Thanks for modding!Nardoxyribonucleic wrote:
Hi, here comes a taiko mod as requested.
[General]
Romanised Artist: Koizumi Hanayo (CV.Kubo Yurika)
> LMAO that '.' and ':' I fixed it on my own.
- [Skylish's Muzukashii]
Please use normal hitsound sampleset to keep it consistent with other difficulties. If you think hitsounds are too loud, just lower the volume.
> HS:N still has an extra emphasis on clap (kat) and Finish (BIG NOTE). This is a very relaxing song (without drum hits from traditional rock drum set), I would say, and HS:N is not suitable since it does not match the style of the music at all. For 99% we use HS:N, but the 1% left (HS:S) should be used properly, like in this scenario.
* - I think you should avoid 1/4 dkd kdk dkk kdd as this is a Muzukashii.
> The low BPM can support such variate triplets. It is not too hard frankly speaking. It can be done with single tapping, considering it as BPM=152 in 1/2. That's definitely okay.You may call me back after that~
- 00:10:456 (4,6) - consider deleting these notes to make the note density comparable to 00:15:982 - ? I do not see any reason to have density difference as the pace is constant in the prelude. > I am following the main melody here, which is a kind of percussion (piano). 00:17:561 - goes sudden deep with an accent on an on-beat, a certain space should be left to emphasize it. 00:10:456 - it is a different case, the BGM (without any space-worthy music) can support a relatively dense pattern development.
- 00:23:087 - 50% volume would be enough for this spinner. > yes, there's a very slight dynamic difference between it and the upcoming vocal. A new 60% is added at 00:27:035 - .
- 00:40:456 (2) - this note could be removed for a 2/1 break. Currently there is no rest moment from 00:22:298 till the end of the map.
- 00:51:509 (9) - same as ^
> I would just take the latter in action since the vocal ends at 00:50:719 - actually, 00:51:509 - is just in the purpose of auxiliary so it can be deleted. For 00:40:456 (2) - , it is a very consistent note along this session, so it is not a wise choice to make a gap here. Under such a low BPM song, a space at 00:51:509 - would enough imo.- 01:10:653 (12) - * k would work well here. > 01:10:456 (11,12,13) - k d k is for variation. In previous similar musical phrases at 01:04:140 (11,12) - / 00:57:824 (11,12) - , they are in k k and k d respectively. At the third order (that's 01:10:456 (11,12,13) - ), I follow a main body of k k. The mid-d is actually reflecting the vocal pitches, although it is shown in an opposite way. 01:10:851 - is fell on a relatively strong beat comparing with 01:10:653 - , that's why I mapped the latter with a d.
- 01:16:377 (12,13) - same as 00:40:456 (2) - > Space is given at 01:15:982 - already, no change. The instrumental part should stand out in the absence of vocal, 01:16:377 (12,13) - has a very clear and strong instrumental solo. It should be shown properly.
- 01:18:943 (5) - * delete and change 01:19:140 (6) - to d ? > 01:17:561 - is a new session with denser instrumental parts and vocal. That triplet fits.
- 01:19:535 (6) - you may delete this note to reduce the difficulty gap with Futsuu. > nope, the vocal stands out.
- 01:20:324 (7,8,9) - maybe try ddk for the increasing pitch of vocal as well as pattern variety ? > 01:20:719 - should be a concrete d as an on-beat with base drum hit. I don't think kdd can show a great emphasis on 01:20:719 - , that's why so many (not really many tho) kkd is used.
- 01:26:443 (6) - same as 01:10:653 (12) -
- 01:28:219 (4) - * d and delete 01:28:416 (5) - ? > I tend to use a high density in long vocal note, to express the intention of excitement (?).
>!< For many suggestions of the cases of 00:40:456 (2) - and 01:10:653 (12) - , they are not changed at all in Kiai due to a more intense musical sense and structure. The certain removal of notes are not appropriate.- 01:35:719 (8,9,10) - same as 00:40:456 (2) -
- 01:37:693 (12) - same as 01:10:653 (12) -
- 01:41:640 (22) - this note could be deleted to accompany the vocal pause. > Density flow should be retained in a high extent, with a space provided at 01:40:061 - already. The accompaniment effect is on 01:54:666 - actually.
- 01:42:627 (25,26) - * swap > For god sake it is very similar to 01:20:719 - . It is also consistent with 01:39:666 - .
- 01:44:206 (30) - same as 01:10:653 (12) -
- 01:47:759 (6) - ^
- 01:48:351 (8,9,10,11) - same as 00:40:456 (2) -
- 01:50:325 (10,11) - same as 01:10:653 (12) - , also for pattern consistency as 01:37:693 - > The consistency and variation strike a very good balance in the original version already.
- 01:54:272 (22) - same as 01:19:535 (6) -
- 01:54:667 (22,23,24,25,26,27,28,29,30) - * k ddd d k k d instead of k kdk kkd k k ? > 01:55:061 - is equal to 01:10:456 -, i.e. kdk. 01:56:246 (33,34,35) - a clear d k k is shown according to the pitch. 01:55:062 (28,29,30,31,32,33) - is a sign of 'upcoming increasing density warning'. *yeah I am not going to adopt here and the suggestion below as well.
- From 01:57:824 to 02:04:140 - you may simplify the pattern like this to suit both vocal and the level of difficulty: (cursor at 02:00:982 - )
> Climax part right here, density is the highest. Your suggestion about the use of dd/kk neglects the usual drum kick on the 2nd or 4th beat. That goes against the common mapping style with reference to previous one. Speaking of level density, it is the only challenging part for Muzukashii level player tbh.- 02:03:153 (10) - * d would work well here. > vocal pitch rises right here, a 'd k d' shape should be displayed.
- 02:07:495 (7) - same as 01:10:653 (12) -
- 02:08:482 (10,11) - same as 01:19:535 (6) - > another loooooong vocal note :^)
- 02:10:259 (14) - same as 02:03:153 (10) - > same, I mean the pitch difference is just the same, from high to low, from k to d.
Skylish's Muzukashii: https://puu.sh/uSgWL/42acb815c4.rar