Hello, from my queue.
[Kantan]
00:02:740 (1,2,3,4,5) - Imo the finishers are a bit too much. Yes, there are cymbal crashes in the song but the context of the notes makes them feel off for me. D is always a massive sound and the notes are spaced 8/1. They are very isolated that way and I think d would be better for all of these.
Also consider how you build up tension towards 00:10:523 (4,5,6,7,8,9,10) - : The progression would be more smooth if the first 5 notes weren't finishers.
I would propose to map the start of the map like this:
No finishers at all. The buildup happens through the increasing density of notes and the k on 00:12:794 (9) - contrasts 00:13:118 (10) - so that it feels stronger even though it is not a finisher.
The kat is really optional but I think it plays nice because the melody has a peak on that note.
00:14:415 (11,12,13) - I'm not convinced by this. There is this strong pattern on 00:15:064 - 00:15:388 - 00:15:713 - that you pick up at 00:17:658 (15,16,17,22,23,24) - . I think it is a very good idea to vary this pattern with an easier variation. Mapping only dons is consistent with how you map these but I think that it plays very flat.
The problem for me is that the middle sound is not mapped. That way the dons feel like they are just there to keep the 2/1 going. Not mapping the sound in the middle screams "these 2 dons have nothing to do with each other".
There are multiple choices to improve this pattern in my opinion.
The first would be considering the melody:
The pitch is always high on the first sound of the pattern and goes down to the lowest on the last note. This could be reflected by changing the first note to kat. To reflect this idea on the other pattern you would have to make that note a kat as well.
The other option I can imagine is sort of ignoring the first note and only map the second and third like this:
The difference to what you have right now is the following: Now there is no loud sound inbetween the two notes so they can be perceived as a unit. As the pitch is always going down to the last note, that is the most important one.
As you can see I also left away 00:23:496 - and broke up the previously used pattern instead to emphasize having no note on it as it is also left out by the song more or less.
00:35:172 (40,41,42,43,44,45,46,47,48,49,50,51,52,53,54,55,56,57,58) - Personally I don't like this part because it is not really following the phrasing of the song but rather inventing its own line of rhythm when there were other choices available but I guess you can do it like this.
If you want to keep it as you have it I would still highly recommend to delete 00:39:713 (47) - and change 00:40:037 (48) - to d. That way your pattern gains rhythmic consistency because it does not oddly reset the patterns of 2 with the 3 note pattern there and you also get a clear repititon of the pattern that was not obvious before.
00:47:821 (57,58) - You probably had the best intentions with the SV change here but I think the gap to the previous notes is big enough that the SV-difference between these 2 notes is rather confusing than helping. Either move the inherited section to the first note or give it an own section with 0,9 to smooth it out.
01:32:253 (9,10,11,12,13,14,15,16,17,18,19,20,21) - This is really unintuitive to play for a Kantan. The polarity switches between white and red ticks all the time. You should try to simplify the pattern by following the melody more losely than you do now.
01:51:713 (2,3,4,5,6,7,8,9,10,11,12,13,14) - Is there a reason why you map this Kiai so different from the first one? I think the patterns used here work out fine, I'm just curious.
Stopping here for now because I have to go to bed now. It got a bit late I guess.
I will mod the Futsuu/Muzu on Thursday as I'm not at home tomorrow.