‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ * DOMINATION #18 * SID Special Edition! An independent production released live at BreakPoint Easter 2003 in Bingin, Germany _________________________
Domination technical realisation details Intro Fast-Code..............................Ray/Unreal 1st pic...................Jailbird/Booze Design 1st music..............Drax/Crest/VIB/MON 2nd pic.........Jailbird/BD & Leon/Singular 2nd music...................GRG/Shape/[O]/BM (exclusive) Outfit Outfit code.......................Doomed/Padua Outfit graphics..................Sander/Focus Proportional font..............Sander/Focus IRQ loader...........................Hoogo/Padua (de)packer..............................MMS/Taboo Outfit design...................Sander&Doomed
Music (loading order) 'Chordian' - JCH (1990) 'Elementary' - Danko (1991) 'Immortal Flash' - Guy Shavitt (199?) 'Robocop 3' - Jeroen Tel (1992) 'Cyberworld' - Jeff (1994) 'Sanxion Remix' - Ash&Dave (1987) 'Famestyle' - Geir Tjelta (1990) 'Funky' - Stein Pedersen (1990) 'Horizon' - Scortia (1990) 'Cave of Echoes' - PRI (1993) 'Strike Force'-Markus Schneider (1988) 'Dutch Breeze II' - Mitch&Dane (2001) Official Distributors AGod/L64/[O]/DEK, Cactus/Oxyron Centrax/Samar and Variat/Excess.
The Staff Main editor................Jazzcat/Onslaught Co-editor...............Raver/Phantasy/DCS Co-editor...............................Dane/Crest Guest editors.........................Jeff/Crest Goto80/Hack'n'Trade Krill/Plush Merman/POL/Role Sander/Focus BriteLite/Dekadence Puterman/Fairlight Stryyker/Tide Dwangi Iopop/Triad Fade/Onslaught Steppe Cadaver/Covert BitOps Sidder/MSL/ROLE AMJ/Side-B/Byterapers/Extend/Topaz
Guest editors continued................Ready Cactus/Oxyron Taper/Triad -nd!-/Alphaflight Sphinx/Danish Gold Extra special credits to all the guys I simply whipped (maybe too hard) to get this issue out for the BreakPoint party. In particular RAY/UNREAL who did the simple intro and a very short amount of time. Respect gentlemen!! We made it in time!
Greetings, I'm so glad that this magazine has managed to meet it's deadline and become part of the festivities at the BREAKPOINT party in Bingin, Germany. I was idling away on IRC #c-64 around 3 weeks ago and some people were talking about the party and how it was the successor to the MekkaSympo- sium event held in previous years. I was asked if either Domination or Vandalism News could possibly be released at the party, as it would be of significant value for the scene to have a good representation at the event. Scratching my head I started thinking and then not too long after I committed
myself to the deadline of April 18th. This deadline meant a huge amount of work, one weekend in particular I typed around 12 chapters, resulting in a little bit of pain in my wrists from having a repetitive keyboard posture (ahhhhh, the pain we go through in the name of the scene). Apart from the amount of typing I needed to perform in a short period of time; there was still some contributions from guest editors that I still had not received. This meant I had to get the virtual whip out and crack it over their backs (something I hate doing, as I prefer things to be done by people in their own time, this is not a business! We do this for fun!). It seems that almost everyone came through with
their contributions. So, it is done and here we are! Special salutes to all those C64 freaks attending the Breakpoint party, hopefully we're showing other platforms how to party and why our little culture is so damn funky! 😊 Well, what else has been going on? Some people have been asking me where Vengeance is and when will the new edition of Vandalism News be released? It is true; there have been some delays, on everyone's account. Vengeance has some real-life issues he needs to address (including paying his
Internet account) before he can focus on the special 40th anniversary edition. Because it is a special issue, we want to make it different from the rest, so careful planning and more time than usual is needed. But rest assured the wait will be worth it! Currently I've been pondering delaying the RUBY edition until later in the year, maybe at LCP 2003 in Sweden? This would give us ample time for gathering the correct ingredients. Anyway, what about Domination and this issue that is awaiting your scene- hungry mind? As promised, we have delivered a special edition focusing on the SID-chip and C64 music. The theme was an important one for me, as it is based on one of my favourite aspects
of the C64, also I am sure it is of particular importance to other people that have been spellbound by it's beauty. Putting the regular chapters aside, the magazine takes you through a rich journey through C64 music and the SID in general. We have technical tutorials, SID experiences, historical and opinionated articles - all thanks to the handsome list of guests who have come together to make it all possible. The interviews for this edition are made with - you guessed it - C64 musicians. This time we hold the spotlight of interrogation into the faces of GRG, Moppe, Brian and Vip.
In the Demo Review section we have tried to cover the main contributions from the Floppy, Deadline and Forever parties. I lead a selection of individuals who share their opinions on the various demonstrations released. Hopefully, by including more than one opinion, this will give a much wider view on the subject matter, increasing objectivity and also adding more 'back- bone' to my own comments (which lack technical experience). You will also notice in this issue that there is only classic music in the magazine itself. I decided to do this to compliment the C64 SID-chip and honour the music we have produced on this ancient machine. Selecting the table of SIDs was quite a difficult
choice, trying to cover different styles and eras. I know that there will be MANY, MANY compositions that people feel should have been inserted that weren't, but hopefully the selection chosen will please most. Special thanks to Stryyker/Tide, who relocated some of the music for me at a very short notice (thanks Nathan!). Also thanks to GRG for supplying the COMPLETE version of "Funky" by Stein Pedersen, the version on HVSC is not the full song. Besides the magazine itself, we once again have some exclusive software to spread with this production. Make sure to read the very interesting article by "Ready" called "The Superbike Project", who would ever think that
you could control an exercise-bike with your little breadbox! This article supports most of the extra software spread with this issue of Domination. Ready has provided his program and details on how he built this extraordinary device for the C64, check it out! Also included is a picture by Decompracid/Shrine, a Dutch graphician who is becoming more and more active in our scene (special thanks to her and Oswald/Resource who made the displayer for us). To get to this point in the magazine, the reader has had to pass through the intro sequence. This time Ray/Unreal delivers a simple but pleasurable intro.
He programmed the intro under a very tight deadline to make sure this magazine made it to the Breakpoint party. Originally we had some other things planned, but due to a lost email and some bugs here and there, we opted for a more simplistic approach. The intro showcases the graphics of Jailbird/Booze and Leon/Singular and is divided into two sections. GRG provides the only exclusive music in this edition with a multispeed-digi, which proves the ongoing expansion of music ability on the C64. How far we've come! Also spread with this issue is a special colour disk cover that was painted by a non-scener called Nick from Germany (organised by Steppe). He did the pic within several days of notice! Respect!
Change of topic. We have entered a new level of media- propaganda, terrorism and war have never before been manipulated like they are today, truth is distorted and twisted - oh Valhalla, where is our salvation? Isn't it a pleasant feeling to know that this magazine and other productions in our scene show the true opinions of the responsible individuals? No censored cut-down versions, just the raw truth - how it should be! This brings me to an important point I tried to touch on in "The List" - our
scene has sooooooooo much potential, as modern hypocrisy and censorship do not confine us. Game makers - you could program software based on 'ANY' theme, an example I have mentioned before it - we could even make a game where the goal is to hijack aircraft and fly them into large buildings! Well, hopefully you get the point I'm trying to make. But still - we continue down the worn out path (with exceptions) of cute graphics and music and hardcore effects, which is fantastic - don't get me wrong, but why not broaden our horizon? I particularly enjoyed the latest 'Trashmo' by Booze Design called Industrial Breakdown, this is totally different from the 'mainstream' and tries to create a FRESH feel.
Maybe that is why Red Storm by Triad is so well liked by the scene, it carries significant political and philosophical messages backed by images and music that enhance the atmosphere. I am not saying that we have to be POLITICAL to 'get out of the closet', but it is one of many examples that would get us into a routine of having no routine, a path with no destination. Think about it! Change of topic (part 2). Not only has the Domination magazine been busy preparing this disk issue, but we are also involved in two very large online projects.
The first and the closest to my heart is the new Domination website, that will replace the current one (keeping the same URL). This new Domination Online site will feature ALL issues of the magazine online - all chapters - all music. The viewer has the choice of choosing three different ways to read each issue. 1 - Website version (just the standard website view for quick reading). 2 - C64 version (will look identical to each outfit of each issue, with music available. One the main editor recommends the most 😊.
3 - The PDF version (which will be done later down the track, including special screenshots, paper graphics and extra chapters and things to make them MORE than the original). The site is being worked upon by myself and Se7en/Digital Excess and should be online before the next issue. Of course there will be an announcement for it when we have done it. In no way do I want the magazine to over-shadow the disk production, the REAL DEAL (so to speak). The online issues are for convenience and reference purposes. Each disk edition will not be uploaded as an online version until at least two months have passed since it's release. Emphasis on the C64.
The second website is the muchly anticipated C64 Disk Mag Archive. It will contain over 500 MB of Disk Magazines from our scene. Not only that, but it will feature a huge amount of C64 paper magazines online (PDF). Magazines such as Pirates, Shock, Milestone, Illegal, Iguana, Bulletproof etc. This site is being design by Cupid/Padua and Steppe (from Demo Dungeon fame, www.demodungeon.com). Database accumulated by myself and Vengeance/Onslaught. The wait has been long but it will be worth it! Done in the name of saving our C64 history from sickness called 'DeteriorateOldeDiske'.
Well, that's about all I wanted to say for this issue. If you have any comments, donations, suggestions or reactions, we really appreciate them! E-mail: jazzcat@c64.org Snail-Mail: David, PO Box 361, Launceston TAS 7250 Australia. BBS: +1/609-587-4495 msg user #17
Now go forth and enjoy the magazine and keep the C64 spirit alive! Regards, Jazzcat/Onslaught.
Hasta La Victoria Siempre!
* NEWS * Welcome to the informative summary of what's been happening within our underground culture. Here we present news from all the different sectors of the C64 scene. Special thanks to C64 News Portal (http://c64.sk) and to all those that kept me informed. Commercial C64 news can be found in the chapter 'Game Scene' and of course the cracking scene news is located in the chapter called 'The List'.
CIVITAS This group, whilst still productive, has had some ups and downs since the last issue of Domination. To begin with, Rough left the group because he felt too inactive to be part of a scene group, therefore he quit. But some better news, they contributed to the Mail Madness Party #4 and to the Christmas Compo 2002. Their magazine, PUBLICATION, is about to be launched for the 50th time. However it is delayed due to lack of time by BlackJack. Again some sad news rocked their ship
a little. This time long time member and main coder for the group Puterman left them for his fellow Swedes in Fairlight. Not long after this JSL, one of their graphicians left them. He has promised to continue to support them still. On to some more positive things occuring in the group. In February, Lord Nikon released his first music collection called "HOMER'S DAYOUT". Later in March, they regained a good programmer. This time in the form of Nightlord/Aesrude, who joined as first group. Not only a programmer but also a musician.
Their member Chico, provided some new tools. A Hires-Multicolour-Tool, a Hires>Sprite tool and some more. Memberstatus: (supplied by Zeitgeist) ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ BlackJack, Chico, Doc of Desire, Exile, Lord Nikon, Nightlord, Richard, Zeitgeist. http://www.civitas64.de
CREATORS This fine crew have been active as usual. However a huge argument broke out between Mermaid and Jessikkka on IRC #c-64. Some personal attacks caused a frustrated Mermaid to quit the channel in disgust. Unfortunately, the perpetrators are still at large, with Jessikkka keeping things secret. However, several people are still investigating the incident, so the readers will be the first to know about the complete details of this sad incident. On that note, everything else with Creators has been just fine. They competed in the mixed competitions at the Kindergarten 2003 party in Norway with a music by Mermaid and a
demo called "00101010", which will be released publically soon. In February the group released another new demo called "MELWOOD'S JOURNEY". They are currently working on several projects. Some of which include the C64 version of WORLD CHARTS #15 (voting for World Charts #16 has started at: http://www.theworldcharts.de Also Mermaid is still preparing the final touches on SPEED, the cooperation demonstration of SID by Creators, Shape and Onslaught.
Creators are also still advertising for submissions to their online compos. "Creators disk cover compo" - where the participant has to make a 'Creators' disk cover. There is first and second place prizes. "Creators oldskool logo compo" - this one is where the participator has to donate a Creators logo in either single- colour char mode or multicolour char mode (you can only use a maximum of 3 colours and background in multicolour). The maximum size is 320x80 (singlecol) or 160x80 (multicol) and must be saved in an executable format. To enter, email: mermaid_ctr@yahoo.co.uk
Most recently Mermaid released a new preview of her game Abrakadabra and also a little demo called POP BASHING. The latter containing music by Dalezy and graphics and code by Mermaid. Memberstatus: (supplied by Mermaid) ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ BoO, Dalezy, Duck-Hunter, ElekTrond, Kranix, Mermaid, Mr.Death, Mutant, Phase1, Pride, Rune, SLC, Slimer, Solknight, TDS, TheMegaBrain, Thomas, Zimbo. http://mermaid.c64scene.org/creators
ONSLAUGHT The group have been working on a new mega demo, which is currently in the planning stages. Intensity joined Role has a 3rd group. Jazzcat is working on a new Domination site together with Se7en of Digital Excess. He is also still working with Cupid/Padua/Hitmen and Steppe on the Ultimate Disk Magazine Archive. Vandalism News #40 - RUBY Edition, has been delayed because of some real life issues the main editor Vengeance has had to deal with. There have been discussions of releasing it at the Little Computer People party in Sweden.
The crew have also been releasing some first releases still, keeping up with traditions and having some fun. Namely Sceptre of Baghdad Uncut together with their fellow pirates in Triad. Also releasing the cool new preview of Abrakadabra. Fade released a little music-pack which contains 2 SIDs. One by Fade and the other by BlackBeltJones/Ruffnecks. Big news for them this time was the leaving on long-time member TROUBLE. The American sysop has been with the group since the beginning and has wanted to start his own group for sometime. He also disconnected his BBS DEADZONE and has changed handle.
Trouble is still good friends with ONSLAUGHT, unfortunately they do not or cannot support the old boards like they used to in the past. Their main Hack*Phreak guys like Jazzcat and Bizarre gave up for safety reasons long ago. They still have their New Jersey BBS THE BASS PLANET, with Scratcher at the helm. Future releases: ‾‾‾‾‾‾‾‾‾‾‾ Back on Track - music coll. by Shapie By the Way - gfx coll. by Shapie Speed - music collection Past & Present 2 - music collection Nostalgic Visuality - gfx demo
Memberstatus: Jazzcat, Vengeance, Slator, TMM, Almighty God, AMB, BA, Booker, DaFunk, Deev, DJB, GRG, Fade, Fungus, Intensity, Jolz, Kickback, Leming, Macx, Naphalm, Praiser, SounDemon, Stash, TMR, Ultimate Hacker. THE BASS PLANET +1-609-587-4495 FORBIDDEN DEPTHS - ONS NetHQ http://www.onslaughters.org GANGSTA'S PARADISE - ONS + CHR ftp://c64.rulez.org/pub/c64/
PADUA This legendary crew are still creating 8-bit nostalgia. At the Forever Quattro party, Padua released a new music collection called Sadism 3, containing SID music by Sad supported by a nice interface by Lord Hypnos and graphics by Cupid, Vip and Alias Medron. They competed in the Beastie Boys Intro Competition with a intro. Which should be released by now. Whilst on the subject of parties, they released the official invitation on C64 for the big BreakPoint party, which is the successor of the Mekka Symposium
series (and the party where this edition of Domination was released). Cupid is actively working on several websites at the moment. Memberstatus: ‾‾‾‾‾‾‾‾‾ Aggressor, Alias Medron, Anonym, Case, Chaotic, Cupid, Hoogo, Leonardo, Lord Hypnos, Lubber, Sad, Unlock, Vip, Waz, Weasel. http://www.padua.org ftp://ftp.padua.org/pub/c64/ http://c64.cc
PEOPLE OF LIBERTY (POL) This group have proven they can remain active in releasing productions and internal functions. In February they released the 6th edition of their NTSC/PAL magazine SCENE WORLD together with the NTSC group PSW. New members joined such as Richard as a musician and CBMHardware as a coder, graphician, and of course - hardware wizard. The only bad news for them since the last issue of the Domination mag is Satyr leaving the scene and the group.
SCENE WORLD #7 should be out any day now, or even as you read this. Don't forget to support them by filling in the online votesheet at - http://www.sceneworld.c64.org Memberstatus: ‾‾‾‾‾‾‾‾‾ CBMHardware, Crome, Der Fuchs, Drake, Megatron, Merman, Nafcom, Phyrne, Psychodad, Richard, Spatz, The Overkiller, Truss, Warmaus. http://www.pol-c64.de
RAIDERS OF THE LOST EMPIRE (Role) One of the groups I have published as a regular in this chapter. Always having internal activities and external output. They were quite active on the diskmag- front by producing and releasing Rock & Role #27 and #28. They also released the 27th edition of ArachnoPhobia together with Spiders-Crew. On the membership-front, they gained some new members with Intensity joining as 3rd group as musician His friend from the same township called Wiesbaden called Ashkan joined also as a graphician.
Some of us cannot live without the scene, maybe one of those people was Starfighter - who left the scene and Role but has now rejoined both. Unfortunately though, Satyr left the scene and hasn't yet returned. Role and Anubis announced a new party called the Primary Star. It is set between the 8th and 10th of August in Reusel, The Netherlands. More information on their website soon. Holy Moses is still working on his SCENE QUIZ game. He has 50% of the 1500 questions and answers needed for the project. If you wish to help, email: jtr@protovision-online.de
Lastly, they kicked Mediator from the group due to no contact. Memberstatus: ‾‾‾‾‾‾‾‾‾ Airwolf, Ashkan, Bugjam, Checky, Commander, Commander, Faayd, Factor6, Faith, Franky, Glare, H-Bloxx, Holy Moses, Icegirl, Isildur, Intensity, Leo, Low, Mac, MCC, Merman, Mist, Ochrana, Oray, Psychodad, Rude, Shake, Sidder, Sign, Simple, Spider, Starfighter, Stirf, Swayze, TDB, The Pro, TLH, Torsoft, VIP, Woodraf, Zak, Zuber. http://www.role64.com http://www.role.c64.org
SAMAR PRODUCTIONS (Samar) One of the more popular and still active groups from Poland has displayed some more output to the scene town. They released two music collections, namely SID VICTORY II which is a package of relocated game music and SCARLET's MUSIC COLLECTION. Also from them was the 5th edition of their Polish language-only magazine ENHIRIDION. JSL left them as well as his other groups to start in a new group. He is still a member of Protovision, the software and hardware producing label.
Apart from the loss of membership they did gain three new members. Ivan joining as a musician, Risk0 as a graphician and Raf as a tool-coder. In the near future we can expect their official group webpage to be online. Memberstatus: ‾‾‾‾‾‾‾‾‾ Alias Medron, Aristo, Azgar, Bzyk, Centrax, Isildur, Ivan, Jammer, MacArthur, Phobos, Ramos, Raf, Risk0, Viper.
Other news: ‾‾‾‾‾‾‾‾ * FACTOR6 released his new music collection called 'Rockin Factor'. It features just over 30 musics! * DEKADENCE have released two demos namely 'Xmas2002' and 'Chillout'. There should be a new demo from them at the BreakPoint party. Memberstatus: Almighty God, Britelite, Chaj, Jaffa, Maza, Phase1 aka Kukslurkaren, Player One, Ricky Martin, Sanity, SounDemon, Spiikki and Tribe. http://www.dekadence64.org
* BRONX are soon going to release their 2nd edition of '64 TIMES' with a new outfit and some chapters already finished for quite some time. They are currently organising the 7D3 Party. They released 'Hydrogen's Music Collection recently. Memberstatus: (supplied by Hydrogen) Datura, Endo, Hydrogen, Skate, Turbo, Vigo. http://www.bronxwhq.org * After two years or more of development time, the Commodore One production has started. It will start selling on May 5th in Germany and the Netherlands. Read more on the website- http://www.c64upgra.de/c-one
* NOICE recently updated their website with all their C64 releases, including a demo never before released called 'Get Up'. http://www.noice.org * OXYRON released the 5th edition of their cool disk magazine ATTITUDE. Issue #6 is planned after June. Memberstatus: Cactus, Fanta, Graham, RRR. http://www.oxyron.net http://attitude.oxyron.net * Fenek/Arise will code the first music demo for MULTISTYLE LABS, which will feature the work of Fenek, Jammer Sidder and Smalltown Boy.
* Danzig/Excess joined NOSTALGIA as a cracker and ntsc-fixer. Memberstatus: (supplied by Mr.Alpha) Alwyz, Antitrack, DaNDeE, Danzig, Didi, 6r6, Mr.Alpha, R2D2, Scare, TMR, Zapotek, Zyron. http://www.nostalgia.c64.org * The new homepage of ANUBIS has been launched. Its still under construction but can be reached at - http://194.228.105.194/drake * TIDE released 4 disk sides of koala pictures by Tomz. They are working on The Beergarden issue #10 Members: Antoman, Icelad, Pad64, Stryyker, Tomz.
* SYNC editor bugs-fixed Anyone know the editor bugs after loading a tune? Stryyker has better implemented some of DJB's tweaks and removed redundant stuff. It will now also work with most drives including IDE64 and device numbers 8,9,12 etc. To get a copy of this nice music editor with docs, simply send an email to - stryyker@onslaughters.org * RESOURCE are working on a new demo which will probably called HOT ROD, this is a serious project like Void or Soiled Legacy was. It will contain effects never seen before. Bubis will be doing most of the effects for the demo. It is hoped to be completed by October 2003 as Bubis' wife is expecting a child then!
* Steppe and YodelKing's Rip compo! You think you're a good coder/ripper? Here's your chance to prove your skills against other coders/rippers! We have a list of C-64 products with tunes that are currently missing from the High Voltage Sid Collection. The list is compiled from stuff that fans have requested, and so far NONE have managed to rip these requests. Some of the tunes are in HVSC already, but they don't work with Sidplay2, a real C64 or there is sub-tunes missing. The best three rippers of course get some yummy prizes in the form of various original games, books and Instant Remedy's C64 remix CD. Go to - http://www.demodungeon.com/ripcompo
* FLASH INCORPORATED have updated their webpage. Some re-designing and extra features. Check it out - http://www.flashinc.c64.org * F4CG finally launched their website. It is located at http://www.f4cg.com Walker is urging all current and ex- members to contact him at - walker@f4cg.com * Vincenzo/Molecoola joined up with the Hungarian group Singular. * Wrath Designs memberstatus: Ed, Joe, Stash, Oxidy, Djinn, Clone, Microgroover. http://www.wrathdesigns.net
* TRIAD memberstatus: Jerry, King Fisher, Cash, Tao, Taper, Twoflower, Iopop, Aton, JFK, Killsquad, Quorthon, Ibanez, Wiggen, Con, Sailor, Mindflow, Trick. http://www.triad.c64.org * CREST memberstatus: Crossbow, Cyclone, Dane, Deekay, Drax, Graham, Jeff, Mermaid, Mitch, The Syndrom, Xayne. http://w3studi.informatik.uni-stuttgart .de/~toegelrd/ * REMEMBER memberstatus: Derbyshire Ram, Fatman, Hok, Icon, Intruder, Jack Alien. http:///www.remember64.de
* EXTEND's UNCOVERED Cover-Site is now launched. It contains printable covers by Duce, Electric and Junkie. http://www.asiakas.lumedia.fi/extend/ uncovered * OBSESSION, the cover-group, gained new members. Cuc and Flash joined as cover designers. Serio left Authority (thus Authority died) and joined as cover designer. Memberstatus: (supplied by Magnate) Magnate, Cuc, Flash, Serio
* FORGOTTEN IDEAS disk cover compo Forgotten Ideas is a competition organised by Magnate/Obsession. It is a disk cover compo which has a deadline of the 31st of May. Include cover, name, author, date and name of the compo 'Forgotten Ideas'. 3 copies of the cover should be sent to: Mariusz Mlynski os. Pawlikowskiego 9a/3 44-240 Zory, Poland. For more details check the webpage - http://covercompo.nostalgia.pl
* Posted by Dr.J/The Force on c64.org "Hello guys, I would like to show you nice C64 intro in flash technology. I tried as much as possible to do neat C64 elements like scroll, sprites, etc. This is my contribution to the Israeli C64 scene. Enjoy it!" http://www.maccabiherzeliya.co.il/amra m/c64.html#holon * PLANET ALPHA by ALPHAFLIGHT '70 has been given a nice facelift. Seven Up has provided a fantastic new Flash experience for C64 lovers. Check it out - http://www.afl1970.net
FLOPPY 2003 DEMO: 01. Industrial Breakdown/Booze Design 02. Loaded/Fairlight 03. Phases/Crest 04. We/Lazer/Fairlight 05. Harmonious/Triad 06. THC Outlet/ZYZ 07. Hack'n'Trade demo (beta version) 08. Up In Smoke 2/S.W.A. 09. C64 Love 2/Macx 10. FLPU/CMP+Johey MUSIC: 01. Dane/Crest 02. Goto80/HT 03. Zyron/F4cg 04. Yodelking + Ultomten
05. Ed/Wrath Designs 06. Zzap69/Noice/No Name 07. Poison/Oneway GRAPHICS: 01. Poison/Oneway 02. Dane/Crest 03. Joe/Wrath Designs 04. Twoflower/Triad 05. Spot/Triad 06. Oxidy/Wrath Designs 07. Jailbird/Booze Design 08. Blackdroid/Wrath Design 09. Skyhawk/Laxity WAY OF THE EXPLODING FIST COMPO: Blackbelt of the year is JUCKE/G*P.
XMAS 2002 DEMO COMPETITION 01. Xmas 2002/Cybernator & Shake 02. WOW Xmastro 2002/WOW 03. Xmas2002/Dekadence 04. Snata/Cosine 05. Gift Craze/Richard/TND 06. Xmas2002/Decomparacid/Shine 07. KinkyClaus/Nim/Censor Design 08. Dancing Santa/Civitas 09. Silent Night/Stefano Rognon
KINDERGARTEN 2003 (mixed compo) DEMO: 01. 00101010/Creators 02. Alive/SCC 03. LDA #$00 MUSIC: 02. Frequent/Ephidrena ??. Mermaid/Creators
FOREVER 2003 DEMO: 01. Water/Aesrude 02. Ditherer/Civitas MUSIC: 01. CreamD/DMAgic 02. Factor 6 03. PCH/Unreal 04. Sidder/MSL/Role 05. Orcan/React 06. Smalltown Boy/MSL 07. Sad/Padua/Anubis 08. Richard/Civitas/TND 09. Intensity/Onslaught/Cosine/Role 10. Vincenzo/Singular/Molecoola Luca/Fire 11. DaFunk/Onslaught/Tempest 12. Wotnau
Gerard Hultink 13. Dalezy/Creators 14. Mankeli 15. ABD 16. Pater Pi 17. Ed/Wrath Designs GRAPHICS: 01. Jailbird/Booze Design 02. Leon/Singular 03. Joe/Wrath Designs 04. Oxidy/Wrath Designs 05. Sad/Padua/Anubis 06. Exile/Anubis 07. Ceti/Anubis C64 INTRO: 01. 1k Intro by Lord Hypnos
MIXED REALTIME COMPO: 01. Music - PCH/Unreal 02. Intro - Padua 03. Music - TDM (Spectrum) 04. Intro - Bugjam 05. Intro - Factor 6 (Spectrum) TUM 2003 GRAPHICS: 01. Leon/Singular 02. Joe/Wrath Designs 03. Dwangi MUSIC: 01. Heinmukk/Salva Mea 02. Dalezy/Creators 03. Gerard Hultink 04. Ed/Wrath Designs 05. HMMurdock/Tropyx/Draco/Cascade
DEADLINE 2003 DEMO: 01. Anyone/Crest+Fairlight 02. 14 and Life/Fairlight MUSIC: 01. Dane/Crest 02. Maktone/Fairlight 03. Insider GRAPHICS: 01. Vodka/Fairlight 02. Joe/Wrath Designs 03. Dane/Crest 04. Oxidy/Wrath Designs
DEVOTION COMPO PICTURE: 01. Risk0 02. Odyn 03. Cuc 04. Isildur/Samar 05. Isildur/Samar 06. Daf/Samar 07. Spider 08. Blemish/Tropyx 09. Blemish/Tropyx 10. Fade/Onslaught 11. ALN LOGO: 01. Pardon 02. Scarab/Samar 03. Isildur/Samar 04. Blemish/Tropyx
05. Azgar 06. Rat 07. Azgar 08. Cactus/Oxyron 09. Ramos/Samar 10. Spider 11. ALN 12. Cactus/Oxyron 13. ASL 1 BLOCK INTRO 01. Ninja/The Dreams 02. Fenek/Arise 03. Raf 4K INTRO: 01. Cosine 02. Viper 03. Viper
MUSIC: 01. Smalltown Boy/MSL 02. Jammer/MSL 03. Murdock/Tropyx/Draco/Cascade 04. Pontonius 05. Pontonius SAMPLE: 01. Apidya+Samar 02. Reiter 03. Ramos/Samar 2-SID: 01. Phobos/Samar
TOWEL 2003 MUSIC: 01. Vincenzo/Singular 02. Gargaj/Coolphat 03. Vincenzo/Singular GRAPHICS: 01. Leon/Singular 02. Leon/Singular 03. Leon/Singular FYANICA #9 C64: 01. Leon/Singular 02. Poison/Singular 03. Vincenzo/Singular 04. Vincenzo/Singular
Upcoming parties: Mail Madness Party #5 1/5 http://www.mr-museum.de ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Vintage Computer Festival Europa 3/5 http://www.vcfe.org ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Commodore Meeting in Vienna 17/5 http://members.chello.at/wiener.freihe it/c=meeting.htm ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Murphy's World Party 2003 29/5 http://www.murphys-world.de ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Vision 2003 6/6 http://www.vision64.de.vu ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Back In Time Live - Germany 21/6 http://www.backintimelive.de
Symphony III 4/7 http://www.madwizards.org/symphony ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ SceneCON 4/7 http://singularcrew.hu/scenecon ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Monastery Party 2003 18/7 http://www.sweb.cz/monastery_party ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ LCP 2003 25/7 http://www.lcp.c64.org ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ North Party 8 1/8 http://www.north.mov.pl ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Primary Star Party 2003 8/8 http://www.siteiscomingsoon!!! ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Classic Gaming Expo 2003 9/8 http://www.cgexpo.com
Classic-Computing 2003 6/9 http://www.classic-computing.de ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ In this hardcore blitz of editing to make certain Domination #18 gets a release at the BREAKPOINT party this Easter, I hope to have covered most of the important happenings. If not, please hang me. Until next time, Jazzcat/Onslaught.
