#LE song proj

[le-songproj]

Live Emotion Song Spreadsheet Project

I've started putting together a simple spreadsheet of song information for the game in hopes it'll be useful for the various events we get!

Includes: Singer(s), Song Titles, Length, and Note Count for all the difficulties!

It's also color coded by Singer color(s) and the difficulty, PLUS it's set up so the songs involved in the current event will be highlighted for easy comparisons too~

Currently we have: - All current event songs, Easy+Normal+Hard (4/6 have Expert) - All Group/Duo/Trio songs, Easy+Normal (1 has Hard)

I would love to ask for your help filling out things much faster! If you happen to know any note totals for any of the songs (or just have a screenshot of ur score page) please let me know!!!

Hard+Expert notes are most appreciated as I personally only just started doing those higher difficulties after the last event so those will take me the longest for me to get through. But anything and everything you guys can provide regardless of what difficulty is appreciated and will save me so much time!!

Just shoot dm/ask/submission or even reply to this post please and thank you <3

[decembermoonskz]

the choreo in scars mv is soooo beautiful huhu and their outfits my gosh, majority of the vid is just them wearing crop tops 😭 aNd chan wore a waist chain again??? i have to rewatch the mv and find it later 😩

AND SEUNGMINS FLOOR PART (??) fLoOr dANCE (??) uGh i cant even put it into words 😩 jisung with a bucket hat and wearing a crop top jacket pLUSSS THAT CHOREO is just 😌 👌 biaz wreker tingz ✨

THE PHOTOSHOOT. THEIR PHOTOSHOOT 😭 they look so perfect , i cant-

if you want a group who can sing dance rap host model -> ✨ skz ✨ multitalented af 😤🤩

its been abt 3 hrs but i still cant get over scars :”> the premiere had been sitting on my laptop for more than 12 hrs before it was released just bc i cant wait huhu i mean even the photoshoot wtf i cant get it out of my head HAHDHAHDAUXHWJSHQHSHA 😭

OTHER THAN SKZ RELATED FANGIRLING 💀 did anything interesting happen to you? how was your day?? its half to 12 am here and ive been studying since 6 am 😭 i did have short breaks but i usually take a 4-5 hour nap in between those hours after school but i wasnt able to since i ve been in group project calls immediately after class huhu

6-1:30 iz le school

1:45-5:30 iz grp proj for our health subj

7-10:30 math grp call 💀 but seeing the photoshoot and mv recharged me hEhez

i hope you had a nice day! or yesterday? depends what time it is there lmao anyways feel free to share the things you did :3 i already started daffodil and i like it so far ! i think i stopped at ch 5 since i. need. sleep. badly. XD minho does deserve better lmao obviously chan is endgame but is he really 🤔 if he really is, then minho does 100000% deserve better huhu, cant wait to continue reading it tomorrow night!

- 🤡

Yeah I love everything about scars! I love how with all in its was more of a bop and a groove song to dance to. This is more emotional and I can still groove to it 😂😂 but in all seriousness I have nothing but good things to say abt it it’s great! and yeah I didn’t see it the first time either but waist chain made another comeback ✋🏼😔 it’s around Jisung’s part after Seungmin if you slow it down LOL (Jisung is really out here owning scars era 😔👌🏼)

Oof that photo shoot is officially one of my favorites 😩😩 I’m still not over the elle shoot with Chan, Hyunjin, Jisung and Felix, and Chan’s shots for men’s folio 😭

OMG SO MUCH SCHOOL! you did well!! *hugs and pats your shoulder* 👀👀 that’s a a lot I hope you can take your nap next time 🥺

thanks for asking! nothing out of the ordinary but I spent the day html editing for my blogs and posting the new story today. it was fun tho I learned some stuff and got stuff organized. Similar to Chan I like organizing and things need to be in place so getting this done with good 😂😂😂

Also you started reading daffodil omg!!! Yeah Minho’s role is a very vital part I enjoyed writing him in that story. I also wrote a bonus thing for him as well as seungmin you can check out after daffodil too just FYI ( ・∇・)

Have a good day/night bub!!

