* DOMINATION #18 *
SID Special Edition!
An independent production
released live at BreakPoint
Easter 2003 in Bingin, Germany
Domination technical realisation details
1st pic...................Jailbird/Booze Design
2nd pic.........Jailbird/BD & Leon/Singular
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)
Centrax/Samar and Variat/Excess.
Guest editors continued................Ready
Extra special credits to all the guys I
simply whipped (maybe too hard) to get
this issue out for the BreakPoint
In particular RAY/UNREAL who did the
simple intro and a very short amount of
Respect gentlemen!! We made it in time!
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
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
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
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
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
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
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
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
The first and the closest to my heart is
the new Domination website, that will
replace the current one (keeping the
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
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
This site is being design by Cupid/Padua
and Steppe (from Demo Dungeon fame,
Database accumulated by myself and
The wait has been long but it will be
worth it! Done in the name of saving our
C64 history from sickness called
Well, that's about all I wanted to say
for this issue.
If you have any comments, donations,
suggestions or reactions, we really
PO Box 361,
Launceston TAS 7250
BBS: +1/609-587-4495 msg user #17
Now go forth and enjoy the magazine
and keep the C64 spirit alive!
Hasta La Victoria Siempre!
* NEWS *
Welcome to the informative summary
of what's been happening within our
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'.
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
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
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,
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
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
They are currently working on
several projects. Some of which include
the C64 version of WORLD CHARTS #15
(voting for World Charts #16 has
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:
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,
The group have been working on a new
mega demo, which is currently in the
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
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
They still have their New Jersey BBS
THE BASS PLANET, with Scratcher at
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
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,
THE BASS PLANET
FORBIDDEN DEPTHS - ONS NetHQ
GANGSTA'S PARADISE - ONS + CHR
This legendary crew are still creating
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
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.
Aggressor, Alias Medron, Anonym,
Case, Chaotic, Cupid, Hoogo, Leonardo,
Lord Hypnos, Lubber, Sad, Unlock, Vip,
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 -
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 -
CBMHardware, Crome, Der Fuchs,
Drake, Megatron, Merman, Nafcom,
Phyrne, Psychodad, Richard, Spatz,
The Overkiller, Truss, Warmaus.
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
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
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
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:
Lastly, they kicked Mediator from the
group due to no contact.
Airwolf, Ashkan, Bugjam, Checky,
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.
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
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
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.
Alias Medron, Aristo, Azgar, Bzyk,
Centrax, Isildur, Ivan, Jammer,
MacArthur, Phobos, Ramos, Raf, Risk0,
* 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
Memberstatus: Almighty God, Britelite,
Chaj, Jaffa, Maza, Phase1 aka
Kukslurkaren, Player One, Ricky Martin,
Sanity, SounDemon, Spiikki and Tribe.
* 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
Memberstatus: (supplied by Hydrogen)
Datura, Endo, Hydrogen, Skate, Turbo,
* 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-
* 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,
* 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,
* The new homepage of ANUBIS has
been launched. Its still under
construction but can be reached at -
* TIDE released 4 disk sides of koala
pictures by Tomz. They are working on
The Beergarden issue #10
Members: Antoman, Icelad, Pad64,
* 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 -
* 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 -
* FLASH INCORPORATED have updated
their webpage. Some re-designing and
extra features. Check it out -
* 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 -
* Vincenzo/Molecoola joined up with the
Hungarian group Singular.
* Wrath Designs memberstatus:
Ed, Joe, Stash, Oxidy, Djinn, Clone,
* TRIAD memberstatus:
Jerry, King Fisher, Cash, Tao, Taper,
Twoflower, Iopop, Aton, JFK,
Killsquad, Quorthon, Ibanez, Wiggen,
Con, Sailor, Mindflow, Trick.
* CREST memberstatus:
Crossbow, Cyclone, Dane, Deekay,
Drax, Graham, Jeff, Mermaid, Mitch,
The Syndrom, Xayne.
* REMEMBER memberstatus:
Derbyshire Ram, Fatman, Hok, Icon,
Intruder, Jack Alien.
* EXTEND's UNCOVERED Cover-Site
is now launched. It contains printable
covers by Duce, Electric and Junkie.
* 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:
os. Pawlikowskiego 9a/3
44-240 Zory, Poland.
