1482 lines
74 KiB
Plaintext
1482 lines
74 KiB
Plaintext
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Start.of.DemoNews.074=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
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______/\___________________________
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DemoNews Issue #74 \____ \ ________ _ _ ______ \
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December 11, 1994 -- December 17, 1994 / | \ _) \ \_/ \ | \
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/ | \ \ | \ | \
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DemoNews is a weekly publication for \_____ /_______/___| /________/
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the demo scene. It is produced at the ===\_____/============|____/==========
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Internet FTP site ftp.eng.ufl.edu __ ________________ ___ /\_______
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(aka HORNET). This newsletter focuses / \| \ ________ | \/ ______/
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on many aspects of demos and demo- / \ \ _) \ | \______ \
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making. Everyone is welcomed to / \ \ /~\ \ / \
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contribute articles, rumors, and \____\_____/_______/_________/________/
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advertisements. ==============================[+tZ^]===
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<< Christopher G. Mann [Snowman/HORNET] - r3cgm@dax.cc.uakron.edu >>
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=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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SIZE: 77,744 SUBSCRIBERS: Last week: 804 This week: 921 Change: +117
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=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Section 1.......Standard Information --> Who Are We?
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Section 2....................General --> General Comments by Snowman
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Interview with Vic/AcmE
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Duplicate Uploads
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Section 3..................Editorial --> A Defence of Demoscene
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Section 4..................Partyline --> The Making of NAID / Apraxia
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Section 5................New Uploads --> New Files for the Week
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Section 6...........Musicians Corner --> Interview with C.C.Catch/Ren
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Review of Scream Tracker 3.2
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Section 7..............Coders Corner --> Where is Denthor?
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Section 8.............Artists Corner --> Review of Autodesk Animator Pro
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Section 9.............Advertisements --> PSMuzakDisk
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Purple (Diskmag - Contrast)
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Data Connection BBS
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Section 10..............Miscellaneous --> General Comments by Snowman
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Section 11...........Closing Comments --> Quote for the Week
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==============================================================================
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((Section 1...Standard Information))
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==============================================================================
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"HORNET" is the name of an FTP site on the internet. It is a place where
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people upload and download files. However, HORNET has grown much larger
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since it was first created 2.5 years ago by Dan Wright. Now HORNET
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releases a weekly newsletter called DemoNews, and is starting to offer other
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services. HORNET specializes in the "demo scene", and files that are re-
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lated to demos, coding, music, or graphics are welcome.
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Site Name : HORNET
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Address : hornet.eng.ufl.edu (128.227.116.7)
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Location : Florida, USA
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System E-Mail : dmw@eng.ufl.edu
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<There are currently 9 active demo-operators for this site>
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/ Christopher G. Mann -- COORDINATOR -- r3cgm@dax.cc.uakron.edu \
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|Jeff (White Noise) WEBMASTER | MUSICOP Ryan Cramer|
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|Kim Davies DNDISTRO | CODEOP Grant Smith (Denthor)|
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|Mike DREVIEW | CREVIEW David Thornley (Metal)|
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|Brenton Swart (Zenith) DREVIEW | ARTOP Stony|
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\ /
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<There are currently 7 other FTP sites that mirror HORNET>
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/ \
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|FTP Name IP Address Country Base Directory |
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|-------------------- -------------- --------- --------------------|
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|ftp.uwp.edu 131.210.1.4 USA /pub/msdos/demos |
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|*ftp.luth.se 130.240.18.2 SWEDEN /pub/msdos/demos |
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|ftp.sun.ac.za 146.232.212.21 S. AFRICA /pub/msdos/demos |
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|ftp.uni-erlangen.de 131.188.2.43 GERMANY ?? |
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|ftp.uni-paderborn.de 131.234.10.42 GERMANY /pub/msdos/demos |
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|ftp.cdrom.com 192.216.191.11 USA /pub/demos |
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|freedom.wit.com 144.92.88.30 USA /systems/ibmpc/demos|
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\ /
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*Only site that mirrors the /incoming directory
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[SUBSCRIBING TO DEMONEWS]
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You can subscribe to this newsletter by mailing listserver@oliver.sun.ac.za
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and putting "subscribe demuan-list your_real_name" in your message.
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The listserver is what sends out this newsletter every SUNDAY morning.
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kimba@it.com.au is the keeper of the listserver. If you have any questions
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about subscribing to DemoNews, write to him.
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For those who use the GUI environment check out our DN.HMTL in the
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/demos/news directory. The URL is ftp://ftp.eng.ufl.edu/demos/news/DN.HTML
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==============================================================================
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((Section 2...General))
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==============================================================================
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(General Comments by Snowman)
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------------------------------------------------------------------------------
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What a week! This issue of DemoNews took almost my entire Saturday to put
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together, and we have a lot of great articles for your reading enjoyment.
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This week, I lost contact with Denthor. His account has bounced mail since
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last Monday, and I have no idea what is up. If anyone knows what the deal
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is, please let me know.
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On Monday night, I totally lost the ability to access HORNET. It appears as
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though the official system administrator at the University of Florida (where
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HORNET is at) saw lots of new people logging into the dmw (Demo maintainer)
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account. However, those were just the people that I have asked to help out
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with HORNET and did not have any malicious intent. I only discovered that
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this was the reason on Wednesday. Until that point, Dan and I had thought
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that someone might have cracked into the account and changed the passwords.
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While the situation has been resolved, it did remind me of the potential
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danger in allowing so many people access to HORNET. As a result, security
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is much more strict and very few people can now get into the Demo Maintainer
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account.
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On a side note, has anyone heard from Otto Chrons in a while? It used to be
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that at least one new version of DMP would be released each week. Now I
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think its been several months. If have any information, please let me know.
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I am heading into exam week here at the University of Akron, so next week's
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DemoNews might be a bit skimpy. Ryan's school schedule is running parallel
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to mine, so I'm hoping we can get a few articles from other sources.
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------------------------------------------------------------------------------
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(Interview with Vic/AcmE by Snowman)
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------------------------------------------------------------------------------
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This week, I have been fortunate enough to get an interview with Vic/AcmE.
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We had a bit of difficulty in deciding a time when we could both be online.
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Vic lives in The Netherlands and is 8 hours ahead of me. Despite all of
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the difficulties, I am pleased with how things turned out.
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There are two factors making this interview a bit odd. First, I am heading
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into exam week, and the stress is causing me to behave a bit strangely.
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Second, it was already 23:25 (for Vic) when we STARTED the interview. He
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had just finished writing his article for Imphobia 9 and was a little tired.
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If I had given this interview to Ryan Cramer to proof ahead of time, he
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would likely have told me to cut out a few parts. So if you are a true
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'professional' and would find a silly interview beneath you, then stop
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reading about halfway through.
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SM = Christopher G. Mann - [Snowman/HORNET] - r3cgm@dax.cc.uakron.edu
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VC = Victor Van Vlaardingen - [Vic/AcmE] - v932546@si.hhs.nl
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----------------------------------------------------------------------------
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[start of interview: December 8, 1994, 22:25GMT]
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SM: Hello, how are you doing?
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VC: Hello, and I'm doing, great. Especially now, when talking to someone
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at the other side of the earth; LIVE!
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SM: Yes, I believe that you are 8 hours ahead of me. But, on with the
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interview... First, how did AcmE form and who are its current members?
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VC: Well, at about two years ago, a coder and designer/graphician came
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together and thought it would be a cool idea to form a demo group. Then
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they made a little intro called AcmE. They asked for some people to
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join them since they were with only two men.
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When I read this text, I was just a beginning musician, but I had the
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guts to deliver a module to them. They thought it wasn't THAT GOOD,
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but they really needed a musician. So, when time passes, everyone
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became better and better.
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Then we made another intro for the Bizarre-party here in holland. At
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the party, we met a lot of people, and we also ran into a coder named
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Laserdance. He competed also in the intro-compo, and became second
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after us. We thought he was kind of cool and so wo asked him to join
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forces with us. He was honored to do so. By that time we were a group
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of 5, so I just forgot to mention one person: MailMan. He joined us in
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the earlier days, before the party. He is a graphician.
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I think I also should mention the name of PolyTracker's coder:
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LoneRanger. He was, together with Aap, one of the two who started
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AcmE.
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Later we also met SimStim and Ricochet, respectively a coder and a
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graphician. So We had a complete demo group. Unfortunately Laserdance
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stepped out of acme lately, so that leaves us with euhm, 7 people (did
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I count that correctly).
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SM: I lost count. :) What other productions have you done in the past two
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years?
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VC: Well, here's a list: Mental Masturbation, Blue Steel demo, D.O.A.,
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Planet Earth intro and the last but certainly not least: Peace. Also,
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we have released an adlib player. (An adjusted SADT-player, originally
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coded by S!P). And I've released some modules. Maybe the most known
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one is Clairvoyence which we made a little production of. I think
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that's about it.
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SM: Well, I loved the song in Clair (Clairvoyence). If I recall correctly,
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there was mention in the intro that you had used AcmE's own tracker and
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that some of the effects were a bit odd. Would you elaborate on that?
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VC: Well, some effects we use can only be used on the GUS. Like reverse
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play, bilooped samples, 16-bit. Now I know that some of those CAN be
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done on a SB(Pro), but it would give a lot of problems, like it would
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need a lot of CPU-time. So, since the GUS is a very fast soundcard,
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and since it has 32 channels, it's simply the best card to make music
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with. SB is not a standard for us anymore. Therefore we decided to
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implement effects that cannot easily be supported by any other
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soundcard.
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SM: Now, I was very impressed with your GUS support in your productions,
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and it seems that your group has a good tracker to work with. Why then
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did you release an Adlib player?
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VC: AH!, that was in the OLD days, when the GUS was only a dream. We all
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had a SB(Pro) and we didn't know any better. AND, we needed an adlib
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player for a little BBS-intro for BLue Steel, our former HQ.
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SM: Do all members of AcmE live in the Netherlands?
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VC: Hm, well all the current members do. We have had a member in
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South-Africa (a graphician), but we kinda lost contact with him, and it
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was too difficult to discuss the design of a demo with him, so he
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stepped out of AcmE.
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SM: How do you plan and design a demo in AcmE?
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VC: Well, all the former demos have been designed mostly by Aap. He's our
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main designer. In those former days, everything was a bit messy: There
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was a design paper, but it never ended the way we wanted to. I always
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made a song in advance and the rest of the group adjusted the demo to
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it.
