96neko - Uso no Hibana [Taiko]

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Chromoxx
i honestly don't see what you mean with 00:01:835 - "changing its tone" tbh, it's a drawn out sound that starts at 00:01:835 - , there isn't any particular change in tone at 00:01:995 - and the sound is even drawn out for longer than this, also i don't see how this structure would be in any way superior to actually following the music. Even if you were to argue this way for the higher diffs, it's definitely out of bounds for the lower diffs when you are missing so many actual hits instead.

while i'm not fond of the general overmapped mapping style i agree that it fits the music somehow and flows well, the things i pointed out were simply the outliers where this isn't the case and it's overdone or doesn't flow/match the music optimally, some of this is kinda nitpicky but it still makes a noticable difference when playing.

you're right as to what concerns the volume, being able to change it individually but it would still force people to go out of their way to change things when it could be on point from the getgo instead, the main thing about the volume is the change to a 1/4 beat at the end of the kiais though.

then other main thing is the section at 00:16:197 - being mapped to only vocals, which could work on less dense difficulties but considering the ammount of notes that this diff adds to the song it's very weird and irritating when it doesn't even map the strongest sounds in the music in other parts

some of the other stuff i pointed out is just slight improvements to flow, when it comes to following the vocals/overall pattern arrangement the map is pretty impecable, but i feel like some of it could be arranged to flow better...

just made this post to reflect on Volta's input and do some overall weighting of points made in my previous statement,
either way i'm not looking to drastically change the style of the map, i simply believe that some parts of it could be executed better to make a more coherent package.
Irreversible
Hi there, I believe that it's better to disqualify this map for now in order to allow the discussion to get going.

Please reply to the mods in an acceptable manner and keep the thread civilized.

See you!
Topic Starter
Nardoxyribonucleic

Chromoxx wrote:

hi, i feel like the overall quality of the set could be improved.

[General]
i feel like some of the hitsound volumes are too high/things could be changed to create nice emphasis.
00:00:878 - the start part here is very quiet compared to the rest of the song, yet the hitsound volume is still 70%, i think it could be lowered down to 60% to make it less overpowering, you could then also make 00:02:952 - to 00:03:431 - 70% for a cool emphasis on the drums here and kick it off at 70% from 00:04:548 - again Usually I do not use specifically higher volume unless there are really prominent instrumental sounds, while the drums here is not the case. In addition, the drastic increase in note density at 00:04:548 - is somehow already auditorily highlighted due to the stacking of consecutive 70% hitsounds, inducing an emphasis that stands out against the part from 00:00:878 to 00:04:229 -
00:45:558 - in the oni/inner oni you have a volume change onto a 1/4 note which is somewhat suboptimal, since the last note of the 1/4 pattern/stream is naturally emphasized stronger, which conflicts with the lowering volume setting. I would suggest keeping the end of kiai timing point at 90% volume and lowering it down to 80% at 00:45:718 - instead In fact, the decrease in the intensity of music starts at 00:45:558 - but not 00:45:718 - , this is why I placed 80% at the end of the first kiai.
00:57:048 - similar thing here, additionally i would suggest making the line that would be added at 00:57:207 - 60% instead since it's a lot calmer than the other stuff you used 70% for and then picking it up again with 70% at 01:04:707 - where the drums kick in same as ^
01:17:473 - same thing about the end of kiai line here, keep this at 90% and make the line at 01:17:633 - 70% again ^

[Inner Oni]
Volume
for the style of mapping you chose for this diff the overall hitsound volume is too high, you are mapping an improvised rythm here, which is mapping a lot more than the song gives in many places, some of which is kinda overdone in my opinion (to which i'll get later) but with the current volume settings the map overpowers the song more than compliments it. I would reccomend taking the volumes i suggested in general and lowering them all down by 10%. This song is relatively powerful due to the vocal and the strong instruments, so I think it is not bad to keep 90% in the kiai and the current volume fluctuations.