For more details check the webpage -
* Posted by Dr.J/The Force on c64.org
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.
* 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
01. Industrial Breakdown/Booze Design
06. THC Outlet/ZYZ
07. Hack'n'Trade demo (beta version)
08. Up In Smoke 2/S.W.A.
09. C64 Love 2/Macx
04. Yodelking + Ultomten
05. Ed/Wrath Designs
06. Zzap69/Noice/No Name
03. Joe/Wrath Designs
06. Oxidy/Wrath Designs
07. Jailbird/Booze Design
08. Blackdroid/Wrath Design
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
05. Gift Craze/Richard/TND
07. KinkyClaus/Nim/Censor Design
08. Dancing Santa/Civitas
09. Silent Night/Stefano Rognon
KINDERGARTEN 2003 (mixed compo)
03. LDA #$00
02. Factor 6
06. Smalltown Boy/MSL
16. Pater Pi
17. Ed/Wrath Designs
01. Jailbird/Booze Design
03. Joe/Wrath Designs
04. Oxidy/Wrath Designs
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)
02. Joe/Wrath Designs
01. Heinmukk/Salva Mea
03. Gerard Hultink
04. Ed/Wrath Designs
02. 14 and Life/Fairlight
02. Joe/Wrath Designs
04. Oxidy/Wrath Designs
1 BLOCK INTRO
01. Ninja/The Dreams
01. Smalltown Boy/MSL
Mail Madness Party #5 1/5
Vintage Computer Festival Europa 3/5
Commodore Meeting in Vienna 17/5
Murphy's World Party 2003 29/5
Vision 2003 6/6
Back In Time Live - Germany 21/6
Symphony III 4/7
Monastery Party 2003 18/7
LCP 2003 25/7
North Party 8 1/8
Primary Star Party 2003 8/8
Classic Gaming Expo 2003 9/8
Classic-Computing 2003 6/9
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,
Bombing for peace...
is like fucking for virginity...
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
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
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 -
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
The Bass Planet
The Digital Dungeon
November 1st 2002 to March 31st 2003
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
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
ONSLAUGHT (Aust, Ger, UK)
Sceptre of Baghdad Uncut (3.8) (C) JW
Sceptre of Baghdad Uncut (3.8) (C) JW
Frogger Clone (2.1)
Chopper 1 (2.1)
ONSLAUGHT (Aust, Ger, UK)
Abrakadabra Prv V2 (0.9) (C) Mermaid
* NO RELEASES FOR FEBRUARY *
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
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,
I also was happy to see the final
versions of Capture II and Super Pac
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
I decided to include the lists of what
was put forth, respect to the
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
Omega Races +2 D
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
Fist 2 Tournament +3
Millenium Warriors +8 P
Raptor + P
Diamond Maze + D
Motor Mania +
Shamus 2 +
Mad Mummy + solution
Moon Buggy +
High Noon +
Snokie + HS
Storm Warrior +5 D
Aztec +E (also included is the rare
Italian version 'La Tomba
Azteca') + solution
Planet Rover +
Pogo Joe +2
Probe Y +6
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 +
Rock 'n' Wrestle +
Within the cracking scene, an
interesting role is played by the fake
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
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.
Ejac a Piss, Pudding Breath, Smaller
Bigger, Super Seven.
Vogel vs Schiff, Real Scener III,
Power of Recollection.
Don't Get Angry Man, Dimension-X,
Baywatch Nights, Big Momma,
Big Momma 2, Domine.
Ejac a Race.
THE 2002 YEARLY LIST
Another year of games on C64, another
year of first releases. It doesn't seem
Presented here is a complete list of the
first releases made by groups during
Heavy Metal Deluxe Prv (0.3) (C) TND
DEMONIX (USA, Aust)
Bomb Chase Prv 2.1 (0.4)
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
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)
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
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 😊
Welcome to our regular commercial
feature for the C64.
This section covers the development of
new C64 games and other miscellaneous
Special thanks to MacGyver/DMA/PTV
for the proof-reading and
On with the retro-rampage!
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:
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.
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
previews (in German language only)
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 -
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 firstname.lastname@example.org - then your full name
and your website address will be
published in the endsequence with the
list of supporters.
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
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
email@example.com. 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 -
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
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:
Commodore Scene has reduced their
prices due to a new production method.