Bombing for peace... is like fucking for virginity...
THE LIST Performed by the only master of law Feel welcomed to The List. This chapter documents and charts cracking groups and their first releases based on a point system that has been in place for many years. The Domination uses a system based on Psychobilly/RSI's concept used in The Pulse magazine of early days. Our points system is updated for the current scene and has been edited by Jazzcat since 1993.
What is a first release? A game that has never been released into the scene before - new or old is irrelevant. The rules are quite clear in both Vandalism News #39 and Domination #15 - Crack Edition Special. For the most precise list of games, the groups releasing them, and the year they were released in, is available in Domination #15 or on my group's homepage, Forbidden Depths - http://www.onslaughters.org I advise that groups or individuals that are not 100% certain their cracked "first release" was already released or not, check this list, however, keep in mind it is only from 1991 - 2000.
To count your first release in The List, it must be uploaded to one of the following - Deadzone +1/215-744-5885 The Bass Planet +1/609-587-4495 Gangsta's Paradise ftp://c64.rulez.org/pub/c64 The Digital Dungeon ftp://ftp.scs-trc.net/pub/c64 Banana Republic ftp://ftp.elysium.pl
FIRST RELEASES November 1st 2002 to March 31st 2003
NOVEMBER: EXCESS (Ger) Super Pac Twins (2.6) Snacks 4 Snakes 100% (1) (C) PTV Poing (2.1) (C) The New Dimension Capture II (2.3) (C) S-X64 & TND Blood 2 Preview (0.3) (C) AOD TRIAD (Swe) Lost Robot 2 Prv (0.5) (C) Sven Capture II 102% (1) (C) S-X64 & TND Notes: Blazon released the 100% version of POING. But EXC keep points as the 'first releasers'.
DECEMBER: ONSLAUGHT (Aust, Ger, UK) Sceptre of Baghdad Uncut (3.8) (C) JW TRIAD (Swe) Sceptre of Baghdad Uncut (3.8) (C) JW Frogger Clone (2.1) Chopper 1 (2.1) Tron (2.2) JANUARY: ONSLAUGHT (Aust, Ger, UK) Abrakadabra Prv V2 (0.9) (C) Mermaid
* NO RELEASES FOR FEBRUARY * MARCH: AXELERATE (Pol) Zdeba Puzzle (2.6) (C) Samar
November - March First Release Chart Rank: Group: Points: Releases: ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ #1 TRIAD 11.7 6 #2 Excess 8.3 5 #3 Onslaught 4.7 2 #4 Axelerate 2.6 1 New full games - > 9 New game previews: - > 3
Comments: Not too many releases since the last edition of DominatioN, but still, nice to see the C64 still alive with four cracking groups lending their efforts. The best games of this period were "Sceptre of Baghdad Uncut" from Onslaught and Triad. It is by the original coder Jon Wells and features a complete walkthrough, "Zbeda Puzzle" from Samar is quite a nice full-sider, containing ripped, but nevertheless, cool graphics. I also was happy to see the final versions of Capture II and Super Pac Twins released.
Oldie Cracking Group update ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Several groups are participating in recracking the old games and making them much better than ever before. Groups like Remember, Nostalgia, Onslaught Antiques, HF, UDI and more. Since the last edition of this magazine, an incredible amount of games have been released. I decided to include the lists of what was put forth, respect to the producers! Enjoy...
REMEMBER The Running Man +2D Phobia +7 HID Smash TV +8 PD Mini Golf +2 (Magic Bytes/Capcom ver.) Snokie +4 D Moon Buggy +2 D Gemini Wing +8 HPD Dark Tower +6 HD Barbarian II (2nd ver. msx from tape) Tales of the Arabian Nights +5 HPD The Castle of Dr. Creep +2 PD Cliff Hanger +2HD The Train +12 MD S.W.A.T. +1 PD JR Pac Man +4 D Indy Heat +7 PD Holywood Poker Pro +1 ID Frankie Goes to Holywood +1 ID
I-Ball +14 PD I-Ball II +8 D Aftermath +5 D One man and his Droid Tomcat +6 PD Starquake +5 PHD Silkworm +5 ID Psycho Pigs UXB +9 D Hellfire +5 Omega Races +2 D
NOSTALGIA Total Exclipse +4 D Survivors +4 D Breakdance + HD Who Framed Roger Rabbit +8 D Inside Outing + D Fairlight +2 D Outrun U.S. + HD Bobby Bearing + D Finders Keepers +2 D
HOKUTU FORCE Fist 2 Tournament +3 Millenium Warriors +8 P Raptor + P Diamond Maze + D Motor Mania + Shamus 2 + Cavelon + Mad Mummy + solution Moon Buggy + Galaxions + High Noon + Kong + Snokie + HS Storm Warrior +5 D Aztec +E (also included is the rare Italian version 'La Tomba Azteca') + solution Planet Rover +
Zodiac + Pogo Joe +2 Probe Y +6 R-Nest + McDonald Land +5 D Commando +7 D Space Invasion + 7 D A Journey to the center of the Earth + Soldier of Fortune + Neptune's Daughters + Time Soldier +7 D DNA Warrior +10 D
UDI (Underground Domain Inc.) (NOTE: all games NTSC/PAL fixed) Operation Wolf +4 Super Sprint + Last V8 +3 Tag Team Wrestling + Batman The Capted Crusader + W.S. Baseball (aka Game Set Match) Action Biker + Basket Master + Subsonic + Anarchy + Rampage + Rock 'n' Wrestle +
FAKE GROUPS ‾‾‾‾‾‾‾‾‾ Within the cracking scene, an interesting role is played by the fake groups. Behind these groups is either a genuine cracking group or an individual(s). They release their games in order to release only the 'quality' stuff under their real names. And in some cases, they release games to rag on other groups or other purposes. Here is a list of most of the games first released by fake groups since the last edition. Enjoy...
BLAZON Poing 1.4, Spacehawk, Robotics, Rambo IV, Mario '99 Prv, Labyrinth, Mega Poing, River Races Prv, Minesweep 2002, Simon 1k, Dmaze 1k, Cybernoid 1k, Star Invaders 1k. URINE Ejac a Piss, Pudding Breath, Smaller Bigger, Super Seven. LAP DANCERS Vogel vs Schiff, Real Scener III, Power of Recollection.
FORTRESS Don't Get Angry Man, Dimension-X, Baywatch Nights, Big Momma, Big Momma 2, Domine. ALDI Ejac a Race.
THE 2002 YEARLY LIST ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Another year of games on C64, another year of first releases. It doesn't seem to end. Presented here is a complete list of the first releases made by groups during 2002.
CIVITAS (Ger) Heavy Metal Deluxe Prv (0.3) (C) TND DEMONIX (USA, Aust) Bomb Chase Prv 2.1 (0.4) EXCESS (Ger) Busta Prv (0.7) BOFH - Servers under siege (-) bugged Heavy Metal Deluxe (2.4) (C) TND Ouch II (2.3) (C) TND Heavy Metal Deluxe 1.5 (-) (C) TND Heavy Metal Deluxe 1.6 (-) (C) TND Mine Sweeper 9000 (2.3) (C) Samar Metal Warrior 4 Prv (0.9) (C) Cadaver
Metal Warrior 4 Prv V2 (0.9) (C) Cadaver Bomb Chase Prv V2.1 (0.4) (C) TND Snacks 4 Snakes 75% (2.2) (C) PTV Megamania 64 (2.0) )C Padua Cascade (2.1) (C) Psion Computers Cherry Dash (2.3) (C) TND Galaxys (2.1) (C) TND Bomb Chase Final Sales Version (-) Bomb Chase Proper Version (2.5) (C)TND Poing (2.1) (C) TND Star Blazer (2.1) (C) TND Super Pac Twins (2.6) Snacks 4 Snakes 100% (1) (C) PTV Capture II (2.3) (C) Studio-X & TND Blood 2 Prv (0.3) (C) Arts of Darkness
ONSLAUGHT (Aust, Ger, UK) Kill Him Prv (0.3) Word Hunt Prv (0.3) Jim Slim Prv V2 (0.9) Blocks (3.5) (C) PTV Monsters (5.5) + ntsc fix (C) PTV The R-Type Prv (-) BlockMan 64 Prv (0.9) Cave Wizard Prv (0.8) Beep Boy Prv (0.9) Sceptre of Baghdad Uncut (3.8) (C) JW ROLE (Bel, Pol, Ger) Cats and Rats Prv (0.3) (C) Low Bit Soft Bomb Chase Prv (0.3) (C) TND Astrostorm (2.0) (C) Mermaid Tetris 1k (2.0) (C) Breeze
TRIAD (Swe) BOFH-Servers Under Siege (2.5) Alea Jacta (3.5) (C) Noetica Devil's Gallery (3.2) (C) Shift Editions Heli Jump (4.3) (C) Sprites Linko (3.4) (C) Visual Delight The Run (3.4) Bounch Prv (0.2) (C) Neptune Lost Robot 2 Prv (0.5) (C) Sven Capture II 102% (1) (C) Studio-X & TND Sceptre of Baghdad Uncut (3.8) (C) JW Frogger Clone (2.1) Chopper 1 (2.1) Tron (2.2)
2002 Yearly First Release Chart Rank: Group: Points: Releases: #1 EXCESS 33.5 23 #2 Triad 32.2 13 #3 Onslaught 16.9 10 #4 Role 1.0 4 #5 Demonix 0.4 1 #6 Civitas 0.3 1 Comments: EXCESS take the top spot just ahead of Triad. Coming in third is Onslaught. Triad appears to have released the most quality stuff. Minimum releases and maximum points. Until next year 😊 Jazzcat/Onslaught.
GAME SCENE Welcome to our regular commercial feature for the C64. This section covers the development of new C64 games and other miscellaneous material. Special thanks to MacGyver/DMA/PTV for the proof-reading and ammendments. On with the retro-rampage!
PROTOVISION ‾‾‾‾‾‾‾‾‾‾ Mermaid and TMT were kicked from Protovision for inactivity. They have been invited to return to the group once they become active again. JSL left Samar and Civitas, so he's currently in Protovision only. He is still open for painting graphics for these groups though. JSL would like to join a high-quality- demo-group. Email offers to: jsl270374@hotmail.com A new 4-player game release, TEAM PATROL, was released. It is a fast racing experience. Speed is gained by wiggling the joystick and skilled jumping is required to withstand the
competition. Of course it supports the Protovision 4-player interface. PAC IT: World 1 of PAC IT, the ultimate Pacman for up to 4 players, is 90% complete (18 out of 20 levels are designed). New screenshots are available at Big User's homepage: http://www.zap.to/protovision- previews (in German language only) METAL DUST: There was a lot of progress concerning the last two levels. Status: Level 3: 100% Level 4: 90% If you want to support the first game for the SuperCPU and own a homepage
at the same time, install the Metal Dust button (88x31 Pixel) onto your website. The button should link to - www.zap.to/protovision-previews and this is also where you can pick it up. This campaign will end a few weeks before the release of the game. If you want to take part, send an email to biguser@gmx.de - then your full name and your website address will be published in the endsequence with the list of supporters. REEL FISHING: DreamLoad has been installed in the game. JSL got a big task for doing graphics. Some parts from the fishing- part have been recoded.
HORIZONTAL SHOOT'EM UP (name to be announced) SPRITE & CHARACTERSET GFXIANS WANTED! Protovision is looking for graphical support for their shoot'em up project coded by Andre Zschiegner. Mostly needed are all kinds of small enemies as well as big bosses with animation phases no larger than 5 sprites in width. If you are interested, mail some examples of your work to biguser@gmx.de. If 10 people would contribute 5 small enemies each, there would be enough sprites for the whole game. The graphics should be similar to the Manfred Trenz style. One graphician has been found already.
The Vision Party becomes more popular every year. Meet the PTV-crew live and stay informed through - http://www.vision64.de.vu Latest news from Vision is that Markus Siebold (musician for Turrican 2) and the coder of Hermetic may attend the Vision party this year! Courage is currently coding an invitation file on C64. It should be available after the BreakPoint party. PTV was changing servers. You may have had problems with their email addresses or homepage. Not anymore! Now you can even find them in two locations on the net: www.protovision-online.de
www.protovision-online.com Commodore Scene has reduced their prices due to a new production method. The magazine is now printed home-based. Free copy of ICE GUYS with every IDE64 board. A fixed to run on IDE - version of Ice Guys will be shipped with every order. Printed manual for IDE64! 18-paged printed manual is included with every order - exclusively from Protovision. If you have the drive and want the manual, you can order it for only 2 Euro incl. shipping within Europe.
XEP Interface. A XE1541 cable is one way of transferring data between C64 and PC, but a slow one. XEP is faster but requires a 1541 with parallel cable. Now available from the PTV-shop. LOTEK64 #05 is out and can be ordered from Protovision. The PDF-version can be downloaded from www.c64-mags.de For information about Lotek64, contact Lord Lotek: commodore@aon.at The Protovision Pricelist notefile has been updated and can be downloaded off their website. Protovision has decided to contribute to the prizes of STEPPE & YODELKING RIP COMPO, to make the tiring work
of ripping all those hard sids more enjoyable. Here's the deal: Protovision will pay 20 Euro cents for every point you'll aquire in the compo. For every ripper, not only the first one or the best free. In addition the winner of the compo will receive 5 Euros on top of that! Of course the money is meant as a token for the Protovision online-shop, so every cent you earn with your rips has to be spent on Protovision articles. For more information visit - http://www.demodungeon.com/ripcompo Bugfixed versions of SNACKS 4 SNAKES and CASCADE are now available from the Protovision homepage.
Protovision member-status: Andre Zschiegner - Code Big User - Graphics, code CKX - Code Courage - Code Fenek/Arise - Code GRG/Shape/Onslaught/BM - Music Jak T Rip/DMAgic - Code, organising JSL - Graphics MacGyver/DMAgic - News, html edit Mr.Musique (Richard/TND) - Music Poison/TLD - Webmaster, html edit Sputnick/Civitas - Code The Blue Ninja - Music, code Thunderblade - Code, organizing, html Yogibear/Samar - Music
Future: Metal Dust (SuperCPU game) Pac It (4-player-pacman) Wings (SuperCPU OS) Abrakadabra (action) Reel Fishin' (a fishing economy sim!) An updated version of Bouncy Balls will be released through Protovision someday. * VISION PARTY 2003 information: It's official: Vision 2003 will take place from the 6th to the 9th of June. The location this time has changed.
When? Where? How? Start: Friday, 6th June 2003 - 16:00pm End: Monday, 9th June 2003 - 14:00pm Entrance fee: 20 Euro (inc. breakfast buffet) Place: Parish Hall (Gemeindehaus) Uetersen, near Hamburg, Ger. Misc Stuff: - Meet Protovision in person - See exclusive previews of C64 games - Breakfast buffet for free - Free beer (Carlsberg Ice) while stock last (we have at least 2 palettes) - Big screen with video projector - Easy to reach by car via highway A23 (see the map on the Vision homepage) - Shuttle service from Pinneberg
station or Tornesch station by appointment only. - Room for about 40-50 people. - Seperate sleeping room. - Currently there is some negotiation about using the showers of the gymnasium nearby. - Drinks (Cola, Fanta, MezzoMix, Apple Juice and Selters) and chips as well as sweets can be bought for reasonable prices (if you have a special request, simply email Courage!). - Dinner is going to be ordered from various suppliers (Pizza, Croque, Fast Food etc). - A Burger King is just a 10 minute drive away, also shops and snack bars etc. are nearby.
Competitions and rules: - Demo, Game, Graphic, Music - all must be executable by the "RUN" command, no further restrictions!) * - Most-Useless-Tool-Compo (is a fun compo, the more useless the program the better). ** * Why are there no restrictions? The visitors of the Vision Party have enough knowledge to differentiate between a demo on the stock C64 from the one made on C64 with SuperCPU and to estimate the effort required to complete each project so everybody should do what he can do best. No matter if its digi, quattro-SID, koala graphics or IFLI, Basic or
Assembler, everything is allowed - the aim is for everybody to have fun! ATTENTION! The following hardware will be available at the party (any other hardware has to be supplied by you): - C64 (new and old SID) - SuperCPU - CMD-HD - CMD-FD2000 - CMD-Ramlink - Action Replay - Final Cartridge - Also: Flash8, C128, C65, Retro Replay and so forth by appointment only. ** If you can't be at the party in person to demonstrate how useless your tool is, please include a short
description of what it can or can't do! 😊 DEADLINE: Visitors can hand in their contributions directly before the competitions. Via snail-mail the disk has to arrive by Saturday, 7th June 2003. D64 files can be emailed and should arrive by midnight on the same Saturday. Competition Prizes: At the moment we can't tell you about the prizes but Courage is talking to various sponsors hoping for some good prizes. It will be worth it for sure! Timetable: The timetable is not completed yet, but the following events are planned:
- PROTOVISION-show (presentation of the latest Protovision software and projects). - A large competition show. - Various fun compos. - SID-Disco. - An auction, with proceeds going to charity. - And lots more. Don't forget to bring: - A good mood! - Enough money for entrance, food, drinks, equipment etc. - A sleeping bag, isolating mat, water bed or anything else you'd like! 😊 The party-place is located about 15KM in the north west of Hamburg. From highway A23, exit Tornesch, it is
less than 5 KM straigh ahead. Turn twice and 50 more metres you have arrived. A detailed map will be available online in time and if you still can't find your way, simply contact Courage. For the latest information, visit the VISION homepage at: http://www.vision64.de.vu Registration? Questions? Suggestions? Criticism? Send an email to: courage@protovision-online.de Coming soon is the official C64 invite file! Stay tuned!
ARTS OF DARKNESS Finally after some delay the complete version of BLOOD 2 - Back to Brutality has been released. Improved upon the first, an action game that contains mindless violence (and despite what some people say it gets the thumbs up from me! - with the c64 being so underground we can do anything! we need to be more diverse, for the sake of uncensored freedom - we could even make a game where you have to fly a plane into two large buildings! Think about it). After some delay, they made available on their website a game that was coded/pixelled/composed live at the MekkaSymposium party. Way back in
2001. The game is called HYPER. Contact: silverfox64@gmx.net http://www.artsofdarkness.de
FIRST BLOOD ENTERTAINMENT They are currently working on BIG titles only. They are looking for committed people who wish to make something that will stand out from most other games. Programmers are especially welcome. Current projects include GODFLESH and ZONE OF DARKNESS (picking up from where Taboo left). They are also working on another very big project which is kept secret. They are searching for a programmer to help on this project. email: davidian_6@telstra.com
COVERT BITOPS Currently they are focusing on the final episode in the famous Metal Warrior series - namely, MW4: Agents of Metal. Recently released was the official V2 of the preview. The game will see the conclusion of the series and will be a sideview, multi- scrolling action/adventure game. Estimated release date is in 2003. http://covertbitops.c64.org
THE NEW DIMENSION This group headed by Richard Bayliss has been exceptionally active as usual. Since the last edition of Domination they have provided quite a few games. Even games unreleased by others, such as DOMINE, MINESWEEP, DUNWICH HORROR, all available from the TND site. Some confusion arose when Richard announced the progress of his new game SUPER GALAXYS. First he said it was progressing well, then he announced the game would be cancelled and now we have heard the game will indeed be completed. The preview of this title was also released.
Another preview they made available was RIVER RACERS (reminds me of the classic 'River Raid'). Earlier this month they released a new title called SUPER SEVEN, which is a different type of puzzle game envolving dice. For some reason Richard installed a cartridge/intro-linker protection scheme. However he released the unprotected game original soon after someone cracked it. http://tnd64.cjb.net
Other news: * Commodore Scene #38 and #39 were released by Allan Bairstow. After some troubles with an unprofessional printing company, he is back to please the community. * Pinball Dreams C64 News WVL/Xenon: "Well, last month I completely restarted from scratch the code. Why? Well, first I wanted to concentrate more on getting the game to run in less memory, also I wanted to focus more on accurate simulation of the ball and some small other things...
What I have done until now: 1 - spawned the ball 😊 2 - added gravity to the surroundings, the gravity data is now RLE encoded, so it doesn't take up much memory anymore. Used to eat 20 blocks of memory, now I think a map would use 3-4 blocks. 3 - I changed the gravity routine to use polar-based vectors instead of carlesean, much more accurate! 4 - added a debug mode to the movement routines, you're able to pick up the ball with the firebutton and move it around. Let go of the button and you drop it on the table again. 5 - worked on an accurate (within 1 'bradian' degree) direction calculation routine. This routine will be used for
both friction calculations and calculating the new directions after collisions. So it needs to be. 6 - added a (simple) friction routine. 7 - I put a small preview on the web 😊 You can grab the preview at - http://www.interstyles.nl/pinball.rar What am I up to now? 1 - increase the speed of accuracy to 24 bit, I need this because the friction only affects speed in the last 3 bits or so, it's not accurate at all.. 2 - add spin to the ball, so it is allowed to toll.. (also gives effect to the ball like top-spin and such) 3 - dunno yet, I'll see what is the next
logical step after that.. probably the new method of collision direction, dunno I'm thinking of putting the sourcecode online as an ascii file, so everyone can check it out..." Suggestions? Questions? Other stuff? Send an email to: werner@vanloo.org
GAMES IN THE MAKING: CO-AXIS 2189 / Cosine QUEST FOR CYRUS / Pixel Pyramid Soft PROTOCOL / Cosine (re-write) PINBALL DREAMS 64 / Xenon TYGER TYGER / US Gold (unreleased) WARFLAME 100% / Cosine PENQUIN TOWERS TALISMAN / Protovision GODZ / Nomad Software R.I.P. / Cosine (vic20 cover) WUNDA WALTER / Cosine (vic20 cover) GODFLESH / First Blood ZONE OF DARKNESS / First Blood ******* * / First Blood
CONTACT: ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ BINARY ZONE PD - Commodore Zone 34 Portland Road - Public Domain Soft Droitwich Spa Worc's WR97QW United Kingdom http://www.commodorezone.com COMMODORE SCENE 14 Glamis Close - Protovision software Garforth Leeds - Sales & Marketing West Yorkshire - Commodore Scene L52 52NQ United Kingdom http://www.commodorescene.org.uk
COMPUTER WORKSHOPS - Games 3612 Birdie Drive La Mesa CA 91941-8044 USA CINEMATIC INTUITIVE DYNAMIX Dregelyvar u.21 V/29 1158 Budapest Hungary - ENHANCED NEWCOMER (Ed: cool!!!!!) http://www.newcomer.hu
FIRST BLOOD ENTERTAINMENT PO Box 361 Launceston TAS 7250 Australia - Software management & creation email: davidian_6@telstra.com GO64 - The magazine CSW-Verlag Goethestr.22 D-71363 Winnenden Germany. http://www.go64.de
HIGH TECHNOLOGY PUBLISHING PO Box 260 Bromley BR2 0ZG United Kingdom - "Back In Time" C64 music CD series - "Nexus 6581" C64 music CD http://www.c64audio.com JON WELLS - Games and tools 9 De Grey Road King's Lyn Norfolk PE30 4PH United Kingdom
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Demo Reviews ‾‾‾‾‾‾‾‾‾ The 8-bit intifada is still continuing to influence the world of computers as we know it. Here in this small segment, you - the reader - will be subjected to various opinions, compliments and criticism on some of the demos released lately. Seeing as this is a very opinion- oriented topic. You will be presented with comments only, no rating out of 10 or out of 100 or anything like that.
Scrutinized in this edition are: * Industrial Breakdown/Booze Design * Phases/Crest * Harmonious/Triad * We/Lazer/Fairlight * Loaded/Fairlight * 14 and life/Fairlight * Water/Aesrude Journey with us into the real of 8-bit wonderland fuelled by opinion...
INDUSTRIAL BREAKDOWN by Booze Design Code: HCL Music: GRG The winning demo entry at the FLOPPY 2003 party in Sweden. When I loaded this demo I was expecting the usual funky type of music, hardcore code and 'eye-candy' pixel-work. But instead, something completely fresh and extremely differentiating to the usual trait of HCL and co. This demo is an in-your-face 'arty' type that will be either liked or disliked. For me I really enjoyed the whole 'fresh feel' that it gave, only if
more demos were released with similar themes and imagination. Especially on a platform that has no laws and control, we can do anything we damn well please and I think with this demo HCL has shown just that. Unfortunately some people won't like the rough and blunt style compared to the usual 'polished' product that Booze normally offers. But I think it is time for people to get out of their shells and become a bit more experimental, a bit more demonstrative. Thumbs up from me! Trashmo-styling!
Puterman/Fairlight: ‾‾‾‾‾‾‾‾‾‾‾‾‾ This one seems to be a bit controversial, which is almost always a good thing. The design is new and fresh, and the code is good too. Definitely a worthy compo winner, although I have a soft spot for a certain Fairlight demo too. Won't tell you which one, though. 😊 Its obvious why some people don't like it though, as it doesn't look good. It's also obvious why some people don't like some art (it doesn't look good), or some types of music (it isn't pleasant to listen to). For people who prefer SPK over Coldplay, this demo should be a favourite.
Iopop/Triad: ‾‾‾‾‾‾‾‾ This is good, really good! All so called effects are incorporated into the design and you don't even notice them. Fitting music and a good flow. The slimy BD logo in the end just roxx! Stryyker/Tide: ‾‾‾‾‾‾‾‾‾ Industrial Breakdown missed it's mark with me. Some of the smoother elements provided some satisfaction where the coded effect was of higher resolution of smoothness. My fave part was the end. I do look forward to a more normal Booze Design release. Perhaps this was made to appease the arty Swede-types?
Krill/Plush: ‾‾‾‾‾‾‾ Again, HCL, too lazy or not to polish his releases, produced a somewhat different demo. Having a conventional look at the parts, only the bouncing sideborder zoomer and the last part are really good. This demo feels odd, in a more negative way than Interruptus Retriggerus did. Yeah, it's got a fresh touch and things but still Hollowman's demo deserved first place. I bet HCL himself wonders about its ranking. Maybe HCL wanted to please Ed? 😊
Dwangi: ‾‾‾‾‾ I remember when I first tested this demo on my C64 I thought something was wrong with the transfer to C64 or my disks or anything else? I resetted the industrial breakdown logos and tested the demo again and it still didn't work. 😊 Ok, then I realised (after reading the note) that it was meant to look trashy. After all it was quite a interesting demo with a "new" style. But what surprises me is that it actually won the compo. Loaded should have won!
Fade/Onslaught: ‾‾‾‾‾‾‾‾‾‾ No demo in the world has the balls this one has, how much testicular fortitude does it take to thrust your middle finger up and shout "Fuck your style!". HCL delivers a nasty, blunt and twisted demo, all of which nails it right on the head. Throw in a few superior coding exercises and you've got one hell of a beserk production. I wouldn't call this a breakdown, more of a revolution...
Steppe: ‾‾‾‾‾ If you judge this demo screen by screen you will most likely get the wrong impression and go home disappointed. Nah, those times are over, as it seems. Seldom have I seen a demo that forms a whole, an entity as this one. Completely detached from the effect- after-effect concept, HCL presents us badly wired pictures of the industrial age, with a few rotating patterns on top, some bugs thrown inbetween as if they were intentional (maybe they were ? 😊. Everything looks very dirty and downright ugly, but somehow it fits together very well. Now why on earth did he have to take such a highly polished tune by GRG?
Sorry, but that just didn't fit so well to the overall impression. Maybe some Wacek- or Ed-like stuff would have suited this demo much better. Or was the fact that the tune was "recycled" another innuendo to our industrial world, where everything gets recycled in one way or another? Guess we'll never know. Good stuff though, I could watch more of that kind.
LOADED by Fairlight Code: Hollowman Music: Goto80 Graphics: Tempest and Hollowman The second placing from the demo competition at the Floppy 2003 party. This crew have continued with a really nice production, I particularly enjoyed the 'flow' of the demo, which peaked at the last part called 'Metal on Metal' "Bananas for the monkeys Ducks for the ninjas While I hit the bottle" The demo doesn't exactly feature the best code in the world or anything that
is groundbreaking, but for me it simply expresses having fun making a C64 demo. The graphics are top-notch and the jivey music by Anders is a joy to my ears. The only thing I really didn't enjoy was the seemingly endless loop at the conclusion of the demo. Maybe there could have been some otherway to end it? Still, another nice one by Hollowman and friends.
Iopop/Triad: ‾‾‾‾‾‾‾‾ Effect-wise a good demo. The last effect is great. But as a whole, I miss Hollowman's story-telling abilities. I think many will adore this, I will not. Stryyker/Tide: ‾‾‾‾‾‾‾‾‾ Loaded was okay. Some tune sound style was a little rough for my liking. I did hear enough elements I liked to be comfortable with it. I can see how some people will be a little disappointed with Hollowman's code. I liked some of it. I enjoyed the coloured pictures (I think by Tempest) with the fat outlines. I enjoyed the Doom town part. There's something about the work by Hollowman
that keeps me coming back to check out his new stuff even though I'm not fond of the style. Puterman/Fairlight: ‾‾‾‾‾‾‾‾‾‾‾‾ l'Hollow returns after 10 months and drops a bomb that seems to have gone down pretty well with the crowd. It contains quite a fat bunch of effects and some of Hollowman's trademarked design. Good flow and impressive vector parts, and the graphics are suitably weird. I like it.
