6481 lines
281 KiB
Plaintext
6481 lines
281 KiB
Plaintext
Atari/Atari Games VaxMail 1984 Jed Margolin
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___________________________________________________________________________
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From: KIM::SUTTLES 9-JAN-1984 11:40
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To: @SYS$MAIL:COINOP
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Subj: A neat trick with mail
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For all of you who use the MAIL program as a form of
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the "paperless office", I have discovered a bug (pronounced
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"fea-ture") in same.
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It seems that the addressee line (TO: ...) is parsed
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independently of file handling. Mail looks at each item in
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the list, and checks for a double colon (which specifies node
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names). Then it does a logical translation of the node name,
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if any, and goes back to the "we expect a name here" part of the
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algorithm. The upshot of this is that you can have MORE than
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one node name on any addressee; this does not apply to list names
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(in the "@soandso" construct, the soandso must be a legal filename).
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What good it this, you ask? Well, the normal useful value
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is zip. Presumably it would just take the mail longer to be sent,
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cuz it would be routed through a longer path. HOWEVER, if you don't
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give it a normal name, you can use this feature (pronounced "BUG")
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in an abnormal way.
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If you: $ assign " " cc ! for mail
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then you can send mail To: him, her, them, CC::me, mine
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and any of the parties involved can have a nodename. The CC::
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must have a double colon following it, and can have a nodename
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following that, for example, "cc::kim::suttles" is valid.
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The assign statement in the first line of this paragraph is
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required, either interactively or in your login.com (like I
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have in mine). The space between the quotes is required,
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cuz there must be some length to a logical name.
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The "value" is that you can show some intent in how
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(and maybe why) you are sending the letter to that person.
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You could just as easily create a logical name FYI or any
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other(s) along the same lines. They can be used as often
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or rarely as you like (to: FYI::him, FYI::her, CC::me, etc.).
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There is one more thing to consider. This is NOT a
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documented feature. It may not stick around in future versions
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of VMS. Then again, it may. I have tested it, and it works
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as I have described (did I mention you can add them? like:
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to: him, FYI::CC::ERNIE::you, etc) under the system we are
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now using.
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I am not going to stick CC in the system tables, since
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CC is also a command for compiling C programs (there is no
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conflict, but people MAY want to use CC as a logical name to
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point to their C sources, or to other things). FYI and the
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other possibilities will also not be in the system tables,
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since I don't know in advance which ones will be used and which
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won't, and I am also sure that you will come up with some of
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your own. Also, if DEC changes their mind and it goes away,
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I can say "I told you so!!". Actually, the real reason I
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am not going to stick any of that stuff in the system tables,
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is cuz I'm lazy. But don't tell Shepperd.
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sas
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___________________________________________________________________________
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From: KIM::VICKERS 19-JAN-1984 10:53
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To: @COINOP
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Subj: Sound Chips
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By popular demand, here is a list of sound chips which are or will
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be available for use in coin-op games:
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1. Pokey and Quad-Pokey
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Price: $1.35 for Pokey, $5 for Quad-Pokey, estimated.
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Performance?: $0.47 for Pokey, $1.59 for Quad-Pokey. Seriously,
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2-4 channels per pokey, depending on whether 8-bit
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(sound effects) or 16-bit (music) frequency resolution is
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selected. Square waves and various types of poly-counter
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noise.
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Availability: Now.
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Support: A sound editor exists for the 800, and RPM includes a
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pokey driver.
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2. Yamaha sound chip
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Price: $15.70 for the sound chip along with a custom DAC, $2.50 less
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without the DAC, in 10k quantities.
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Performance!: 32 time-slots (sine wave oscillators) which can be
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patched together in various ways, to give 16 voices of
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frequency modulation, or 8 voices with 2 modulators and
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2 carriers each, etc. Modulators can modulate other
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modulators, etc., very flexible. Built-in attack-decay
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sustain-release envelopes for each oscillator. It is
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basically the same chip which is used in Yamaha's DX-7
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synthesizers, except 10 bit output instead of 12. Each
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voice can be directed to left channel, right channel, or
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both (center.) Excellent for music and sound effects,
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even capable of doing speech with the right preprocessing,
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although not efficiently in terms of memory storage. Creating
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interesting sounds is easy, creating the interesting sound
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you wanted is a little more difficult. FM is somewhat
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non-intuitive (although there are rough guidelines), and it is
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difficult to computer analyze a sound and derive the FM
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parameters (though this may be do-able). However, with
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good support tools (which exist) and instant feedback of
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changes in sound parameters, it shouldn't be a big problem.
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Availability: The legal agreements are being worked out now, there
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don't seem to be any problems on either side. I will notify
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people when the deal is finalized.
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Support: Yamaha will apparently supply one of their new Yamaha Personal
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Computers along with documentation and software to support
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the sound chip, which will be available in Japan as an
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add-on. The Personal Computer is apparently aimed at the
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low end (under $300) market, uses the new MSX (if I have the
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right acronym) software standard that the Japanese have all
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agreed on, and runs Microsoft Basic (in English, no less).
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The sound development software seems on first inspection
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to be very professional. The development software will
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probably include some already designed musical instrument
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voices (and a few sound effects.) I view this chip as filling
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in a gap between the obsolescence of Pokey and the availability
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of Amy, after which time we may wish to use Yamaha, Amy, or
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both, depending on the game. If I were designing a game for
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production in 6-9 months I would definately include this chip
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(as soon as the deal is signed.) We will need for someone
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(volunteers???) to write a Yamaha driver for RPM.
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3) Amy
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Price: around $8.
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Performance!: Additive synthesis, 64 harmonics, which can be divided up
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in various ways among 8 channels. Built-in amplitude and
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frequency envelopes. Choice of sine or noise for the
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harmonics. 16-bit output, you can choose how many bits you
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want to use for your DAC. Easy to analyze a sound and derive
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the additive synthesis parameters to resynthesize it. Can
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do high quality speech and singing, though not efficiently.
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A slight memory and processor bandwidth hog, but very powerful
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and flexible.
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Availability: Estimated 1st silicon in June, production quantities in
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December. As soon as we have 1st silicon, I will begin
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recommending for people to design Amy into their games.
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Support: The sound group at Corporate R&D is designing a development
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system for Amy. An Amy simulator is available now and will
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be moving over here before long. Some sound analysis and
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editing software has been written. The Amy development system
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will be much more powerful than that for the Yamaha, although
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currently it is aimed more at creating music voices than at
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sound effects (the same is true of the Yamaha support tools.)
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Amy will also need a driver to be written for RPM.
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4.) TMS 320, TI's digital signal processing chip.
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Price!: $26.50, 2nd half of 84, in 25k quantities.
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Performance: It's a great little chip, if you only need to do what
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it is optimized to do - straight digital signal processing,
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sum-of-products, etc. It has the advantage of allowing
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you to use different synthesis techniques to create different
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sounds. In practice, once all the overhead code gets added
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in, it is very difficult to get a reasonable number of
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channels (8) at a reasonable sample rate (18 khz.) I have
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programmed it with a couple of different sound algorithms -
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1) 8 voices with an excitation function of either noise,
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triangle wave, sawtooth wave, and a stored bandlimited
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function, followed by either one or two 2nd order bandpass
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filters. This allows filtered noise (with independent
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control of center frequency and bandwidth), sine waves from
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ringing a high-Q filter, and formant effects from filtering
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the periodic excitation functions. Algorithm 2) is a strange
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technique using a 2 dimensional waveform table, a surface
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which you can move around on in various patterns (lissajous
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patterns, etc.), tracing out the height of the surface at
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each point. I recently received the D-A board for the 320,
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and should have my programs modified so I can hear the sounds
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within a week or two. Assuming the Yamaha deal goes through,
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the 320 will be dropped as it is more expensive, harder to
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interface, less powerful, and has no sound development tools.
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Its only use might be in implementing some kind of fancy
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adaptive predictive coding technique for cramming mass
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quantities of sampled sound onto rom or videodisk. And it
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has much potential for doing vector graphics computation.
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Availability: Now.
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Support: I have an evaluation board, with on-board assembler,
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debugger, emulator, and RS-232 port. There are various
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macro cross-assemblers available for VAX, from TI and
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3rd parties. TI is apparently putting a greater than
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average effort into supporting this chip. I also have
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an analog interface board with A/D and D/A.
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5.) TI 5220 speech chip
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Price: $5.50.
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Performance: 1 voice of voice. Some sound effects can be done as
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well - the elephant trumpeting pass-by on Star Wars. The
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sound quality is a little unnatural but preserves some
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of the speaker's identity and expression. Reverb, noise,
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and background sounds on the source tape can totally
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confuse the PASS analyzer.
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Availability: Now.
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Support: TI PASS system analyzes the speech and allows the user to
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edit it, frame by frame. The system typically makes a
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number of pitch errors, amplitude errors, and filter parameter
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errors, which have to be cleaned up by hand. It's a fairly
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slow process, and requires some intuitive feel for linguistics
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and why we perceive certain phonemes the way we do, etc.
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There is a 5220 driver for RPM.
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6.) Other stuff.
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Brad Fuller has some (partially debugged) code using a 6502
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to implement one channel of adaptive delta modulation. This
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could use 1 channel of a pokey as a DAC (forced output mode)
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(4 bit - scratchy sound quality), or a real DAC. Not sure
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if the 6502 would have time to run RPM too, ask Brad. Could
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be used for storing voice and some sound effects, higher
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sound quality than the TI speech chip (assuming a reasonable
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sample rate), but higher storage requirements - ~15,000 bits
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(not bytes) per second for 6502 adaptive delta, ~1500 bits
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per second for TI speech chip.
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We need some way of A) getting a number (8 or more) of
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alternate voice (&sound&music) tracks off of a section of
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video disk, so we can use the same video for a number of
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different purposes, and B) getting a long passage of sound
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(10 seconds or so) off of a still frame of video. A) might
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be done by downloading adaptive delta modulation parameters
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to a ram and feeding them to a 6502. 8 channels *
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15000 bits/sec*channel * sec/60 frames * byte/8 bits =>
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250 bytes/frame. Can we grab this much or more off a
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video disk? B) might be done with TI speech chip. Anyone
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have any ideas or interest in helping with this? (Dave
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Storie is also interested in this problem.)
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I welcome comments, suggestions, and offers to write the
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Yamaha driver for RPM!
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___________________________________________________________________________
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From: KIM::VICKERS 19-JAN-1984 15:17
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To: @SYS$MAIL:COINOP
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Subj: Sound Chips update
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Regarding my previous memo, Morgan Hoff informs me that the quad-
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pokey is actually a $12.90 part. Performance is still under $2.00.
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Also, the 320 signal processor's cost increases due to the need
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for high-speed rom and ram and interfacing hardware, depending on the
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specific application.
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Earl
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___________________________________________________________________________
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From: KIM::VICKERS 19-JAN-1984 16:14
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To: @SYS$MAIL:COINOP
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Subj: Sound Chips Update Update
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Regarding my previous memo regarding my previous previous memo,
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Jed Margolin informs me that the online manufacturing resource planning
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system says that the cost of quad-pokeys was $6.90 last time we bought
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them. If anyone has any more numbers, I would be undelighted to hear them.
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Caring less,
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Earl
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___________________________________________________________________________
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From: KIM::MAHAR 26-JAN-1984 11:25
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To: @SYS$MAIL:ENGINEER
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Subj: Webster, A dictionary program
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There is now available a spelling checker program. This program takes an
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English text file and outputs the file with all the misspelled words and
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their line numbers at the end.
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There are over 47000 words in the dictionary. This is a lot but not
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enough to guarantee that your favorite words are in there. So, When you
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find correctly spelled words marked as not in the dictionary please send
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them to me and I will update the dictionary.
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To use this program put the following command in your login.com file:
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$ WEB*STER :== $DOC:WEBSTR 'P1
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Typing WEBSTER file.ext will run the program and process the mentioned
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file. The default input extension is .MEM. Webster will create a file of the
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same name with the extension .CRF
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Please forward any problems and comments to me. I will update the
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dictionary every couple of weeks. If your favorite words do not show up
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after you send them to me please be patient.
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___________________________________________________________________________
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From: KIM::MAHAR 26-JAN-1984 15:59
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To: @SYS$MAIL:ENGINEER
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Subj: oops
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I have been informed that the 'p1 in the command line of my previous
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message is incorrect and should be removed. The correct line should be:
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$ web*ster :== $ doc:webstr
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This should work fine. If there any problems let me know.
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___________________________________________________________________________
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From: KIM::MAHAR 27-JAN-1984 11:08
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To: @SYS$MAIL:ENGINEER
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Subj: Webster, Contractions or possessives
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It has come to my attention that contractions (can't, didn't, etc) don't
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work in the webster program. The Dictionary has these words and the program
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will recognize them if I define the apostrophe (') as an alphabetic character.
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I have done this and contractions now work. There is, however, a price for
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this feature. The dictionary does not have all of the possible possessive
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forms of words. Since the program is able to recognize the word "didn't",
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it will not find the word "witch's" in the dictionary. I use contractions
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more then I use possessives. If there is a problem with this I would like
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to hear about it.
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___________________________________________________________________________
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From: KIM::MAHAR 27-JAN-1984 14:19
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To: @SYS$MAIL:ENGINEER
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Subj: Webster, How about this?
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Webster can now handle almost all cases of contractions and possessives.
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If it can't find a word in the dictionary it scans the word and
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truncates the word at any apostrophe that may be there. For example:
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"witch's" will become "witch". The dictionary is consulted again with the
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new word. This leave the only problem being a misspelling like
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"can'tj". the 'tj is removed and the word "can" is in the dictionary.
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So, no mention will be made of the word in the listing. If you don't like
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this feature I will set it back to not handling possessives at all.
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___________________________________________________________________________
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From: KIM::SHEPPERD 27-JAN-1984 15:38
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To: @SYS$MAIL:ENGINEER.UAF
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Subj: Announcing the new utility MIXIT
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At long last, the utility we've all been waiting for: MIXIT. Available the
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next time you log in or restart, it allows you to convert image, .ROM, .EXE
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or .LDA files into image, .ROM, .EXE, .LDA or .MAC files at the flick of a
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keystroke. This program answers the ever increasing demand for "how do I put
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my banked switched program into a 27128?" and the old continuing problem of
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"how do I get a listing of my .LDA (or .PPS) file for the legal beagles?"
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The program reads one or more input files and writes a single output file. You
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specify what MIXIT should include from the input file and where to position the
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data in the output file. Each input file is processed seperately and inserted
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into the output file as it is read in. This results in the data from the input
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file being appended to (or overlayed on) the output file, so some amount of
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care should be exercised if you plan to be tricky and have sections of data
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overlap each other.
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There's four basic commands to MIXIT: HELP, EXIT, OUTPUT, INPUT. The OUTPUT
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command specifies the filename of the output file and must appear before any
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INPUT commands. Each occurance of an OUTPUT command starts a new output
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sequence. The INPUT command specifies the filename of an input file and the
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data from each is deposited into the previously defined output file.
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Type MIXIT and use the HELP command to get further information.
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There's only one error message, and its rather self-explanatory.
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Happy mixing,
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ds
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___________________________________________________________________________
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From: KIM::MAHAR 27-JAN-1984 15:41
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To: @SYS$MAIL:ENGINEER
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Subj: Webster, The great debate
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I guess I was unclear. Webster will only strip after the apostrophe if
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the word is not found in the dictionary. Words like can't and didn't
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will be found in the dictionary so they will not be flaged as wrong.
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The only inaccuracy is the "can'tj" case mentioned earlier as the
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word "can'tj" is not in the dictionary.
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I am reviewing contraction and possessive recognition techniques
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and all of the suggestions I have received have some flaw in them. Therefore,
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I am regrouping and will release a new version over the weekend.
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___________________________________________________________________________
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From: KIM::MAHAR 29-JAN-1984 15:40
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To: @SYS$MAIL:ENGINEER
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Subj: Webster, Contractions and possessives the final word.
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This is the final word on contractions vs. possessives. Webster
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first looks up a word in the dictionary. This includes any apostrophes
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that may be in the word. Most of the common contractions are listed
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in the dictionary and will be found this way. If the word is not in
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the dictionary Webster checks do see if the word ends in S'. If it
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does, the ' is removed and a dictionary lookup is done on the root word.
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If the root is not found in the dictionary the original word with the
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apostrophe is added to the misspelled list. If the word ends in 'S
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the 'S is removed and a spelling check is done on the root word. Once
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again if the root is not in the dictionary the whole word is placed in
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the misspelled list.
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This system will catch almost all cases of contractions and
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possessives. There is one exception, however. A singular word ending
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in S is, by the rules of usage, made into a possessive by adding 'S.
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So, the possessive of abacus is abacus's. If you have this correct
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in your text Webster will not complain. However, A common mistake for
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this case is to treat the word as if it was plural. ( abacus') This
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is incorrect but Webster will not flag it as so.
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This is not a major problem. I have found only a very few nouns
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that end in S. It is difficult to say words like abacus's so people
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usually put these words in a prepositional phrase ( of the abacus).
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The ackwardness of these words has caused most of them to fall into
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disuse. Spending 10 minutes looking in the dictionary only uncovered
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a few. ( abacus, lotus, mass, and marquis) I sure there are more but
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not many.
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___________________________________________________________________________
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From: KIM::FXL 30-JAN-1984 02:01
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To: @SYS$MAIL:JUNK
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Subj: The first annual Jeff Boscole Memorial letter
|
||
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This letter is dedicated to Jeff Boscole, someone who wasn't afraid
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of sounding obscure, to speak his mind, to be strange, to be brilliant,
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to play games, and to use MAIL to its fullest. I don't remember when
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he left, but it was quite a few months ago.
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To anyone who cares, but especially to game designers with more clout than
|
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FXL, and to any and all people in power at Atari (not just coin-op):
|
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Recently I have spent an inordinate amount of time trying to instigate
|
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improvements in royalties, designer credits, and game testing procedures. I
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have had little success. I hereby apologize for all of the negative feelings
|
||
and anger that I am emanating because of this. After all, things are pretty
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good here, and certainly better than at many companies. I do not however
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apologize or regret my negative feelings about the recent release of the
|
||
Crystal Castles 2600 Cartridge. (In case you don't know, the cartridge was
|
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released without the approval of the coin-op design team, or anybody else
|
||
in coin-op as far as I know).
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This is pure theft!