The magazine is now printed
Free copy of ICE GUYS with every
IDE64 board. A fixed to run on IDE -
version of Ice Guys will be shipped with
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.
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: firstname.lastname@example.org
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
For more information visit -
Bugfixed versions of SNACKS 4 SNAKES
and CASCADE are now available from
the Protovision homepage.
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
Metal Dust (SuperCPU game)
Pac It (4-player-pacman)
Wings (SuperCPU OS)
Reel Fishin' (a fishing economy sim!)
An updated version of Bouncy Balls will
be released through Protovision
* 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
Place: Parish Hall (Gemeindehaus)
Uetersen, near Hamburg, Ger.
- 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
- Room for about 40-50 people.
- Seperate sleeping room.
- Currently there is some negotiation
about using the showers of the
- 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
- 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)
- 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! 😊
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
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!
The timetable is not completed yet, but
the following events are planned:
- PROTOVISION-show (presentation
of the latest Protovision software and
- A large competition show.
- Various fun compos.
- An auction, with proceeds going to
- 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
For the latest information, visit the
VISION homepage at:
Registration? Questions? Suggestions?
Criticism? Send an email to:
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
After some delay, they made available
on their website a game that was
coded/pixelled/composed live at the
MekkaSymposium party. Way back in
The game is called HYPER.
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
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.
Currently they are focusing on the
final episode in the famous Metal
Warrior series - namely, MW4: Agents
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.
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
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.
* Commodore Scene #38 and #39 were
released by Allan Bairstow. After
some troubles with an unprofessional
printing company, he is back to please
* Pinball Dreams C64 News
"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 - 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 -
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: email@example.com
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
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
BINARY ZONE PD - Commodore Zone
34 Portland Road - Public Domain Soft
14 Glamis Close - Protovision software
Garforth Leeds - Sales & Marketing
West Yorkshire - Commodore Scene
COMPUTER WORKSHOPS - Games
3612 Birdie Drive
La Mesa CA 91941-8044
CINEMATIC INTUITIVE DYNAMIX
Dregelyvar u.21 V/29
- ENHANCED NEWCOMER (Ed: cool!!!!!)
FIRST BLOOD ENTERTAINMENT
PO Box 361
Launceston TAS 7250
- Software management & creation
GO64 - The magazine
HIGH TECHNOLOGY PUBLISHING
PO Box 260
Bromley BR2 0ZG
- "Back In Time" C64 music CD series
- "Nexus 6581" C64 music CD
JON WELLS - Games and tools
9 De Grey Road
Norfolk PE30 4PH
- Software & hardware marketing
- Magazines: GO64!, Commodore Scene
The 8-bit intifada is still continuing to
influence the world of computers as we
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
* 14 and life/Fairlight
Journey with us into the real of 8-bit
wonderland fuelled by opinion...
by Booze Design
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
Thumbs up from me! Trashmo-styling!
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
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
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
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
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? 😊
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!
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
I wouldn't call this a breakdown, more
of a revolution...
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
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
Good stuff though, I could watch more
of that kind.
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
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
Still, another nice one by Hollowman and
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.
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.
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.
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
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
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 😊
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
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.
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
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
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
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.
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...
Code: King Fisher
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
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.
Hmm can't really tell much about this.
Nice in philosophical aspect, hence it
was coded by King Fisher.
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
A nicer 1x1 font in the Game of Life
part would of been more desirable.
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.
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.
by Fairlight & Crest
Code: Hollowman and Puterman
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
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
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
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!
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.
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 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
All in all definately worth watching!
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
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
14 & LIFE
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
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.
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.
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.
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
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
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...'
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
A quick demo, a quick review, a quick
entry and a quick end.
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
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!!!
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.
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.
A collection of vector parts that don't
look very smooth, but I kind of like the
Not one of my favourite demos, but it
shows some potential. I think we can
expect greater things from Nightlord in
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
I enjoyed it, possibly something other
than vectors would have made it a much
more complete demo.
Graphics: Vodka and Hollowman
Yet another demo from the guys in
Fairlight. They have been quite active
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.
Its Puterman and you don't have to
understand it. Is the FLT-sign in the
end a leftover from the Tron years?
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
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.
