Thanks for the mod!
frogyfro wrote:Mod from my queue
Please make that dark blue color even lighter. I still can't see it at all when I play the map, and I don't even use 100% dim. tuned it slightly
00:09:894 (4,5,6) - I dislike that 4 5 6 form a wide angle. It encourages players to flow through 5 to 6 which diminishes the suddenness of the snare drum. If you moved 6 up-right of 4 5 or stacked 4 5 I think it would make 6 a lot more striking. While it's not bad suggestion at all, I think it's fine the current way. The whole pattern in the music which is 00:09:353 (1,2,3,4,5,6) - (and repeated) is as a overall arching lower in intensity towards the end, even though the final sound is fairly strong each time. Thus I made the angles smoothen towards the end, only emphasising the snare with spacing. That way it feels more like it brings the phrase to end, while sharp angle would be kinda too aggressive for that, since the intensity is supposed to die for the break between 00:10:434 (6,1) - (so the patterns are like occasional waves crashing to the shore)
00:42:867 (1,2,3,4,1) - I love how this pattern decelerates but it feels weird that 3 4 and 4 1 have the same spacing. Move 1 closer to 4 to bring the deceleration all the way to the downbeat. wouldn't be bad idea either, but the downbeat got more going already again (bass drum beat and whatnot, it's like more intense than the one before it; so in the end I decided to triangle it which looks pretty good visually as well
01:15:299 (1,2,3,4) - You should really do something here to reflect the crescendo in the hi hat. Just increasing spacing on each note would probably work well. The crescendo (only with 01:15:569 (2,3,4) - , the first one is stronger) is kinda minor to reflect with spacing difference here, since adding enough spacing for it to be meaningful with 1/1 would end up larger spacing than necessary for sounds like that so I think it's cleaner this way
01:16:921 (1,2) - This is a completely pedantic suggestion but I don't really like how the stacks in this section feels. Forcing the player to stop moving entirely for 1/1 makes this part feel a lot less intense than I think it should. Forcing the player to (almost) stop is kinda the idea of the pattern, I use plenty of these in this map to emphasise the 1/1 and I think they work pretty well imo
01:19:893 (2) - There's no sound here. You need to do this like you did at 01:56:380 (1) -. Same problem at 01:28:542 (2) - 01:37:191 (2) - 01:41:515 (2) - 01:45:840 (2) - and so on. oh shit Nvm seems fine, it's just that they get kinda like drowned by the cymbal reverberations; it's the same quiet pattern like 01:15:569 (2) - ; and even with the most quiet ones like 01:24:218 (2) - it's not really bad even as a filler rhythm (like the most simple out of them all, 1/1 lul); this is since I want to keep the 01:54:218 (1) - type stuff not only for how the drum pattern slightly shifts for less clear 1/1, but how it at the same time begins giving more highlight to the guitar which is coming to take the center later on
03:26:921 (6,7,1,2) - I think this spacing is a bit much. I get you want to emphasize the guitar at this part, but it makes 03:28:001 (5,6) - weak by comparison which is problematic. Agree (sort of) but to keep the guitar spacing same with the other ones (which I think they are), buffed 03:28:001 (5,6) - little instead; I don't think it needs to be massively changed since unlike 03:27:056 (7,1) - which is one-way trip with "break" in both sides, 03:28:001 (5,6,1) - is subsequently back-and-forth 2 jumps, which makes it "faster" and thus more intense. Same with the later patterning of this stuff (which already has better spacing comparisons than this so needs no changes I think
03:29:353 (1,2,3) - The guitar drops out entirely during 1 and 2 and there's just two weak bass drum hits before the crash + guitar entrance on 3. The way you currently have this arranged gives way too much importance to 1 and 2 and doesn't really reflect the lull in the song imo. I'd just space 1 and 2 down to better contrast them with the drum fill prior and the guitar entrance after. Obviously this doesn't apply to 03:38:002 (1,2) - because of the vocals. I don't think the bass drums are weak though, they are actually about as strong as bass drum can get (wihtout sounding fucked up); they are more intense than for example 03:38:002 (1,2) - (important is that the latter sounds like stream-kinda while former doesn't since it sounds like the hits are emphasised individually. Other than that you point is pretty valid so I tuned them little down and switched some emphasis to the following slider instead (same with earlier 03:20:704 (1,2) - you missed)
