01:36:091, 02:58:591 - honestly, these SVs which look done by hand instead of with a tool look pretty cool

04:48:091 - Missing green line?

01:52:425, 01:53:425, 01:54:091 - I think instead of the 1/3 improv here, just using regular 1/1 makes it so there is a cool ABA call-and-response structure when the bells come in at 01:55:425.

So my suggestion is to remove the notes at 01:52:536-01:52:647, 01:53:536-01:53:647, 01:54:203-01:54:314.

02:03:925 - Can use a different 5plet from 02:03:425?

00:13:341 - Add a note for the piano, similar to 00:14:675/00:16:008? But maybe add some color variation.

04:12:924 - I think you should skip this note like you did at 04:15:591? More consistent with this section + more contrast with the next section.

00:00:562-00:01:077 - Subjective, but I really don't think this deceleration really fits.

What do you think about doing 00:00:391-00:00:905 - 0.70x->0.75x instead, with the jump to 0.80x at 00:01:076?

00:14:448-00:17:534 - Hmm the acceleration feels kinda arbitrary? Also ending at 1.1x is a bit high for this intensity (I think keeping it under 1.00x make sense). I'd suggest to just keep this part flat.

00:21:305 - This deceleration SV effect makes sense, but the placement doesn't feel aligned quite right.

I'd recommend starting it at 00:21:648, to line up with where the vocals go into the upper register and add that filter effect. So basically, 00:21:648 - would be the "corner" of the SV where the flat and decelerating part meet, and 00:21:991 would be the first note in this effect actually affected by SV.

00:30:562 - Not quite sure what this SV change is representing. I think keeping it flat here makes more sense to me, but lmk if I'm missing something :/

00:35:362, 00:36:734, 00:38:105, etc... - I noticed you're using an acceleration on all the 5plets in this buildup. I think just applying a single SV acceleration to the entire buildup would look simple and way cleaner.

Like what you did at 03:40:505-03:45:648 - this looks good.

00:43:934 - Would be nice if you move this SV drop to 00:43:591, so you also catch the barline.

00:43:762 - I don't think you should skip mapping this considering you have the 3plet at 00:44:105 which is following the bass guitar.

00:42:134 - d here? This blue tick color change plays kinda funky rn.

01:26:105-01:27:134 - For these 3plets, you could use progressive coloring to represent the hi-pass filter getting stronger.

For example: ddk -> dkk -> kkk, or ddd -> dkd -> kdk. Or anything of that sort.

02:44:962 - Maybe can catch this snare with a kat, then remove a note at

02:44:277 - A few suggestions for this pattern:

• 02:44:962 - Maybe can catch this snare with a kat, then remove a note at 02:45:048 to help with playability. Or can just add further color changes instead of the gap.
• 02:45:391 - This note is better supported at 02:45:477 imo.

02:57:648, 02:58:334, 03:03:134, 03:03:819 - Would be cool if you could anchor these clap sounds as kats in your coloring.

03:14:391 - This 1/6 dK plays kinda weird to me. Just doing a single finisher at 03:14:362 seems more intuitive.

03:14:448 - Every other place you had a barline after a finisher, the SV was flat with the finisher (e.g. 03:08:962, 03:11:705, etc.). This is the only place where it jumps up after the finisher.

Although, I'm not sure what you want as the final intended version, but maybe take a look over all these barlines after finishers, figure out how you wanna SV them, and then make them more consistent?

03:27:991 - I think you meant to put this at 03:28:077?

03:46:162 - Missing greenline? The greenlines do actually have more precision than +/-0.01x btw so these actually do something.

03:49:762 - The SV slowdown here looks a bit overly complicated to me. I think you should just continue the acceleration up to 03:50:105, then do a SV drop at 03:50:277. Keeps it consistent with what you did at 00:43:934.

04:32:791 - I think you could map this drum fill, after all you did so at the end of the other kiais.