.733: missing jump
- 1:03.933: i’d mirror this 2/3/2 since it’s a transition into a harder section and not necessarily within it (if this was within it, then the pattern difficulty would be fair to me)
- 1:04.533: earlier on, these cymbal crashes not being the most strongly accented was fine, but now that we’ve got some more layering going on here, this could give the entry into this section a bit of a bang (as it should, because the technicality/difficulty starts to really pick up around here)
- 1:07.633/1:13.133/etc: some of these mini-jacks are a bit unclear. The repeated three note ones are fine outside of these, it’s just the random two note ones that are a bit “??”
- 1:18.633: missing note
- 1:23.333: trill here, but not earlier on?
- 1:25.133: remove this note and move it up a 16th
- 1:44.133: this is an example of where you need to be a bit more careful in how you accent things; adding blips for special sound effects is alright, but make sure you don’t miss primary parts of the music like this kick here as an example (or at 1:50.633)
- 1:57.232: this pattern is gross, yikes
- make sure all your patterns are coherent in this section, there’s some pretty nasty one-handed transitions in multiple spots
- opening notes apply for the repeated song in the music, although I do question why you broke the connecting 3-note 16th collision at 2:20.133 (this is the only time you do this).
- 2:32.133: not a fan of the patterning here either, although this one is a bit better than the opening instance
- not much more to say, generally same stuff. Check your mini-jack placement, make sure your rhythms are proper from start to finish and in general just touch some stuff up. This is a solid and rather difficult chart, and would work well with proper care given to certain sections.

[8/10] Rabbit And Warlord {Terrain Tilt} (Elekton)
- offset is good
- 33.051: quite noticeably not the same sound, a pair of same-hand mini-jacks would work well here me thinks
- 51.105: very nice restraint here; that had potential to be very gross but you kept it simple
- 1:40.872: oof, a bit of a nasty anchor there, thankfully it’s brief
- 1:42.908: this pattern looks a bit weird with the sound; it doesn’t quite have an even ascension, but having a 2x/3x minijack looks visually strange. 2x/2x/1 might look a bit better visually (unless you’re doing some next level meta shit and doing 2x/3x with the “two”/”three” vocal sample that happens later then kudos you’re too good for me)
- double-check that you’ve caught all of the things that you wanted with jumps in the earlier half, I think I saw two (?) instances of jumps that could be added for missing percussion

[9/10] rainy beauty [Standard] {Rabbit Bat} (bmah)
- offset is good
- exceptionally well done mid-level file, thank you for giving the lower divisions something really awesome to play
- simple, but very very effective. Kudos.

[7/10] -Ricochet Love- {Waterflame} (DarkZtar)
- offset changed from -0.020 to -0.034 (yer makin’ me mad with these damn offset changes Ztar, get yo’ shit together)
- first note doesn’t seem to have any reason to be a triple other than the fact that it’s the first note
- 21.943: only instance of a mini-jack for the kicks in this way, i’d personally break these jumps apart
- 1:22.943: well damn, that section woke me up. Spicy. Such a shame it only lasts 10 seconds.
- 2:13.214: another flute note is blown here, same as the previous note
- 2:15.670: ^
- 2:16.579: missing a note for the flute here as well
- 2:17.852: another note, this one’s lower than the previous one
- 2:24.579: fairly certain there’s a note here that is one octave lower than the previous one
- 2:28.397: give that bell some love!
- 2:41.397/2:42.488/2:42.670: missing notes, all for the same sound you accented previously
- into the second “chorus” of sorts, there are a lot of instances of background percussion missed, and in a way that’s strange because you accommodate for it properly in the first half. Many instances of five-note 16th blips should be seven in this section, although this only happens in the opening of the second active area. I can’t hear anything discernible to merit that difference.
- digging the triple usage near the end, nice way to increase the layering into the climax there.
- a good song and well charted in general, but it’s quite long.
- also yo this is Waterflame, wat - this is a great song

FIX FROM POST #123:
- some missing flute notes resolved; percussion better filled out overall. [7.5/10]