Missing sounds/not following the music correctly
00:01:995 - there is no sound in the music here, yet you place a note in this spot while ignoring the guitar sound at 00:01:835 - If you listen to this part with greater volume and 25% playback, you will notice that guitar sounds actually occur at 00:01:675 - 00:01:835 - 00:01:995 - 00:02:154 - 00:02:314 - 5 spots. The break at 00:01:835 - is merely for spacing purpose for a better coherent structure at 00:04:388 -
00:02:792 - you could also add a note here to follow the guitar better, if you applied the volume suggestion for general the drums at 00:02:952 - would be emphasized enough through the increase in volume. this isn't really a problem though as it is imo The break here is intentional so as to differentiate drums from the guitar better.
00:16:197 - i understand you have this thing about following vocals only in slow parts, since what we discussed on other maps but it really wouldn't hurt to add the notes at 00:18:750 - 00:21:303 - 00:23:856 - since the sounds here are really strong and you are invoulantarily following the rest of them through your vocal mapping, so it really feels like the hit is missing when playing. (change 00:18:431 - and 00:23:537 - to k for more versatile patterning if you do this) No change for this. This will disobey my intention to leave more breaks in the really calm part like this. You do not need to follow all of the existing sounds to a point that disturbs the mapping logic. Furthermore, the current pattern has a clear purpose to focus on vocal, which is somehow my fundamentals of mapping.
00:21:782 - you could also add a d here, which would work with your vocal mapping since there "n" from "sonna" is on this tick (it's more of an extension of the syllable from before but it's still audible here) and it would also emphasize the drum. Drum is not my prime concern in this session. I do not map extension of vocal syllables that are relatively silent in general. The syllables at 00:21:622 and 00:21:941 - are way more powerful then the "n", thus the gap for further emphasis.
I really feel like you could at least add these 4 hits, since it would still leave very clear emphasis on the vocals from the way you patterned things and wouldn't leave your vocal mapping incompletely emphasizing the percussion and piano sounds.
If you really object to mapping these few sounds there would be some other suggestions i would have for making your vocal mapping focus even less on the other sounds so that it doesn't become as misleading as it is now. It is not misleading at all. Only vocal is focused in this part, which is simple and straightforward.

Rythm/Flow
00:36:622 - i really like the overall rythm you used in this kiai tbh Thanks.
00:41:409 (287,288) - you could ctrl G this for better flow, 00:41:090 (284,286,287) - 3 1/2 ks in a row feels a bit forced to me, My focus is the pitch decrease of vocal across 00:41:250 (286,288) - . I usually map higher-pitched vocals with k and lower-pitched ones with d, thus k d is used here.
additionally you could change 00:42:048 - 00:42:526 - to d and the triplet at 00:42:207 - to k which would also flow better and emphasize the difference in pitch between the vocals at 00:42:207 - and 00:42:846 - better, this would also work a lot better with the result of the last ctrl G suggestion The vocals at 00:42:207 and 00:42:846 - are in fact of the same pitch, that is why I used the same pattern here for consistency.
01:14:042 - this k feels a bit forced since the vocal at 01:13:963 - is pretty drawn out, having at least one d following it would be a lot better to emphasize this, you could just change it to d tbh or change to d and change 01:14:122 - to k if you want more color variety in the pattern At places with intense rhythm like this, I would prefer combining the vocal with the background music. The way music propagates among 01:13:643 (559,560,561) and 01:13:883 (562,563,564) - is quite similar, which is the reason why kdkkdk is used as an accompaniment.