[sargenthouse]

EarthQuaker Devices Interview w/ Mike Watt of Big Walnuts Yonder, & the Minutemen

photo by Will Ragozzino

by Aaron Rogers  - full article via EarthQuaker Devices

In 2008, I first heard the news that Watt formed a “supergroup” with Nels Cline, Tera Melos guitarist Nick Reinhart, and Deerhoof’s Greg Saunier on drums. In 2014, the group, now called Big Walnuts Yonder, recorded an album. On May 5, 2017, Big Walnuts Yonder was released, and once again I had more questions than answers.

Big Walnuts Yonder swiftly avoids the typical supergroup missteps. It is not a “musician’s” album. There is no jamming. Even at its hairiest it’s clear that this recording is the result of four musicians coming together to make songs. It’s a document of musical conversations taking place over three days at Brooklyn’s Studio G. In Watt-speak, “a pure music connect.”

Eight of the ten songs were composed on bass by Watt, who sent his ideas, or “launchpads,” as he calls them, to the rest of the group via email. The remaining songs, Nels Cline’s instrumental “Flare Star Phantom” and Greg Saunier’s “All Against All” were learned by the band on the spot in the studio. Nick Reinhart plays guitar throughout and sings on all but three songs: the aforementioned instrumental, and the one-two gut punch of “I Got Marty Feldman Eyes” and “Raise the Drawbridges?” which feature spiel from Watt.

Shortly after the release of Big Walnuts Yonder, I met up with Watt at Cleveland’s Beachland Ballroom, where before and after soundcheck with his band the Jom & Terry Show, we talked about gear, collaboration in the internet age, and the making of Big Walnuts Yonder.

Mike Watt: Okay, now [I got] those pedals right before I left [for China], but I had a couple days to use ‘em - I even recorded something for a guy in Macedonia named Vasko. Great cat. He gave me this track, said “put a bass solo on.” So that’s where I’ve used ‘em. And it really worked. It was happenin’. I used both the envelope filter and the fuzz.

What I got was Bellows and Spatial Delivery, kind of a Bootsy thing, the envelope. It’s dynamic - how hard you play it. Mu-Tron. I had one of those, and they were okay. I like yours better. And I liked your fuzz thing, too. It gave a lot of character to the solo. The guy really dug it. With the Spatial, too, I could really get it in there with the beat of the song. It was trippy. Y’know what I’m talking about? I duuno what exactly it is - I know it’s got a sensitivity and it’s got a place where you want put the resonance up or down. . . the intensity is what I got. I could find a place that was in the beat of the song. It’s trippy. Wow-wow. [Emulates bass guitar through an envelope filter].

That was very hard to get with the Mu-Tron. I could get it really quick with yours. I’m gonna spend more time - I wanna do more groove things. Y’ know, I don’t only do bass solos. I wanna work it into tunes. I got a song I’m doin’ with a guy from Tokyo and I’m gonna use both. Not at the same time. I’m think I’ll use the envelope filter through the whole thing, then when it comes to certain parts [I’ll use the Bellows]. I really like the character of both boxes. I know they’re coming from very well-known territory, but they still got that thing. The Bellows thing I dug, ‘cuz the problem with a lot of fuzz is losing the low end. So people have dealt with that with bypasses and blends, but you guys don’t do that.

Aaron Rogers: Nope, the Bellows is more like an amp . . .

Watt: That’s right. Yeah. But there’s somethin’ organic about it that don’t sound, I dunno, make it all thin-ass and shit. The only place I heard it before, and he showed me, maybe it was a Vox Super Fuzz?

[Adam] Yauch used this thing in “Sabotage,” remember that Beasties song? It even had a spring loaded switch… That bass was bad! I think it was a Super Fuzz, a Vox Super Fuzz. He showed me the pedal once. I love that dude. So sad! He’s a good cat. You know, the Stooges’ shit got stolen in Montreal in 2008. The next day he sends me a bass. A Les Paul Professional, like ’69, weighed fifteen pounds. Low impedance pickups, it’s a trippy thing. But his heart - beautiful man.

