Hi!
[General]
Most things look fine!
You do realize this is not Approvalable without mp3 editing? :thinking
[Satanic Oni]
00:04:923 (50,51,52,53,54,55,56) - How come this is an offbeat oriented pattern whereas a variation on it at 00:10:084 - is a very onbeat pattern. I suggest you change either both to a pattern with onbeat nature or one with offbeat nature (with minor variations allowed ofcourse) but not go as far as changing it so that it plays (and flows) much differently when the song sounds the same, such as the state i see it right now.
00:20:891 (224) - Might wanna change this to a D in similar vein to 00:15:729 (174) - which has a similar pitch and also makes a nice effect that the Finishers alternate in colors depending whether they occur at 1/4 of the section or at 1/2, idk it pleases my OCD a bit c:
00:20:084 (215,216,217,218,219,220,221,222,223) - I think this pattern could be placed better to create a bit more contrast between whats a filler rhythm and what is mapped to the Violin. The part listening to the violin at 00:20:407 (219,220,221,222,223) - is currently linked to what seems to be a pattern for a filler rhythm at. A possibility to make them distinct from one another would be to 00:20:326 - delete this note just so it gives a 1/2 break instead of being a continious stream mapped to 2 focuses.
00:21:052 - This stream.
Its quite different how you placed the kats here compared to the streams in the beginning. I would much more prefer if it was consistent as they are mapped by the same principles, to the same instruments.
For example you could 1:1 correspond the stream portion starting from 00:21:213 - to the stream portion at the end right 00:10:891 - here.
That part has no offbeats in the 2nd stream i linked and i wouldnt know why there would be one. This is imo a bit too much of a variation as a kdkkd mid-1/4 (Seen in kiai stream) plays and flows very differently to a kdkkdkd mid-1/4 (Seen in this stream).
So they dont lose too much correlation too eachother i suggest you color 00:21:778 (234) - a don to keep the onbeat nature intact and let the variation from kkkkd to kdkkd stay for now.
01:13:955 (657,658,659,660,661,662,663) - Another quite nitpicky thing but:
So far in this kiai 7-lets have been used for a little heavier emphasis on the vocals when they shift into 3/4 rhythm.
Seeing this 7-let in a place in the music that should nothing more than a simple filler rhythm seems a bit overdone to me. Please somehow split it up so that 7lets are reserved for the special vocals every so often, and not for this more or less random filler rhythm.
01:26:858 (775) - having this stay as a k even though there is no guitar sound behind it sounds very strange, when you have been quite strictly only placing kats on guitars so far. consider making this don. If its mapped to the finishers aftersound i believe thats a bit overemphasized.
00:39:116 (362) - Same applies to this
00:44:278 (407) - ^
00:37:665 (350) - Similar to above i almost missed it. This extra kat seems to come out of random. I suggest to map this as a pattern that fits the guitar like the rest of the map.
01:39:278 (880,881,882) - This sounds also a bit too strong on the kat side, id associate a kkk with solid snares and not for emphasizing the hihats, could you tone it down a bit such as a kkd or kdd to make it a bit more appropiate AND to build some pattern contrast to 01:39:762 - and 01:40:245 - which are solid snare streams.
01:56:052 (1010,1011,1012,1013,1014,1015,1016) - This is also a bit nitpicky but hey. It feels much better to erase 01:56:455 - and make the filler rhythm 5let 1let 1let ; 5 1 1 ; 5 1 1 with changing patters throughout.
02:07:423 - same goes for this note. It feels great to see the ddddk ramp to a kdddk and then to a kkddk. The extra dk on the last one takes away some of that ramping up effect honestly because it breaks the pattern. Also by applying these suggestions for 7lets makes the 7lets exclusive
02:42:987 - Odd. This seems like it needs dedicated timing as the notes after 02:43:391 - are noticeably off. You might wanna ask someone who knows their way. I suppose this applies to the standard diff (Where this wasnt mapped at all) too.
02:59:762 - This stream starts off with emphasis on every white tick, but soon after just changes its emphasis when the guitar still swings up in pitch every white tick. It sounds odd and i think you should make it adhere closer to what the guitar gives you, even if it means giving up some of the more complex patterns.
03:38:310 (568,569,570,571,572,573,574,575) - why do these 2 triplets and the notes between emphasize the guitar with a don? It could be more like 03:37:826 (564,565,566,567) - using the kats to emphasize the guitar that is still playing very prominently here.
03:44:842 - again remov for reasons that might have become obvious now (See 01:56:052 -)
03:55:165 - ^
03:56:052 (743,744,745,746) - I believe this is either overmapped or wrongly snapped, i dont know your intention here. But as i see you werent shy of using 1/8 doublets like in the beginning, i advise you to do the same here, it is actually not a 1/6 sound, but an 1/8 doublet and a snare right after it. Might wanna map is as a 1/6 doublet tho for simplicitys sake.
03:56:052 (743,744,745,746) - This goes for the entire stream: It would give the snares a little bit more bang if you would map them as a double kat inside the stream if they stand alone and vocals do not overpower it. It feels kind of boring to play just this pattern and flows a bit weird not to give most snares more emphasis than for example 04:02:020 - this vocal which is a single kat.
04:31:778 - I suggest you erase this note similar to 04:31:294 - to emphasize the snare impact.
Good luck with this map!