Liontamer

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HAPPY 25th BIRTHDAY, GAME BOY!! OC ReMix Releases Free Tribute Album, LEGACY!! July 31, 2014 Contact: press@ocremix.org FAIRFAX, VA...Celebrating today's 25th anniversary of the Nintendo U.S. release of the Game Boy, OverClocked ReMix has released its 49th arrangement album, and its first-ever system-focused album, Legacy: Game Boy 25th Anniversary. Directed by Brandon Strader and Alexandre "Chernabogue" Mourey with nostalgic pixel artwork by The Coop, the album features 16 artists producing 15 arrangements in a variety of styles based on a diverse selection of titles from the legendary portable gaming system. Created by the late Gunpei Yokoi, the original Game Boy and its updated versions such as the Game Boy Color sold over 118 million units. Legacy: Game Boy 25th Anniversary includes tributes to cornerstone Game Boy launch titles Super Mario Land and Tetris, major franchises like Zelda, Donkey Kong, Final Fantasy, Mega Man and Pokémon, as well as many lesser-known Game Boy and Game Boy Color titles with great scores including Batman, Astérix, SolarStriker, and Dragon Ball Z: Legendary Super Warriors. Legacy is available for free download at http://gameboy25.ocremix.org. This album was produced to help promote the music and composers of Game Boy games, was made by fans, for fans, and is not affiliated with or endorsed by Nintendo or any of the publishers or developers of the original games; all original compositions are copyright their respective owners. "It was an honor to work on this amazing musical tribute to the Game Boy with some of the greatest remixers I'll ever know," said director Brandon Strader. "This album brings back a lot of great memories -- I hope you will find it to be a fitting tribute to the Game Boy, several great games, and the legacy of Gunpei Yokoi." Legacy is OC ReMix's fourth album organized by Brandon Strader. Strader is currently directing albums honoring the NES installments of Final Fantasy II and III, directorial sequels to his 2012 album, Final Fantasy: Random Encounter. About OverClocked ReMix Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. ### Preview it: Download it: http://gameboy25.ocremix.org Torrent: http://bt.ocremix.org/torrents/Legacy_-_Game_Boy_25th_Anniversary.torrent Comments/Reviews: http://ocremix.org/forums/showthread.php?t=47540

I only wish there were McRibs available to keep me sustained while I worked on album preparations! Thanks to The Coop, BTW, for getting back to me with the original art files. By the time I got it, I had already done the tracklist and placement edits I needed myself by manipulating the PNGs instead, but I certainly hope it looks like I didn't actually touch it, design-wise. Along with others like PROTO·DOME, The Coop's really the MVP go to for awesome pixel art. I'm also really glad to get Malcos's piece on there. Obscure games, GET!

What's "trouble" for most people isn't trouble for me. Glad to get you in there!

I didn't even notice anything there. Doesn't even sound like you're listening to the correct track. Nothing but smooveness here.

Substantively, that's not your own arrangement, no. The MIDI was the arrangement. We need some level of creative interpretation as well. Check Section 4 here: http://ocremix.org/info/Submission_Standards_and_Instructions

Google Drive could work to host it. Email me a link.

Not sure how we could fit another song onto the album art (no room) at this point. It could be bonus, but I'd need a WAV in the next 12 hours.

Definitely co-signed with Palpable on his critiques on the sequencing, dynamic contrast and repetition. I had a few additional thoughts. The sitar stuff sounded super quantized; zame with whatever twangy, plucked instrument you used at :16. I'm not sure why the bass kick first used at :03 is so boomy, but that should be toned down, not beefed up at :24. The low-end the kick creates just clutters up the soundscape, IMO. The fullest textures from :24-:33 weren't totally clicking with me, partly because there's no real dominant melodic presence due to the mixing, and partly because there also seemed to be a lack of high-end clarity, making everything sound distant. The lead could stand to be more upfront when interacting with other elements. It's a cool concept that needs more substance in the second half, as well as more clarity and balance in the mixing, but it's a cool source tune choice and a promising concept if you're willing to tweak it further, Cody. Definitely keep at it in terms of submitting things, even if it's not a resubmission of this piece. NO (resubmit)

