stuff about the intro:
you could get rid of 00:03:275 (9) - 00:05:675 (18) - , this way you'll be able to map the prominent piano at 00:03:875 - while still have 3/2 breaks.
00:05:975 (19,20,21,22) - this can also follow the piano, I don't really understand what it's trying to follow now but the piano quad sound is so evident that it's a shame you're not mapping it. you can do kkkd and leave 00:06:575 (22) - empty for a more interesting rhythm
00:09:575 (35,36,37,38) - this doesn't work honestly, breaks the structure you built and the vocals aren't a reliable layer to map, I recommend sticking to the instrumental and most importantly, stick to a consistent structure.
starting from 00:08:975 - you could do something like k dk kd ddk d, with doublets just like on the first half of the section
00:11:375 - starting from here, more layers get added so it makes sense to have a variation in rhythms, but I think you should still keep a proper structure unless the song screams for it. for example, 00:12:125 - should still be mapped like on the first half instead of 00:13:025 (47) - . (same 00:14:525 - )
this is the only part I'll talk about for oni, since the rest is too dense for me. I however noticed that you really struggle with giving proper emphasis to the rhythms of the instrumental, some sections are just too overmapped even for 1/4 only (00:37:250 (11,12,13,14,15,16,17,18) - this is clearly 1/2 yet you map the notes in between taking away all the emphasis, to give an example).
You should absolutely give more attention to the actual rhythms, because this song has interesting ones.
metadata, mp3 and tags taken from this set https://osu.ppy.sh/beatmapsets/816289#taiko/1711871
two things I noticed from playing the map once:
00:59:707 (162) - 01:02:303 (28) - kinda unreasonable to pretend from players to be able to hit the notes immediately after these sliders, I recommend making them shorter or removing them. because they ruin the playability of the section.
02:10:160 - this pattern is so hard and so sudden, it's the only instance in the map where you use an offhand like this, so I recommend reworking the colours for playability, as it's a flow killer in my opinion. you can keep the offhands, just don't make the pattern end with kkkkddddkk when nothing else in the map is close to that!
playability and pattern f low at this bpm is really important, and pitch accuracy shouldn't be prioritised over that.
hello! quick timing check:
needs +23 imo, since it's really offtimed now.
here's how my offset look with the red line starting at 1058, being consistent for the whole map : https://osu.ppy.sh/ss/19227244/3159
00:40:389 (62) - delete, this way you'll represent this main melody bit in a simplified but really nice way (on lower diffs, it's often enough to just map the first note of a melody).
Same goes for futsuu.
00:30:314 (48) - 00:33:538 (52) - 00:36:762 (57) - delete to follow the main melody properly with a simple rhythm that works well for a kantan.
00:32:732 (50) - make this a d if you want, for the kkd/kdd alternation structure I suggested on every instance like this.
The first section follows the main melody in a questionable way.
You clearly have the chance to use 1/2 in spots like 00:05:328 - 00:08:552 - 00:11:776 - (where you do it) 00:14:194 -
Instead of having the same kdkdk, you can have a clean structure where you follow the main melody with 2/1 and when it gets more complex you use 1/1.
You can do:
k k kdd
k k kkd
this is for the first three repetitions. This way you'll create a structure similar to my suggestions on the other diffs, and for the final one you can do:
k k ddk
This way you'll reflect the change of the main melody nicely.
00:03:302 - add a red line on every diff and mark the "Omit first Barline" box you'll see in the Style panel. This way you won't get a double barline which is unrankable.
Unlike standard, we need to add these kind of things in order to make the map visually work when there are timing resets, because unlike them we see every barline @_@
00:32:128 (86,87,88,89,90) - consider changing the colours to your liking in order to have some variations and make the section more engaging, just like my other suggestions.
00:16:410 (50) -00:22:455 (64) - delete to only follow the main melody properly
00:23:866 (68) - delete for consistency with 00:19:030 -
If you want, you can make 00:24:067 (69,70) - the first, the second or both notes k, to give some sense of variations since there are already some colour differences between the first and second repetition.
00:06:537 (19,20,21,22,23,24,25,26,27) - these can be changed to kkd kkd kkd, just like my suggestion on the muzu about coloring (2201173#4445914).
In addition, you can have 00:05:529 - 00:08:753 - mapped to be consistent with 00:11:977 (38) - , which imo works nicely as a variation to make the patterns more engaging.
For consistency, you can delete 00:12:582 (40) - since it's never mapped, and 00:12:985 (41,42,43,44,45,46,47,48) - make these kdd kdddk, just like 00:04:119 - (if you add the note)
You didn't copy metadata well, as you forgot to copy the non romanised artist and title field.
Should be
Artist: 近藤浩治
Romanised Artist: Koji Kondo
Title: タイトルＢＧＭ
Romanised Title: Title BGM
In case you're curious about the source of everything:
http://www.a-suma.com/goods/music/cd/smw.htm Title
https://www.youtube.com/watch?v=gNcIAC30mWI&t=52s Artist
I'll explain why everything is like this:
Basically, whenever a person with a name that is writted with characters that aren't from our alphabet, you need to include both the romanisation and their original name, in this case "近藤浩治". For the romanised artist field it's a bit more complicated, as due to the general rules of romanisation we usually put the surname before the name, but in this case we got an official romanisation INSIDE the game (the credits of the game say "Koji Kondo") and that's why this is a special case.