AR: Do you do much home recording?

Watt: Now things are different than the old days when you had to get in a room with people. Mostly. Nowadays you can collaborate. Send a file through BigFileSend, or whatever the fuck. You can trade files, so you can collaborate. I’ve done whole albums with dudes I’ve never even met! It’s a pure music connect.

They just send you over the things, say Watt, this cat in Canada, he’s got the same name as the Yes guy, Steve Howe, but it ain’t that one. I don’t know that guy. I know this young man . . . I kinda don’t know him. All I know him is by his music, his songs. I just thought it was interesting. Why not do it?

I did a proj . . . found out later Cedric [Bixler-Zavala] did the drums! It was somethin’ called Anywhere. This drummer-man who went to 12-string guitar. So I play to this . . . and the drumming, I’m really into it. I find out later, Cedric - I thought he was just a singer - At The Drive-In. I didn’t even know!

So, I call the studio Thunderpants, and I got an HD Pro Tool thing. Mac silver tower. I don’t have the trash can. I heard they’re dumpin’ that anyway. That was a bad move. 2008 and the motherfucker’s still great!

I use [an Avid HD] OMNI. Then I use . . . a UA LA-610, which is a tube preamp, and it’s got an optical compressor that you can bypass, because in that rack I also got an 1176 by UA and I kinda use that one more. The other one’s a little soft, but there’s something about the character - you don’t even have to be compressin’ and there’s something about the 1176 that gives you more presence. It’s got a mid-thing. Then I don’t go right in.

I use the OMNI, actually, as a dongle. I SPDIF off a BURL B2 ADC. It’s happenin’. It’s got Iron, right. It can ‘satch. And with the bass, you get enough blur. I traded out the front end tube [in the LA-610] for a 12at7 so I can get into mush a little more. That’s about it.

Oh yeah, I do have a mic, too, because I do spiel. I found a Russian Oktava [MK-519] and I had it modded by Mike Joly. He’s happenin’. Different basket, the capsule, all that shit. So I’m set. I’ve been doin’ it this way for years. The one part that ain’t solved is the creative part, but maybe it should never be solved? You should always be strugglin’. Keep goin’ at it. Tool-wise, you find stuff that works and it sticks.

I don’t use a lot of other stuff. But I think I’m gonna be usin’ these pedals! The only pedal I really use is a tuner.

AR: That’s the only one you need! I mean, I work for a pedal company, but you know…

Watt: Okay, I tried. I didn’t wanna be some guy who talks about something without ever tryin’. So my second opera, The Secondman’s Middle Stand, about the sickness in 2000 that almost murdered me… Well, I used Dante’s Divine Comedy - the Inferno was gettin’ sick, Purgatory was healin’ up, and Paradise was workin’ the bass, and kayaking, and bicycling. I used pedals on the whole motherfuckin’ thing! I used a phase - usually Boss or whatever.  One was a phase, one was an envelope, one was a fuzz, but I couldn’t turn ‘em on at the right time at the gigs! It was hard. I tried it. I did three tours with it, and I thought, “You know what, I’m goin’ back to just playin’ fingers.” But, this thing where you’re recording and you collaborate, it don’t matter where I turn it on. If I fuck up I just do it again!

AR: How did online collaboration come into play with Big Walnuts Yonder?

Watt: Nick Reinhart (Tera Melos) wants to talk to me about the first opera, Contemplating the Engine Room. “Who’s that guitar man?” Nels Cline. Which was a trippy-ass, almost déjà vu thing from a few years earlier with Mr. Shimmy in Tokyo. “Mr. Mike, who’s this guitar man on your first opera?” And I said to him then, “You wanna know him? Play with him!”

So I got a ticket and me and him went to Tokyo in three days and made the first Brother’s Sister’s Daughter album. And of course you know Nels’ background. He tried to bring free music to SoCal for years and years. Now he’s in New York City and there’s a whole scene there. He’s got a twin brother named Alex, too. They���re incredible cats.