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Now we thought that that was not good enough for AcmE, so now, for the
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Party '94, we wanted to do it differently. First we made the design
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(for THE Party) on paper. Then all the effect we could think of are
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discussed with the coders. Some effects couldn't be done, because they
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simply couldn't be done (Sounds like the logic of Spock), but with the
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rest, that could be made, we finished the design of the demo.
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Then when all the effects are made, the coders link them together and
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give them to me. Then I start to make some music, that fits with the
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demo. We thought that this is the best way of making a demo. And
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hopefully we'll see that when we're at the party!
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SM: I'd like to talk about the party in a second. But first I wanted to
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ask you: what is your official and un-official role in AcmE?
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VC: Uhm, Official: Musician. Unofficial: Well, lately I start to do some
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PR and design because Aap is getting busier all the time. But these
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items are no real big roles in AcmE. Aap and I simply discuss thing
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about the demo and other things like getting t-shirts for The Party and
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stuff.
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SM: OK, you've hinted about the party several times now. :) What does
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AcmE have planned?
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VC: Ah, we're going to compete with a demo and all the usual stuff like
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music and graphix. And that's about it I guess.
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SM: How close are you to finishing up the demo?
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VC: HAHAHA, We're not even a little close. I haven't started on making
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ANYTHING for the demo yet. I just hope it doesn't end up like DOA.
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SM: Mabey some last minute coding at the party itself? :) What other
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groups does AcmE have ties with?
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VC: euhm, well, we're going to release a chart-mag together with Hypnosis.
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This is going to be COOL! And look at what I've written here CHARTS!
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No complete stories, just CHART, with VERY cool graphix and VERY cool
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music! The graphics and music will be done by someone else in every
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issue. People like PL and Zodiak have already applied to do some stuff.
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SM: This is a bit off the subject, but how has the weather been lately? (I
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might not put this in the interview, but I'm trying to think of some
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odd attention-getting things. :))
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VC: (you're absolutely right. People need to read some funny things so now
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and then.)
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The weather is, how shall we say that in a decent way: showers, logs
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are breaking off the trees, (serious, a couple of meters away from my
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home) and elephants flying through the air. The weather SUCKS! (Autumn
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I guess...)
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SM: What do you think about the demo scene in the USA? (this is not to be
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a slam-fest) :)
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VC: yeah, wel, uhm, aah, wel, Tran is pretty cool, and you have some cool
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musicians, but for the size of the states, you may have some more
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talent. Don't you agree?
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SM: Yes. It often frustrates me that, for as large as the USA is, that
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there isn't more action. I have been at a loss for sometime as to why
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this is...
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SM: Hmmm, when I think Netherlands, I picture windmills and tulips...
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VC: Ahm, you're right, they do exist here. But can you imagine a bus full
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with Hollanders arriving at the party with their tulips and wooden
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shoes?
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SM: Do you celebrate Christmas?
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VC: Me personally?
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SM: No, people in the Netherlands...
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VC: Jep, we do. And every year we do it more. Do you know "Sinterklaas?" or
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your version Santa Claus?
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SM: Yes, I am familiar with the gentleman you refer to.
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VC: oke, well, that used to be our december partyday (the 5th). But he's
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fading away now, and christmas is getting more and more important for
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all the people around here. They find it more fun, but don't ask me
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why...
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SM: Hmm. I seem to remember childhood stories of how you either get candy
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or a piece of coal in your wooden shoes at Christmas, depending on how
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you behaved during the year. Which do you think you will get this
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year?
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VC: Well, my parents are watching this now, so I will not answer the
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question.
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SM: :) Hello Mr. and Mrs. Vic.
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VC: hello back.
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SM: This conversation is becoming more and more odd, but should make for
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some good reading in DemoNews... :)
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VC: Think so, when DemoNews is become odd as well, I think more people will
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read it and subscribe themselves to receive it every Sunday morning.
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SM: I just checked a little while ago, and found that we are up more than
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105 subscribers since last Saturday! Does anybody talk about DemoNews
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in the Netherlands?
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VC: Well, We in the demo scene definitely do. When I talk with Aap on
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sunday, he always mentions something cool in DemoNews. And I will talk
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about it the with The Rew, and The Rew talks about it with... etc. Its
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like a rabbit on the loose...
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SM: REW asked me to do an article for Imphobia. Its only half done, and
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I'm supposed to have it to him by the end of this week...
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Lately, there has been a lot of negative attention on HORNET for
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removing the ANSI from the site. What do you personally think about
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the ANSI scene?
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VC: hmm, IS THERE AN ANSI SCENE? I know some people that are dedicated to
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making ansi's but I believe I only know two people who do so...
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SM: Do you think that ANSI should be considered part of the demo scene as a
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whole?
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VC: Well, In demo's you do not see ansies, normally spoken that is, but
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where DO you see ansi's: in BBS's. My opinion is to make it a bbs
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scene or something. Demos are about coding, and art (oops, caught
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|||
|
myself, ansi is a kind of art). Was there a big attention to the ansi
|
|||
|
area at HORNET?
|
|||
|
|
|||
|
SM: Well, we used to get quite a bit of ANSI uploaded. However, I did a
|
|||
|
check to see how much room it was eating up. I think it was in the
|
|||
|
neighborhood of 70 megs. We only have 340 to work with, and we were
|
|||
|
running out of space quite a bit. In addition, people kept making new
|
|||
|
directories under /incoming/ansi and putting hard-to-remove files in
|
|||
|
there. These two factors led me to decide to remove it. I am starting
|
|||
|
to regret that decision. :(
|
|||
|
|
|||
|
VC: Hm, wel, if there is so much attention to the ansi scene/site, then
|
|||
|
maybe you should re-open it and just delete all the ansi's older then
|
|||
|
let's say 4 weeks. I guess everyone who wants to see them, has them,
|
|||
|
and they will be happy as well. You have to serve the customers,
|
|||
|
right...
|
|||
|
|
|||
|
SM: Yes, I guess. Re-instating limited-term ANSI on HORNET is a
|
|||
|
possibility. Hmmm... Did you have anything to do with the
|
|||
|
coding/design in Blue Steel?
|
|||
|
|
|||
|
VC: EUhm, yeah, I made an adlib tune.
|
|||
|
|
|||
|
SM: I was wondering. There was one section at the end that had the
|
|||
|
spinning dot-sphere. It seemed as though that might have been put in
|
|||
|
there just because the music still had more to go. Is this true?
|
|||
|
|
|||
|
VC: wait a sec, parents just leaving, GOD, They were making we CRAZY!!!!!!!
|
|||
|
|
|||
|
SM: ok
|
|||
|
|
|||
|
VC: Wait, you mean the demo. We've also made this bbs-intro I've already
|
|||
|
mentioned before. That's what the adlib shit was there for. The music
|
|||
|
for Blue Steel the demo was of course a module. And yes, The meaning
|
|||
|
of the end at the demo, was indeed to let the people think it's over,
|
|||
|
but then it wasn't. We got more of those reactions, and people liked
|
|||
|
it...
|
|||
|
|
|||
|
SM: Don't get me wrong. I really liked the effect that the demo had. It
|
|||
|
was very relaxing. I have to ask though, where did you get those bird
|
|||
|
samples from the beginning of the song?
|
|||
|
|
|||
|
VC: let me think.. I believe I ripped it out of a patch, but that might
|
|||
|
just be not true. It could be a sample I got from Aap, but I didn't
|
|||
|
make it myself, not this one :-(
|
|||
|
|
|||
|
SM: Hmmm... Do you have any pets?
|
|||
|
|
|||
|
VC: Jep, I have two hamsters; A male and..... female. They are currently
|
|||
|
in production again... Last nest contained 12 little ugly hamsters. So
|
|||
|
now and then I simply have to separate them, 'coz, if I don't the house
|
|||
|
will be stamped with hamsters! But, I adore them, I think they are the
|
|||
|
sweetest beings on the earth.
|
|||
|
|
|||
|
SM: I used to have several hamsters. However, they all died. Have you
|
|||
|
ever considered getting the female fixed so she can't breed?
|
|||
|
|
|||
|
VC: Yeah I have, but first of all, I think that is really an evil thing to
|
|||
|
do. Would YOU like to be CASTRATED if you didn't want it to? Second, I
|
|||
|
love those ugly young hammies as well...
|
|||
|
|
|||
|
SM: Well, I would think that fixing the female would be easier than trying
|
|||
|
to convince the male to use birth control...
|
|||
|
|
|||
|
VC: Yeah, I tried that, he wouldn't listen to me, but as I said, I don't
|
|||
|
mind, and I have an address where I can leave the new hamsters, so
|
|||
|
that's no problem for me...
|
|||
|
|
|||
|
SM: While we are talking about animals: In the USA, we have 'hunting
|
|||
|
season' where people go out with shotguns and blow away little fluffy
|
|||
|
dear. Do you have a similar thing in the Netherlands?
|
|||
|
|
|||
|
VC: Hm, I think there are people who do so, but we do not have a particular
|
|||
|
season for it. Except now with christmas; there are hundreds of
|
|||
|
rabbits living here in the area, and they are shot for.... DINNER!!
|
|||
|
|
|||
|
SM: How old are you and are you in school?
|
|||
|
|
|||
|
VC: I am 19 and I study "informatica", computer programming. I don't know
|
|||
|
the word for that in english.
|
|||
|
|
|||
|
SM: networking?
|
|||
|
|
|||
|
VC: ehm, well, Not really networking, that's what The Rew does, I make
|
|||
|
programs like databases for companies. Pl
|
|||
|
|
|||
|
[and with a talk daemon crash, Vic was gone...]
|
|||
|
|
|||
|
[end of interview: December 8, 1994, 23:40GMT]
|
|||
|
----------------------------------------------------------------------------
|
|||
|
|
|||
|
------------------------------------------------------------------------------
|
|||
|
(Duplicate Uploads by Ryan Cramer)
|
|||
|
------------------------------------------------------------------------------
|
|||
|
Lots of people have been re-uploading files in the /incoming/music
|
|||
|
directory on hornet that were uploaded in previous weeks. Please stop
|
|||
|
uploading duplicates. If a file that you have put into the incoming
|
|||
|
directory is not there, it has been moved to its proper directory. You can
|
|||
|
always tell where files have been moved to by checking the latest issue of
|
|||
|
DemoNews. There is no reason to put it back on the ftp site! :)
|
|||
|
|
|||
|
If you have any questions, feel free to send me email as I manage the
|
|||
|
music directories on hornet.