For the title of videogame songs, the official soundtrack is a great way to check the official name, both in english and in their original language!
I hope you can learn something from this :)
00:03:302 - this section is literally the same as the oni, I recommend using triplets and 1/1 (so for example, instead of doing k d d d k d d d k, you can go k d d k d d k d d kkk, and on the second repetition you can have something different such as k k d k k d k k d kkk, creating a nice sense of variety in your map. The same goes for the oni (the coloring, the density is fine in that diff)
00:30:717 (148,149,150,151,152) - 00:33:941 (162,163,164,165,166) -
an important sound falls on the second to last note of the bit, and the note before is not as important. I recommend mapping it as kkkd kk instead.
00:31:254 (150) - delete
00:30:851 - 00:30:986 - add
00:34:478 (164) - delete
00:34:076 - 00:34:210 - add
This is basically the same thing as the Oni but with a few less notes, however the hard parts weren't nerfed (there are still 1/6, 1/3 and long chain of notes on calm parts).
I basically cannot tell any difference.
If you want to make a proper muzukashii, you can still have similar to the oni (after my suggestions) but with some important changes that will make it an actually middle diff.
Get rid of the snapping changes, for this you'll only need 1/2 and some sporadic 1/4. whenever there's the sound I told you to map as 1/4 in this mod 00:02:093 (10) - , only map the first note and leave a break, this way it will be easier than the oni and represent these sounds in a different way.
If it wasn't clear, the changes I suggested for oni (all of the simplification and ocloring) goes for this difficulty too.
In addition, since I haven't mentioned it, delete 00:02:093 (10) - to follow the first point accurately
this is subjective but I think kdddkdddk would be nice, just like 2201173#4445876, to create a sense of consistency and give pattern familiarity to the player.
00:03:313 (17,18,19,20) - this section is too dense. I recommend only following the main melody to give proper emphasys to how calm it actually is.
00:16:410 (79) - 00:16:813 (81) - 00:17:216 (82,83) - 00:18:022 (84) - 00:18:425 (86) - 00:19:030 (88) - basically delete these.
you can copy paste it there 00:18:425 (86) -
00:12:985 (67) - make this a k and 00:13:589 (70,71) - ctrl + g (basically invert the two notes) to make the melody consistent with what you're doing on the previous section (00:03:313 (17,18,19,20) - , for example)
You can remove 00:05:932 (31) - (there's no main melody sound here because the sound before is held.) or 00:06:335 (33) -(it's before a repetition, the start of the loop once again, would be a nice way to separate each repetition.)
You need to do this because you'll need some breaks for your diff, it's currently too tiring for oni players.
00:09:156 - or 00:09:559 (50) - same, as long as you delete the same one for both repetitions.
On the second repetition you could apply some colour variations, to make it less stale as it can get boring quickly, just like my suggestion at 2201173#4445914
Just like my mod on the inner oni (2201173#4445835) I'll explain my concerns on this diff and the various snappings you decided to use.
00:01:690 (9,10,11,12,13) - this doesn't really follow anything, the sound is not 1/6 so I don't get why you're trying to simplify into 1/3 when it clearly doesn't sound like that. In addition, you went for a 5 notes pattern which creates a really weird gap. Just keep it empty, add a slider ending at 00:02:294 - or (my favourite) map it as 1/4, because it's actually 1/8 so it's a simplification that makes a lot of sense.
00:19:433 (93,94,95,96,97,98,99,100,101,102,103,104,105,106,107,108) - same thing here. not only it's inconsistent with the previous instance of this sound appearing, but it's also inconsistent with the section itself (00:21:045 (109,110,111,112,113) - this is simplified but the rest isn't). You do the same as what I suggested on the first section, and the same goes for the section later at 00:25:881 - (end the final 1/4 here 00:28:299 - as it starts to fade out, it's the most logical place for it to end).
00:29:105 (143,144,145,146) - this suffers from the same problem of the first section: it's not 1/6, simplifying to that makes no sense.
I recommend following the main melody with 1/2, because it's present unlike the previous sections, and you already have 1/3 here 00:30:717 (150,151,152,153,154,155,156) - that will get more emphasis this way.
The whole idea behind the 1/6 mono usage is flawed in my opinion and doesn't work well in the context of the map for a few important reasons.
The song is really quiet and calm, having diffspikes this dense ruins the flow in my opinion and makes what's supposed to be a chill and simple diff for less experienced players that are getting into inner onis, a really weird (and maybe unnecessary) experience.
It doesn't follow the sound properly.