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|
||
And I do not even know who to blame for this!! It isn't the programmer, who is
|
||
about as mad (or worse) as I am about this situation. He was given a unmakable
|
||
release deadline (4 days instead of 3 weeks from when he was told). The game is
|
||
much worse because of this (according to the programmer Peter Niday). He had
|
||
no choice in the matter. Yet another unfinished, hurried, poorly tested game
|
||
from Atari. Won't we ever learn?
|
||
|
||
Games under license from other companies get reviewed by representatives of
|
||
that company (Williams and Namco specifically). But games developed in-house
|
||
are treated like they are in the public domain, while the original design team
|
||
of in-house games is treated like dirt.
|
||
|
||
This is not an isolated incident either. Atarisoft, as a matter of policy,
|
||
takes Atari Coin-op games, lets outside companies "convert" them for home
|
||
computers (like Commodore 64, Vic-20, Apple 2, TI-99 and IBM-PC), and then
|
||
produces them, all without the creative input or advice of the original design
|
||
teams (just talk to Ed Logg about Centipede, or ? about Battlezone). Atarisoft
|
||
does not ask anyone over here at coin-op for approval for the final version,
|
||
but they do show the final version of the game to someone in the legal
|
||
department. On the more positive side, there is a chance that Atarisoft will
|
||
contribute to the Engineering Product Bonus Plan in a manner similar to 2600,
|
||
5200 and 800 products. Wouldn't it be nice to have that guaranteed and in
|
||
writing? And shouldn't there be designer credits on Atarisoft products?
|
||
|
||
It's ironic that my name is on the packaging of the 2600 Crystal Castles
|
||
cart, a product which I only saw an early version of. Yet when I told people
|
||
that the message ("programmed by Franz Lanzinger") appeared in level 10 in the
|
||
coin-op version I was told to take it out, or I loose an amount of bonus to be
|
||
determined. Boy did that make me mad !!! I complained vocally, but only to be
|
||
promised that a designer credit policy would be worked on. This policy is still
|
||
"being worked on" eight months later. Now really. It's not that hard to do,
|
||
just look at movies, books, not to mention Stern, Mylstar, Simutrek, Sente,
|
||
even 2600 carts. If there were a policy right now, credits could be in in time
|
||
for the Crystal Castles kits. As it is, I am still mad about the whole thing.
|
||
Imagine Speven Spielberg directing a film, but not getting credit. How would
|
||
he feel? Are we cogs in a machine? I am not a number !!! This isn't 1984!!
|
||
(well OK, maybe it is).
|
||
|
||
While I'm at it I would like to get one more thing off my chest (right
|
||
on!!). You may know that the current "coin-op engineering product bonus plan"
|
||
(shouldn't it really be called a royalty plan ?) is out of date. The most
|
||
recent legally binding document (if it is legally binding) is dated March 26,
|
||
1982, and it expired at the end of 1983. It is my understanding by reading
|
||
that memo that the bonus plan is still in effect, but it can now be " extended,
|
||
enhanced, discontinued or otherwise modified to meet management objectives ".
|
||
In other words, Atari has the legal right to screw us any time they want.
|
||
Personally, I would feel much more secure, happy, and motivated to work hard,
|
||
if there were an updated royalty plan without a gaping loophole like that.
|
||
After all, there are plenty of precedents for people getting screwed here.
|
||
|
||
I am tired of fighting a brick wall. So I will resign myself to the facts
|
||
of life at Atari. These facts seem to be that change is virtually impossible
|
||
when suggested by a single empoyee, but mindbogglingly fast if management wants
|
||
it. And I will continue to feel bitter now and then (like right now for
|
||
instance).
|
||
|
||
How do you feel about all this? How do you feel about 40% 30% 30% (the
|
||
"golden handcuffs")? How do you feel about 1% under 10M, 2% over 10M? How do
|
||
you feel about designer credits? How do you feel about the delays in actual
|
||
payment of royalties? (I still don't have a cent for Crystal Castles, and it
|
||
has been seven months since it started to earn millions for Atari).
|
||
|
||
What can you, anyone who cares, do to make me, Joe Piscopo (oops, make that
|
||
Franz Lanzinger) feel less bitter? Well, misery loves company. Please tell me,
|
||
better yet, tell your favorite manager, supervisor, or even CEO, how you feel
|
||
about these issues. It may not change a thing, but maybe your powers of
|
||
persuasion will succeed where mine failed.
|
||
|
||
Until next year, (when I will write the second annual Jeff Boscole memorial
|
||
letter)
|
||
FXL
|
||
(the X stands for "eX trouble maker")
|
||
|
||
P.S. please send your answers to @SYS$MAIL:JUNK, or to someone in a position
|
||
to take action, best would be both.
|
||
|
||
P.P.S. If there are any inaccuracies, please let me know. The facts are to
|
||
the best of my recollection, some of it is hearsay.
|
||
___________________________________________________________________________
|
||
From: KIM::VICKERS 30-JAN-1984 15:30
|
||
To: @SYS$MAIL:COINOP
|
||
Subj: Yamaha Sound Chip
|
||
|
||
|
||
I now have 3 samples of the Yamaha 2151 FM synthesis sound chip (see my
|
||
Jan. 19 '84 mail message for details.) Also 3 samples of their 3012 D/A
|
||
converter. Also documentation for each of these chips (46 pages of hand-
|
||
written Japanese English, but basically pretty understandable.) The
|
||
documentation is in the process of being typed up, but if anyone wants
|
||
to check out a copy of the handwritten version, see me. This is available
|
||
for coin-op evaluation only; they don't want us competing with their home
|
||
computer.
|
||
|
||
We should have one of the Yamaha PC's within a couple of weeks, hopefully,
|
||
and a demo will be given.
|
||
|
||
Earl
|
||
___________________________________________________________________________
|
||
From: KIM::THOMPSON 31-JAN-1984 10:07
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Another flame
|
||
|
||
Another Jeff Boscole Memorial letter, in response to FXL's letter on
|
||
Jan 30, 1984.
|
||
|
||
I was unaware of any policies regarding 2600, Home computer, or any other
|
||
computer system, nor was I told of any. All I was told about was a bonus
|
||
plan if the game I worked on was turned into a cartridge. This DOES tend to
|
||
say that the creating team will have no say in the cartridge. I, for one,
|
||
would like to have some say in the final version of the game, since I feel
|
||
very strongly about my game.
|
||
|
||
Since I haven't been impressed by the results of VCS's releases, I DON'T
|
||
want them to butcher, maim or mutilate my game for whatever reason. I
|
||
can fully sympathize with Franz, since he put a lot of time and effort into
|
||
his game. By the time my game goes into production (knock on wood), I will
|
||
have put at least a year of my life into that game. I don't want someone
|
||
to come along, and rip me off. I don't really care about royalties from the
|
||
other games, I just don't want to have to apologize to anyone about a
|
||
game that has my name in it, on it, or associated with it.
|
||
|
||
Also, since I haven't heard anything from management about the bonus plan
|
||
lately, I can only assume that Franz's research is correct. Since I happen
|
||
to have a Team Leader that I feel I can trust, I'm not too worried about
|
||
getting screwed on the bonus. That doesn't mean that there shouldn't be
|
||
something in writing. Something my mother taught me -
|
||
|
||
"If you really mean what you what you are saying,
|
||
then you won't mind putting it in writing."
|
||
|
||
|
||
While I'm still flaming, I feel that it WOULD be nice to have my name
|
||
appear in my game somewhere. It would really be nice to be allowed to
|
||
do this, since Star Wars had the names of the people appear on every odd
|
||
wave going into the death star. It seems a little inconsistant to me that
|
||
the Star Wars project could have their names, and Crystal Castles couldn't.
|
||
For some reason, that appears to be favoritism, not policy.
|
||
|
||
|
||
Return flames gladly accepted.
|
||
|
||
Peter Thompson.
|
||
|
||
|
||
P.S. If anyone can show me a good game for the 2600 that we produced, I
|
||
will fully apologize, and then go out and buy it.
|
||
___________________________________________________________________________
|
||
From: KIM::LOGG 1-FEB-1984 09:54
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: More on FXL letter (or the second biweekly Jeff Boscole letter)
|
||
|
||
|
||
Since everyone else seems to be on the subject I might as well add my two
|
||
bits worth.
|
||
|
||
First, regarding testing and review of 2600, 5200, 800,... software. In
|
||
the past I was given carts to review, and in some cases they ignored my
|
||
comments. In particular, for the 800 Centipede I saw a bootleg copy and
|
||
send my comments back only get see the shit hit the fan because I managed
|
||
to see the cart which should not have been possible. Months later I was
|
||
officially given a newer version to test. I noted some problems and asked
|
||
that the game play match the Coin-Op version in several aspects. I was
|
||
told that it was too late because they couldn't make the changes in time
|
||
for the release. More recently I attended a meeting to decide which
|
||
Millipede cart for the 2600 should be released. The release date was less
|
||
than a week away and I was told that the programmer had just gotten one
|
||
version working within the last couple of weeks (and only possible thru
|
||
7 day work weeks and considerable lack of sleep). I should also point
|
||
out that I sent the complete documentation of Millipede to the team leader
|
||
responsible for the VCS cart months prior to this meeting. I also called
|
||
and left my name and number with the comment that I was available for
|
||
any assistance. I received no response until a week or two prior to the
|
||
above mentioned meeting. This leds me to believe that the game was not
|
||
ready for help until the time of the meeting (thus verifying the hearsay
|
||
that the game had just been developed in the last two weeks).
|
||
|
||
Now for the good news! ATARI did select the VCS version of Millipede over
|
||
the version done by GCC. I was told that GCC was instructed NOT to do this
|
||
cart but they went ahead and did it anyway. I guess they felt that if they
|
||
got it done first ATARI marketing would use theirs. Judging from the
|
||
meeting I attended, I would guess that they were right. In any case I have
|
||
worked with the VCS programmer since and hopefully the cart has improved.
|
||
I do NOT mean to say that I necessarily helped but that the cart just needed
|
||
time. I should point out that the cart was not released due to a bug! Now
|
||
why didn't we think of this before? That sounds like a good strategy to
|
||
follow. The only reason I was given why the cart was to be released within
|
||
a week of the meeting was to have ONE week worth of sales for the first
|
||
quarter. WHAT A SHITTY, GOD DAMNED, FUCKING CSDKFHAS FHLAVFHJ EXCUSE!!!!
|
||
What ever happened to quality which the name ATARI is supposed to represent?
|
||
Where was VCS management?? I would hope that someone would stand up and
|
||
say "THE GAME IS NOT READY. WE WILL RELEASE IT WHEN IT IS DONE!!" Who
|
||
are they trying to make look good? Why impress Warner with 1 weeks worth
|
||
of production, when you can impress the consumer 2 weeks later? It seems
|
||
short-sighted to make themselves look good at the expense of ATARI's
|
||
reputation.
|
||
|
||
Well enough of that, I want to get back on the subject of good news. Months
|
||
ago I also reviewed a Millipede for the 800 (or 5200 I don't remember). I
|
||
sent my comments back and just last week received a letter back for Richard
|
||
Frick thanking me and giving me a list of changes they have implemented.
|
||
When I talked to him he recalled when the comments came back and how the
|
||
programmer grumbled about doing any more changes. However after the
|
||
changes were made the programmer has become very excited about the new
|
||
program. Now ISN'T that a heart warming story. It sure made my week.
|
||
I hope we see more cooperation like that in the future.
|
||
|
||
Second, as Franz hinted I never received a copy of Centipede to review from
|
||
ATARISOFT nor was I even told about any Centipede carts. Ignoring the
|
||
fact that is rather insulting, it is not in the best interests of ATARI.
|
||
We should demand quality from any product ATARI puts its name on.
|
||
Considering there is expertise here in Coin-Op to test and evaluate this
|
||
product, they should be very interested in hearing from us. Since there
|
||
were no designer credits, I guess it was hard for them to dtermine who
|
||
to come to but they could have found out.
|
||
|
||
Since there seems to be new policies regarding credits for our games and
|
||
since there seems to be a lack of trust between certain individuals and
|
||
management, couldn't we have some WRITTEN information of these policies.
|
||
In particular, can someone reassure us that the current bonus program is
|
||
still in effect and will remain so until xxxxx. Can the current policy on
|
||
credits be written down and include if possible the current policy on credits
|
||
with respect to 2600, 5200, 800, and ATARISOFT conversions. For everyones
|
||
information I was not told that my name would appear on the 2600 Millipede
|
||
documentation. I had to ask Steve Calfee. In fact it seems logical that
|
||
the names of all members of the Coin-Op team responsible for developing
|
||
the game should appear. Can someone write down whether the ASTARISOFT
|
||
software will bring royalties to Coin-OP?
|
||
|
||
Now for my pet pieve, can we get a little better accounting on
|
||
the bonus program? I was given verbal assurance by John Farrand that this
|
||
was possible but maybe he doesn't understand how hard or time consumming
|
||
this is. In the past ATARI didn't want to do this because this would
|
||
release information that the competition is not supposed to know. In fact
|
||
if you want to know the VCS sales of a cart, just call your friends at
|
||
Activision or Imagic or Starpath for the info. I was also told that the
|
||
other divisions just paid monies to Coin-Op but did not supply the number
|
||
of units sold or other info. With the new organization I would hope that
|
||
this information would be available. The kind of information I would like
|
||
to see with our bonus checks is 1) Coin-Op units sold (at full price) 2) those
|
||
sold at a loss (thus no royalties for them) 3) Coin-Op kits sold (as
|
||
above) 4) same for 2600, 800, 5200 and ATARISOFT.
|
||
|
||
|
||
Ed Logg
|
||
|
||
P.S. They (Marketing) released the 2600 Millipede on Monday before they
|
||
could test the cart for the required 40 hrs. There was a screen
|
||
roll failure after 35 hrs. So by the book they should not have
|
||
passed the cart for release.
|
||
___________________________________________________________________________
|
||
From: KIM::RAY 1-FEB-1984 15:10
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: Complaints
|
||
|
||
To: Unhappy People
|
||
From: John Ray
|
||
Subject: Complaints Date: 1/31/84
|
||
|
||
I would like to let you all know what the current status is with the
|
||
complaints that have recently been voiced. I see the complaints
|
||
falling into the following subjects:
|
||
|
||
1. Consumer conversion of Coin-Op originals without Coin-Op inputs.
|
||
2. Designer credits in the Coin-Op product.
|
||
3. Bonus issues.
|
||
|
||
MY VIEWS
|
||
|
||
1. I agree that we need to have a great deal more involvement in
|
||
consumer conversions of our products. I talked to Steve about this
|
||
when he gave me the Crystal Castles Cartrige one working day before
|
||
it was to be released. He agrees. I'm sure that it will be much
|
||
more convenient to interact with the Consumer Programmers when they
|
||
are in our building. I'm sure that the Consumer management and
|
||
programmers will be happy to hear any input you have on one of your
|
||
games. For the long term, I will work with Steve to formalize the
|
||
procedure of giving feedback so that we do not repeat past mistakes.
|
||
|
||
2. When the Consumer designer credits policy was announced, I was
|
||
given the task of coming up with a policy for Coin-Op. I did this
|
||
over Christmas and submitted my proposal to the Team Managers right
|
||
after the holidays. I incorporated some of their suggestions and
|
||
submitted the proposal to Dan Van and Steve Calfee on 1/11/84. Dan
|
||
has submitted my proposal to Skip Paul and John Farrand, but with all
|
||
the recent organizational changes there may be a longer delay than
|
||
normal. Please have a little more patience.
|
||
|
||
3. There are many bonus issues, most of which I have not discussed
|
||
with Dan Van. He IS looking into getting rid of the "Golden
|
||
Handcuffs" (40/30/30) and getting an "advance" on royalties. I will
|
||
discuss with Dan the other issues that have been brought up as well
|
||
as going over the mail messages received on this topic.
|
||
|
||
I think bringing these issues out into the open is healthy, but I
|
||
don't want you to feel like you have to have a revolt to get me or
|
||
Dan to listen to you. Dan always personally answers any written
|
||
messages you send to him. I always answer questions to the best of
|
||
my ability, and take questions to Dan that I cannot answer. I was
|
||
already addressing the issues that Franz has brought to my attention.
|
||
The problem is that these types of things take longer than you would
|
||
expect. You may think that it is absurd how long things take, but
|
||
remember that designing a game also always takes longer than anyone
|
||
expects.
|
||
|
||
One last comment, courtesy of Chris Downened: "Junk" goes to lots of
|
||
people who do not participate in the Product Bonus Plan at all. They
|
||
may not appreciate hearing about our concerns regarding this plan. It
|
||
might be better to use "@sys$mail:engineer.uaf" or a similar
|
||
restricted audience.
|
||
|
||
Thanks!!
|
||
John
|
||
___________________________________________________________________________
|
||
From: KIM::DOWNEND 1-FEB-1984 17:22
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
|
||
to: Franz
|
||
from: Chris Downend
|
||
Subject: Response to Boscole Memorial Letter
|
||
|
||
First of all, rest assured the issues you mention ARE being
|
||
worked on - they are constant topics at meetings I attend.
|
||
Everybody seems to be involved in making decisions these
|
||
days. This ensures all viewpoints are heard but with a horrible
|
||
speed penalty.
|
||
|
||
The solution is to keep plugging away and enlist support as
|
||
you have! By the way Franz, you are certinly a valued
|
||
employee with clout - one thing Atari undeniably
|
||
values is people that can produce successful products and
|
||
you have certainly done that with Crystal Castles.
|
||
|
||
I have unique perspective on the situation since I
|
||
have programmed games at the "bottom" and at the
|
||
same time I have seen the decision-making process
|
||
at the "top" - I can empathize with both sides.
|
||
|
||
One word of caution though, I note that you suggest dialogue
|
||
thru VAX and the "Junk" heading which routes the text to
|
||
everybody on the VAX including employees who do not
|
||
share in the Product Bonus (royalty) and they just
|
||
might not appreciate hearing about our lofty concerns
|
||
about credits and amounts of bonus since they
|
||
get neither. May I suggest the @sys$mail:engineer.uaf heading or a
|
||
similar restricted audience. Management must be sensitive to
|
||
the feelings and desires of many diverse groups inside
|
||
Engineering and this complicates and lengthens the decision-making
|
||
process. A snap decision to address the issue bothering
|
||
one party may upset another party - management has to
|
||
consider the whole picture sometimes.
|
||
|
||
On Royalities: Yep, Atari can screw us anytime they want.
|
||
I do not think they would for fear of a lot of people
|
||
leaving. The Company has to protect itself. Please realize
|
||
that thru much of 1983, Atari paid bonuses
|
||
even though Coin-op was not making money - we
|
||
were operating in the RED and still paying bonuses ! Now thats
|
||
commitment. Of course that cannot go on for too long or else the
|
||
whole Company goes down. That's the reason Atari has escape
|
||
valves built in to Bonus plans - it's not really too
|
||
screw the employee, but instead to protect the well-being
|
||
of the Company.
|
||
That's the price you pay for the luxury of a steady salary
|
||
and a ready-made work environment including PEOPLE and
|
||
technical support. Personally, I have not been screwed,
|
||
and in fact I have found that Atari has handsomely rewarded hard work
|
||
and a willingness to support the Company. Maybe my expectations are
|
||
lower than those who feel screwed - or maybe they valued themselves
|
||
more than they were really worth.
|
||
Management does care and Changes are in the
|
||
works, they just take a long time especially when the players
|
||
keep changing( J. Ray becomes Director, then Calfee leaves, then
|
||
Farrand leaves etc. - you have to keep re-educating the new players).
|
||
Changes ARE underway (no promsies, but people want to fix
|
||
these things if possible):
|
||
-get rid of golden handcuffs
|
||
-generate an advance close to initial production
|
||
|
||
As for the "millions" Atari made on Crystal Castles, well
|
||
lets see:
|
||
sales as of 1/13/84: 4363 uprts; 450 cocktails
|
||
sales revenue (approx): $2095*4363 + 1695*500 = $9.98M
|
||
[price was reduced in DEC(?) to $1000(?)]
|
||
cost of goods sold(fully burdened):$971*4363+971*500=$4.73M
|
||
Engineering Expense for Crystal Castles: about $1M
|
||
Engineering Expense for games that don't make it: unknown
|
||
Sales/Marketing Expense: unknown
|
||
Engineering Bonus expense:(.015*9.98M)=.15M
|
||
Pre-tax Income: 9.98-(4.73+1+.15)= $4.1M
|
||
After taxes (50%): $2.05M
|
||
So the Company retains earnings of a couple of million to get thru
|
||
the many dry spells this industry faces or to buy new equipment etc.
|
||
Also note that Atari had to build about a 1000 games to break even
|
||
on the Engineering costs. Thus, profit doesn't really appear until
|
||
1000 games are built, but Atari pays bonus anyway. I agree 7 months
|
||
is a bit long to wait, but Atari has not made all that much and the
|
||
product was not profitable until long after the intial production
|
||
started. Product Bonus was paid quarterly at one time; we should go
|
||
back to that scheme.
|
||
|
||
As for the 1% or 2%, I don't see a problem there - after all, Atari
|
||
doesn't start making any significant money on a product till a few
|
||
thousand are sold so it makes sense to reduce bonus funding till
|
||
a thresold is crossed. I would however like to see another
|
||
threshold at about $50M when the percentage increases to 5%. A game
|
||
that can generate that much sales is a spectacular achievement
|
||
for the creators and they deserve the reward at that point.
|
||
|
||
The Quality of 2600 carts is the pits - no doubt about it. The
|
||
system was introduced in 1977 so it is SEVEN years old. I think
|
||
Breakout and Space Invaders are decent renditions of the
|
||
coin-op originals and those are 1976 and 1979 games respectively.
|
||
But with 14 million 2600's out there, financial issues outweigh
|
||
asthetic issues.
|
||
I don't think the public would even buy Crystal Castles on a 2600
|
||
so everybody loses - you and Atari. Again, we've got new
|
||
management and they have to learn from their own mistakes. By the
|
||
way, Calfee knew the 2600 Crystal Castles was lousy and tried
|
||
to stop it, but he was overuled. When Marketing wanted to do the
|
||
same thing with Millipede (release the cart with a bug), Steve
|
||
had to go all the way to J.J. Morgan. Fortunately, Morgan
|
||
agreed with Steve and the release was postponed. One thing to
|
||
remember though, Coin-op profits are small potatoes compared with
|
||
Comsumer profits so every decision is heavily weighted toward
|
||
maximizing profit in the Consumer arena. So, anticipate feeling
|
||
screwed with respect to the quality of carts - it won't change - too
|
||
much money is a stake. The virtue of Coin-op is extensive
|
||
creative freedom (in game design and hardware base)
|
||
since original work is the lifeblood of the
|
||
Industry. Coin-op also gives you bearable schedules allowing you to do a
|
||
satisfying job. And to my knowledge, Coin-op has yet to sacrifice
|
||
quality to get an on-time delivery. Firefox was supposed to start
|
||
production 1/23/84; millions in parts are all staged ready for
|
||
production, but it has not started (1/31/84) because the software
|
||
is not ready.