|
|||
|
|
|||
|
Thanks,
|
|||
|
Ryan Cramer
|
|||
|
rcramer1@osf1.gmu.edu
|
|||
|
|
|||
|
==============================================================================
|
|||
|
((Section 3...Editorial)) <BY> Christopher G. Mann (Snowman)
|
|||
|
==============================================================================
|
|||
|
(A Defense of Demoscene)
|
|||
|
------------------------------------------------------------------------------
|
|||
|
In 1595, Sir Philip Sidney published "The Defence of Poesy." At the time,
|
|||
|
poetry had been considered by many to be a wasteful activity. The Norton
|
|||
|
Anthology of English Literature states "In this long essay Sidney
|
|||
|
systematically defends poetry (his term for all imaginative literature)
|
|||
|
against its attackers and, in the process, greatly exalts the role of the
|
|||
|
poet and the moral value of poetry."
|
|||
|
|
|||
|
In a similar vain, I here attempt to justify why the demo scene is a
|
|||
|
legitimate activity. Below I present five major advantages.
|
|||
|
|
|||
|
Demo groups, a fundamental structure in the demo world, are comprised of
|
|||
|
four major classifications of people: coders, musicians, artists, and
|
|||
|
organizers. As in the business environment, each member has a specific
|
|||
|
role and each must perform their own duties for the benefit of the group.
|
|||
|
Team cooperation is a skill that most people must acquire when entering the
|
|||
|
job market, and demo groups provide experience in this.
|
|||
|
|
|||
|
Achieving success in the demo scene generally requires years of work. Even
|
|||
|
if an individual is extremely talented in one of the four major areas
|
|||
|
aforementioned, it still takes a great deal of time to learn how to use the
|
|||
|
tools needed. Mozart, The Beetles, or even Jimmy Hendrix would be hard
|
|||
|
pressed to sit down in front of Fast Tracker ][ and compose a module.
|
|||
|
Similarly, Michelangelo would be lost with a ray tracer, and da Vinci would
|
|||
|
probably cut off one of the mouse buttons before learning how to utilize
|
|||
|
the intricacies of Corel Draw. There is a certain amount of supplementary
|
|||
|
knowledge required about "how things work" before an individual can become
|
|||
|
productive. That extra knowledge, gained in the demo scene, can influence
|
|||
|
people to produce art like no other.
|
|||
|
|
|||
|
On a more financially-aware level, the demo scene often leads to commercial
|
|||
|
opportunities. Take for example Future Crew or Triton; both produced
|
|||
|
multimedia advertisements for well known companies. Skills learned in the
|
|||
|
demo scene are often directly applicable to the business environment. Even
|
|||
|
if an individual is hired for a job without listing the "demo scene" as a
|
|||
|
qualification, the experience that person has gained will almost certainly
|
|||
|
complement their production and make them a more valued employee.
|
|||
|
|
|||
|
Even being aware of the demo scene's existence generally indicates that an
|
|||
|
individual has learned a fair amount about computers. Understanding the
|
|||
|
basic components of a computer, its operating system, and simple terminal
|
|||
|
commands are all required just to obtain a demo. Most people in the scene
|
|||
|
have more than a passing knowledge of computers, and in fact, many go on to
|
|||
|
learn a frightening amount about their respective areas. One aspect of
|
|||
|
this relates back to the team-environment mentioned earlier: even if an
|
|||
|
individual does not have time to learn something they need, there will
|
|||
|
always be other people and contacts who can provide the information. In
|
|||
|
that respect, the demo scene is a vast collection of people sharing
|
|||
|
knowledge.
|
|||
|
|
|||
|
Perhaps the best "real world" advantage of the demo scene is that it does,
|
|||
|
in effect, allow one to understand the "real world." For the most part,
|
|||
|
people in the scene can not function as well when limited to contact only
|
|||
|
with their own section of Earth. With increasing communications
|
|||
|
technology, it is fairly easy to chat or mail someone on the other side of
|
|||
|
the world. This also means that a lot of social customs and personal
|
|||
|
opinions, once considered solid and universal foundations, are forever
|
|||
|
thought of differently. More than knowledge, skills, or talent, this can
|
|||
|
effect who a person IS for the rest of their life.
|
|||
|
|
|||
|
In summary, participating in the demo scene is an activity that should be
|
|||
|
highly encouraged. Now at least, when parents criticize their sons and
|
|||
|
daughters for spending so much time in front of the computer, those sons and
|
|||
|
daughters can present some concrete justification to their parents. For
|
|||
|
those who no longer live with their parents, this essay may act as sort of a
|
|||
|
warm reassurance that their time spent is worthwhile. The demo scene is an
|
|||
|
international family of people striving to make their lives better, and I for
|
|||
|
one am happy to be a part.
|
|||
|
|
|||
|
-Christopher G. Mann (Snowman) December 10, 1994
|
|||
|
|
|||
|
==============================================================================
|
|||
|
((Section 4...Partyline))
|
|||
|
==============================================================================
|
|||
|
The Making of NAID / Apraxia by: William Le (The Veritech Knight)
|
|||
|
and Etienne Caron (Mr. Khan)
|
|||
|
------------------------------------------------------------------------------
|
|||
|
|
|||
|
Greetz, William here. Christopher G. asked me to write a little
|
|||
|
article so that Everyone could know a bit more about the NAID
|
|||
|
team and how the project got started.
|
|||
|
|
|||
|
|
|||
|
Veritech Knight > Okay, we are now live. Joining us now is Mr. Khan,
|
|||
|
the other Main organizer. Say hi to everyone.:)
|
|||
|
|
|||
|
Mr. Khan > Hi everybody. Well, here it is, our first public
|
|||
|
address concerning the Naid / Apraxia demoparty.
|
|||
|
Hmm... Well, how'bout explaining to everyone how
|
|||
|
we got the idea?
|
|||
|
|
|||
|
VK >
|
|||
|
Good idea. One sunny afternoon, we were all talking about ASM 94,
|
|||
|
and how we wanted oh so much to go. But, still, for students on a
|
|||
|
budget, things don't always work that way. Mr. Khan was looking for
|
|||
|
some sort of good administration project, the usual projects being
|
|||
|
volleyball competitions, trivia games and the like, in other words,
|
|||
|
boring stuff. And then inspiration came : "A demoparty! God!
|
|||
|
With all the stuff we have access to in this college, it would be...
|
|||
|
it would be... it WILL be Awesome!!!"
|
|||
|
|
|||
|
We sat down the whole lot of us (Me,Khan and Eric(Midnight Sun)),
|
|||
|
and tried to think of a name. Well we finally took out the ole'
|
|||
|
dictionnary, threw it on the ground, and looked at the page that was
|
|||
|
all crumpled up. We saw "Apraxia" (we were looking for something with
|
|||
|
an X, but something non-killer like "X-terminator" :) ) , and the
|
|||
|
definition is "State of total paralysis, where only the nervous
|
|||
|
system keeps working.".
|
|||
|
|
|||
|
MK > Something like the perfect couch potato, if you will.
|
|||
|
|
|||
|
VK > In other words, "You're senses are still there but the body don't
|
|||
|
work no more".
|
|||
|
|
|||
|
MK > So, VK, what should we add. I mean, was it all this simple?
|
|||
|
|
|||
|
VK > Hell no!
|
|||
|
|
|||
|
MK > Hell is right! I remember we were allways walking around the
|
|||
|
school with the same question:
|
|||
|
|
|||
|
"Yeah, it WILL be a resounding success... If we get the school to
|
|||
|
swallow it! Man! Think about it. We're gonna come up to them and
|
|||
|
say : `Hi there Mr. Principal. Well, here's how it goes. We want
|
|||
|
a place in your school for 1000 computer freaks, make 'em stay up
|
|||
|
all night, play music and strange little computer programs on a
|
|||
|
HUGE big screen, with a sound system that will be too loud, and
|
|||
|
such other type of madness'.'
|
|||
|
That'll take some heavy convincing man. Very heavy..."
|
|||
|
|
|||
|
Thus started... The paper chase.
|
|||
|
|
|||
|
VK > I'd like to point out, that to make this dream come true for all
|
|||
|
of us organizers, we worked and *are* working really really hard.
|
|||
|
You know, the"hey,-don't-I-have-an-exam-tommorow" type of work.
|
|||
|
So be at the party and enjoy the results with us!!
|
|||
|
|
|||
|
MK > ..So after 2 months of parperwork, we had done it! They said yes.
|
|||
|
Ok, we used every dirty trick in the book, but we even convinced
|
|||
|
THEM that it would be hot!
|
|||
|
|
|||
|
VK > BTW, the main administrators for student activities are now
|
|||
|
certified demo freaks. Thus answering an age old question. Yes, it
|
|||
|
IS contagious. :)
|
|||
|
|
|||
|
MK > So, what else ya think people would like to know about? Hey! I
|
|||
|
know, let's tell them about us. Imagine you're on the Tonight show.
|
|||
|
I'm Dave, <But not as funny looking :) >. So tell us about yourself.
|
|||
|
|
|||
|
VK > Well, My passion for demos and the demo scene started during the
|
|||
|
'92 year, when I met Eric (Midnight Sun, aka "Med", as in "Club Med",
|
|||
|
but without the Club). The first demo I ever saw was Cronologia by
|
|||
|
Cascada, and I was hooked from that day on. A few months later we
|
|||
|
saw Future Crew's Unreal for the first time and we both got bit by
|
|||
|
the "We-HAVE-to-go-to-assembly" bug. We both carried the dream into
|
|||
|
our CEGEP school years (that's the two years before University here
|
|||
|
in Quebec). Well since then, many demo-viewing filled nights have
|
|||
|
past, and I must tap myself on the shoulder for being smart enough
|
|||
|
to open a demo oriented board (-> getting allll the wonderfull demos
|
|||
|
on my own computer is fun :> ).
|
|||
|
So there ya go. Two certified demo freaks. Which reminds me, when we
|
|||
|
first saw the "Dolby Surround" logo in FC's 2nd reality, we went out
|
|||
|
and bought ourselves a dolby surround amp, and let me tell you folks
|
|||
|
that we impressed quite a few people with it :>, plus, it'll be one
|
|||
|
of the amps driving the sound for the NAID...
|
|||
|
|
|||
|
So, Dave :) , do tell us how you met your first demo :)
|
|||
|
|
|||
|
MK > Well, my process of addiction to demos was kinda special. I got
|
|||
|
addicted, got out of it for 6 years, got a life :) and then came
|
|||
|
back to it when I saw that getting a life was not all that fun. :>
|
|||
|
First demo : C-64, music text display explaining rules of a game.