Overmap
00:51:143 - this stream is pretty much over the top, if you remove the notes all you hear are the vocals at 00:51:143 - 00:51:303 - 00:51:463 - 00:51:941 - and drums at 00:51:303 - 00:51:622 - 00:51:941 - , which are 7 sounds in total, 2 of the vocals also landing on drums resulting in only 5 hits where there are actual sounds in the song, none of which are 1/4 over which you mapped a 13 note 1/4 stream. this doesn't only overpower the song, but it also loses emphasis on the strong vocal/drum hits that get lost within the stream and on the actual 1/4 streams in the song like 00:55:931 - which is only 2 notes longer even though it is consistently 1/4 (in fact, it would be exactly as long as this one if you purely mapped the 1/4 in the music and didn't have the note at 00:56:010 - ). I'd suggest deleting the note at 00:51:702 - to cut the stream and changing the patterns around slightly to fix the flow accordingly. What I have mentioned at 01:13:643 - applies to 00:51:303 (373,374,375,376,377,378) - . Apart from this, deleting the note at 00:51:702 - will lose the momentum built up starting from 00:46:835 - due to the loosened connection between the vocal structure between 00:51:143 (371,372,373,374,375,376,377) - and 00:51:782 (379,380,381,382,383) - and the similar length of notes the start of the second kiai offers. The strategy here is also the same as 00:40:771 - that the length of 1/4 increases to emphasize specific vocals.
01:16:197 - again the stream is somewhat overdone imo, although it isn't as bad as the last instance since there is actual 1/4 at the end and the patterns you use in the stream emphasize the sounds throughout it pretty well, this also kinda works as a finale so i wouldn't really object to you wanting to keep this, nontheless i would suggest cutting it at 01:16:755 - and changing the end/start of the last/next section a bit to flow accordingly. Same as ^ for specific vocal emphasis. Also 1/4 notes at this length would result in greater impact for the end of the last kiai.

i kinda feel like the diff is a bit more overdone than just the things i pointed out in general, but that's just my personal opinion and the rest is objectively fine imo, the things i chose to point out regarding this are the points where it becomes objectively overdone imo, so please consider changing this. I would like to restate that this is not overdone, especially for songs with strong rhythmic combinations and powerful vocals.

[Muzukashii]
00:01:995 - same thing with this note again zz same as Inner Oni

[Futsuu]
00:01:995 - again this note lol... there is no sound here! ^

[Kantan]
00:01:995 - again.... how did you delete all the notes where there were sounds and the only one that's left is the one that doesn't have one lmao ^

anyway, that's it for now... if you have any questions or inquiries feel free to ask, i'll be open to get this resolved as soon as possible!

Skylish wrote:

Just pick up some Chromoxx' points for further discussion:

[General]

> 70% is applied when the electro-guitar chord and electro drum set dominate the music, which are actually fairly strong imo. Check 00:00:878 - / 00:16:197 - / 00:57:048 - / 01:17:473 - . 70% would be a compromised one already, and it is fine for me. However, the dynamic rises up at 01:21:941 - and afterwards, due to denser vocal and instrumental parts. A green timing point with vol. >70% is missing, and it is quite noticable. As mentioned above, the denser part is already represented with the drastic increase in note density, so it would be okay to keep 70% at 01:21:941 -

> 00:45:558 - well, this 80% has its meaning in representing the echo strong drum hit at the electro drum set clearly, without the presence of electro guitars. 80%is fine, as one element (the latter) is absent while the overall dynamic retains high. Exactly.

[Inner Oni]

> 00:01:995 - this is a void note, absolutely a void one. The guitar chord falls on 00:01:835 - , which is blank now. The overall structure at 00:01:675 - is different from 00:04:229 - , i.e. the first two bars is different from the 3rd and 4th bar. You should have noticed the unique rhythm here and there. Shifting 00:01:995 - 1/2 backwards to 00:01:835 - , to match the guitar chord is making more sense, I would say. Refer to above.

> 00:06:622 - It can be an optional d if you can hear the differences of pitch of the same pitch of guitar plug at here and 00:09:175 - / 00:11:729 - . The latters have an up-rising glizzando on it so having it be k is not really surprising. Just wonder if there's a better comparison can be formed. Pitch difference among 00:06:303 - a 00:06:463 - b 00:06:622 - c: b>c>a, so it is fine to have k at 00:06:622 -

> 00:15:239 - optional k here to match with 00:13:963 - , the instruments. 00:15:239 - / 00:15:399 - k k for them are fine as the drum kick is not falling on a strong beat while it's a start of a stream, unless you wanna show a GREAT contrast between 00:15:239 - and 00:15:399 - .I think d here would result in a smoother flow due to the fact that the snare at 00:15:399 (98) - could be emphasized.

