Official Tournament 13 Batch Notes

[psychoangel691]

Re: Official Tournament 13 Batch Notes

Judge:TC_Halogen

Armageddon (AutotelicBrown) [7/10]
Artist: LeaF -- Perms: OK

- 10.060: rhythm technically speeds up a bit but not a big deal at full speed anyway
- 14.918: the siren sample technically has two very distinct pitches on the first hit here (it’s technically three, but you hear the start/stop of the pitch very clearly at 100% rate)
- 49.299/etc: not necessarily a 12th but this gap in general feels a bit out of place given that you can very clearly hear a sound (it’s a more clearer sound than the 12ths at 49.965, 50.251)
- 52.346: this last note can have a nice colored accent to it to separate it out from the other four kicks that are at their normal sound
- 52.632 to 57.203: something something noticeable amounts of direct copy-paste etc
- 54.489: given that you accent the bass at 53.840, it feels like there should at a minimum be a 16th here, but perhaps a bit more than that?
- 1:06.346: this being a double in a section that has a respectable amount of triples stands out like a sore thumb
- 1:25.299: missing note
- 1:47.489: another direct copy paste; also, pitch relevance between the 8ths can be improved in both instances (they’re reasonably accurate but can do better)
- ending also has a substantial lot of copy/pasting as well, which I find to be somewhat egregious given that white notes don’t have proper pitch relevance for any reason and the layering fixates heavily on percussive elements (mostly kicks)
- chart’s fine, but it doesn’t need to be this redundant, especially for atonal accenting

Electric Hex (DarkZtar) [6/10]
Artist: The Quick Black Fox -- Perms: OK (alias)

- 3.843/8.207/etc: given the rest of your structure, these jumps likely should be singles - it’s consistently applied though, so no big deal in general
- 23.548: remove jump
- 27.911: remove jump
- ^, many more instances, find them
- 41.241/etc: missing 32nds
- 42.707: burst opens up with kicks up to the 8th note, then has a bit of a gap, so your pattern should be 5 notes -> 3 notes, instead of the 3 notes -> 5 notes you’ve got here
- 43.491: remove
- 43.525: what you’ve got here is not quite right; this would be another instance of 5 notes -> 3 notes
- 45.059: missing 32nds
- in general, this section has misrhythms, missing notes, or improvable interpretations of where the bursts should be
- 47.889: missing jump
- i’m not sure about these 440 streams/very light broken JS…
- technically, this chart isn’t acceptable purely on submission itself as a result of the batch/submission rules: >>> • An incomplete submission will be automatically rejected. This means that the file has large portions of empty space either at the beginning, ending, or in between the file. If there are noticeably long empty spots when the song is running with noticeable elements for no justifiable reason, it will be classified as an incomplete submission.

Fotværk (hi19hi19) [8/10]
Artist: Hedener & Raveman -- Perms: OK (label)

- 3.053/8.570: remove jump
- 22.061: missing note for hi-hat
- 55.251 to 1:06.285: while not copy/paste, the patterning bears very strong resemblance to the earlier section like this and maintains the same notes for some of the bursts -- might be worthwhile to modify patterns slightly since the structure gives you room to play being that you’re only worrying about a running hi-hat
- song is very short, but feels quite a bit longer because it’s redundant
- in all technicality, just by the slimmest of margins, too short for OT -- however, it might be passable given how challenging it is to perform (that and it feels a touch longer)
- file’s good

Gamma Stop Giving Me Hard Bags (Ghost_Medley) [6.5/10]
Artist: Kurorak -- Perms: OK