|
|||
|
Man, that was cool. Then I saw my first scrollys, and that was
|
|||
|
also fascinating... and after my sabatical, my next computer was
|
|||
|
an Atari ST. By that time I was done for life. Got my PC last year,
|
|||
|
I still love it and always will. You have to understand, in our
|
|||
|
neck of the woods, it was'nt always easy to get in touch with people
|
|||
|
who had a similar interest. But new technologies arose, the BBS
|
|||
|
scene in Montreal got bigger, and the rest will go down in history :>
|
|||
|
|
|||
|
Now, let's talk about NAID. Here goes : You all saw the text-file.
|
|||
|
You all know what is about to happen. Yup, a big demo-party, right
|
|||
|
over here on our side of that big Atlantic puddle. You might
|
|||
|
actually wonder how we get to pull it off, seing that everyone
|
|||
|
this year seems to be talking about organizing something like this.
|
|||
|
Well people, the recipe is kinda simple, but hard to implement :
|
|||
|
Convince your school, find tallented, dedicated and a professional
|
|||
|
kind of team, and you're off.
|
|||
|
We got both. Our school's computer students association is in on the
|
|||
|
Naid, teachers and administrators of the school find in it something
|
|||
|
totally new and exciting, in short, karma is on our side for now,
|
|||
|
and it's way to late to stop :>
|
|||
|
|
|||
|
Well people, we sure hope we got your attention. This party is gonna
|
|||
|
happen on the 15th and 16th of April 95, demofreaks or not, come in
|
|||
|
great numbers and bask in the sheer glow of SUPPA DEMO MADNESS! :>
|
|||
|
|
|||
|
VK> Well that's it for the both of us.. one last thing before the
|
|||
|
usual "too-many" greetz..
|
|||
|
|
|||
|
|
|||
|
BE THERE AND DIE , OR BE NOWHERE AND CRY!
|
|||
|
|
|||
|
|
|||
|
Don't forget to check the new infofile and contact us!
|
|||
|
|
|||
|
|
|||
|
Da greetz:
|
|||
|
from Mr. Khan: Med, Spelljammer, Struk, Deverox, Boggart,
|
|||
|
Coluche, Francois dion, Robert Brien, Andree Bouchard,
|
|||
|
Francois Boucha, and my mom. Hi Mom :>
|
|||
|
from VK: M<><4D><EFBFBD><EFBFBD>dd!!, Mr. Khan :), The Judge, Snibbule!, TEI,
|
|||
|
Mr. Brownstone, Black One, Malcolm X, Frugus Eggbeater
|
|||
|
(the Barney killer), Mr. Mister, Coluche, Apenis <g>,
|
|||
|
Struk, Deverox and the rest of the NAID team, all the
|
|||
|
users on my board, and Star (xx). Quick "Hi"'s to
|
|||
|
everyone who has allready showed an interest and emailed
|
|||
|
me <Jackie,Berky,Jason,etc.,and Lily -> You got ticket
|
|||
|
number 00001 :) >
|
|||
|
|
|||
|
Thanx go out to: CEM for making this possible, Christopher G. Mann, and
|
|||
|
the whole scene for over 2 years of fun and more to come...
|
|||
|
|
|||
|
See ya at Da Party !
|
|||
|
|
|||
|
==============================================================================
|
|||
|
((Section 5...New Uploads))
|
|||
|
==============================================================================
|
|||
|
FILENAME.EXT LOCATION SIZE DESCRIPTION
|
|||
|
------------ ---------------- ---- -----------------------------------------
|
|||
|
.-----------.
|
|||
|
| --DEMOS-- | (all locations start with /pub/msdos/demos...)
|
|||
|
`-----------'
|
|||
|
1infect .zip /alpha/NEW 788 N-Factor presents 1st Infection (GUS)
|
|||
|
ckykken .zip /alpha/NEW 393 Zuul Design presents Chikken
|
|||
|
contrast.zip /alpha/NEW 923 Contrast by TFL-TDV (2nd at Wired '94)
|
|||
|
cult .zip /alpha/NEW 91 Isch-Crew - The CULT Intro (1st Wired)
|
|||
|
face_m12.zip /alpha/NEW 64 Face (Poor 2) - Majic 12 (GUS)
|
|||
|
hn-surpr.zip /alpha/NEW 50 Hypernova presents - Wired Plasma
|
|||
|
hn-voya .zip /alpha/NEW 425 Hypernova presents - Voyage (3rd Wired)
|
|||
|
hyp-ptg .arj /alpha/NEW 175 Pentagram Intro (with source)
|
|||
|
necronom.zip /alpha/NEW 1442 Imagine - Necronomicon (1st Wired)
|
|||
|
once-lsd.zip /alpha/NEW 87 Laserdance/Acme presents Once (intro)
|
|||
|
oncedemo.zip /alpha/NEW 324 Laserdance/Acme presents Once (demo)
|
|||
|
orange12.zip /alpha/NEW 572 Orange scandisk (GUS)
|
|||
|
santa .zip /alpha/NEW 13 Santa Claus is Comin' to Town! (Windows)
|
|||
|
snowtro .zip /alpha/NEW 55 Snow by Natas of Lithium (C Source)
|
|||
|
swapintr.zip /alpha/NEW 135 "A little polish intro."
|
|||
|
te_dmo .zip /alpha/NEW 468 Twisted Existence Demo (SB,GUS)
|
|||
|
tp4_inv .zip /alpha/NEW 777 Official Invitation to The Party 1994
|
|||
|
wtnhouse.zip /alpha/NEW 363 Witan House (GUS) from Facts of Life
|
|||
|
xmasmtb .zip /alpha/NEW 18 Many Titled Board BBS by Black Light
|
|||
|
|
|||
|
.-----------.
|
|||
|
| --MUSIC-- | (all locations start with /pub/msdos/demos/music...)
|
|||
|
`-----------'
|
|||
|
surr_dec.zip /disks 361 Music from the Surrounders for 12/94
|
|||
|
sbmix10 .zip /programs/mixers 9 SBMIX v1.0 - SoundBlaster Mixer
|
|||
|
grind13 .zip /programs/players 1303 GRIND - Modplayer shows people dancing
|
|||
|
scrmt32 .zip /programs/trackers 176 Scream Tracker 3.2 (read review below)
|
|||
|
ovn-demo.zip /songs/dmf 261 Voyages by Ovan/Hypernova (3rd Wired)
|
|||
|
ovn-offe.zip /songs/dmf 107 The Offense by Oven/Hypernova (1st Wired)
|
|||
|
ovn-sovo.zip /songs/dmf 315 Sotto.Voce by Ovan/Hypernova (1st Wired)
|
|||
|
acme-ch .zip /songs/mod 79 Digital Extacy by DiscoMan
|
|||
|
as-quing.zip /songs/mod 202 Quin'z Forrest by The Orme (Wired'94)
|
|||
|
bassline.zip /songs/mod 208 Bassline invasion by D.Dewever
|
|||
|
ic_ambia.zip /songs/mod 96 Ambiance by BlackLion/ImpCda (Wired'94)
|
|||
|
lostalon.zip /songs/mod 78 Lost Alone by Domino
|
|||
|
ovl-maly.zip /songs/mod 256 Maly's Music (1st Place Amiga @ Wired)
|
|||
|
quinorme.zip /songs/mod 205 Quinorme by Wired Party '94
|
|||
|
various .zip /songs/mod 213 Various by Alexel (Wired Party)
|
|||
|
aminpast.zip /songs/mtm 209 A Minute Past the... by Fortunato
|
|||
|
defi-fis.zip /songs/mtm 246 Fisherman's Libido by quarex (12 chn)
|
|||
|
2k-oprnd.zip /songs/s3m 262 Operand 12 by Karl
|
|||
|
ambi2000.zip /songs/s3m 77 Beyond 2000 by KXMode/Ambiance
|
|||
|
ambibasi.zip /songs/s3m 285 Basikal by KXMode/Ambiance
|
|||
|
defi-can.zip /songs/s3m 167 Can't by Perisoft (16 chn)
|
|||
|
defi-ir .zip /songs/s3m 71 Industrial Rage Re-Release by Zer0
|
|||
|
defi-neo.zip /songs/s3m 30 Neonate by Ranger Rick
|
|||
|
defi-sch.zip /songs/s3m 76 Simple Chaos by Zer0 (8 chn)
|
|||
|
defi-vic.zip /songs/s3m 106 Victory by Perisoft (16 chn)
|
|||
|
gertrud .zip /songs/s3m 144 Gertrud! by Avatar
|
|||
|
gww .zip /songs/s3m 103 Gone with the Wind by Bodnar Gabor
|
|||
|
internet.lzh /songs/s3m 183 Internet by Oxide/Valhalla
|
|||
|
leave .zip /songs/s3m 186 Leave Me Alone by Null N. Nothing
|
|||
|
linus .zip /songs/s3m 13 Linus & Lucy by Jeff Taylor
|
|||
|
nf_ecout.zip /songs/s3m 295 Ecoutez by N-Factor (Wired'94)
|
|||
|
np-goodb.zip /songs/s3m 64 How to say Goodbye by Neuropsychosis
|
|||
|
peanut .zip /songs/s3m 28 Peanut by Pinion
|
|||
|
torch .zip /songs/s3m 134 Torch by Null N. Nothing
|
|||
|
traxxwd1.zip /songs/s3m 106 Follow Me by Blaze Runner (2nd @ Wired)
|
|||
|
traxxwd2.zip /songs/s3m 191 Crusader by Blue Adonis (3rd @ Wired'94)
|
|||
|
dreamsdz.zip /songs/xm 590 Dreams of Deez by Vogue/Triton
|
|||
|
klf-unle.zip /songs/xm 193 Unleashed by Khyron/KLF
|
|||
|
power .lzh /songs/xm 147 Power by Scott Idler (6 chn)
|
|||
|
under .zip /songs/xm 194 Under the Sea by Vivid (16 chn)
|
|||
|
zonedisr.zip /songs/xm 313 Zone Disruptor by Vogue/Triton
|
|||
|
|
|||
|
.----------.
|
|||
|
| --CODE-- | (all locations start with /pub/msdos/demos/code...)
