NO KUDOSU
The new Insane seems quite better.
For now I still have some concerns:
00:08:022 (1,2,3,4,5,6,1,2,3,4,5,6,1,2,3,4,5,6,1,2,3) - 00:15:757 (1,2,3,4,5,1,2,3,4,5) - Compare these two sections of which the rhythms are almost identical, spacings between notes are yet enormously differentiated. Thus it, as far as I am concerned, requires to be unified.
00:19:975 (3) - This should be a single circle instead. While the cymbal on 00:19:741 (2) - is elongated and extended, that on 00:19:975 (3) - is just ephemeral.
00:24:428 (7,8,9) - It might not be of the greatest judiciousness to stack 8 and 9 on the tail of 7 for it will enhance the degree on repetition which is already maintained at almost the maximum tolerable extent, out of the frequent stacks of other notes.
00:28:178 (7,8,9) - ^
00:30:522 (1,2,3,4,5,1,2,3,4,5,1,2,3,4,5,1,2,3,4,5,1,2,3,4,5) - In failing to comprehend the potential extortionate gap that could emerged from intense rhythms exemplified by streams, this imbalanced pattern was fabricated here. Although the consecutive 1/4 rhythms here are perfectly upheld by the music, it is nonetheless crucial to take the difficulty level as well as spread into account to pursue a balanced stemmed from the tradeoff in between.
00:35:913 (1) - It is noticeable that this stack is incongruously thwarting players from properly reading this pattern. This issue is even augmented by the 1/2 rhythm gap under such a low BPM.
00:43:647 (1,2,3,4) - Referring to the frequently quoted guideline of mapping that the intensity of music could be delineated by and reflected on the spacing of corresponding notes, it is more advisable to aggrandize the spacings for the 4 notes here. Also it could eliminate the discomfort provoked by the startling huge gap between 00:43:647 (1,2,3,4) - and 00:47:397 (1,2,3,4,1,2,3,4) - .
00:54:897 (1,2) - When dealing with Kiai sections, mappers need to be more wary of pattern organization, especially the spacing arrangement. Compared to the relatively spread spacings from other patterns in Kiai, this more convergent placement is restlessly and dissatisfactorily discordant.