> 00:16:197 - the vocal-only mapping style right here goes against with the presence of instruments. I am up to Chormoxx' point here, d should be placed at the on-beat of bi-bars at 00:18:750 - / 00:21:303 - . Although, there's another concrete instrument sound at 00:23:856 - , it is fine to omit it as the vocal has been developing an unique rhythm leading to the next section. Appropriate changes should be forseen as well in the map. So leaving 00:23:856 - blank is not a great problem as the emphasis is shifted to the vocals well. Refer to above.

> 00:40:452 - the current mapping style is still concrete and does not go against to any elements in the music:

00:40:452 - / 00:40:771 - kkd beautifully represent the vocal

00:41:090 - kdk k d, another nice pattern which can 1. change boring kkd pattern used along the Kiai section, 2. extra emphasize on uprising vocal at 00:41:250 - 3. having bascially all 2nd or 4th beat mapped with kat.

> 00:41:569 - / 00:42:207 - / 00:42:846 - clear d (_ _) k patterns are shown to symbolise the vocal flow. It is fine too

> 00:51:143 - oh gosh this stream is overdone. 00:51:622 - is a place for artist to respirate (換氣), and 00:51:702 - is a 1/4 rest. 00:51:702 - should be removed as it is a landmark showing the division of parts to parts. 00:51:622 - can be remained as d since the artist is ready to inhale (the pitch goes down here). Refer to above.

> 00:52:260 (384,385) - how about ctrl+G here to follow a better and more variated mapping style from 00:51:782 - to 00:54:175 - ? I know you wanna keep it as same as the section at 00:41:569 - , but what if you can show a better contrast with it, in this more excited section?
Firstly, a bunch of ddddk k makes the map look boring and goes back to 2014 Taiko lol. Secondly, the flow at the 2nd repetition, i.e. 00:52:420 - is slightly higher than the 1st and the 3rd. Having 00:52:420 - mapped with k can show such contrast wisely, align with 00:53:697 - as well. 00:52:260 - changes to d for emphasizing upcoming vocal, same as 00:53:537 - . Well, this would contradict with what you mentioned at 00:41:569 - . Pitch-wise these two sets are still the same, with the one in the second kiai being higher-pitched. So consistency would work better rather than variety in this case.

> 01:13:643 - another overmapped stream. Check the structure of 01:08:537 - , then you can figure out 01:14:042 (564) - stands out from the rhythm. Meanwhile, 01:14:362 - is empty, strange! You can shift 01:14:042 - to 01:14:362 - and change the note to d, to match the density flow much better imo. Refer to above.

> 01:16:197 - I think this stream is fine though, as a strong finish and match the vocal fluent flow in this whole bar.

Those streams are the major issues in Inner Oni, they should be polished before Qua....
Chromoxx
the reasonings seem relatively solid in general, however there are 2 things i would like to focus on once more:

00:01:995 - the reasoning for the note here is fine for oni/inner oni i guess, but if you have to listen on 25% playback rate to hear a sound it definitely shouldn't be mapped above sounds that you can hear very clearly with 100% playback rate in the lower diffs. There are plenty other more intuitive patterning options, considering that even the use of red tick notes is somewhat awkward for kantan players, let alone on a sound that is barely audible.
The starting pattern could definitely be rearranged to play in a more smooth and intuitive way for the lower diffs at least.

then as a second point there is the volume change at the end of the kiai. my argument was not that the change in intensity doesn't occur on that tick, but that it is unintuitive to have a volume change of 10% from one 1/4 note to the other. The way you have it now would be fine in the lower diffs, but having the last note of the kiai still on the same volume as the rest would also give more emphasis on the end of the kiai.
If you wish to keep the volume change at the end of kiai tick though, there would be another option to make it more intuitive and less abrupt, which would be to gradually decrease the volume over the course of the stream, which would naturally flow into the lower volume section.

