Music
Notable songs from this version include:
- MAX 300: Despite the title, this song plays at 150BPM but scrolls at 300 BPM, surpassing "DROP OUT". Usually considered to be the first 10-foot difficulty song (on Heavy), The Heavy step patterns are fairly simple to many people, but the incredible speed takes a toll on stamina and endurance. The steps briefly pause a minute into the song, offering a slight rest, but they quickly start up again with increased difficulty. The maximum combo of the Heavy steps on Single is 573, a number often used in Konami games for the fact that it is loosely based on a Japanese visual pun. (5 is "go" in Japanese, 7 is "nana" - think "na" - and the kanji symbol for 3 can be pronounced as "mi". Hence, "gonanami," or loosely "Konami.") Certain versions of DDR only count jumps as one step in the combo, rather than two. In these versions, the maximum combo will be 555 rather than 573. The Double stepset is much less dense than Single (only 497 combo), but still earns its foot rating with a six-measure 1/8 note run. The artist listed is Ω (Omega), a pseudonym of Naoki Maeda.
- SO DEEP (PERFECT SPHERE REMIX): A trance song from Dancemania FantasiA. It is one of the fastest songs (140 BPM) to have a consistently high density of 1/16 notes. When DDRMAX was first released, many players thought the Heavy steps of the song deserved a 10-foot rating, but it only received a 9 when it was rated in DDRMAX2. On DDRMAX's Groove Radar, this song covers all of the chaos, voltage, and stream levels, with a full combo of 498 or 500 steps (depending on whether jumps are counted as one or two steps), which is higher than almost any other DDR stepchart. The combo for the Standard stepchart is also halved, making it 250 steps, as well as the Light stepchart which was halved, giving it 125 steps.
Read more about this topic: Dancing Stage Euro Mix 2
Famous quotes containing the word music:
“A woman’s two cents worth is worth two cents in the music business.”
—Loretta Lynn (b. 1930)
“Yes; as the music changes,
Like a prismatic glass,
It takes the light and ranges
Through all the moods that pass;”
—Alfred Noyes (1880–1958)
“I fear I agree with your friend in not liking all sermons. Some of them, one has to confess, are rubbish: but then I release my attention from the preacher, and go ahead in any line of thought he may have started: and his after-eloquence acts as a kind of accompaniment—like music while one is reading poetry, which often, to me, adds to the effect.”
—Lewis Carroll [Charles Lutwidge Dodgson] (1832–1898)