|
|||
|
`----------'
|
|||
|
un2pack2.zip /compress 23 Un2pack v2.0 (Anti-Pklite-Unpacker)
|
|||
|
cfsource.zip /demosrc 146 Source for Copper Faked by the Faker
|
|||
|
fakedemo.zip /demosrc 335 Source code for Fake Demo
|
|||
|
wm-h_src.zip /demosrc 76 ASM source for ACiDween greeter
|
|||
|
micropcx.zip /graph/images 2 ASM source for SMALL .pcx viewer
|
|||
|
viewtga .zip /graph/images 12 View TGA by VLA
|
|||
|
motionrd.zip /graph/scroll 30 Smooth verticle scroller by Patch
|
|||
|
syn .zip /graph/tunnel 31 Dot Tunnel by Insane Creators
|
|||
|
tut1new .zip /graph/tutor 16 Snowman's converted Demo Tutor p1 (C++)
|
|||
|
tut2new .zip /graph/tutor 37 Snowman's converted Demo Tutor p2 (C++)
|
|||
|
tut3new .zip /graph/tutor 37 Snowman's converted Demo Tutor p3 (C++)
|
|||
|
vectball.zip /graph/vectorball 38 Vector Balls by Tumblin / BIM
|
|||
|
vectbal2.zip /graph/vectorball 190 Vector Balls 2 by Tumblin & Rush / BIM
|
|||
|
pm-11-94.zip /pmode 82 PMODE v3.06 and PMODE v.51 (November 94)
|
|||
|
pmode307.zip /pmode 54 PMODE Kernel v3.07 (Bug-Fix version)
|
|||
|
pmw102 .zip /pmode 53 PMODE/W For Watcom C/C++ v1.02
|
|||
|
|
|||
|
.----------.
|
|||
|
| --ART--- | (all locations start with /pub/msdos/demos/...)
|
|||
|
`----------'
|
|||
|
spriv100.zip /utils 22 Spriter v1.00 good editor 4 sprits/icons
|
|||
|
cyrout .zip /wired94 34 Lots of Lord Cyrix Gfx released at Wired
|
|||
|
hc-ranma.zip /wired94 20 HC-Ranma - released at Wired 94'
|
|||
|
nadia .zip /wired94 40 Nadia... - 2nd place at Wired 94'
|
|||
|
robot .zip /wired94 74 Robot - 3rd place? at Wired 94'
|
|||
|
sunsweat.zip /wired94 60 SunSweath - released at Wired94
|
|||
|
tarzan .zip /wired94 44 Tarzan - 3rd place? at Wired 94'
|
|||
|
ukko39 .zip /wired94 67 Ukko - 1st place at Wired 94'
|
|||
|
|
|||
|
.----------.
|
|||
|
| --MISC-- | (all locations start with /pub/msdos/demos...)
|
|||
|
`----------'
|
|||
|
wired209.zip /diskmags 250 WiRED Online Magazine Issue #2.09
|
|||
|
ibmcompo.zip /parties 4 IBM-FC-Accession present Warp Demo Comp
|
|||
|
naid21 .nfo /parties 15 NAID Information Text v2.1
|
|||
|
wrdbug .zip /parties 63 Wired 94 Official Intro (GUS/SB bugfix)
|
|||
|
wrdrst .zip /parties 139 Wired 94 Results Demo by Antares
|
|||
|
wrdrst2 .zip /parties 166 The REAL official Results to Wired 94'
|
|||
|
wired94r.zip /parties 8 Wired 94 PartyReport by the Orme
|
|||
|
|
|||
|
|
|||
|
==============================================================================
|
|||
|
ooo ooooo o8o oooo
|
|||
|
`88. .888' `"' `888
|
|||
|
888b d'888 oooo oooo oooooooo oooo 888 oooo
|
|||
|
8 Y88. .P 888 `888 `888 d'""7d8P `888 888 .8P'
|
|||
|
8 `888' 888 888 888 .d8P' 888 888888.
|
|||
|
8 Y 888 888 888 .d8P' .P 888 888 `88b.
|
|||
|
o8o o888o `V88V"V8P' d8888888P o888o o888o o888o
|
|||
|
|
|||
|
((Section 6...Musicians Corner)) <BY> Ryan Cramer [Iguana/Renaissance]
|
|||
|
==============================================================================
|
|||
|
This week we've got an excellent music section consisting of an interview
|
|||
|
with C.C.Catch from Renaissance and an extensive review of the new
|
|||
|
ScreamTracker 3.2 which was released this week! The interview with
|
|||
|
C.C.Catch starts out with the history of how I got to know him and a look
|
|||
|
at the many productions which he has been involved in. The interview isn't
|
|||
|
a really long one, as we were both limited on time, but I think you'll
|
|||
|
find it to be some great reading! You'll also get to learn how Renaissance
|
|||
|
started! :) The next article is an in-depth review of the new
|
|||
|
ScreamTracker 3.2. If your a musician, or even if your not, be sure to
|
|||
|
read it! Its got some really useful information and comments on this
|
|||
|
nice update to the legendary ScreamTracker ]I[. Enjoy...
|
|||
|
|
|||
|
Ryan Cramer
|
|||
|
Fairfax, Virginia, USA
|
|||
|
George Mason University
|
|||
|
[Iguana/Renaissance] Hornet Music Maintainer
|
|||
|
Please send feedback to: rcramer1@osf1.gmu.edu
|
|||
|
|
|||
|
------------------------------------------------------------------------------
|
|||
|
___ ___ ___ _ _
|
|||
|
/ __| / __| / __|__ _| |_ __| |_
|
|||
|
| (__ | (__ | (__/ _` | _/ _| ' \
|
|||
|
\___(_)___(_)___\__,_|\__\__|_||_|
|
|||
|
|
|||
|
INTERVIEW: C.C.Catch of Renaissance [Music Article 1 of 2]
|
|||
|
------------------------------------------------------------------------------
|
|||
|
Introduction
|
|||
|
~~~~~~~~~~~~
|
|||
|
This week, we have an interview with C.C.Catch of Renaissance! C.C. is one
|
|||
|
of the most famous musicians in the entire PC demoscene, and he has been
|
|||
|
since the very beginnings when some of the early Renaissance demos were
|
|||
|
released. I know that many of the musicians in the scene today were very
|
|||
|
inspired and influenced by his work, including myself. C.C.Catch is one of
|
|||
|
the founding musicians in the demoscene and he's been involved with it
|
|||
|
since the time when you could count the number of released demos with the
|
|||
|
fingers on your right hand. :)
|
|||
|
|
|||
|
History
|
|||
|
~~~~~~~
|
|||
|
Amnesia was released about the same time that I bought my first soundcard
|
|||
|
(an SBPro). Being pretty excited about my new soundcard, I called all of
|
|||
|
the BBSs to try and find stuff to show it off. I downloaded a bunch of
|
|||
|
MODs and CMF files and such. Eventually, I discovered demos. One of the
|
|||
|
first ones I found was something called RBGDEMO2. I was totally amazed by
|
|||
|
this demo and could not believe how incredible it was! I decided to call
|
|||
|
the BBS that was listed in the ending screen for this demo. This BBS
|
|||
|
turned out to be the former Renaissance WHQ called The Sound Barrier. Once
|
|||
|
I got onto the Sound Barrier, I looked around for other productions from
|
|||
|
this group called Renaissance. There was one huge demo called Amnesia. I
|
|||
|
figured that if Amnesia was anywhere near as cool as RBGDEMO2, it would be
|
|||
|
well worth the download and the long distance $$ that I was paying for
|
|||
|
the call!
|
|||
|
|
|||
|
Amnesia
|
|||
|
~~~~~~~
|
|||
|
I watched Amnesia, and I was TOTALLY in AWE! I had no idea my computer was
|
|||
|
capable of this sort of thing. I was most impressed by the music in the
|
|||
|
demo by C.C.Catch and Mosaic. I will never forget the first time I watched
|
|||
|
Amnesia... I had discovered a piece of artwork unlike any other.
|
|||
|
|
|||
|
The next day, I desperatly tried to call through to the Sound Barrier to
|
|||
|
ask these people how the hell they did that! I sent messages to C.C.Catch,
|
|||
|
Daredevil, Tran, and Mosaic telling them how cool I thought that demo was.
|
|||
|
I got a really nice reply from C.C.Catch who seemed truly thrilled about
|
|||
|
how much I liked his music. Mosaic apparently had already left Renaissance
|
|||
|
at that time, so I could not talk to him there, but I tried!
|
|||
|
|
|||
|
The Sound Barrier
|
|||
|
~~~~~~~~~~~~~~~~~
|
|||
|
Over the next few months, I kept in contact with C.C.Catch. I thought it
|
|||
|
was pretty cool, talking to a celebrity such as him! I kept downloading
|
|||
|
more of his music and really gained a lot of respect for his stuff. I
|
|||
|
eventually decided that I wanted to learn how to get into this music, he
|
|||
|
got me started. He gave me lots of valuable tips on how to track
|
|||
|
music, and gave me tons of feedback on my first attempts at music. I had
|
|||
|
no musical background at all and I got really frustrated with it, but he
|
|||
|
kept me going. Daredevil also sent me some positive feedback and
|
|||
|
constructive criticism. I would never have gotten started in music had it
|
|||
|
not been for C.C.Catch and Daredevil.
|
|||
|
|
|||
|
C.C.Catch's Involvement in the Demoscene
|
|||
|
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
|
|||
|
As a result, I'm very happy to do this interview with C.C.Catch. He has
|
|||
|
probably been involved with more demo scene productions then any other
|
|||
|
musician in the entire scene. ALL of his music is great, and he has always
|
|||
|
paid a LOT of attention to detail in his music, it shows! C.C.Catch also
|
|||
|
does work for computer games. He has done the music for two hit games
|
|||
|
called Zone66 and One Must Fall which are distributed by Epic Megagames.
|
|||
|
C.C. is also very versatile in the styles of music that he can do; his
|
|||
|
style ranges from beautiful Chinese music to hard hitting techno songs,
|
|||
|
and more! I look forward to hearing what he does in the future!
|
|||
|
|
|||
|
It would be impossible to print a complete discograpy of C.C.Catch's work
|
|||
|
as he has done SO MUCH stuff, but a partial listing of the major productions
|
|||
|
that he has done music for would include:
|
|||
|
|
|||
|
Partial Listing of Productions with Music by C.C.Catch
|
|||
|
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
|
|||
|
- All early Renaissance productions (RBGDEMO, RBGDEMO2, TDEMO, YARDEMO, etc)
|
|||
|
- Amnesia Megademo
|
|||
|
- Zone66 game by Tran from Epic Megagames
|
|||
|
- WorldCharts
|
|||
|
- Imphobia (multiple issues)
|
|||
|
- Epidemic Multigroup music disk
|
|||
|
- TONS of individual releases including STMs, MODs, 669s, & MTMs
|
|||
|
- Tran's HELL demo
|
|||
|
- Renaissance's NothingOn music disk
|
|||
|
- RMUZIK0 music disk
|
|||
|
- Kaeon game by Tran
|
|||
|
- DoWhackDo intro by WhiteShadow
|
|||
|
- Daretro intro by Daredevil
|
|||
|
- Epic Megagame's hit game called "One Must Fall"
|
|||
|
|
|||
|
...and thats just a PARTIAL listing!