Krill/Plush: ‾‾‾‾‾‾‾ Amazing how Hollowman increased his abilities, really a good demo. Nice to see good fades and overall style plus good code, together with perfectly fitting music. Hollowman really has the potential to create great demos succeeding in combining style with code. Only there is still that je ne sais quois missing with his code, but I bet he will soon succeed in that. This demo really deserved first place at Floppy.
Fade/Onslaught: ‾‾‾‾‾‾‾‾‾‾ The hairs on my neck always stand up when a Fairlight release comes my way, a sudden rush of tradition, quality and pure amazement hits my mind like a thunderbolt. Even in my manic and sarcastic mid 20's mindset I'm reduced to a state almost that of a child. Anyway, I'm struck in a different way this time, a needle inputting data into an arm and a vector hand movement. Original, innovative and damned amusing. Following this is a very common effect but as expected the always classy Hollowman layers a dubious looking 3d computer picture ontop. Mext up are some words that are only worthy of a public toilet and of course some morphing dot images
that are too complex for me to even comprehend let alone explain to you. There is a lot of technical code in this demo and it keeps you preoccupied from the fact there is very little pixelled graphics. Wether it be a 3d object, a doom clone or superior musical score by Goto80, there is little doubt in my mind that one of the legendary groups has successfully transitioned into the newschool demo-style. And taken no hostages!
Steppe: ‾‾‾‾‾ The secret winner of Floppy 2003 (not only by me, but written all over the message boards). Just as you can recognize a Hubbard tune from a mile away with one ear, so distinct is Hollowman's style here. Dominated mainly by plane colourplanes instead of highly polished graphics this somehow creates and oldschool or retro feeling like I have hardly seen in demos nowadays. Goto80's soundtrack goes hand in hand with this, marching through all styles from the usual drum'n 'bass stuff over to melodic passages to let it finally dissolve again to a rather kacophonic end. Just great work, left me with a smile on my phase, erm face 😊
PHASES by Crest Code: Dane Music: Dane Graphics: Dane Coming third in the Floppy 2003 demo competition, I was fortunate to check a lot of the pixel and SID work in it's earlier stages, so the progress to completion was a special moment for me. Dane is one of the coolest guys you will have the fortune of chatting to on the C64, he is also a damn fine artist and in some cases a one-man army. Phases is a prime example of the latter, a graphics-based-effect demo
all done by the hands of one man (and his droid called the C64). It is quite obvious that Stellan has a delight in painting the female gender, the demo pre-dominately of that sex. The graphics are all of high-quality, as we would expect. I especially enjoyed the final picture, which demonstrates the potential of the X-FLI mode. An important thing for me with this demo is that it was done for the demo itself and not for the competition only. Impressed once again.
Puterman/Fairlight: ‾‾‾‾‾‾‾‾‾‾‾‾‾ Last time it was digis and FLI, this time it's horizontal stretches. The music and pixelled graphics are of course high quality, as well as the code, but it's not one of the best demos around. Stryyker/Tide: ‾‾‾‾‾‾‾‾‾ Phases didn't have enough colour in the middle. It was a bit drab. Music was okay and some graphics were pleasing to the eye. If Dane could of found a way of speeding up the fatness FLI effect - the slow 20 or so line X stretch of the FLI piccy - then would of had a nicer flow. Maybe if the up rotating
face effect had some different colours I would of enjoyed it more. Perhaps I didn't get into it much because it distinctly elements that could be divided into high quality (to my eyes) and average (I guess speed compromise). Dwangi: ‾‾‾‾‾ A demo based on some effects and some nice drawn faces. What can I say? I like this one better than Digital Magic. The routines have been seen before but still they are not bad at all. Keep it up Dane, more demos like this please.
Fade/Onslaught: ‾‾‾‾‾‾‾‾‾‾ Still being caught up in the glory of Digital Magic, I'm beyond even trying to think what Crest can deliver to us next. Having a memberstatus the likes of Crest can only hinder us all, but can Dane alone seemingly destroy anything in his path? It would seem more likely than one would think, but I didn't feel the same awe with phases. Don't mistake me here, every aspect of this product is way above average and it works extremely well, especially the soundtrack which gave me flashbacks of some classic tunes of yesteryear. Dane has gone for a more code based project and my hats off to him, he has
the skill I could only dream of. Using a barrage of beautiful people to bend, cube and swing sound like a 30's jazz band. Phases works in a way that shows Dane is not a one-trick-pony and proves without any questionable doubt he is one of the pinnacles of the scene, past, present or future. The fact that this product is very different to the last is the reason I am very satisfied with it.
Steppe: ‾‾‾‾‾ The follow-up to Digital Magic couldn't really come close to it's predecessor, no wonder. Although Dane did nearly everything right I wasn't really convinced by this one. It's a pretty nice demo, no doubt. Another improvement of his X-FLI format, now into the upper and lower borders, I think even more fine-tuned code to give even more colourful pictures, a few wired but carefully fixed pictures of celebrities used as textures on a x-rotating cube (and a real big one on top), some strange undefinable distortions, two mind- blowing pictures of Sophie-Ellen Baxter and a rocking soundtrack that even synched pretty well with the effects.
And yet the whole composition leaves a strange after-taste: Maybe it was a little bit too linear, predictable? I don't know...
HARMONIOUS by Triad Code: King Fisher Music: Moppe Graphics: Twoflower I kind of expected more from Linus, but I was still happy to see his C64 passions still burning with life. This small one-file demo has a real oldskool feel to it, but it sits with me oddly. Possibly because I don't know background of the demo as well as I would like to. I really rate the SID by Moppe in the final part!
Puterman/Fairlight: ‾‾‾‾‾‾‾‾‾‾‾‾‾ Kind of disappointing, of course, as I expected a real masterpiece from King Fisher. He's not all that active these days, though (the second part was coded at Floppy last year), so you probably shouldn't expect too much. I like the scroll text in the first part and the quotations in the second one. Not much to write about, but it's nice to see some fresh ideas. Krill/Plush: ‾‾‾‾‾‾‾ Hmm can't really tell much about this. Nice in philosophical aspect, hence it was coded by King Fisher.
Stryyker/Tide: ‾‾‾‾‾‾‾‾‾ Harmonious would be the most enjoyable demo of the party. The fake bugging was still nice and smooth and looked nice to my eyes. It also had the best music. It was a little short though. A nicer 1x1 font in the Game of Life part would of been more desirable. Dwangi: ‾‾‾‾‾ As I am a fan of King Fisher demos I was disappointed when I saw this demo. I am sorry if I have missed any important messages in this demo, but I find this demo quite weird.
Fade/Onslaught: ‾‾‾‾‾‾‾‾‾‾ Obviously the Triad logo is one of these things that will always remain class throughout time. No matter how simple it is, Triad can do severe damage with their simple logo, just as they can do so with a small well laid out demo. This is proof that hardcore coding and super flickering graphics don't amount to much when you have a good idea and some even better musical notes to backup your releases.
ANYONE by Fairlight & Crest Code: Hollowman and Puterman Music: Dane Graphics: Dane I quite liked this one and I think the participants of the Deadline party in Sweden felt the same way, voting it the best demo at the competition there. The demo is based around the theme of a 3D city. Probably a decent place for 'anyone' to 'hang out'. A short demo however a nice flow to it. Again another cute picture by Dane, this type a nude male, which is rare in our male-infested scene. 😊
Dwangi: ‾‾‾‾‾ I think this is a good example that short demos can be very nice. The demo is based on only one effect, a great 3D city. The x-fli picture by mr.xfli (DANE) is also very nicely drawn. I think DANE also started to compose the tune 45 minutes before the deadline and finished it before the deadline! Respect! Puterman/Fairlight: ‾‾‾‾‾‾‾‾‾‾‾‾ A small party demo with a lame snow "effect" by me, a cool vector town by Hollowman and a nice erotic picture by Dane. Swedish erotica at its best.
Sander/Focus: ‾‾‾‾‾‾‾‾‾ Perhaps a personal story of one of the authors, quite tragic. My attention was caught immediately by the first line of the demo ('so maybe I was not that good a friend'). Distracted by the dots I had assumed it was just another effect-demo with an additional ingredient of poetry (yes, we've been fooled before 😊. This assumption wasn't gone until the second 3D-scene of the building appeared (downfall from the building), everything fell in its place at that time. The demo ends with a picture by Dane (A muscled man peeing?). And at this point the demo ends. Still no clue about the dots.
The demo is pretty decent, the demo raises questions in the beginning and gives the answers in the end. Personally I feel the music does not fit in, the demo is somewhat timed to it, yet it sounds like an (above) average demo tune to me. Its a shame, where the story and music have a shared first place of guidance throughout the demo, yet they interfer at that level. I feel this demo is not nearly 50% of what it could have been in potential. I miss some variety in dynamics and typography. All in all definately worth watching!
Fade/Onslaught: ‾‾‾‾‾‾‾‾‾‾ Why in God's name do I have a nudie man on my screen, Oh the humanity! I don't care how well Dane pixels this, there is no need for a nude guy on my monitor! Seriously, this is a nice quick little co-op demo by two of the best which shows a lethal dose of well timed parts. I just started to really get into this demo before the nudie man flashed my screen. Naturally, I am over-reacting. Dane, Puterman and Hollow deserve a big healthy dose of respect for being so consistantly active.
14 & LIFE by Fairlight Code: Dwangi Music: DJB Graphics: Vodka This is an oldschool type of demo, with a feel of the older days on C64, all when we were much younger and had more time for our scene. The main grace of this demo for me was the nice 16 colour pictures by Edvin for Fairlight. He has a neat style and his own trademark. Also pleasant was the choice of music. It is by my fellow group member and close friend DJB (ex-Morbid). This demo was one of two demos at Deadline 2003.
Dwangi: ‾‾‾‾‾ As I am responsible for the code I should comment on it. I tried to make a nice short onefile demo and include Vodka's graphics. I think the music fits very well to the demo and the music- timing is good. The routines are quite buggy and not very well coded, but it was not meant to impress anyone with cool code in this production. Puterman/Fairlight: ‾‾‾‾‾‾‾‾‾‾‾‾‾ I guess this is the demo Dwangi was going to release at Symmek01... And I think I like the plasma, but the other parts aren't all that hot. Its nice to finally see Dwangi release a demo, though. Hope to see more in the future.
Sander/Focus: ‾‾‾‾‾‾‾‾‾ Some people will always be 14 in their lives. Vertical rasterbars, plasma, killer teen-chick and voila - here's a demo. The elements used in this demo are not of low quality, decent music by DJB, picture by Vodka and effects by Dwangi. Yet, packing those together does not make a decent demo imho. Sorry, this didn't fascinate me for a second. Some additional info: Vodka: '"18 and life" is a old hardrock- song, if I remember right (ED: yep, by Skid Row). And the girl is a teeny.. =14 & Life...' Dwangi: 'Just that... the main reason for doing this onefiler was to release
some graphics by Vodka and not to impress anyone with well coded effects. I know there are some buggy stuff in the demo. I will release another more serious and bigger demo sooner this year...' Fade/Onslaught: ‾‾‾‾‾‾‾‾‾‾ Another nice little one-filer this time catering some decent artwork from Vodka and some well layed code by Dwangi. Stuff we have seen before but it still works well with the addition of a DJB zak. A quick demo, a quick review, a quick entry and a quick end.
WATER 90% by Aserude Code: Nightlord Music: Nightlord Graphics: Nightlord Released at the Forever Quattro Party in Slovakia, this demo is the first one ever released by Nightlord. I was expecting something mediocre or just 'average', but I got a bit more than that. The demo really worked and looked good, the themes axis being a poem Nightlord wrote about his wife. Not to mention everything done by one! Thumbs up! More please!!!
Dwangi: ‾‾‾‾‾ Another one-file demo and a cool one. I liked the vectors and the music fits very well to the demo. Cool that Nightlord found his C64 again, hope to see more from him soon. Britelite/Dekadence: ‾‾‾‾‾‾‾‾‾‾‾‾‾ Having never heard about this group my expectations weren't really that high, but I was positively surprised. The demo features a really nice soundtrack that sets a nice relaxed mood. The code is quite okay, and while the 3D-engine is only a 0.5 version it already looks nice. I especially liked the dithered 3D-objects. A nice demo,
and I'm looking forward to seeing some more productions by this group. Puterman/Fairlight: ‾‾‾‾‾‾‾‾‾‾‾‾‾ A collection of vector parts that don't look very smooth, but I kind of like the tech-teching one. Not one of my favourite demos, but it shows some potential. I think we can expect greater things from Nightlord in the future.
Fade/Onslaught: ‾‾‾‾‾‾‾‾‾‾ For a one-file demo, this demo didn't pull any punches. It went straight for the heart with the nitty gritty vector stuff that we've all seen before. Personally, I'm not the type who gets stunned by a bunch of vectors, but this is what it delivers. Everything was styled nicely, fading in and out quick enough for you not to get bored. I enjoyed it, possibly something other than vectors would have made it a much more complete demo.
WE/LAZER by Fairlight Code: Puterman Music: Maktone Graphics: Vodka and Hollowman Yet another demo from the guys in Fairlight. They have been quite active of late. In this demo they present a simple demo, which was kind of short. My favourite part being the township appearing and disappearing and the smoking chimney (lovely effect). Apart from that I found it weird, however in a nice kind of way.
Iopop/Triad: ‾‾‾‾‾‾‾‾ Its Puterman and you don't have to understand it. Is the FLT-sign in the end a leftover from the Tron years? Fade/Onslaught: ‾‾‾‾‾‾‾‾‾‾ I have absolutely no idea what to think after this demo. But I have to admit the smoking chimney part absolutely rocked and was brilliant in every way, shape and form. The thing stretching and spinning that followed it was also very nicely done. Parts entered and left before you got to appreciate them, but what I want to know is what in God's name is a Mongodaemon? I doubt I will ever
know, nor do I want to. Regardless, another short demo I enjoyed, a bit short for my liking. I can't wait for the next piece of art from Puterman and his cohorts. Steppe: ‾‾‾‾‾ There's hardly a composer with such oldschool sounds and with such ingenious compositions as Maktone. At least in We/Laser. This tune is a masterpiece somehow.
Most nights a SID-chip saves my life ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ by Dane/Crest First of all, a disclaimer: If you're not ready to read one of the most self-centered and obnoxious articles every written by someone, who doesn't really have a clue about what he's doing, then please turn back. Go to the menu and pick another chapter, one worth reading. And with that, I should be able to express whatever I want.
This is nothing but a rant. I couldn't decide on a particular topic I wanted to debate, nor do I have anything specific to say that hasn't been said before. SO let me just share some of the insanities that I have in my head every time I hear or even try to think about music on the C64. I'd hate to say it, but I think a lot about my own music during those times. I've only been an active scener for 11+ years or so. I started composing around 1994, first of all just for fun in between fullscreen pictures. And then I stopped doing those pictures and took composing more seriously. Now I'm back to doing pictures and it's not really serious any longer.
After two full disks of the most horrible tunes you will ever hear (but fortunately you won't) made in DMC v4, I started exploring the JCH-editor. Although the first cautious experiments still bore my personal trademark or badbadBAD music, things progressed, and I eventually reached the point where I could release something and be proud of it. It doesn't happen too often however. Why not more people compose in the JCH-editor is a mystery to me. It has green. Black. And if you're a so-and-so coder, you can add just about any little feature you'd like to your tune. That is if you're too lazy to do an entire composing system of your own.
And if you're not a so-and-so coder, take my advice - it IS more flexible than you think. And yes, that amount of rastertime can be decreased. That also goes for the amount of memory a tune takes. You just have to know where to start tweaking. For example, take a peek inside my tunes from the demo 'Phases'. If you're a player-geek, you'll think it's sort of fun. Otherwise, don't. That, however, is for demo coders. And I'm not here to rant about demo coding. Back to the music. I honestly confess I would have been nowhere as a musician on the C64 without the inspiration from some of the coolest musicians ever.
You don't exactly have to be Einstein to figure out that if you've listened to some of my tunes. I really don't know if these musicians are cool as people, as I only judge them for the tunes they've done. But man, are they cool, judging from those! A personal list of favourites with motivations: Jeroen Tel - Yes, I'd hate to sound like a broken record, but this guy is just so slick, recycling those powerful chords from the 80's yet doing his own thing all of the time. A personal trademark must be the way he's always released tunes that are extremely good technically as well as melodically. I could start humming most of his tunes
on the spot, and still be puzzled at how good some of his instruments sound. You already know which tunes I'm recommending, of course. 'Rubicon' and 'Robocop III'. Thomas Mogensen - If you hadn't figured it out already, he's the guy I made the tune 'St.Thomas' for. His music is just so jazzy, yet Mogensen has always had an ear for very powerful melodies. Try out 'Thymos'! Building simple yet effective arrangements for tunes is also one of his strong traits. Personally I'm most fond of the stuff released in 1993 and onwards, and to anyone who haven't, you just have to check his HVSC- directory of worktunes. There are some real gems there.
Thomas Bendt - I don't know why Scortia doesn't get more credit for the music he has done. It is always very catchy, original and slick. He has done probably THE best cover tune ever, 'Roseanner' and a lot of memorable original tunes, out of which 'Nebulas' really stands out. Listening to his production a lot, I suppose I have learned that composing a tune should be about the tune, not about the demo or note it's going to feature in. Richard Rinn - And then, the experimental whizzkid who's just done some of the most original tunes ever on a C64. Case in point - 'The Thief (he eats beef)'. This is nothing but Deek giving the finger to the standard way of
doing things, one he had already mastered with 'Hairy toes' and others. Finally, Rinn proves time and time again he is a classically trained composer. Listen to 'Demo Tune 9' for a very harmonic example of that. Thomas Danko - Yes, I'm perfectly aware that I wasn't the first Swede to do the whole pop-meets-funk thing. Danko does it so well in both 'Elementary' and Planetary', some very good tunes. But whereas he mostly toys around with the idea of funky basslines, its when he does pop that he is at his best. This is the C64 proof that Abba are from Sweden, and that they are firmly rooted in our musical tradition.
Soeren Lund - I'm biased. I know. But he just makes damn good instruments. It's a pleasure to know the guy who can get a C64 to sound like very expensive gear. Sort of makes you wonder why he hasn't wasted his money on that gear in the first place. Jeff is right now the best musician when it comes to making multispeed music. That's just the way it is. 😊 I don't know if you got anything out of that. It's not like I revealed anything revolutionary. Let's change the subject. I'm pretty amazed at how, when there's been a party, the spread disks will have shitloads of tunes, one or two demos
worth watching, and a couple of pictures, a few of them probably fake releases. Why is it people seem to think that they, composing crappy tune after tune for music competitions, will save the scene? This is almost as horrible as the fantastic rate at which all of those crap games I'll never bother to play are released. One little piece of advice. Put your heart into it, people. Don't think we'll be fooled by how often you put stuff out. It's the quality that matters, not the quantity. And let's face it - you can't make an excellent tune every time if you just cram them out once a week.
Online music compos is a novelty which, sadly enough, fuels this market of haste composing. Someone puts a message up about an online compo. People decide to take part although they only have two weeks notice and shitloads to do outside of scene activities. The result, a tune put together in an evening or two, that sounds just like anything else you've done. Something people will listen to while voting, sitting in their underwear drinking Pepsi, and then just dismiss as generic and not up to usual standards. If you want to compose really good tunes, then do that. But do it for composing, not for the competition. And if your tune is not good enough in time for the deadline, wait until it is.
Release it somewhere else. Try to do 4 minute tunes, instead of that loop around 1:20. I wouldn't be saying this if I didn't feel I've done the same mistakes a couple of times. So this isn't just me preaching about this or that way to think, it's really me telling myself how to act as well, okay? Let's all try to make better music. Let's all try to think about why we're doing it. Eww. I'm getting sentimental. Let's look into the future. I'm trying to do a music disk. Something that will be original, something I haven't done before. There will be demos, of course, and I will also try to put a lot of energy
into a certain demo soundtrack. I want it to be one of a kind, in more than one way. Then there's game music. I've been approached about doing the music for a small game, and it would be fun to do that properly as well. By the way, covers. What's the problem? You should all know by now what a pain in the arse it is to do decent music in 3 channels with all the limitations the SID-chip has, whether 6581 or 8580. It's not like you can just sample the stuff you want, if you're not working with digis, that is, and most people beside Cycleburner don't. I do lots of covers because I enjoy it, because it's a fun way to stretch myself - like solving a
mathematical problem. How do I get this to sound like that? What can I do with this melody in ways of arrangement to get a fresh sound on the C64? How do I squeeze a 32-voice music into 3 voices? And yes, it's also a fun way of promoting a song or a band you really like. Heh. 😊 It would be quite fun if several composers covered the same original tunes. Maybe then you disbelievers would see how difficult it is to not put a lot of your own style into what inspires you. Or, as my friends say, how hard it is for me to not give any old tune the same funk treatment.
I think that's it. For now. If anyone wants to react to any of these things, I'm all ears. If you want to swap musical ideas in the JCH- editor, I'd be delighted. And if you want to take me up on that suggestion of covering the same tunes, let's chat. Signed, Dane of Crest. 030309
SID Magic - part 1 by Jeff/Crest/Bonzai Hi and welcome to the first in a number of articles on how to do sounds and different tricks with the SID chip. My real name is Soeren Lund, I have been doing music for the lovely C64 scene since 1991, you might know me as Jeff from the following groups: X-Factor, Camelot, Crest and now also Bonzai. I was asked by Jazzcat to write something SID related for his diskmag.
After some thinking I decided to do somewhat a tutorial on how to do nice things with the SID chip. In this article I will explain how you can easily do delay/echo in just one voice. As the SID only has 3 voices I think it is important to fill up the 3 voices when doing a piece of music. Here is an easy example... Make 2 equal sounds in the editor / player you use. Use a simple triangle wave ($10). And set gate on so the wave byte will be $11. No pulse, filter etc is needed in this example.
You need to have different ADSR settings for the 2 sounds, to have different "volume curves". Try this: Sound 1 - ADSR = 0777, Sound 2 - ADSR = B777 You need to set tempo/speed to 5, meaning that each step in a sequence/ pattern is 5 frames long. Also you should use a player that has a standard hardrestart/hard cut, could be one of JCH's, DMC editors, SDI from Shape etc. Create a sequence/pattern that looks like this: Tracker format (I will only give examples in tracker-like format, as its
the only format I use myself) I01 A-4 --- --- I01 D-5 --- --- I01 E-5 --- --- I01 F-5 --- --- I01 A#4 --- --- I01 D-5 --- --- I01 G-5 --- --- I01 A-5 --- --- I01 = Instrument/sound #01
Let this sequence/pattern play in a loop You will possibly notice that this sounds quite boring. So we're going to add some echo/delay to it by using instrument/sound #2 with the B777 ADSR setting. This could look something like this: I01 A-4 I02 A-5 I01 D-5 I02 A-4 I01 E-5 I02 D-5 I01 F-5 I02 E-5 I01 A#4 I02 F-5 I01 D-5
I02 A#4 I01 G-5 I02 D-5 I01 A-5 I02 G-5 This should sound somewhat better. Try to change the attack values from $A to $E. It depends on the tempo/ speed of the tune, which we in this case set to 5 frames. This is one of the ways to do echo/ delay in just one voice. You can do it with much more interesting leads though, this was just an example. Its really an old trick, Jeroen Tel used it in some of his tunes as well, but with no hardrestart and Attack set to zero. He just used very low Decay and
Sustain values. I can only recommend to play around with different ADSR values, its a good way of getting used to doing this kind of delay/echo. I will not be going in too deep with the technical details of my examples in these articles, for two reasons, 1: I don't know much about the technical stuff of whats going on in the SID chip. 2: I will let the readers do a bit of work for themselves. I will just try to give you some ideas on how to do some nice stuff that I use myself in C64 music.
If you would like me to explain how to do certain things with the SID chip, then you can mail me at: jeff@polysuspekt.dk (no spam). Mark your email with "SID Magic", then I will try to include interesting questions in later issues. Anyway, that was all for now. Signed, Jeff/Crest/Bonzai 31-03-2003
24 Reasons Why Sid Is So Good ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ by Merman/People of Liberty/Role So, there have been many articles about SID before, and there are quite a few in this issue of Domination. How can I do something different? Why is SID so good? Let me count the ways...
6581 SOUND INTERFACE DEVICE Number Register Description 00 $D400 Voice 1 Freq lo At the beginning of the SID chip is it's excellent design. Other sound chips of the same era are very simple; the best an Acorn Electron can manage is a few beeps. 3 channels of sound, that in-built filtering and the choice of waveforms gives a massive range of sound. 01 $D401 Voice 1 Freq hi The SID chip can manage over 8 octaves of sound, and in fact the actual frequency range is much bigger. Each voice has a 16-bit number for frequency, split into two locations, giving a vast range of possible
frequencies. Most people use Commodore note tables, or use a series of frequencies to cover one octave and calculate the rest from there. 02 $D402 Voice 1 Pulse width lo Pulse (or square) waveforms allow you to manipulate the tone, giving everything from a piano to a human voice. 03 $D403 Voice 1 Pulse width hi Pulse width modulation, by altering the value as a note plays, gives more control over the tone of a note, and can also be used to play samples at a high sample rate. 04 $D404 Voice 1 Control Register Each of the three voices has a control
register, allowing you to play different sounds on different voices. With the SYNC and RING MOD bits you can even combine two voices to create some unusual sound effects. That is a highly original feature of SID 05 $D405 Voice 1 Attack/Delay Rob Hubbard came from a musical background, having played in bands around the Newcastle area. He ATTACKED the C64 with his highly original music, from early efforts like THING ON A SPRING to epic tunes like ZOIDS. He admits himself that the standard of his work DECAYED, he tried to push his sound routine harder with later work such as Powerplay Hockey. All in all, Rob's tunes are very memorable, and sound great when
played by PRESS PLAY ON TAPE in a crowded London nightclub... 06 $D406 Voice 1 Sustain/Release Martin Galway SUSTAINED an incredible record at Ocean, creating one masterpiece after another. His work with Sensible Software on PARALLAX, WIZBALL and INSECTS IN SPACE added to the incredible atmosphere of each game. Martin hopes to RELEASE the source code and some previously unheard tunes on his web-site soon... 07 $D407 Voice 2 Freq lo Low frequency sounds are needed for drums and bass. Many musicians combine the two into one SID voice, giving the illusion of lots of voices
playing at once. 08 $D408 Voice 2 Freq hi Swapping frequencies rapidly, or note- plexing, is another technique to give more depth to a tune. This is often used for the backing chords. 09 $D409 Voice 2 Pulse width lo C64 composers have always followed music trends, creating tunes to match the music of the day. You can divide the history of SID music into 7 "ages" 1) Simple melodies and conversions of classical music 2) Original tunes and pop covers 3) Samples and trackers 4) Experimental 5) Techno
6) Retro and remix 7) Internet and beyond 0A $D40A Voice 2 Pulse width hi SID was not only great at music, but sound effects as well. From the atmospheric sounds of metal striking metal to accompany BARBARIAN, to the range of natural effects in Martin Walker's CHAMELEON (water, fire, ticking clocks, etc.), SID could produce them all. 0B $D40B Voice 2 Control Register Each of the four waveforms has its uses - white noise for drums and sound effects, triangle for soft sounds like a flute, sawtooth for brass, pulse for a lot of things. You can even mix them together (although the results are not
guaranteed to work on every SID). Most music editors also have a "waveform" table, allowing you to change the parameters of a sound as it is played. 0C $D40C Voice 2 Attack/Decay The MANIACS OF NOISE appeared suddenly on the demo scene, and soon made the jump to writing music for games. Their funky pop tunes were heard in many classics, like GOLDEN AXE and TURBO OUT-RUN (with its unforgettable title tunes, mixing samples with the SID music). Sadly, they moved on to other machines and left the C64 behind... 0D $D40D Voice 2 Sustain/Release C64audio.com has tried to sustain the
interest in SID music with their range of audio CD's. The BACK IN TIME remix CD was released first, updating classic tunes with the help of many original composers. More recently Chris Abbot has acted as publisher for other acts, Instant Remedy, Remix 64, Reyn Ouwehand and PPOT. Then of course there are the famous live events, which many C64 celebrities attend... OE $D40E Voice 3 Freq lo Want more than 3 voices? CMD launched the StereoSID cartridge, which added a second SID chip and gave six-voice stereo sound. You can even plug a SID chip into your PC, thanks to HardSID and QuattroSID. There's also the SID- Station, a synthesizer build around a
SID chip. 0F $D40F Voice 3 Freq hi Sampling and playing back sounds is another trick. A series of clicks played at high frequency can reproduce any sort of sound digitally. There have been many ways of sampling and playing back the sounds on the C64, and you can hear anything from sampled voices to entire songs. The only real drawback is the amount of memory it takes, which some demos have solved by either streaming audio from disk or using RAM expansion. 10 $D410 Voice 3 Pulse width lo One incredible utility is helping SID live on. SIDPlay started on the Amiga and has now progressed to many other
formats. The ease of use and accuracy of emulation is now improving with every version, and here's hoping it continues to develop in the future. 11 $D411 Voice 3 Pulse width hi If you have ever heard a C64 tune and thought it sounded familiar, the place to go is the SID Tune Information List, or STIL. Originally designed to let people know if a SID tune was a cover,m, it has expanded to include technical information, bugs and comments from the composers. 12 $D412 Voice 3 Control Register Voice 3 of SID is the most versatile, thanks to the ability to synchronise and ring modulate with another voice, and the extra read-only registers that
enable the user to track its output. 13 $D413 Voice 3 Attack/Decay Demos on the C64 started out with hacked music taken from games. Then composers started to make music especially for demos, and the coders started to make utilities. There is a long list of classic music utilities, from FUTURE COMPOSER to DMC, from ROCKMONITOR to REFLEXTRACKER. The development goes on, with utilities like GOAT TRACKER designed for PC users to write SID tunes... 14 $D414 Voice 3 Sustain/Release Remix64 (remix64.com) and RKO (remix. kwed.org) provide an excellent outlet for SID fans that remix and remake
their favourite tunes on other computers & instruments. Remix64 also hosts the Commodore Remix message board, a thriving community full of remix suggestions and announcements about forthcoming events. Remix64 will also be launching their second CD (Emotions) in 2003... 15 $D415 Filter Cut-off lo Filtering changes the harmonic content of a note as it plays. The SID chip is equipped with 3 types of filter (high, low, and band pass, plus a "notch" filter by combining high and low filters) which can create some interesting effects. 16 $D416 Filter Cut-off hi Like a lot of SID settings, by splitting
it into two bytes there is a greater range of values for the filter cut-off frequency. The filters are also analogue giving a lot more warmth to the sound output. 17 $D417 Filter Resonance/Voice select This register controls which voice is actually filtered, and also the amount of resonance (i.e. how strong) the filtering effect is. It also hides an extra bit - FILTEX- which allows the filtering of an external input. So, in theory, you can attach a sound source to the A/V port and output it through SID. 18 $D418 Volume/Filter Mode If you want to talk about volume, you have to mention the High Voltage SID
Collection. It has over 20,000 SID files in its collection. That's a lot of music, and it is constantly growing. It will also ensure that SID music is not lost when the original machines break down and cannot be repaired. It's comforting to know that future generates will be able to hear SID music... CONCLUSION Did you spot the deliberate mistake? Because I was counting from zero, there are actually 25 registers and 25 reasons the SID chip is so good. I hope you have enjoyed this article, and will continue to enjoy SID music for many years to come.
