Added: 2 years ago
From: darknotezero
Views: 548
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  • What a soothing song. This was a bad idea to watch at 12 midnight.....I'm getting sleepy! lol

  • Just a thought: When you're doing the 14 2 3 14 things, the note on the 3 is two different things depending on which time it is; sometimes it's a higher pitched pluck all by itself, which indicates to me you should distinguish its presence by putting it on a different column, say 5.

  • Other then that, there's a 48th gallop produced by the tap at 1:59 that you should probably incorporate. Just make sure to keep your rhetoric about what combinations of sounds call for a 2-chord/what combinations call for a 3-chord/etc consistent and you should be golden.

  • yeah, in that particular moment it was a deliberate decision to not incorporate the 48th gallop because even though it's rhythmically accurate, it added a level of complication to the chart that i didn't want.

    2-chord versus 3-chord point taken; i thought i had covered all of it, but tha'ts what happens when you decide to rush through the chart. :p

  • Not just vs each other but vs single note as well. It's a bit tricky for a song like this, since it blends together quite well - almost every note seems to have multiple instruments going at once. I think a few more deserve to be 3-chords, perhaps?

  • ah, but then that depends on whether or not you conceptualize the sound of various timbres as being separate or as a single collective. a flute and a clarinet playing in unison creates its own sort of sound that can be seen as a single sound as opposed to two sounds that happen to be together. With electronic music that can become even muddier.

    i love the fact that we're debating about this in the context of stepmania creation, btw. :)

  • What are going to do with your edit steps for "!" ? Could you upload them into FFR?

  • that'd require me getting an FFR account. since i just opened up a bemanistyle account and a kbo account, i'm kind of on new account overload right now. but maybe in the future.

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