“So, Nick, you want to know him? Play with him!” Nels said “bring it.”

Y’know I did my first opera - I got it all together, the libretto all the music . . . [Nels] never heard it.

You know that first take feel? You can really do that with Nels. He spent so many years doing improv - he just picks up on it. So I told Nels, and he says, “Yeah, bring this kid. But, look, have him pick a drummer.” “Hey Nick, what do you think?” “Well, what about Greg Saunier?”

Trip thing was, 17 years ago, Nels brings me to bring me to see my first Deerhoof gig. He’s old friends of his. And he had just moved to New York City. And who’s in New York City? Former Cleveland guy, big bass hero. When Pere Ubu played the Whisky in West Hollywood in ’77 [it] just blew me and D. Boon’s mind. Tony Maimone! And he’s got a studio in Brooklyn - Studio G.

So they’re both living there, only me and Nick have to fly there, and we do it in three days. I wrote eight songs, just on the bass. Nels is way into it. It’s like a launchpad or a springboard. Other dudes are like, “Whoa! Not enough information! It’s like writing on the kick drum or the cymbals.” But he likes it. Guitar? Piano? A little too much harmonic content. He wants to be free.

One time, Bass Player magazine asked me the future of bass. I was gonna say, “Twenty more strings,” but then I thought, “No, maybe composition. Maybe [bass] ain’t the last thing you put on. Maybe it could be the first thing.” And they’re not just lines, these are whole songs. And they’re meant to have holes. I build [them] in to see what’s gonna happen. What they’re gonna bring. . . I’m more like a composer. Just doing it on this trippy instrument. Even Charlie Mingus never composed on bass. Always piano. I think the future of bass is composition.

This is what we did. We did eight of ‘em. Nels brought in one. Greg brought in one. I never heard ‘em until the day in the studio. But Nick wanted to hear my eight. And what he did was, he went and wrote parts. He wrote parts to all eight of my tunes. So when it came time to do ‘em in New York City at Studio G, I got to use Tony’s bass, a ’66 Jazz with EMG pickups. Badass bridge, too.

Y’know, it’s all about people I’ve found in this movement. Or music, period. I’m not really into genres and all that shit. Music’s music. But people are so important. I also did the third opera with that bass. I also didn’t have to bring one on the plane! But it’s fuckin’ Tony Maimone’s. So he writes parts to all this stuff. But still, there’s Nels in the moment - hasn’t heard any of it. And the dynamic between the two...

I got the title [Big Walnuts Yonder] from a Richard Melzer poem. Big hero of me and D. Boon’s. He wrote lyrics for Blue Oyster Cult, but he also invented rock writing. In the 60s he wrote a book called The Aesthetics of Rock. Incredible cat. Lives in Portland now. Crawdaddy, Rolling Stone, all that. He wrote a book about it later on called A Whore Just Like the Rest, because he got pretty [burnt out]. Anyway, not to get bummed out...

But Big Walnuts Yonder, I just thought, “I know something’s gonna happen between the dynamic of these two [Nick and Nels].” And I didn’t use any pedals. But they fuckin’ did! I think thirty-five each. It was like watching a dance. Sittin’ there, I’m watching this thing happen. And Nels is just so generous. I mean, I read stories about Robert Johnson turning around so dudes couldn’t see the licks. Nels ain’t like that. He’s like, “Look at this, look at this.” Nick’s just soakin’ it up like a sponge.

Greg’s over there - he’s a muso. I mean, he’s not just a drummer. He only had a kick, snare, and a hi-hat! Big hi-hats, like twenty inches or something. It’s amazing, the dialogue. I adjusted a little bit, but I kept to what I wrote. And then I had to learn theirs in the moment. Nels is great at giving direction. He’s visualizing it for you. Like Perry - in Porno for Pyros I did three tours, and he never gave you chords, he always told you the story of the song! “Got it, Mike?” And I’m like, “okay!” But it’s a neat way. There’s something about getting people in without them being puppets. Greg’s the same way. He’s got a laugh, man. I think it’s on the album. It’s what the old scene was about. It’s about individuals. Only one Darby, one Pat.