- 7.971: next note is technically not the same, so repeated notes aren’t quite accurate, though the contour of the pattern is sensible given that the highest note does still fall on the R here, so -- thoughts
- 15.471/16.012: surprised this isn’t a jump too? I understand a bit more for the second instance, I suppose
- 17.296: note feels like it should be removed
- 17.498: missing note
- 23.850/24.053: surprised to not see notes here, given 18.715/18.917 -- I know there’s a sidechain here but the sound pumps out pretty hard after ducking out from under the kicks and it feels a little weird to be empty
- 33.647 to 40.134: very nice and subtle pattern difficulty increase by chaining patterns together for more intensity, well-designed
- 40.674: would add a jump here to keep the overall flow moving
- 43.918/etc: if D/U for this, then 44.188/etc should be a different coupling (musically, the first couplet are two different notes but the second couplet are two of the same note)
- 50.269: flipping the U/R to R/U would give you more relevance to the bass here
- 50.674: synth should get an accent of some sort, no?
- 1:05.742: missing note for kick
- 1:06.485: should likely be a note for the hi-hat here
- 1:12.296: missing jump for snare
- 1:16.013: cutoff crash could be worth accenting as a jump (you do it at 1:17.296)
- 1:20.607: missing note
- 1:24.121: ^
- 1:29.661/1:29.797: missing notes for kicks
- 1:31.553/1:31.689: ^
- 1:53.986/1:54.121: some more missing vocal samples here
- 1:55.180 to 2:13.108: jump usage feels inconsistent in this section; all snares appear to be accommodated for but lyrics and kicks both occasionally get missed for reasons that don’t appear to be related to being the only instrument to land at the time
- 2:13.108 to 2:30.406: this second half of the section on the other hand is almost perfect in terms of jump representation; if there’s supposed to be some sort of progression, the structure isn’t clear in the first half
- 2:30.406 to 2:38.919: this building up is cute
- 2:56.835: timing on this is not quite right
- 2:57.764/2:58.467/2:59.112: missing notes for percussion
- 3:05.088/3:05.557/3:06.494/etc: missing note(s) for melody, there are others
- 3:16.455/3:16.924: missing notes for percussion
- 3:28.174: missing note, according to 3:31.866
- 3:29.463: should be a jump, according to the sequence at 3:28.350
- 3:34.971/3:35.088/3:35.440: some more noticeable missing notes for the melody, there are plenty others
- 4:23.663: this assault is actually pretty well done, the anchors fit nicely at 4:27.413
- a LOT of small errors, and I mean a lot. Definitely more than what’s noted here.
- structurally, the file’s close to passable. I’d like to see this cleaned up and given another chance given that the Gamma series of files are iconic and this one stands to likely be the most accessible one (though those words don’t carry a lot of weight, it’s still quite hard).

Raspberry Railgun (bmah) [8.5/10]
Artist: OSTER project -- Perms: OK

- 30.655: missing 32nd note for piano
- 31.870: piano plays 24ths here, so this should make a small polyrhythmic structure for the most accuracy
- 47.293: kicks terminate at this 8th note here
- 1:04.828: should be 24ths here if it’s percussion; otherwise, the 32nd at 1:04.881 is a ghost note
- 1:07.786: missing note for hi-hat
- 1:29.863: guitar does a pitch bend here, nice for a quick grace note/flam
- 1:38.736/1:38.948: kicks keep running here and they appear to be an integral part of your structure, so I see them as missing here
- file’s hot, deceivingly difficult I might add
- anyone who comes across this file and can’t handle dense jacks/layering is absolutely dead running into this

[bmah]

Re: Official Tournament 13 Batch Notes

Updated Raspberry Railgun.

[AutotelicBrown]

Re: Official Tournament 13 Batch Notes

Sent updates to Armageddon.

Response to Armageddon notes (including the actual changes made):

- 10.060: rhythm technically speeds up a bit but not a big deal at full speed anyway

Didn't want to call too much attention to it as it's way softer than the actual 16ths right before (not to mention a lot of the noise through this section is simplified already).

- 14.918: the siren sample technically has two very distinct pitches on the first hit here (it’s technically three, but you hear the start/stop of the pitch very clearly at 100% rate)

This is the kind of sample I'd use a freeze to represent but I guess it's better to include the extra note in the absence of freezes (placed the note in the first pitch change which I think is way more noticeable).

- 49.299/etc: not necessarily a 12th but this gap in general feels a bit out of place given that you can very clearly hear a sound (it’s a more clearer sound than the 12ths at 49.965, 50.251)

I believe that's a 16th that ends up late because of the heavy modulation. Anyway, added a note on 49.287 & 58.430 and shifted following 12th by a 192nd to contrast with the other 12ths.

I don't agree with it being clearer than the 12ths at 49.965 and 50.251 (on 1.0x, those are low enough to lose their punch on lower speeds) and for that reason I didn't layer the same sound at ~50.132 & repetition as to accent those 12ths.