|
||
|
||
|
||
Now for Credits: Coin-op credits are more complex than Consumer
|
||
credits since more people are involved and people get their
|
||
feelings hurt if they are left out and they feel they contributed
|
||
just as much as so-and-so and so-and-so got their name on the game...
|
||
see my point? John Ray has been working on this as well as
|
||
trying to learn about being a Director and managing the
|
||
Project Office. Maybe its could have happened faster, but John
|
||
manages by concensus which takes even more time.
|
||
John has apparently sent his recommendation to Van Elderen/Paul/Farrand
|
||
for appproval prior to publishing the rules for
|
||
credits on the audio-visual portion of the product.
|
||
How does seven names in video for the
|
||
audio-visual portion strike you?? We do not want 8kbytes of
|
||
EPROM used up putting 500 credits in the game.
|
||
By the way, Star Wars got their names in the game because they did it
|
||
and did not tell anybody about it. If your ethics were equally
|
||
low, Franz, you could have done it in Crystal Castles too.
|
||
|
||
What's all this mean? I don't know. I hope it helps though.
|
||
|
||
- Chris Downend
|
||
___________________________________________________________________________
|
||
From: KIM::WHITEBOOK 2-FEB-1984 12:30
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: BOSCOLE II
|
||
|
||
|
||
I'll jump in at his point in the discussion re: BONUS.
|
||
|
||
Many of you may not know this, but after devoting my first year here
|
||
to developing the graphics and gameplay on a game which sucessfully made it
|
||
intoproduction (MAJOR HAVOC), I was quite suprised to find out accidentally
|
||
during an unrelated hallway encounter that I WAS NOT BEING CONSULTED AND/OR
|
||
EVEN INFORMED AS TO BONUS DISTRIBUTION. Of course, this problem has since been
|
||
rectified. However, if I had not inadventantly asked JUST THE RIGHT, SPECIFIC
|
||
QUESTION to the RIGHT PERSON at the RIGHT TIME, it would have been too late
|
||
to DO anything at all about
|
||
BONUS!
|
||
|
||
In addition, during the negotiations on that delicate subject of
|
||
BONUS PARTICIPATION, several unexpected suprises kept poking up their noses.
|
||
What this means is, of course, that the system as it has been known in the
|
||
past is now in a period of flux. From my standpoint, that's all for the better.
|
||
Now, in the aforementioned BONUS MEMO which makes provision for
|
||
modifications as management decides is fitting and proper, I would like to point
|
||
out that it makes a special and specific mention of the broadening of the CORE
|
||
GROUP CONCEPT to include the new significant contributors to today's modern
|
||
coin-op games, i.e. ANIMATORS. Of course, it doesn't guarantee that just any
|
||
lackluster tell-me-what-to-do-and-I'll-draw-it-for-you attitude will be rewarded
|
||
indiscriminately, but creative incentive and contribution to a game is something
|
||
that JUST CAN'T BE IGNORED... unless one wants to supress creativity it must
|
||
have room to flourish and IT MUST BE PROPERLY NOURISHED. (This means BONUS)
|
||
|
||
So, if the GOLDEN HANDCUFFS don't fit right anymore they should be
|
||
reshaped to fit with the loving skill of the patient craftsperson... but they
|
||
should be fixed right.
|
||
|
||
Thanx,
|
||
Barry
|
||
___________________________________________________________________________
|
||
From: KIM::SUTTLES 2-FEB-1984 13:42
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: BOSCOLE MCMLXXXIV
|
||
|
||
|
||
I have been watching these soaps with some interest. I find a wry
|
||
humor in them which might just be unique, and would like to share this with
|
||
you.
|
||
|
||
Some background context:
|
||
At all the places where I worked before (in a "production" shop,
|
||
either as an applications programmer or as a systems programmer), there was
|
||
no bonus program. I was considered to be a very low level of management,
|
||
and thusly was paid a salary. Consistent with that, if the job required
|
||
extra effort, I was expected to put out that extra effort, cuz it was my
|
||
job. That was part of the commitment. When things went well for the
|
||
company, I enjoyed better job security. When things didn't go as well
|
||
for the company, I did my best to correct that where I could. It was part
|
||
of my job. It wasn't till I came to Atari that I was involved in any
|
||
bonus plan at all.
|
||
|
||
Since I do not contribute directly to the end product, I am not
|
||
eligible for bonuses of the type that is currently under fire. To keep
|
||
me from grumbling about it, and to prevent me "defecting" to games
|
||
programming, I am under a "management discretionary" bonus program. This
|
||
translates to: If I do a good job, I get a good bonus. If I don't, I don't.
|
||
|
||
My first bonus at Atari really blew my socks off. I had no idea
|
||
what to expect; I was anticipating a $25 or $50 Christmas gift. (On the
|
||
other hand, you guys that are handing out the bucks, now I know, and now
|
||
I would take it poorly.) It is still nothing close to the product bonuses
|
||
that you guys are so upset about. No, I am not going to give any more hints
|
||
than that.
|
||
|
||
Now for the things that amuse me:
|
||
My overwhelming reaction is simple. A bonus is a bonus. I get
|
||
paid to do my job. I am not entitled to a bonus, by definition, unless
|
||
I do my job better than is expected (and no such thing as a sliding curve).
|
||
If I happen to be better than the average joe, and stay that way consistently,
|
||
I wouldn't want managements expectations to rise to my superior level,
|
||
IN MY CASE ONLY. After all, if I was worse than the average joe, their
|
||
expectations might sink ("Don't give it to Suttles, he'll screw it up")
|
||
but their standards wouldn't--I would just be a little less likely to
|
||
survive any layoffs. A "bonus" is like a tip in a restaraunt--the
|
||
waitress cannot rely on it, it isn't automatic, and she can destroy any
|
||
chance of getting one by just not trying hard enough...which can be a
|
||
direct result of believing that the tip is a fixed amount and guaranteed.
|
||
|
||
You guys are unbelievably lucky. I can't speak for the rest of the
|
||
Bay Area, but in the places I worked before (in the MidWest), such a feud
|
||
as this could not happen. People who have the gall (guts if it worked) to
|
||
stand up in a crowd and shout "management is screwing us" usually find that
|
||
from that instant onward, management is SCRUPULOUSLY honest and consistent.
|
||
They ensure they make no mistakes, and fire the sucker by the book.
|
||
|
||
Our management here is constrained by circumstance not to point out
|
||
what I think is obvious (a bonus is a bonus). But they are NOT constrained
|
||
to agree with the outspoken few (even tho there were a lot of letters, there
|
||
are lots more who haven't spoken up). They are not required to support either
|
||
the point of view of the people. They have a company to run. They have to
|
||
make the company profitable, which takes a LOT of justification to "give away"
|
||
bonus money of any quantity. They could quite legitimately tell you guys
|
||
"TOUGH &^$%@" (sorry, Ed), and be quite within their legal, AND MORAL rights.
|
||
|
||
The point is that I can't fully put myself behind the revolution,
|
||
although I would DEFINITELY like to see everyone come out happy. (If you
|
||
think I'm going to say bonuses are revolting, think again!) It is only
|
||
here at Atari that such a discussion could come out well, and there ain't
|
||
that many places where such a discussion could exist at all.
|
||
|
||
Two final points: NOBODY wants to put out a shoddy product, or
|
||
even a product that is less than it could be. And did anyone consider that
|
||
since the merge, a lot of the people against whom the shoddy products are
|
||
blamed, are on the mailing lists?
|
||
|
||
Personal note to DanVan: When do I get the other half of my money?
|
||
|
||
|
||
Steve Suttles
|
||
___________________________________________________________________________
|
||
From: KIM::RICE 2-FEB-1984 15:17
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: RE: BOSCOLE MCMLXXXIV
|
||
|
||
|
||
Well, a touch of sanity (old school style) at last. Actually,
|
||
I, too, have been very pleased with my Mgmnt Disc boni, but
|
||
it also pleases me that my boss thinks I do some decent work
|
||
and can show it in that way. But it certainly comes under
|
||
the heading of "cake frosting".
|
||
|
||
What I hope comes out of this is a greater commitment to
|
||
quality of product--- that's what really feeds us all.
|
||
There are still too many guys saying "I don't care, it's
|
||
good enough, I just wanna get it out of here!" Those are
|
||
the ones who burn my butt!
|
||
___________________________________________________________________________
|
||
From: KIM::RAINS 2-FEB-1984 17:17
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: ANOTHER PERSPECTIVE
|
||
|
||
Since there seems to be a lot of discussion going on about various people's
|
||
lack of satisfaction at Atari, I thought I might add yet another viewpoint.
|
||
|
||
I realize that having been in "management" for so long, and most recently
|
||
becoming a "fellow" ("GUY" for short?), whatever the hell that is, that any
|
||
viewpoints I express are suspect. Still, I might be able to add some
|
||
insight due to my ten years at a little company that made good in spite of
|
||
itself.
|
||
|
||
First, as regards bonuses and all related monetary matters, I can say
|
||
without hesitation that the formulation and administration of the
|
||
engineering bonus program at Atari is absolutely the worst, most trying and
|
||
exasperating, most thankless job I ever had to do. The gripes, fears,
|
||
accusations, and general grief that the management of coin-op engineering
|
||
has had to go through in the administration of the various plans is
|
||
something I would not wish on an enemy. (I still feel a twinge of guilt
|
||
over dumping it in Dan's lap a year-and-a-half ago.) In all the time I was
|
||
handling the plan, I could only make out one general rule: THE MORE MONEY A
|
||
PERSON MADE IN THE BONUS PLAN, THE LESS HAPPY HE/SHE WAS ABOUT IT. I
|
||
received nothing but gripes from the people with the big bucks, while the
|
||
people who got considerably less, and worked their butts off in support of
|
||
our products were genuinely thankful.
|
||
|
||
Basically, what I'm trying to say is that if people could give Dan and the
|
||
other managers some support and thanks occasionally regarding the bonus
|
||
plan that the management team would be very willing try to make the system
|
||
work better for you when you had a problem or suggestion.
|
||
|
||
As regards credit for games, I am concerned that if we are not careful, we
|
||
will find ourselves in an industry which is as screwed up as the motion
|
||
picture industry. Too many people in that business are out strictly for
|
||
themselves. There is no team work on many sets because of one or another
|
||
cast members who insists on taking more credit or attention than any human
|
||
should expect, and EVERYONE is vitally concerned about CREDIT (even before
|
||
quality, in many cases). The one thing that I have always enjoyed at Atari
|
||
is the true camaraderie of the engineering group in Coin-Op. It was the
|
||
friendships and team attitudes which made Division Street a fun place to
|
||
work. (Ask an Old Timer what Division Street was.)
|
||
|
||
All this may sound a little strange coming from the man who "stole" the
|
||
credit from Ed Logg for the Asteroids project. Let me digress briefly on
|
||
this point. At the time when I was doing interviews and being given sole
|
||
credit for Asteroids, this company was run by a man who did not trust
|
||
engineers, and had a paranoia about letting the world know who our game
|
||
designers were. I was (for whatever reason) on the "approved" list as an
|
||
engineer who could do interviews with the press. I was not, however,
|
||
allowed to name names of the engineers or programmers within our department.
|
||
My standard response to the press was that I was a member of the team of
|
||
people who created Asteroids, but our own P.R. department, and the lack of
|
||
other names to associate with the product resulted in my getting credit for
|
||
much more than I ever claimed or felt. My position on the subject, now as
|
||
then, is that I did in fact INVENT Asteroids (i.e., came up with the idea),
|
||
but Ed Logg CREATED the game (i.e., turned an interesting idea into a
|
||
successful product), with help from the rest of the team and other people in
|
||
engineering.
|
||
|
||
The part about "...with help from the rest of the team..." is significant.
|
||
I am concerned that when and if the credit is given, it will get screwed up
|
||
as it has in the case of Asteroids. There will be hard feelings between
|
||
people who feel they deserved more credit than they got (especially if they
|
||
got none at all). I think that while individual credits may be important
|
||
and necessary for individuals, it may be the beginning of the end of good
|
||
team feelings and cooperation within the game design groups. WATCH OUT!
|
||
|
||
Finally, as regards coin-op programmers reviewing the consumer products
|
||
before they go out, how could I possibly disagree that the coin-op guy needs
|
||
creative approval (control?), especially when his name is going on the box.
|
||
We wouldn't want to be embarrassed now, would we? Steve Calfee and his
|
||
Damned Consumer Division Software Assholes can shove it if they think they
|
||
can get away with this kind of insolence. LONG LIVE COIN-OP, THE REAL
|
||
ATARI!! We can start another interdivisional Holy War at the drop of a hat
|
||
(or the drop of a game cart?). Back to the good ol' days of them 'n us!
|
||
Sure, we'll share the building, but share ideas? Sacrilege! They can blow
|
||
it out their VCS's! Or maybe we could join forces and revolt against
|
||
"marketing" or "management" or some other dark and evil force in the company
|
||
who is taking an unenlightened approach to running the business. It's so
|
||
easy to see and address the whole scheme of things (the pressures of running
|
||
a factory, answering to stockholders, balancing the corporate budget,
|
||
forging a new corporate management structure and a new corporate environment
|
||
in the wake of one of the most embarrassing fiscal performances of recent
|
||
history, and doing so with the lingering morale problems, etc.) from the
|
||
engineering building in Milpitas.
|
||
___________________________________________________________________________
|
||
From: KIM::SUTTLES 2-FEB-1984 17:57
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: RE: Blow it out your console
|
||
|
||
|
||
I like the idea of them .vs. us. How about the US from Atari,
|
||
and the THEM from those other corporations that are taking away our
|
||
sales, thus income, thus profits, from whence all bonus comes?
|
||
|
||
Why do we have to do ourselves in when we could be doing them
|
||
in instead?
|
||
|
||
sas
|
||
___________________________________________________________________________
|
||
From: KIM::FXL 3-FEB-1984 00:58
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: ?
|
||
|
||
|
||
Hello again.
|
||
|
||
I am overwhelmed. What a can of worms!! Jeff Boscole would be proud.
|
||
Unfortunately, I don't have time to respond to everything that has been
|
||
broadcast in MAIL recently. Nor should I, after all, I am supposed to be an
|
||
ex-trouble maker. Still, I am glad that so many of you took the trouble to
|
||
write down what is on your mind, and then broadcasting it. Scary, but
|
||
worthwhile.
|
||
|
||
This message is going to the JUNK mailing list, as did the Jeff Boscole
|
||
memorial letter. I was unaware that JUNK included via DECNET a number of other
|
||
VAXes. If I had known, I would have sent the JBML to JUNK anyway. I feel no
|
||
need for secrecy. Better to be in the open than to create inaccurate rumors.
|
||
If you JUNK readers out there are not interested, just type del<RETURN> after
|
||
the first page of a message and the message disappears.
|
||
|
||
Someone pointed out to me that it is my responsibility to inform the
|
||
JUNK subscribers of the prompt responses by John Ray, Chris Downend, and Lyle
|
||
Rains to the concerns voiced by the earlier MAIL. These responses were mailed
|
||
to ENGINEERING.UAF, a mailing list which includes only Kim Newvax users. A
|
||
printout of some of these responses is posted in the home-computer section of
|
||
1501.
|
||
|
||
Please don't blame me if you feel left out of the discussion. Fight for
|
||
royalties if you feel that you deserve them. Fight for getting credit for
|
||
your work. I am all for personalizing all of industry, everyone should put
|
||
their name to their work, good or bad. Above all fight for quality. Quality
|
||
sells, or are we in it just to make a quick buck? If you feel envious that we
|
||
in engineering receive royalties, consider that we (in coin-op) don't make
|
||
millions, only thousands, if we are lucky. We earn these royalties by working
|
||
day and night, sometimes it seems putting our whole lives into it. Even for a
|
||
successfull game designer, half the time the things don't even see production.
|
||
Usually that means a year or two down the drain. If you are unsuccessful you
|
||
get no royalties, only the nagging question: why didn't it work? If the game
|
||
sells, you don't know why either. Either way, you don't feel secure about the
|
||
whole thing. And nobody knows where the industry will be three years from now.
|
||
Can you blame us then for fighting for our second in the spotlight while the
|
||
power is still on? Without game designers Atari would not exist, just like
|
||
without a screenplay you'd have a pretty dull movie.
|
||
|
||
"A video game is not a toaster"
|
||
|
||
Sincerely,
|
||
Franz X Lanzinger
|
||
___________________________________________________________________________
|
||
From: KIM::FXL 3-FEB-1984 02:54
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: you guessed it
|
||
|
||
Hello UAF (whatever that means)
|
||
|
||
Again, I'll say that I don't have time to answer everybody in
|
||
writing, but I can't resist another contribution to the maelstrom of verbiage.
|
||
|
||
I appreciate the rather quick response from the management end of
|
||
things. But I've heard enough of 'we are working on it'. We game designers
|
||
work under tough deadlines all the time, we have to show continuous progress,
|
||
but you guys just say 'we are working on it'. I've been patient long
|
||
enough. It's time to be impatient.
|
||
|
||
Is Atari really in the 50% tax bracket? Or do you think I'm stupid,
|
||
Chris? Either way, I second Ed's motion for better accounting of royalties, if
|
||
and when we receive them. And I don't want to hear some bull about secrecy.
|
||
Why should our competition know more about sales figures than we do? Maybe the
|
||
real reason is that there just might be a few dollars missing here or there?
|
||
Not that I am accusing anyone of foul play, but the potential is there, and
|
||
foul play has occurred at this company (as in any large company) in the past.
|
||
|
||
Regarding bonus vs. royalties: Are we engineers, or entertainers? Are
|
||
we grammarians, or writers of best sellers? Are we animators or in-betweeners?
|
||
A bonus is icing on the cake for a job well done. Royalties are well deserved
|
||
rewards for directly causing huge profits (or at least a huge positive
|
||
difference in losses) for a company that is part of the entertainment industry.
|
||
Royalties are guaranteed by contracts, or at least in some legally binding
|
||
fashion. I move that guaranteed royalties be paid to us, the in-house people
|
||
responsible for the development of our games. This would be in line with
|
||
standard practice in the entertainment industry. I don't really care about the
|
||
specifics. 1% of that, 3% of the other, whatever. As long as there is some
|
||
kind of consensus of fairness, and knowing that the rug won't be pulled from
|
||
under you. And a large payoff for a really big hit would be a great incentive.
|
||
We all dream of making another Centipede. Too bad that all the big hits (30K
|
||
units or more) happened under the old bonus plan.
|
||
|
||
This is a hit business. The similarities with the movie industry can't
|
||
be ignored. Why, we are even owned by Warner. We are entertainers. I program
|
||
because I have to do that to make the game do what I want it to do. If I could
|
||
do that in English with voice input, the job would be more pleasant, but it
|
||
would be essentially the same. If the game is fun to play, its because I made
|
||
literally thousands of decisions along the way, listening to hundreds of
|
||
suggestions. If those decisions balance out into a game that people who play
|
||
coin-ops like to play, if it is tuned so that it earns well, and for a long
|
||
time, then we sell bunches of them. If the game isn't fun, if it is tuned
|
||
poorly, if it "cheats", then forget it, you can have an outstanding cabinet,
|
||
and excellent manual, not a single hardware problem, but people won't put very
|
||
much money into it.
|
||
|
||
I shouldn't forget the tremendous importance of quality animation and
|
||
sounds. Our truly amazing animators and equally astounding sound effects and
|
||
music people deserve much more credit (this includes royalties) than they are
|
||
presently getting (note Barry's message). Without Barbara Singh, Bentley Bear
|
||
would still be a robot. And the gem-eaters would still be dropping their
|
||
pants.
|
||
|
||
Oops, it's almost 3 a. m., time to get to work.
|
||
FXL
|
||
___________________________________________________________________________
|
||
From: ERNIE::CAMERON 3-FEB-1984 09:32
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Aview from the Gruntz
|
||
|
||
|
||
Since this seems to be the medium for voicing one's opinion,
|
||
here's mine.