AR: A band like the Germs only comes around once . . .

Watt: Yeah. Remember, they tried with [Shane West?] But I should get to this part . . . We get done, and we think the record’s gonna be an instrumental album. All done. We get home, and Nick puts singin’ on everything but Nels’ song! And he writes me and asks, “Mike, tune “T” and “U,” I want you to put spiel on.” ‘Cuz I just named ‘em like tune” R,” “S,” “T,” “U,” “V.” I wanted names after they were realized. All of us were tripped out. They got all this singn’ and words.

AR: So you had no idea when you tracked the album that the songs would have lyrics?

Watt: No, I didn’t. That’s the young man, the new guy, the student, keepin’ us students! Because that’s what life’s about, I think - being a student. So in a lot of ways, the record is a collection of accidents and coincidences. It’s trippy. There’s a lot of intention, and we’re gonna do this . . . but in another way, we let the freak flag fly and let it float a little bit, and then it ends up being what it is, that no one imagined.

AR: What’s the story behind your two songs, “Raise the Drawbridges?” and “I Got Marty Feldman Eyes?”

Watt: . . . maybe I’m biased because I’m in the arts, but I think about the arts . . . okay, maybe some people aren’t professional talkers, but they still know how to talk. The idea that things get too uptight, it’s tough for me. The other one was me trying to explain to Greg a motif that was musical. I had just done some benefits for Strummerville, this organization in Joe Strummer’s name to help young bands. And I don’t really know [the] Clash except for the first record and the singles. I don’t really know “Rock The Casbah,” except it was on the radio. I only really like the first album. So we had to learn ‘em to do these benefits - all these old songs like “1977” and “Complete Control,” so I used some of that for one tune, just because it was current in my life.

So I tell Greg this, and he goes, “Oh, so you want an angry white young man vibe?” And I was like, “No, it’s really more about these chords.”  It’s not like Ramones. It’s weird. It’s got kind of a Reggae, or Gilbert & Sullivan thing. The English punk was a little different, which was okay. Wire was a little different, too. And Pop Group, they put Funkadelic with Beefheart. You don’t have to all copy the Ramones. In fact, the Ramones did a pretty good job being the Ramones. So that was the thing, and of course Greg got it like that. I mean, guy went to Oberlin . . . and why not talk about things? My pop said, “When you assume, you make an ass out of you and me.” He thought it was destined.

AR: My mom used to say that, too.

Watt: It’s so clever. The most righteous coincidence for teaching that ethic. I remember explaining it to [Greg], and this guy’s lookin’ at me, and it’s like Marty Feldman eyes. Much respect to Marty Feldman. But you know what, [Greg] let it go, and that’s what music’s for. It was beautiful. So those were my two songs. I don’t know where [Nick’s] words are coming from, where his singing’s coming from. That’s all Nick Reinhart. But since he was the spark that got the whole thing going, I don’t think nobody had anything to say about it. It’s how it evolved. The whole thing was a happy accident in some ways. I wanted Nick to know Nels by playing with him.

Big Walnuts Yonder is out now on Sargent House.

[le-songproj]

HEAVENS Special Training Event Best Song Rankings

I know theres only a few days left of the event, but here's all of the songs ranked from best > worst for each difficulty based on how many notes they have in hopes it'll help you guys pick the ideal song for you to play for the last of it!

Higher note count = more keys will appear, score and combo don't matter. The lowest ranked of one difficulty is usually better than the highest of the difficulty before it, so choose the highest one you can manage to stumble through!

⤷ Also check out this general guide for box events by @live-emotion ⤷ View our note count spreadsheet here and help us fill it out faster!