- 52.346: this last note can have a nice colored accent to it to separate it out from the other four kicks that are at their normal sound

Similar to 47.775, I think the 4th long rest in itself serves as sufficient accent. Also, I generally lean on not adding arbitrary color stuff on what is locally a notable spike in the chart (same reason for omitting white notes in some parts of the ending).

- 52.632 to 57.203: something something noticeable amounts of direct copy-paste etc

The specific interval you picked to mention this is a bit weird as 53.775-54.918 is unique (as a side note, I repatterned 54.204-54.632 to maintain the the mini ohtrill opposite to the one at 49.632 which was changed due to the other note).

For the repeated pattern at 52.632-53.775 in particular, it's the same as 48.061-49.204 & repetition due to patterning constraints that gives this whole section its characteristic flow. For the other repeating stuff, it sounds exactly the same in the music and the chart is supposed to reflect that. It's way too short to be a playability concern and introducing arbitrary variation goes against the music for no reason.

- 54.489: given that you accent the bass at 53.840, it feels like there should at a minimum be a 16th here, but perhaps a bit more than that?

I'm assuming you mean adding a 16th at 54.561, but I'd rather not as it would dillute the 16ths to the percussion (adding only a 16th) or hurt the clean transition accenting the following beat.

- 1:06.346: this being a double in a section that has a respectable amount of triples stands out like a sore thumb

It was meant as an accent of sorts (and technically the main drum that goes to the hands actually hits a bit earlier and is immediately cutoff at 1:06.346). Anyway, it's no big deal so I made it a hand.

- 1:25.299: missing note

Alongside a bunch of other similar faint notes through this entire section, this was intentionally omitted as I don't think it's audible enough in comparison to the actually layered notes.

- 1:47.489: another direct copy paste; also, pitch relevance between the 8ths can be improved in both instances (they’re reasonably accurate but can do better)

The pattern was meant to give heavier emphasis on the feeling of the percussion. Anyway, made a variation with heavier emphasis on the music box pr but I think both approaches are equally fine.

In regards to repetition, same argument as the '52.632 to 57.203' note applies.

- ending also has a substantial lot of copy/pasting as well, which I find to be somewhat egregious given that white notes don’t have proper pitch relevance for any reason and the layering fixates heavily on percussive elements (mostly kicks)

This is by far the hardest section of the chart and the main priority was to keep the lighter parts (js with jump every 4th) as smooth as possible, especially right before or after the harder bits. The continuous 16th stream and its patterning go to the synth which is tonal, though given the previous constraint and the density, the patterns match more its general flow instead of direct pitch.

The white jumps at 116.632 and 117.775 (& repetitions) are the only ones with notoriously bad pr (I was a bit too zealous with the transition out of the mini jumptrill right before) and I repatterned the corresponding section to make it better. 132.632 I forgot to fix after updating the previous repetition (should be consistent now). 134.918 and 136.061 aren't ideal but still somewhat neutral and I don't like the alternative of having this dense js bit mirrored. Last two at 137.775 and 138.061 I repatterned as well.

In regards to the repetition, normally I'd consider cutting one of the repetitions of the music itself (121.204 to 130.347 specifically), but in the context of this ending it feels like a very intentional musical statement and feels wrong to skip ahead. In a similar manner, I think having identical patterns for the repetition is appropriate as well, especially considering the kick is the only atonal element (and it only dictates the pattern in the dense js part which doesn't have much room for variation anyway).

Response to Good Life notes:

- 16.322: feels like it’s just the remnants of the percussion a 16th before; might not merit a note being here

It's actually a mix of what you mentioned (the lower sound) and a distinct drum hit. litmus* actually uses that fill in a bunch of his tracks and it feels pretty weird to omit that note.

- 30.860: looks like the only instance where you have a note that doesn’t land on a hi-hat, vocal, or something else; however, it’s permissible to leave here given that it’s in a build up

I can hear the bass and a faint hi-hat there.

- 1:58.207/1:58.553: pretty glaring missing notes (they show up as a result of combined layering in the second half at 2:12.976/2:13.322)

Whoops.

- 2:07.514: remove

I guess it's barely audible but I'm pretty the synth 24ths start there.