|
|||
|
|
|||
|
Where to find C.C.Catch's music
|
|||
|
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
|
|||
|
You can find a FEW pieces of music by C.C.Catch at:
|
|||
|
ftp.uwp.edu - /pub/msdos/demos/music/artists/cccatch
|
|||
|
|
|||
|
Also try Hornet for some demos that he's been involved in:
|
|||
|
ftp.eng.ufl.edu - /pub/msdos/demos/groups/renaissance
|
|||
|
|
|||
|
The best resource for his music is Data Connection BBS where I think we
|
|||
|
have just about every piece of music released by him. We also have all of
|
|||
|
the demos, intros, and other productions that he has been involved with.
|
|||
|
There is an advertisement for Data Connection in the advertisements
|
|||
|
section of this DemoNews. Hope you enjoy the interview!
|
|||
|
|
|||
|
[start of interview: C.C.Catch / Renaissance]
|
|||
|
|
|||
|
CC = C.C.Catch (aka Kenny Chou) of Renaissance - cccatch@escape.com
|
|||
|
RC = Ryan Cramer of Iguana/Renaissance - rcramer1@osf1.gmu.edu
|
|||
|
--------------------------------------------------------------------------
|
|||
|
RC: How old are you? Whats your current occupation and where are you
|
|||
|
located?
|
|||
|
|
|||
|
CC: I'm 19 and in college. I goto that crappy Queens Community College
|
|||
|
in New York. :)
|
|||
|
|
|||
|
RC: What equipment and software do you use for composing?
|
|||
|
|
|||
|
CC: I'm *still* using MMEdit, but I think that I will try both ST 3.2 and
|
|||
|
FT2 in the future. There's more options in both of those (no offense
|
|||
|
to StarScream). ;)
|
|||
|
|
|||
|
I get samples from my Korg O1/W, Roland SC55 (Sound Canvas), and
|
|||
|
Roland R8 (drum machine) ...depending on what I need for the specific
|
|||
|
song. Plus, I try to do some MIDI shit, but well... its annoying!
|
|||
|
|
|||
|
I sample with either Triton's FastTracker 2 sample editor or
|
|||
|
Daredevil's beta (command line) GUS sampler.
|
|||
|
|
|||
|
RC: What kind of music are you working on right now?
|
|||
|
|
|||
|
CC: Ryan, I did a couple of patterns yesterday on a song, I better finish
|
|||
|
it before January 1st! :) Projects, hmm... Ray (Mosaic) is bugging me
|
|||
|
to contact Tim Sweeney from Epic Megagames and see if there's any job
|
|||
|
openings for a team effort. Besides that, nothing right now.
|
|||
|
|
|||
|
RC: No doubt, you'd easily be able to get work from Epic considering
|
|||
|
you've already done music for two of their hit games. Has "One Must
|
|||
|
Fall" been profitable for you? Are you happy with how that worked out?
|
|||
|
|
|||
|
CC: Yeah, I'm happy with One Must Fall. I got a nice direct pay, plus
|
|||
|
picked up a teeny percentage out of it. :) Plus, I play it a lot!
|
|||
|
|
|||
|
RC: One Must Fall is an awesome game, I think its going to be one of
|
|||
|
Epic's best sellers. I'm addicted to it, and your music is great! Fits
|
|||
|
perfectly.
|
|||
|
|
|||
|
CC: Thanks. :) Hope they contact me when they make a CD version...
|
|||
|
|
|||
|
RC: Speaking of which, what do you think is the BEST music that you've
|
|||
|
done through the years? This can be a single song, or maybe a bunch,
|
|||
|
but what are your favorites?
|
|||
|
|
|||
|
CC: Ryan, well I can't really name a favorite of mine, but... I liked the
|
|||
|
Virtual Reality song in our demo "Amnesia". :) God, the song matched
|
|||
|
perfectly, plus, it's actually complete. Gasp!
|
|||
|
|
|||
|
RC: I always loved that song too, and the music from the RMUZIK0 music
|
|||
|
disk was classic as well!
|
|||
|
|
|||
|
CC: I didn't get much response from people on those, but I liked 'em too.
|
|||
|
MELLOW! ZZZzzzzz... ;)
|
|||
|
|
|||
|
RC: Well, on a related question, which productions have you most enjoyed
|
|||
|
doing music for?
|
|||
|
|
|||
|
CC: Zone 66! It was the first game I got to do music on (excluding Kaeon),
|
|||
|
plus it got me into the Epic Megagames freelance list. :)
|
|||
|
|
|||
|
RC: Musically, what do you think the future holds? Do you think maybe more
|
|||
|
game music, demo music, or what?
|
|||
|
|
|||
|
CC: I think I better reach the January 1st deadline or else I'll get
|
|||
|
locked out of #trax on IRC. :)
|
|||
|
|
|||
|
First off, you know Renaissance, we're lazy ass mofo's ... so demos
|
|||
|
will be pretty rare from us. Plus, I want to do game music. :)
|
|||
|
|
|||
|
RC: When you first started composing, what sparked your interest in it? I
|
|||
|
remember you mentioned something about Dr. Awesome to me awhile back.
|
|||
|
|
|||
|
CC: Dr. Awesome is awesome. =) When I first began, it seems he was the
|
|||
|
only good musician out there.
|
|||
|
|
|||
|
RC: Can you tell us the story of how you got your alias, C.C.Catch?
|
|||
|
|
|||
|
CC: C.C.Catch was a damn female singer! (I'm not a female of course, and
|
|||
|
I'm not gay either). Before I knew she was, uh.. female, I used the
|
|||
|
handle on elite boards. Then when I bought her tape, well, oops! :)
|
|||
|
|
|||
|
RC: hehehe
|
|||
|
|
|||
|
CC: I couldn't turn back, didn't want to change handles! :)
|
|||
|
|
|||
|
RC: What was the best composing environment you ever used?
|
|||
|
|
|||
|
CC: CDFM, rocks man! Its a cheesy tracker of course though, right Ryan?
|
|||
|
|
|||
|
NOTE: CDFM is the tracker that uses 9 FM channels and 4 digital channels
|
|||
|
---- which was used in Amnesia, Zone66, RMUZIK0, and other Renaissance
|
|||
|
demos. The tracker (which was written by Tran) was never publicly
|
|||
|
released.
|
|||
|
|
|||
|
RC: The music created in there was great, it was so unique!
|
|||
|
|
|||
|
CC: Yeah, I've got so many unfinished songs from CDFM that I never
|
|||
|
released, because there's no &$%^# player!
|
|||
|
|
|||
|
RC: Well, we haven't heard a lot of music from you lately, what have you
|
|||
|
been doing?? :)
|
|||
|
|
|||
|
CC: Nothing much ... Just playing MUD and MAGIC (but everyone knows
|
|||
|
that). Yesterday Ray (Mosaic) and I were whining about how sucky we
|
|||
|
are. hehe.
|
|||
|
|
|||
|
RC: How did Renaissance start? I know that you were there from the
|
|||
|
beginning.
|
|||
|
|
|||
|
CC: Well, I came up with the name "Renaissance", and a few months after
|
|||
|
Kaeon was made, Mosaic started talking about forming a demogroup.
|
|||
|
Mosaic called me while I was on the phone with Tran and he told me to
|
|||
|
ask Tran to join! I was reluctant, but I asked, and Tran joined!
|
|||
|
|
|||
|
Then Tran asked Daredevil to join, and Daredevil asked Radioisotope,
|
|||
|
and thats where Renaissance started.
|
|||
|
|
|||
|
RC: So you and Mosaic were the founding members of Renaissance?
|
|||
|
|
|||
|
CC: Ryan, let the world know! Mosaic started Renaissance!
|
|||
|
Gasp!
|
|||
|
|
|||
|
RC: How did you meet Tran?
|
|||
|
|
|||
|
CC: Remember the game, Kaeon? Well, Tran wanted music for it, because his
|
|||
|
music was a bit cheesier then mine at the time. :) So he called me and
|
|||
|
asked, with that usual grumble of his.
|
|||
|
|
|||
|
RC: Kenny, thanks a lot for doing this interview and taking the time to
|
|||
|
answer all of these questions. Are there any people that you'd like to
|
|||
|
greet or additional things that you'd like to say?
|
|||
|
|
|||
|
CC: Hmm... Greets to Ryan, Necros, Draygen, Khyron, Baseface, Godface,
|
|||
|
Stalkah, Bchrome, Flossy ... uh man, too many people to greet.
|
|||
|
My Mom =), #trax ...THE WORLD!
|
|||
|
|
|||
|
Hope that you enjoyed this weeks interview! We won't be having interviews
|
|||
|
every single issue, just because its kind of hard to get in contact with
|
|||
|
some of these people. :) But, next week, I am trying to get an interview
|
|||
|
with Purple Motion of Future Crew. I am hoping that will work out. Stay
|
|||
|
tuned!
|
|||
|
|
|||
|
|
|||
|
------------------------------------------------------------------------------
|
|||
|
___ _____ _ ____ ___
|
|||
|
/ __| __ _ _ ___ __ _ _ _|_ _| _ __ _ __| | _____ _ _ |__ / |_ )
|
|||
|
\__ \/ _| '_/ -_) _` | ' \| || '_/ _` / _| |/ / -_) '_| |_ \_ / /
|
|||
|
|___/\__|_| \___\__,_|_|_|_|_||_| \__,_\__|_|\_\___|_| |___(_)___|
|
|||
|
|
|||
|
REVIEW: ScreamTracker 3.2 Upgrade [Music Article 2 of 2]
|
|||
|
------------------------------------------------------------------------------
|
|||
|
This week, ScreamTracker 3.2 was released! There isn't really anything too
|
|||
|
exciting about ST 3.2, but for those diehard ST users, this is a great
|
|||
|
update to this popular tracking software. The previous version of Scream
|
|||
|
Tracker (version 3.01) was ridden with quite a few bugs; some pretty
|
|||
|
nasty, and others that weren't too bad. Nevertheless, there were enough
|
|||
|
that PSI decided to release a new "bugfix" version. After using ST 3.2 for
|
|||
|
a few hours here, I'm very happy to say that its definitly an improvement.