|
||
I DO understand that the game programmer is the so called
|
||
"creator" of the game. But what would your great program do without
|
||
the hardware, display, power supply, animation, audio development,
|
||
graphics, cabinet, harness, tech support, and etc!!! What we design
|
||
here is a PRODUCT. Every person in this building (and those shoved
|
||
off to 790) plays an important role in the whole process. The team
|
||
effort is NEEDED to meet our ridiculous schedules. As soon as someone
|
||
is "better" than someone else the whole system suffers.
|
||
The game "team" works on one project for a year or more. They
|
||
are allowed to slip schedules as they go. They get to pick what project
|
||
they want to work on (generally). They have to answer to their team
|
||
leader and marketing.
|
||
I get every project. I don"t get the luxury of saying, "Oh, I
|
||
don't want to work on that game." I have firm deadlines. They rarely
|
||
get slipped. You talk about working your butt off, I work my butt off
|
||
on every project. The vast majority of Design Services hasn't seen
|
||
the sun in many months. I have worked here over five years and have
|
||
NEVER misses a set deadline. And who do I answer to? I am fair game
|
||
for abuse from:
|
||
Manufacturing
|
||
Marketing
|
||
Planners
|
||
Buyers
|
||
Customer Service
|
||
Ireland Manufacturing
|
||
Components
|
||
Team Leaders
|
||
Engineers
|
||
|
||
Vendors
|
||
Brownsville
|
||
|
||
Sales Reps
|
||
other Design Groups
|
||
my Management
|
||
Some days I want to take my phone and shove it right....
|
||
|
||
I would like to address the two specific topics at hand, first
|
||
CREDIT.
|
||
I think as soon as you give exorbitant credit to a "few",
|
||
you slap everyone else in the face. Where do you draw the line
|
||
on who gets credit?
|
||
Some say the difference is creativity. Designing anything
|
||
involves creativity. But when you get to the bottom line any design
|
||
is performing a task. I'm sure most of you reading this think that
|
||
my job involves no creativity. If that was true I would get a new
|
||
job. I am constantly researching new methods and new products to
|
||
improve the quality and cost of my product. Often I am thrown
|
||
problems that can't be solved without getting "creative". And i
|
||
do like getting involved in other aspects of Enginnering that are
|
||
more creative. I don't just "do-my-job".
|
||
If you are going to give credit for creativity, then
|
||
everyone of us that walks by a game and says, "gee, wouldn't it
|
||
be neat if the guy swung from the trees upside down!" has helped.
|
||
And what about all the people that were creative for a year or
|
||
more but Atari chooses not to produce their game? A lot of the
|
||
time it isn't necessarily their fault it wasn't marketable.
|
||
|
||
BONUS
|
||
A bonus is a bonus. I would love to get much, much more.
|
||
I'm not included in the game bonus. The reason must be
|
||
because.......I don't do anything (?)
|
||
|
||
Love and Kisses,
|
||
Giggles and Wiggles,
|
||
Carole
|
||
___________________________________________________________________________
|
||
From: KIM::OLIVER 3-FEB-1984 10:37
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: VIEW #1243.
|
||
|
||
|
||
Here's another view on royalties and bonuses. But first I should tell you
|
||
that I'm a them. I've done VCS carts for several other companies and just
|
||
completed a computer game for Atari.
|
||
|
||
I'll give you my definition of royalty and bonus for what it's worth (so to
|
||
speak).
|
||
|
||
BONUS: Something of value given to someone for a job well done.
|
||
Keyword - given.
|
||
|
||
ROYALTY: A method of payment for a service performed.
|
||
|
||
Companies don't give money away, they earn it or should. If a company
|
||
could get away with paying employees 10 cent a day they would and should
|
||
because that's the U.S. way. The reason a company pays royalties is to
|
||
retain and keep key personnel. Royalties are not only given to entertainers
|
||
and artist, but to anyone who is a short commodity. Salesmen recieve
|
||
commissions in addition to other compensations in order to attrack and
|
||
keep the best. Top level executives recieve stock options to attrack and
|
||
keep those few who have the talent to turn a little into a lot.
|
||
|
||
My point is that royalties are earned. And I get very upset when people
|
||
refer to royalties as a gift. It's like the gifts I give my Doctor,
|
||
Lawyer and IRS. People who see royalties as a gift either don't warrant
|
||
a royalty or are very naive about their worth. I also resent opinons that
|
||
someone who recieves a royalty would think they are more important or even
|
||
more vital to the company.
|
||
|
||
I believe Atari's management (present history) is fair and concerned. But, I
|
||
also know that chaos is Atari's only communication system and therefore
|
||
policies take forever to be drafted. So I think we should keep after what
|
||
we want, but I don't think it's time to burn the place to the ground.
|
||
|
||
|
||
Dan
|
||
___________________________________________________________________________
|
||
From: KIM::RUBIN 3-FEB-1984 11:07
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: a different view......
|
||
|
||
|
||
BONUS. Noun 1: Something that is given in
|
||
addition to what is usually or strictly due.
|
||
2:a Brit: Dividend b: Money or an equivalent
|
||
given in addition to an employees usual
|
||
compensation. c: a premium given by a
|
||
corporation to a purchaser of its securities
|
||
to a promoter, or to an employee d(1): a
|
||
government subsidy to an industry. 2:
|
||
a government payment to war veterans. 3:
|
||
A sum of money in addition to interest or
|
||
royalties charged for the granting of
|
||
a loan or privilege to a company, or for
|
||
the leasing or transfer of property.
|
||
|
||
That is Webster's 7th definition of the word bonus.
|
||
I do not see anywhere in that definition where it says that
|
||
Atari (or any other company for that fact) MUST pay a sum
|
||
of money to an employee based on sales of a product
|
||
designed by that employee or employees. (hey Lyle, I made
|
||
big bucks and I'm am for sure NOT complaining!!!)
|
||
Now don't get me wrong. I know alot of you will
|
||
now say..."sure...you did ok by the plan, its easy
|
||
for you to say". But that is not the point. I waited
|
||
almost 6 years before I got a product which made bonus.
|
||
I did not expect EVER in the 6 years to be paid a bonus
|
||
and I did not stay at Atari for the bonus either. I got
|
||
lucky enough to have a product which made bonus for me at
|
||
the right time and the right place. For that Bonus I am
|
||
thankful to Atari.
|
||
However, I do not think that any of you would NOT
|
||
be working at Atari if there were NO bonus plan. I know that
|
||
it was not really a decision when I started working here!
|
||
I think the bonus plan is a great idea, and now that I've
|
||
been included I might feel differently if it were to go.
|
||
However, we are all paid a nice salary to do our job.....
|
||
.....DESIGN GAMES. Bonus is exactly what the definition
|
||
says it is...EXTRA. If you are designing a game strictly
|
||
for the bonus it will earn you, then you are in the wrong
|
||
business!
|
||
Ok....Atari has a BONUS PLAN. They have always
|
||
had some kind of incentive plan for the designers of
|
||
games. I would not want to see it go. And since most of
|
||
you did come onto Atari knowing that there was some sort
|
||
of plan, it may be a very good reason to stay now. But
|
||
lets give Management a break here. I am sure John Ray,
|
||
Steve Calfee and Dan Van have had it up to the top of
|
||
their heads with grips. If Atari is going to have a
|
||
plan, I feel somewhat sure that the plan will be in the
|
||
best interests of both the company and the designers!!!
|
||
I have LOTS AND LOTS of gripes with the plan myself. I
|
||
do not like the way it distributed for example. I
|
||
am fairly sure that no matter what plan were to become,
|
||
there would always be gripes. Not everyone is going to
|
||
be happy all of the time!
|
||
So...I must agree with Steve Suttles in his
|
||
feelings that we should feel lucky to have ANY plan
|
||
at all. After all, it is a BONUS, not a ROYALTY!!
|
||
|
||
Maybe we should change the subject of these
|
||
gripes to suggestions for what you might like to see
|
||
in a bonus plan. Who knows, it just might get somewhere!!!
|
||
|
||
As for credit on the games.....Who cares?????
|
||
How many of you sit through the credits at the end of
|
||
a movie or TV show. How many of you read every credit
|
||
in a book?? Who is the best reporter for the S.J. Merc.??
|
||
Damned if I know!!! Part of me says "yea, credit might
|
||
be nice", but then I think about it a bit longer. I
|
||
use to joke about a credit screen, with 50 or so names
|
||
running up the screen after each game:
|
||
Designed by:
|
||
Programmed by:
|
||
Engineered by:
|
||
Graphics by:
|
||
Animation by:
|
||
..........................etc
|
||
Gads!!!! What a bunch of junk!!!! I really don't care if
|
||
my name gets on the screen or not! But I know that if names
|
||
were to start showing up on screens, one would have to be very
|
||
careful not to leave ANYBODY out!!! I don't want that
|
||
responsibility in my program! And what happens to credits when
|
||
you need to squeeze 100 more bytes into a program???? Maybe
|
||
we could just print a small box on the side of the game with
|
||
everybody's name in it??? WOW!!!! My only gripe with credit
|
||
is that Atari did not want our names used in the media if we
|
||
were interviewed. That is no longer a restriction! There is no
|
||
more gripe!!!
|
||
|
||
The bottom line????? This has all gotten way to far
|
||
out of hand. Are the rest of you really only staying at Atari
|
||
for the money and the credit??????
|
||
|
||
Owen
|
||
___________________________________________________________________________
|
||
From: KIM::LIPSON 3-FEB-1984 11:19
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: e
|
||
|
||
|
||
just after i wrote this, I read Owens... Owen, me too.
|
||
|
||
excerpts from what I wrote that Owen didn't say:
|
||
|
||
No 'creative' person here is taking any risks beyond a lowered reputation
|
||
(and less job security, Steve) while working on a project. The company has
|
||
all legal and considerable moral claim to all profits made on a project where
|
||
it assumed all costs of development. The long hours everyone works in the
|
||
'creative team' are really self-imposed and maintained more by peer-pressure
|
||
than by orders from management, so don't try bitching to me that you are
|
||
owed for them.
|
||
Most exciting projects come either with explicit targets (eg. FIREFOX or
|
||
GARGOYLES) or are pushed because you'll be able to do more projects and
|
||
get better marketing/manufacturing response by speeding development.
|
||
If it really bothers you to work under those deadlines, only work on
|
||
projects where you yourself can propose a schedule you can meet with an
|
||
acceptable amount of work. Since no-one around here is willing to refuse
|
||
to meet 'unrealistic' schedules, everyone has worked excessive hours on
|
||
occasion- but most DONT make overtime pay- you do it because you think it
|
||
will pay off in: better product/better support/you won't look like an asshole
|
||
for agreeing to a deadline and missing.
|
||
Anyone who really wants more credit than ATARI is willing to give, or more
|
||
money than ATARI is willing to give, must take the risk that other ATARI
|
||
expatriots have taken and assume more risk (that is, COST) of development.
|
||
Then you have all the control you want. Remember, 'your' game is ATARI's,
|
||
and milking it for all the bucks it can is the prerogative the company has.
|
||
|
||
I'm all in favor of pressuring the company for
|
||
as much bonus as we can get. Just as in baseball, the burden is not on
|
||
the players to resist making unreasonable demands- it's on the owners to
|
||
determine what the company can afford. I think the issue of credits would
|
||
have been best left to the realm of the individual game designers, and let
|
||
the team fight it out without management interference.
|
||
I don't see anything but stupidity in failing to consult a
|
||
coin-op designer in developing a cross-over game; at least smile politely
|
||
at his input before it's ignored.
|
||
|
||
BUT don't let this issue get too deeply under your skin. Some anger is
|
||
appropriate in redressing particular issues, but don't generalize it into
|
||
a feeling that you're working in an environment where you're sure to be
|
||
burned sooner or later. I've worked before where people bitched too often
|
||
and were unable to fully enjoy their work- and I'm not there anymore.
|
||
Nothing can ruin everyone's work environment more than an unwillingness to
|
||
feel rewarded by what you're doing, regardless of bonus or salary. Ever
|
||
since I've been here this discussion has simmered, occasionally boiling.
|
||
It will continue to do so. Like your mama used to say, think of the
|
||
starving Armenians (didn't your mother say that?) and eat your food.
|
||
Noone here is out to get anyone- it's a big group of people with very
|
||
diverse perspectives on what a product is and who's responsible for
|
||
what. The diversity is also a benefit- we are exposed to a great range
|
||
of disciplines here, with a lot of resources to devote to various loosely
|
||
related products/projects. Don't blow it.
|
||
___________________________________________________________________________
|
||
From: KIM::PETROKA 3-FEB-1984 11:33
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: a response to Rubin
|
||
|
||
|
||
I sit and read the credits at the end of movies.
|
||
-CP-
|
||
___________________________________________________________________________
|
||
From: KIM::LOGG 3-FEB-1984 11:42
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Guess?
|
||
|
||
|
||
This has gotten out of hand! I am NOT mad at Atari about the
|
||
Bonus program or credits. Personally if I added my name it would be
|
||
hidden away where you would be lucky to find it. I was mad at the
|
||
marketing management for their lack of quality control but there was
|
||
some good news!
|
||
My goal was to get the issues out in the open and to get
|
||
people thinking, NOT make them mad at management. Now this is my last
|
||
message on the subject because I have work to do. If you have comments
|
||
please see me and we can discuss them.
|
||
___________________________________________________________________________
|
||
From: KIM::MAHAR 6-FEB-1984 10:12
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: Webstr, New words
|
||
|
||
|
||
The file [MAHAR]NUWORDS.DOC lists the new words that have been added
|
||
to Websters dictionary.
|
||
___________________________________________________________________________
|
||
From: KIM::FXL 6-FEB-1984 16:19
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: apology and fate
|
||
|
||
|
||
I'm very sorry that I offended some of you. I am relatively new here. I lead a
|
||
sheltered life over here, I bet a lot of you out there do too. The many many
|
||
people who work here all contribute in various ways to our successes and
|
||
failures. Team-work is essential.
|
||
|
||
Regarding game credits, there are many advantages to having no credits at
|
||
all (except of course the Atari name, not to mention whoever the game was
|
||
licensed from). The biggest advantage seems to be that noone will be
|
||
upset that they aren't included.
|
||
|
||
Still, credits are inevitable. They will come, sooner or later. The process
|
||
has already begun. Many other video-game and even computer software companies
|
||
have credit policies. Atari home cartridges even have credits on the boxes, or
|
||
in the manuals. And the day will come when live actors will appear in video
|
||
disc games. It would be difficult to hide the names of those actors, not to
|
||
mention that they probably would be members of the screen actors guild.
|
||
|
||
Regarding royalties, or bonus, may the better company win. Imagine
|
||
a company that gives credit and royalties where credits and royalties are due,
|
||
namely to everybody, on a project to project basis. Such a company would
|
||
attract the best people, then produce the best entertainment products, and
|
||
then stomp the competition into the ground. I hope that company will turn
|
||
out to be Atari.
|
||
|
||
Sincerely, (until next year)
|
||
Franz
|
||
___________________________________________________________________________
|
||
From: KIM::FXL 6-FEB-1984 23:17
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: PPS data crunching
|
||
|
||
|
||
Hello PPS users,
|
||
|
||
There now is a way to bypass the conversion on the PPS and do data
|
||
conversion on the VAX instead. This means that you can take the original
|
||
.PIF files that the animators work with, transfer them (without converting
|
||
them on the PPS) to the VAX, and run them through a FORTRAN conversion program
|
||
or two to get them into a format that the DIO (and your hardware) can
|
||
understand.
|
||
|
||
Currently the following are supported
|
||
[FXL]GP.FOR : 16x16 or 8x8 stamps, 4-bits deep. Automatically breaks
|
||
up larger picture buffers into component stamps. Takes
|
||
as input a list of .PIF files, and picture buffer lists,
|
||
and produces one .INT (intermediate) file ready for
|
||
post-processing.
|
||
|
||
[FXL]GM.FOR : takes a .INT file and produces hardware specific .LDA
|
||
files.
|
||
|
||
More info in the comments (yes indeed, there are comments in this code).
|
||
Use at your own risk. Best would be to talk to one of us (Kelly Turner
|
||
or Franz Lanzinger) and we'll be happy to estimate the amount of work
|
||
you would have to do to code your own GM, or to improve GP to handle
|
||
other stamp sizes, optimize stamp use, etc.
|
||
|
||
Happy crunching
|
||
|
||
Franz
|
||
___________________________________________________________________________
|
||
From: KIM::RUBIN 12-MAR-1984 11:27
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Jeff Boscole...there is hope
|
||
|
||
|
||
For those of you who knew Jeff Boscole, you knew what a nut that guy
|
||
could be in his letter writting. For those of you on his "mailing list",
|
||
you need no more proof than to read his 6 letters a week (of some 6 pages
|
||
each).
|
||
For those of you who did not know Jeff, most of his writtings should
|
||
be taken lightly, with an open mind and a good sense of humor. In most cases
|
||
his letters simply run on and on and usually say very little!
|
||
|
||
However, I just received a letter (ANOTHER!!!!) from Jeff written to
|
||
the Washington State Lottery Commision regarding computer gambling! If you
|
||
received your own copy, you may stop reading now. If you did not... I thought
|
||
a number of you might just like to see this one. Not bad and all on one piece
|
||
of paper:
|
||
|
||
Dear Commisioners:
|
||
|
||
I worked for several years as a professional video-game designer
|
||
at Atari, Inc., and I'd like to register sentiment regarding the
|
||
"newly operational" computer gambling system, curiously concidental
|
||
with WPPSS #2 fire up.
|
||
|
||
The video-game industry is not without ethical standards; in fact,
|
||
by some, it is regarded as within the domain of "medical electronics."
|
||
As game designers, we were carefully instructed to conform to rather
|
||
severe standards of discipline. One of these stiff regulations
|
||
concerned this area of "computer gambling" as our video-games could
|
||
not be sold in many states across the nation if the game in any way
|
||
could be construed as a gambling device. You will notice, for
|
||
example, that no game offers "bonus games" as a reward for playing
|
||
proficiency; we could merely offer "bonus lives" or "bonus time".
|
||
|
||
There is another reason for these stringent gambling prohibitions.
|
||
Within the programming profession there is an unwritten code of ethics
|
||
derived in part from our attitudes about electronics and computer
|
||
science. We feel that the nature of the computer itself is antithetical
|
||
to the concept of gambling, and to promote this confustion within
|
||
the public mind may become contra-indicative to the interests of
|
||
justice and education. Philosophically, that arrangement destroys
|
||
some fundamental cybernetic relationships by mixing up the sacred
|
||
with the profane. Of course computers can produce pseudo-random
|
||
numbers, however, there are many of us who, very frankly, do not
|
||
want to see machines used for any gambling purposes, or to receive
|
||
any such approval and authorization from the state. Also, we feel
|
||
that any centralized processing arrangement incorrectly pprtrays the
|
||
essence of computer science, somewhat analogous to the fundamental
|
||
statements of economics which also disallow and centralization of
|
||
economic theory. I am acquainted with the accounts of numerous cases
|
||
within the courts in various scattered locations currently disputing
|
||
the issue of gambling at remote terminals within literary discussions
|
||
pertinent to our contemporary industry. As we believe computer
|
||
gambling is a perversion of the design architecture, we do not support
|
||
it, and those court cases may very likely find computer gambling
|
||
inappropriate.
|
||
|
||
Many other more suitable methods are available for exposing
|
||
public consciousness to the awesome power of a computer. Also,
|
||
we feel that some of the fun is subtracted from gambling by
|
||
having a machine automate the gambling process. Along these
|
||
lines, I an aware, for example, that some brokerage houses tried
|
||
computer-regression forecasting on Wall Street and utilized some
|
||
artificial-intelligence automated trabsaction routines. Since
|
||
then, I understand that many of these former computer-linkups
|
||
have been pulled off-line, as the stock brokers found their own
|
||
trading processes more adequate and perhaps more reliable.
|
||
|
||
Also, there is a danger that computer gambling might instill a
|
||
psychic disestablishmentarianism which could very easily lead to
|
||
social disestablishmentarianism and the annihilation of our legal
|
||
system.
|
||
|
||
Sincerly,
|
||
Jeff Boscole
|
||
|
||
(this was cc to a large list, including 2 TV stations)
|
||
|
||
Personally, I think Jeff did a great job here. There may indeed
|
||
be hope for him in the everyday world after all!!