[6/10] Running in the 90’s {Sabrepulse} (Psychotik)
- offset is fine
- this chart is fine in terms of rhythm, nothing notably incorrect there
- 31.975/etc: it seems like you were trying to have chaining into and out of jumps for the consecutive 8th notes melody since it seems to happen consistently at 32.308/33.640/37.638/etc - however, the structure loses effectiveness because of other instances of chaining that aren’t quite the same (34.473/35.472/35.806/etc) - even though some of these are part of the melody, they stand alone as separated, non-consecutive notes so it’s a bit harder to tell them apart
- 54.626/etc: three right arrows, but only two repeated notes in the melody, so change up the jump afterward (there are numerous other instances here that could be cleaned up)
- 1:21.858: your ITG tendencies are showing with that crossover accent there
- the triplet section has numerous repeated notes that are unclear, and in general the repeated notes seem to kinda occur throughout
- 2:21.295: wake-up-wake-wake-up-wake-yeah -> ULUULUR, fix the first note there
- overall this chart’s really not that bad, it’s just got some parts that need a bit more in the way of clarity is all
- like your previous submission, has more of an old-school feel to it

FIX FROM POST #124:
- some minor glaring issues were fixed
- repeated notes seem to still be a problem in the 12th note section later in the song as well as the usage of 8th notes and repeats earlier on outside of the melody
- don’t quite feel comfortable enough with this structure against the song to accept it, despite the minor improvements. [6/10]

[8/10] Sayonara Cosmonaut {AAAA + Umeboshi Chazuke} (TheToaphster)
- offset changed from 1.058 to 1.030
- 12.170: if all of the repeated notes are supposed to be following the lower bass instrument, make sure that you’re accommodating for it properly (jump needs to lose the down arrow at 13.370, note at 14.570 should be a jump with a L in it, etc)
- 54.620: 16ths really feel like they should keep going to this point, hah
- 1:49.370: this repeating jumpstream structure, yessssssss
- great attention to detail with the various flams when things get a bit more intense
- this is an excellent high level file; really technical very fair from start to finish and demands player attention - you will not succeed on this without being on your toes from start to finish

[8/10] Snake Devil [Oni] {Scary Kids Scaring Kids} (GhostMedley)
- offset is fine
- structure is very explicit and generally clean
- double-check all of your repeating notes (your “mini-jacks”) and make sure they’re all where you want them to be, can’t really name too many in particular but they’re typically more prevalent when during verses outside of chorus areas
- chart is solid

[4/10] Stingray {Foxsky} (James May)
- offset is fine
- 26.092: percussive note -> QUAD. overwhelmingly loud synth note that will deafen you: single note (this is just an observation, i’m half-joking lol)
- the big synths don’t seem to have the right rhythm in entirety
- 1:27.217/(etc): these three 16ths should be 24ths, and honestly, the lot of these synths don’t quite have the right rhythm as a whole either - 1:28.029 as an example is three 48ths, 1:40.717 is just 16ths, etc. there’s a variety of them.
- 1:37.810: missing notes that could presumably be jacks
- 1:48.592: why are there no jacks for these vocal samples here
- 1:58.342: accidental mini-jack?
- 2:01.342: similar vocal sample represented as just a trill here, which is the correct one?
- 2:14.092 to 2:38.092: jack usage in this stream is inconsistent as shown by the not quite constant collisions in mini-jacks/triples and the color theory seems to have something it follows but also stems over to other things that are not quite consistent
- 2:48.592 to 2:50.092: ffffffffffffffffffffffffffffffffffffff
- from this point on until around 3:15.217, the jack usage gets ridiculous; mini-jacks are laced everywhere in and out of layering and the overall construction starts to not make quite as much sense as it needs to; there is certainly an opportunity to fairly lace your structure with these aggressive collisions given the repeated percussion, but this most certainly isn’t it
- more similar things going to the end of the chart; it’s not really worth repeating the collisions and various pattern inconsistencies, there’s a lot of cleaning up that needs to be done

[8.5*/10] That’s Gonna Be {Terminal11} (Shxfted)
- offset is fine
- 20.517: break these jacks up, a bit too long there for 170 BPM
- 23.956/(etc): this recurring pattern essentially forces brief 32nd note jumptrilling, not a fan (i’m fine with the other version that does 1341241 though)
- 1:16.325: that is going to look absolutely disgusting no matter how you swing it, holy shit
- 1:17.118: tone this burst down as well
- 1:26.904: etc
- this file is accurate, occasionally to a fault.
- conditional queued: but not to anything of your own fault — I need to get a sense of how this is going to play after it is converted. You may need to tone bits of this down, but I’ll get back to you with updated notes about it. There’s not much to point out as flawed — this chart just needs to be assessed with the game’s engine in mind due to the concept of improper/frame spacing.