I'm basically in Palpable's camp, only I counted a bit more source. I counted 00-:28.75, 1:08.5-1:37.5, 2:17.25-2:39 (quiet bassline from source paired with interpretive lead, plus counting the tail of the final note from the melody). 79.5 seconds of a 162-second track or 49.07% overt source usage So even being super generous, the source was still incorporated a little less than 50% of the piece, meaning the VGM wasn't the dominant aspect of the arrangement. It's an awesome track, and I'd pass it if the fadeout ending used the E1M1 theme a little more. IMO, that'd be an easy way to use the source one more time and have it squeak by with the source usage being dominant. Awesome piece and a strong performance that just needs a little more usage of the VGM for the win. Hopefully we'll see DPC on the front page in some form; we definitely want more like this! NO (resubmit)

DAT CHERNABOGUE TRAILAH! COMING SOOOOOON!

Ditto for me, so I'll echo Palpable's comments. I thought the soundscape was also on the muddy side, but it did allow the instrumentation to blend together more. If you get the drumkit sounding like it's part of the same soundscape and the writing becomes more creative & less plodding, this would be much more likely to be a winner. NO (resubmit)

djpretzel? He ain't nobody.

Quoted for truth. (Kidding. Locking because the answer's in the first post.)

:37.5-:55.5, 57.5-1:01.25, 1:07.25-1:14.75, 1:16.75-1:53.5, 2:42-3:20, 3:32.5-3:37, 3:38-3:55.5, 3:59.75-4:33.5, 4:42-4:47.5, 4:54-5:03.5, 5:06.5-5:10.25 178.5 seconds of a 5:55-long track or 50.28% The outro arrangement sounded liberal, even though it's mostly a rhythmic change, but even with my conservative timestamping, the total source usage checked out as dominant regardless. Awesome piece. It's definitely weird and not everyone's cup of tea, but it was super smart stuff all the way. Much like Brent's other pieces, it never stays in one place for long. Fun outro from (and a warm welcome to) Brendan as well. YES

As far as I can tell, this claim of plagiarism is unsubstantiated. Just noting for anyone who reads this that there's been literally no documentation online about Ben Daglish's copying/plagiarizing from the band Laserdance. Laserdance's entire catalog is listed on Discogs, and there's no song named anything similar to "Deflector". /shrugs

Yipes. SUPER mechanical timing. As far as the instrument quality, I feel like I'm playing SimCity 2000 on my Macintosh in 1994. Coupled with the timing, this felt like it was already dead in the water. Slightly interesting f-ing around with the textures around the 1-minute mark, but this is literally the melodic line copy-pasta'ed over and over with no variation (except for the chorus) over some mildly evolving background elements, and none of it sounds cohesive. The dynamic curve throughout was basically a flat line. I'm afraid it's pretty far off the mark. NO

Right from the beginning at :09, the guitar sample was very exposed, sounding very thin, static, and unrealistic. Even the intensity/triggering of the hand percussion sounded exactly the same, which isn't possible in real life. Texturally, there wasn't much going on beyond the guitar lines and hand percussion. The light gliding/whistling synth was an OK addition, but that wasn't enough to fully flesh out the soundfield. :37's verse & chorus vs. 1:56's had no significant differences or development in terms of the arrangement. I wouldn't have cut-and-pasted :55 & 2:14's chorus wholesale at 3:55 again either; you need some sort of variation to keep the piece fresh. 2:57 finally shifted into some new territory as far as the composition, but everything was hampered from extremely mechanical sequencing. Chimpa rightly cited a lack of instrumental and dynamic variety as a problem, but if everything sounds this robotically timed, it wouldn't matter what instrumental or dynamic variety was there. Definitely hit up the Workshop and learn what you can about acoustic guitar sequencing, otherwise your further efforts will always be hampered by poor sound quality and a lack of even decent realism. Arrangement-wise, the genre adaptation was there, but (regardless of the soloing later) the sheer repetition of the ideas dragged on. Pretty far from the mark, but one has to start somewhere. Definitely keep at it, and keep looking to broaden your skills through the Music Composition & Production and Post Your Game ReMixes forums. NO

Got a track order yet? Just checking in. I will definitely accept WAVs whenever in order to get the file prep process moving from my side.

Kyle answered a pretty similar issue a few posts above, and Brad's answer would take care of it if your player can't parse the discs field.

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

What did you think? Post your opinion of this ReMix.

I refuse! And special characters are impossible anyway.