|
||
-Owen-
|
||
___________________________________________________________________________
|
||
From: KIM::MENCONI 12-MAR-1984 14:43
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Boscole & gambling--I don't get it
|
||
|
||
|
||
I would like to know what percentage of the Coin-op designers agree with
|
||
Jeff Boscole's views about computerized gambling. I have only recently come
|
||
into Coin-op so I am hardly an expert. Nevertheless, it seems to me that
|
||
an electronic gambling machine that is designed to be marketed only in
|
||
areas that gambling is legal should be vastly more fun than current slot
|
||
machines (and head & shoulders above the electronic poker and black jack
|
||
games). I would think that this would translate into vast sums of money.
|
||
Perhaps this opinion shows that my moral fiber is loose weave or perhaps
|
||
gambling isn't really that profitable. Either way, I hope that someone more
|
||
experienced in Coin-op games will reply and set me straight.
|
||
|
||
Dave
|
||
___________________________________________________________________________
|
||
From: KIM::ALBAUGH 12-MAR-1984 16:06
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Video Gaming
|
||
|
||
|
||
I doubt that my moral fibre is more (or less) tight than
|
||
the rest of those on this Junk-line, but while I have no
|
||
MORAL objection to video gaming, I do have a practical
|
||
one, to whit: We have enough trouble with River-City
|
||
blue-noses without actually getting in bed with those who
|
||
tend to control gambling in this country. One scandal,
|
||
even if it did not directly include our machines, could
|
||
be the foundation for outlawing video games in a lot of
|
||
counties, or states. This could result in far more loss
|
||
of revenue than we got in the first place from our gaming
|
||
machines. Also, Bally virtually owns the gaming machine
|
||
business, and are not nice people to mess (e.g. compete)
|
||
with.
|
||
Mike
|
||
___________________________________________________________________________
|
||
From: KIM::RUSTY 12-MAR-1984 19:03
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Games of skill vs. games of chance
|
||
|
||
|
||
On the subject of skill games vs. games of chance and ignoring
|
||
(for the moment) who controls the gambling industry in this
|
||
country, I find it more objectionable to waste money on a game (video or
|
||
otherwise) that is based soley on luck (ie. slot machines, roullette, etc.)
|
||
than to waste money on a game that involves skill.
|
||
The payoff on a game based only on random events is completely
|
||
pre-determined before you ever put money in it. The house determines its
|
||
cut and pre-sets its machines to give payoffs accordingly. Anyone who
|
||
plays a game such as this will ALWAYS lose in the long run. In addition,
|
||
there is no payoff to the player other than money and the emotional rush
|
||
of winning it (IF you win any).
|
||
The payoff on a game that includes skill as well as luck can still
|
||
be pre-adjusted to provide a desired house percentage, but unlike the
|
||
completely random game, the payoffs go to those who have mastered the skill.
|
||
Also, even if money is not returned, the player still receives a payoff in
|
||
the form of personal satisfaction when he increases his skill level.
|
||
However, someone who plays such a game MAY win in the long run. For the
|
||
game of blackjack, these people are known as card counters and once
|
||
identified by a gaming house are usually told not to return...
|
||
This brings up one of many problems with games of skill that
|
||
include monetary payoffs (ie. that those who have mastered the skill are
|
||
no longer permitted to participate). This problem does not arise in
|
||
the case of non-monetary payoffs (such as regular video games) in that
|
||
by giving extra time or extra lives (or even extra games), only the
|
||
amount of game play is extended and even the most rigourous player will
|
||
eventually drop from exhaustion.
|
||
Another problem exhibits itself if the game is a multi-player
|
||
skill oriented game with monetary payoffs. As an example, consider a
|
||
multi-player space war type game where you win money by eliminating other
|
||
players and receiving what they have won so far. The house percentage
|
||
could be falling into the sun. What do you suppose would happen out in
|
||
the parking lot if you overheard the guy in the next console scream "I just
|
||
got a ship worth $10,000!" and you had just been about to return that
|
||
much to your home base before some turkey blew you out of the sky...
|
||
I feel that the attraction of a skill based game with some sort
|
||
of payoff is greater than a random event based game. Unfortunately, I
|
||
dislike most of the side effects which would also be introduced with
|
||
such a game. (The regulatory agencies of the gaming industry have a
|
||
pretty tough time with just random based games!)
|
||
|
||
I've rambled on long enough as it is...
|
||
|
||
Randomly,
|
||
Rusty
|
||
|
||
P.S. The computer is only another tool and the fact that it is used in
|
||
the process of gambling is irrelevent. Gambling has existed far longer
|
||
than the computer. The use of computers to disguise gambling and present
|
||
it as merely entertainment is something entirely different, however.
|
||
___________________________________________________________________________
|
||
From: ERNIE::MISHKIN 17-FEB-1984 14:13
|
||
To: @SYS$MAIL:COINOP
|
||
Subj: Design Services Protolab
|
||
|
||
|
||
The Design Services protolab will now be locked
|
||
from the hours of 5:00 PM to 6:30 AM, Monday thru
|
||
Friday, starting today. The lab will also be locked
|
||
on weekends.
|
||
|
||
To obtain access to the protolab area during these
|
||
closed hours, please contact Jim Pagura, Carol Branham,
|
||
or Wayne Sauter.
|
||
|
||
We would recommend that Engineering personnel use
|
||
the lab between the hours of 6:30 AM and 5:00 PM
|
||
as much as possible. Thanks in advance for your
|
||
cooperation.
|
||
___________________________________________________________________________
|
||
From: KIM::ALBAUGH 21-FEB-1984 11:58
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: Simple, but not cheap...
|
||
|
||
Hi, Coin Fans!,
|
||
|
||
For all of you who love to hate setting up
|
||
the coin routine, Ed Logg and I have a surprise.
|
||
SYS$SYSDEVICE:[UTILITIES] now has two new files,
|
||
called NUCN69 and NUCN65. These new, simplified
|
||
( and more greedy ) versions of the 6809 and 6502
|
||
coin routine (respectively) have fewer options to
|
||
worry about, and implement the new "no such thing
|
||
as two games/coin" modes proposed by Ed for video-
|
||
disk games and adopted by Marketing for all games.
|
||
|
||
Documentation for the new routines can be
|
||
found in DOC:NUCN69.DOC and DOC:NUCN65.DOC ( you
|
||
can guess which is which ). There is also a small
|
||
sample program in DOC:NCSKEL.MAC. Please give them
|
||
a try and complain about any bugs. These are to be
|
||
the new standards, so this constitutes the release
|
||
notice.
|
||
Happy Programming,
|
||
Dr. Bizzarro Albaugh
|
||
___________________________________________________________________________
|
||
From: KIM::FRANUSIC 23-MAR-1984 15:02
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: THE FUTURE AT ATARI
|
||
|
||
|
||
LATELY THERE'S BEEN SOME CONFUSION OVER THE "ORGANIZATIONAL
|
||
ADJUSTMENTS" THAT WE'VE BEEN EXPERIENCING HERE AT ATARI.
|
||
LET'S PUT IT ALL INTO PERSPECTIVE ...
|
||
|
||
AT THE END OF 1983, ATARI ANNOUNCED LOSSES OF OVER 500 MILLION
|
||
DOLLARS. THERE WAS SOME TALK THAT THESE LOSSES WERE ACTUALLY
|
||
CARRIED ON THE BOOKS OVER SEVERAL PRECEDING QUARTERS, AND THAT
|
||
MR. MORGAN WAS SIMPLY GIVEN A FRESH START. THE FACT REMAINS
|
||
THAT ATARI HAS BEEN, AND STILL IS, LOSING AN ENORMOUS AMOUNT OF
|
||
MONEY, ENOUGH TO MAKE ANY COCAINE IMPORTER'S HEAD SPIN.
|
||
|
||
THE HOME COMPUTER MARKET HAS FALLEN FLAT ON IT'S FACE.
|
||
PEOPLE FINALLY REALIZED THAT THEY DIDN'T NEED A HOME COMPUTER
|
||
FOR ANYTHING EXCEPT PLAYING GAMES. MOST OF THE PERCIEVED NEED
|
||
FOR A HOME COMPUTER COULD ONLY BE ATTRIBUTED TO MARKETING HYPE.
|
||
|
||
THE GAME CARTRIDGE MARKET HASN'T BEEN DOING MUCH BETTER.
|
||
WE ALL HEARD ABOUT THE BIG HOLE IN THE GROUND WHERE THEY
|
||
BURIED THOUSANDS UPON THOUSANDS OF "DEFECTIVE" CARTRIDGES.
|
||
WHAT ACTUALLY HAPPENED WAS THAT OUR TOP MANAGEMENT "EXPERTS"
|
||
OVERESTIMATED THE CARTRIDGE MARKET BY SEVERAL MILLION UNITS.
|
||
MEANWHILE, SYNERTEK AND STEVIE-BOY ARE LAUGHING ALL THE WAY
|
||
TO THE BANK $$$.
|
||
|
||
AND THEN THERE'S THE COIN-OP MARKET. LET'S STOP KIDDING
|
||
OURSELVES. SOME OF US WORK 10, MAYBE 12 HOURS A DAY ON
|
||
GAMES WHERE THE BEST WE CAN REALISTICALLY HOPE FOR IS
|
||
A TOTAL PRODUCTION OF 5000 UNITS. THAT WORKS OUT TO SOME
|
||
VERY MEAGER BONUS-SPLITS, FRIENDS.
|
||
|
||
FEW SIGNIFICANT CHANGES HAVE BEEN MADE TO RECTIFY THE
|
||
SITUATION FACING ATARI: WARNER REPLACED MR. KASSAR
|
||
WITH A CIGARETTE EXECUTIVE.
|
||
|
||
UNFORTUNATELY FOR MR. MORGAN, HIGH-TECH ELECTRONICS IS A
|
||
HIGHLY DYNAMIC AND VOLATILE BUSINESS TO BE IN:
|
||
THE MORTALITY RATE FOR HIGH-TECH START-UPS IS VERY HIGH
|
||
COMPARED TO OTHER INDUSTRIES. MR. MORGAN'S EXPERIENCE
|
||
LIES IN THE VERY STABLE AND WELL-ENTRENCHED TOBBACO INDUSTRY:
|
||
IT'S A REPLACEMENT MARKET WITH TEENAGERS REPLACING THE
|
||
LUNG-CANCERED OLDSTERS.
|
||
|
||
|
||
CIGGIES AND GAMES
|
||
ARE SORT OF THE SAME...
|
||
LITTLE SQUARE BOXES
|
||
THAT TEENIES GET HOOKED ON.
|
||
|
||
WHAT THIS ALL BOILS DOWN TO FROM AN "ENGINEERING"
|
||
POINT-OF-VIEW IS THAT IT'S PROBABLY TIME TO GET ON
|
||
THE VAX AND UPDATE THE RESUME. AND CONSIDERING THAT
|
||
THE REST OF THE INDUSTRY IS NOW IN THE 16-BIT AND 32-BIT
|
||
WORLD, IT MIGHT BE A GOOD IDEA TO ENROLL IN A FEW GRADUATE
|
||
COURSES. ( HOWARD SAMS JUST DOESN'T CUT IT ANYMORE ).
|
||
|
||
FOR THOSE OF US WHO ARE RECIEVING BONUS-SLPITS,
|
||
IT MAKES SENSE TO GET LAYED OFF RATHER THAN QUIT, BECAUSE
|
||
IF YOU GET LAYED OFF, YOU ARE LEGALLY ENTITLED TO ALL
|
||
BONUS MONEY THAT YOU WOULD HAVE GOTTEN HAD YOUR EMPLOYMENT
|
||
CONTINUED AT ATARI.
|
||
|
||
... HOWEVER, THINGS MAY GET SO BAD HERE IN THE NEAR FUTURE
|
||
THAT IT WILL BE BETTER JUST TO QUIT ...
|
||
___________________________________________________________________________
|
||
From: KIM::MARGOLIN 23-FEB-1984 15:43
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: Math Boxes
|
||
|
||
1. Are there any new projects that use the Star Wars mathbox?
|
||
|
||
2. Are there any new projects being contemplated that will use the Star Wars
|
||
mathbox.
|
||
|
||
3. Are there any new projects that use the Battlezone/Tempest Mathbox?
|
||
|
||
Jed
|
||
___________________________________________________________________________
|
||
From: KIM::RUBIN 23-FEB-1984 15:57
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: Math Boxes
|
||
|
||
|
||
ARE THERE ANY NEW PROJECTS?
|
||
___________________________________________________________________________
|
||
From: ERNIE::CAMERON 23-MAR-1984 16:41
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: PETE F.....
|
||
|
||
|
||
REMEMBER WHAT AESOP SAID ABOUT SOUR GRAPES
|
||
|
||
|
||
ANYONE WHO LISTENS TO THAT GIBBERISH IS A FOOL!
|
||
|
||
CAROLE (I'M STAYING) JUNIOR
|
||
___________________________________________________________________________
|
||
From: KIM::RITTER 23-MAR-1984 17:02
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: PETE F.....
|
||
|
||
|
||
I agree with the sour grapes analogy.
|
||
Pete's attitude is like pollution: it stinks and it can spread.
|
||
Jack Ritter
|
||
___________________________________________________________________________
|
||
From: BEEZ::SEGHERS 23-MAR-1984 17:05
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: COMMENTARY...
|
||
|
||
|
||
Franusic has some valid points. However, what Atari does not need right
|
||
now are quitters. I've seen Atari make many mistakes and I am sure that
|
||
I will see many more, but, Atari is a large corporation and it is good
|
||
to remember that Large corportations may stumble, but they seldom fall.
|
||
|
||
There will be plenty of time to decide to quit if Atari really shows signs
|
||
of colapsing. It is true that things are not what they used to be. Games
|
||
are not as popular as before. The markets are glutted, both Consumer and
|
||
Coin-op. That glutting cannot go on forever, however. There is a product
|
||
lifetime which, once past, even the best products (for their time) cannot
|
||
be sold. When the video game companies (Atari included) can no longer dump
|
||
their excess inventories of old games (hopefully this will not take more that
|
||
|
||
a year,) then new games can begin to go back on the market in a controlled
|
||
fassion. When that time comes, we must be prepared with some VERY GOOD,
|
||
VERY ORIGINAL products.
|
||
|
||
Entertainment is not a fad, but repetition does not make for good entertainment.
|
||
The game industry must stop cloning the old games. We must come up with
|
||
original concepts. It does not necessarily mean creating bold advances in
|
||
technology. It means taking bold advances in our imagination. If we can
|
||
achieve that, then a games sucess is assured.
|
||
|
||
John Seghers
|
||
Consumer Software
|
||
___________________________________________________________________________
|
||
From: KIM::ALBAUGH 23-FEB-1984 17:21
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: Math Boxes
|
||
|
||
|
||
1. Not to my knowledge.
|
||
|
||
2. not to my knowledge.
|
||
|
||
3. Not bloody likely. (considering the magnificent rewards I got
|
||
for supporting it on Tempest, I am a bit reluctant to do so
|
||
for any other project. Also I could almost certainly do a
|
||
better job today with the TMS 320, and not get any shit about
|
||
"old hardware" (not eligible for bonus).
|
||
Yours confusedly,
|
||
Mike
|
||
___________________________________________________________________________
|
||
From: KIM::MOORE 23-FEB-1984 17:27
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: Math Boxes
|
||
|
||
|
||
At this time our team has no plans of using the Math Box.
|
||
|
||
Rich Moore, Team 4
|
||
___________________________________________________________________________
|
||
From: KIM::ALBAUGH 23-FEB-1984 17:39
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: Math Boxes
|
||
|
||
|
||
HUH???? The only patent I know of on the old math-box
|
||
is my patent on the "multiple simultaneous use of bit fields".
|
||
,(oops) a feature of the old math-box which I sincerely hope you
|
||
were not forced to use in the Star-Wars one.
|
||
Even more perplexed-?
|
||
Mike?
|
||
___________________________________________________________________________
|
||
From: KIM::RICE 24-FEB-1984 16:21
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: Math Boxes
|
||
|
||
|
||
Are there any new projects?
|
||
___________________________________________________________________________
|
||
From: KIM::MAHAR 25-MAR-1984 14:46
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Democracy Wall
|
||
|
||
|
||
The Bubble Bursts
|
||
|
||
From 1979 to 1982 Atari's growth was exponential. The money
|
||
was flowing in and we were the darling of the business community.
|
||
A group of congressmen who saw High-Tech as the answer to the
|
||
country's economic woes adopted our name. Ray Kasar's picture
|
||
was on the cover of most the major magazines in the country.
|
||
|
||
There is a problem with exponential growth. If Atari's
|
||
sales doubled every year our sales would have been $1 trillion by
|
||
1990 and $1 quadrillion by the year 2000. A little common sense
|
||
would have indicated that that kind of growth could not be
|
||
sustained and, I suppose, if you had asked our planners they
|
||
would have agreed that a leveling off would be inevitable. We
|
||
all seemed to be a bit too busy to worry about that at the time.
|
||
|
||
In ancient Greece, a general who received bad news was
|
||
allowed to kill the messenger. History does not record how
|
||
reliable the mail was in those days but the temptation to
|
||
minimize the bad news must have been overwhelming. If the
|
||
newspaper accounts are any indication we had a very similar
|
||
problem here. If a market forecast had indicated that the
|
||
industry would be in the state it is in now the forecaster would
|
||
have been replaced by someone with " a better attitude". This
|
||
approach guarantees surprises.
|
||
|
||
I think it is obvious that video games were a fad and that
|
||
the fad is over. There are, however, two kinds of fads. These
|
||
are exemplified by the Frisbee and the hoola hoop. In the late
|
||
fifties the hoola hoop exploded on the scene with a force that is
|
||
legendary to this day. For about two years everybody had to have
|
||
a hoola hoop. How many hoola hoops do you see today? None. The
|
||
fad ran it's course and returned to oblivion. The Frisbee,
|
||
however, suffered a different fate. If gained in popularity
|
||
slowly at first and then reached explosive popularity later. I'm
|
||
sure Wham-o doesn't sell as many Frisbees now as it did in the
|
||
late sixties but the Frisbee is now part of the standard
|
||
repertoire of picnic supplies and kids still play with them. Is
|
||
the video game a hoola hoop or is it a Frisbee? For all our
|
||
sakes I hope it is a Frisbee.
|
||
|
||
What's in the Future?
|
||
|
||
Other then examining the entrails of a chicken, there seems
|
||
to be no reliable method of predicting where this industry is
|
||
going to go. Coin-op can make a profit and survive on what we
|
||
sell to arcades. There is shake out in the arcade business right
|
||
now so that avenue has dried up. This should only be temporary.
|
||
The really big bucks come from street locations sales. This
|
||
market seems to have vanished. Coin-op is addressing that
|
||
situation and time will tell if the street market can be revived
|
||
or not. I hope so, but I also think it would be unwise to count
|
||
on it. We should view street sales as icing on the cake and the
|
||
arcade business as our main course.
|
||
Page 2
|
||
|
||
|
||
There are a couple of indications that the arcade business
|
||
is going to stay around a while. Our operations end is making
|
||
money. This is at a time when other arcades are losing money.
|
||
Our arcades bring in the latest games. Many or our competitors
|
||
do not. National surveys indicate that collections are down and
|
||
I believe it is a direct result of player boredom with old games.
|
||
|
||
A player survey in Play Meter magazine indicated that
|
||
players will pay 1 dollar for 4 tokens at an arcade that has new
|
||
games rather then get 10 tokens for a dollar at an arcade that
|
||
does not. This magazine is read by almost all operators and
|
||
perhaps the message will start to sink in. We have other
|
||
evidence that new games generate revenue for the operator. We
|
||
currently have several games on field test. The collections
|
||
reports that I've read indicate that these games are earning
|
||
about $100 more a week than field test games did last year. This
|
||
could mean that our games are very strong or it could mean that
|
||
the game playing populace is starving for new games. I believe
|
||
it is a combination of both. Survival of the fittest indicates
|
||
that those operator who invest in new games will survive the
|
||
shake out. This trait will be selected for and we can look for
|
||
reasonably level sales from these operators.
|
||
|
||
Many well meaning operators are suffering a serious cash
|
||
flow problem at this time. They want to buy new games but they
|
||
can't. I think Atari should help them out. In the early days of
|
||
the automobile the car companies realized that the customer is
|
||
willing to borrow to get a new car. General Motors set up and
|
||
still runs the GMAC which lends money to new car buyers. GMAC is
|
||
a profit center itself and has helped GM make a great deal of
|
||
money in the process. This system could work for us. Federal
|
||
banking laws have been relaxed a bit lately and it may be easier
|
||
to do this then it has in the past. Perhaps a cooperative
|
||
venture with an established institution will serve.
