ON FIRE

its more for the sets of 3 if anything, i feel like jacking stuff like 00:00:986 (986|3,986|2,1106|0) - comes off a bit too forced, as the single note there sorta brings enough contrast as is. its mainly for the groups of 3 for that melody, like 00:03:386 (3386|3,3386|0,3506|2,3626|1) -

also helps with contrasting later sections with more quieter versions of the melody like 00:18:746

I don't dislike the idea as it makes sense! However these were moreso just filler. The Kalimba is not the main focus of this segment - the growls and synths as well as the vocals throughout the set. So with these I've simply taken a PR approach.

have a feeling geo's ones were a bit better but oh well

Would prefer having this current structure. Having a periodic 1/8 grace every 1/2 till 00:23:546 better aligns with both the cymbals and the highest attack of the vocals. While playing, that startup shouldn't be all that noticeable I'd reckon.

Can do. The sounds which later jacks are justified by become too present here to simply ignore.

same might apply to insane as welll

Could be done. Initially these were going at the very start of the sound, but aiming for their peaks could be helpful. Applied.

Sure, don't mind adding some extra strain to this part.

Won't be adding that much column tension with the jacks however, specially the first 3x note anchor. Again I didn't really like stitching two different segments together, and the triple should be the conclusion of the previous segment and the start of the next one rather than a bridge between both.

Representation here is quite wavy yes. The over exaggeration of the vocals here was a conscious choice to bring them up a notch. I'd very much prefer that this stays as it is or use the old version which was a bit less strainy on the one hand.

It's getting tighter leading into the next vocals, and where these are easily pronounced, they get made into the next jack in 00:30:746 (30746|0,30866|0). The burst is as it is to represent the lingering part of the vocals and the impact I want to give to each one via gameplay as they're being pronounced.

Coming back to the last two points of having a clear idea here and wanting to leave them as is. The final climax I wanted it to be a smidge denser climaxed by the Kalimba at 00:31:706. Again the focus here is the exaggeration of the vocals and their "linger-ness" rather than going from intensity alone.

looking at 00:33:266 (33266|1,33306|2,33386|3,33446|2,33506|1) it doesnt help either, especially with the rolly flow it has, it just feels like a delayed stream rather than proposing the emphasis these two separate sounds have

also goes for a lot of the graces in this section, denser sections look and feel more streamy, especially at this low a bpm. they need to stand out more to give that grace-y emphasis youre looking for

A lot of the decisionmaking behind these bursts do not take into account visuals. The idea of keeping everything stream-like while still offering highlights in the different motifs in the synth was a conscious choice in its flow. I didn't like the first iterations where everything was too stop & go and the flow seems to cut every other beat. Hence, the focus for these segments is the strain they produce. Their kinesthetics so to speak.

Hence, consider just removing that double to single, and remove jack at 00:38:666 (38666|3,38786|3,38906|3) - . Try applying only single notes to that dump: https://imgur.com/a/4rkDGUf

I'm fine trying to adapt the pattern to remove the anchor mentioned. However I'd really like keeping the double as it's this segment's base that the dump is working on top of.

Using 00:38:186 (38186|3,38186|2), 00:38:426 (38426|0,38426|1), 00:38:666 (38666|0,38666|3), 00:38:906 (38906|3,38906|2), and 00:39:146 (39146|3,39146|0) as kickstarters for each time the vocals are played in a periodic fashion. Removing the double would make that part more flimsy to play.

Modified the arrangement at 00:38:666 to remove the hammer made in between.

00:54:506 (54506|2,54506|0,54566|3,54626|0,54686|1) - helps blend this in too cus youre focussing on the vocal emphasis here, allows for consistency of representation

Not really a fan on bringing the vocals here again. I did want to make these segments feel unique considering the break is unique to begin with. Though in a vacuum the vocal idea is not bad at all and while tinkering with the set it seemed to work well! I just ended up preferring the contrast this offers.

Yep, just like 01:08:066 (68066|0,68079|3) I wanted to give that extra detail to the "Oh" sample. Though in practice it just behaves like a double, it looks and plays in a more fancy way.

(Can become a double if that's too much of an issue, I don't mind)

Don't think I get this one.

• Do you mean changing the notes in Col. 3 with the ones in Col. 4?
• The idea here was to have this half beat 01:06:026 - 01:06:266 less straining as only the vocals are heard up until 01:06:266. Wasn't searching emphasis so much so as contrast between segments.
• Guessing you mean giving some more emphasis to 01:05:306 because of the "Hey" sample behind it?

Pretty much, that was the ideal of it. :3

I'm fine keeping it as it is right now. The emphasis here wasn't so much cumulative, but I just wanted to focus on the main vocals rather than accumulate extra samples in the background. Hence, that's why the trill-jacks are going to the "Fire" samples.

I get ya but I really wanted to use repetition in these segments as they consolidated the ideas. They are already exaggerating the vocals by quite a stretch, so slight variances to that structure might make it more confusing to come by. From the playtests I've gathered, the repetitions were a highlight of the segment so I'd like to maintain that idea.

I believe making the second grace a bit weaker might help yep. Can do.

Opted with a 1/8 approach, but still jacking it with the previous note to not lose as much strain.

I sure can. Originally these were for the snares, but given how in contrast to the other snares, these are not accompanied by anything, I believe it's going to be fine delayering them for contrast's sake.

Can do.

Done so except on 01:59:606 and its mirror'd segment as I'd want to emphasize on the sounds stacking on each other.

again applies wherever represented like this
just make warbles start consistently pls

02:05:786 - oh but not in this section, i think it works more favourably here given the distinct lack of intensity in the music

I could give the intro of those parts a bit more meat to their bones, but I won't go too overboard with it.

A couple extra 1/8ths should give that extra bit of power at the start while maintaining the structure.

Nope, just a small big woopsie

yeah and I suck at both 🔥

Yeah that's fair, I'll try experimenting with this and see how it fares.

For the second timestamp though I really wanted something way more simple both to hit and to see given the echo'ing and softening of everything outside of the growls, basically as if I were only want to represent said growls and the veeeery faint vocals surrounding them.

The part's weird to understand but here it made sense. I wouldn't want that 1/8 in particular to be changed as it is following the same as 02:48:746 (168746|3,168776|2,168806|1,168826|0).

Basically the overall idea to follow here is:

• Faster snap, more noticeable synth/growl
• Jacks = vocal emphasis
• Column 1 starting from 02:48:026 is mostly to repeat the "wop" vocal samples going on.

I'd be more concerned if something plays "poorly" than emphasis, so lmk if that is the case in any of these parts with the ideas being followed!

That's ok then :3