Slowly Night

00:00:498 (1,2,3,4,5,6,7,8,9,10) - feels cleaner with some of these holes mapped, eg. like the muzu/inner.

I would personally do 00:01:718 - and 00:03:114 -

00:01:893 (6) - thoughts on nc here to give each player an x xx xx?

00:14:102 (71) - would personally unfinisher to give more emphasis to the actual crash cymbal at 00:14:451 (1) -

00:15:323 (87,88,89) - Make this ddk for consistency with: 00:20:904 (120,121,122)

00:20:207 (116,117,118) - 00:14:625 (83,84,85) - I suggest making these triplets dkk or ddk to better represent the instrument you mapped, which is increasing in pitch subtly.

00:24:742 (67) - k to give more emphasis on both the piano chord and the final note 00:24:916 (68) - by contrast?

00:35:032 (168) - consider moving to 00:34:858, bc the notes in this section all follow the higher pitch.

00:46:544 -> 00:47:939 - This spot is pretty empty here, and there isn't a change in intensity to warrant a break this large. You could map the instrument to fill this up. I suggest mapping d k k k d d at 1/2 snappings.

00:47:939 (220) - The crash here is too quiet to map as a finisher; a regular note is loud enough that it overpowers the crash.

00:49:858 - feels a bit empty without this one ngl especially with that 2/1 break after, 00:50:381 - could also be an alternative

00:54:480 - would like to see note added here since the vocals start from there and you already try to do some offbeats other places for example 00:57:881 (16,17,18,19) - 01:09:044 (15,16,17,18) -

00:54:916 (251) - Im not sure... maybe this sv is a bit aggressive for oni, consider using 1.2x for finishers

00:59:887 00:59:974 - should probably remove for consistency with 00:54:218

or just map 00:54:393 but i'd doubt it would make sense to you so~

01:04:509 -> 01:03:114 maybe? i'd reserve the break at 01:04:335 because continuous mapping from 01:01:544 ~ 01:04:335 for a vocal phase would be better, also have some gap before finisher would be generally welcoming~

01:05:120 or 01:05:294 - could probably add a note here to up the density a bit here? seems a bit sparse comapred to the rest of the kiai to me

01:18:637 (17,18,19,20,21,22) - 01:16:021 (2,3,4,5) - change these so that they are the same? in order to be consistent with 01:21:602 (38,39,40,41) - 01:24:393 (55,56,57,58) - or 00:03:463 (2,3,4,5) - 00:06:253 (19,20,21,22) -

Really think you should have another triplet at 01:25:352 - Cause the SV cuts end up feeling really janky with just 1/2

01:26:835 - either add note here or 01:27:184 . First one because you seem to follow the synth throughout the entire section. Its okay to have it dropped to give emphasis to the section change but then it would be nicer to have 01:27:184 - mapped to highlight the chained vocals on the next section. or you could do a rhythm similar to 01:29:800 (1,2,3,4,5,6) - instead

01:27:009 (456) - why are there so many 1/1 notes and 2/1 gaps? I think it sounds the same as 00:36:777 (175) and no need to reduce the density

01:38:172 - These rhythm choices feel really weird compared to 00:47:765 -, I don't think it needs to be this sparse.

01:43:230 - I suggest mapping d k d snapped to 1/2 to map the electronic instrument right before the finisher, which would give it a bit more emphasis imo.

02:03:986 - wanna be consistent with the xx xx rhythm for the synth?

02:25:265 (1,2,3,4) - maybe ddk d to get a better contrast since kkd d feels a bit off compared to the other patterns you mapped like 02:14:102 (1,2,3,4,5) -

02:30:846 - make this triplet ddd to emphasize the k quint for miku scream at 02:31:195 more?

02:32:242 (26,27,28) - maybe kkk or kdk to give more of the same feel like 02:31:195 (18,19,20,21,22) -

consider moving 02:33:288 (843) - →02:33:463 to follow the vocal

02:37:474 (867) - consider adding a note here to increase density to follow the crescendo of the drums

02:38:782 02:38:870 - minor, but k these could make really cool mirroring to 02:39:044 imo