|
||
|
||
Thoughts on the Lay Offs
|
||
|
||
I personally feel very bad about those who have lost their
|
||
job recently. It is a shame that some other way couldn't have
|
||
been found. I realize that a great deal of budget cutting was
|
||
done before any lay off occurred. I only hope that in this
|
||
chronic belt tightening we don't risk breaking off at the middle.
|
||
|
||
If we are not well poised for the future, we risk repeating
|
||
our mistakes. There are new markets to enter. If Atari is
|
||
moving we increase our chances of hitting a moving target. I
|
||
feel that new games are important. I also feel that we should be
|
||
ready to create the next era in entertainment.
|
||
___________________________________________________________________________
|
||
From: KIM::SHERMAN 27-MAR-1984 11:38
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: J.B. MEMORIAL II
|
||
|
||
|
||
jeff boscole lives!!!!
|
||
long may vacillating versimilitudes of veracity persist??!!
|
||
|
||
SUNDAY night i watched a 60 minutes article on a minneapolis ordinance
|
||
to define pornography as "... any material,printed or viewed, which portrays
|
||
women as the subject of violence and domination by men, in a sexual context"
|
||
( not an exact quote) . Under this ordinance, purveyors of any material of this
|
||
nature could be sued in civil court, for violating the civil rights of the
|
||
person suing.
|
||
During the ensuing "debate" between the A.C.L.U. representative and the
|
||
proponents of the bill, I was impressed by how very sick and degraded our
|
||
society has become. Keep in mind that the main thrust of this bill is against
|
||
so-called "snuff films", magazines that show women tied up (naked) with guns to
|
||
their heads,etc. etc. ad nauseum. this was not an ordinance against portrayal
|
||
of non violent sex between consenting adults. it was not the old "moral major-
|
||
ityitis" at work again. this ordinance was drafted by liberal,"rabid" feminist
|
||
types that are clearly not a threat as far as general cencorship goes.
|
||
Still, with all that , they actually found some idiot to get up and
|
||
defend the "right of expression" of these perverts. the old "where will it end"
|
||
argument was pulled out and waved in our faces once again. there was no reason-
|
||
able debate of the specific merits of this particular bill, but silly generic
|
||
debate on freedom of speech.
|
||
|
||
To me this is a good example of the thinking that could ultimately lead
|
||
to the downfall of the U.S. as we know it. I call it "fear of the grayzone",
|
||
and it has been responsible for innumerable follies throughout history.
|
||
let me point out a few other areas where this is a problem:
|
||
1) it is currently legal to abort a fetus up to the end of the 2nd
|
||
trimester (~week 27) strictly as a matter of convenience, as opposed to medical
|
||
necessity. on the other hand, it is possible to save a premature infant as
|
||
early as the 24th week. this has lead to "wrongful life" suits when an abortion
|
||
fails, the fetus lives, and is kept alive by new medical technology. a prime
|
||
example of a gray area in action. but instead of dealing with a real problem,
|
||
there will be an endless debate between those who see humanity in a lump of
|
||
tissue called a fertilized egg, and those who thoughtlessly consider the womans
|
||
right of selfdetermination as paramount, no matter the costs ethically.
|
||
2) in the current political debate on El Salavador, the right and the
|
||
left wing in this country have been polarized to almost the same extent as the
|
||
actual participants. the left refuses to see (potential or real) manipulation
|
||
of a just cause by our enemies, and the right refuses to see death squads and
|
||
massive political corruption in the current power elite of El Salvador. the
|
||
invalid "black or white" political extrapolations from the politics of this
|
||
country to the very different conditions of another country is a pattern that
|
||
blinds us to any valid considerations of how the gray areas in the politics of
|
||
the other country need to be addressed. we need to break this pattern lest the
|
||
intolerance each side associates with in the other countries politics feed
|
||
back to our political arena and start a violence cycle in this country.
|
||
it will do us no good if the conservatives in this country are percieved as
|
||
nascient fascists by the left and the liberals are percieved as leninist symps
|
||
by the right. we need to appreciate the culture of "tolerance of the gray area"
|
||
that still persists in this country despite our stupid neglect.
|
||
|
||
3)etc there are examples in almost every aspect of life and
|
||
4)etc i don't want to go on too long.
|
||
|
||
THE POINT is that our society is a finely tuned and balanced system, it is not
|
||
purely one way or the other. this is the thing we value about our country.
|
||
trying to impose rigid thought systems on a such fluidity just leads to
|
||
distortions. THAT INCLUDES the rigid thought that there are no reasonable
|
||
bounds on the types of thoughts and actions that can be portrayed publically.
|
||
for a society to exist there is a "least common denominator", an intersection
|
||
of ethics and morality that all people in that society need to agree on as
|
||
the public morality. I contend that a society that hasn't the nerve to resist
|
||
incursions into this area of commonality by violent perverts and deviants that
|
||
can't resist an illgotten buck has too feeble a claim on existance and will
|
||
soon (within a century or so ) degenerate into fascistic moral repression, or
|
||
break into total anarchy.
|
||
|
||
p.s. for those of you inclined to psuedo-mathematics I have formulated
|
||
|
||
SHERMAN'S LAW OF MORAL MULTIPLICATIVITY:
|
||
|
||
m1*m2*m3*m4*m5*m6.....*mN<=S<<<<M
|
||
|
||
that is,coefficients along each independent axis ( or variable ) describing a
|
||
particular ethical system when multiplied are less than or equal to a constant
|
||
coeffficient (S) which is itself much less than the percieved theoretical
|
||
maximum of the multiplication.
|
||
in other words, to apply this equation to our legal system for example,
|
||
the more we view the legal system as a solution for attaining perfection in
|
||
our society,and the more laws we pass, after a certain point mX=rootN of S ,
|
||
where mX is a coefficient of social good in a particular area of law (such as
|
||
medical ethics), the coefficients in other areas will decline. this result
|
||
reflects the inevitable implact of all areas of law on all other areas.
|
||
|
||
THE REAL measure of wisdom is to know the value of S, and thus know when to
|
||
quit........and I'm not telling!!!!!!!
|
||
|
||
|
||
coming soon too your mail SHERMAN'S ETHICAL UNCERTAINTY PRINCIPLE.
|
||
|
||
psuedosincerelyyours<<<<<<<<<dave>>>>>>>>>>>>>
|
||
|
||
p.p.s. hint: S is not equal to 42.
|
||
___________________________________________________________________________
|
||
From: KIM::RICE 27-FEB-1984 19:02
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: pome fer the day
|
||
|
||
|
||
Mary had a little plane.
|
||
She flew it very brisk.
|
||
Now wasn't she a foolish girl
|
||
Her little * ?
|
||
___________________________________________________________________________
|
||
From: KIM::RICE 29-FEB-1984 13:16
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: More time-wasters
|
||
|
||
|
||
It has been suggested that lovers of sesquipedalia might like
|
||
to try their hands at the creation of pomes, doggerals
|
||
and limericks using some of the more esoteric words of
|
||
this wonderously rich tongue of ours:
|
||
|
||
The word for this week is
|
||
|
||
|
||
BORBORYGMUS
|
||
___________________________________________________________________________
|
||
From: KIM::VICKERS 29-FEB-1984 14:09
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: Long-awaited Yamaha demo
|
||
|
||
|
||
For all you sys$mail:engineers out there, there will be a short
|
||
demonstration of the Yamaha sound chip, personal computer, and FM voicing
|
||
program at 2 P.M. this Friday, March 2, in the Multi-Purpose room.
|
||
|
||
Earl
|
||
___________________________________________________________________________
|
||
From: RUBIN 7-MAR-1984 10:01
|
||
To: @LIST.DIS
|
||
Subj: Open Mail Boxes!!!!!
|
||
|
||
|
||
I noticed a strange thing Friday in my main directory. My mail
|
||
file MAIL.MAI, which is usually protected from read access by people other
|
||
than myself, was NOT protected anymore! I know that it use to be protected
|
||
as I check it often. So I thought to myself...."self, maybe other peoples
|
||
mail files are also unprotected!" (This appears to be some strange bug
|
||
somewhere, but who knows where!!)
|
||
So I checked. And sure enough, a number of people had mail files that
|
||
were not protected. "What does this all mean?", you ask.
|
||
What it means is that anyone, regardless of any system or other
|
||
privileges, may copy or type YOUR mail file. If you have letters in any of
|
||
these files you would rather other people not be able to read, you should
|
||
change the protection on these files.
|
||
In case you are not familiar with the procedure, here is what you do:
|
||
|
||
$SET PROT=(W,G) MAIL.MAI
|
||
|
||
What this does is turn OFF access for "WORLD" and "GROUP". WORLD is
|
||
everyone but yourself. This means anybody! GROUP is anyone with the same
|
||
first 3 digits of your process id. Most everybody is in their OWN group,
|
||
but there are a few cases where people share groups. If you don't want others
|
||
in your group to read your mail, this should also be turned off. For more
|
||
information on ACCESS PROTECTION, type HELP SPECIFY PROTECTION.
|
||
|
||
If you are receiving this letter, the above applies to you. I only
|
||
did a check on the file MAIL.MAI, but I checked ALL sub-directories as well.
|
||
It is possible that a MAIL.MAI file is listed as unprotected but exists in
|
||
a protected directory. If that is the case, you don't need to change the file
|
||
itself. If you wish to check other files and protect them as well, you can
|
||
check their PROTECTION code by doing a
|
||
|
||
DIR/PROT
|
||
on the directory. (Once again see HELP SPECIFY PROTECTION if your not sure what
|
||
all the symbols mean.)
|
||
|
||
Any questions may be referred back to me!
|
||
|
||
Owen
|
||
___________________________________________________________________________
|
||
From: KIM::BRAD 7-MAR-1984 10:39
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: AMY 1 sound processor pricing.
|
||
|
||
|
||
The following is a memo from George Wang (ASG) and Sam Nicolino (R&D)
|
||
regarding AMY 1 chip pricing.
|
||
|
||
Excellent ASG chip plan and layout design activities have resulted in a
|
||
significant reduction in AMY 1 chip size. This results in an average sales
|
||
price (ASP) drop of $3.00 per part! Therefore, the current ASP for the
|
||
AMY 1 chip is revised to $8.82.
|
||
|
||
If you have any question about the specifications, please contact Sam
|
||
Nicolino at 745-2734 or George Wang at 745-2119.
|
||
|
||
- brad -
|
||
___________________________________________________________________________
|
||
From: KIM::SHEPPERD 8-MAR-1984 14:48
|
||
To: @sys$mail:junk
|
||
Subj: What the #@%^ is SYS$MAIL?
|
||
|
||
|
||
In case you've been wondering how the SYS$MAIL lists work because you never
|
||
knew or you just plain forgot, here is an updated description.
|
||
|
||
A mail distribution list is simply a file that contains a list of VAX usernames
|
||
to whom you want your message distributed. Each VAX contains in its directory
|
||
SYS$MAIL a select group of distribution lists that automatically get updated
|
||
each time a person is added to a system. The usernames are collected in groups
|
||
(some aribtrary, some based on job function) and two lists for each group are
|
||
created. One list, the .DIS file, contains the list of all users on all systems
|
||
in the network that fall into the group and the other list, the .UAF file,
|
||
contians the list of users only on the host system. You are free to use the
|
||
distribution lists located on any system in the network.
|
||
|
||
The following is a list of group types that have been established on all
|
||
systems in the network. The "real people" refers to regular users. Non "real
|
||
people" are those like DECNET, SYSTEM, FIELD, etc.
|
||
|
||
Your choices for names of lists are:
|
||
COINOP All real people who have accounts.
|
||
JUNK All real people who don't mind junk mail.
|
||
WPUSERS MUSE people (Publications and secretaries)
|
||
SCUSER Sci-Cards people
|
||
ENGINEER All COINOP people who arent WPUSERS or SCUSERs.
|
||
(before you ask, ENGINEER includes programmers too)
|
||
CAD IC design people
|
||
UNIX People who have expressed an interest in the UNIX O/S.
|
||
??????? More to come, watch this space
|
||
|
||
You have to ask to have your name included in UNIX or excluded from JUNK.
|
||
|
||
For example: if your host system is KIM and you want to send mail to JUNK,
|
||
(basically everyone in the network) then to MAIL's prompt "To:" respond:
|
||
|
||
@SYS$MAIL:JUNK
|
||
|
||
(MAIL uses a default distribution list file type of .DIS)
|
||
If you only wanted your mail to go only to the JUNK collectors on KIM, then
|
||
type:
|
||
|
||
@SYS$MAIL:JUNK.UAF
|
||
|
||
It gets confusing beyond this, but you could also send mail to users on a
|
||
specific system by including the node name. For example if your host system
|
||
is KIM and you want to send JUNK mail only to the user's on GRUMPY, then type:
|
||
|
||
@GRUMPY::SYS$MAIL:JUNK.UAF
|
||
|
||
You should be aware that the JUNK.DIS (as well as all other .DIS files) in
|
||
SYS$MAIL on all systems are equivalent. That is, putting a node name on any
|
||
.DIS file only results in making the mailing take longer (the system has to
|
||
go to the remote node first to get the master list instead of looking on the
|
||
host system for the same list).
|
||
|
||
Confused? You won't be after the next episode....
|
||
|
||
Happy mailing, ('cept to the one called KIM::RICE)
|
||
ds
|
||
___________________________________________________________________________
|
||
From: KIM::MCCARTHY 8-MAR-1984 18:22
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: Programs and coins.
|
||
|
||
I notice that Dr. Bizzarro has just released a 'new improved' version
|
||
of COIN65. I would like to add my two bits to help avoid some future
|
||
problems.
|
||
|
||
The U.S. monetary system is rather simple and can adequately be
|
||
covered by even a subset of the coin options available in COIN65 or
|
||
NUCN65. However, on the international scene, virtiually every one of
|
||
these options is required by some country or another. So PLEASE do not
|
||
put anything in your programs to restrict these options.
|
||
|
||
Case in point is Firefox. This game has a two credit minimum that can
|
||
not be defeated by option switch. This restriction effectively halves
|
||
the number of options available. The guy that wants
|
||
left mech = one game
|
||
right mech = five games
|
||
is s.o.l.
|
||
|
||
|
||
So again I say, even if people would gladly pay a dollar to play your
|
||
game, please don't restrict the options.
|
||
|
||
|
||
pat.
|
||
___________________________________________________________________________
|
||
From: KIM::ALBAUGH 8-MAR-1984 22:34
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: Remote ATari Peripheral Interchange Program (RATPIP)
|
||
|
||
|
||
Dave Shepperd and I are working on a file transfer
|
||
utility that can up- or download files from the 800 to the
|
||
VAX. It will work similarly to the existing MDxx, TTVAX, DNLD,
|
||
or whatever it's called this week, which Dave Getreu's group
|
||
has been using. Now here's the problem:
|
||
|
||
We would like to support text files too, but we aren't
|
||
sure what translation of ASCII to ATASCII will be least harmful.
|
||
In the absence of input from you folks, we will implement the
|
||
ATPIP conversion, with the exception that any files sent up to
|
||
the VAX will be type "stream_lf" (unix), because Dave is writing
|
||
the VAX end in C and thats what it writes. Other possibilities
|
||
include full conversion to ASCII, including stripping D7 (no
|
||
inverse video), sending "carriage-return,linefeed", etc. Or do
|
||
we just give up?
|
||
|
||
Please send suggestions to me via VAXmail.
|
||
Mike
|
||
|
||
p.s. just to forestall the inevitable, yes we have considered
|
||
the XMODEM (alias MODEM7, AMODEM, Christensen protocol, etc.), but
|
||
the actual first customers for this beast have a PDP-11 running TSX,
|
||
and it doesn't like 8-bit "ascii", so nogo.
|
||
___________________________________________________________________________
|
||
From: ERNIE::CAMERON 9-MAR-1984 11:17
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: A VIEW FROM A BROAD
|
||
|
||
|
||
IF IT'S FUN, THEN IT'S BAD FOR YOU
|
||
|
||
I wondered when someone would get around to blaming video games for
|
||
inciting violence in children.
|
||
So far the electronic screen has been blamed for loss of appetite,
|
||
tennis wrist, sexual transference and the seduction of a minor.
|
||
Adults are like that. Everytime a kid is having a good time, eating
|
||
something that tastes good, or wearing something comfortable, there has to
|
||
be something wrong with it.
|
||
Frankly, I don't see video games as being any more mind-controlling
|
||
than their fathers sitting spellbound before 86 football games a week or
|
||
their mothers mesmerized by four hours of soaps a day.
|
||
You wanta talk violence? I can tell stories about games past that will
|
||
make your hair stand on end. In 1943, my mother grabbed a Chinese checkers
|
||
board with both hands, threw the marbles all over the kitchen and crashed
|
||
it over my father's head, claiming, "I will not play with thieves!"
|
||
In 1954, my husband and I were playing Monopoly with a few friends.
|
||
Knowing full well that I was down to my last $50, he demanded $3,060 when I
|
||
landed on one of his utilities. When I tried to reason with him he just
|
||
snickered and said, "You're out! Why don't you just go out and get the chip
|
||
dip and snacks?"
|
||
Had we not the children to consider, I don't like to think what would
|
||
have happened.
|
||
There are so many things in our lives that have an effect on children,
|
||
I wouldn't know what to take away. If you don't want them to see violence,
|
||
you better hide Hansel and Gretel. If you don't want them to see sex, don't
|
||
let them see a pregnant woman. If you don't want them to know terror,
|
||
protect them from Halloween; or hypocrisy, tell them Santa Claus doesn't
|
||
exist.
|
||
If you don't want them to be frightened by monsters and things that go
|
||
bump in the night, cut down the large tree in front of the house that makes
|
||
weird shadows on their walls when the lights are out and brushes against the
|
||
spouting. If you don't want them to see war and suffering, throw your body
|
||
in front of the TV set for the six o'clock news.
|
||
The other day I saw two brothers fighting for control. One boy yelled,
|
||
"It's my turn!" The other one said, "Would you flake off?" THe first one
|
||
said "I'm telling Mom!" and gave him an elbow in the ribs. The second one
|
||
said, "Get out of my face," and ground his foot into his.
|
||
A video game? Nope. A fight over a hymnal in church!
|
||
|
||
- Erma Bombeck
|
||
___________________________________________________________________________
|
||
From: KIM::RUBIN 9-MAR-1984 11:29
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Lazy Mail review
|
||
|
||
|
||
In response to a number of requests for info on the lazy man's
|
||
entry to mail, here is the procedure. If you already have this working
|
||
you should read the warnings section only. This feature is currently NOT
|
||
on SNEEZY or GRUMPY, and Im not sure if I put it on BEEZ or not. If anyone
|
||
on those systems has an interest, let me know and Ill add the needed changes!
|
||
|
||
This "feature" will take you directly to mail at login time
|
||
(or restart) if you have received new mail since the last time you
|
||
ENTERED mail. ( See Warnings below).
|
||
|
||
1). Near the end of your LOGIN.COM file (I suggest AFTER everything
|
||
that types stuff is completed), add the following line:
|
||
|
||
$ @SYS$SYSDEVICE:[UTILITIES.COM]MAILCK
|
||
|
||
2). Near the top of LOGIN.COM (BUT at least before the above line)
|
||
add the following line:
|
||
|
||
$ MAIL :==@SYS$SYSDEVICE:[UTILITIES.COM]MAIDIR
|
||
|
||
Now, every time you login, if new mail has been received, you will
|
||
be placed directly in MAIL. ALWAYS leave mail with an 'EX' (normal exit, not
|
||
CTRL-Y)
|
||
Note: It is possible that after you have added all this that you
|
||
will enter mail on your next login even if no new messages have been received.
|
||
This is normal and will happen only once!
|
||
|
||
WARNINGS:
|
||
|
||
A). This does not really check for new mail, it simply looks
|
||
to see if the revision number of the current mail file matches the
|
||
number from the last time you were in mail. If you enter mail then leave
|
||
without reading anything, the revision is updated and you will NOT enter
|
||
MAIL even if your are told you have new messages, unless additional
|
||
messages have been received!
|
||
|
||
B). If you use BATCH, then a conditional branch must be made about
|
||
line 1 which calls MAILCK. If you never use BATCH, skip to item C.