[6/10] The Friendly Wolf (Part 1) {Championanwar} [Xtreme2252]
- offset changed from -2.130 to -2.137
- 2:17.789: pretty aggressive to use a 64th burst here when the sound fades into the soundscape and isn’t very jarring (compared to the motion, which is essentially a 276 BPM 16th jumptrill)
- 2:23.006: this looks strange being that the sound isn’t fully fleshed out
- 2:36.919: also looks a bit strange given other sounds are louder and not given this attention
- with regards to the rhythms in the song, you have a solid structure here
- the same cannot be said about the overall patterning and layering, though: there are numerous instances of unclear 16th mini-jacks (including into, out of, and within 32nd bursts), and some of the burst patterns are a little bit nasty: an early anchor around 39 seconds in on the left arrow, a strange looking one-hand-on-each-side hybrid at 1:06.810, that weird thing you’ve got going at around 2:28 as a result of not wanting to use five jumps in a row… etc.
- 2:49.093 to end could probably feel a bit faster and less droned on if you added some triple accents for the loud crashes as opposed to leaving everything on jumps, where the appearance generally feels convoluted since so many things are representing doubles/jumps
- on another note, I feel like this is one of the better, if not best submissions you’ve sent to FFR. It’s not quite acceptable yet, but I feel like you could make a decent debut with this file.

[6/10] The Last Step {The Ghost Of 3.13} (XelNya)
- offset is good
- rhythms are for the most part correct
- the layering in this chart is what gives me a bit of trouble; at points it’s clear, but there are some jumps that seem like they should definitely be filled in (14.674, 22.817, 23.032* [understandable if you don’t want to do that one], 35,782 [you do this a bit later at 37.496], 50.460, 1:03.317, etc).
- 54.960 to 1:22.389: this takes a noticeable technical turn, and I really like it; however, the layering gets unclear at times - what’s consistently meriting your triple usage? I get a sense it’s that somewhat subtle, ambient pad that plays, but then the triples at 1:08.246/1:08.460 don’t make sense (they’re quite rough as well)
- 1:14.460/1:14.674/1:19.710/1:19.924/1:20.139: surprised these aren’t colored as well (moreso the last three)
- 1:22.389 to end: layering seems a bit unclear. The patterning in this section is actually solid and pays attention to really minor details, which is nice; however, the triple usage feels very strange
- 2:01.603: disconnect the start/end jumps from this jack sequence, because the repeating sound doesn’t start/end at those points - the jack should start at 2:01.710
- 2:06.103: remove this jump or place it somewhere else to not imply a repeated kick (as your first jumps did)
- overall, the usage of jumps/triples feels very strange and not quite discernible. The attention to detail in rhythms and patterns is nice, however.

[6.5/10] Ultraviolent Junglist {Venetian Snares} (DarkZtar)
- offset changed from -2.000 to -2.025 >=(
- 39.337: this should come after the 4th, not the 16th
- 46.050: not a fan of bursts like these for fading percussion when you compare the motion to the sound - it’s very jarring for something that, especially when compared to the meat of this chart, is generally insignificant
- 1:15.975: I both love and hate this quad so much, haha
- 1:19.275: definitely accurate in terms of relevance, but this pattern is brutally hard to play due to the immediate distribution on the right hand — as much as you might not want to, this pattern is gonna have to be changed/nerfed
- 1:21.525: this is almost certainly going to create a nasty framer on FFR - it’s nearly a 16th mini-jack and it’s not the most merited
- 1:22.125: I’m willing to let this instance pass since it’s only 4 notes, but… it’d be better if it were changed to be a bit more comfortable as well.
- 1:25.725: this is a better example of good distribution + relevance, stress is not immediately placed on either hand and is distributed a bit more nicely (4 notes left/4 notes right). Distribution is everything when playing with these kinds of patterns at this speed.
- 1:26.775: also a good example of how to handle longer sequences.
- 2:14.925: eeeeeeeurgh. The hands are split properly but being sets of four-note jacks at 200 BPM at this speed, oof…
- 2:18.975: I hate this and think it should be toned down. However, compared to 46.050, this is a better usage. Just remember what you’re doing here, though — this is essentially a 200 BPM 32nd mini-trill. 48ths might be a bit better instead of 64ths.
- 2:52.575: this is where thinking of the FFR engine kinda comes in handy here - the difference between the first and last note of each four note burst is literally only 40ms — during frame fixing, this is going to be some strange looking jump flam, or a quad (one of the two); I get the idea of wanting to accentuate the separation in the buzzing, but you’re going to need to be a bit more reasonable
- 3:00.975: nope; switch that second jump
- 3:19.875: nine consecutive notes on the right hand in this jack sequence, mix it up a bit more
- 3:28.425 to 3:29.925: this part feels ineffectively done - it’s accurate in approach, but the jumptrills are put in such a way where there’s no real gain in intensity, it’s still going to be approached as 24th note jumptrilling (and the transition into the first one is not very pleasant); you’d be better off using 32nd note bursts of increasing rigidity -- additionally, the second burst is not going to convert well for a constant buzz sound, and the tail end at 3:29.925 is actually incorrectly structured in terms of rhythm
- 3:43.050: this burst is unnecessary given the sound is again, quite faded and not the most audible compared to later instances
- 3:50.625: split-handed jumpjack in terms of execution, oof
- 3:56.775: really really tough burst to execute coming from a three note jack on the down arrow, not to mention this sound really is just three 5/64 notes, not a seven note 48th burst
- 4:10.275: after all that stuff earlier, imagine having a good run broken on this long split-handed burst… i’d personally make this a roll, heh
- 4:27.075/4:27.675: stop that
- 4:36.225: nasty little boo/average trap here because of the burst starting on a down arrow and having a three note jack into a quad; best solution here is to either change the quad to a triple or move the arrow right before the quad off of R
- this file is definitely more tame than it used to be, it looks more playable, but it’s still a bit too over the top in terms of pattern construction and is absolutely not going to convert well once things are said and done; you’re definitely not far from getting this accepted, though