- so… 46.668 to 1:13.437/1:46.207 to 1:58.437: the first section here has some noticeable copy pasting and when cross-checking, so please add a bit more deviation to it. continuing more specifically the first mentioned section, the jump usage feels really strange. I ran through both sections a good at least ten times (no exaggeration) trying to figure things out, and it never really came to me.
----- I initially tried seeing if maybe there was some direct layering in play, but there’s multiple instances where two synths or a synth + percussion land and not all of them are jumps.
----- I noticed somewhat of an accenting contour with the percussion that does three jumps and then a space before two consecutive opposing 16th jumps, but it gets interrupted every two measures with a 4th + 16th combo that feels strange
----- the bass and synth occasionally collide but don’t consistently make jumps either
----- the only thing that’s pretty clear is the usage of triples and the occasional 192nd for the synth, really.
- once the second set of streams started at 1:46.207, I saw similar nuances with jumps for certain melody accents but missing for others
- structure is a bit too hard to follow in this chart and it feels inconsistently heavy to me at times.
- chart is very redundant and can definitely use some more pattern variation.

The layering is just consistent jumps to both kick & tom (technically snare as well, but there's always a kick with the snare), with additional jumps to the lead melody for 1:46.207 to 1:58.437. The tom can be a bit hard to distinguish if you slow down the music and it clashes a bit with a few sounds, but it's still pretty audible on 1.0x and musically it serves a major function for the whole section making the stable percussion less boring. For reference, the tom sample appears isolated later at 73.669, 74.015, 74.707 etc.

The other elements (bass and various synths) are rhythmically at odds with each other and with the percussion, so the only way to properly represent them without making a hot mess is through the patterning. In that context, using consistent patterns for identical phrases is the best way to not make the entire thing feel random, especially at this density. Anyway, I think you are overestimating how much repetition there actually is, the only longer phrase that notably repeats a lot (4 times) without variation is the [13].[12]4[23]14[13][24] right after the 32nds during 46.668 to 1:13.437.

[Ghost_Medley]

Re: Official Tournament 13 Batch Notes

Slapping my notes into a spoiler for Sakura Fubuki.

- 39.823: aw, I liked the back and forth you had with the mini-trills for the hi-hats, why’d you stop? I understand terminating at 41.023 of course, but you still had a bit of room to play with.

Just for you, I changed it to 131 mini trills and a tiny 232 minitrill in the transition.

- 46.680: might have been a deliberate rhythm reduction here, but just to let you know - this technically is the jump and then a three-note 64th burst

It was deliberate, reducing it to 48ths to avoid any frame complications.

- 47.194: i’m not entirely sure why the jump is here; the lack of clarity on this jump might make it more acceptable for the 32nd before it to have a jump since it serves as repetition on the jumps for the snares
- 49.594: not sure why these triples are different compared to the previous ones

Turned the jump into a single at 47.194, but instead of turning the hands down to jumps, I changed it out for a hand-jump accenting since I feel the sound is still very strong to warrant that.

- 1:23.794: pretty noticeable missing note for the piano
- 1:28.166: I’m curious behind why you chose to omit the first note in each four note sequence here, and only here in this slower section

I added the mentioned notes in for these sections.

- 1:35.537: missing notes? This melody is what’s getting accented and it’s pretty noticeably missing notes
- 1:37.166/1:37.337: more missing notes
- 1:39.394: missing note here as well

I noticed those and a few more since you pointed them out. I think they should all be fixed now.

- 1:45.651 to 2:29.537: structure has some noticeable inconsistencies:
-------- hi-hat representation is present in some spots, not present in others; initially I wondered if melodic presence was dictating it but there are times where it’s ignored and the synth isn’t playing a melody on/around it
-------- it appears that the piano accent that intermittently shows up is only accented partially, which makes the overall structure in this last section feel heavier than it is given that kicks and snares are usually taking the most precedence in accenting: 1:48.223 is a single note when the piano + synth plays, but 1:49.594 is a jump when the piano + synth play, both of which have no percussion on it; 1:53.709: jump w/ P+S, no percussion, 1:55.080: single w/ P+S, no percussion - etc.
- 2:15.394: missing note for pitch bend, which seems to be more prevalently accented in the second half of this final section

The chorus is definitely the roughest section since that's where my creativity faltered in making the file. I can give a tiny run through the logic I was trying to adhere to:
Bass and kick drums accented as jumps, with piano chords charted as hands (Some deviation with the tiny [34][12] jumptrills), then synth layered to create jumpstream.
I've made notes to improve consistency on how the hi-hat is charted, and dealt with the missing pitchbend notes. I've also made changes to fix patterning that might be uncomfortable to play.