Low-cost C64 music replay-routine techniques by Cadaver/Covert BitOps 0. Introduction ‾‾‾‾‾‾‾‾‾‾ Jazzcat emailed me (amongst others) and asked for SID-related material for the 18th issue of Domination. I thought for a subject that would be close to my heart and decided to focus on various optimization techniques for C64 music replay-routines. With low-cost, I mean a replay-routine
that might be something or all of these: fast (little rastertime), small (replay- routine code size), has compact music- data, or has simplistic, cut-down features. This chapter will be a collection of different ideas that might, or might not be useful to you. 😊 1. Warning / Disclaimer ‾‾‾‾‾‾‾‾‾‾‾‾‾‾ "Cut-down features" might be like a warning sign to many of you. I must indeed confess that I'm satisfied with a very basic feature-set in C64 music (such as pulsewidth modulation, wave/ arpeggio-table execution, hard-
restarted notes, tied notes, vibrato and slides) and therefore am not knowledgeable of the finer aspects of C64 music/routines. Anyway, it never hurts to optimize even a hifi replay-routine, and many ideas presented here are applicable for them as well. I must also note that during the years since my return to C64 coding (1998 - ) I've become increasingly anal about replay-routine execution times, and my view of them is surely quite twisted. At the moment, for my personal use, I prefer 10 or less. 😊 This is simply the result of the ideology "if it can be done fast, why do it slow?" I'm sure, to most the answer is
"because of features" and this is certainly a good point too. 😊 2. Replay-routine variables / SID registers indexing A lot of replay-routines have all of the SID registers shadowed in their internal variables; at the end of channel code, or at the end of the whole replay-routine, these internal variables are dumped to the SID. In this case, it's perfectly useful to index channel 1,2,3 variables with index of 0,1,2 (usually in the X register, to allow INC/DEC). Then, there'll typically be a "regindex" table that has the SID register index of all channels (channel
index multiplied by 7): regindex: .byt 0, 7, 14 At the end of the channel code, there's something like: ldy regindex, x lda freqlo, x sta $d400, y lda freqhi, x sta $d401, y ... It's clear, that this strictly "shadowed" approach, the music routine will be a bit on the slow side. Perhaps we don't need to write all registers on each frame? (think of the AD/SR for example).
So, for more optimal code, we need a way to access the SID registers directly, in the middle of the channel code, as needed. Doing "ldy regindex, x" each time we want to write something to SID would be clumsy and slow, so another approach is needed. The solution is simple: we will change the internal variables into groups of seven, the same was as SID channel variables! Now, the same index (0, 7, 14) can be used for both variables and SID registers. At the end of each 7-variable group, there needs to be 14 bytes space for the same variables on channel 2 and 3.
An example, with fictious variable names: pulselo: .byt 0 pulsehi: .byt 0 pulsespd: .byt 0 freqlo: .byt 0 freqhi: .byt 0 waveform: .byt 0 waveindex: .byt 0 .byt 0,0,0,0,0,0,0 .byt 0,0,0,0,0,0,0 The downside of this approach is that the size of the channel variable area has to be multiple of 21 bytes. So, there might be some unused space in the last variable group. But, let me assure you that its perfectly possible to have a
quite "full-feature" replayer with just 3 groups of 7 variables (total variable space 63 bytes), that's including a couple of extra variables for sound effect playback in games. 😊 3. Necessary SID writes? ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Continuing from the previous section, what are then, the minimal necessary writes to SID, and what needs to be shadowed? If you want to be sadistic on the composer 😊, you don't need to shadow the waveform register at all. Traditionally, it IS shadowed to allow easy gate-off/gate-on, but you might as well give a command to write any
byte to waveform, from the patter (sector). Couples with the possibility to leave waveform unchanged in the wave/ arp-table, this most likely achieves everything that's needed 😊 I used this approach in Ninja-Tracker. ADSR doesn't need to be shadowed. It needs to be written to, only when doing hardrestart, when starting a new note, and possibly during commands to change the ADSR. Frequency and pulse most likely need shadowing, as they need small increments/decrements. Still, it is necessary to write them only when they change! (quite obvious)
4. Methods of hard restart ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ There are many methods to achieve hard restart (ADSR bug prevention) on the SID, the most classic is likely this: 2 frames before note start, set gatebit off and zero ($0000) the ADSR. This is quite "hard" hard restart (a definite pause in the sound), and it has one significant limitation: when the note is indeed started, waveform (with gate-on) must be written before the instrument's ADSR, or the note will be blunt and ugly-sounding, not the nice sharp sound we intended. The plus side is that ADSR should never fail now, no matter what the sustain/release settings are.
The "cheapest" was of doing hard restart is using the testbit, it has the advantage that instrument ADSR values can be written directly to the SID, no zeros need to be seperately written before-hand. The idea is this: Write $08 to waveform register Set instrument's ADSR Write $09 to waveform register All these are done on one frame (note initialization frame), and on the next frame, the first waveform value from the wavetable can be set. This may fail on high ($F) sustain settings, and will generally lead into some uneveness in the whole volume envelope, particularly in the Attack/
Decay phase. Its perhaps the fastest and most straight-forward way, but not really recommendable. 😊 One good approach that I found from AcidTrackCreator's docs is this: 1 frame before note start, set gatebit off and $FF to Sustain/Release At note start, set waveform and ADSR in any order This will look well if the highest sustain or release value ($F) is not used in the instrument. The advantage is that this needs to be done only 1 frame before note start, so the note start is not so "hard" (good for fast drumfills etc.), and ADSR can be written before waveform.
Why it's nice to write ADSR before waveform? The answer is, that writing the ADSR can now become an extension of the "standard" wave/arptable execution, where a new waveform and frequency are set; after ADSR it just falls through to this standard code. This was what I did in Ninja Tracker.. 5. A low-cost approach to pulse modulation If you want really fast pulse modulation code, you can do like John Player: write seperate routines for each channel, and self-modify the code to store the pulse width and modulation speed. This way, the normally 16-bit arithmetic that's needed, isn't so slow.
But... a question arises: is it possible to do reasonably good pulse modulation in 8 bit arithmetic? Yes, in fact it is. The "trick" involves swapping the nybbles - this way a pulsewidth of $480 would be stored at $84 (the lowest nybble isn't stored at all). Now, the whole pulse arithmetic & writing to SID becomes just: clc lda pulsewidth, x adc pulsespeed, x adc #$00 sta pulsewidth, x sta $d402, x sta $d403, x The extra "adc" is needed for the high-
nybble wrapping to affect the low nybble (pulse hi-byte). This approach has just one catch to remember: you must subtract 1 from all negative pulse-speeds to get the desired effect. So, to decrement pulse by one, you'd have to use pulsespeed $FE, stored as $EF! Also, checking for pulse limits with this approach becomes a bit hairy, so its better to abandon limits altogether, in the favour of full step-programming. It must also be noted that really slow pulse modulations can't be done with this method at all.
6. One byte notedata + my mini-rant on note durations Next, let's talk a bit about the efficiency of pattern (sector data. Preferably, if instrument and note duration stay the same, a note should take only one byte. And, if duration or instrument needs to change, each of these should take only 1 byte more. I've thinked long and hard 😊 about different data-formats for this, and for the last 2 replay-routines I've written (GoatTracker & NinjaTracker), I've arrived at the same solution, where a byte in the pattern has certain meaning based on its value:
$00 End-of patter mark $01-$5F Note without instrument change/effect $60-$BF Note with instrument change or effect (instrument/effect byte follows) $C0-$FF Duration change This allows almost the full 8 octave range (just a few notes missing, for the pattern endmark and a rest command), and note durations between 1-64. Longer notes can be achieved with rest commands. Note the high values used for the duration. Perhaps you'd think, A SBC or AND operation would be necessary to get the "true" duration? This is one possibility, but it's more optimized to
have the duration counter now count forwards, starting from a negative value and advancing towards zero (no modification is needed) 😊 Ah, then the rant: many C64 music editors seem to use "step" durations (amount of 16th notes if you think tracker-style) for notes instead of counting the duration as frames. The length of the step (tempo) is then controlled either per-song, per-pattern, or with a tempo change command. In an optimized music replay-routine, I believe duration should exclusively be specified in frames only. This greatly simplifies the code. Furthermore, some
things (especially triplets) become very hard to do without duration in frames. Think of a song in tempo 5 (a 16th note is 5 frames), and how to do 16th note triplets in that tempo. The duration for each triplet note becomes now 3.33 frames, which can be approximated by having a 4 frame note among two 3 frame notes, in each triplet. How can this be done efficiently in a music editor without frame-based note duration?! 😊 7. The "universal" wavetable Another question in writing Ninja Tracker was whether I could put "everything" (instrument initialization, ADSR changes, vibrato, slides) into the
wave/arpeggiotable? Again, the answer is yes, it's possible. Why do that? To reduce the size and complexity of the replay-routine, as well as to simplify the editor, and make it a truly masochist experience to use 😊 As of now, the wave/arptable in Ninja Tracker can perform one of the following actions each frame: - Do hardrestart, and set pulse and filter-table pointers (instrument init) - Set ADSR, this is always followed by: - Set Wave/Frequency (the usual Wave/ Note pair seen in tables) - Change the frequency by X for Y frames (for vibrato and slide)
One thing that always takes quite a bit of time in table-based-step- programmable effects, is the handling of jumps. For Ninja Tracker, I took the most crude solution: make a 3rd column to the table, that always indicates the "next" step to jump to. No seperate jump command processing necessary! However, this somewhat increases the size of tables. 8. Virtues of step-programming ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ When you think of it, many effects can be in fact mimiced by step-programming For example, vibrato is repetitive up/ down slides of frequency. A pulse bouncing between some limit values can
be done with step-programming as well. The main advantages are thus: - More possibilities to composer - Less hardcoded effects in the replay- routine - simpler, smaller and faster code The disadvantage is more complicated editing. 9. Leaving effects out ‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Usually, fetching of new notedata, going forwards in the song's patterlist and initializing a new note are the most CPU-heavy operations in the replay- routine. To counter the rastertime peak
they cause, an often used technique is to leave some modulation effects (vibrato, pulse) or even the wave/ arptable execution out, on the same frame. I'd recommend sacrificing the pulse modulation first - its absence is the hardest to notice IMO. Changes in vibrato and arpeggio speed are easier to notice. In Ninja Tracker, I leave pulsemod out during new note fetch, and patternlist advance. Furthermore, filter execution is also totally left out if channel 1 is executing one of these operations. But wave/arp (which also includes vibrato) is never left out! (except in V1.02 the 8 rasterline version)
10. Code analysis & branch optimization ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ When your replay-routine is somewhat ready, you're likely to notice some occasions where the rastertime peaks. Try to seek these "bottlenecks" or "worst-case scenarios" and optimize them first, and hardest. If necessary, change your song/instrument data! Also, you can try to ensure that there's a minimal amount of branches and compares leading in, and out of the slow/complex bit of code. A typical situation involves choosing one option of 2 or 3 alternatives (for example note+instrument change, only note change, only instrument change), and then converging to some common bit of code. In this case, the slowest
piece of code should continue to the common part directly without a JMP instruction. 11. Analysus of John Player ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ John Player has perhaps the fastest somewhat full-feature replay-routine seen on C64 (?). Here's a not very indepth analysis at what it does: - Channel 1: Init new note, or do wave/ arp + pulsemodulation - Channel 2: Init new note, or do wave/ arp + pulsemodulation - Channel 3: Init new note, or do wave/ arp + pulsemodulation
- Process sequencer data (fetch new notes) and commands (one vibrato/slide at a time) The interesting point is, that channels 1-3 use different code, instead of same code with indexed variables. This gives the possibility to using selfmodifying code extensively, and using different zeropage variables (JP uses quite a bit of them). This in turn means, that the channels 1-3 processing is * fast *, and even with the sequencer processing, it usually doesn't go over 7 rasterlines (however, this is measured in the border without badlines).
12. Zeropage variables ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ One final advice, which actually has nothing to do with replay-routine optimization: if you want to keep hardcore democoders happy, don't force them to choose any area for zeropage variables, instead save the contents of those variables you use (usually only 2 are needed for a pointer into musicdata), and restore them upon the end of the end of the replay- routine. (courtesy of St0ff). Signed, Cadaver/Covert BitOps
C64 music tutorial for beginners ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ by Sidder/MultiStyle Labs/Role Dear reader! I think that the reason why you are reading this article is very simple - you probably want to learn "how to make sid music on your lovely C64", don't you? 😊 If you would like to start your music career but you still don't know how to do it, please prepare yourself for a piece of theoretical advice. Who knows, maybe after reading this chapter you will decide to make your own music?
Remember: Its more simple than you think it really is. 😊 Notice: To start making music on C64 you need: - real C64 (emulators aren't good with sound emulation yet, I advise you to use the Commy 😊 - Any music editor (in my opinion the best one is JCH Editor V3. Other good programs are HardTrack Composer, Sid Duzz It and more) with manual. - A little free time - And you must really want to do it. 😊
Okay, after this introduction let's begin with the learning! 😊 1. About SID chip ‾‾‾‾‾‾‾‾‾‾‾ I'm sure you know all (or almost all) about the best sound chip ever made (SID of course), but I will remind some main technical parameters: - it has three channels for "normal" music and fourth channel sometimes used for samples. - it generates one of four waveforms on every three channels (triangle, sawtooth, pulse and noise. You can also mix first three waveforms into each other). In addition, SID is able to use snchronisation and ring modulation fx.
- it has three filters (low-pass, high- pass and band-pass, but you can use only one of them at the same moment) As you can see our, our favourite SID chip is really cool, because it is kind of a little synthesizer. Worth noticing is the fact that people using C64 (especially active sceners) still have new ideas for software and hardware supporting 64's sound, for example they install second SID which can then give six channels! Besides that, Commodore 64 is able to play multispeed tunes, tunes with added samples in the fourth channel etc.
2. Waveforms ‾‾‾‾‾‾‾‾‾ In all music editors on C64, there is somewhere on the screen window called waveform table. It usually looks like this: (the following table comes from the JCH editor. Other examples will be taken from this program, but in almost all editors they look similar or even the same.) 00: AA-BC 01: AA-BC 02: AA-BC 03: AA-BC AA - it is something called by musicians as transposition. This parameter decides how many halftones will be added (or subtracted) to note which is
currently played. If you put here values $00-$3F, halftones will be added (e.g. $0A will add 10 halftones). Values $40-$7E subtract halftones (e.g. $7A subtracts 6 halftones). Values from $80 to $FF are another kind of transposition, these values don't add/subtract halftones, they just decide what note will be played (it doesn't depend on played note). The best way to understand how transposition works is just practicing. B - here you decided what waveform will be used. It can be: $1 - for triangle $2 - for sawtooth $4 - for pulse $8 - for noise When you want to mix e.g. pulse with
triangle, it will be value $5 ($1 + $4 = $5). C - here you can decide if you want to: $0 - hear silence 😊 $1 - hear sound $2 - use synchronisation effect $4 - use ring modulation effect Musicians usually use first two values, because they let you hear (or not hear) any sound. Another effects are used rarely. Of course you can mix these four values with each other (look at the previous example). Example wavetables may look like this: - for normal sound: 02: 00-21 - play sound using sawtooth 03: 7F-02 - jump to position 02 (loop)
- for major arpeggio (major chord) sound: 05: 00-41 - play sound using pulse wave 06: 04-41 - play sound using pulse wave with added 4 halftones 07: 07-41 - play sound using pulse wave with added 7 halftones 08: 7F-05 - jump to 05 position Isn't it simple?
3. ADSR ‾‾‾‾‾ What is this mysterious ADSR? So... it is a very important parameter used to create sound on C64, it decides how volume of sound will be changing in time. "ADSR" means Attack, Decay, Sustain, Release. In practice you can adjust here the volume of sound (Sustain) and time of Attack, Decay and Release of sound. Example ADSR values: 64 9A $6 - Attack = how much time sound will be fading in $4 - Decay = how much time sound will be changing from maximum Attack value
to Sustain value $9 - Sustain = sound volume $A - Release = how long sound will be fading out Notice: if you create in a waveform table an instrument like this: 02: 00-41 03: 7F-02 This sound will last as long until you switch it off (e.g. using "note off" command in the music editor). After using "note off", the sound will start fading out with given Release value. But if you create an instrument like: 02: 00-41 03: 00-40 04: 7F-03 you will hear sound lasting exactly $A+ $D+$R time. (Sustain parameter will
decide only about maximum/minimum volume.) 4. Pulse Width ‾‾‾‾‾‾‾‾‾ When you want to use pulse waveform, you have to adjust the pulse width parameter. It is necessary to hear sound using this waveform. You put pulse width values in a window (pulse table) which usually looks like this: 01: AA BB CC DD 02: AA BB CC DD 03: AA BB CC DD etc. AA - first (start) value of pulse width ($00 - $FE)
BB - what value must be added or taken to/from AA value CC - decide for how many FRAMES BB value will be: - added ($00-$7F) to AA value - subtracted ($80-$FF) from AA value DD - number of the next line in pulse table Example: 01: 05 1A 30 02 02: FF 2F A0 01 Start value is $50, player (playing routine in music editor) will be ADDING $1A value for $30 frames. Next there is
a jump to position 02. In line 02 player will be SUBTRACTING $2F value for $20 ($A0 - $80) frames. After that there is a loop to 01 position and this loop repeats. 3. Filters ‾‾‾‾‾‾ I think you know what filters are and what musicians use them for? So, let's try to understand how to use filters in C64 music. Firs of all, you have to decide if you want to use filter in a sound. If yes, you've got to choose what type of filter you'd like to use. You may use:
$0 - no filter $1 - low-pass filter $2 - band-pass filter $4 - high-pass filter You can mix these filters with each other, which lets you make for example band-stop filter ($5= $1 + $4) Next attribute which must be chosen is Q factor (filter resonance), which can have values from $0 to $F. $F value of resonance causes that cut off frequency is accented very much, $0 - isn't accented at all. The best way to understand this Q factor is (as I wrote earlier) through practicing. Last thing to do is filling the filter table. It may look the same like the
pulse width table: 01. AA BB CC DD 02. AA BB CC DD 03. AA BB CC DD etc. AA - is the start cut off frequency BB - what balue will be ADDED to the AA frequency CC - for how many frames will BB value be adding to AA frequency DD - number of next line in filter table Notice that, as far as filters are concerned, there is only adding of values, but you can also subtract them. An example filter table when you don't want to change the cut-off frequency:
01: 5F 00 00 01 Cut off frequency is set on $5F. - when you want to add values to cut off frequency: 01: 5F 10 0A 02 02: FF 00 00 02 Cut off frequency is set on $5F and player adds $10 value for $0A frames. Next there is a jump to 02 position where adding stops. - when you want to subtract values from cut off frequency: 01: 5F F9 05 02 02: FF 00 00 02
Cut off frequency is set on $5F, players adds $F9 (but in practice it subtracts $07) value for $05 frames. After jump to position 02 adding stops. Notice: you cannot use a few types of different filters at the same moment! I advise you to use all filtered sounds one channel (the same channel). 4. Instruments ‾‾‾‾‾‾‾‾‾‾ To create an instrument (sound), you have to fill waveform table (and - if necessary, the pulse and filter tables) and instruments window. View of this window may differ in every music editor, but it may look, for example, like the window in the JCH editor:
01: AA AA BB CD EE FF GG AA AA - these are ADSR parameters BB - is type of instrument ($00 - normal instrument, $08 - drum instrument) C - resonance of filter D - type of filter EE - start position in filter table FF - start position in pulse table GG - start position in wave table What is a drum type of instrument? Well, it is used for making drum instruments. It works in a way which, no matter what note you will write in the editor, player will always play the same (written in wave table) note. Try it and see how it works yourself!
5. Is that all? No... of course it isn't all what can be written about C64 music. But I hope that after this very exciting (and short 😊 piece of theory you will try to use this knowledge in practice. If you want to become a musician - remember: ONLY A LOT OF PRACTICING WILL HELP YOU BECOME A GOOD MUSICIAN! Wishing all the best for every C64 user, Sidder/MultiStyle Labs/Role.
The Enlightened Nerds ‾‾‾‾‾‾‾‾‾‾‾‾‾‾ by Goto80 It's weird when your passion is commercialized into a trend. The computer-raised youth has grown up and the oldschool computing is trendy shit. It feels odd being the veteran who's "been there, done that" and will keep on doing so. It is easy to be conservative and fundamentalistic, disliking new users of "our" good old hardware and music. But I honestly find it frustrating with the shitloads of C64-related crap in
various audio/visual publications like music-videos, web-sites and records. It seems these releases are more based on trends and nostalgia than dedication and interest. But who am I to be the judge if that is good or bad? I've released two 7" vinyl-singles with C64-music, and have also performed live here and there, now and then. When playing for the general audience, only a few nerds care whether it's a C64 or a PC. In general, people don't care about concepts, technical specifications (be it musical or hardware-related) or context (how, where and when the music was created and meant for playing) - they are simply asking "Is
the music good or bad?". And of course there's nothing "wrong" about that. But, the answer is - to some extent - influenced by what they've heard and recognize, being very much controlled by the media. As in most aspects of our society. Think about what you know from your own, first-hand experiences and compare it to what you know thanks to various media-productions, which always present some certain point of view. I think we can never be objective - grasp all of reality - hence we can never present Reality. Various media decides when, where and how we are supposed to be exposed to a specific music culture, for example. Thereby not saying that the media-
business is doing this to DELIBERATELY distort our views upon the world - they are simply doing their jobs. And we - the consumers - are very much affected by their work. To put it short, Domination is right now altering your view on reality, modulating your mind. We in the 8-bit demo-scene have first- hand experience from oldschool computers, which makes most media's published second-hand experiences more or less hilarious. I mean, if you were at a concert, a demonstration, a computer-party or a soccer-game you easily see what the journalists afterward brings forward and tones down - he can't write EVERYTHING, can he?
In most cases, we don't have own experiences to compare the media's views to. Putting it like that, it doesn't seem elitistic to say "I know what C64- music is about, and it's not that piece of 8-bit-wannabe bollocks!", does it? Goto80 07-04-2003 Radhuset, Gothenburg, Sweden
The Superbike Project ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ An indoor c64 controlled bicycle by Ready. Trieste, August 2001. My old mountain-bike was lying in my garage - it was no longer good for the street and I had a newer one. I didn't want to throw it away, and we had spent so much time together, it had taken me everywhere in the past. I thought I could put it in my room, so I could exercise during the winter, but it needed adjusting: a metal frame to keep the wheel above the floor to start
with. So I loaded it into my car, got a few iron bars and went to my rowing club Saturia where a friend of mine helped me with the welding. Time passed. Trieste, December 2001. I was quite busy with rowing and studying at the university so I didn't have much time to work on my bike, but my mind was always on it. Now that the back wheel was spinning freely above the ground I thought it need some kind of brake to make the resistance and simulate up-hill riding. I had seen some indoor bicycles with manual brake, but I knew I could do better. At that time I was attending a class about how computers communicate through busses
with peripherals and here comes in my Commodore 64 - why not use it to control my bicycle? There was one major problem: doing such a thing would take a lot of work and time. I needed an expedient. I couldn't do it just for fun, it had to be more than that. So I asked my professor if my project could count for that exam. It did. I couldn't believe I was going to do an exam in 2001 with a C64!!! Trieste, January-March 2002. 3 months of hard work. The project consists of 3 main parts: a mechanical part, an interface circuit part and a software part. The mechanical part was the easiest one. I took my old broken Epson Stylus
color 600 printer apart and used one of the two step motors to move the mechanism which pulls the metal wires connected to the breaks. The motor turns an endless screw that drives a bolt connected to the metal strings. The nice thing about step motors is that their axis position is easy to control. In fact its movement is proportional to the number of current pulses sent out by the C64 controlled interface circuit. If the C64 says, "Go to position 34 (poke 56577, 34)" the brake is set to position 34. On the bicycle there are also 3 sensors (phototransistors): two of them prevent the brake from going out of range (lower and upper position) and one counts the wheel revolutions.
There is also a 3 bit programmable line, which means there can be 7 buttons on the bicycle to ply different functions according to the software you use. The interface circuit was a real pain in the neck. Before that I had almost no experience in electronics, so I went pretty nuts with it. It is connected bi-directionally to the C64 through the user port. A basic program can easily control it through pokes. The computer performs a 4-stage communication cycle. Each stage involves 8 bits. In the 1st stage it sends the motor to the chosen position. As this process takes some time to perform, the 2nd stage focuses on the transitory response. In the other two stages the C64 receives information from the
interface circuit about the 3 bit programmable line and the number of revolutions of the wheel. I use an independent line (PC2 line) to select each stage and CNT2 line to reset the circuit. The program I wrote makes use of the disk drive, too: at first I used the ATN line, but I was forced to use the PC2 line, not affected by the disk drive access. The circuit has two voltages: 12V for the motor and 5V for the logical circuits. It has external alignmentation. The software was written in basic and compiled to make it faster, otherwise the calculation of the speed, using the internal clock of the C64 would be unreliable.
At the beginning it sets the brake to the all-pulled position so that the computer knows it is at zero position. Then ther user (or athelete?) can set the track parameters: maximum slope, distance and kind of track (chosen at random by the computer). When everything is ready the user can start exercising, while the c64 shows the position where the brake is going to and where it actually is, the current speed, the covered distance, the elapsed time. Below these infos there is Lupo Alberto (a sprite taken from the game Lupo Alberto, by Idea 1990) that runs on a wheel, which I draw myself - it sucks I know, and the faster the bike wheel spins the faster Lupo Alberto
runs. In the present version (v1.0) now the sprite starts from the left side of the screen and reaches the right side when the set distance is covered, though I'm working on a scrolling version, too. If you used the program as I have described it so far, you'd probably get bored after a few kilometers, but if you are one of those "sid-a-holic" persons (as defined in the FAQ file of Sidplay), you'd probably want to be exercising with your C64 all day long. Yes, the program can play sids. That's why I had to make two control lines disk drive independent of each other. While riding you can load sids from the disk. The name of the tune appears at
the bottom of the screen as well as a small bar that shows the level of the third voice (level=peek(54300)). I also wrote a small basic program to make your own music disks with your favourite sids. At the moment the prgram supports sids located in $0800 - $3CFF or between $8000 - $BFFF, butrt no speed tunes or digi tunes are supported. If you are interested in the Superbike Project, please mail: danieleredivo@adriacom.it Some day you might happen to ride an indoor bicycle for hours listening to sids, and that day your mother or girlfriend will stop complaining about
your butt being sid on a chair all the time because of a computer: this time your old c64 will keep you in Shape!! Signed, Ready.
The long-winded and boring history of Side B By AMJ The roots go deep, back to the glorious eighties when Michael Jackson was still considered black. It all originates from the release of good old Future Composer. Since then it was obvious that we should pollute the world with our efforts in something that vaguely resembles music. The first incarnation of our desire to be recognised as crappy sort of musicians was MBD.