Easy ⤷ GLORIOUS ANGELS (127) ⤷ Dreamer (125) ⤷ Oresama Rondo (106) ⤷ Southern Cross Waltz (86) ⤷ Michibiki Hikari (83) ⤷ Winter Blossom (66)

Normal ⤷ Dreamer (255) ⤷ Winter Blossom (230) ⤷ GLORIOUS ANGELS (223) / Southern Cross Waltz (223) ⤷ Michibiki Hikari (191) ⤷ Oresama Rondo (188)

Hard ⤷ GLORIOUS ANGELS (530) ⤷ Dreamer (374) ⤷ Southern Cross Waltz (309) ⤷ Oresama Rondo (308) ⤷ Winter Blossom (293) ⤷ Michibiki Hikari (291)

Expert ⤷ GLORIOUS ANGELS (733) ⤷ Oresama Rondo (528) ⤷ Dreamer (457) ⤷ Winter Blossom (450) ⤷ Southern Cross Waltz (432) ⤷ Michibiki Hikari (423) General Best > Worst Order ⤷ GLORIOUS ANGELS (Expert) ⤷ GLORIOUS ANGELS (Hard) ⤷ Oresama Rondo (Expert) ⤷ Dreamer (Expert) ⤷ Winter Blossom (Expert) ⤷ Southern Cross Waltz (Expert) ⤷ Michibiki Hikari (Expert) ⤷ Dreamer (Hard) ⤷ Southern Cross Waltz (Hard) ⤷ Oresama Rondo (Hard) ⤷ Winter Blossom (Hard) ⤷ Michibiki Hikari (Hard) ⤷ Dreamer (Normal) ⤷ Winter Blossom (Normal) ⤷ GLORIOUS ANGELS (Normal) / Southern Cross Waltz (Normal) ⤷ Michibiki Hikari (Normal) ⤷ Oresama Rondo (Normal) ⤷ Glorious Angels (Easy) ⤷ Dreamer (Easy) ⤷ Oresama Rondo (Easy) ⤷ Southern Cross Waltz (Easy) ⤷ Michibiki Hikari (Easy) ⤷ Winter Blossom (Easy)

[le-songproj]

Hii! I saw the spreadsheet and it's a really cool idea! So, here's the note count for every song on Expert :)

Unfortunately, I only play on Expert but let me see what I can do and maybe I can help with Hard too :)

KIR☆MEKI EMOTION: 712

SONG LETTER: 576

Maji Love 1000% -Rainbow Star Ver.-: 478

QUARTET☆NIGHT: 502

HE☆VENS GATE -Beginning of the legend-: 427

ULTRA BLAST: 647

Maji LOVE ST☆RISH Tours: 621

ST☆RT OURS: 605

Hyper×Super×Lover☆: 717

Beautiful Love: 590

JUSTICE IMPULSE: 472

Visible Elf: 384

Lovely Eyes: 473

Grown Empathy: 444

Feather in Hand: 345

Souai Träumerei: 503

Maji Love Kingdom: 759

Welcome to UTA☆PRI KINGDOM!!: 702

TRUST☆MY DREAM: 551

Ok, Hello World!: 404

Kishi no Kiss wa Yuki Yori Yasashi: 711

Snow Ballade: 244

Ai Wo Bon Appétit ♪: 256

BELIEVE☆MY VOICE: 714

Be the Light: 696

TRIGGER CHANCE: 361

Akuma no Kiss wa Honoo yuri Hagashi: 457

Ready to be a Lady: 344

Rai☆Rai All Right: 462

DESTINY SONG: 567

Kanbiru Arcadia: 561

Torrid Love: 344

Dekiai Temptation: 522

On Your Mark!: 495

Bright Road: 488

BE PROUD: 489

Zettai Reido Emotion: 515

State of Perfection:452

LIFE~with thanks~: 435

Dazzling Darling: 275

You're mine!: 594

Just You: 428

My Cutie... Drive me crazy!: 503

OVER THE TOP: 572

Lyrical Poetry: 574

Here's a carpet with every screenshot, just in case I got something wrong: https://drive.google.com/drive/folders/1ZH_qVTmtD1zEhK3R21eG4TNlRG9PyIGD

Hope it helps!