- 2:18.051: this completely deviates from earlier accenting with the two jumpjacks and alternating jumps quite a bit; the earlier instance that featured a tailing minijack was also different but the structure was played almost the same, so this is a bit off

I'm not quite sure how to interpret what you're talking about here. The best thing I can say is that 1:55.937 matches with 2:17.880 and 2:05.537 with 2:27.480, but I can make them match up better and improve patterning leading in and out of each instance.

I'm glad this at least got CQ'd, considering I tried to work myself back into charting and wanted to redeem this chart.

[psychoangel691]

Re: Official Tournament 13 Batch Notes

J-CORE SLi//CER Technique (AutotelicBrown) [8/10]
Artist: J-CORE SLi//CER -- Perms: OK

- 22.157: single missing note for a vocal sample
- 23.715/23.830: some 16ths here?
- 45.580: this is a bit straining on the left-hand, given the 260 BPM 16ths; you’ve done generally good distributing patterns up until this
- 57.580: also pretty rough, even moreso than 45.580 because you actually have to strain earlier than that pattern
- 59.138: feel like this is a ghost
- 1:03.407: also feels like a ghost note, this one moreso than 59.138
- 1:03.695: poly is a bit unnecessary here, given that the buzz actually starts on the 16th note and there’s nothing else to generalize that rhythm; you could likely get away with a 32nd blip here
- 1:26.080: given that you’re starting another 4-measure phrase here, and one that actually removes the triples for the snares, it might be good to remove this for consistency’s sake
- 1:30.349: aha. Appreciate it; thankfully it’s not necessary to do this anymore!
- 1:39.984/1:40.215/1:41.138/etc: barely audible at normal rate, might be better to exclude them
- 2:24.542: **SIGHS VERY FUCKING LOUDLY**
- chart’s pretty good overall.

Nhelv (Qrrbrbirbel) [4/10]
Artist: Silentroom -- Perms: OK (BOF)

- nice “uwu”
- 14.975: ghost note
- 20.518: this minijack is a lot rougher than it should be as a result of the layering choices
- 21.968: losing the kicks before we get out of the phrase? strange choice.
- 33.908 to 39.707: lots of situations where repeated jumps are accommodating for two different instruments, indicating a relevance of some sort that doesn’t quite exist
- 33.226/etc: not all of these jumps are placed correctly for what you’re following
- 39.707/etc: the power of the kicks and other percussion basically wash out any potential sound that would be playing as 32nds here and there’s nothing really worth putting a massive stream for
- 44.284: incorrect rhythms
- 45.165 to 1:06.998: in general, the jump usage and patterning is quite erratic; there are some instances of colliding jumps for the purpose of accenting two consecutive 16th kicks but other times the jumps are either separated, or not even covering both instances when nothing else is around -- additionally some of the bursts in here don’t accent anything prominent and there’s nothing to accommodate for the rhythms chosen
- 47.553/etc: a lot of unclear jumps here; having these jumps kinda kills off your accenting of snares as triples
- 51.391: this pattern’s pretty gross at this speed; staircases at 351 BPM are a bit over the top
- 54.973: missing jump
- 55.655: ^
- 59.550: what’s with the poly-trill here?
- 1:04.269: what do these 12ths follow?
- 1:07.765/1:21.411/etc: other instances of this background percussion are represented as 3 notes, so having it as 5 notes here is inconsistent (this pattern is also pretty rough on top of it)
- 1:11.859: not sure what the minijack is for here
- 1:17.232: the sample you’re using for the minijacks doesn’t start right on the 4th note so this mini-jack is technically incorrect
- 1:18.596: not sure about this 32nd rhythm at all
- 1:39.747: this section, up until the 32nds at 1:45.205
- 2:03.285: improper placement of jumps
- 2:14.201: ow?
- 2:14.884: missing jump
- the structure in this is pretty rough; lots of overstepping at times and inconsistencies in others

Nhelv (Wind0ze & Deamerai) [6/10]
Artist: Silentroom -- Perms: OK (BOF)