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
Most nights a SID-chip saves my life
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,
That, however, is for demo coders. And
I'm not here to rant about demo
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
A personal list of favourites with
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
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
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
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
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
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
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.
Dane of Crest.
SID Magic - part 1
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
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
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
Create a sequence/pattern that looks
Tracker format (I will only give
examples in tracker-like format, as its
the only format I use myself)
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
This could look something like this:
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:
firstname.lastname@example.org (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.
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
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
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
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
2) Original tunes and pop covers
3) Samples and trackers
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
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
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
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
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
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
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
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
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
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
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
by Cadaver/Covert BitOps
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
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
Anyway, it never hurts to optimize even
a hifi replay-routine, and many ideas
presented here are applicable for them
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
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
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
Now, the same index (0, 7, 14) can be
used for both variables and SID
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
pulselo: .byt 0
pulsehi: .byt 0
pulsespd: .byt 0
freqlo: .byt 0
freqhi: .byt 0
waveform: .byt 0
waveindex: .byt 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
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
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
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
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:
lda pulsewidth, x
adc pulsespeed, x
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
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
$60-$BF Note with instrument change
or effect (instrument/effect
$C0-$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
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
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
7. The "universal" wavetable
Another question in writing Ninja
Tracker was whether I could put
"everything" (instrument initialization,
ADSR changes, vibrato, slides) into the
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
The disadvantage is more complicated
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
I'd recommend sacrificing the pulse
modulation first - its absence is the
hardest to notice IMO. Changes in
vibrato and arpeggio speed are easier
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
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
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).
C64 music tutorial for beginners
by Sidder/MultiStyle Labs/Role
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
- 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
Besides that, Commodore 64 is able to
play multispeed tunes, tunes with
added samples in the fourth channel
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
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 =
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
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)
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?
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:
$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
Notice: if you create in a waveform
table an instrument like this:
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:
you will hear sound lasting exactly $A+
$D+$R time. (Sustain parameter will
decide only about maximum/minimum
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
DD - number of the next line in pulse
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
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
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
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).
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
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
Wishing all the best for every C64 user,
The Enlightened Nerds
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,
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?
Radhuset, Gothenburg, Sweden
The Superbike Project
An indoor c64 controlled bicycle
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.
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
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
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
If you are interested in the Superbike
Project, please mail:
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!!
The long-winded and boring
history of Side B
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 -
As a fitting description of the musical
results of our efforts back then,
Musical Brain Damage described us
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
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
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
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
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
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
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
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
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
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
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
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
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
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-
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
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
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
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.
Jeroen Tel, Drax, Laxity
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
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,
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
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.
JCH, JO, Laxity, Drax, Metal, MSK
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
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
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
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).
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)
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
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
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,
Members: Adam Davidson, Andy, Brian,
Calt, Cheesion, Clarence, SID6581,
Founded in: October 1994
Members: Fanta, Bleed Into One,
MultiStyle Labs (MSL)
Founded on: 15th July 2000
Members: Jammer, Sidder, Smalltown
Sidchip Scratchers (SCS)
Founded in: 1987
Members: Guy Shavitt, Daniel
Founded in: 1989
Members: AMJ, TBB, Mixer, Page,
Members: Taki, Peet, Chubrock
Founded in: 1996
Members: Zyron, QBhead, Goto80
Members: Lars Hoff, Ole-Marius
Pettersen, Stein Pedersen, Lynx
Founded in: July 1994
Members: Avalon, Doxx, Red Devil,
Members: Cane, Dos
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:
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
Thanks to all those people who
participated and leant their views to
Want to participate in future
questionnaires? email: email@example.com
* 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
* 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?
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.
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.
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
Anyway - I still wait for PCI HardSID
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.
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
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!
6581 R3 if you find a good unit,
otherwise 6581 R4AR since it's uniform
in sound (as far as SID goes...).
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.
8580, because the filter resonance is
far better than it was in 6581.
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
6581 - Because it's the chip I had as a
child, and digis are almost silent with
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
Certain drums sound better on the 8580
model: listen to HVSC/c64music/VARIOU
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
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
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.
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
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
6581, because its the first, real,
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.
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.
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.
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.
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?
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
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
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.
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
- Thomas Detert
Chris Huelsbeck, Stellan Andersson,
Thomas Danko, Jeroen Tel and Enno
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
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! 😊
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
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
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
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!