then there's also the vocal section i'd like to go over again.
you are inadvertantly putting emphasis on the sounds i suggested to map on 00:17:473 - 00:20:026 - 00:22:580 - by having a color change on these ticks, this builds up the expectation for the player that these sounds are to be emphasized, which is then shattered when there is no note at 00:18:750 - 00:21:303 - . Mapping these sounds wouldn't disturb any mapping logic whatsoever, since it wouldn't go against the way you mapped the rest of the section, which not only follows the vocals but also represents the other sounds appropriately. And yes, it comes across pretty weird when you are mapping a lot more than the song provides (although tastefully implemented) for the rest of the map and then mapping less than the song provides in others, it contrasts with the concept the map is based around.

also your argument for 00:21:782 - that you don't map extended syllables is voided by 00:22:739 - where you also mapped the "n"... this point wasn't really that important to me anyway so i don't mind too much about this though.

Either way, i won't say much more about this, i felt there was a need to discuss some of these things to make sure before this gets ranked and the responses given were mostly satisfactory to me. I encourage other people to give this a brief look and drop their opinion on some of the things mentioned so we can get a bit of a broarder picture on this , since i feel like many people would agree with me on some points (mainly the vocal section and maybe the streams mentioned) and some people could help confirm nardo's opinion on this too.

Good luck! :D

edit: 01:13:643 - this pretty much conflicts with the way you mapped the rest of the streams in the kiai with color changes representing a vocal note though and i see no direct indicator in the music that would suggest mapping a k at 01:14:042 -
also your argument about the music propagating similarly doesn't make too much sense, since the sounds of each individual tick compared are different. The background synth is pretty inconclusive and doesn't give any concrete sounds, so the main thing to go by would be drums. you're comparing 01:13:643 - to 01:13:883 - where the first one has a kick, the second one is silent, then 01:13:723 - to 01:13:963 - where the first is silent and the second has a kick, then 01:13:803 - to 01:14:042 - where the first one has a snare and the second one is silent... this just makes no sense whatsoever.
Charlotte

Chromoxx wrote:

hi, i feel like the overall quality of the set could be improved.

[Charlotte's Oni]
no larger issues here imo, just taking the chance to point a few things out while i'm at it:
00:01:995 - like in the inner oni, there isn't any sound here and you're ignoring the guitar at 00:01:835 - . mapping stuff where there is no sound and ignoring an actual sound in a very quiet part like this doesn't really work in any case since these kind of parts aren't a place to improvise because the player doesn't have as much overall support from the rest of the music to keep up with the improvised rythm. 00:01:995 - I can listen to guitar sound
00:06:782 - you're mapping this hit, where there isn't a distinct sound in the music while ignoring the guitar at 00:07:101 - which doesn't really work well imo. It would be better to just follow the music and move this note I tried your suggestion.but,I prefer current pattern.
00:09:335 - 00:11:888 - ^ ^
00:18:750 - 00:21:303 - 00:23:856 - same thing i pointed out in the inner oni here, i'd suggest at least filling in the notes here to make the rythm consistent and keep up with the strongest sounds in the song at least. follow the vocal.so I think no need this notes.
00:36:463 (211,212) - and 00:36:782 (213,214) - are mapped the same rythmically where the second 2 are distinctively different than the first 2, i'd reccomend
00:36:782 (213,214) -to k k or something and changing the following notes accordingly to flow well, since it would emphasize the nature of the vocals better when compared to the notes before, this isn't the place to use a xoxo rythm. fixed.
00:41:569 - this lone note feels very weird, since you don't really use single notes in the middle of a bunch of 1/2 patterns anywhere else and it isn't even a finisher. You are also missing the drum at 00:41:409 - which i would reccomend mapping. If you however wish to keep the single note i would reccomend making it a finisher for further emphasis on the vocal (which i believe you are trying to achieve) and to fill a bit more space and not make it look so empty. I added notes.so looks fine now
00:51:782 - ^ ^
01:16:516 - the 3 ks in a row feel kind of forced here, i understand you're following the very high vocals here but this just becomes kind of awkward to play, so i'd either suggest changing the stream at 01:16:835 - to ddkdkkk (which would also emphasize the drums better). This is more of a suggestion for better flow though, in terms of pitch emphasis what you have here isn't bad, it just flows somewhat awkwardly and could be avoided imo. changed kkddkkk