|
||
If you already have an area of LOGIN.COM for "INTERACTIVE" items only,
|
||
put the line in that section. If the last sentence appears to be GREEK
|
||
to you, then add line 1 (from above) as follows:
|
||
|
||
$ IF "''F$MODE()'" .NES. "INTERACTIVE" THEN GOTO SKIP_CHECK
|
||
$ @SYS$SYSDEVICE:[UTILITIES.COM]MAICK
|
||
$ SKIP_CHECK:
|
||
|
||
C). Note that this re-defines the word MAIL to call a special
|
||
COM file. Mail will still work as it always has, however, this COM file
|
||
will display a list of all your mail files when you type MAIL. To skip
|
||
the list, simply add anything after the word MAIL. (ie: MAIL N)
|
||
|
||
D). Since this ONLY re-defines the word MAIL, it you try to get
|
||
to mail in any other way (ie: MAI, MAILS), then the COM file is NOT
|
||
executed. In this case, you will enter mail on next login even if no
|
||
new mail was received!
|
||
|
||
E). These additions in no way effect LETTERBOM. If you have
|
||
made that change, it will still work as expected. If you have not
|
||
made that change, you probably dont care what this means anyway!
|
||
|
||
F). When using this, a new "file" will appear in your directory.
|
||
It will be called MAIL.RVN. Do not remove this file. It uses only 1 to 3
|
||
blocks. If you do remove it, MAIL will simply put it back and you will
|
||
enter mail on your next login even if no new messages.
|
||
|
||
|
||
Problems should be mailed back to me! Thanks
|
||
Owen
|
||
___________________________________________________________________________
|
||
From: KIM::FXL 10-MAR-1984 13:49
|
||
To: @SYS$MAIL:ENGINEER
|
||
|
||
|
||
hello LINKM users,
|
||
I jut came across a truly nasty bug/feature in LINKM.
|
||
(make that just). In my .LNK file I have several lines of files
|
||
with /C (for continuation) at the end. The last line of course
|
||
doesn't have one. That is until you hurriedly delete that line
|
||
without thinking, which is what I did. That makes the previous
|
||
line the last line, and that of course HAD a /C at the end.
|
||
|
||
Now for the bug. LINKM doesn't complain about the
|
||
superfluous /C on the last line, it just doesn't make a .LDA
|
||
file. It took me two days before I realized that I was down-
|
||
loading my old .LDA file, rather than my new one. Now that
|
||
you know, maybe this will decrease the chances of this
|
||
happening to you.
|
||
|
||
Franz
|
||
___________________________________________________________________________
|
||
From: KIM::BABCOCK 12-MAR-1984 09:04
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: Yet another PPS utility
|
||
|
||
I have just completed a PPS utility to compress unwanted (duplicate)
|
||
stamps out of a set of stamps. The utility is called COMPRESS
|
||
(presently located in [BABCOCK.PPS]) and takes as input a .INT file
|
||
(generated by FXL's GP program). The stamp size (in multiple of 4
|
||
pixels) is also specified. The utility creates a new, smaller .INT
|
||
file (how small depends on the reduction in stamps) and a .MAC file
|
||
containing a translation table between the old stamps and the new
|
||
stamps. See the file [BABCOCK.PPS]COMPRESS.DOC for further information.
|
||
|
||
I have also modified GP to accept a stamp size. This allows GP to
|
||
do both row-oriented (playfield stamps) and column-oriented (mo stamps)
|
||
conversions for any square stamp (multiple of 4 pixels). This version
|
||
of GP can also be found in [BABCOCK.PPS].
|
||
|
||
To see the result of these new utilities, drop by the Garfield lab
|
||
(Joe's Bar 'N Grill), or see me.
|
||
|
||
edb
|
||
___________________________________________________________________________
|
||
From: KIM::VICKERS 12-MAR-1984 11:28
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: and now the bad news
|
||
|
||
|
||
Apparently the price estimate that Yamaha quoted for their chip set
|
||
didn't quite cover their costs. I was first told that they were going to
|
||
stick to the $15.70 they had quoted me, but the new word is that the very
|
||
embarassed Yamaha manager is in hot water with his bosses, and the new price
|
||
is $19.30, FOB Japan. I personally think the chip is well worth the extra
|
||
$3.60, but if this is going to change anyone's mind about using it, please
|
||
let me know so we can make intelligent guesses about quantities.
|
||
|
||
Sincelely,
|
||
|
||
Earl
|
||
___________________________________________________________________________
|
||
From: KIM::VICKERS 21-MAR-1984 14:24
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: TI speech option, Yamaha&Pokey clock rates
|
||
|
||
|
||
Does your game have trouble reproducing the speech patterns of
|
||
females and (other) alien life forms? If so, you may wish to avail yourself
|
||
of the 10 kHz sample rate option. The current sample rate is 8 kHz, which is
|
||
optimal for male voice and requires less memory storage. To use the 10 kHz
|
||
option, you must:
|
||
|
||
1) Change the clock for the TI 5220 from 640 kHz to 800 kHz.
|
||
|
||
2) You may need to adjust any lowpass filter for the speech output,
|
||
as the new bandwidth will be 5 kHz instead of 4 kHz. The cutoff frequency
|
||
can have a big effect on how the speech sounds - see me for details.
|
||
|
||
3) Tell us to analyze your speech at the 10 kHz rate, and to have
|
||
RPM call the speech routine a little more often. (The new frame period is
|
||
20 ms instead of 25 ms.)
|
||
|
||
4) Allow for 25% more rom storage (I would let this be a deciding
|
||
factor only if there is little difference between the sound quality at the
|
||
8 and 10 kHz rates.)
|
||
|
||
If you're unsure which rate to use, or if you have sound effects or
|
||
a mix of male and female voices you wish to try, we can try it both ways and
|
||
see which sounds best.
|
||
|
||
While we're on the subject of clock speeds, Brad mentions that since
|
||
the Yamaha chip needs a 3.579545451 mHz (colorburst crystal) clock speed,
|
||
it will be easy to derive the 1.7etcetc mHz clock to run the pokeys at the
|
||
speed at which they run on the 800, so that the sounds we develop on the
|
||
800 development system won't sound different in the games.
|
||
|
||
Earl
|
||
___________________________________________________________________________
|
||
From: BEEZ::SHEPPERD 24-MAR-1984 16:14
|
||
To: @sys$mail:everybody
|
||
Subj: New users
|
||
|
||
|
||
There are 2 new users on the systems. Now if you have a beef, wanna stand on
|
||
a soap box, feel like sending congrats for a job well done or whatever, you
|
||
will be heard by someone who can make a difference. Don't feel intimidated.
|
||
These guys are intrested in hearing your input. They wanna know what's
|
||
happening; that sort of stuff.
|
||
|
||
John Farrand can be addressed as KIM::FARRAND and Skip Paul can be addressed
|
||
as KIM::PAUL. They get JUNK mail too.
|
||
|
||
ds
|
||
___________________________________________________________________________
|
||
From: KIM::ZIEGLER 26-MAR-1984 12:24
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Editing before you send mail.
|
||
|
||
|
||
Just got a piece of mail with ' [O ' in it. This normaly happens when you
|
||
are sending mail and make an error, and then try to correct it with the Editing
|
||
keys. The mail editor just doesn't understand those little arrow keys or the
|
||
keypad ones either. But there are a couple of ways to beat them little guys
|
||
and have full editing capabilities while writing them long 'Boscole-ish' works
|
||
of art.
|
||
|
||
|
||
1. You want to keep a copy for later use and/or modification:
|
||
|
||
step a) Create the file and "EDIT" it with your favorite editor.
|
||
step b) Enter "MAIL" and type S or SEND leave a space and then
|
||
type the name of your file. Ex: SEND FROBOSH.MAC
|
||
|
||
This will send the file to all those you select on the 'TO:' line.
|
||
|
||
|
||
2. You just want to use the 'EDT' editor and don't care about keeping a copy:
|
||
|
||
step a) Enter "MAIL" and type S or SEND followed immediately by /edit.
|
||
Ex: SEND/EDIT
|
||
|
||
step b) Mail will place you in the EDT editor and allow you to edit
|
||
to your hearts content. When you finish, simply do a normal
|
||
exit from EDT.
|
||
|
||
3. You want to use the 'EDT' editor and don't care about keeping a copy, but
|
||
you would like to send something you have already created (some code or
|
||
a copy of some file) and add a message to it or even modify it before you
|
||
mail it.
|
||
|
||
step a) Enter "MAIL" and type S or SEND followed immediately by /edit
|
||
and then a space and the name of the file you want to include.
|
||
Ex: SEND/EDIT FROBAHS.LST
|
||
|
||
step b) Mail will place you in the EDT editor and allow you to edit
|
||
to your hearts content. When you finish, simply do a normal
|
||
exit from EDT.
|
||
|
||
Good luck and have fun.
|
||
REZ/rez
|
||
___________________________________________________________________________
|
||
From: KIM::RUSTY 2-APR-1984 11:26
|
||
To: @BEEZ::SYS$MAIL:JUNK
|
||
Subj: Who's on first (or BEEZ or DOC or BASHFL,...)
|
||
|
||
|
||
With the addition of many new VAXes (VAXi?), there are also many more users
|
||
spread throughout the system. Many people have wondered how to find out
|
||
where someone else might be in the network in order to send them mail or
|
||
call them up via the PHONE utility. Well, there is a way, sort of...
|
||
|
||
The PHONE utility has a DIR command that will tell you who is currently
|
||
logged in, their terminal, and whether or not they are available for
|
||
phoning. Normally, this command only tells you the users on your home
|
||
system (node). However, by appending the nodename after the DIR command,
|
||
you can also see who is on the other systems. What are the names of the
|
||
other VAXes, you ask? The command SHO NET will tell you which ones are
|
||
currently reachable from your system. For example:
|
||
|
||
SHO NET This will list the other VAXes you can reach
|
||
PHONE Enter the phone utility
|
||
DIR HAPPY:: This will give you a list of all the users
|
||
currently logged into HAPPY (note that the
|
||
double colon is usually not required,
|
||
except for the node DOC.
|
||
|
||
|
||
The only drawbacks are:
|
||
1) You can only see the users on one system at a time
|
||
2) You can only see those currently logged in (however, this might
|
||
be what you are after, if you want to phone that person)
|
||
|
||
Happy phoning,
|
||
Rusty
|
||
|
||
|
||
P.S. The phone utility contains its own HELP function for those who are not
|
||
familiar with it.
|
||
___________________________________________________________________________
|
||
From: KIM::CALFEE 3-APR-1984 09:15
|
||
To: @SYS$MAIL:COINOP
|
||
Subj: software piracy revisited again and again
|
||
|
||
It has been brought to my attention that some stolen Atari computer
|
||
software may now be residing on one or more of our VAXes.
|
||
|
||
This is intolerable.
|
||
|
||
We are a company whose existance depends on software sales, and every
|
||
ATARI game that was in a cartridge and has been put on disc and then
|
||
on the VAX is a potential leak to the outside world that can impact
|
||
sales. Any competitors' games that might be on the system could
|
||
substantially weaken Atari's cases against piracy in court. People
|
||
who participate in stealing software are risking their jobs and the
|
||
company's future.
|
||
|
||
Please delete all questionable files immediately!!!
|
||
|
||
Once again, people in this building are reported to be in possession of
|
||
stolen ATARI property, taken from computer bulletin boards. The titles
|
||
are BALLBLAZER and FINAL LEGACY. People must not have this stolen
|
||
property in this building or elsewhere!! This is a crime and, if caught,
|
||
your employment will be terminated.
|
||
|
||
As Jed would say, Thank you or else.
|
||
Steve Calfee
|
||
___________________________________________________________________________
|
||
From: KIM::OLIVER 3-APR-1984 14:10
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: The biggest joke.
|
||
|
||
|
||
What's the biggest joke at Atari? Stolen software.
|
||
|
||
I've been very frustrated with all the apathy at Atari toward stolen
|
||
software. Almost everyone here has stolen software and when confronted
|
||
the answer is usually a very proud smile followed by "Yea but....".
|
||
|
||
The reason I'm now on a soap box screaming is because I designed and
|
||
programmed 'Final Legacy' which has just gone to ROM's and is already
|
||
being passed around on disks. Yes I'm mad about it, but people who know
|
||
me know that I've been screaming about stolen software for a very long
|
||
time. So this letter is not sour grapes. I picking this time because
|
||
maybe you'll feel sorry for me and listen to what I have to say.
|
||
|
||
Legacy was stolen by someone outside Atari and I believe it could not be
|
||
prevented. These things happen and part of our business. The people
|
||
involved are going to be nailed.
|
||
|
||
The sad part is that a copy showed up at Atari. The person saw nothing at
|
||
all wrong with having the copy. I've kept from finding out who the people
|
||
are so I don't end up hating anyone here, I'd rather not know.
|
||
|
||
Well that's the background. The issue is stolen software and why are we
|
||
doing it. I beleive that stealing or receiving stolen software is a crime,
|
||
no buts. I also believe engaging in these activities at Atari is a crime
|
||
and stupid. Our pay checks depend on selling software.
|
||
|
||
I don't buy the excuses that pirating doesn't hurt those big fat companies,
|
||
or it's just one copy, or it's from another company. If you only steal
|
||
non-Atari software then you are condoning people who do. We can't be in
|
||
the grey area debating whether or not priating is ok or not. I think
|
||
that we should denounce piracy at every chance and not be hypocritical
|
||
in doing so.
|
||
|
||
Other software companies have policies where having stolen software is
|
||
not tolerated, if a person is found with stolen software they are fired
|
||
on the spot. What it has done for the employees is given them a very
|
||
strong sense of pride in their work. They know that the company places
|
||
a great value on their products. Also, I've never heard of anyone being
|
||
fired. But then no one pirated software either. Make no mistake, everyone
|
||
knew that the rule would be enforced.
|
||
|
||
If I have offended a pirate or two out there tough, I don't much care for
|
||
pirates anyway. I do hope I've reached people who have stolen software
|
||
that maybe it isn't right and they should get rid of it. And to all the
|
||
people who denounce software piracy, let's keep the spirt alive.
|
||
|
||
|
||
Dan 'Mr. Tact' Oliver
|
||
___________________________________________________________________________
|
||
From: KIM::RUBIN 5-APR-1984 11:58
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: The Right To Junk Out!!!
|
||
|
||
|
||
There have been a number of complaints by a number of persons
|
||
in various ranks about a number of other person's contributions (or
|
||
the believed lack there of) to JUNK MAIL. In fact, several of the
|
||
complaints have requested the restriction of certain persons from sending
|
||
junk mail at all.
|
||
|
||
I would like to remind all of you on JUNK mail, that JUNK mail is
|
||
exactly what the name implies....JUNK!!!!! You get exactly what you ask
|
||
for...JUNK! There are other distribution files designed for distribution
|
||
to ENGINEERS, EVERYBODY, etc. The JUNK list was added so that persons
|
||
interested in non work related items could share a common distribution
|
||
file!
|
||
|
||
I have discussed this matter with a few persons, system people
|
||
included, and for the most part, we have come up with a few, very easy
|
||
solutions to the complaints. If you are receiving JUNK mail from people
|
||
which you find annoying or bothersome, here is what to do:
|
||
|
||
1). When the message appears on your screen, simply DELETE it
|
||
immediately and go on to the next message. This takes 3 SECONDS! I think
|
||
that inconvenience can be tolerated!
|
||
|
||
2). You can read it then delete it (if your inclined to self
|
||
abuse). This takes 15 to 30 seconds. But why bother if you don't like
|
||
that persons mail!!
|
||
|
||
3). You could write a COM file to run at login time which
|
||
goes through you mail file and removes letters from the bothersome
|
||
people. Frankly, I would forget this method!!!
|
||
|
||
3). If your still bothered, simply tell Dave Shepperd, Steve
|
||
Suttles, or myself, and we will be more than happy to REMOVE YOUR NAME
|
||
FROM THE JUNK LIST! That way, your NEVER bothered by anyone!
|
||
|
||
Problem solved!!!
|
||
|
||
In contrast to the above and in defense of one very good argument
|
||
against JUNK mail (I will not say from whom it came), one problem still
|
||
exists! Namely, persons spending too much of their time creating such JUNK
|
||
masterpieces (such as this). It is believed in these cases, that the offending
|
||
person's manager should be responsible for any such restriction or limitation
|
||
to be placed on that person. But please keep in mind that if such a person
|
||
wishes to use his/her own time (lunch or after work) for writing such
|
||
"garbage", then the complaining parties should once again see the solutions
|
||
above.
|
||
|
||
Personally, I find most of the junk mail entertaining and quite good
|
||
for morale. And right now, raising morale should be a top priority around here!
|
||
It takes no more that 10 minutes out of my day to read the mail, and if I
|
||
think it may take longer, I print it, take it home, and read it later!
|
||
___________________________________________________________________________
|
||
From: ERNIE::HARTMAN 6-APR-1984 13:57
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Maudlin
|
||
|
||
|
||
Hartman and Rice wish to express their fond sediments to all
|
||
those wonderful people who made their short, productive
|
||
careers at Atari just about the best part of long lives
|
||
in this industry. We couldn't have been with a nicer,
|
||
funner bunch.
|
||
|
||
One request: Sombody has to develop a Philistine ragger to
|
||
take my place...gey on it, folks!
|
||
|
||
gey=get Sombody=somebody etc.
|
||
|
||
BEH
|
||
TRR
|
||
___________________________________________________________________________
|
||
From: BASHFL::DYER 10-APR-1984 06:44
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: VAX/VMS MAKE utility
|
||
|
||
|
||
I've written a version of MAKE for VAX/VMS. Documentation, the source, the
|
||
executable code, and a sample makefile are available in:
|
||
|
||
BASHFL::SYS$USERDISK:[DYER.C.MAKE]*.*
|
||
|
||
to wit: MAKE.MAN manual
|
||
MAKE.COM DCL front end
|
||
MAKE.EXE executable
|
||
MAKEFILE. makefile for MAKE
|
||
|
||
MAKE.H source
|
||
*.C more source
|
||
|
||
|
||
If you want to use it, copy the first four files (you can use MAKEFILE as a
|
||
template for your own needs.) Unix and Eunice people will discover that this
|
||
version of MAKE is not exactly like the "official" one; don't expect it to
|
||
work with makefiles you already have.
|
||
|
||
To install it, put these two lines into your LOGIN.COM:
|
||
|
||
$ DEFINE MAKE$MAKEDIR <directory that MAKE.EXE and MAKE.COM are in>
|
||
$ MAKE :==@MAKE$MAKEDIR:MAKE
|
||
|
||
then type 'MAKE', and you are on your way.
|
||
|
||
Bugs, suggestions and letter bombs to BASHFL::DYER (assuming BASHFL's network
|
||
interface is in a good mood.) Happy hacking!
|
||
|
||
|
||
-Landon-
|
||
___________________________________________________________________________
|
||
From: KIM::MARGOLIN 17-APR-1984 14:05
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: TMS-320 Meeting
|
||
|
||
|
||
There will be a meeting on Tuesday, April 24, at Two PM, with Texas
|
||
Instruments to talk about the TMS-320. Iraj will be there along with the
|
||
TMS-320 Product Manager. If you are interested in attending the meeting
|
||
please reply via VAX Mail.
|
||
|
||
Jed
|
||
___________________________________________________________________________
|
||
From: KIM::MORRIS 17-APR-1984 14:09
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: TMS-320 Meeting
|
||
|
||
|
||
Hi Jed,
|
||
Mike Albaugh, Jack Ritter & myself would like to attend please.
|
||
|
||
Thanks
|
||
Jim.
|
||
___________________________________________________________________________
|
||
From: KIM::RUBIN 17-APR-1984 14:13
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: TMS-320 Meeting
|
||
|
||
|
||
Interested!
|
||
-Owen-
|
||
___________________________________________________________________________
|
||
From: KIM::MCCARTHY 17-APR-1984 14:22
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: TMS-320 Meeting
|
||
|
||
|
||
I'm interested. Keep me informed.
|
||
|
||
Pat.
|
||
___________________________________________________________________________
|
||
From: BEEZ::SEGHERS 17-APR-1984 15:12
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: TMS-320 Meeting
|
||
|
||
|
||
WHAT IS THE TMS-320?
|
||
___________________________________________________________________________
|
||
From: BEEZ::SEGHERS 17-APR-1984 15:56
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: TMS-320 Meeting
|
||
|
||
|
||
THANKS FOR THE INFO. I'LL NOT BE AT THE MEETING.
|
||
___________________________________________________________________________
|
||
From: KIM::ALBAUGH 17-APR-1984 16:00
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: TMS-320 Meeting
|
||
|
||
I'd like to come please...