- 31.723: all other instances of this sound actually have a pronounced kick, while this is a bit more hidden and ducked in the background - might be better as two singles instead
- 34.214: one of these two notes in the mini-jack should be moved as there’s two distinct pitches there
- 45.212/45.298: some more notes for that remnant sound you’re following
- 46.243: first set minijacks?
- 57.412: there are instances of this sound that aren’t accommodated for with minijacks (49.164, 50.625, 53.374, etc); add them wherever it’s not intrusive to do so, or remove them here
- 1:07.637 to 1:29.632: structure in this section is not very good here; numerous jumps are either missing or are in improper spots for expected accents, and there’s even a missing triple for a snare as well (1:10.730)
- 1:13.135: if you’re going to accent the chimes, you need triples at 1:11.073, 1:11.761, 1:12.448, etc. Remove this triple.
- 1:35.818: missing note for chime/melody
- 1:50.252: a bit of an underwhelming dismount, don’t you think?
- 2:02.453: you don’t cut the minijack short anywhere else and those minijacks collide into triples as well
- 2:07.522: missing jump according to your structure
- 2:21.870 to 2:24.620: jump usage gets a little wonky here
- 2:24.620: this abrupt 32nd -> 24th burst doesn’t really correspond to anything noticeable
- the better of the two versions, but I don’t think either version is queue-worthy, honestly

Rain (psychoangel691) [7/10]
Artist: Astronaut -- Perms: OK (label)

- 2.618/2.849: flip these notes for PR purposes
- 12.541/12.772: these as well
- 21.310: moving these two Ls to D frees up the L to only accent the finger snaps
- 27.310: move the D to L, and the subsequent L to D
- 29.618: add jump for cymbal crash for a better accent
- 35.387/38.349/etc: attach the jump to the L to accent the two kicks properly; this happens a few other times in the second verse as well - easy fixes
- 44.387: see 29.618
- 1:00.426: ghost note, bass plays only three notes (you do this correctly at 1:07.464, for example)
- 1:03.656: missing note for synth
- 1:24.772: given that this chart appears to be actively trying to control difficulty, this particular pattern is quite a bit more difficult than any of the others given that you start on a minijack -- it might be a bit easier if the minijack is moved to L instead; also, why is this particular instance of the growling bass a trill?
- 1:28.695 to 1:43.464: this section is really good; definitely memorable to a mid-level player
- 1:29.272: missing note
- 1:30.195/1:30.426: missing notes
- 1:34.118/etc: more missing notes, there are a few others peppered about in this section that can be filled in
- last drop appears to be a direct derivative of an earlier pattern, so missing notes apply again
- a point to think about, but not a required change: the chart may be a bit more visually effective if you can add colored effects to the less defined rhythms (like the growling basses) - the reason why I say this is because the actual rhythms of the song are 16th notes and the growls are also being represented as 16ths, so adding that coloring will separate things out a bit
- chart has a solid structure overall, just needs a bit of a tune up in terms of melodic representation and it’ll be good to go

Trap Funk (Matthia) [8/10]
Artist: Andrew Huang -- Perms: OK

- 0.765: missing note for bass
- 1.177: I’ll let this pass given that the pitch bending exit is in the right spot, but the note that causes this bend starts at 1.040 - just a heads up.
- 3.375: this is a correct placement for the pitch bend
- 5.160: same as 1.177, including the pitch bend
- 21.918: nasty tail of a pattern here
- 26.313: ^
- 52.691: move this note from U to R, that way the two repeating Ls coming up have a bit more accenting power
- 59.554: ^
- 1:00.103: move to D to prevent any sort of connection with the previous or upcoming notes
- 1:03.537: rhythm is two 16ths, then the five 32nds
- 1:11.504/etc: these triples create a minor mini-jack at the start of each sequence that technically isn’t correct in terms of pitch relevance, but it’s a very minor thing in this case anyway
- 1:27.988 to 1:36.779: the issue that I have with this is not the color gimmick itself (which is wacky as fuck but we won’t pick on that), but rather the presentation of the 32nds in the color gimmick -- the sound that you indicate you’re following for this is vocals but they’re barely audible for the first four measures, which make it seem a bit strange at the start of the sequence
- 1:36.275: missing note (should be orange)
- 1:54.178: this is a pretty constrained pattern having a three 12th note jack like this
- 1:58.070: missing jump? You had these as all jumps earlier when it was presented
- this file is silly, in a good way; rather technical at times, a respectable challenge; layering is heavy but the effects are applied effectively and consistently
- some patterns can be cleaned up slightly but overall this is a very unique file

[choof]

Re: Official Tournament 13 Batch Notes

I hope you haven't even looked at scmollbluk yet because I'm sending a "fix" aka a totally different ending

[psychoangel691]

Re: Official Tournament 13 Batch Notes

I hope you haven't even looked at scmollbluk yet because I'm sending a "fix" aka a totally different ending

I have, fixes should not be getting sent after a batch closes until after it receives a judgment.