MBD as a name was wordplay from a name of a disease one of us (most likely TBB) came up with after hearing the term MBD - Minimal Brain Disfunction - somewhere. As a fitting description of the musical results of our efforts back then, Musical Brain Damage described us rather nicely. Musical Brain Damage was formed in 1988. Consisting of brothers AMJ, Page and TBB. There was no point or agenda behind it; we simply wanted to publish our stuff under a mutual name. Of course we had hopes of being picked up by some group, as a musical department for the group, providing music for any productions the group might do (as making games was
something several groups had recently started doing, and possible earnings sounded sweet to our young minds). DUring this MBD phase, we or rather TBB developed an extended version of Future Composer for our private use. Nothing fancy really, it utilised the unused sound parameter for controlling the read position of filter data, for making filter things different from the standard FC. A little later on it was modified to be used as a secondary parameter for arpeggio at every screen refresh, thus providing the possibility to come up with arpeggios containing more than three notes. Yet another modification popped up later, making it possible to save and load drum data only to and from disk. Even though it
was still FC, it allowed us to do things that sounded different from other FC users. Around this time I was introduced to Anvil and Sampo-X from god only knows what group. They were both doing music too, and seemed to be rather nice guys. Anvil had just started hacking FC as well, and was interested in what we had done to our version. I ended up joining a new group with Anvil and Sampo-X, called Raze Inc. Soon after this, the brotherly love flowing between us MBD people suffered a blow or two, and out of stupidity, MBD broke up. Most of it being simply that I was in another group besides Page and TBB. And thus 3E erected. Trio Erectus was
formed in 1989, consisting of group- mates AMJ, Anvil and Sampo-X. We, or me that is, came up with the name before some Finnish TV show introduced Finns to a humourous two- man trio of the same name. Weird coincidence, but we decided to stick to the name - after all, this duo's musical talent was uncannily close to ours: they blew big time! 😊 During the time 3E existed, our aim was to come up with a totally new player of our own. Anvil and TBB talked a lot about coding a new player and editor, and both started working on their own thing. Neither got finished before 3E broke up. First Sampo-X was lost to the terrible thing known as Real Life - he got engaged to a female who stripped
him of any free time or free will. Then something happened in Anvil's and my status within the group we were in. Most likely what happened was we were drifting without a group. After all the name changes and re-organisations related to Raze... memory failing me on this, Raze had broken up, two new groups were formed, one of them didn't succeed, and after all the hassles with forming a new group, Overdrive changed it's name into Motion and things were stable for a while. Anvil and I were looking for a new group to join in after Motion started falling apart, we got offers from several groups but none of them really interested us - we were after a group that could handle foreign members and was going to enter the game making
arena... During the whole mess, both Anvil and TBB had progressed with their new players and editors, and as we were constantly in contact about things, we started playing with the idea of forming a new group again. This time we'd keep this music group seperate from our other group activities and focus the music group efforts around these new players. After receiving harsh commentary from my swapping contacts of that era about empty b-sides on diskettes, and Anvil complaining about the same phenomenon happening with my latest send that was supposed to contain the brand new player and editor from TBB - editor
part coded by Celtic of Deathsector Inc, one of my dearest scene friends back then - on the b-side of the disk, it all clicked. Side B. What a suitable name for us. Promised content that turns out to be non-existent or useless 😊 The exact date when Side B was formed is somewhat hazy, most likely it happened at the end of -89 or in the beginning of -90. Armed with our new tools, the line-up consisted of Anvil, Page, TBB and me. Anvil decided to continue with how own player that sounded promising (it did things no player up to this day does!) that didn't contain an editor, us three brothers sticking to our editor since it was really tailored to our wishes and needs.
During the first years, we were hoping to collaborate with other music groups of that era. At the Horizon parties in -90 and -91 we talked to Nordic Beat and Prosonix amongst others. Nothing happened though, mainly because bother parties in each case were reluctant to provide their internal music editors for the work, and quite likely also because of me appearing as an enthusiastic newbie kid no-one had heard of :p In 1991 things turned into a bad direction. Anvil and me had been searching for a new group for a while and had joined Topaz Beerline at some point. It felt kind of weird, because Topaz Beerline had been the musical department of Browbeat when Motion
and Browbeat joined forces and produced at least one demo, before Browbeat disappeared into thin air. For unknown reasons, Anvil disappeared - literally - after he got into university that fall. Our mutual friends didn't hear from him, I couldn't get in touch with him, even his parents couldn't arrange me to get in contact with him. It was Spinal Tap taking place in real life! :p Hold on, that'll make sense later on. We carried on, doing stuff together until I got into art school and moved across Finland. Around that time, all of us brothers were getting a little tired of scene things, although TBB and me participated in parties and meetings
and did music. Page lost interest in doing music on C64 and moved on to the world of real music, first learning to play guitar and later on picking up real skills in playing bass and drums as well, and much to our surprise turning into a capable heavy rock singer. During this time, Side B was finally getting at least a little recognition in the scene. We were the first music group to end up in charts, rather high too, before releasing a single tune under the name Side B. At the first Assembly party, I won the second prize in the music compo due to vague rules that somehow forbid group members from voting me but allowed others to vote their group members
(bitter as it sounds, this was true and resulted in heated conversations after the results were published). For those of you who are into listening crap, the tune in question was 'Buzzer'. As an act of retaliation, I joined Assembly organising next year and won the music competition (although these two things were unrelated :p). The tune in question was considered to be something different at that time, due to the sounds and some good luck with it sounding rather decent on the PA system at the party. However, for reasons still beyond any rationale, it was never released, as the compiled (or 'converted' in Side B speak) version didn't make it to the party release disks - the version played in the compo
was the editor version and unsuitable for distribution since it would have been dead easy to steal the player and build an editor on top of it, not to mention the tune was 45 blocks on disk. After recovering from the party, it was all forgotten, although requests for it started rolling in, for usage in a demo or three. Don't worry, it will see the daylight some day. Next year, I was supposed to provide the soundtrack for the new Byterapers demo, coded by a promising newcomer that went by the name Mr.Sex, a nice person I had met at earlier Assembly's and who for some peculiar reason liked my stuff. As usual, things got messed up and the order for the soundtrack arrived a
week before the deadline and I had already scheduled that week for making a compo tune... a nice chap called Zardax was called and he provided an amazing soundtrack for the demo. Frustration didn't quite describe my feelings, as the demo had been brilliant and I had missed a good opportunity to make something that would be noticed. I needed to get even somehow, no matter what the cost! And the opportunity for payback presented itself next year. At ASM'95, TBB came up with a hideous plan and carried it out immediately. After a pizza at a restaurant, I had gotten my revenge - Zardax had accepted the invitation to join our ranks. Surprisingly I found out about
this after his acceptance. It was a tough situation for me, as I knew nothing about it earlier, and I found it hard to swallow since I had considered myself to be some sort of leader in Side B until that time. But as it was a good move for Side B - that year he won the music compo with one of my all-time favourite tunes - and he was one of the nicest guys I've ever met in the scene, not to mention he reminded me a lot like Anvil, with his wit and amazing musical skills, I took a deep breath and swallowed my pride and gladly welcomed him, instead of making an issue about this not even being discussed with me first. A learning experience for me, to say the least. And a unifying experience for Side B.
Sadly, fate had something reserved for us for pulling such a dirty move - it was Spinal Tap time again. Zardax mysteriously disappeared. No one knew what had happened to him, apart from a rumour about him getting tired of scene activities and getting pulled into the dark side known as Real Life. In case you're wondering about this Spinal Tap thing - think about the exploding drummer. Does it make sense now? No? Thought so... read on. Music groups died. New ones appeared. One of the newcomers to the scene was something called CyberZound Productions. I was flattered when I was asked to join, thinking I had
finally accomplished something. I still had to say no, as being in a foreign group didn't sound that appealing any more - we had already slided into the friendship side of things, where such trivialities as being able to meet often in real life counted. Later on it turned out that quite a few people had been asked to join CZP... Pondering about something similar, we began to discuss about forming a new group, or rather turning Side B into a collective of all the active Finnish composers of that time. It was soon realised that such an idea wouldn't work, and around the same time both TBB and I were getting tired of scene activities altogether. Old friends had pretty much disappeared from the
scene and there was nothing to pursue any more. It seemed as if no one was aiming for massive productions where the effects and music were in sync, providing a uniform, cohesive package where everything fit into each other - we were disillusioned to dream about all kinds of ambitious things that were done with proper schedules and good communication amongst the participants etc. There were practically no orders for music from us, there was nothing to keep us interested in things. And then something happened. We got to see a number of releases that contained our music. One really rememberable thing came to our knowledge - a tune by Page had ended up in a Starion demo, which we
considered to be something amazing, since Starion people had connections to people like Laxity, who we all loved. I remember seeing a demo with music by Jeff, containing a part that carried some resemblance to a certain part in THAT Byterapers demo I had done the music for, complete with music that complimented my work. All of a sudden the scene looked rather interesting to us again. In case you're wondering about us seeing all products that late - we weren't actively checking out new products any more mostly due to neither of us having any contacts any more that would have supplied us the goods. :p With unreleased ideas still in our minds, accompanied with dreams of getting our
new player and editor finished, we participated in some scene activities, release a tune or two per year - it was a joke amongst us to "at least release something once a year" for which Assembly provided a chance. We did very little otherwise, having our interests shifted into other platforms and venues. Actually we had been doing stuff with synths and other gizmos for a long time already, and that had lured us from the warm sound of SID. Then we ran into an old friend from the good old days, at some Assembly. Someone who had pretty much done the same, switched from 64 to the wonderful world of synthesisers several years ago. Someone who had
been a musician all those years ago - and pretty darn good at it, someone who had started with a tweaked version of FC and had later on coded his own player... a soul-mate. He went by the name of Mixer, of Origo Dreamline fame. Sharing a common history with us, we were impressed about meeting someone who knew from year's back. And we were surprised to find out how similar his track record was to ours. Even scarier a coincidence, he was working in the same company as we were, down the street our office was located at! Being somewhat puzzled about this, we briefly discussed what this all meant, what fate had now brought upon us. Turned out that fate
had brought us something we couldn't have imagined even in our wildest dreams - a fourth member of Side B to fulfil that empty spot in our ranks. And what a fitting member he was. As inactive as the rest of us, as interested in "making something big that hasn't been done yet". Almost like our lost fourth brother. That pretty much sums up the history of Side B from my perspective. Although there is something worth mentioning. During all these years, only once have we really considered about a fifth member. We've always seen that four members is a good amount of people, for a reason we've never figured out. But we met a person who made us think differently for a change. We discussed
about this several times, and finally approached this person with our offer. You could say we were looking for a replacement because we were expecting a Spinal Tap incident to take place sooner or later. You could also say we were hoping for this active and very talented person to be the person who'd end up being the subject of the Spinal Tap incident, to eliminate the competition :p This person also shared a similar history to us, being active in the good old days, albeit on another platform. He had been at the same old "good" parties with us, although at that time we weren't familiar with him, only with his reputation and talent. Fate pulled a power move on us with our plans though. We never heard from this
person in this matter after we invited him to join us, as if such an offer was never made. Another learning experience for us, perhaps? All in all, we've had a weird history as a music group. We've never released anything together as a group project. Apart from some tunes a long time ago, we haven't even co-worked musically. We made it into some charts before we released anything. We never made it big time during our active time. Our most famous member is one who did the least amount of music in Side B, and he became acknowledged by the scene after he had quit. On a side note... we were engaged in a number of game projects, all failing for
the weirdest reasons. The first game we did music for, me and TBB, was released for free after the author of the game got tired of expecting replies from several game companies. Two days after the release, offers from several game companies started pouring in. Another game project disappeared with its author and no one to this day knows what happened to him (Spinal Tap! Spinal Tap I tell you!). At least two other game projects were scrapped because "games wouldn't bring in that much money any more", and both games would have brought in a decent amount of money, we found out later. Yet another game I did music for ended up in the drawer, after it was 99% ready. It was one hell of a game, the best in its genre I dare to say.
Test players love it. The coder was able and willing to port it to two other platforms. I participating in making progress as well, providing ideas for the game-play. The first offers the author received were reasonable, definitely enough to make it worthwhile to release the game. The completion of the game took long enough to lower the price to such a level that it didn't sound so impressive any more - but it would still have brought in money and I would have ended up with the amount I had been asking for all along. Somewhere in the coder's disk piles, the 99% finished game still awaits to see the daylight. I for one am still hoping to see it released some day - it contains a couple of the only tunes I've ever done that I'm really satisfied
with... Bad luck has always been with us. But we've never let it stop us from distributing it to the scene in a form of mediocre, monotonic music with no real content to speak of. And we never will. There's always that "at least release something once a year" factor to keep in mind. Once a year, we have to whip up something in a week, to remind ourselves of our inactivity during the other 51 weeks of the year. This year will be no exception - it'll be yet another year when Side B never made it big time.
An historical point of view ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Compiled by Jazzcat Music groups on the C64 are now etched into our scene history. Over the years many groups have come and gone, some have been unsuccessful and left only a ripple in the scene, whilst others have been highly successful and have moved on to bigger things in the computer- music genre. I guess the most important year for music groups was 1987. This was the year things really started, in particular one group was born which inspired many
other groups to try and follow their example. This group was Maniacs of Noise (MON). Maniacs of Noise was founded in 1987 by Charles Deenen and Jeroen Tel and was the first video-game music- company. They composed music for hundreds of video games on many different platforms, the Maniacs were also responsible for quite a lot of demo music (the classic 'Dutch Breeze' by BML is a prime example). The group was highly successful and achieved not only quality, but fame, their average review in the magazines exceeding 90%. Based in the Netherlands, the group has had some high profile members.
Charles Deenen (TMC/Scoop), Jeroen Tel, Johannes Bjerregaard, Reyn Ouwehand, Drax, Laxity, The Mercenary Cracker, Mad and Moppe. Today the group continues to compose music, design sound effects and record dialog. All done mainly for video games but also for film, television, radio and interactive web-sites. Are they dead on C64, the machine that changed their lives? In short, no - their most recent release was a small music collection called BEYOND, which was released in cooperation with another C64 music group called CyberZound Productions (CZP). It contains music and code by
Drax and Jeff. Also promised from Jeroen Tel since a long time now, is his long awaited demo called NOISE OF MANIACS. Which contains unreleased SID music from 1990 - 1995. Current member-status: ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Jeroen Tel, Drax, Laxity http://www.maniacsofnoise.nl/ http://www.xs4all.nl/mon/index.html
Not long after Maniacs of Noise another group appeared on the scene and this crew is also highly regarded in the influencing of the scene and making history - their name is Vibrants. Consisting of Danish musicians, the group was founded in 1988 by Jens- Christian Huus (JCH) and Klaus Gr0ngaard (Link). Some background on their group name: Klaus suggested "Dudes of Volume" which JCH didn't like because of the "of" word! JCH then suggested "Audio Ants" - which was substituted from "Audio" with "Vibranto" (an effect in many players) and combined it with "Ants". And there was the name, "Vibrants".
Over time the group gained members and also lost some. Klaus left to compose midi music, Richard Rinn (Deek) joined but then left the group when he lost interest in the scene. Later on they gained further talents such as Jesper Olsen (JO), Thomas Mogensen (Drax), Thomas Egeskov Petersen (Laxity), Torben Hansen (Metal) and in 1998 their latest recruit joined up in Morten Sigaard Kristensen (MSK). The group is responsible for many music collections, tools (New Player and SID editor to name just two) and quite a few game and demo SIDs.
Current member-status: ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ JCH, JO, Laxity, Drax, Metal, MSK http://www.vibrants.dk/ My personal opinion is that Maniacs of Noise got 'the ball rolling', other groups soon arrived such as Vibrants, Prosonix, 20CC and Moz(Ic)Art to name but a few. However, the next group I would like to go into more detail about is the Norwegian based Blues Muz'.
I wish to touch on this group as they provided some of the best sounds and instruments I've ever heard on the C64. Blues Muz' was founded in 1991, together with Pixmix (which was meant to be a graphic group, but never amounted to much). Both were sub- groups of Shape. Blues Muz' has won a lot of music competitions and has been instrumental in delivering high quality compositions with unique sound and instruments (a lot of groups tend to carbon copy instruments from the JCH and DMC editors, this is the not the case with BM who have constructed their own).
Even though they are not the longest lasting music group on C64 officially (MON and VIB still exist), they have been the most consistently active group over the longest period of time, with over 21 music demos to their name. Blues Muz was created in Norway and had contained Norwegian members only, but in the late 90's the Australian musician Morbid/ex-Bass joined them and renamed to DJB. They continue to release demos and production-music to the scene to this very day and have made public their internal music editor called SID DUZZ IT (considered by many to be one of the best editors available on this machine).
Current member-status: ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Glenn Rune Gallefoss (GRG) (ex-Shark), Eivind Sommersten (ES)(ex-MixMaster) Kristian Roestoen (KR) (ex- Stormbringer), Kjell Nordbo (KN) (ex- El Morell), Dwayne James Bakewell (DJB) (ex-Morbid, ex-Bat) http://www.bluesmuz.com (under construction) By mentioning one sub-group of Shape, I'm obligated to mention their original music group called Moz(ic)Art.
Moz(Ic)Art was founded in 1989 and was heavily inspired by the success of Maniacs of Noise. The founder was Geir Tjelta who at the time wanted to create his own music group and earn some extra money by creating game music. They did make music for a few titles but became more famous for their demo music. Apart from their demo and game music, they did make some music collections in 1989 and 1990 that weren't released until quite some time after they were made (possibly used to send to game companies for promotional purposes). Eventually the two collections were released to the public. Simply called Moz(Ic)Art Demo 1 and 2, the demos contained not only SID music with very
atmospheric instruments but also DIGI tunes, the collections left me in awe (think it was in 1992/93 I had first listened to them). Geir Tjelya has since released his music tool together with Glenn Rune Gallefoss under the Shape label (called Sid Duzz It V0.98). Geir is still a member of Shape and is composing from time to time. Member-status: ‾‾‾‾‾‾‾‾‾‾ Geir Tjelta (Predator), Trond Kjetil Lindanger (IQ64), Lizard
Other groups of interest: ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ The Imperium Arts (TIA) Members: Syndrom, T.Error, Gaston, PRI, SMC, Brian 20th Century Composers (20CC) Founded on: 17th June 1988 Members: EVS, Falco Paul CyberZound Productions (CZP) Members: Duck LaRock, Jeff, Mitch, VIP Graffity Members: Adam Davidson, Andy, Brian, Calt, Cheesion, Clarence, SID6581, Trays
Bass Founded in: October 1994 Members: Fanta, Bleed Into One, Morbid, Echo MultiStyle Labs (MSL) Founded on: 15th July 2000 Members: Jammer, Sidder, Smalltown Boy Sidchip Scratchers (SCS) Founded in: 1987 Members: Guy Shavitt, Daniel Side B Founded in: 1989 Members: AMJ, TBB, Mixer, Page, Anvil, Zardax
Natural Beat Members: Taki, Peet, Chubrock http://home.sch.bme.hu/~takinb/ Oxsid Planetary Founded in: 1996 Members: Zyron, QBhead, Goto80 Prosonix Members: Lars Hoff, Ole-Marius Pettersen, Stein Pedersen, Lynx Swemix Founded in: July 1994 Members: Avalon, Doxx, Red Devil, Zyron ADSR Members: Cane, Dos
F.A.M.E. Members: Michael Hendriks, Holly One thing we can be proud of, SID music has been preserved from getting lost and is also now available for future generations. Over 20,000 compositions await the whole world at the High Voltage Sid Collection website: http://www.hvsc.c64.org Regards, Jazzcat
OPINION POLL Welcome to the Opinion Poll of this special edition of Domination. This poll, which was conducted over the internet, is a reflection of the theme of this issue - C64 music and the SID chip. Thanks to all those people who participated and leant their views to these pages. Want to participate in future questionnaires? email: jazzcat@c64.org
The questions: * Which is your preferred SID model, 6581 or 8580 and why? * Which musicians in C64 history do youu think stands out the most and for what reasons? * C64 music has an important role to play inside demonstrations. Which demos made the best use of C64 music do you think? Keep the spirit alive!
#1 WHICH IS YOUR PREFERRED SID MODEL, 6581 OR 8580 AND WHY? ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ DJB/Onslaught/Blues Muz' ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ 6581!! the 8580 is great for its filter effects, but no good at playing samples. I've used both to write many tunes and I like them both for different reasons, the 8580 is great when I don't want to use samples as I have a very long filter range, but when samples are involved I will only use the 6581. Smalltown Boy/MSL ‾‾‾‾‾‾‾‾‾‾‾‾‾ 6581 has very nice sounding low-pass filter, which gives the incomparable warmth and depth.
But it also has cruel errors producing clicks when filter is being turned on. The result is, you have to filter one of SID channels for the whole duration of your tune - or be prepared for awful clicking in the background! Thus, I can't really decide. Druid/Agony/Flash Inc ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Everyone claims that the old one is better due to better sample support. Unfortunately I never had old sid to compare the differences, but I heard an Offence demo part tune that was played on the old sid and it had shocked me totally. Anyway - I still wait for PCI HardSID 😊
Nafcom/POL/The Stock ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ I prefer new sound chip, because of its better sound (so I believe). I am sorry that they removed the bug to better play digis. But anyway, new soundchip is better, it sounds better and most new tunes are for new sound chip. Jakob Voos/Protovision ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ I have no preferred SID chip. OldSID has brilliant basses while NewSID has stunning trebbles. I prefer having both versions handy, but I somehow got more used to the NewSID.
Steppe (http://www.demodungeon.com) ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ I like both chips, each one has its advantages. Samples and filters on the 6581, the combined waveforms and the generally clearer sound on the 8580. To fit both demands I always have a breadbox and a C64-II handy to quickly change between them when I know that a demo or game really relies on a certain chip to make it sound as it originally was intended. If you ask me to make a definite choice, I'd go for the 8580. Thomas Detert/X-Ample Architectures ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Both have pros and contras: 6581 for playing back loud samples and "The 8580" for, in my opinion, better filters!
Danko/Censor ‾‾‾‾‾‾‾‾‾ 6581 R3 if you find a good unit, otherwise 6581 R4AR since it's uniform in sound (as far as SID goes...). Intensity/Onslaught/Cosine ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Personally it's the 8580 that I prefer since I create trance-music on the C64. Most of my tunes rather work on a new sid chip model in 100% quality, but sound poor with the old Sid Chip. For Techno- or Trance-based music the new sid chip model is the right way to go because you can do a lot of nice effects with it.
The Syndrom/TIA/Crest ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ 8580, because the filter resonance is far better than it was in 6581. Groepaz/Hitmen ‾‾‾‾‾‾‾‾‾‾ 6581: good old dirty filter action, $D418 noise, keramik R1 - nothing a newschool wannabee dance-techno "composer" could stand 😊 Also a chip that makes "lightforce" sound like crushing empty coke-can worthless. YodelKing ‾‾‾‾‾‾ 6581 - Because it's the chip I had as a child, and digis are almost silent with 8580.
Ready ‾‾‾‾ Hard to tell: its like asking if I prefer a guitar or a piano. Each one of them sounds best with its own kind of music. If I had to make a choice I'd go for the 8580 model because I usually listen to techno-style sids, or at least to something with a beat, something that pumps me up while riding my sid-cycle Superbike. Certain drums sound better on the 8580 model: listen to HVSC/c64music/VARIOU S/A-F/Children_Dream_Version.sid and notice how the "bum bum" sounds different after 2 minutes of play. With the 8580 chip it seems like there's a fourth voice playing, while with the 6581 the music is almost boring. Other sid tunes sound better on the
6581 model. In HVSC/c64music/VARIOUS/A-F/Blue s_Muz/Gallefoss_Glenn/Barbers_Adag io_64.sid the drum samples are really horrible with the 8580 while the 6581 plays the tune correctly. In some sids the 8580 doesn't even play the samples (HVSC/c64music/Wilso n_Mark/Outrun_Dance_Mix.sid). Almighty God/Onslaught/Level 64 ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ This could be an outside view as I'm not a SID composers but I'm really a SID music addict. I prefer the old chip mainly because I can hear the samples properly. Those from games such as Savage or Outrun. But apart from that the new SID has better sound, could be a more clear sound.
Jailbird/Booze Design ‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Since I don't have connection to sid music apart from liking them, I must admit that I don't pay too much care about the models they're played with. I had both, but the only huge difference I noticed was digi-sound quality. Perhaps if I had the possibility to check a song that was especially made for a particular model, on both sids simultaneously, or if I'd was a musician, I'd probably have a different opinion. 😊 Hi-Lite/Padua ‾‾‾‾‾‾‾‾‾ 6581, because its the first, real, original one...
Merman/POL/Role ‾‾‾‾‾‾‾‾‾‾‾‾ I have used both models of SID, but the majority of my tunes were created on an 8580. I also made 6581 versions of some tunes, editing the filters and altering voices to get a better sound. But the clinching factor is the "quiet sample" problem of the 8580 - it annoys me, so I pick the 6581 - since it was the best sound chip in a home computer at the time, and is still surprising me all these years later. Oswald/Resource ‾‾‾‾‾‾‾‾‾‾‾ I pick 8580 since I think musicians can do with it nicer sound-effects, but then I should pick 6581 for the better digi capabilities. It doesn't matter really.
Sidder/MSL/Role ‾‾‾‾‾‾‾‾‾‾‾ I prefer new SID - 8580. But the reason is that I just have this model in my C64 and I don't know how the old chip sounds on a real commy. Quasar/Centric ‾‾‾‾‾‾‾‾‾‾ 8580! Since years I'm having a new SID in my C128 (without knowing it... shame on me!) but lately I bought another C128, this time with an old one... Most of the new tunes don't sound that good on it, but the bass is great... Still, the newer "techno" and "funky" tunes sound mostly better on a 8580.
Weasel/Hitmen/Padua/Crazy ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ 6581!!!! The ONLY one... it's simply the FIRST one... and the BEST one and is THE classic one! 😊 I had/have this in my very first c64 computer here and still like its sound the BEST as it rules in oldschool tunes from the 80'ies... Maniacs of Noise, Vibrants, Rob Hubbard etc etc etc... all those simply RULE ONLY on a 6581! Kicks major arse!!! And as the 8580 is mostly used for kinda techno-tunes I really dislike most of the time... no matter if in real life or on c64... I don't see any sense in the 8580 model... 😊
#2 WHICH MUSICIANS IN C64 HISTORY DO YOU THINK STAND OUT THE MOST AND FOR WHAT REASONS? ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ DJB/Onslaught/Blues Muz' ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Hmm, I suppose Rob Hubbard would be the first to come to mind for the fact that he used his own code for the music player he made, people like this impress me. Others to follow would be Jeroen Tel & Charles Deenen from MON, Edwin Van Santen and Falco Paul from 20CC, Jens Christian Huus from Vibrants, Jeff (Soeren Lund) from CyberZound Productions and Geir Tjelta from Shape (formally from MozICart). As far as musicians who basically
composed and not created their own players, this small list sums it up I think: Drax (Thomas Mogensen), Metal (Torben Hansen), Laxity, Thomas Detert, PRI, Mitch+Dane, Xayne, Kjell Nordbo, Kristian Rostoen and Glenn Rune Gallefoss (GRG) (This should be an exception as Glenn has done a lot of modifying work to code). There a few more musicians that do deserve credit here, but these are the people I think have made history on the C64.
Smalltown Boy/MSL ‾‾‾‾‾‾‾‾‾‾‾‾‾ Tim Follin - for his absolutely unique style. No one produced such sounds like he did. You describe some C64 music as "follinesque" and you don't have to say a single word more about it. Druid/Agony/Flash Inc ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ I'm personally not a musician and I hear like normal men - I like a tune or not. So my preferred ones are: - Vibrants - simply great - Jeroen Tel - Reyn Ouwehand - Jeff - Thomas Detert - ADSR - 20CC
Nafcom/POL/The Stock ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Chris Huelsbeck, Stellan Andersson, Thomas Danko, Jeroen Tel and Enno Conners. Chris Huelsbeck because of his nice style to do game music! He has even the best digi routine (next to Jeroen Tel). Listen to "Danger Freak" and "Katakis" Great sounds!! I love it! 😊 Stellan Andersson just has a very culty style. Very melodic, high tune level (very bright sounds) and some kind of chaotic in-between (in a very positive way!!!). Tomas Danko did many great tunes! Check some demos and diskmags. He has a normal style and good rhythm. Just that I like very much! 😊
Jakob Voos/Protovision ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Martin Galway. He is probably the only musician that actually programmed every single tone instead of using an editor. Just think of all the cool instruments he creates with this: Insects in Space, guitars in Wizball and very different guitars in the best of his works, The Times of Lore soundtrack. He also included random elements into the music or branches so that it might sound different when you hear it more than once. I don't think any other musician put so much effort into one single tune.
Steppe (http://www.demodungeon.com) ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Jeroen Tel, because I can't stop listening to so many of his tunes. Hubbard, for his continuous output of high-quality music over a large time- span. Galway, for his beautiful compositions, despite (or maybe because) he rarely used drums. Ben Daglish, for producing the highest amount of earworms. 😊 Tim Follin, he made comparably few tunes, but these are outstanding both technically and musically.
Thomas Detert/X-Ample Architectures ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ 2 chaps once again: ROB HUBBARD and MARTIN GALWAY. Rob Hubbard has composes so many great tunes on the c64 and he invented all techniques, for example his famous drum-sounds, the sinus-arppegio and his crossmodulation-fx. Martin Galway has always made me dream with his well-arranged tunes and he invented some special sounds as well, which made the SID so unique!
Danko/Censor ‾‾‾‾‾‾‾‾‾ Martin Galway, for melodical and emotional content that took him apart from the rest. Rob Hubbard for the technical pioneering sound-wise, leading the way for the rest of us. Intensity/Onslaught/Cosine ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ If you ask me about old musicians before 1990 then it is Johannes Bjerregaard with his gorgeous tune "Sweet". Nobody else could do such a romantic music on the C64 yet. About the musicians today. I think it is Mitch & Dane ruling the sid scene, their smooth style they always use. Their music is hard to copy and unique.