|
|||
|
|
|||
|
The bugs that were in ST 3.01 never really hampered people from making
|
|||
|
great pieces of music in it, but I think that ST 3.2 makes this tracker
|
|||
|
a little more friendly. However, ST 3.2 is still not a bug-free program!
|
|||
|
One new bug that has been introduced is very obvious, and I'm surprised
|
|||
|
that it even exists! When loading a sample, I always get the message
|
|||
|
"Warning, Not Enough Memory Available (1024k GUS)". This happens on all
|
|||
|
samples that I load, no matter how small or large they are. This
|
|||
|
unnecessary warning message is VERY annoying, but luckily it does not
|
|||
|
conflict with the loading of samples. All of the samples still load up
|
|||
|
just fine. This is not a big problem, but I hope that PSI will fix this in
|
|||
|
the near future with a new bugfix version or a patch.
|
|||
|
|
|||
|
Included with the Scream Tracker 3.2 package is a file called
|
|||
|
WHATSNEW.320. This file is basicly just a list of the bugs that were fixed
|
|||
|
and new features that were added. I'm not going to print all of them here,
|
|||
|
but I will go over a few of the new features that I found interesting. For
|
|||
|
a complete list of ST 3.2's new features, be sure to check out the
|
|||
|
WHATSNEW.320 file included with it.
|
|||
|
|
|||
|
New features (partial listing)
|
|||
|
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
|
|||
|
> Flip sample command - converts an Amiga sample to a PC sample and
|
|||
|
> vice versa. Text files have to be flipped after they are loaded into
|
|||
|
> memory so they can be viewed.
|
|||
|
|
|||
|
Samples for tracked music come in both PC and Amiga formats. The only
|
|||
|
difference between the two formats is that the bytes are arranged
|
|||
|
differently. Scream Tracker 3 uses the PC format, as does MultiTracker
|
|||
|
and a few other programs. However, FastTracker uses Amiga style samples.
|
|||
|
Those that have experimented with both Fast Tracker 2 and Scream Tracker
|
|||
|
3 know that when you load a sample saved from ST3 into FT2, it will sound
|
|||
|
totally screwed up. Likewise when saving a sample in FT2 and loading it
|
|||
|
into ST3. This is a result of what I described above; the samples are in a
|
|||
|
different format.
|
|||
|
|
|||
|
When your in FastTracker II, you can convert your sample and make it sound
|
|||
|
correctly by hitting the "CONV" button in the "S.E.Ext" (Extended Sample
|
|||
|
Editor) screen.
|
|||
|
|
|||
|
In ScreamTracker 3.2, the new command that they have added is the ALT-A
|
|||
|
command, this will convert an Amiga sample to the proper PC sample format.
|
|||
|
This command is accessable only while in the Sample Window. One thing that
|
|||
|
I really like about ST 3.2 is that it tells you "Warning, this may be an
|
|||
|
Amiga sample, ALT-A will convert it" before you load it. This new sample
|
|||
|
conversion feature is very useful, and I know that I'm going to make use
|
|||
|
of it quite often. I'm somewhat surprised that this feature was not there
|
|||
|
from the very beginning.
|
|||
|
|
|||
|
In ST 3.2, hitting ALT-V will let you view the current sample in a text
|
|||
|
mode viewer. This means that you could load text files as samples. Such
|
|||
|
text files could include information about your song, BBS ads, and such.
|
|||
|
In order to make one of these text files viewable, you have to convert it
|
|||
|
to an Amiga style sample by hitting ALT-A. Give it a try, its a pretty
|
|||
|
neat feature. I'm going to start including text in all of my songs. :)
|
|||
|
|
|||
|
> Save sample without header (ALT-W) command.
|
|||
|
|
|||
|
In the previous version of ST3, whenever you saved a sample, it would save
|
|||
|
it as a DP3 file. A DP3 file is a sample that includes various loop and
|
|||
|
fine tuning information at the beginning of the file. DP3 files are
|
|||
|
extremely useful when you only work with ST3, but if you are using ST3 to
|
|||
|
rip out samples for use in another tracking software, you would find that
|
|||
|
not many other trackers recognize DP3 files. When using another tracker,
|
|||
|
any sample that you loaded which was saved from ST3 would have an annoying
|
|||
|
click at the beginning of it. This click sound is just the raw non-sample
|
|||
|
data from the header of the DP3 file. Now that ST 3.2 includes the ability
|
|||
|
to save a sample WITHOUT the DP3 header, you will no longer run into this
|
|||
|
problem.
|
|||
|
|
|||
|
ALT-W = Save sample without DP3 header: Use this when saving samples for
|
|||
|
use in other tracking programs.
|
|||
|
|
|||
|
ALT-O = Save sample with DP3 header: Use this when saving samples for use
|
|||
|
in ST3 only.
|
|||
|
|
|||
|
> Skip value of 0. (ALT-0)
|
|||
|
|
|||
|
Usually when you hit a note in the pattern edit screen, the cursor moves
|
|||
|
down to the next position in the pattern. If you hit ALT-0, then when you
|
|||
|
hit a note, the cursor will stay in the same position until you manually
|
|||
|
move it with your arrow keys. This is useful for when your experimenting
|
|||
|
with different notes on a particular position in a pattern. It saves you
|
|||
|
the trouble of constantly hitting your up arrow to get back while your
|
|||
|
trying to find the right note. One such situation that you might find this
|
|||
|
useful is when you are experimenting with laying out chords.
|
|||
|
|
|||
|
> A sample can now be cut at the loop end point in the instrument list.
|
|||
|
|
|||
|
This sounds like a nice memory saving feature. It means that you could
|
|||
|
delete the unused sample data when your loop end is less than the sample
|
|||
|
length (assuming I understand this correctly). However, I haven't been
|
|||
|
able to figure out how to do this, any ideas?
|
|||
|
|
|||
|
> Fine Vibrato command. (Four times more accurate than normal vibrato)
|
|||
|
|
|||
|
Sometimes you just can't get the perfect vibrato with the standard vibrato
|
|||
|
command. The fine vibrato command will fix that, it gives you a little
|
|||
|
more control over the sound of your sample. I like it!
|
|||
|
|
|||
|
> Set channel panning command. (Only on a GUS!)
|
|||
|
|
|||
|
This is one of the best things about ST 3.2. Finally we can use panning
|
|||
|
while in ST3! Previously, you could use various panning commands, but you
|
|||
|
would never hear the result of them in the tracker. If you wanted to hear
|
|||
|
the result of your channel panning, you'd have to go play your song with
|
|||
|
another program like DMP. ST3's channels either were in non-stereo, or
|
|||
|
they were positioned to the left or to the right. Now, your channels can be
|
|||
|
panned in any of 16 positions! You can change the pan position of any
|
|||
|
channel by using the S8x command (where x = 0..F). However, its
|
|||
|
unfortunate that they did not implement the "Xxx" command which seems to be
|
|||
|
more commonly used for panning in most S3Ms that I have seen.
|
|||
|
|
|||
|
> Channel default pan settings. (Only on a GUS!)
|
|||
|
|
|||
|
In the F1 "Order List and Variables" screen, next to each of the channel
|
|||
|
number identifiers, there is an additional character field where you can
|
|||
|
specify the pan position for that individual channel. You can use a value
|
|||
|
of 0 through F, where 0 is all the way to the left, and F is all the way
|
|||
|
to the right.
|
|||
|
|
|||
|
> Channel pan position visible on infopage. (Only on a GUS!)
|
|||
|
|
|||
|
The channel pan position in the infopage is a little hard to find, and you
|
|||
|
*must* be in stereo mode for it to appear. The pan positions fields each
|
|||
|
consist of a single character in the range of 0..F. These appear right
|
|||
|
between the volume bars and the sample names, ie:
|
|||
|
|
|||
|
________________ ______________________
|
|||
|
|****** | 3 |02: Chord.Major
|
|||
|
|********** | C |05: HiHat.Open
|
|||
|
|*** | 3 |07: TightBass
|
|||
|
|************* | C |01: BassDrum.echo
|
|||
|
|******** | F |05: KorgLead
|
|||
|
~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~
|
|||
|
^^^
|
|||
|
|||
|
|||
|
Pan positions
|
|||
|
|
|||
|
> Gravis ultraclick removal by using 16, 24 or 32 GUS channels
|
|||
|
> (the more channels, the lower the sound quality will be in KHz,
|
|||
|
> but the clicks will lessen considerably).
|
|||
|
|
|||
|
This improves the sound quality in ST 3.2 a fair amount. Previously, ST3
|
|||
|
didn't do any ultraclick removal. Ultraclicks are just little pops and
|
|||
|
cracks that result when you change samples or change the volume of
|
|||
|
samples. This only occurs in some instances, but when it does, it can get
|
|||
|
annoying. Ultraclick removal can be done by using a technique called
|
|||
|
"volume-ramping". Volume ramping means that the volume on the sample is
|
|||
|
turned way down when a crack is likely to occur so that you do not hear
|
|||
|
it. I never had trouble with ultraclicks in the previous version of ST3,
|
|||
|
but apparently a lot of people did, and this new feature fixes that. I'm
|
|||
|
not 100% sure that it uses volume-ramping, but whatever it does, it gets
|
|||
|
the job done. :)
|
|||
|
|
|||
|
> The position counters and Channelscope now work with GUS, too.
|
|||
|
|
|||
|
Well, the channelscope sure doesn't work on my GUS. The channelscope is
|
|||
|
still bracketed indicating it is "unavailable". However, if you use the
|
|||
|
"-x" command switch when loading up ST3, the channelscope will work.
|
|||
|
Before you try that, I'll warn you that when I used the channelscope,
|
|||
|
it worked on my system for about 10 seconds, then it froze up the whole
|
|||
|
thing. I'd suggest not using them, and this is probably why the
|
|||
|
documentation makes no mention of the "-x" parameter.
|
|||
|
|
|||
|
> You can now save your custom color palettes.
|
|||
|
|
|||
|
This version of ST3 lets you modify the default palette of colors. The
|
|||
|
previous version of ST3 also let you do this, but it would not save your
|
|||
|
colors, so you would have to go back and change them everytime you loaded
|
|||
|
it up. Because of this, I think that everyone pretty much got used to the
|
|||
|
default color scheme in ST3. Well, now we can finally save the color
|
|||
|
schemes that we create! There's a problem though, its fairly difficult
|
|||
|
to change colors. The color selection box is not very intuitive and its
|
|||
|
kind of like a slot-machine; you have got to be lucky to stumble upon the
|
|||
|
color code that you want. I don't expect many people will be coming up
|
|||
|
with very elaborate color schemes in ST3.