[Matthia]

Re: Official Tournament 13 Batch Notes

Updated Trap Funk

[psychoangel691]

Re: Official Tournament 13 Batch Notes

I'm noticing other people trying to slip updates in, guys the batch was open since January, we've never accepted updates after the closure of a batch until judgements were received I'm not sure why anyone thinks any different now. I usually don't even go back and look in the sub area once I've downloaded the batch other than to update the specific songs with their judgements.

[choof]

Re: Official Tournament 13 Batch Notes

I have, fixes should not be getting sent after a batch closes until after it receives a judgment.

oh derp, my bad
don't look at the fixes I made then, I'll redo after judgement

[psychoangel691]

Re: Official Tournament 13 Batch Notes

Heh so seems the system is actually a bit bugged on showing the dates, gonna have to bug Velo about that in the morning, but yeah, in general, please no re-subs after batch closure. Right now it's way too easy to overlook.

[mi40]

Re: Official Tournament 13 Batch Notes

yeah, it says i updated my patron tequila file on 6/19 but if you check the update logs i haven't touched it since 6/14, weird!

[psychoangel691]

Re: Official Tournament 13 Batch Notes

maestro, it doesn't matter that it can be done you could email any time as well there was nothing preventing that but it doesn't change that when the batch closes it's closed.

[psychoangel691]

Re: Official Tournament 13 Batch Notes

It should be all fixed up now for future updates.

[psychoangel691]

Re: Official Tournament 13 Batch Notes

Blackmagik Blazing (Psychotik) [6.5/10]
Artist: Camellia -- Perms: OK

- pitch relevance can be generally improved throughout the file
- 1:16.037 to 1:23.537: amazing how something as rudimentary as this, when applied in the proper place, becomes very memorable; this was a simple but highly effective sequence of patterning
- 1:34.201: missing note for synth
- 1:39.475: missing note here (and also what sounds like a 48th before it); fill them out (1:39.826, 1:40.060)
- 1:41.584: this jump should be shifted a 16th earlier
- 1:42.756 to 1:46.037: some notes for the drops here as well (1:42.873, 1:43.576, 1:44.748, etc)
- 1:45.803: turns into 24ths
- 1:50.373/etc: more of these sounds not accounted for
- 1:59.279/2:00.451: mini-jacks are technically incorrect here
- 2:06.896/etc: these triples are technically correct in terms of layering, but feel a bit of out of place as a result of the previous section using triples simply for the existing of cymbal crashes, a very meaningful accent, which also get cut at 2:08.771 anyway
- 2:13.342: if this is going to be a triple, then shouldn’t 2:17.092/2:20.842/etc be as well? It’s hard to discern if the second hit is necessary to be accented as hard as a triple, but if it’s ambiguous, you might want to just clean up the consistency anyway. Either add the missing triples where relevant, or remove this one.
- 2:26.232: technically a missing jump here but I understand the omission
- 2:32.912: this piano flourish is noticeably longer compared to the previous one
- 2:36.369: ghost note
- 2:39.123: this melody starts on the 8th here, and is xx-xxxx, not the -xx-xxx that you have
- 2:39.592/2:39.826: missing notes
- 2:43.752/2:43.635/(etc): missing notes - these follow the melody that you had in the slowdown
- 2:47.033/2:50.783: this actually has an extra melodic note here
- 2:54.709/2:54.826: at least 2:54.826 should be white for that sound
- 2:57.228/etc: a bunch of notes missing for the synth
- 3:05.725 to 3:19.787: jump usage gets a little strange for a brief bit here - some notes from the melody that are detached from 16ths are missing (3:06.545, 3:12.170), and some similar 16th melodies land on jumps when others don’t (3:07.482 vs. 3:10.060)
- 3:27.756: 12ths are a misrhythm here (should be 16ths)
- 3:28.752/etc: another missing note and whatnot
- 3:34.611: ghost note
- 3:55.588: missing note for piano
- 4:00.334: not sure what the start 24ths are following here
- 4:04.318: should be 16ths
- chart has potential, but there are some redundancies in errors that need some resolution