The Syndrom/TIA/Crest ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Jeroen Tel, Johannes Bjerregaard, Laxity - because they simply made outstanding compositions. Groepaz/Hitmen ‾‾‾‾‾‾‾‾‾‾ Chris Huelsbeck: most overrated composer ever, unbelievable nice vs crap ratio. Kjell Nordbo: most original active composer, and most underrated too. Splendid artistic skills, ingenious competition to all the mainstream techno crap. My personal favourite since years now 😊 The mighty BOGG: a pioneer, outstanding technique for its time. Martin Galway: * GOD * 😊
YodelKing ‾‾‾‾‾‾ Chris Huelsbeck - for his fantastic melodies that keep on amazing you as the tune goes on. Rob Hubbard - for the sounds and melodies in his early tunes. Almighty God/Onslaught/Level 64 ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Tim Follin for the great music for Ghouls and Ghosts. Rob Hubbard for his great music for Sanxion. Jeroen Tel for his music for so many games such as: Outrun, Supremacy, Dan Dare III. But better than those three are a big list of musicians that well use the SID power to make amazing sounds, finding really new sounds and styles, creating great pieces of music, differentiates
from the other. My favourite ones are: MSK, Jeff, Drax, Mitch and Dane, Prosonix members and some others. Jailbird/Booze Design ‾‾‾‾‾‾‾‾‾‾‾‾‾‾ As I'm a rad pop/jazz/funk fan, definitely the wonderboys Mitch&Dane, lately Dane. "Gloria", "The Love Affair", "Listen and Learn", my all time favourite songs on C64, but needless to say I love almost all their stuff, even the commercial zax, the remakes. Sometimes I just go crazy and can listen to them all day long in full volume. - making my family go nuts. Not any other musician can get that weird feeling into my bones like Mitch & Dane do. A very subjective reason why they
stand out from the crowd, yet I'm sure I'm not the only one thinking about them in this way. Merman/POL/Role ‾‾‾‾‾‾‾‾‾‾‾‾ I narrowed a long list down to three candidates. ROB HUBBARD - for setting high standards with Thing on a Spring, and for the spooky atmosphere of Master of Magic (a quality game in all areas, at a budget price). MARTIN GALWAY - for the experimentation of Parallax, and the digitised sound of Arkanoid (which he called "burps and farts").
REYN OUWEHAND - one of the most successful composers in both the demo and game scenes. Who can forget his work on Dutch Breeze, or the wonderful tunes he created for Last Ninja 3? Oswald/Resource ‾‾‾‾‾‾‾‾‾‾‾ The reason can only be their fantastic music, here is my list: (in no particular order) Mitch&Dane Jeroen Tel DJB
Sidder/MSL/Role ‾‾‾‾‾‾‾‾‾‾‾ There was a lot of great musicians in C64 history... As far as old composers are concerned, I think that Jeroen Tel and Reyn Ouwehand "stand out the most". Why? Just because they created STANDARDS for SID music. Their characteristic style is still alive, and many young composers try to imitate Tel or Ouwehand's styles. Quasar/Centric ‾‾‾‾‾‾‾‾‾‾ The Vibrants! Jeroen Tel, JCH, Drax, Laxity - when I got my first CREST demo (I think it was One Year Crest or so...) I loaded parts just to enjoy the great sound. And still they influence
nowadays musicians on C64 (and also on PC... and other way, look at the PC covers by Mitch&Dane from the PC Vibrants tracks...) and JCH gave the C64 ppl his editor, a cool tool to create new SIDs... Hi-Lite/Padua ‾‾‾‾‾‾‾‾‾ Rob Hubbard: THE founder of C64 music JCH: So many cool tunes, not to forget his editors. Without him, there wouldn't be so many cool musicians... Jeroen Tel: Simply the best.
Weasel/Hitmen/Padua/Crazy ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Pweh... hard question... couldn't just name one or two names here... Would further say: all those master- musicians from the good old days are the reason for the success of the cult- object c64 and its SIDs. So everyone of them deserves being names 'outstanding'... Every single one of them had his own style and that way opened a new kinda sound which catched MANY fans all around them... Of course groups and/or people like: Rob Hubbard, Jeroen Tel, Charles Deenen, Reyn Ouwehand, Matt Gray, Martin Galway, JCH... Simply all those guys in MON, Vibrants, 20CC etc etc... All those are meant here... and did VERY
GREAT in defining a great style of music characteristic with their melodious compositions and creations... Those are surely the REAL all-time favourites of the c64 forever!!
#3 C64 MUSIC HAD AN IMPORTANT ROLE TO PLAY INSIDE DEMOS. WHICH DEMOS MADE THE BEST USE OF C64 MUSIC DO YOU THINK? ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ DJB/Onslaught/Blues Muz' ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Hard to say as a lot have done this I believe. I suppose a good soundtrack blends in with the changes of the tunes from part to part, or just use one long soundtrack (just as long as it's not too repetitive. My personal faves would be Dutch Breeze and Krestology.
Smalltown Boy/MSL ‾‾‾‾‾‾‾‾‾‾‾‾‾ I don't think that music in demos necessarily has to reflect the 'feel' of the demo. It is enough to compose some exciting music with strongly accented rhythm to add to the overall impression! That's why musicians like GRG and Dane are so popular - their music always fits because it's (almost) always excellent. Druid/Agony/Flash Inc ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Yes. Especially if you are doing music- triggered-effects or effects-triggered -music 😊 trackmo. In this field my favourite one PVCF/Reflex. His tunes were always perfectly aligned with effects (thanks to the coders too).
On the other hand, we can see other kinds of tunes as in Tower Power by Camelot - simply great ones, fitting to demos but they can be also heard without watching the demo. Nafcom/POL/The Stock ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Nine/Reflex (my fave demo!) Unsound Minds - Follow the Sign 3 by Byterapers. The music in Nine/Reflex just fits 100% same with Unsound Minds.
Jakob Voos/Protovision ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ In general, PVCF and Jeff made the coolest demo acoustics. I always adore digis mixed into demo-music, as often used by Booze Lee (ex-Rayden), by Censor Designs and Megastyle Inc. In particular, I think KB's version of Second Reality is the winner. Say what you will, *I* like the C64 version far better than the original. Other perfect soundtracks: Void/Resource&Coma, Eiger/Nipson, +H2K/Plush. Thomas Detert/X-Ample Architectures ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Demos by 1001 Crew, ASH&DAVE, X-AMPLE, SCOOP DESIGN and loads more.
Steppe (http://www.demodungeon.com) ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Love/Agony: awesome Shogoon track! Royal Arte/Booze: Amazing how nice tunes by several composers can fit together so well! Deus Ex Machina/Crest: I was never again so surprised that the music is in fact single-speed! Apart from the end- part, of course, which is 4x. Soiled Legacy/Resource: Damn brilliant soundtrack with good synchronisation to the demo, or the other way around, the demo was nicely synched to the music 😊 Opium/Samar: maybe thats as perfect
as you can get! and Altered States by Taboo. Danko/Censor ‾‾‾‾‾‾‾‾‾ The Blackmail-stuff, The Judges now and then and even though I'm completely biased I'd still mention the later Censor Design Wonderland series. I don't remember that many others actually sitting down with a demo, writing down time-cues constantly (sometimes like 20 a minute), incorporating it into the music either as a musical part or just an embedded sound effect.
Intensity/Onslaught/Cosine ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ In my opinion it is Krestology/Crest. Nobody could beat the combination of high-quality music and high-quality design. In this demo the music runs into your veins, the tunes are perfectly fitted especially to the graphics. The Syndrom/TIA/Crest ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Dutch Breeze, most of the Crest demos, most of the Danish demos from X-Factor, Bonzai, Camelot etc. YodelKing ‾‾‾‾‾‾ I enjoyed the "Think Twice" demos by The Judges (especially Think Twice II). The music was perfect for the
demo with the FLD's. 😊 Ready ‾‾‾‾ Deus Ex Machina by Crest, absolutely! The opening of the demo is quite impressive and Euro Dance by Jeff really adds something special to it. Here both the music and the demo are effective on their own: the music is great on its own and the graphics too. Put these two together and you get a really superb result. There are other demos in which the music creates an atmosphere: I think Insomnia by 64ever really gives a feeling of mystery and thrill, the music and the demo go together, the music on its own or the demo without the music wouldn't be so effective.
The same goes for Triage 3 by Smash Designs. Both Insomnia and Triage 3 are not just mere slideshows of special effects, but they tell a story, so the music exalts emotions evoked by the graphics. Jailbird/Booze Design ‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Not too many in my opinion. It is honourable when a music runs in a demo just for the sake of making it better audibly, but I prefer the music being connected to the visual effects. Few I can mention, which were more or less good examples: the intro in Coma Light 12, Fitspeak 2 and Beertime 2 from Dekadence or My Kondom by Haujobb. Although the latter three following some kind of Britelite's "new-school"
PC design with psychodelic sounds, and not really serious projects, however still great examples on "synching and improving" demo design. As far as I remember, Arise was also playing with a similar method for a while... I'd like to see more demos combining traditional effects with audial side, I believe that conceptual demos would a perfect field for experimenting... Almighty God/Onslaught/Level 64 ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Starting from the point that without music a demo will not be a demo. I think there are two kinds of demos: demos with great music and demos with great music that goes very well with design and running of the demo. For the first one I have some favourite groups such
as: Censor Designs, Oxyron and many others but when a music really fits in a demo going with design and graphics like they were born together - making everything part of one thing, it's when the music makes demos to be great demos and when we found the second list of groups. CREST have made this possible in Deus Ex Machina and Krestology, and probably some others as Smash Design in some demos. Merman/POL/Role ‾‾‾‾‾‾‾‾‾‾‾ CYCLEBURNER demos have to rate highly, with their use of samples and synchronised effects. Also, DUCKS by TAT for its cuteness. SECOND REALITY by Smash Designs also has some very effective tunes.
DUTCH BREEZE and KRESTOLOGY must be the best though - so many pieces, each of them suiting the mood of the part. Oswald/Resource ‾‾‾‾‾‾‾‾‾‾‾ Of course: Dutch Breeze, Altered States and Red Storm. Sidder/MSL/Role ‾‾‾‾‾‾‾‾‾‾‾ Altered States 50%/Taboo and Normal Is Boring (Y2K)/Plush
Quasar/Centric ‾‾‾‾‾‾‾‾‾‾ Hard to say... I never saw a demo, which actually USED the music from start to end, mostly the music was used for fade in/out effects... "+H2K" seems to succeed in this "technique" most, I think (or ONEDER)...). When it comes to the "intention" of a demo and music, I think RED STORM is still the most impressive thing, using samples to actually TELL ppl something and also the Beatles covers were something really worthy!! Hi-Lite/Padua ‾‾‾‾‾‾‾‾‾ Dutch Breeze/BML
Weasel/Hitmen/Padua/Crazy ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ This is also a hard question... as everyone got their own taste and music is surely a TASTE-thing! In general I'd say for myself I like deos best that come with a melodic, funky and simply 'fitting' sound in order to what is shown in the demo itself! Music is as well at least the same importance as 'style' of a demo. Like the combination of transitions and effects presented in an addictive way in the various parts so that people will have a all-round-experience when watching the piece of art and want to watch it again and again as of the music as well as of the seen effects and style. All fitting in a perfect combination!
If you have got a 'bad' music you'll surely not get a good demo... although you have like mind-blasting effects to show off... The wrong style of music is surely able to destroy all the rest of the demo-feeling then. Hope you have enjoyed this editions 'focused' opinion poll on the magazines special theme. Until next time, Jazzcat/Onslaught.
FLOPPY 2003 party report ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Writing a party report when you're in fact one of the organisers yourself is truly a golden opportunity. Just as if Quentin Tarrantine would review his own films, or letting Burger King rate the worlds best restaurants. Still, I agreed to write this article when Jazzcat asked me, but do remember, this report is more from the organizers view-point than the visitors... Finally, we get to rate our guests!
Friday the 21st of February The day when Floppy 2003 opened it's doors. I took half the day off from work, to be able to get to the party place in good time before the guests started to arrive. Jucke/G*P and Skyhawk/Laxity were already there when I arrived with my bag filled with computer stuff. Again we used the same location as the last two FLOPPY parties, the underground club Tip-Top, located in the basement complex in central Helsingborg, south Sweden. The party-place is truly perfect for mid-sized parties like FLOPPY. The place was some-what redecorated
since last year. The DJ booth (where we control the bigscreen projector and the sound- system) was moved to the opposite side of the main room, as well as the bar. Chairs and tables filled the otherwise empty dance-floor and everything was set for a hard data weekend. The first visitor to arrive was Jejk, a Swede who recently discovered the C64 scene. Fresh blood is especially welcome these days, so we greeted him in and he got to borrow a monitor for the c64 he brought along. Shortly after, the last organisers showed up as well when Iopop/Triad and Poison/Oneway entered the building.
Soon sceners started dropping in, setting up their gear, screaming for more power-sockets and rushing out to buy alcohol before the stores closed for the evening. As usual, it was much fun meeting up with people you only see perhaps once or twice every year. Me and some friends went out to get something to eat, and along the way we met Dane/Crest searching for the party-place. He hooked up with us and we ended up in the nearby 7-11 store. Suddenly I notice a familiar face in the back of the queue. Was it Alfatech/Censor? Not having met him since 94 or 95, I wasn't dead sure, so I had to ask Dane.
We agreed that it indeed looked like Alfatech, so I approached him, and yes, we're right! Also Slaygon and his girlfriend were in the shop, and of course they followed us back to the party. Talk about a major coincidence! Yet another Censor member would show up the following day, namely Geggin. Back in the party-place people were working on their contributions for upcoming competitions, old demos were run on the bigscreen (especially demos with a local connection to the Helsingb- org area, like the famous DEFIERS productions, and others) and groups of sceners gathered to discuss the latest scene-happenings.
Twoflower, KingFisher and Spot also showed up, making five Triad members present at the party. While I was mostly running around, taking care of payment, questions and other tasks, my group-mates concentrated in working on various productions for the compos and the future. After a while I felt that I really needed some sleep, so I headed home to a good friend of mine, former SNES-scener Sky, who kindly let me and my girlfriend sleep in his bed while he slept on the couch himself. Two hours later, Tango/Triad who unfortunately couldn't attend the party himself, woke me up by calling my
cellphone, wanting to discuss some demo parts. Always nice to chat to group mates, even if it's 5am in the morning. After talking to him I got 2 more hours sleep and then went back to the party-place. Before the party we had decided to fix breakfast for our guests, and so we brought some 25 litres of juice, 50 freshly baked buns, butter, cheese, marmelade and bananas. People who slept on the floor in the party-place just started to wake up, and soon discovered the free breakfast buffee. I dare to say that the whole breakfast idea was a success and it generated a lot of happy faces.
Yet more sceners had arrived while I was away sleeping, so I went around chit chatting with old buddies and a few new faces as well. Some more than 60 visitors had showed up by now and some special guests. A lot of groups were present, like Booze Design, Fairlight, Wrath Designs, Oneway, HT, Crest, Censor, Defiers, Instinct and many others. As usual at parties, the second day was fully focused on upcoming competitions. And, as usual, we pushed the deadline forward a few times to give people a chance to contribute. Not everyone made it though. One of the Triad productions wasn't ready in time, the local sceners in Instinct still holds
the record for most non-finished productions ever and so on. Still, we couldn't wait forever, so we decided to launch the compos. Votesheets were handed out to everyone. A lot of people appeared at the party-place to see the compos and now there were over 100 people waiting for the action to start. Once again, it was me and Jucke in command of the competitions, seated behind the DJ Booth. We started out with the music compo. Many nice tunes indeed, we were especially happy to hear that SID music is still evolving with new styles and ideas all the time. Goto80 came running with his contribution as we played the last
tune, so he made it in a split second and eventually turned out on second place! Just when all songs were played, the amplifier died! The gfx compo was up next and we didn't need any sound, but then the demo competition was due, so we had to get the soundsystem working. Anyone who has been in charge for a competition knows that things are bound to fuck up. Murphies law. There is nothing as stressful as trying to fix a problem while over 100 people are watching you, screaming for the next compo. In lousy light conditions we tried to find the problem, searched for unplugged cables and so on.
Luckily the owner of the club was there to watch the compos, so like a knight on a white stallion he came to our rescue, concluded that the amplifier was indeed dead and exchanged it with another one. The whole process took less than 10 minutes, but for us it felt like an eternity. Relieved and happy, me and Jucke could go on with the competition. So, we continued with the graphics entries. Some really astonishing pictures were shown, and I dare to say that every single contribution was in good quality. We'll try to fix a bit better colours on the bigscreen next time, though, but it wasn't a big problem, so everything worked out fine.
Then it was time for the demo competition, the prime of any c64 party. The entries varied from excellent to crap, like in most demo compos. The crowd cheered and applauded, the atmosphere was filled with that very special datavibe. As before, we used the Commodore 64 speech-synthersize SAM to announce the entries in all the competitions, as real sceners have no problem with interpreting the beautiful SAM voice... After the competition ended, it was time to count all the votesheets and prepare the prizes for the prize ceremony. A bit more than an hour later, we had the results in our hand
and we presented the winnders. We had bought some wachy prizes and provided special FLOPPY 2003 diplomas to the number one winner in each category. A very special sight was when HCL/Booze Design, proud winner of the demo competition, put on his nutty- professor goggles as one of the prizes he earned. He is featured wearing them on one of the party photos as well, don't miss that flick! After the prize ceremony, the party slowed down, like every party does. Most people fell asleep, some began packing their stuff and started their trips back home early the following morning.
Others stayed yet some hours and gave the tired but happy organisers a hand with cleaning the place up. A special thanks to Dane/Crest who gladly helped us with a lot of cleaning before going home. Hopefully all our guests had a really good time at FLOPPY, I know we organisers did! See you all next time Floppy is due! Taper/TRIAD
MUSIC COMPETITION ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ 1. Dane/Crest 2. Goto80/HT 3. Zyron/F4cg 4. Yodelking & Ul-Tomten 5. Ed/Wrath Designs 7. Poison/Oneway GRAPHIC COMPETITION ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ 1. Poison/Oneway 2. Dane/Crest 3. Joe/Wrath Designs 4. Twoflower/Triad 5. Spot/Triad 6. Oxidy/Wrath Designs 7. Jailbird/Booze Design 8. Blackdroid/Wrath Designs 9. Skyhawk/Laxity
DEMO COMPETITION ‾‾‾‾‾‾‾‾‾‾‾‾‾‾ 1. Industrial Breakdown/Booze Design 2. Loaded/Fairlight 3. Phases/Crest 4. We/Laser /Fairlight 5. Harmonious/Triad 6. THC Outlet/Zyz 7. Hack'n'Trade Demo (Beta version) 8. Up In Smoke 2/S.W.A. 9. C64 Love 2/Macx 10. FLPU/Cmp+Johey WAY OF THE EXPLODING FIST COMPO ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Blackbelt of the year is Jucke/G*P
Forever Quattro Report by Cactus/Oxyron The fourth part of the pure 8-bit demo party FOREVER was held in Trencin, Slovakia on 14-16th of March 2003. 3 main scenes (Atari, C-64 and Spectrum) have proved that the spirit is still here. I'm typing these words just after coming back home from the event, so I'm not quite sure how many people visited this year's scene meeting, but I suppose there was around 80 sceners, what is a really nice amount, especially comparing it to the party date (middle
of March might have been not the perfect time to come to Trencin). My story starts at 4am Friday morning, when I left home. Well, nothing special to say about the journey, it was long and boring... I arrived in Trencin around 1pm. The first amazing thing in Trencin is its castle, placed on top of a huge rock. Yeah, a really great one... It's sad that I haven't had an occassion to climb up to the top of it, but I have hope to do that during the next Forever party. It was a little bit tricky to find the party place, as SPS Odevna is quite a big building. The entrance door was on the backside, but eventually I managed
to find my way there. I said "hello" to the main C-64 organiser, CreamD/DMAgic. Then I had a little chat with his group-mate Watnau. Not too many C-64 people were present at that time, I remember that Lord Hypnosis/Padua, Fenek/Arise, Cobra/Fraction/Apidya and maybe a few more are here already... Elban/Arise was sleeping, his pal Prezes/ex-Samar was doing the same (plus he was snoring loudly). Watnau was absolutely the best guy of the party. He was causing visitors to smile or even laugh by doing lots of funny things (like dancing, the way of
introducing compos and more). As I'd felt a little bit hungry, I went together with Fenek and Wilson (from the Atari scene) to the local restaurant. As Fenek had been present at the previous Forever party, he told me some things about it and how things were one year ago... After that it was time to fall asleep for a few hours, because I was a bit tired after the long journey. I had some time to have some nice conversation with PCH/Unreal, Sigi/Unreal, Exile/Anubis and Drake/Anubis. Around 11pm there was a show of some nice C-64 demos on the big-screen. I remember "Insomnia"
well, a great one... "Soiled Legacy" was also shown, and more... It was enough, so around 1am I got into the sleeping- bag. The next day I awoke around 8am. Together with Cobra, Lewis (Atari), Mikey (another guy from the Atari scene) and Wilson we went sightseeing in Trencin, a beautiful city. During the party I was having some nice conversation with Fenek about the C-64 scene (sceners' mentality, the charts, releases and more). That guy was the most C-64 orientated person at the party, who has really sober opinions. Thanks to such people our scene is still alive. Chats with Fenek were kind of different to all
those non-interesting discussions and talks on different internet forums, where many guys are raging without any sensible argument. It was really interesting to meet JTR/Protovision on Saturday. He showed me many cool things, like the 4-joystick adaptor, Retro Replace or the original box with instructions and disks of "Enhanced Newcomer". The worst thing is the scheme of the 4-joystick adaptor is kept secret by Protovision. 😢 (I can't make it by myself then... 20USD is too much for me) The best event of the second day was a great football match: Commodore 64 scene versus Atari scene.
Because of the bad weather (it was really cold and a strong wind was blowing) we had played two halves, 30 minutes each one. The C-64 scene once again proved why it's better than the Atari people. It was a smashing win! The final result of the match was 9:1 (6:1) and the winning team was: Sigi/Unreal, Elban/Arise, Cactus/Oxy, Prezes, Drake/Anubis, PCH/Unreal. It wasn't called in question that PCH was the main hero of the game. Nine goals for the C64 representation had been shot by: PCH (4), Cactus (2), Elban (2), Drake (1).
The wild compo started at 16:45. There was one C-64 game presented (I don't remember the title), but more interesting was an Atari game for 16 players! At 18:00 the main compos started. The only one interesting thing in the Real time compo was quite a nice tune by PCH. It was really nice considering the fact that it was composed live at the party place. Before the music competition started I had had a nice chat with Orcan/React. Yeah, that was really nice to meet someone with a similar point of view on some topics (i.e. demos... 😊
We both agreed that there are no good explanations for the fact why so many people consider "Red Storm" or "Dutch Breeze" to be one of the best C-64 demos ever. Two musics in the compo impressed me the most. I didn't know the authors, but I was really curious whose tunes seemed to me to be the best. When CreamD told me that my favourite zak was composed by Richard I was shocked. I had never considered Richard to be a good musician. What a surprise now! He had made the tune I liked most out of 19 tunes. The other nice music that caught my attention was composed by Smalltown Boy (this guy is really good at his job!). Of course it was the _first impression_
I don't know if I may change my mind after listening to the tunes once again at my home. I've heard that some people liked the tunes by CreamD and PCH a lot, but I don't know which places they took... In the graphics compo the picture by Jailbird was a real kicker. There is no doubt about it's win (it was simply the best!). Then we had a nice C-64 ascent in the Atari gfx compo, the picture by Cobra. Only one intro and two demos in the C64 compo were presented. Wasn't that much, but well... who cares? For example, I simply haven't had time to do anything for the compo. I hope that I'll be able to present something
nice at North Party 8, which will be held in Warsaw, Poland on the first weekend of August this year. The competitions were over... In the late evening I was invited by MacGyver/DMAgic to play "Bombmania" with three other guys (MacGyver, JTR and a guy I didn't know). The game was a real kicker. Four players' game is really a lot of fun. JTR was the real master, I won only once... Later we were playing "Pac It" (a game by JTR)... or rather we were testing it: which levels are too hard to play. 😊 Most of the people went outside to drink some beer in the local pubs. I personally felt a bit tired, so the
party was over for me because I fell asleep quickly... Around 4 or 5am on Sunday morning someone let some pigs in the room. I'm not sure if they were really pigs, I'm sure that I heard loud grunting. Later I was told that it has been Elban and Prezes coming back to the party place, but I couldn't believe the sounds were emitted by humans. At the moment when I'm writing these words, I don't know the result of the all the compos. Shame on you Watnau! You said that the compo results will be presented at 6am on Sunday. I woke up especially for it and where have you been??? I couldn't wait too long, because we had a train to Cadca at 7am.
I left the party place together with Cobra, Lewis, Wilson and Mikey. We then headed home... In the final words of this short report I'd like to thank the organisers of the party (CreamD, Ellvis, CVM, Mike, XI), it was really a great event. It's surely the best C64 scene party at the moment, and I don't think it could be beaten by other ones (of course I mean the cool 8-bit atmosphere, the releases can always be better). I hope to meet you at Forever 5 next year, I'll come for sure! Greetings to all of you C64 sceners which I met personally on Forever Quattro and all of you which I didn't meet despire you were there...
See you next year in Trencin! Regards, Cactus/Oxyron.
Radwar 2002 - Report in brief ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ by ND!/Alphaflight 1970 Location: N8Galerie, Heinsberg Type: oldschool Date: Nov. 9th-10th 2002 Radwar #10 ruled - but there will be no #11 Radwar 2002 was planned as the final Radwar-party. Many of the people (including the organisers) who joined the large Radwar 2000 came to the decision that 2002 would be the final C64 oldschool party.
This decision has been reversed! The response to the party was absolutely amazing. Most of the participants voted the Radwar 2002 as the best (Radwar-) party ever. The Radwar 2003 event has been approved again just like the meetings at IRATA's birthday party, the legendary Radwar paintball massacres and the Danish Gold Autumn 2003. Who joined the party? I never drank as many drinks as I did at that party. I had a mixture of about six different kinds of beer and four different kinds of cocktails, but I still remember talking to Steve (TRSI, Apollo and Lincoln (PDX), MWS, TC,
Marty, Crazy, AVH: and all the others from Radwar, Sphinx (Danish Gold), some guys from Tristar, ZAZ and Speedcracker (TWG - Elite), Mr.Mueckter (Digital Marketing). But my favourite guys that night were MWS (FCG - RWE - TLC - Elite), Duke (FCG - RWE - TLC), IRATA (FCG - TLC - RSI - TRSI) and o.b.. MWS hasn't changed in the last 15 years only his hair is a little shorter. He is still that party animal everybody has known for years. Duke won the boozing competition which must be mentioned in a more complete summary.
Facts Radwar 2002 took place in the discotheque N8Galerie in Heinsberg, starts at 18.15h and morphed into a 1980 years party at 23:00h. There were no computers. We listened to strange SID's and remixes for the first hours before the party moved on. The entrance fee was about 5 euro including a buffet. I think there were about 50 old-schoolers mixed in with a few still active sceners. Party Highlight #1: the c=64 allstars While other legends like E.T. (AEK - F.A.M.E.), RRR (AFL 1970) and Jeff Smart (Illegal Magazine - Triad) couldn't join our party crew, there
were still a few well-known guys in our car: Pershy (Strike Force), General Zoff (NBB - Movers - Elite), mAtt (Haujobb), IRATA and me. Soon we were calling ourselves the A-Team (it refers to all-star team as much as to the TV crew in that black van). Pershy was dubbed Hannibal for smoking a fat Havanna cigar. mAtt appeared as BA while General Zoff looked like Faceman. And -nd!- was caught acting like Murdock (see "Party Highlight #4"). A few days before the party we decided to found the c64-all- stars in order to find the VIPs of the old-school days and get them together in one team. Therefore, I designed a special kind of c=64 allstars t-shirt including a logo on the back, a fat star
with the number, handle and group membership on the front, and a personalized logo on the sleeves. Although only five persons wore the shirt, we were one of the magnets of the party. Everybody wanted to know about the c=64 allstars though it is an act still in its infancy. Actually I collected orders for about 25 oldschoolers shirts. Party Highlight #2: IRATA vs o.b. ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ We had Jeff Smart's shirt in the car while we were the party. As we reached a high level of drunkeness, o.b. asked Pershy for the car keys. A few minutes later he came in, wearing the shirt. When he saw that IRATA exploded. Everybody who knows IRATA knows
that that could have become a very critical situation. If you are a friend, he is always friendly, helpful and kind. But beware of becoming an enemy!!! While o.b. tried to justify himself, IRATA repeated only one sentence, I think about sid times while getting louder and louder: "Blasphempy! Remove that shirt you worthless %&/*)!!! Soon, more and more people wanted to see the real life comic strip, with the heavyset IRATA shouting at the petty little o.b. I think that there were around 20 people surrounding the two toons when o.b. threw the shirt into the dust. "Next time I'll undress you completely!", said IRATA, picking up
the shirt... It was as close to a bleeding nose as it was in the golden days when Jeff Smart was around. This time his shirt alone satisfied him. Sorry you couldn't see that, JEFFY! Party Highlight #3: Friendship rules ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Most of the guests stood together around tables or in front of the bar for hours drinking dozens of beers, Jaegerbulls and Vodkabulls, debating about the elite of the good old times. It was such a friendly and euphoric atmosphere, as if time had stood still for the last 15 years. The atmosphere reminded me of strange things that happened in the 1960s. I think that the old-schoolers have gotten close together again. We have to thank
Radwar for this great event, and it is up to us to conserve what is left in our heads and in our hearts. I promise that I'll do my best to bring the final frontier closer to you with c=64 allstars project - and I'll join as many old-school parties as I can...! Party #4: -nd-! and his bicycle ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ When the c=64 allstars A-Team left the party in the early morning I was so pissed that I wanted to ride someone else's bicycle. I couldn't understand why it was locked. My friends in the A-Team wanted to carry me into the car, but I clung to the bike while one of my arms and both legs reached towards the sky! It was as if that I was glued to it. Finally mAtt, Pershy and General
Zoff stuck their heads together, developing a diabolic plan. They said it would be okay if I rode home by bike, but they'd be sorry if I missed the final beer in the car. ARRRRRGGGGGHHHH! They finally got me. And there was no beer left. I should have known better! See you next year! I'll come by train - no friends left! Thanks to (no order): ‾‾‾‾‾‾‾‾‾‾‾‾‾ All old and new c64-all-stars (#01-50) Flash Cracking Group (FCG) The Light Circle (TLC)
Alphaflight 1970 (AFL) Radwar Enterprises 1941 (RWE) New Balance Bochum (NBB) The Movers (MOV) Strike Force (SF) Red Sector Incorporated (RSI) Tristar Tristar and Red Sector Inc (TRSI) The Wanderer Group (TWG) Speedcracker (SPC) Danish Gold (DG) Beermacht Hitmen Digital Excess Elite Fantasy Cracking Service (FCS) New Edition Level 99 Paradox (PDX) SWT
Axiom-1 CAW X-Ample Avancada The Dreams Sub Zero The Silents and everyone I've forgotten...! Look at http://www.radwar.com for the party pictures and wait for the launch of the c64-all-stars website at the beginning of 2003 for the complete party report! Yours, -nd! [AFL1970] (c=64-allstars #0001)
SPHINX going to RWE 17th Anniversary ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Heinsberg, Germany 09/11-02. by Sphinx/Danish Gold The whole thing started when I decided to get my lazy dumb ass into gear, and finally show up at the RWE- party. You see, most of the people who were going to be at the party I hadn't seen in like 14-15 years. So I was excited like a child at Christmas, if I could recognise any of them. I could, it later turned out.
