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I don't really have much to say here, looks really good

• The fermatas in m6 should be lined up - so you should write the RH as two tied dotted quarters, the second one having a fermata.
• The rolled chord marking in m10 would look better if it was a tiny bit closer to the note rather than the barline, and the one in m32 should have some more space around it.
• If you have multiple tempo/style directions on the same system, it would be nice if they were lined up, provided there's space (like in m2-4 and m13-14).
• I'd be fine writing some of those tied LH rhythms as dotted 8th notes (I'm referring to spots like m18-20), since you use a similar beaming pattern in places like m11 and 15-17. Maybe it's just me but I don't really like the look of having ties in beamed notes, but it's up to you.
• The small fermata in m46 looks like it should be moved just a hair to the right so it's centered over the notehead.

Here...

is a bump for you

Here's another bump. You still around?

Here is another bump for you.

I'm gonna go ahead and archive this one due to inactivity... Please feel free to resubmit when you have the time to go over the changes with us.

[accept]

After some discussion, I can confidently say that I accept this particular sheet. Looks great!

[approve]

All done, I approve, although I would still consider changing up the articulations in the melody starting up at m17 - I guess it's up to you though, and I think it's fine the way it is. I also got rid of that extra natural sign for you in m31, so everything's good to go now.

I made the swing and straight playback work for you. I had to move the straight marking to m25 however since the marking is attached to the beginning of measures - this is fine though because 8th note triplets and 16th notes sound the same in both styles. I also changed the title to match Mezzanine.

- I notate the two straight 8th notes as a duplet instead

Because you're in 4/4 time (as opposed to 12/8), I think a Straight marking is more appropriate here. If you're fine with me changing it, I can hide the "2" and add a small text marking above that says "Straight" with a bracket to show that only those 2 notes should be straight.

[accept]

Looks good! I shall accept now

Yeah I think that sounds good, I wrote out that voice until m17 - I only hear 1 whole note Db in m16 however. I don't hear the Db in m9, although that does sound really nice there.

-I hear something quite different for this main right hand figure that's all over the first two pages.

Spoiler

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[close]

I don't think it's doing the same thing here as it does later on at 21.  At 21 it sounds like there's two layers, one which matches the stuff previously and another which I think is the rhythm you're writing out.
-I think the RH figure moves to an F# rather than an An towards the end of bar 4 (and similar places).  (As in, B F# D# rather than B An D#.)
-Bar 20 RH beats 2.5 and 4 sounds like they should be lower.  Maybe invert the one on beat 2.5 down once and bring beat 4 down an octave?  Also, I think there should be a Dn along with the G on beat 4.
-Bars 32/34 LH the second to last note should be an octave lower.  For some reason it's a slightly different pattern than in 30/32.
-Any reason for omitting the G# pedal along in bars 37-40?
-I'm not really sure how you're deciding which notes should be one two or three notes in bars 45-52 as it seems kind of arbitrary compared to the original. 
-In bars 46 and 50 I hear a change between beat 3.5 and beat 4 whereas you have both chords the same in both instances.

- I hear all those notes, but those are mostly echo notes. I wanted the rising D#-A#-B figure to be the most prominent, since that's what sounds the most prominent in the original (and are technically the only notes that are really played). The only echo notes I included were the D#s, which I felt were the least intrusive notes and help add to the texture without having every single note be present, and without disrupting the pattern.
- The harp voice at m21 is the same as at the beginning, but an octave higher. Is that what you're referring to? It's just one part playing but it has an echo effect. (btw I also tied some of the upper layer LH notes because m22/24/26/30 were impossible to play as written)
- I hear a An in m4, 24, and 28 but every similar spot after that I hear the F# in m8 and 12 and have changed those measures accordingly.
- Beat 4 is actually from the upper violin voice, I included it since nothing else is playing on beat 4 and I think it's helps to increase the tension/drama going into m21. I still hear an F# on top on beat 2.5 there. And yeah there is a Dn, I added it.
- Did you mean 32/36? Fixed
- I forgot to add it, until now
- Some of those chords simply have varying amounts of notes. All I can really say is, I went by what notes I heard and just added them - there's plenty of spots where different instruments are doubling pitches (sometimes at different octaves) but then divide and then double again later. m48 beat 3 only has that one A, but I added an A to m53 beat 3 since that's there too. It sounds kind of monotone in the original, but there the parts do kind of weave around more than it seems.
- It sounds different (I was confused by this when I arranged this as well), but no matter how closely I listen to it, the chords are actually the same. The sound kind of blends with the previous chord because of the reverb, though. Also, m50 beat 4.5 should have a Dn in the middle instead of C so I fixed that.

Edit: For m8 and 12 RH, I actually hear a G# instead of F# there.

With the exception of m35-50, this piece sounds really mesmerizing on piano - almost relaxing but in a weird uncanny way. The original though...

• In m17-18 and 25-26 RH, consider using some crescendos/decrescendos to kind of mimic the panning of the string part. Up to you, but I think it sounds cooler than just a string of normal 8th notes.
• Any reason you didn't include that other voice in m18 RH? You have it in m26.
• In m35-50 RH, it kind sounds like there should be grace notes before certain notes, like beat 3 of 35, beat 1 of m36, beat 3 of m37, beat 1 of m38, and more. It's kind of hard to hear since everything blends in but the rhythm doesn't sound quite like how you wrote it, at least to me.
• Edit: I read what you said about how you picked the rhythms out for this section, and I'm pretty OK with it, but I'd still consider at least adding a few of these extra weird notes in... I mean the piece is already pretty weird, it wouldn't hurt to go a bit further lol
• Some of the beaming is kind of hard to read, like m41 and some similar spots, but I think it makes sense overall... That is to say, I'm fine with it.
• Any particular reason you chose F#m as the key signature? I can't really pick out a key myself, I'm just wondering what you were thinking here.

- I will keep the title as is, then

After talking with SlowPokemon I think I would actually prefer the title "B2: Boilerworks", since the official title is kinda weird and I think the floor number is useful to know for people looking for sheets.

The in-game sound test doesn't label any of the tracks, so it's just "track 4" of the Mezzanine album. It's a weird lazy point of the game that's otherwise really polished. I used the floor number so that if the other floor themes are arranged by people, they could be in the correct order on site if the arrangers used the same system. Going by this method, Rubikium's would be "B2F - Boilerworks." Let me know if you still want to change it, I don't mind at all and I agree that they should be uniform.

I think using the floor numbers would be good - although B2 instead of B2F because that's how it's shown in the game. I'll let Rubikium know, and you can keep this title the same.

I think that makes sense. What about the other points though? (the file in the folder is still the same as before)

That's all I got for this sheet.