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.
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.
Jeroen Tel, Johannes Bjerregaard,
Laxity - because they simply made
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 * 😊
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.
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.
I narrowed a long list down to three
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
The reason can only be their fantastic
music, here is my list:
(in no particular order)
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
Just because they created STANDARDS
for SID music. Their characteristic
style is still alive, and many young
composers try to imitate Tel or
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
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.
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?
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
My personal faves would be Dutch
Breeze and Krestology.
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
That's why musicians like GRG and Dane
are so popular - their music always fits
because it's (almost) always excellent.
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.
Nine/Reflex (my fave demo!)
Unsound Minds - Follow the Sign 3
The music in Nine/Reflex just fits 100%
same with Unsound Minds.
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:
Thomas Detert/X-Ample Architectures
Demos by 1001 Crew, ASH&DAVE,
X-AMPLE, SCOOP DESIGN and loads
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
Opium/Samar: maybe thats as perfect
as you can get! and Altered States by
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
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.
Dutch Breeze, most of the Crest
demos, most of the Danish demos from
X-Factor, Bonzai, Camelot etc.
I enjoyed the "Think Twice" demos by
The Judges (especially Think Twice
II). The music was perfect for the
demo with the FLD's. 😊
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
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
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.
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
DUTCH BREEZE and KRESTOLOGY must
be the best though - so many pieces,
each of them suiting the mood of the
Of course: Dutch Breeze, Altered
States and Red Storm.
Altered States 50%/Taboo and Normal
Is Boring (Y2K)/Plush
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!!
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
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
Until next time,
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
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
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
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
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
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
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
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
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
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
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
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
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
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
See you all next time Floppy is due!
4. Yodelking & Ul-Tomten
5. Ed/Wrath Designs
3. Joe/Wrath Designs
6. Oxidy/Wrath Designs
7. Jailbird/Booze Design
8. Blackdroid/Wrath Designs
1. Industrial Breakdown/Booze Design
4. We/Laser /Fairlight
6. THC Outlet/Zyz
7. Hack'n'Trade Demo (Beta version)
8. Up In Smoke 2/S.W.A.
9. C64 Love 2/Macx
WAY OF THE EXPLODING FIST COMPO
Blackbelt of the year is Jucke/G*P
Forever Quattro Report
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
Then I had a little chat with his
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
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-
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
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
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
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
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
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
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
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!
Radwar 2002 - Report in brief
by ND!/Alphaflight 1970
Location: N8Galerie, Heinsberg
Date: Nov. 9th-10th 2002
Radwar #10 ruled - but there will be no
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.
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
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
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
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.
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 and Red Sector Inc (TRSI)
The Wanderer Group (TWG)
Danish Gold (DG)
Fantasy Cracking Service (FCS)
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
-nd! [AFL1970] (c=64-allstars #0001)
SPHINX going to RWE 17th Anniversary
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-
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
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
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 &
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
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
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
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
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
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.
Greetings to all who attended the party
Thanx to RWE for making it happen
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).
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...
Good evening Jazzcat!
Well, I'm GRG and I live in Norway.
And I like to listen to SID music. 😊
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?
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.
We all have a history in the scene -
when we first started, groups we
joined and left, even disagreements and
Tell us when you first joined the scene
and what has happened from that
moment up until present day...
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
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).
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
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.
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
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
The latest version of SDI is available
When did Blues Muz' start and who are
the current and also founding members?
Blues Muz' was founded in 1991 by
Kristian and Eivind.
Current members are Kjell, Kristian,
Eivind, Dwayne and myself.
And how do you see Blues Muz'
compared to the other music labels
such as Vibrants, Side-B, Mon, MSL,
and Oxsid Planetary etc.?
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.
Do you play any musical instruments?
If so, what do you play?
I have a guitar and a yamaha synth, but
I rarely use them.
Is there any 64 musicians that you
idolise? If so, who are they and why?
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.
What disadvantages and advantages,
musicially, has the C64? Have we really
pushed it to it's limits?
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
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
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
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
Musicians: Johannes Bjerregaard,
Demo Groups: Reflex, Smash,
Crackers: Antitrack, Powerplant,
Mr.Zeropage, JJ the Breaker
Cracker Groups: Legend, Fairlight,
Games: Jumpman Junior
Disk Magazines: Pulse, Domination,
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
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.