Well, I better start this story, by telling you all, that I live in Odense, Denmark, so for me it was quite a long trip to Duesseldorf. Aha, the observant reader says: "didn't he just say that the party was in Heinsberg". Yup I did, but ya see I left Odense Thursday 07/11-02 09:04 GMT+1, from Odense trainstation. Now I knew it was going to be a hard trip, but that it turned out to be so BORING as it did, was simply just too much to handle. I was now in for a 8 1/2 hours journey by train. No company, nobody to party with, so man, I was a bit moody, but what the heck, I was bound for Duesseldorf, to finally meet my long
time friend IRATA. Who invited me to stay at his place. Lincoln and Irata was supposed to pick me up at Duesseldorf Hauptbahnhoff, but when I got down from the track, only Lincoln was there. I didn't know what he looked like, but he saw me and asked me if I was Sphinx. Then we waited for Irata to join. We took the StraBenbahn to Irata's place, but before we went up to his flat, he bought some beer and some Rum (white) and lots of heavy boozing in Rum & Cola. Lincoln thought that he could beat me in boozing, but he was drinking way too fast. The result was that, after little less than an hour, he passed out, and
started snoring like I've never heard before. Friday, Lincoln and I went to his place and then back to Irata's. The same evening the guys from Koeln, were supposed to join us. Crazy and Werner came to join us in the RWE 17th anniversary warm-up party. And what a great time we had. Irata was recording a videocassette, with a lot of old Amigademos for the RWE event. Man did we have some nice trips in the past. I now know that what started back in 1985, was going to be a friendship for life. I can't think of any other area, where the meaning of true friendship exists.
By the way, when I finally got to Irata's place, and started talking, it was like we had seen one another the day before. Nothing was strange and Irata and I had a lot of deep talks about scenelife then and now. How people of today are more concerned about getting the latest warez, and not so much into deep relations and friendship. Irata was sad that he didn't find the old spirit when he returned to the scene, after some years of absence. I had personally taken a long break from scene-life, from 1989-1999. In that time I had a beautiful daughter, named Maria Nadine, got divorced, but still still am extremely good friends with my ex.
My daughter is now 10 years old, and her and I are livening alone in my parents house. This is the best thing that has happened to me. I thought I'd never would have children, but luckily I met the right 'Lady'. Well, back to the story of my journey to Germany. Irata and I didn't get any sleep at all between Friday and Saturday. So we were true party animals, when we prepared for the trip down to Heinsberg. We were trying to figure out how to get there, without spending lots of money. Then we received a call from ND, that he had arranged a car for the trip to RWE, so Dirk and I went to the trainstation, where we was supposed to be picked up by: Pershy, ND, Matt, General Zoff and
o.b. I got into o.b.'s car with his girlfriend, who couldn't speak a word of English or German. Only Latvian, and I don't speak that language. Boy was it boring going to Heinsberg, when there's no party-mode on da ride, but I kept my spirits high. Remember I was the only Dane, so I had to hold the flag high! 😊 I turned out, that this little party-ride were the first on the scene, so we immediately started boozing outside the pub. 2 guys from TRI - AMI & his friend soon joined us as next guests. Then came some real oldschoolers. The only name that comes to mind is Holger and his friends + wife. Now I was beginning
to be a little impatient, I wanted this party to start so I could get the warmth again. It was fucking freezing outside, and MWS was a little late this time. Finally the doors were opened and in we went. GREAT to finally be able to party like nobody parties before. From the moment I went into the pub, and until I left as: "Last Man Standing", with Lincoln by my side, I constantly had a glass of Rum & Coke in my hand. For 12 hours I boozed. I saw a lot of drunk people, especially ND, who tried to keep up with Duke. Now Duke and Zeron, was the deep thing behind going there in the first place. And man was I glad when Duke
and Zeron walked in. Duke looked like he used to, 14 years ago, same goes for Zeron (oh, by the way, AND of RWE sure still looks like he did when he was a kid). What really happened during the party, is not for me to tell, but I had the time of my life. I spent most of the time in a quiet area talking to Apollo from PDX. Actually I talked a lot and I only spoke German. Man was I glad that I had German lessons at school. 06:00 in te morning, Lincoln and I left for Duesseldorf. Taxi to Ergelentz, then train to Duesseldorf Hauptbahnh- off. In the train we met the most
blonde girl I ever saw in my life. If I hadn't been so tired, I would have joined her for the trip to Sachsen Anhalt. Maybe I could get layed along the way, but I was too tired, too old, too lame for that. Sorry guyz, I promise it won't happen again. Well, the rest is history as we say, so I hope you enjoyed my little description, if not you wasted your time. See ya all soon, at some heavy party. Signed, Sphinx/Danish Gold. ‾‾‾‾‾‾‾‾‾‾‾‾‾ Greetings to all who attended the party Thanx to RWE for making it happen
Interview I ‾‾‾‾‾‾‾‾ GRG (Glenn Rune Gallefoss) ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Most people in "scene-town" have been blessed with the sounds coming from the Norwegian SID composer GRG (formerly Shark). Not only is he a talented musician and coder, he has also shown high quality ability in the art of cracking. With pleasure I introduce to you one of my favourite musicians on C64. (make sure to listen fully to Glenn's exclusive 4xspeed+digi composition in this edition's intro sequence).
D) Welcome to the magazine Glenn, you have been helping this zine for quite sometime now, as a special issue on C64 music it is also a pleasure to conduct this interview. As per normal, please introduce yourself to the readers... G) Good evening Jazzcat! Well, I'm GRG and I live in Norway. And I like to listen to SID music. 😊 D) Heh. We may not all live in Norway, but I'm sure all of us like the SID. 😊 Which groups are you currently in and what jobs do you perform for each?
G) 1) SHAPE & Blues Muz' - Right now I am a member for nostalgic reasons, my old computer friends are here. 2) Onslaught - Music support. 3) Protovision - Music support. 4) Nostalgia - Releasing old games. D) We all have a history in the scene - when we first started, groups we joined and left, even disagreements and wars. Tell us when you first joined the scene and what has happened from that moment up until present day...
G) I got my computer for Christmas 1985. I knew this fellow who was into the scene, and I bought disks from him with all the latest games for a reasonable price. I also got a hold of a tape-copy unit so I easily could copy tape originals. Around 1987/1988 I started swapping under the handle Eddie and I quickly got many contacts and more games. I got contacted by Ambre (aka Duke) and I teamed up with his group and we released the first 3 issues of The Pulse under some obscure groupname (It was either The Freaks, Collision or Foxbat). (ED: Collision) This happened around 1989/1990 and at this point I had learned ML, changed my
nick to Shark and I was linking our intros infront of games. The following year I joined a group called Digital Designs, and I stayed with them until Duke re-opened The Pulse files again. I think that was in 1993, the same year I joined Blues Muz', and suddenly I was in Shape. A couple of years later I joined Fairlight to help them with music for Scene+ and demos that were under construction. When Scene+ was no more I got an offer from you Dave, so I joined Onslaught and then later on I squeezed myself into Nostalgia.
D) Your responsible, together with Geir Tjelta, for the current version of SID DUZZ IT. Please describe the music editor's capabilities compared to other editors, what can we expect in future updates and where is it currently available from? G) I have only worked with Digitalizer, DMC, Voicetracker, Futurecomposer, Sid-systems and JCH. Editing in SDI is a mixture of using Digitalizer and JCH's editor - but its better as we added a lot of different edit functions. But its the capabilities of the player that really count, we can do a lot of sound stuff that JCH's player isn't capable of. But thats only natural, JCH's player
was made in 1991 while SDI had its last update this Autumn passed. New versions of the music editor might happen, I have been asked several times to make the editor support more SID chips. But they are hard to get, I will do it if I get my hands on some extra chips. The latest version of SDI is available from: http://home.eunet.no/~ggallefo/sdi/
D) When did Blues Muz' start and who are the current and also founding members? G) Blues Muz' was founded in 1991 by Kristian and Eivind. Current members are Kjell, Kristian, Eivind, Dwayne and myself. D) And how do you see Blues Muz' compared to the other music labels such as Vibrants, Side-B, Mon, MSL, and Oxsid Planetary etc.? G) Blues Muz's was built on friendship, all members used to live in the same city
(Bergen) and that made it easy for us to work together. Many of our tunes was made at Kristian's place where we usually had our meetings. D) Do you play any musical instruments? If so, what do you play? G) I have a guitar and a yamaha synth, but I rarely use them.
D) Is there any 64 musicians that you idolise? If so, who are they and why? G) I would like a signed autograph of Johannes Bjerregaard on my t-shirt, this guy really knew how to make c64 music sound good. It blew my mind. D) What disadvantages and advantages, musicially, has the C64? Have we really pushed it to it's limits? G) You can make anything on a sid chip, there's no limits! Technically, regarding our own music players, I would say we
have pushed the sid chip to its limits. The only thing left is optimizing, making the player use as little rastertime as possible. D) Have you listened to the Back in Time CD series and Nexus 6581 CD containing C64 based renditions? What do you think of them? Ever thought of doing your own? G) Yes I have heard some of the tunes from the first Back In Time CD. These tunes are nicely arranged but I didn't like the fact that they used real c64 sounds and c64 look-a-like instruments. The Nexus CD I bought
was much better. High quality sound and superb remixes from Ouwehand. I just adore Norman's Aztec Challenge, Jozz's DMC IV and Daglish's Deflektor. I have made a few remixes on the PC but I don't think I will make a CD.
GRG's all-time favourites ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Coders: Crossbow, AEG, Mr.Sex, Scroll Omega Supreme Musicians: Johannes Bjerregaard, Jeroen Tel Demo Groups: Reflex, Smash, Byterapers, Crest, Megastyle Crackers: Antitrack, Powerplant, Mr.Zeropage, JJ the Breaker Pudwerx Cracker Groups: Legend, Fairlight, Triad Games: Jumpman Junior Disk Magazines: Pulse, Domination, Scene+, Propaganda
D) You have branched off your usual job on C64 composing music to also perform wonderful cracks under the Nostalgia label, which surprised many people. What brought this around and what are the cracks you have done you are most proud of? G) I made a few tool disks for me and my group mates around 1988/89 where I removed the intros from the tools and re-crunched it, I wanted as many tools possible on a single disk. Some tools were password protected so I removed them as well. And that lead to do the same things on a few games. Well, I lost interest in this and found music and programming more pleasant.
Around 1998 I saw some oldie cracks and I did some games for Shape just for fun. I must have showed these to Nostalgia, and then I asked if I could join them. Fungus, Qed and Sorex inspired me after some chats on #c-64 and thats it. The Double Dragon cartridge version I did must be my proudest game, as it was a something never released before - a first release. I encountered the same problem as Legend had on Toki, there was no room for both sprites and music in memory. The game was reading the sprites for the cartridge real time. That was solved by re-writing the scroll routine (Lasse Oorni helped me with that) and the sprite routine and loading certain sprite data from disk
during the game play. D) Is there any game cracks by other people or groups that have impressed or inspired you? G) The crackers from the old days 1982 - 1985 that managed to break the EA protection with a MC-monitor only. (no cartridge attached) Legend's cartridge cracks. Especially Toki, as they had to recode stuff to have all sprite animations in memory. I like Sorex way of cracking, he does it real old style, no cartridge only the monitor.
D) Focusing on their original meaning. What is your definition of "lame" and "elite"? examples? G) This was something the cracker/bbs scene invented for self-idolising or to rag on someone. According to my English dictionary LAME is someone 'unable to walk normally because of an injury or a defect' not? 😊 Okay, but seriously: Elite was someone famous and Lamers was someone the Elite people didn't like. Back in the days this mattered a lot, no one wanted to be the lamer and a lot of scene wars were fought around this
subject. Being Elite makes people behave strange: At the Tribute party in Sweden I was talking with Deff/AVT about some game music and stuff, suddenly this Elite- person came over to us and said "Hey, you can't talk to him (Deff). He is elite!" He was dead serious, and Deff had to calm him down. D) A lot of old sceners return from the 16 and 32 bit machines to the 8 bit machine. Why do you think people keep paying attention to the C64?
G) I'm not sure. Maybe it has to do with that the C64 is THE scene, and that people are pushing the C64 to it's limits all the time. You can make anything on PC, but making it on a C64 is somewhat of a challenge. D) What are you doing in your spare time apart from C64? G) I playe soccer and keep in shape.
D) Feel free to send some greetings... G) Greetings to my group-mates and all who knows me, you know who you are! D) Thanks for your time Glenn. Enjoy this issue of Domination! 😊 G) Thanks for the interview!
Interview II ‾‾‾‾‾‾‾‾‾ VIP ‾‾‾ Needing little introduction, our second guest to this interview section is still quite active. His latest contribution to the scene being a music in Attitude #5 by Oxyron. Vip is a musician and graphician and resides in Padua, WOW and Role. This is a BIG interview, so sit back and enjoy!
D) Welcome to the 18th issue of the Domination magazine. As usual, please introduce yourself to the audience... V) Thanks for having me in, Jazzcat. Hello, my name's Vip, and I'm a 26 year old from Belgium who's been doing the C64 thing for way too long (about 14 years I think). Back in 1989, I remember wanting a computer more than anything else... It was either going to be an Amiga or a C64. Then I saw pictures of this game called Katakis (later named Denaris, created by The Man, Manfred Trenz), and from that point I knew I had to get
the computer that hosted this awesome game - the C64. Of course I grumbled a few times after seeing Turrican 2 on the Amiga a few years later, but that's another story. In real life, I'm active as a teacher of mathematics (final two grades) at a local school - a job I really enjoy. It can be hard sometimes, but reaching out to adolescents and teaching them a bit about life and science is very rewarding. Outside of that, I try to hang out with my friends who are scattered all over Belgium and generally have a great time with them, write so called faqs for video games, play a little sax now and then and finally, do some stuff on the C64.
D) Which groups are you currently in and what jobs do you perform for each of them? V) Well, currently I'm a member of 3 groups (Role, WOW and Padua) and 2 labels (64ever and the music label centered around Jeff which used to be called CyberZound - the new label name is pending as we write). For all of them I'm more than happy to do graphics and music to my best ability and as far as time permits. I sometimes brainstorm a little about demo parts and algorithms and other miscellaneous stuff, but the audial and visual is my main passion and thus, occupation on the C64.
D) Please tell the readers when you first joined the scene and what has happened up until now. V) Umm, thats kind of a long story 😊. But I'll try my best to keep it short. I got my c64 in 1989, but I was never in "the scene" until '94, when I began my studies at the university. There, I met a person who was then still known as Ice-T (later he changed his handle to The Chronic, but became inactive on the C64 soon after). He was a member of Role and via him, I met Commander, Role's leader, a person who I respect very much. Commander enlisted me in his ranks,
and as of then, I was officially part of the scene. It was a personal dream come true. Always watching on the sideline, now inside the real thing. Kkool. After that, things evolved rapidly. I made tunes and logos for Role, and soon enough got noticed by Einstein of WOW. He asked me to join his group as well, but as I was not going to leave Role, I opted to dual-group. Time went on, and at some point in '95-'96, I gained access to e-mail and, to some extent, IRC. That opened a whole new world, with lots of new people. It was bliss to be able to chat with
sceners I tremendously respected - Anonym, Xbow, DK, RRR, Mindflow aka Skizo (Hey Fredrik! Where you at, man? 😊 and so on... all names I used to see credited in the demos I really loved. Yes, major fanboy alert indeed. :p For some reason, all this led to me doing a few music reviews for Relax (at least for a couple of issues) (Daniel, I'll find the secret to your handle yet 😊 having a few great online art/music discussions with DK et al., becoming a member of the then CyberZound label, having the immense honour of doing a couple of graphics for Crest productions and joining Padua as a third group. Needless to say, I was in Cloud 9 - I still am, actually.
During this period, Einstein brought a certain demo called Halfbaked to my attention. There, I saw parts from two Israelian guys called Lax and Raven. I was stupefied and just knew I had to work with them in their future WOW productions. But then, due to reasons I do not wish to discuss here, Lax and Raven left WOW to form the 64ever label. I stayed in contact with them however, and joined the label soon after they told me about their plans for a new project. As demos are THE thing I enjoy most on the commie these days, I was happy t to accept adding my share to it. Hmm, that's about all I can say about
joining groups. Final remark: it would be very difficult for me to leave any group/label since I made good friends who I respect in every group. Leaving these groups would be like leaving them behind. Definately not an option... D) What computer equipment do you own? V) For a scener, I guess I only have a modest hardware base. In the "real" computers department, I've got one breadcase and disk drive (c64-II and 1541-II), an Amiga 500 (which is collecting dust in the attic) and a PC (modest config by today's standards,
but sufficient for what I do). But then, there's the consoles. Since video games became a semiprofessional hobby, I now am the proud owner of a PAL and NTSC Playstation, a PAL and NTSC Playstation 2 and a NTSC Gamecube. No Dreamcast, N64 or Xbox, partly because of money, partly because one of them sucks (I'll let you guess which one). Oh, in the attic, there's also a box with a Gameboy, Sega Master System and tons of old Nintendo handhelds - now those were cool little things 😊.
D) INSOMNIA by 64ever was one of the recent releases you were involved in. Could you please tell the readers about this project and what it involved? V) Well, it's the project that made me join 64ever for one. Back then, Raven showed a couple of parts he was working on and they blew me away, so I definately wanted to be involved. What an experience it turned out to be.. you know, before Insomnia, doing a part usually went like this: "Hey Vince, here's the part, you draw me a logo and some sprites, do a sound and I'll splice them in". The end. Enter Raven. Now in the beginning, we
worked like the above, but neither of us was very happy with it. Then we both got jobs that involved sitting behind a desk with a computer and internet connection. Soon enough, we were chatting on a daily basis. This helped the project enormously, as we could plot out the demo, its flow and parts. Everytime a chunk of code or graphics/ music was done, we could give feedback on it the day after. This gave me a tremendous boost - for the first time in my life, I was actively working on a real demo project, not just supplying the graphics and music (later on, similar things would happen in WOW and Padua). Insomnia became something special, something I put my heart and soul
into, as did Raven. And we weren't afraid to reject things either. If a tune or picture or piece of code wasn't okay, it landed in the bin. As simple as that. Many things got rethought and redesigned. This was hard at first and lead to a couple of heated discussions, but in the long run, if we were to make a cool product with continuous flow, it was for the best. What Insomnia involved? A lot of blood, sweat and tears. But also a lot of dedication. Granted, the delays weren't pretty and again, my apologies on behalf of all 64everers, but real life can be an itch-bay sometimes. I promise to do better with the next
project time-wise (no, really 😊. D) Will there be a new demo from you and the others and can you tell us much about it? V) After all the overwhelmingly positive reactions to Insomnia from everyone (excluding a few effect-monkies and people who feel the demo is without soul) and looking back at the creative experience, that's affirmative as far as I'm concerned. I am sure Raven feels the same, so chances are 95% that there will be a new project coming up.
So far, it's still pretty much in the initial planning stages. While (at the time of writing) Raven is busy in real life (and rightfully so) and the audial side of things is planned out, I'm working on the design: making sketches drawing the characters, setting the environment, figuring out how to get the right feeling across and so on (also working my way through anatomy books to get better picture quality). Many people commented on how they liked consistent images and design, so I'm going to make sure it stays (without any more certain IFLI picture hickups 😊. Also, it was commented that there was no real end to Insomnia. Well actually, there is, but it's subtle - if you follow
the pictures, you can see how the girl grows into liking it inside cyberspace. The peaceful expression in The End picture shows just that. And thus, she stays. Agreed, another ending was planned, but we had to implement this instead. Rest assured, however. The next project will have a better ending - we'll do our best to make it happen. That's about all I can tell right now... D) Concerning composing on C64, is Jeff going to release his new editor that he has been working on for some time?
V) Well, I've taken this question to the main man himself (Jeff), and he told me that the editor's going to go public, but there's still a lot of work to do as well as extensive testing of the finished editor to avoid bugs in the public release. So no release date as of yet - however, Jeff hopes to announce one once more work has been done on the editor itself. D) Whats your opinion on editors such as SID DUZZ IT and GOAT TRACKER? V) I can't really voice an opinion on Goat
Tracker, as I've never used it, but SDI is very cool. A trackerstyle editor (just the way I like it), many options, high quality sounds, multiframe support and lots of effects. A fourth "track" is added for extra flexibility - either it be effect-control or adding samples. So yeah, I like it a lot. Somehow, though, I still prefer the good old JCH editor at the moment. It's slightly behind in terms of flexibility and carries no more support from Jens-Christian, but, in my humble opinion, the editor is still dope - it's very powerful none-withstanding its simplicity, the sounds (single speed, that is) compete with the best of them and with a little elven magic, you can still produce tunes which are very much
up-to-date I'd say. But I'm beginning to feel the limitations of the JCH editor. Single speed-wise, I'm more or less comfortable composing now, and if there's one thing I don't like, it's feeling comfortable. Your work should never grow into a stalemate - evolution's the key. So I'm fooling around with the new editors, both single speed and multiframed. Once I've found the one which fits me like a glove, I'll bid a fond farewell to JCH v20.g4 and get on with the new. With that said, I should check out Goat Tracker as well.
D) You mentioned earlier in this interview that CZP (CyberZound Productions) will be changing name. What brought this around? V) The name change was a decision made by Jeff, who made this public in a disk magazine I failed to read - resulting in a rather big surprise when Jeff told me on IRC that CZP was no more, especially since about every compotune I ever made proudly carries the CZP label : . Why? Well, for one there was the fact that there was virtually no activity in
the group, but secondly, have a listen to the music made by its members - we all have different styles and flavours. Jeff hoped for a distinct group style, but because of our diversity, this wasn't going to happen. So CZP got burried. However 😊. Maybe something magical will happen with the release of the editor, which still doesn't have a name (a few suggestions are floating in the air, but in the end, the main man will decide what it's going to be. Come on Jeff, cut that Gordian knot already! 😊 Just wait and see... or rather, hear... D)
Are there any 64 musicians that you idolise? If so, who and why? V) Of the current musicians, I don't idolise any of them, but rather have great, great respect for those who are still pushing the limits of c64 music and try to mold their own artistic vision into 3-voice chip music. Everytime I make a compo music, these people are greeted, and I will pay my respects to them in the next question. Of the composers in the past, I do idolise a few, mostly because I heard them back when I was just a kid. I guess idolisation is somewhat linked to nostalgia - looking back at a few tunes that have proven themselves over time,
that are really unique and then giving their composers the credit they deserve. The ones on my list are: Martin Galway, definately. His tunes are still incredible, the atmosphere he creates within them is unrivalled to this point. Matt Gray, who was able to make the C64 sound like a real rockband. Ben Daglish - a varied composer, great effects for his time, close to those of Rob Hubbard (who made some fancy stuff as well). Less known, but still a good composer was Richard Joseph of Defender of the Crown/Barbarian fame. Not that many tunes done, but those did are all burnt into my skull. Markus Schneider, creative mind and great tunes. Thomas Detert,
predictable, but very solid. Jonathan Dunn, atmospheric at times (Wobocop!). Johannes Bjerregaard, who intoduced the c64 to the jazz concept. Chris Huelsbeck, oh yeah. Be sure to hear his Turrican soundtracks on Amiga/commercial CD as well, they be da bomb. Then, the nineties came. Drax, JCH, Laxity, Metal, Jeroen Tel, Reyn Ouwehand,... need I say more? 😊 Anyway, I could go on like this. So many great composers, so little writing space but these are the ones that immediately jump to mind. D) Your all-time favourites:
V) I'd like to say up front that I'm not going to mention people whom I'm affiliated - they know I respect them deeply anyway. I'll also limit myself to C64 only. Coders: I'm not really in a position to judge coders on their ability, but still, I have to show respect to - Scene: Xbow, Krill, Graham, HCL, Oswald, AEG, TTS, et toi Bob. Commercial: Ivo Herzeg, Sebastian Broghammer, Dan Phillips and Manfred Trenz, definately. Graphicians: This is a bit easier.
Scene: Gotcha, Ogami, Electric, Jailbird, Joe, Dragon, Deekay, Mermaid GBF, RRR, Hein Design, Carrion et al. Commercial: Dokk, Manfred Trenz, Robin Levy. Musicians: Ah, now we're where it's at 😊 Scene: Metal, PRI, Ed, Skiz (Mindflow), Astovel, Danko, Praiser, GRG, KR, Geir Tjelta, Kjell Nordbo, AMJ, TBB, Laxity, Fanta, Mixer, DAF, Wizard, MSK, Noise, Guy Shavitt, The Syndrom, Scortia, Wacek, Sage, Orcan, Shogoon... I'm sure I forgot many. Commercial (as said previously): Martin Walker, Rob Hubbard, Martin Galway, Ben Daglish, Matt Gray, Richard Joseph, Chris Huelsbeck,
Markus Schneider, Thomas Detert, F.A.M.E., Johannes Bjerregaard, JCH, Drax, Jeroen Tel, Reyn Ouwehand. Demo Groups: Bamm. I'm gonna go non-c64 here as well. C64: Oxyron, Crest, Resource, Booze Design, Arise, Fairlight, Triad, Blackmail, Censor, Taboo, Elysium, Samar, Babygang, Antic, Extend, Byterapers, Smash Designs, Reflex, The Judges, X-Ample, Bonzai, Panoramic Design. Amiga: The Black Lotus, Potion, Loonies MadWizards, Fairlight (hey! 😊, Spaceballs, Maturefunk, Haujobb...
PC: 3state, Byterapers (hey! 😊, The Black Lotus (hey! 😊, Threepixels, Farbrausch, Fairlight (hey! 😊, Exceed, Haujobb (hey! 😊, Proxium, Alien Prophects, Aardbei, Bypass, Replay, Foobug, Fulcrum, Dubius, Park, Kolor, Calodox, Sunflower. Games: Touching a weak point... I played C64 games to death before moving to the console realm. My favourites would be the following: Recommended: The Last Ninja, The Last Ninja 2, The Last Ninja 3, Turrican, Turrican 2. High picks: The Bard's Tale 3, Defender of the Crown, Armalyte, Target
Renegade, Maniac Mansion, Zak McKraken, Great Giana Sisters, Creatures, Creatures 2, Mayhem in Monsterland, Soul Crystal (I played the German version, which imo is much richer than the English translation. Oh well). And finally Covergirl Strip Poker (I got it back then for Scortia's _ruling_ music and the interesting articles * and * the game of poker is challenging and intriguing indeed 😊. Just kidding of course. Really! Ahaha... ehm. Disk Magazines: I really enjoyed Magic Disk and Game On every month, as well as the monthly Golden Disk. As far as C64 scene mags are concerned, I'd sau Sh0ck, Skyhigh
and Relax. I do like Domination a lot, too 😊. I would want to add more mags, but I'm affiliated to those, so... D) A lot of old sceners return to THE 8-bit machine. Why do you think people keep paying attention to the C64? V) I think, no rather hope, that it's due to challenge. The technical limitations of the c64 pose a challenge for every facet of the demo group: the musician faces 3 voices, the graphician faces 16 colors and low resolutions and the coder has to put everything together and add interesting effects, all within 0.98mhz processing
speed. And that's not easy. On the other side of the spectrum, 16- and 32-bit machines nowadays have been updated to such levels that the challenge is slowly disappearing. Want more polygons? Oh, well just wait for the next-generation video cards and we're okay. Trouble adding better 3d effects to your polygon meshes? No problem, DirectX-10.1 is here. Graphics? Oh, let's scan our images and Photoshop 'til we drop. Music? Hey, what about those nice, commercial .mp3s out there? People will still find our demos cool if we use them instead of asking a scene musician to track something. DOS demos? Hey pal, if your demo doesn't run under Windows, you're out
of luck. In the midst of the update craze, the challenge is slowly getting lost, and that might have left an emptiness inside several dedicated sceners, which might have driven them back to the 8-bit machines. But these are just speculations - I guess there could be other reasons as well. Note: There are, of course, many dedicated people in the 16- and 32-bit platforms who are true to the scene spirit and still experience quite the challenge while orchestrating, designing and implementing their demos. The above comments are not for them and certainly not a generalisation of the 16- and 32-bit scenes. My utter
respect to those other-platform groups who truly deserve it. D) Scene parties are one of the major events on the scene. Which ones have you been to and are there any particular things that happened on a party you have fond memories of? V) I haven't been to a lot of scene parties, actually three to be exact: Wired 1998, X2001 and the Role Party 2002. That's because at the time, I didn't have a driver's license and when you're depending on public transport to
get you somewhere, you're in for a tough time (trust me). But I do have fond memories of them all. There's something really cool about being at a place with a whole gang of like-minded people and discuss the scene world with them under the enjoyment of a relaxing drink. Whether it's gfx, music or code, there's always something new to learn and that's what makes it so exciting. And of course, let's not forget the incredible tension you feel when you're watching your competition entries on the big screen - I can still feel my heartbeat going ballistic when it's up there... The happiest memory I had was at X01.