While not using the exact snapping for simplification is totally fine, it's weird how there are color changes on the longer bursts such as 00:01:690 (9,10,11,12,13,14,15,16,17,18) - 00:26:284 (148,149,150,151,152,153,154,155,156,157,158,159,160) - while the sound remains the same. There's no way these colors are justified, and sometimes they're mapped to nothing or stop too early (00:26:284 (148,149,150,151) - here it's easily noticeable, you'll also notice that this is not 1/6)
I don't think you should include an inner oni for a song like this, because it doesn't add anything to the oni other that longer bursts that in my opinion you should remove anyway. Not every song needs a really hard top diff, and this is the perfect example.
I'll explain my concerns about oni in another mod, but if you want a tldr about this: delete this difficulty as it doesn't add much to the set, and I would argue it would be better without it.
I recommend using shorter 1/2 chains for this difficulty, as the song is really tame and calm. try to only map sounds where there are strong piano notes.
00:04:686 (20) - 00:07:803 (35) - 00:10:920 (50) - 00:17:154 (17) - 00:20:270 (32) - 00:23:387 (47) -
by deleting these notes you'll also give more emphasis to the main melody, which works really well, and you can work around it more to make engaging 1/2 chains of your liking, since this is just an example.
For the triplets usage, it's a more complex topic. Due to how simple the song is, it's hard to find a place where to put triplets. I recommend using the bass/trumpet sounds as a way to decide where to put your triplets, such as 00:13:842 - or 00:10:335 - .
I hope this helps, not much else to say as the structure is cleaner on this one!
consider deleting 00:26:309 (91,92,93) - for a cleaner structure, as it's the only inconsistency between the first and second half. I understand the idea behind it but in my opinion it's better to keep it consistent.
I think that, since you're skipping some of the high pitch piano sounds, you should only focus on the main melody, just like at 00:12:673 (44,45,46,47,48) - , this way it will be easier to follow for beginner players.
I recommend moving these notes 1/1 later to follow the melody accordingly.
00:03:517 (12) - 00:06:634 (23) - 00:10:920 (38) - 00:15:985 (54) - 00:19:102 (65) - 00:22:219 (76) - move 1/1 later
00:04:686 (16) - 00:09:751 (34) - 00:17:154 (58) - 00:23:388 (80) - move 1/1 earlier
00:27:283 (1) - consider starting the spinner there, since it's the start of a new measure and also the start of the fading outro.
I think you can do a lot more with this kantan!
Let's break it down, I'll explain everything that I think can be reworked and improved, while also teaching you some techniques to map low diff.
Starting from the obvious, you need to give particular importance to what sounds you decide to follow.
I noticed your map has many inconsistencies withing its structure, for example 00:01:959 - is skipped in favour of mapping 00:01:569 (2) - , but when the section loops you skip the second note instead of the first 00:14:816 - . after that, in the first repetition you map a kdddk (00:03:517 (5,6,7,8,9) - ), which then becomes a kdd k since you're mapping a triplet connected to the k (00:15:985 (26,27,28,29) - ). This is traight up inconsistent, and doesn't work very well, as it really feels like it was mapped by two different people.
Put a bookmark on 00:14:426 - , then use this as a reference, so you can have the same structure on both repetitions.
keep in mind that everything from now on is 1/1, so if i say ddd I mean 1/1 ddd
I'll give a few ideas to make the section more engaging and follow the song better:
After that you should have two repetitions with same structure but different colours combinations, which you can copy paste in the second half, as that's also the same. You'll create a ABAB structure (basically, the first and third repetitions are the same, just like the second and the fourth, which works very nice for simple and repetitive songs.
That's it for kantan, I hope this helps!
Metadata is incorrect.
You forgot to fill the non romanised artist field.
Should be: 一之瀬 剛, 佐藤仁美
You also have an error in your romanised artist field!
Should be: Ichinose Go, Hitomi Sato
Due to the standardisation of romanised japanese names, the surname goes before the name, that's why you'll need to have "Hitomi Sato" and not "Sato Hitomi".
Title is incorrect, because you only put the romanised one.
It's: Wi-Fi通信
Nintendo Wi-Fi Connection is the romanised title.
Source: the official Pokémon Diamond and Pearl Soundtrack. (In case you want to check yourself, here's the soundtrack uploaded by the official Japanese Pokémon Youtube channel https://www.youtube.com/watch?v=0wF7P_UcETw, and of course a confirmation that the english title is correct with the english upload! https://www.youtube.com/watch?v=XDg0T0hsJkc)
suggestion regarding streams:
04:25:590 (118,119,120,121,122,123,124,125,126,127) - this specific bit works wonderfully, but only appears once in the entire streams section. I think you should find a good compromise, because the patterns are really repetitive, which isn't a problem per se but during the whole section they get boring quickly. Try to connect the more repetitive patterns with engaging handswitches such as 04:25:590 (118,119,120,121,122,123,124,125,126,127) - .
Otherwise, make the timestamped notes "easier" for consistency with the rest of the stream, but I don't recommend it.
05:28:216 (285) - delete, separating the very last section from the last makes it stand out more. I think it plays very well without the note.
04:18:916 (105,106,107,108) - you do not have to map every sound. I think it's important to exclude some so you can make the finishers stand out more. delete
I also recommend to finish the stream here 04:18:691 - , where the last kick is.