<%SSH|Korysar> does anyone else watch pornos for the soundtrack
<Mehified> No offense to you tho xd
<@Alive> i misunderstood the meaning of shiney instruments and he tole me to calm down
<+lurker> if i want porno music
<+lurker> i'll listen to the sonic 3 ost
<%SSH|Korysar> LMFAO
<sjoecool1991> ahaha
Ok, I happened to look at the judge's notes for The Final Hour, and I'm going to separate everyone's notes bit by bit so I can ask people questions since I'm trying to help get Kayla her first file in FFR. I'm not attacking anyone, but merely stating points/disagreements.
i love you m2: Quad note? Pretty sure a double would be just fine.
Loudest sound in the entire song? Since the quad rule was lifted, I don't see why it's an issue.
m7: Missing a 16th note on Beat 24.25. Added.
m11-m14: Beat 40.00 should be a double. Also, this whole section is underlayered. I would suggest adding layer to that obvious background noise that you can clearly hear.
If it's so obvious, why was it mentioned as a "background" noise? Why is it not a synth, or a bass, or something? It is a bit empty, but it's also introducing a riff/melody that only happens in the song a single time.
m15-m23: I don't even know what you're layering here. This section is just too inconsistent. I suggest that you layer the most prominent sound in that section.
Layering in the bass drum/snares/or other stuff, so that you have a melody which is perfectly prominent have jumps that will more than likely seem random to those who are actually play it - direct layering works like garbage in this section. Accent layering works loads better and looks cleaner. (P.S. I changed this section myself.)
m28-m31: You can hear that base kicking in so you might wanna layer that part to keep the file flowing.
The focus of this entire section was just the synthesized lead runs, even I noticed that and I didn't touch this section of the file. <_<
m32: Beat 124.00, you're missing a double
There's a cymbal crash hitting that beat, only one fading out on it.
m39: (subjectivemanias alert) the doubles could have been more expressive with the song rather than just PRing everything and making it look awkward.
Explain, because I rather like this section and it was another one that I didn't touch.
m40-m43: Missing some 4th doubles here and there. Listen carefully.
Bass + synth = exactly how it is. However, she is missing a single note at the end of m40.
m48: Beat 188.00 doesn't need a double; remove it. Agreed, fixed.
Also, *remove the 4th note on Beat 189.00 and the **8th note on Beat 189.50 since those sounds are barely audible to the music. You might want to check on your layering as well.
Yet another part that I did. I will admit to the fact that I actually ghost stepped the section, but only ** is correct. * is not.
m49-END: Basically the same mistakes over and over again as mentioned above.
Considering these are the same largely subjective issues that happen over and over again, not really.
wc missing 16th at 8.99.
missing 16th at 20.62.
missing 16th at 23.53.
missing 16th at 26.44.
pretty much you have missing 16th in every section like this were you're putting jumps to the lead synth so go back and make sure you get everything.
Added all of these. Thanks for picking up on that, because I did not catch those at all.
at 56.89 you step the clap and bass kick then you stop stepping the bass kick and then you start stepping the basskick for no real reason. try to stay consistent with your layering. i suggest just putting jumps to the clap and stepping the drums as single notes.
This section, I didn't touch whatsoever. I saw Kayla use separate charts for layering this entire section - what it looks like to me is a bass/clap/synth layering, avoiding triples where all three coincide. I may be wrong but I can figure it out later down the line.
68.172 i kinda get that the 16ths go to the vocals only thing is that the vocals are 3 syllables that land on 8ths so the rest of the notes go to?
Not too sure about this - can you explain in a little bit more detail?
you should continue stepping the closed hihat after the 16th run that goes to the the closed hihat at 117.99.
I agree with this as well - went through and changed it to lone 8th notes without adding layering at any point when they coincide with another instrument, for accenting consistency. Thanks again.
Kory In the beginning you overuse the jumps. Don't really need them to every single sound.
Same goes for the section around m50 that you do the same thing in.
Is there any other way to step this without making awkward looking layering while still accenting the relevant sounds? Layering in really dull/quiet sounds where there's really not an extended percussion line makes it look strange.
qqwref Instead of stepping something quiet in m11-12, maybe you could keep doing the background, but add in the quiet notes with layering. Add some 16ths at the end of m57.
Fixed m57. m11/m12 is an issue because if you layer in anything outside of those, you'll get random jumps everywhere.
The point that I'm trying to make is, people are judging way too harshly on extremely subjective errors and not enough on objective errors like missed sounds, progression errors, etc.
Thanks for finding the important mistakes, though.
Yeah, i knew you were going to say something about this since it's the only file your girlfriend sent into FFR. Anyway, I'm not going to explain everything in this thread since it'll just be a waste of my time so perhaps answering them on AIM some other time would help. Also, just to get things straight, what the judges said about her file was based on the judges thoughts, you're not going to agree with everything. There are others trying to get their first file in FFR as well not just her.
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The idea that RDCP 3 may come out in the future is a fun thought to have~
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just suggesting: files with two +s could be borderline and reviewed? This comes from a particular example from my group (Feux D'Artifice) which I think has no room for improvement and only didn't make it because of one outlier judge (+ + +. -). I only see one other file that this would apply to, so whatever.
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