|
|||
|
|
|||
|
Conclusion
|
|||
|
~~~~~~~~~~
|
|||
|
ScreamTracker 3.2 is really a great upgrade. While its not perfect, I
|
|||
|
think that its a major improvement from the first release. Most of the
|
|||
|
major bugs have been fixed and the composing environment is 100% more
|
|||
|
stable then it used to be. There is no doubt that FastTracker 2 is quite a
|
|||
|
bit more advanced than ST3, but I think that the environment in ST3 is
|
|||
|
still a lot easier to use than FT2. Its all a matter of personal
|
|||
|
preference. Some of the people that I have interviewed are sticking with
|
|||
|
ST3 for this very reason. In addition, S3Ms are probably the most widely
|
|||
|
supported module format on the PC right now. I think this upgrade will
|
|||
|
continue to hold S3Ms as the primary module format and at the same time
|
|||
|
make composing them a lot easier on us ST3 users. :)
|
|||
|
|
|||
|
Special thanks to Ali Ebnereza (HeatWave) for contributing a lot of
|
|||
|
insight to this article. He knows ST3 inside and out and he helped with a
|
|||
|
lot of the information here. He can be contacted at: aebnerez@osf1.gmu.edu
|
|||
|
|
|||
|
Closing
|
|||
|
~~~~~~~
|
|||
|
Thanks, and hope that you enjoyed this week's Music Section! Please
|
|||
|
contact me by internet if you have any comments or questions.
|
|||
|
|
|||
|
==============================================================================
|
|||
|
.oooooo. .o8
|
|||
|
d8P' `Y8b "888
|
|||
|
888 .ooooo. .oooo888 .ooooo.
|
|||
|
888 d88' `88b d88' `888 d88' `88b
|
|||
|
888 888 888 888 888 888ooo888
|
|||
|
`88b ooo 888 888 888 888 888 .o
|
|||
|
`Y8bood8P' `Y8bod8P' `Y8bod88P" `Y8bod8P'
|
|||
|
|
|||
|
((Section 7...Coders Corner)) <BY> Denthor
|
|||
|
==============================================================================
|
|||
|
(no article from Denthor this week)
|
|||
|
|
|||
|
Stay tuned to this column for future articles including: an Interview with
|
|||
|
Maxwood and Dee-Cug's "How to Code Music Drivers."
|
|||
|
|
|||
|
==============================================================================
|
|||
|
.o. .
|
|||
|
.888. .o8
|
|||
|
.8"888. oooo d8b .o888oo
|
|||
|
.8' `888. `888""8P 888
|
|||
|
.88ooo8888. 888 888
|
|||
|
.8' `888. 888 888 .
|
|||
|
o88o o8888o d888b "888"
|
|||
|
|
|||
|
((Section 8...Artists Corner)) <BY> Stony
|
|||
|
==============================================================================
|
|||
|
(Review of Autodesk Animator Pro)
|
|||
|
------------------------------------------------------------------------------
|
|||
|
Autodesk Animator Pro is a program that can be used to create animation.
|
|||
|
It has the ability to create animations with different pictures placed
|
|||
|
after each other and also animations doing funny things with one picture.
|
|||
|
|
|||
|
The program itself is very large and it takes a long time to learn
|
|||
|
everything from the program. There are a lot of different options. These
|
|||
|
options are very handy even if you don't create animations. For example, if
|
|||
|
you have made a picture with a black background and want to put in on a
|
|||
|
white background you can change this color from black into white or fill
|
|||
|
this background with white, you do this with the paint program you always
|
|||
|
use but then you'll see that the picture is much to bright. Well with the
|
|||
|
option 'Dark' in AAP you can make the program look darker.
|
|||
|
|
|||
|
It also has options to sharpen a picture or soften or make it look as if it
|
|||
|
has a relief in it. There are just a lot of functions in it. It takes a
|
|||
|
long period of testing them and experimenting with them.
|
|||
|
|
|||
|
The program isn't that easy to use with all its functions, I have been
|
|||
|
using it for a long time and know a lot of functions that can be of use
|
|||
|
with changing a picture. The program isn't to be used as a paint program,
|
|||
|
it's more difficult to draw in AAP instead of a 'normal' paint program.
|
|||
|
|
|||
|
The program does need EMS and does have some strange errors and error
|
|||
|
messages. When you don't have enough EMS you get a message that something
|
|||
|
can't be found and sometimes it just crashes in the middle of the program
|
|||
|
and comes with the message from out of memory or memory failure. It can use
|
|||
|
VESA graphics cards so it will work on almost all configurations. It's
|
|||
|
recommended to have at least 8 meg and a fast machine to work with it
|
|||
|
because it takes a lot of memory and time. I'm running it on my 486DX2/66
|
|||
|
with 4 meg and a VLB graphics card and it is running quite well.
|
|||
|
|
|||
|
...Stony
|
|||
|
|
|||
|
==============================================================================
|
|||
|
((Section 9...Advertisements))
|
|||
|
==============================================================================
|
|||
|
[Advertisement 1 of 3]
|
|||
|
|
|||
|
PSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDisk
|
|||
|
PSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDisk
|
|||
|
|
|||
|
I, Scoobs, am trying to compile a large group of electronic music (MOD, S3M,
|
|||
|
MTM etc.) to place on an IBM-PC CD-ROM disk that we are trying to put out,
|
|||
|
to be called PS MuzakDisk.
|
|||
|
|
|||
|
The purpose of this CD is to promote this sort of electronic music and its
|
|||
|
authors to the general public who, at the present time, know nothing of
|
|||
|
music modules and the potential of them.
|
|||
|
|
|||
|
The format of the CD we are looking at is the main menu being a list of all
|
|||
|
of the music types on the CD. Then the user can select which section and
|
|||
|
then be given a list. They can then choose which music to listen to from
|
|||
|
that list. The CD will be well presented with introduction artwork and the
|
|||
|
like. The intro, menu and player will be coded by Statix/KLF.
|
|||
|
|
|||
|
If you are interested in having your music on the CD-ROM or have any
|
|||
|
questions about it, please contact me at the below address.
|
|||
|
|
|||
|
Thanks for listening! :)
|
|||
|
|
|||
|
Scoobs,
|
|||
|
slogan@diamond.apana.org.au
|
|||
|
|
|||
|
PSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDisk
|
|||
|
PSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDiskPSMuzakDisk
|
|||
|
|
|||
|
[Advertisement 2 of 3]
|
|||
|
|
|||
|
We, Purple, need articles for our upcoming diskmag, Contrast. If YOU want to
|
|||
|
contribute with articles, news, rumors, jokes, reviews, previews, interviews,
|
|||
|
point of views... or simply ANYTHING that you can come up with, then contact
|
|||
|
us. We'd also like you to send us pictures and music.
|
|||
|
|
|||
|
Some facts about Contrast:
|
|||
|
|
|||
|
* Nice design:)
|
|||
|
* Runs in 640x480 16c
|
|||
|
* Has the possibility of including pictures in the articles.
|
|||
|
* Special "Gallery" section
|
|||
|
* Supports GUS, SBP, PAS16.
|
|||
|
* Demo/intro/game/utility chart
|
|||
|
* Four tunes - can be changed at ANY time.
|
|||
|
|
|||
|
Contact us on this address: mystical@inet.uni-c.dk
|
|||
|
|
|||
|
[Advertisement 3 of 3]
|
|||
|
|
|||
|
__ \ | __| | _)
|
|||
|
| | _` | _| _` | ( _ \ \ \ -_) _| _| | _ \ \
|
|||
|
____/\__,_|\__\__,_| \___\___/_| _|_| _\___\__|\__|_\___/_| _|
|
|||
|
RENAISSANCE WHQ, FUTURE CREW, LEGEND DESIGN, IGUANA, EMF, PRIME
|
|||
|
-
|
|||
|
Node 1: (703) 506-8598 - 16.8k HST DS v.32bis
|
|||
|
Node 2: (703) 847-0861 - 28.8k HST DS v.34
|
|||
|
-
|
|||
|
Sysop: Ryan Cramer [Iguana/Renaissance]
|
|||
|
Located in McLean, Virginia, USA
|
|||
|
Online since 1990
|
|||
|
-
|
|||
|
|
|||
|
==============================================================================
|
|||
|
((Section 10...Miscellaneous))
|
|||
|
==============================================================================
|
|||
|
Next week we should have several more good articles, including an interview
|
|||
|
with Purple Motion/FC and Maxwood/Majic 12. Also be on the lookout for
|
|||
|
Dee-Cug's "How to Code Music Drivers." This should be a 5-6 part series
|
|||
|
starting later this month.
|
|||
|
|
|||
|
We are averaging 21 new subscribers to this newsletter a day! At this
|
|||
|
rate, will will pass 1000 mid-next week. I personally have no idea how
|
|||
|
many people there are in the scene, but it looks like we might find out. :)
|
|||
|
|
|||
|
If you have anything you'd like to contribute to DemoNews, I'd be more
|
|||
|
than happy to include it. It doesn't matter if its an advertisement or an
|
|||
|
article, we can use it. Let me say it again: If you are a coder, musician,
|
|||
|
gfx artist, or organizer and have something to contribute, please send it
|
|||
|
my way.
|
|||
|
|
|||
|
We could really use some Party 94' articles soon. There has been very
|
|||
|
little action in this department. Also, we could especially use some more
|
|||
|
artists articles.
|
|||
|
|
|||
|
==============================================================================
|
|||
|
((Section 11...Closing))
|
|||
|
==============================================================================
|
|||
|
|
|||
|
The quote for this week comes from "Progammers at Work" p.208. In an
|
|||
|
interview Bob Carr said the following:
|
|||
|
|
|||
|
I enjoy writing, and I think I'm literate. I still toy with the idea
|
|||
|
of being a writer of fiction. Writing English and software are far
|
|||
|
more than just acts of capturing something in code or on paper. They
|
|||
|
are processes that help evolve your thinking tremendously. When you're
|
|||
|
forced to write something down, you think the idea through two or three
|
|||
|
steps further. - Bob Carr
|
|||
|
|
|||
|
See you all next week!
|
|||
|
|
|||
|
-Christopher G. Mann (Snowman)-
|
|||
|
r3cgm@dax.cc.uakron.edu
|
|||
|
|
|||
|
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-End.of.DemoNews.074.
|
|||
|
|