anyway, that's it for now... if you have any questions or inquiries feel free to ask, i'll be open to get this resolved as soon as possible!
Thank you mod :)

osu file format v14

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Title:Uso no Hibana
TitleUnicode:嘘の火花
Artist:96neko
ArtistUnicode:96猫
Creator:Nardoxyribonucleic
Version:Charlotte's Oni
Source:クズの本懐
Tags:Taiko Kuzu no Honkai Scum's Wish Opening TV Size Charlotte
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256,192,72048,1,8,0:0:0:0:
256,192,72367,1,0,0:0:0:0:
256,192,72526,1,0,0:0:0:0:
256,192,72606,1,0,0:0:0:0:
256,192,72686,1,8,0:0:0:0:
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256,192,73803,1,8,0:0:0:0:
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256,192,73963,1,8,0:0:0:0:
256,192,74122,1,0,0:0:0:0:
256,192,74282,1,8,0:0:0:0:
256,192,74441,1,8,0:0:0:0:
256,192,74521,1,8,0:0:0:0:
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256,192,74760,1,0,0:0:0:0:
256,192,74920,1,8,0:0:0:0:
256,192,75000,1,8,0:0:0:0:
256,192,75080,1,0,0:0:0:0:
256,192,75159,1,0,0:0:0:0:
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256,192,75399,1,8,0:0:0:0:
256,192,75558,1,0,0:0:0:0:
256,192,75718,1,8,0:0:0:0:
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256,192,75878,1,8,0:0:0:0:
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256,192,76197,1,8,0:0:0:0:
256,192,76276,1,8,0:0:0:0:
256,192,76356,1,0,0:0:0:0:
256,192,76436,1,0,0:0:0:0:
256,192,76516,1,8,0:0:0:0:
256,192,76675,1,8,0:0:0:0:
256,192,76835,1,8,0:0:0:0:
256,192,76915,1,8,0:0:0:0:
256,192,76995,1,0,0:0:0:0:
256,192,77074,1,0,0:0:0:0:
256,192,77154,1,8,0:0:0:0:
256,192,77234,1,8,0:0:0:0:
256,192,77314,1,8,0:0:0:0:
256,192,77473,1,0,0:0:0:0:
256,192,77792,1,0,0:0:0:0:
256,192,77952,1,8,0:0:0:0:
256,192,78112,1,8,0:0:0:0:
256,192,78431,1,0,0:0:0:0:
256,192,78590,1,0,0:0:0:0:
256,192,78750,1,0,0:0:0:0:
256,192,78909,1,8,0:0:0:0:
256,192,79069,1,8,0:0:0:0:
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256,192,80984,1,0,0:0:0:0:
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256,192,81303,1,0,0:0:0:0:
256,192,81463,1,8,0:0:0:0:
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256,192,81941,1,0,0:0:0:0:
256,192,82101,1,0,0:0:0:0:
256,192,82260,1,8,0:0:0:0:
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256,192,82580,1,0,0:0:0:0:
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256,192,83378,1,8,0:0:0:0:
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256,192,83537,1,0,0:0:0:0:
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256,192,83856,1,0,0:0:0:0:
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256,192,84814,1,8,0:0:0:0:
256,192,85133,1,0,0:0:0:0:
256,192,85292,1,0,0:0:0:0:
256,192,85372,1,0,0:0:0:0:
256,192,85452,1,8,0:0:0:0:
256,192,85612,1,8,0:0:0:0:
256,192,85771,1,0,0:0:0:0:
256,192,85931,1,8,0:0:0:0:
256,192,86010,1,8,0:0:0:0:
256,192,86090,1,0,0:0:0:0:
256,192,86250,1,8,0:0:0:0:
256,192,86409,1,0,0:0:0:0:
256,192,86569,1,8,0:0:0:0:
256,192,86649,1,8,0:0:0:0:
256,192,86729,1,8,0:0:0:0:
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Topic Starter
Nardoxyribonucleic

