4. Plan for (or at least consider) the possibility of your channels being used to generate in-game sound effects while your track is playing. Hypothetically*.
5. Entrants should each pick a specific audio track from the game. All in-game SFX will be regarded as one "track".Not quite sure I'm following this. Is it as Saskrotch says?
kind of a waste to leave out a pulse channel for that.
??
What do you mean by "track"? Are you saying we're able to "cover" the sound effects as a musical submission?
Exactly.
]]>There's only like 4 songs though?
also NES games were usually programmed to take over a channel as SFX were playing and then go back to the song. kind of a waste to leave out a pulse channel for that.
Sorry, I simply meant to keep it in mind while writing, not to not use your second channel or anything drastic like that. If you have your second square channel doing crazy shit it might sound weird to cut it for fx. Basically, I'm saying write for the consoles' capabilities and needs, cuz we might be using it later.
Same goes for midines. If it'll prevent us from being able to port later, I'd rather not, but I'd find it hard to believe there wouldn't be a workaround for that...
]]>4. Plan for (or at least consider) the possibility of your channels being used to generate in-game sound effects while your track is playing. Hypothetically*.
5. Entrants should each pick a specific audio track from the game. All in-game SFX will be regarded as one "track".
Not quite sure I'm following this. Is it as Saskrotch says?
kind of a waste to leave out a pulse channel for that.
??
What do you mean by "track"? Are you saying we're able to "cover" the sound effects as a musical submission?
]]>Oh well, looking forward to hearing the entries!
]]>also NES games were usually programmed to take over a channel as SFX were playing and then go back to the song. kind of a waste to leave out a pulse channel for that.
]]>THE RULES:
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1. Take creative liberties with the songs as you rewrite them.
2. Use straight 2A03 for your composition.
3. Build looping into your track.
4. Plan for (or at least consider) the possibility of your channels being used to generate in-game sound effects while your track is playing. Hypothetically*.
5. Entrants should each pick a specific audio track from the game. All in-game SFX will be regarded as one "track".
THE PLAN:
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I'll find hosting for the comp. somewhere if it turns out well.
IF THE SUBMISSIONS ARE EPIC: I'd also like to make a few hundred legit, physical copies in professionally printed envelopes and distribute them (for free) with nonelectronics packages. Full credit will be given online and on the printed materials. Entering into the compilation would be considered consent to distribute your track.
*IF THE SUBMISSIONS ARE SUPERMEGAHOLYFUCKFACEMELTEPIC: There's a possibility of flashing the new NSFs onto legit SMB cartridges. We'll worry about that when (and if) we get there.
Submissions due by Dec. 31st, 2012. @ midnight in your time zone, don't sweat the hour really.
(examples will be uploaded shortly)
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