OMG you are a saint!!! Thank you so much, this seriously helps tremendously!!! All have now been added to the spreadsheet <3

[le-songproj]

New Note Count Additions

All Difficulties ⤷ Ai wo Sasageyo ～the secret Shangri-la～

Hard ⤷ HYPER X SUPER X LOVER ☆ ⤷ Beautiful Love ⤷ JUSTICE IMPULSE ⤷ Visible Elf ⤷ Lovely Eyes ⤷ Grown Empathy ⤷ Feather In Hand ⤷ Souai Träumerei ⤷ TRUST☆MY DREAM ⤷ Ok, Hello World! ⤷ Kishi no Kiss wa Yuki Yori Yasashiku ⤷ Snow Ballade

═══ Check out the Song Spreadsheet here Help us fill out missing information faster by sharing any note counts not listed!

[le-songproj]

New Note Count Additions

Hard ⤷ KIR☆MEKI EMOTION ⤷ SONG LETTER ⤷ Maji Love 1000% -Rainbow Star Ver.- ⤷ QUARTET☆NIGHT ⤷ HE☆VENS GATE -Beginning of the legend- ⤷ ULTRA BLAST ⤷ Maji LOVE ST☆RISH Tours ⤷ ST☆RT OURS ⤷ Maji Love Kingdom ⤷ Welcome to UTA☆PRI KINGDOM!!

═══ Check out the Song Spreadsheet here Help us fill out missing information faster by sharing any note counts not listed!

[le-songproj]

New Note Count Additions

Easy + Normal ⤷ Zettai Reido Emotion ⤷ State of Perfection ⤷ Life ~With Thanks~ ⤷ Dazzling Darling ⤷ You're Mine! ⤷ Just You ⤷ My Cutie... Drive me Crazy! ⤷ OVER THE TOP

This now completes the note counts for these difficulties! All that's left to do is Hard mode~

═══ Check out the Song Spreadsheet here Help us fill out missing information faster by sharing any note counts not listed!

[le-songproj]

New Note Count Additions

Koiiro Sentimental + Baby! My Strawberry! Both songs have just been added to the game! They've now been included in the spreadsheet alongside the note counts for ALL difficulties~

═══ Check out the Song Spreadsheet here Help us fill out missing information faster by sharing any note counts not listed!

[le-songproj]

New Note Count Additions

Easy + Normal ⤷ BELIEVE☆MY VOICE ⤷ Be The Light ⤷ Trigger Chance ⤷ Akuma no Kiss wa Honoo yori Hageshiku ⤷ Ready to be a Lady

═══ Check out the Song Spreadsheet here Help us fill out missing information faster by sharing any note counts not listed!

[le-songproj]

New Note Count Additions

Easy + Normal ⤷ TRUST☆MY DREAM ⤷ Ok, Hello World! ⤷ Kishi no Kiss wa Yuki Yori Yasashiku ⤷ Snow Ballade ⤷ Ai Wo Bon Appetit ♪

Expert ⤷ GLORIOUS ANGELS ⤷ Michibiki Hikari Notes ⤷ All current event songs are now fully filled out!

═══ Check out the Song Spreadsheet here Help us fill out missing information faster by sharing any note counts not listed!

[le-songproj]

New Note Count Additions

Hard ⤷ Ai Wo Bon Appetit ♪ ⤷ BELIEVE☆MY VOICE ⤷ Be the Light ⤷ Visible Elf ⤷ Akuma no Kiss wa Honoo yori Hageshiku ⤷ Ready to be a Lady ⤷ Rai☆Rai All Right ⤷ Destiny Song ⤷ Kanbinaru Arcadia ⤷ Torrid Love

═══ Check out the Song Spreadsheet here

[le-songproj]

New Note Count Additions

Easy + Normal ⤷ Rai☆Rai All Right ⤷ Destiny Song ⤷ Kanbinaru Arcadia ⤷ Torrid Love ⤷ Dekiai Temptation ⤷ On Your Mark! ⤷ Bright Road ⤷ Be Proud

═══ Check out the Song Spreadsheet here Help us fill out missing information faster by sharing any note counts not listed!