Chromoxx wrote:

the reasonings seem relatively solid in general, however there are 2 things i would like to focus on once more:

00:01:995 - the reasoning for the note here is fine for oni/inner oni i guess, but if you have to listen on 25% playback rate to hear a sound it definitely shouldn't be mapped above sounds that you can hear very clearly with 100% playback rate in the lower diffs. There are plenty other more intuitive patterning options, considering that even the use of red tick notes is somewhat awkward for kantan players, let alone on a sound that is barely audible.
The starting pattern could definitely be rearranged to play in a more smooth and intuitive way for the lower diffs at least. 25% playback rate proves that there is actually a sound and the note involved is not a ghost note. I think the patterns in lower difficulties are already intuitive enough, given there are regular break structures which are in fact quite easy to follow. Also red tick notes could be used occasionally in Kantan provided that there exists reasonable instrumental support.

then as a second point there is the volume change at the end of the kiai. my argument was not that the change in intensity doesn't occur on that tick, but that it is unintuitive to have a volume change of 10% from one 1/4 note to the other. The way you have it now would be fine in the lower diffs, but having the last note of the kiai still on the same volume as the rest would also give more emphasis on the end of the kiai.
If you wish to keep the volume change at the end of kiai tick though, there would be another option to make it more intuitive and less abrupt, which would be to gradually decrease the volume over the course of the stream, which would naturally flow into the lower volume section. A gradual decrease of volume towards every end of kiai does not reflect anything about the background music as the music is still intense near the kiai end. I think the change is straightforward enough since the pace change actually takes place at that specific point.

then there's also the vocal section i'd like to go over again.
you are inadvertantly putting emphasis on the sounds i suggested to map on 00:17:473 - 00:20:026 - 00:22:580 - by having a color change on these ticks, this builds up the expectation for the player that these sounds are to be emphasized, which is then shattered when there is no note at 00:18:750 - 00:21:303 - . Mapping these sounds wouldn't disturb any mapping logic whatsoever, since it wouldn't go against the way you mapped the rest of the section, which not only follows the vocals but also represents the other sounds appropriately. And yes, it comes across pretty weird when you are mapping a lot more than the song provides (although tastefully implemented) for the rest of the map and then mapping less than the song provides in others, it contrasts with the concept the map is based around. I would like to clarify that following vocal is my only concern in this part and the colour change is definitely not for the background sounds but the pitch increase of vocal. Therefore in this session, players could expect there is a note when vocal appears, and there is a colour change upon the pitch difference. Nevertheless, I think mappers have their choice to interpret the music by manipulation of note density in a reasonable manner.

also your argument for 00:21:782 - that you don't map extended syllables is voided by 00:22:739 - where you also mapped the "n"... this point wasn't really that important to me anyway so i don't mind too much about this though. The syllable at 00:22:739 - is much more prominent than the one at 00:21:782 - , thus they are mapped differently.

Either way, i won't say much more about this, i felt there was a need to discuss some of these things to make sure before this gets ranked and the responses given were mostly satisfactory to me. I encourage other people to give this a brief look and drop their opinion on some of the things mentioned so we can get a bit of a broarder picture on this , since i feel like many people would agree with me on some points (mainly the vocal section and maybe the streams mentioned) and some people could help confirm nardo's opinion on this too.