Is there any game cracks by other
people or groups that have impressed
or inspired you?
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
Focusing on their original meaning.
What is your definition of "lame" and
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
Being Elite makes people behave
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
He was dead serious, and Deff had to
calm him down.
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?
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
What are you doing in your spare time
apart from C64?
I playe soccer and keep in shape.
Feel free to send some greetings...
Greetings to my group-mates and all
who knows me, you know who you are!
Thanks for your time Glenn. Enjoy this
issue of Domination! 😊
Thanks for the interview!
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
Vip is a musician and graphician and
resides in Padua, WOW and Role.
This is a BIG interview, so sit back and
Welcome to the 18th issue of the
Domination magazine. As usual, please
introduce yourself to the audience...
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
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.
Which groups are you currently in and
what jobs do you perform for each of
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.
Please tell the readers
when you first joined the scene and
what has happened up until now.
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
Commander enlisted me in his ranks,
and as of then, I was officially part of
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
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
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...
What computer equipment do you own?
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 😊.
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?
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
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 😊.
Will there be a new demo from you and
the others and can you tell us much
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
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
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...
Concerning composing on C64, is Jeff
going to release his new editor that he
has been working on for some time?
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
Whats your opinion on editors such as
SID DUZZ IT and GOAT TRACKER?
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.
You mentioned earlier in this interview
that CZP (CyberZound Productions)
will be changing name. What brought
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
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...
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
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.
Your all-time favourites:
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
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
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,
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.
Bamm. I'm gonna go non-c64 here as
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,
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,
Touching a weak point... I played C64
games to death before moving to the
console realm. My favourites would be
Recommended: The Last Ninja, The Last
Ninja 2, The Last Ninja 3, Turrican,
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
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.
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...
A lot of old sceners return to THE 8-bit
machine. Why do you think people keep
paying attention to the C64?
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
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.
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
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!
If the C64 scene was a person, would it
have any regrets, and if so, what?
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
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.
What do like to do in your spare time?
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.
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
Any last words?
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
Its not cool, no matter how cool the
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
Thanks for your time!
Many thanks as well, David, for the
chance to do this. Cheers!
This C64 musician arrives to these
pages from Sweden.
A long time member of the scene and
also proud member of the famous
One of those oldskoolers starting off
with Future Composer, please welcome
Moppe of Oneway...
Welcome to the media 😊
Firstly, could you please introduce
yourself to the public...
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 😎
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?
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
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.
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?
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
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 😊
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?
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
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.
The C64 scene has had a great share of
musical talent, many musicians have
came, produced great music and then
Which musicians do you respect and for
In retrospect: Tim Follin, for using the
SID in a very different way than most
did. Jeroen Tel, for his outstanding
Johannes Bjerregaard for utter raw
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?
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.
How much time do you spend averagely
on one music? And what is the longest
time you have ever worked on one
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
Do you play any musical instruments?
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.
What is your opinion on the musicians
today? Is there something that needs
to be changed about the big dance and
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.
You did some programming in the demo
Goatbeard by Oneway. Did you also
program in other productions?
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 😊
Moppe/Oneway's all-time favourites:
Demo: Any of Kaktus & Mahoneys old
Demo Group: Oneway
Musician: Can I vote for myself? 😊
Disk Mag: Domination
Crack Group: Oneway
Cracker: Hedda Hacker
Was the C64 just a step in your life or
was it a major inspiration?
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 😊
Anything from the past that was quite
funny, shocking or impressive that you
would share with the readers?
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.
What are the other old members of
Oneway up to these days?
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
Feel free to say hello to anyone you
know out there in C64 land...
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!
Any last words for our audience?
There's only one way. Oneway.
Thanks for your time Fredrick!
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
Sit back and enjoy!
Welcome to the magazine. Can you
please introduce yourself to the
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
If possible, could you tell us when
you first joined the scene and your
history in it?
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
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".
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?
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
Are you still in contact with the other
members of Graffity? and what are
they doing these days?
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
- 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
- Trays is working at the local
telecommunications company (doing
some e-business solutions marketing).
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?
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.
Which C64 musicians do you respect and
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
What ware impressed you most on C64?
Crest demos, but mainly all other high
What is your reaction when I tell you
the scene is still alive and still
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).