[7/10] Universal Collapse {DM DOKURO} (AutotelicBrown)
- offset changed from -0.030 to -0.025
- 18.025/37.225: I was fine with the layering up until here, where the triples which were accenting a prominent lead instrument swapped to something much less prominent; as it is, the layering is already quite heavy having a very direct structure
- 1:06.775/etc: technically, this is overemphasized compared to the rest of your layering structure - that said it serves as a transitional accent so I’m alright with it, but just know that it’s theoretically inconsistent
- 1:56.425: accurate-but-gross.png
- 2:03.625: totally would not mind some repeating patterns here since the percussion has a three-note 8th sequence here; what you’ve got is not quite right in terms of patterning but the layering is ok
- chart’s fine. Don’t really like it, but it’s accurate as expected - albeit a bit overdone in the earlier sections.

[7.5/10] Shattered {Gurodoll} (Aquellex)
- offset changed from 0.248 to 0.198
- 36.323: 16ths can continue here
- 42.432: missing a note for the snare
- 47.280: the first half of this burst is incorrect as the sound is not consistent (it also reduces the overall accent of the uninterrupted percussion just a beat later)
- 50.280: flip the L/D here for a better visual accent since the percussion overtones a bit more harshly here
- 52.888: if you’re not interested in adding the jump for the kick here due to passively accenting the snares, you could make this note a L to connect three of them in a row for better relevance
- 56.475/56.867: these 16th notes are where the quieter snares are in this section, so jumps are needed to keep your structure a bit more consistent
- 1:04.204: drop this note from this five note burst to differentiate between the shorter and longer buzz
- 1:10.236/1:10.497: these bursts are a bit tougher to execute starting on U/D and they also follow a not as prominent sound, which is somewhat counter-intuitive
- 1:11.801: a lot of missing percussion here - you could fill them in and then use what you have now as the means for some sort of additional accenting (added layering, coloring, etc)
- 1:16.497: this burst feels a bit unnecessary given that there are actually other instruments playing undistorted sounds here
- 1:25.367/1:35.019: later in the section, the guitar chugs + kicks are accented as jumps, you should do so here as well
- 1:37.236: strange - no buzz accenting? I understand reducing the layering here because you don’t want to have a massive jumptrill and the three-note chugs make sense from the standpoint of the musical phrase, but… this looks weird, I guess.
- 1:42.026 to 1:56.975: give those accented notes + snare combos some more attention by adding a bit more layering to them, it’ll make this section look and feel a lot better
- 2:02.541/2:02.867: another situation where short buzzes should probably get a bit more attention by cutting the bursts a bit shorter
- 2:23.802: add a bit more layering for accents because this is essentially the last climax before the song starts to wrap up.
- take a good look in the back half of this chart and just make sure you pick up everything that you want to accent in the chart; what you have is fine, but I feel like it could be better.
- chart’s solid overall, just a lot of tiny little things that could be cleaned up. It’s acceptable in its current state, but could be executed even more cleanly.