So many great people, such great organisation, such great atmosphere... when my music entry (Varsity) was played there, I actually saw people enjoying the tune, snapping their fingers and bopping their heads to the beat. Afterwards, a big round of applause, and that made me incredibly happy - the third place was just icing on the cake. It certainly motivated me to go on and keep improving my style (both in music and gfx). The worst memory was at X01 also, though. The first showing of Insomnia was a small disaster for me and everyone else in 64ever, but I (and the others) said more than enough about that in the Insomnia note. It's long forgotten now - lesson learned, life
goes on. In retrospect, I do hope there will be another X some year. I also know the other side about parties. I was an organiser at Wired 1998, and that was quite a learning experience. Creating the infrastructure the network, food and drink stands, sleeping quarters, decorations, keeping things under control during the party, settling disputes and inevitably ask people to disconnect their portable fridges and microwaves from the main power grid is a lot of work, and so I have great respect for the orgas... Here's to you guys! D) If the C64 scene was a person, would it
have any regrets, and if so, what? V) Well, that's a tough question. The behaviour of the c64 scene was largely shaped through the commercial industry so there was hardly another way to evolve until finally the major companies abandoned our beloved platform. After that, the demo scene became a much larger factor than before, something I welcomed very much. because as you might have noticed now, I'm a demo nut. Whatever the platform is, as long as it's a cool demo, you've got my vote. And the evolution of the demo scene up to now has been absolutely great. Except for one thing.
I personally confess that I was reluctant to accept newskool. I was happy with oldskool and regarded newskool as intrusive and chaotic. However, with time, I grew to like it and now I know that you must learn to accept all changes. We have to evolve, and in order to do so, we must experiment. Sure, some things might not look good at first, but as experience grows, something cool might come out of it (or maybe not - for example, the experimental a-tonal music from the 50s-60s never really hit it off). So if there is one thing the c64 scene could regret, it would be on the rigidness with respect to new styles and ideas. However, looking at the current situation, I'd say we're on the
right track now. D) What do like to do in your spare time? V) Too many things. Of course, there's the C64 to attend to, but apart from that, I'm a freelance strategy writer - I play videogames in a really hardcore fashion (any platform) so that other people might find a second wave of enjoyment from their store-bought products. Check out gamefaqs.com and futurepress.de to see what I do. Then, there's music - I'm an avid sax player and like to jazz freestyle on
piano chords. Sometimes, the jam session's a disaster, sometimes its like a dream. I often get mixed results. Play's been on hold for 1.5 years though as I had to return my sax to its rightful owners ☹ As for the rest, its having fun with friends. Going out, having a few drinks, enjoying time.. Without them, I'd probably be half of who I am now. D) Greetings? Cans filled with beverage of greeted person's choice fly out to: Role, Wow, Padua, 64ever, Jeff, Mitch, Dane, Skiz, CreamD, JSL, Steppe, DMA,
HCL, Krill, Graham, RR, Reyn, Fanta, GRG, dk, Pater Pi, Hollowman, Brush, Sebaloz, Metal, Xbow, Mixer, AMJ, Danko, my family, friends and any I forgot. D) Any last words? V) Yes, I'd like to voice my opinion about a topic which is dear to me. With wiring, I understand the process of taking the work of a professional artist and then converting to the c64 using some conversion tool. Wired pics seem to be all around and they win compos. That outright sucks. When you wire,you're making profit from
someone else's original work. Adding pixels on c64 to reduce flicker doesn't mean you're creating gfx. It means you are the final step in a general pic conversion program. Its not cool, no matter how cool the pic is. If you're really a graphician, use your imagination and create your own gfx. Okay, so chances are it doesn't come close to a standard Vallejo. But at least your work's honest. It'll also garner respect of other painters, because they will see your new distinctive drawing style. Consider it. Be original. Show your style.
D) Thanks for your time! V) Many thanks as well, David, for the chance to do this. Cheers!
Interview III ‾‾‾‾‾‾‾‾‾‾ Moppe ‾‾‾‾ This C64 musician arrives to these pages from Sweden. A long time member of the scene and also proud member of the famous group Oneway. One of those oldskoolers starting off with Future Composer, please welcome Moppe of Oneway...
D) Welcome to the media 😊 Firstly, could you please introduce yourself to the public... M) Fredrik Segerfalk, born in the golden year of 1972. I work with marketing, graphic design and also music. I enjoy life in general and feel like a lucky bastard 😎 D) You have been in the scene for a long time and must have some fond memories. Could you please try and give us your scene history?
M) Hehe, that would take some months to write it all down, but in brief: Bought a C64 in 1985, including datasette, slik stik and exploding fist. I was in love. Got a local supplier (our chemistry teacher!!) and played a lot of games 😊 Boulder Dash, River Raid, Blue Max... Oohhh. Got interested in making music and bought "electrosound 64" which was a not so ultra-crappy editor as one might have thought, and it certainly inspired me to do more when I found out how to create the Sanxion lead-sound. I then discovered rock- monitor and quickly moved to Future Composer where I managed to create some entire tracks, at about this time I met Zizyphus (at that time Hedda Hacker) and we started to hang out a
lot. Doing shit stuff like modifying his telephone with one extra set so we could speak and listen from the same phone. I remember talking to some Finnish guy to who we claimed to be arms dealers and he was going to be forced to buy from us... poor fella! Other memorable things... I was in contact with Maniacs of Noise to join them, but it didn't turn out that way in the end. What was extremely satisfying was to make it on my own being able to do the music for Blood Money, Shadow of the Beast and Kick Off 2.
D) Oneway have been responsible for some of the best, if not THE best packers and crunchers on C64. What inspired the group to keep improving the crunching routines and what can the scene expect from Oneway members in the future? M) THE best crunchers I believe 😊 Zizyphus and Skyflash offered a cash prize if anybody could beat their last packer, and to my knowledge none has. Skyflash explained to me that it was a little "war" (bad word) going between him and Zizyphus to improve and get the best results. The future? Expect a demo release now and then, but its only for the fun of it. Pushing the boundaries is done
elsewhere these days 😊 D) Some musicians seemed to have developed their own personal music editors and players. Do you think it helps the composer more to make his own editor? What would be the advantages here? and have you used many different editors? M) I started out using Future Composer, and then the Soede-Soft editor. I then started pushing Zizyphus to write me an editor, because I sucked at coding! The editor, called System 6581, turned out very nice and its what I've been using ever since.
Having an editor of ones own helps a lot to creating your own sound. You can easily hear e.g. if someone is using the JCH-editor. Most coders implement and set the SID -registers in different ways, which makes for subtle differences in sound. I've tried most of the editors out there, but since I have an editor myself, it will always be closest to me. D) The C64 scene has had a great share of musical talent, many musicians have came, produced great music and then departed. Which musicians do you respect and for what reasons?
M) In retrospect: Tim Follin, for using the SID in a very different way than most did. Jeroen Tel, for his outstanding melodic qualities. Johannes Bjerregaard for utter raw funkiness. D) Do you like conversions of music from other systems or from real life music? How should a conversion be made in order to appeal to the public? M) Sometimes I do, mostly I don't. I'm not into the more techno-ish remixes, but au contraire the stuff that Mahoney produces is simply brilliant! Is it really
interesting to appeal to the public? I don't think so. D) How much time do you spend averagely on one music? And what is the longest time you have ever worked on one piece? M) That differs very much from piece to piece. Longest time... maybe a couple of weeks, shortest, about an hour or two. Most C-64 music was made within a week.
D) Do you play any musical instruments? M) Keyboard is my main instrument. I played church organ for 7 years, and then moved on to blues -> fusion -> jazz/funk. I cheat around with bass, guitar and drums. I also master Tuvinian throat singing. D) What is your opinion on the musicians today? Is there something that needs to be changed about the big dance and techno influence? M) All is good. Tools to make professional
sounding music is easily and cheaply obtained which promotes the making of more music and the exploration and development of new sounds and genres. D) You did some programming in the demo Goatbeard by Oneway. Did you also program in other productions? M) Did I? I think not! I was on the "making music and graphics, writing scrolltexts"-level. I did program some rasterbars back in 1986 though 😊 D) Ooopsa 😊
Moppe/Oneway's all-time favourites: ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Demo: Any of Kaktus & Mahoneys old stuff Demo Group: Oneway Coder: Zizyphus Graphician: Poison Musician: Can I vote for myself? 😊 Disk Mag: Domination Crack Group: Oneway Cracker: Hedda Hacker D) Was the C64 just a step in your life or was it a major inspiration? M) Both a step and a major inspiration. It has to be like that when you live with
something everyday for 6 years full time. My heart will always have a part of the 8-bit era 😊 D) Anything from the past that was quite funny, shocking or impressive that you would share with the readers? M) Nothing extra special comes to mind... wait... Oneway cruncher-coder-depart- ment was supported by NSA. That's why we were (and are) the best.
D) What are the other old members of Oneway up to these days? M) Zizyphus and Skyflash are coders at a company called Wespot, doing smart cameras. I also happen to work there part time with marketing. Poison makes paintings and stuff. The rest... I don't know! D) Feel free to say hello to anyone you know out there in C64 land... M) I'd like to give my respect to all the c64 people keeping it alive, like you David,
Joakim Cosmo, Linus Walleij, Spike, all the Oneway-fellas ect etc. See you at a party nearby! D) Any last words for our audience? M) There's only one way. Oneway. D) Thanks for your time Fredrick! M) Thank you!
Interview IV ‾‾‾‾‾‾‾‾‾ Brian ‾‾‾‾ The main guy behind the legendary Hungarian group Graffity. His music has entered almost every scener's home and his music editors were instrumental in future scene productions. Sit back and enjoy! Regards, Jazzcat/Onslaught.
D) Welcome to the magazine. Can you please introduce yourself to the readers... B) Hi there! My name is Farkas Balazs, I was born in the eastern block (Budapest, Hungary) in 1975. My handle or nickname is Brian (still using it), I got it from my english teacher in school, because it starts with the same letter as my original name. I got my first computer (actually it was just a borrowed one) in 1985, which was a Sinclaur ZX81 with 1K memory. As my parents saw that "I'm really into the computers", they got me a C64 in the following year. By the way, most of
you may have heard of me as Brian/Graffity. D) If possible, could you tell us when you first joined the scene and your history in it? B) Well, as I got the C64, I was mainly just playing with it (all night and all day 😊 and trying to master the Basic language with good results. I just couldn't really understand how could a great game with just a simple, plain basic line work, I began to learn to write small and short assembly pieces and hack music, scrollers out of already existing intros and demos in
1988. I also had my own label (or group?!) "The SoftBuster Kid 1988". I'm pretty sure you've never heard about it). When I joined the secondary school (at 14 years of age) I met with some other nice guys who knew a little about the C64 (programming & stuff) and we founded "Tomcat" (TCT), don't really remember who used to be the members, but I know Maxwell (later in Graffity, too) was a member. Then Tomcat died for some reason and I joined "Gentlemen", then I met with Jay (he was the sone of my mom's colleague) and finally in 1990 Graffity was born with four members (Maxwell, Matrix, Jay and me, Brian).
Please don't ask me to list the releases of Graffity (my memory is quite short), I know we did some x-mas demos, we also had two megademos, "JustInCase" and "JustInTime". We planned a third one too "JustInBlue" which hasn't been finished due to lack of group activity in 1993 (pity, it was 90% ready). I also was a member of Syndrom's music group: "The Imperium Arts". D) Your group has heavily influenced the scene, in particular with the Demo Music Creator (DMC) editor. Did you ever expect that so many people would use the editor and instruments created by you and other members?
B) No, not at all. The sound of the C64 fascinated me (even in my 1986-87 basic days), I was after everything which had sound (and scrollers too 😊. Cannot really remember how many players I did, but I remember I did plenty of them even a seperate player for a seperate tune. I wasn't into composing at all, so I stole the music data from other music (mainly from simple, old pre-1986 games). The first complete musiceditor I wrote was the "Tomcat musicmaker" (I'm not sure about the title though), then came "Game Music Editor" and finally the "Demo Music Creator" series. I wrote the first editor for myself (so I'll be able to write my own music, instead of ripping music data).
The DMC was the first one which was deliberately written for "scene purposes". D) Are you still in contact with the other members of Graffity? and what are they doing these days? B) I met with Calt & Display quite often, but rarely with the other members. There are some guys whom I've never met since 1993/94. - Calt (one of our swappers) runs their family business, a workshop installing in-car-entertainment/GPS/alarm etc into cars.
- Display (and Cyba T) one of our graphicians, is a freelance graphician doing DTP (Desktop Publishing) and also taking part in family business (they are brothers with Calt). - Jay (or Andy or Fletcher, etc...) a founding member, who was also involved in C64 composing, runs his own business selling electronic instruments and studio equipment (http://www.hitspace.hu). - Trays is working at the local telecommunications company (doing some e-business solutions marketing).
D) Music groups on the C64 have become a popular tradition in the scene. When do you think they first appeared and what was the cause? B) Phew, tough question I cannot answer. Probably MON was first, yeah. We could mention 20CC too, but I think they weren't *that* productive like Vibrants for example. You may say that they were mass producing tunes, but they were the first real, mean, tough, boy band in my own opinion. D) Which C64 musicians do you respect and why?
B) I do respect a lot of C64 musicians. If you ask me about my favourite musician then it is Laxity. I think he could mix his bluesy/jazzy influence with the harsh sid sounds perfectly. But I have lots of favourites from the old game scene and the demo scene too. I've grown up on Martin Galway, Rob Hubbard, Ben Daglish, but I liked a lot of other people too. Too many to mention. D) What ware impressed you most on C64? B) Crest demos, but mainly all other high quality productions.
D) What is your reaction when I tell you the scene is still alive and still producing? B) I know that a kind of scene still exists and all my appreciate is you guys that kept all of this alive. I admire all the boys (and girls) who still have time, but mainly patience for this machine in the days of all this hi-tech stuff. Sadly it is not the same as it used to be. The internet may be blamed too, which practically destroyed the old swapping procedure (which was big fun). It collected/gathered all of us when a pack of new sending arrived, now you just click on it and it's here... It's not that interesting anymore (for
me at least). D) Do you still own a C64 and your disks? B) Yes, I got 2 C64s somewhere, one is lacking a sid chip as far as I remember. I have no idea where my disks could be, but I know that I've already destroyed lots of my work, which I regret deeply. D) What is your most memorable moment in the C64 scene? B) Maybe a local party where we
introduced "JustInTime" and won the compo with it. However, I have got lots of sweet memories regarding to that era. Practically, the end of my C64 career was the end of my childhood. We used to gather (organise a kind of internal party) at Trays' place every weekend (from Friday evening to Sunday afternoon), watching new stuff, playing and then working, swapper mass copied disks, we misbehaved on the streets down to the non-stop food shop near there... Sadly it's over.
Brian's all-time favourites: ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Demo: Ice Cream Castle/Crest Demo group: Crest Musician: Laxity Graphician: DiArt Coder: Grabowsky/Grf Disk Magazine: Sex'n'Crime D) Is there any Graffity website or the plans for one? B) No there isn't. There is a weak ray of hope that Display will create a site, containing a complete collection of all our work.
D) What is your view on the internet and how do you think it has influenced computer scenes like the C64? B) As I already stated, I think the internet had a bad effect on the C64 scene. It is conflicting with the old swapping methods, everythings available in no time. I remember when we used to visit the other groups for exchanging stuff, all that "vibration" in the air between them and us, when we left the place we just laughed, ahhh lamers, we're the best 😊
D) What are you doing these days? Still working wth computers? B) Yes of course. I am still doing the same, making musicplayers and editors 😊. I am running my own little company http://www.audio-simulation.de/ developing virtual software synthesizers. I am doing some third party development too, for example I've developed sound effect plugins for Akai Professional also used to work for Twelve Tone Systems (makes of Cakewalk/Sonar, one of PC's leading sequencer softwares). I am spending my sparetime tuning my car, I use to amateur drag race with it. I'm living
with my girlfriend, we got a dog too 😊 D) Was the C64 a step in your life or maybe a major inspiration? B) Major inspiration and school, absolutely! Everything I know now, I learnt on the C64. The basics are all the same and I am still using all the experience. It was a major and long (1986-1992) step in my life. D) Here is some space to send any greetings...
B) Greetings go to my old group-mates, such as: Calt, Display/Cyba T, Jay/ Andy/Fletcher etc., Trays, Syndrom and everybody else too. D) Any last words to leave a final impression? B) Final impression?! Get a real computer! ;) Noooo, that was a joke ;) Bye!
ADDRESSES ALMIGHTY GOD/Onslaught/Level 64 Domingo Alvarez C/Obispo Perez Caceres Urb. La Mata Parcela C-3, Portal 7, 1A 38611 San Isidro S/C De Tenerife Canary Islands Spain. ANTOMAN/Tide/Angels - for swapping Antony Kerslake - for friendship 60 Alroy Circuit Hawker ACT 2614 Australia.
ARISTO/Samar - Friendship rules Mariusz Zaleski l Fredry 3/3 41-800 Zabrze Poland. AZGAR/Samar - 100% reply to all Marcin Pilarz Ul.Giewont 6/13 43-316 Bielsko-Biala Poland. BLADEE/Axelerate Marcin Pilarz Ul.Gienont 6/12 43-316 Bielsko-Biala Poland.
BLEMISH/Tropyx - 100% reply Grzegorz Saczuk - Swap Ul.Czcibora 22/35 - No delays 71-570 Szczecin - Please, write me! Poland. CACTUS/Oxyron - Attitude Pawel Bol - Domination Al. Marszalka Pilsudskiego 60/14 43-609 Jarworzno Poland. CENTRAX/Samar/Phantasy Damien Stupien - Domination Saperow 16b/8 42-612 Tarnowskie Gory Poland.
COLICHE/Lombardasoft - 100% reply Davide Martinotti via Donati 14 20146 Milano Italy. COMMANDER/Role - for joining ROLE Serge Engelen Landwaartslaan 35 3600 Genk Belgium. DJB/Onslaught/Blues Muz' 19 Irving Street, - Movies swap Edgeworth, 2285 - MP3 swap NSW, Australia - No normal C64 swapping please - Make sure you email before sending: - djb@onslaughters.org
JACKOBE/Oxygen64 - 64/A1200 Jacek Pretki - 100% reply Wisniowa 19 - for joining Oxg 64-370 Lwowek Poland. JAZZCAT/Onslaught - Joining ONS David Simmons - Domination PO Box 361 - Vandalism News Launceston - MP3/CD/VHS Tasmania 7250 - Old and New Australia. - jazzcat@c64.org KATON/Lepsi De/Arise -+480605599468 Lukasz Gokgbiewski Ul. Basztowi 2/2 82-500 Kwidzyn Poland.
KYMO/Tropyx - 4 swap Krzysiek Saczuk - 100% reply to all Ul. Czcibora 22/35 - No delays 71-570 Szczecin - Write!!! Poland. MAGNATE/Obsession - Coverswap Marius Mlynski Os.Pawlikowskiego 9A/3 44-240 Zory Poland. MERMAN/POL/Role - Scene World Andrew Fisher - Friendship 30 Rawlyn Road Cambridge CBS 8NL England.
MURDOCK/Tropyx/Draco/Cascade Pawel Ruczko - 4 fast swap Ul. Dluga 26 - 100% reply to all 70-877 Szczecin 19 - Music relocations Poland. NAFCOM/POL/The Stock Joerg Droege - Scene World Hofaeckerstr. 7/2 - nafcom@c64.org 69245 Bammental Germany. PASTHOR/Exon - 100% reply to all Krzysztof Pawucki - Joining Exon Czwartak0w 5/42 - New & old trade 44-121 Gliwice - Games'n'Orries Poland.
RAMOS/Samar Mariusz Rozwadowski Ul. Goszczynskiego 8/96 41-219 Sosnowiec Poland. Rascal/Gold - Gold - swap/supply Robbie Wakeham - 100s of originals 34 Campingfield Lane - 100% reply Stalham Norwich Norfolk N312 9D2 England. REA/Tropyx/Draco/Apidya Pawel Mach Bytyn 91 22-230 Wola Uhruska Poland.
SKY/Master Designs Group Peter Schwarzfischer Am Drachenturm 3 93492 Treffelstein Germany. SPATZ Rainer Trox Anne-Frank-Str.10 39576 Stendal Germany. STIRF/Spiders-Crew/Role Frits Koudijs Goudsbloemstraat 51 6713 HB Ede The Netherlands.
STORMFRONT/Excess Peter KannengieBer Hans-Sachs-StraBe 36 51375 Leverkusen Germany. TORSOFT J.Vanthorre H.Waelpustr.21 B-8000 Brugge Belgium. VARIAT/Excess - 100% answer Radek Stuba - Comics swap Bzowa 5/21 - C64/PC swap 81-092 Gdynia - Domination Poland.
VENGEANCE/Onslaught Matt Mchugo 9 Phillip Avenue Montrose 7010 Tasmania Australia. XIII/WOW Peter Adams O.L. Vrouwstraat 88 2380 Rards Belgium. ZAPOTEK/Samar/Nostalgia PO Box 140 - Still swapping! 3833 Boe - Covers and votesheets Norway. - 100% reply!
To have your address included in Domination, contact one of the official spreaders of Domination or simply email: jazzcat@c64.org General editor
Reactions ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ After issue #17 of the Domination magazine was released the staff once again were honoured with some reactions. Constructive criticism is always welcome, everything can be improved - even on the c64 which many think is stretched to the limits already. Comments were received from the back of votesheets, email and on CSDB. Regards, Jazzcat/Onslaught
Jeff Daigle: ‾‾‾‾‾‾‾ Loved the new issue! Any chance the next issue might be ntsc fixed so I can view it on my real 64? Thanks! Jeff USA Jazzcat: ‾‾‾‾‾‾ Thanks for your comments Jeff and I'm also please this mag is still appeasing the C64 scene in North America 😊 Of course I would be happy if this magazine was ntsc fixed, but so far no one is willing to perform the task 😞
Brush/Elysium: ‾‾‾‾‾‾‾‾‾‾ Hello, Very nice edition. Indeed. I've just read a few articles while I'm at work and it's really good. I've already read something like 1/3 of the mag and I mean READ not glimpsed at and this is something unusual for me when I get a c64 mag these days. I was disappointed with demo reviews, mainly with Dane's review of Biba 2. It was really hard to find anything he liked about the demo 😊 Every page was something like "what I disliked about part number x". While this demo wasn't perfect - it was certainly one of the best designed Arise demos (if not the
best), it contained very good code and slamming it down that hard especially when it's (in my opinion in top 3 of this year's releases is just plain UNFAIR. Call me touchy but you just put the bar too high for polish demos. Other demos can be mediocre and get a + review while even a good polish demo gets -. The good point was that you've put another review of the same demo by a coder and it sounded much better. This also adds to the overall credibility of the mag as a whole and you as a main editor. And about our demo: the note says it all - it was released for our fans. It's old and we know it. But should we rather let the parts die on my disks? For some people it was a pleasant
moment at the party and that's all that counts. This demo is part of our polish scene history and it should be perceived just like this - a museum item for collectors and fans. And to Iopop: We certainly can do better 😊 And you will see it. Sooner or later. Did I say I liked the intro? Support North Party, p.s. and next time you publish and IRC log in an article with your OPINIONS, just make sure you add a comment or opinion about it. Otherwise what's the point of publishing it in this article? Make a seperate "irc logs" one.
Dane/Crest on Brush/Elysium reaction: ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Thanks for your reaction Brush. In fact, it IS really hard to find anything I like in demos today. Standards are a lot higher than they were 10 years ago, at least for me. Good code, as in the case with Biba 2 and Interruptus Retriggerus, just isn't enough. And as you raise the point whether a demo involves Poles, Germans or Swedes as nothing to do with it. Of course, Biba 2 was the worthy winner of the NP7 compo, as I wrote. It probably would have won several other competitions as well. But for me, it is not a lasting demo - does not have a style or concept I will remember for long, and I tried to point out why. Krill thought otherwise, and
this just goes to show how subjective a review can be. I'm glad you're reacting, though - and keep on reading! Jazzcat: ‾‾‾‾‾‾ Thanks for your comments Brush. In regards to the reviews in this magazine, I try and include as many as possible. Two reasons why I do this. 1. Give a broader selection of opinions 2. Increase objectivity With the IRC logs, some times I let the conversation explain itself, leaving the opinion to be formulated by the reader. Other times I will comment, in the future I will try make some more observations become reality.
Stephan Bukacek: ‾‾‾‾‾‾‾‾‾‾‾ Hi! Just a short note on Domination 17: great mag, excellent graphics and good music. I liked it very much indeed, and I wonder how many graphic-designers still seem to work on the C64....😊 (is it just a hobby-designer or a professional) Jazzcat: ‾‾‾‾‾‾ There is still many graphicians active in the scene, I'm sure most treat their activities out of a hobby. I'm wondering if C64 sceners are simply professional - hobbyists? ☺ (if there is such a title)
Hoth: (taken from CSDB) ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Domination is one of the few REAL mags today. It's great the way it is but I think it's time for a new outfit. Pater Pi: (taken from CSDB) ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ No new outfit, this is how we know and love Domination 😊 Richard/TND: (taken from CSDB) ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ I found loads of articles pretty interesting, including a scene related discussion regarding the cracking scene. I also enjoyed the interviews, not to mention the goodies you gave
away. Well done. Let's see more. I think it would be even more cool if Domination had been produced more often, something like quarterly. I'm hoping that this would gain more readership. It would be nice to see more like this. Jazzcat: ‾‾‾‾‾‾ Regularity. Something that I find near impossible these days. Apart from the shrinking of scene activities and contribution-volume, I'm also plagued with real-life obligations 😊 But don't worry, I will try and get it out as much as possible.
Hollowman/Fairlight: (taken from CSDB) ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ The outfit is great, no need to do anything about it. As for Twoflower's article, I can agree on the hard words against the idlers and the big mouths who talk a lot but produce nothing, and I don't care much for scpu users or welle:erdballs musical contribution for Mekka either. However I do find the bashing of those who don't respect the limits of the c64 un-necessary. 4x4, ifli and c64 techno might have been something to complain about if any demos of that kind were actually released nowadays. Reflex and Smash Designs are mentioned as example of how 'wrong' things went. When was the last time Reflex released a demo?
5 years ago? In the opinion poll chapter the question is asked if its good or not with demos being released mainly at parties. Maybe its just me, but I have a feeling that hardly any demos at all have been released this year. If I try to think of what good demos I've seen in 2002 I can perhaps come up with five if I try real hard. And it's not just that the overall quality has been low, its the amount thats been bad. If there were any releases worth being called demos, there could have been a reason to look at them and criticize, now I just yawn instead and try to think of a reason whi I should continue doing stuff myself.
Matt/ex-WOW: (taken from CSDB) ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ The mag definately shouldn't be released more often, no way! If you ask for quality, let these people release the magazine as often as they think it's necessary. Its about quality and not about quantity me thinks. Btw, I really enjoyed reading the last issue. Jazzcat: ‾‾‾‾‾‾ Ahhh, music to my ears 😊 Glad you enjoyed the issue old-timer 😊
Roberto Aloi: ‾‾‾‾‾‾‾‾ I was very impress by the text in the Political Views #2 addition to Dom#17. I share your view and cannot understand my own country's actions. I have witness my own president in the past condemn Sharon for his brutal injustices and Sharon naturally ignores and continues his nonsense. It's shameful. I cannot openly discuss this type of thing in my country without being labeled a racist which couldn't be any further from the truth. My country is fixiated on only one aspect. They only look at the Palestinians who chose to blow
themselves up in public places. They don't realise or refuse to NOTICE that they are doing it out of desperation because of the conditions that ISRAEL forces them to live in! Its criminal and I with other countries would speak out about it and try to influence America's decision making. There is something I feel that most people are missing from the equation. It's not only oil. America is a predominately Christian based nation. I have listened to religious zealots shout that according to the bible the end of the world will occur (judgement day, etc.) with the Jews being in a certain position. I will try and remember the quote that I am
attempting to recall, but it places a spin on what is said world wide... Again, great article. Enough of my rambling. Roberto Aloi http://trepain.da.ru Jazzcat: ‾‾‾‾‾‾ We will see in the next years how the world will be. I think the actions in Iraq are the offical public "start point" of what has been building up for a very long time. A pity. Glad you enjoyed!
Intensity/Onslaught/Cosine: ‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾ Hi Jazzcat, I have read every single chapter of Domination 17 and spent over 4 hours reading with it. I have to say that it was a success like always and I really admire your effort you put into this magazine, please go on with it! The chapters were mostly interesting and informative, I liked especially Newscopy's introduction into the magazine business. Yours, Intensity/Onslaught/Cosine.
Mad Max: ‾‾‾‾‾‾ Jazzcat! I was wondering, how hard would it be to NTSC fix the Domination series! I know Chameleon would like to get a copy of DOM #17 so he could read the articles. I have tried to fix them myself but each issue shed a darker corner over my NTSC fixing capabilities and wanted to know a little about ways I might be able to fix it. Thanks Happy Thanksgiving from all of us at Mellinium 2000 BBS 208.587.7636 Never sleeps! Just like Jazzcat! 24/7.
Jazzcat: ‾‾‾‾‾‾ This is the second reaction this issue about ntsc fixing the magazine. I will take the issue up again with some people and try and get a positive outcome. Of the past issues, some are already fixed. I think issue 6 - 11. But this depends on the intros being ntsc fixed also. It would be nice to have all issues made compatible on both formats, but once again - who would do it? and who wants to do it? Some of the intros are quite complex, but a ntsc/pal reader and skip intro routine could easily fix this. We will see.
Reactions on this edition are warmly welcomed! EMail: jazzcat@c64.org (snail)Mail: David, PO Box 361, Launceston, TAS 7250 Australia. People don't fall on mountains