Breathe (AutotelicBrown) [9/10]
Artist: qfeileadh -- Perms: OK (BOF)

- 4.099: while technically not accurate in terms of a rhythm here, these offset 12ths are an acceptable approximation -- I do think that in terms of melodic representation, the note at 4.734 would be better removed to give a bit more of a gap to the previous note, but no biggie
- 16.718: not quite hearing what merits a jump; there’s not two combined instruments and I feel like the toms are a bit far in the background to merit jumps here
- 1:06.480: surprised to not see an accent for the guitar flourish here
- 1:13.861: flute seems to play a grace note here, might be a nice thing to accent
- 1:59.218: similar as earlier in the song, this and the jump after might not be necessary since the percussion fades away and there’s no notable accent/noticeable situation of two instruments atop one another
- 2:02.015: missing note
- excellent file.

Brrrreeed Cicadididi (bmah) [8.5/10]
Artist: Anguilla japonica -- Perms: OK (BOF)

- this song is absolutely not a you kind of song
- very chaotic in terms of rhythms with the samples, so I definitely understand not wanting to go super precise unless it’s accented, I think that’s a good choice
- 1:20.753: fuck
- 1:33.199: I know the gabber kick is here, but that’s rather tough to hit and might be better if the pattern is changed or the jump is removed
- chart is pretty good overall; definitely quite fast and has some very demanding bursts of jumpstreaming/burst control, but overall this file is generally well polished and there’s not much to say about it

Insane Inflame (DarkZtar) [7.5*/10]
Artist: Camellia -- Perms: OK

- not gonna lie, really dislike the song cut’s opening
- I don’t agree with all of the burst choices; the 48th note bursts that have separation and run with the heavy bass but indicate a following of vocals feels a bit too aggressive
- jump usage feels overly heavy at times -- you have jumps for kicks and heavier bass hits, and triples for snares which is fine, but there are other instances of jumps that feel like they’re bordering on overlayering when in actuality, they’re taking advantage of structure to accent hi-hats which is far from prominent over the chaos going on
- 1:02.275: 24ths start here
- 1:08.075/1:08.375: these 48th blips should start a 16th earlier
- 1:13.075: this trill is a bit aggressive (the one at 1:13.675 is more sensible)
- 1:15.325: missing note for vocals (you follow this at 1:15.625)
- 1:51.875: not gonna lie, even though this should be continuous 32nds, I do like the flair of this pattern
- 1:58.975: missing jump
- 2:01.075: if you want, you can sneak in a nasty little polyrhythm here for a vocal sample if you listen closely (‘tis four 24ths)
- 2:03.775/2:11.075/: missing jump
- 2:16.375/2:16.475: some missing notes for wub
- 2:18.075/etc: shouldn’t these be jumps as well?
- jump usage can be improved and clarified throughout; file has an acceptable structure overall but some of the mistakes are glaring at times
- additionally, this chart isn’t acceptable purely on submission itself as a result of the batch/submission rules: >>> • An incomplete submission will be automatically rejected. This means that the file has large portions of empty space either at the beginning, ending, or in between the file. If there are noticeably long empty spots when the song is running with noticeable elements for no justifiable reason, it will be classified as an incomplete submission.

TURBO (Psychotik) [7.5/10]
Artist: Tokyo Machine -- Perms: OK (label)

- very simple structure, which is great given the target demographic
- less adept players are going to generally appreciate this chart
- good decisions on jump omissions for 16th collisions, difficulty is very nicely controlled
- 30.276: visually, the first set of three 16ths is visually off given that all other sets go back and forth from two notes
- 52.542 to 1:04.260: jump usage is slightly unclear here; what is being given the bigger accents? There doesn’t appear to be any combined layering going on here.
- 1:56.760: the pitch increases every two notes here, so having repeating sets of 3 doesn’t feel quite right
- pitch relevance can be slightly improved throughout, but as an easier file, this chart does an effective job being approachable and enjoyable for lower level players, I think