04:47:460 (1,2) - I don't really see what's justifiying cutting the SV in half here. The ones later on like 05:04:757 (1,2) - fit the guitar surprisingly well, but these are a much smaller decrease in SV and they're supported by the guitar. This first one is such a sharp decrease it feels extremely unexpected for no good reason. Personally I'd make the SV decrease the same as the one later on, or just rework this pattern entirely and wait for the guitar to enter before throwing in these SV changes. Nah it's good; since the guitars are pretty much drone here, this SV change is pretty much combination of two things: the cymbal sounds (which should already be pretty clear here, I can't be the only one hearing the difference) combined with the influences from the contextual sections. First the cymbal sounds. Kinda tough to put into words, but tldr the first one sounds a lot more intense than the latter, with "active" sound throughout it, while the latter (especially compared to the sound before) is more passive background type sound. This contrast with these cymbals is where I also put the transition between sections/patterns from the not intense but atleast something (especially the drum sounds leading to it 04:47:190 (2,3,1) - ) that is before it to the very calm one that comes after (1/1). To comment on your comparison to guitars, you ain't wrong, though at the same time fine tuning SVs is easier with guitar tones and thus making reasonable emphasises for stuff like cymbal sounds needs more drastic measures, or the change just goes unnoticed.
05:48:001 (1,2,1) - The long sliders and the pause after 2 is causing you to lose a lot of the momentum this solo has built up. I'd use the accompaniment for some filler rhythm and make this part more rhythmically dense so it doesn't feel so underwhelming. The long sliders and pause are pretty much what the song offers though. I woulda actually added some filler rhythms if it could work somehow here, but I think the current one is actually better than forcing some stuff there. I'll just let the solo be what it is, it's not like it's bad if the momentum gets down if the momentum gets down in the music as well.
08:49:618 (7) - Shouldn't this be 2 jumps instead of a slider to accentuate the guitar? You did that later on at 08:53:942 (7,8,1) - . While it is similar, it's not nearly as distinct as 08:53:942 (7,8) - mostly because here pitch change only once (in the red tick) while with 08:53:942 (7,8) - it changes 3 times, with every red tick pretty much. Thus to reduce the already highly demanding tapping I'd prefer to keep it as is (like all the other measures there are too)
09:02:861 (1) - I think there's a lot going on this stream you could emphasize better. At 09:07:185 - when the guitar is mostly just the same note over and over again constant spacing makes a lot of sense, but that isn't the case at 09:02:861 -. There's clear peaks at 09:03:537 (11) - and 09:04:145 (4) - that really aren't getting any attention at all. I understand that you don't want to make this stream any more difficult than it already is, but I think making the stream accelerate into 11 instead of using constant spacing would better accentuate what the guitar is doing here, as well as making the transition into the stream less harsh than it currently is. Not necessary. First of all, it's constant tremolo picking (with constant pitch except the obvious changes); the peaks you hear (that aren't really audible unless you slow down) are just due the human player not being able to do constantly the exact same motion, and the guitar reacting to that with small changes (like more "open" sound at some notes for example). Like I said, these changes are inaudible with playing speed and aren't actually supposed to theoretically exist in the music either so I think going straightforward is better, also making the already challenging section perhaps little more lenient. Your comment about transitioning to the stream section is valid though (the context of its usage here aside) and it's pretty much the only real concern I've gotten from testplays so far (as a first try effect though I guess);
but whether or not I change is up to more feedback or if I'd make up a better alternative for the beginning of the streams