During my time there, I was responsible for:

• Level design
  I was responsible for level/chart design for many songs, ranging from 30-second to 90-second trims. Each song had a total of 11 difficulty tiers: 3 easier handheld/thumb difficulties, 2 harder "multi-finger"/tabletop difficulties, and 6 hidden "sub-difficulties", two for each base handheld difficulty tier. There were no numerical difficulty ratings, and every difficulty tier was expected to have consistent difficulty across all songs. This involved very strict difficulty balancing, using various density and complexity metrics for each chart. Sub-difficulties were created from base difficulties with human judgement, identifying important rhythms while reducing difficulty and removing/changing less important rhythms. Its position as a rhythm game with mass appeal also meant a primary focus on vocals, and representing the most prominent sounds in each song, with great attention paid to consistent representation of specific instruments within the chart.

• Level design editing, peer review
  In addition to the peer review process, which everyone on the level design team was a part of, I also eventually became an Editor. This meant that my review notes were treated with priority, and I had the final say in finalizing others' charts that I was in charge of. I also had the authority to make direct edits to the teams' charts as part of the finalization process. This ensured a consistent minimum level of quality across all charts.

• Trim creation
  Full-length songs were required to be trimmed down into 30, 45, 60 or 90-second clips, to be charted. We were not allowed to splice together different sections of the song, so this involved identifying one uninterrupted section of the song that was the most recognizable or compelling, that would also lend itself to a good level structure. This also involved determining the BPM of the song, and if needed, synchronizing BPM changes in live recordings.