Do you still own a C64 and your disks?
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.
What is your most memorable moment
in the C64 scene?
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
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
Disk Magazine: Sex'n'Crime
Is there any Graffity website or the
plans for one?
No there isn't. There is a weak ray of
hope that Display will create a site,
containing a complete collection of all
What is your view on the internet and
how do you think it has influenced
computer scenes like the C64?
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 😊
What are you doing these days? Still
working wth computers?
Yes of course. I am still doing the
same, making musicplayers and editors
I am running my own little company
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 😊
Was the C64 a step in your life or maybe
a major inspiration?
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.
Here is some space to send any
Greetings go to my old group-mates,
such as: Calt, Display/Cyba T, Jay/
Andy/Fletcher etc., Trays, Syndrom
and everybody else too.
Any last words to leave a final
Final impression?! Get a real computer!
Noooo, that was a joke ;)
ALMIGHTY GOD/Onslaught/Level 64
C/Obispo Perez Caceres
Urb. La Mata
Parcela C-3, Portal 7, 1A
38611 San Isidro
S/C De Tenerife
ANTOMAN/Tide/Angels - for swapping
Antony Kerslake - for friendship
60 Alroy Circuit
Hawker ACT 2614
ARISTO/Samar - Friendship rules
Mariusz Zaleski l
AZGAR/Samar - 100% reply to all
BLEMISH/Tropyx - 100% reply
Grzegorz Saczuk - Swap
Ul.Czcibora 22/35 - No delays
71-570 Szczecin - Please, write me!
CACTUS/Oxyron - Attitude
Pawel Bol - Domination
Al. Marszalka Pilsudskiego 60/14
Damien Stupien - Domination
42-612 Tarnowskie Gory
COLICHE/Lombardasoft - 100% reply
via Donati 14
COMMANDER/Role - for joining ROLE
19 Irving Street, - Movies swap
Edgeworth, 2285 - MP3 swap
NSW, Australia - No normal C64
- Make sure you email before sending:
JACKOBE/Oxygen64 - 64/A1200
Jacek Pretki - 100% reply
Wisniowa 19 - for joining Oxg
JAZZCAT/Onslaught - Joining ONS
David Simmons - Domination
PO Box 361 - Vandalism News
Launceston - MP3/CD/VHS
Tasmania 7250 - Old and New
Australia. - firstname.lastname@example.org
KATON/Lepsi De/Arise -+480605599468
Ul. Basztowi 2/2
KYMO/Tropyx - 4 swap
Krzysiek Saczuk - 100% reply to all
Ul. Czcibora 22/35 - No delays
71-570 Szczecin - Write!!!
MAGNATE/Obsession - Coverswap
MERMAN/POL/Role - Scene World
Andrew Fisher - Friendship
30 Rawlyn Road
Pawel Ruczko - 4 fast swap
Ul. Dluga 26 - 100% reply to all
70-877 Szczecin 19 - Music relocations
Joerg Droege - Scene World
Hofaeckerstr. 7/2 - email@example.com
PASTHOR/Exon - 100% reply to all
Krzysztof Pawucki - Joining Exon
Czwartak0w 5/42 - New & old trade
44-121 Gliwice - Games'n'Orries
Ul. Goszczynskiego 8/96
Rascal/Gold - Gold - swap/supply
Robbie Wakeham - 100s of originals
34 Campingfield Lane - 100% reply
Norfolk N312 9D2
22-230 Wola Uhruska
SKY/Master Designs Group
Am Drachenturm 3
6713 HB Ede
VARIAT/Excess - 100% answer
Radek Stuba - Comics swap
Bzowa 5/21 - C64/PC swap
81-092 Gdynia - Domination
9 Phillip Avenue
O.L. Vrouwstraat 88
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
After issue #17 of the Domination
magazine was released the staff once
again were honoured with some
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.
Loved the new issue! Any chance the
next issue might be ntsc fixed so I can
view it on my real 64?
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 😞
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
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
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!
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.
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
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.
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
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
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
Ahhh, music to my ears 😊 Glad you
enjoyed the issue old-timer 😊
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
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!
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
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.
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
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
Reactions on this edition are warmly
(snail)Mail: David, PO Box 361,
Launceston, TAS 7250
People don't fall on mountains