Good luck! :D

edit: 01:13:643 - this pretty much conflicts with the way you mapped the rest of the streams in the kiai with color changes representing a vocal note though and i see no direct indicator in the music that would suggest mapping a k at 01:14:042 -
also your argument about the music propagating similarly doesn't make too much sense, since the sounds of each individual tick compared are different. The background synth is pretty inconclusive and doesn't give any concrete sounds, so the main thing to go by would be drums. you're comparing 01:13:643 - to 01:13:883 - where the first one has a kick, the second one is silent, then 01:13:723 - to 01:13:963 - where the first is silent and the second has a kick, then 01:13:803 - to 01:14:042 - where the first one has a snare and the second one is silent... this just makes no sense whatsoever. Whether a spot has a kick/snare or not is not my main mapping rationale here. First of all, vocal appears at 01:13:643 (559,561,563,567) - with high-medium-low-high values in terms of pitch, thus k k d k. Then, 01:14:122 (565,566) - are d to keep it consistent with 01:09:016 (514,515) - . After that, the rest of the patterns are mapped in attempt to accompany the vivid synths, yet inconclusive does not mean you cannot interpret them. Drums are not the only element to be incorporated in Taiko mapping, especially when there are multiple layers existing simultaneously.
Updated Charlotte's Oni.
OzzyOzrock
another one bites the dust

Re-bubbled!
Volta
Re-Qualified
Nifty
Wow, you really couldn't move 00:01:995 (3) - to 00:01:995 (3) - just for the sake of being easy to read?

I don't feel like this is a reason for it to be unranked, but it is kind of upsetting. People playing the Futsuu aren't going to compare it to the Inner fucking Oni, so why does it need to be "consistent?"

The maps should change with their respective difficulties, and I think that this particular note is one of those things. In a basic difficulty like this, things as intricate as to have to listen to it multiple times at high volume at 25% speed just to understand why the note is there should not be mapped. I just had a friend complain to me about this, who is starting out on taiko.

IMO, if the reason isn't apparent the first time you play through the map, it should be changed. You can't play the finished map at 25% speed, so why would you rely on that feature to prove that there is a note there? Don't know about the rest of the notes after; personally, I wouldn't map to the guitar, I'd just stick to mapping the big "bum bum" at the beginning to avoid shit like this.
Topic Starter
Nardoxyribonucleic

Nifty wrote:

Wow, you really couldn't move 00:01:995 (3) - to 00:01:995 (3) - just for the sake of being easy to read?

I don't feel like this is a reason for it to be unranked, but it is kind of upsetting. People playing the Futsuu aren't going to compare it to the Inner fucking Oni, so why does it need to be "consistent?" The said pattern is not a hard and demanding one for Futsuu at all, so there is no reason for not being consistent here.

The maps should change with their respective difficulties, and I think that this particular note is one of those things. In a basic difficulty like this, things as intricate as to have to listen to it multiple times at high volume at 25% speed just to understand why the note is there should not be mapped. I just had a friend complain to me about this, who is starting out on taiko. As mentioned in previous posts, the note is well supported by a background instrument with this observation. A 2/1 gap between 00:01:356 (2,3) - is in fact much better for beginners to adapt common break intervals used in lower difficulties.

IMO, if the reason isn't apparent the first time you play through the map, it should be changed. You can't play the finished map at 25% speed, so why would you rely on that feature to prove that there is a note there? Don't know about the rest of the notes after; personally, I wouldn't map to the guitar, I'd just stick to mapping the big "bum bum" at the beginning to avoid shit like this. I would like to state that mappers have their freedom to choose which instrument(s) to follow in the map, be it a guitar, drum or synth. In terms of note structure, consistency and sound accompaniment, the current pattern should be okay in my opinion. Well, I guess I have no further comment about your argument.
EiiMagician
everywhere i look theres always a taiko mapset, gimme all of them and ill share memes 4 free xoxo
wmfchris
Once upon a time, a BAT complained that his sister couldn't play a normal and unranked the map...

and he was torn into pieces.
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