|
||
Mike
|
||
___________________________________________________________________________
|
||
From: KIM::ANDERSON 17-APR-1984 16:04
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: TMS-320 Meeting
|
||
|
||
|
||
I am not quite sure what a TMS-320 is. Any hints?
|
||
|
||
karl
|
||
___________________________________________________________________________
|
||
From: KIM::BABCOCK 18-APR-1984 09:16
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: TMS-320 Meeting
|
||
|
||
|
||
Could you bother to tell us a little more about the TMS-320. Your
|
||
message was quite ignorant of any reference.
|
||
|
||
edb
|
||
___________________________________________________________________________
|
||
From: BEEZ::TUNG 18-APR-1984 09:59
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: TMS-320 Meeting
|
||
|
||
|
||
I (where is the dumb apostrophe on this thing??) am interested.
|
||
|
||
Joe Tung - 942-7261 WHERE???
|
||
___________________________________________________________________________
|
||
From: LY 18-APR-1984 12:03
|
||
To: MARGOLIN
|
||
Subj: TMS 320
|
||
|
||
I'M INTERESTED. P L E A S E RESERVE A PLACE FOR ME.
|
||
THANKS.
|
||
SAM
|
||
___________________________________________________________________________
|
||
From: WHITEBOOK 23-APR-1984 09:33
|
||
To: MARGOLIN
|
||
Subj: TMS320
|
||
|
||
|
||
Jed: thanks for the invite. I'll attend. Please forward time and place
|
||
when the meeting firms up... Thanks , Barry
|
||
___________________________________________________________________________
|
||
From: BEEZ::DRESSER 23-APR-1984 10:24
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: TMS-320 Meeting
|
||
|
||
|
||
What is a TMS-320?
|
||
|
||
jtgd
|
||
___________________________________________________________________________
|
||
From: KIM::MAHAR 23-APR-1984 21:14
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: webster
|
||
|
||
Webster is no longer in the disk area DOC:. It is now in the area
|
||
DOK:. You should change your login.com file to reflect this change.
|
||
___________________________________________________________________________
|
||
From: MCCARTHY 24-APR-1984 10:46
|
||
To: MARGOLIN
|
||
Subj: TI MEETING
|
||
|
||
|
||
Sorry, cannot attend todays meeting.
|
||
I have an appointment in San Jose at 1.00 pm and it is unlikely I will
|
||
be back in time.
|
||
|
||
pat.
|
||
___________________________________________________________________________
|
||
|
||
[Note - Out of eight people who announced they were coming to the meeting
|
||
only three showed up - Albaugh, Ritter, and Morris - plus Earl who came
|
||
to talk to Iraj about the 5220C.]
|
||
___________________________________________________________________________
|
||
From: KIM::SALWITZ 26-APR-1984 18:50
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: H
|
||
|
||
|
||
Here we go again...
|
||
|
||
Although I have many "real" concerns in my life (ie: World peace,
|
||
Nuclear diarmement, Governmental sanity) I find myself from time
|
||
to time getting really tense about something trivial.
|
||
|
||
In Junes' Antic (page 79) there is an add. for a new book..
|
||
|
||
$14.95... "THE ART OF COMPUTER GAME DESIGN:
|
||
REFLECTION OF A MASTER GAME DESIGNER"
|
||
|
||
written by
|
||
none other than... CHRIS CRAWFORD
|
||
(ex Atari programmer).
|
||
|
||
" ... Chris Crawford, Atari programmer PAR EXCELLENCE,
|
||
teaches this and other noteworthy lessons... "
|
||
|
||
|
||
peee-ewww.
|
||
|
||
I have never met this man.. (ie.. I hold him no grudge)
|
||
I have seen him on " Bits Bytes and Buzzwords" (2 weeks ago)
|
||
He has been billed as THE Atari game Wizard
|
||
(some say he isn't even a wizard.. let alone the ONLY one.)
|
||
|
||
WHY ???
|
||
|
||
|
||
|
||
It should be noted that by all indications Atari itself
|
||
responsible for this (grossly incorrect) billing. Mr Crawford
|
||
has just helped it along.
|
||
|
||
|
||
nothing else to say..
|
||
|
||
|
||
jfs.
|
||
|
||
|
||
( one of the Atari group of programmers.)
|
||
___________________________________________________________________________
|
||
From: KIM::BIG_BROTHER 1-MAY-1984 13:09
|
||
To: @PRINTER_USER
|
||
Subj: Using the printers.
|
||
|
||
|
||
Most of you are already familiar with the following
|
||
"rules" which apply to the computer line printers. However,
|
||
there are a number of new people in the building who are
|
||
obviously not familiar with the so-called 'printer etiquette'
|
||
rules. This is obvious from both observation and complaints.
|
||
To help solve these new problems, I am re-sending the original
|
||
letter on printer etiquette (edited for television). This applies
|
||
to you if you use any of KIM or ERNIE's printers. The users on
|
||
the 730's should work out something similar with their printers!
|
||
|
||
I would like to suggest the following "rules" as a possible
|
||
way of eliminating these so called problems.
|
||
1). When you remove your listing from the back of the printer
|
||
it would be very nice if you would:
|
||
a). leave any listings that are "in front" of yours
|
||
separated and on the table across from the
|
||
printer. There are other people doing this for
|
||
you right now.
|
||
b). If you are leaving listings "behind" yours
|
||
still attached to the printer be sure that you
|
||
leave them stacked correctly in the basket.
|
||
c). Please leave the paper that may still be coming
|
||
out of the printer like it SHOULD be so that
|
||
it will continue to fold properly in the basket.
|
||
|
||
2). Please be sure that you leave the printer ON LINE.
|
||
(It has been found off line a few times!) At the end
|
||
of each listing 3 form feeds occur to 'push' the listing
|
||
to a point where it may be torn off. There should be no
|
||
need to turn the printer off-line! But if you do.....
|
||
|
||
3). If it runs out of paper, at least notify an operator or
|
||
a systems person so that new paper may be inserted. If
|
||
it is late at night, you might like to put the paper in
|
||
yourself.
|
||
a). If you are not aware of how to PROPERLY insert
|
||
paper into the printer, please see any system's
|
||
person and they shall give you a quick demo. Its
|
||
easy, even a child could do it!!!!!!
|
||
|
||
4). Please be careful that a small listings belonging to someone
|
||
else is not "attached" to the listing you take from the printer
|
||
room. If you do take one of these listings....please PUT IT BACK
|
||
in the printer room...not in your stack of old listings. This seems
|
||
to be one of the complaints heard most often.
|
||
|
||
Please be advised that it is now possible to tell who it may be
|
||
that is screwing up the printers. Given the "id" of the listing on either
|
||
side of a supposed screw up, it is now possible to tell who it was that
|
||
may have caused a printer problem. "Big Brother" may indeed be watching
|
||
your listing! (you may have your hand slapped with a wet noodle if found
|
||
guilty!!!)
|
||
|
||
As you know, operators do not monitor these printers.
|
||
Therefore it is up to us, the users of these printers to help things
|
||
run smoothly for all users. So please try and be more considerate of
|
||
the rest.......
|
||
Thank You,
|
||
Big_Brother
|
||
___________________________________________________________________________
|
||
From: KIM::VICKERS 1-MAY-1984 16:06
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: What's an Audio Game, Anyway?
|
||
|
||
This here's the first round of a VAXMAIL brainstorming session
|
||
on the subject of audio games. Please send any ideas or comments to me
|
||
and I will in turn forward them back out to everyone who has written asking
|
||
to be on the mailing list. (Let me know if you don't want your comments
|
||
broadcast in this manner.) This process will repeat with a new round every
|
||
few days until we've stormed our little brains out, at which time an in-person
|
||
meeting might be appropriate. If this type of brainstorming works (or even
|
||
if it doesn't), it might be a good way to work on other topics as well.
|
||
|
||
The first rounds can be totally off the wall (much of the stuff below
|
||
is), no ideas rejected as being too strange. Later sessions can start to
|
||
refine the ideas into something practical.
|
||
|
||
So what's an audio game, anyway?
|
||
|
||
Mike Albaugh's been wanting for a long time to do some sort of
|
||
interactive radio play. Remember the days (before my time) when you would
|
||
go to bed and turn out the lights and turn on the radio real quiet so your
|
||
parents wouldn't hear, and listen to The Shadow and all those other creepy
|
||
old plays. Most of us TV brats missed that experience, but they say the
|
||
pictures are better on radio. What if you could interact with the action?
|
||
Wouldn't it be nice to start a new fad? I'll try listing some different
|
||
categories that might come under the loose heading of audio games, in the
|
||
hope they might cross-fertilize in someone's mind.
|
||
|
||
1). CB radio became sort of an audio game for a while, and made a lot
|
||
of money before the fad died out. Just as people like Gutenburg and Ralph
|
||
Xerox helped make everyone their own publisher, the CB let everyone be their
|
||
own radio station, although with a very low signal-to-idiot ratio. I
|
||
personally think everyone should have their own TV station, but that's another
|
||
subject.
|
||
|
||
2). Some computer bulletin board services like The Source(?) have CB
|
||
simulators that let strangers talk to each other, and some even let you publish
|
||
poems, articles, etc., and pay you a royalty for every time someone reads them.
|
||
People seem to like to talk to complete strangers, and the thought of getting
|
||
paid for spewing your stupid ideas all over the globe is even more attractive.
|
||
|
||
3). The telephone seems to be one ideal medium for audio games.
|
||
Everyone has one, for starters, and most people have played games with them.
|
||
Like calling random numbers and asking if the person's refrigerator is running.
|
||
Computer abusers and phone phreaks tend to go together (the phone phreak
|
||
newsletter, TAP (Technology Assistance Program) deals with both.) The
|
||
dial-a-joke, etc. numbers are one way communications (Wozniak had an especially
|
||
bad one), but there have been a few interesting two-way phone services (almost
|
||
all in California.) One of them had two lines, one to leave messages and one
|
||
to listen to other peoples' messages. I assume the people who ran it did some
|
||
editing, because there was lots of good material on the listening line. People
|
||
say really funny and bizarre stuff sometimes, if they don't have to say it in
|
||
person. Another service would hook you up to one or more people who had
|
||
happened to call at the same time - talk to strangers without the guilt of
|
||
waking up people by dialing random numbers. If anyone knows of numbers like
|
||
this that are currently in operation, please share them.
|
||
|
||
4). A conceptual art project that I'd like to do someday is to
|
||
broadcast my life by telephone. Walk around wearing a microphone, and a
|
||
little transmitter that sends the signal to a base station, where there is
|
||
an answering machine. Anyone can call at any time and listen to whatever
|
||
you're doing. (Employers and lovers might not appreciate this.) The art
|
||
of banality, the thought of listening to someone's boring everyday events,
|
||
and knowing it's real, and live. (Oh, sounds like he's eating dinner now...
|
||
sounds like he's throwing up now...) Just fascinating stuff. I would call,
|
||
for sure, even if it was my life being broadcast (Yup, sounds like my life,
|
||
all right.) A related project is to tape record my whole life, 24 hours a day.
|
||
I need a very slow running tape recorder. I just like the idea of someone
|
||
sitting down and listening to the whole piece. Or I could sell the tapes,
|
||
in one day units. The trading of tapes could be incredible (Have you heard
|
||
August 18, '83 yet? Primo!)
|
||
|
||
5). And of course there's Phone Sex. Pages and pages of ads in the
|
||
back of Hustler, etc. $25 - $36, charge it to your Visa. The one I called
|
||
was a blatant rip-off, and you can't contest credit card charges below $50.
|
||
They must not be interested in repeat business. (If anyone knows of any good
|
||
ones, again, please share!)
|
||
|
||
6). So back to the idea of interactive plays. If they were done by
|
||
telephone, you could tell people how the phone push-buttons correspond to
|
||
commands. The number keys could be N, S, E, W, etc. for an adventure type game.
|
||
The star could be a help key, numbers could correspond to multiple choices,
|
||
etc. Most people still have no experience with adventure games of any type,
|
||
and would gladly play them if they were fun, required no extra hardware, and
|
||
didn't require you to know how to read. Much more desirable would be doing
|
||
voice recognition to determine the next move. Who wants to listen to a touch
|
||
tone phone beep in your ear while you're listening to a play? People would
|
||
be fascinated by a system that could interact with them verbally. People
|
||
often told their deepest secrets to the Eliza (psychotherapist simulator)
|
||
program, even through a keyboard. The effect would be that much greater with
|
||
voice recognition. Voice recognition would be difficult, computationally
|
||
expensive, and would need to be fairly fast and speaker-independent, for a
|
||
limited vocabulary. It is probably do-able.
|
||
|
||
7). There could also be 2 (or more) person phone games. You could
|
||
talk to the other person while you play, or you could get to know them only
|
||
through the moves that they make, as translated by the computer to you.
|
||
Your voices could be electronically disguised, vocoded, signal processed, etc.,
|
||
perhaps to the extent that the other player's speech is not even recognizable,
|
||
but comes over only as a sound effect.
|
||
|
||
8). Phone games could eventually expand into something like the Source,
|
||
where you have a menu of a number of different types of activities you can
|
||
participate in -
|
||
Games
|
||
CB / party lines
|
||
Voice store-and-forward messages which are indexed by titles
|
||
that other people can call and listen to, etc.
|
||
A menu of sound effects (might be fun for young kids, and it
|
||
would be easy to do. Type 378 and hear walruses
|
||
sneezing, etc.)
|
||
|
||
9). Perhaps Atari-Tel could sell a special phone for game play
|
||
(preferably a speaker-phone). The processor for the game would be in the
|
||
phone, and the base station would just download programs and play sounds when
|
||
the user's game phone requests them. Anyone know anyone at Atari-Tel who would
|
||
be interested in participating in this dialog?
|
||
|
||
10). How to make money at this? Albaugh's idea is not to try, just
|
||
put an ad for the latest Atari game at the beginning of the call. Credit
|
||
cards need a live operator, kids don't have 'em, and the games had better
|
||
be real good. There's a new phone service, offered by General Telephone
|
||
and perhaps Pacific Bell, which allows people who run a phone service, like
|
||
dial-the-weather, to get money from the call, which will show up on the
|
||
person's bill. You set the rate for the call - $.50 or whatever. This of
|
||
course is in addition to how much the phone company gets if it's long distance.
|
||
I believe this service is only available in L.A. currently, but if it is
|
||
expanded to other cities, we could set up whatever hardware we develop in
|
||
each major city. This is a fairly painless way for people to pay for games -
|
||
you don't see the bill till much later. Also, it's free for kids (parents
|
||
pay the phone bill.)
|
||
|
||
11). How do the economics of this work? I'm not sure. Do you have one
|
||
simple hardware system, maybe the price of a coin-op game, which can only
|
||
handle one call at once? Do you use a more powerful system, which can play
|
||
many games at once? Here's some things the hardware might need to do -
|
||
|
||
Decode touch-tone phone beeps
|
||
Voice recognition
|
||
Voice synthesis
|
||
Random access of lots of sounds, speech, music
|
||
Analog or digital signal processing of player's voice
|
||
Lots of disk space for voice store and forward
|
||
Letting multiple players talk to each other
|
||
Decode serial data from a user's game phone
|
||
|
||
12). Another idea is to not do this by phone at all, but with some
|
||
sort of audio game machine. There could be a Walk-man type machine, with
|
||
a couple of cassette tapes and a microprocessor to control the game. Seek
|
||
times are a problem. Or there is the possibility of getting a compact disk
|
||
manufacturer to add appropriate controls to let you play audio games with your
|
||
CD player. Especially if such games were played with headphones, there are
|
||
3-d spatial illusions that can be done that will knock your proverbial socks
|
||
off. CD software is expensive and the seek times are a little slow, but it
|
||
shouldn't add much to the cost of the player. The market is currently small,
|
||
however.
|
||
|
||
|
||
Anyhow (finally), these are some of the ideas that have been floating
|
||
around. Send yours, don't delay. And even if you are temporarily struck
|
||
idea-less, let me know if you want to be on the list to get further rounds
|
||
of this dialog forwarded to you.
|
||
|
||
Earl
|
||
___________________________________________________________________________
|
||
From: KIM::FXL 1-MAY-1984 14:03
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: AAG
|
||
|
||
|
||
Well, I've got 8 responses so far (that's 10 octal) so how about a
|
||
meeting tomorrow at 12:15 in the multipurpose room. To clear up one
|
||
possible point of confusion: A game designer is someone who contributes
|
||
to the design of a game. That includes sound, graphics, hardware, in other
|
||
words, most everyone who works in 1501.
|
||
|
||
This will be mainly an organizational meeting. We will be looking
|
||
for volunteers to help with various tasks. We will try to write down
|
||
goals and the purpose of AAG.
|
||
|
||
There is a similar organization called the Association of Video Game
|
||
Designers. I know little about this group, other than the article
|
||
posted on Karl Anderson's door. It seems though that the scope and
|
||
purpose of AAG would be different. AVGP focuses on video game designers
|
||
and their fight for adequate compensation and recognition. AAG will
|
||
focus on games in general, and will try to stay clear of politics and
|
||
controversy.
|
||
|
||
See you tomorrow
|
||
|
||
Franz
|
||
___________________________________________________________________________
|
||
From: KIM::MENCONI 4-MAY-1984 12:02
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Marketing culture vs. Engineering culture
|
||
|
||
I have what I think are pithy comments about the rift that seems to
|
||
exist between Engineering (Us) and Marketing (Them). Following the precedent
|
||
set by Franz, I have put these comments in a file to avoid troubling you with
|
||
lengthy mail messages. The file is [menconi.mail]culture.mai.
|
||
Let me know what you think.
|
||
|
||
Dave
|
||
___________________________________________________________________________
|
||
From: KIM::SHEPPERD 23-MAY-1984 21:09
|
||
To: @sys$mail:engineer
|
||
Subj: New DIO routines
|
||
|
||
|
||
I've released new versions of the DIO programs. Details of what's different
|
||
can be found in DIO$SYSTEM:NEWDIO.TXT and DIO$SYSTEM:PALMSG.TXT.
|
||
|
||
ds
|
||
___________________________________________________________________________
|
||
From: DOC::ZDYBEL 25-JUN-1984 11:32
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: The "New" ATARI
|
||
|
||
" We trained hard, but it seemed that every time we were beginning
|
||
to form up into teams , we would be reorganised. I was to learn later in
|
||
life that we tend to meet any new situation by by reorganising, and
|
||
a wonderful method it can be for creating the illusion of progress
|
||
while producing confusion, inefficiency, and demoralisation."
|
||
|
||
Caius Petronius (AD 66)
|
||
___________________________________________________________________________
|
||
From: KIM::MORRIS 30-MAY-1984 09:45
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: Intermetrics new release (again)
|
||
|
||
|
||
To all who use 68000/10. and specifically those using Intermetrics s/w.
|
||
|
||
The new release is now up. There are a few points worth noting about it.
|
||
|
||
CLNK Is the linker.
|
||
CLOC Is the locator.
|
||
CFOR Is the formatter.
|
||
CLBR Is the librarian.
|
||
XREF Is the cross reference utility.
|
||
SYMLIST Is the symbol lister.
|
||
CMAP Is the Mapper. or
|
||
GSMAP " "
|
||
|
||
|
||
In order to use the new release you must do:
|
||
|
||
1.
|
||
$ @sys$sysdevice:[as68r1v2.com]cdefs.com
|
||
in your login.com file.
|
||
|
||
2. the files on the CLOC command line must now be separated by commas
|
||
and a /o= file.ln is required, or just /o will use the input
|
||
filename that is first in the list.
|
||
|
||
3. The CLNK requires a /o.
|
||
|
||
4. The CLOC requires a /o.
|
||
|
||
5. The CFOR requires a /o and the /de still does not produce symbols
|
||
compatible with the emulator. so use GENSYM for now.
|
||
|
||
|
||
The new stuff is in sys$sysdevice:[as68r1v2].
|
||
The library & sources are in sys$sysdevice:[c68kr1v1].
|
||
|
||
It really is much faster now. any problems call me.
|
||
|
||
Jim x7118.
|
||
___________________________________________________________________________
|
||
From: RUBIN 21-JUN-1984 18:42
|
||
To: @SOUTH
|
||
Subj: A new printer on this side!
|
||
|
||
|
||
Are you tired of walking ALL the way down to the other side
|
||
of the building to get your listing? Tired of cleaning up the printer
|
||
for someone elses HUGE listing? Want to be lazy like me?
|
||
|
||
Well, now your in luck.
|
||
|
||
Just opened, the new "south" printer room. The new printer is
|
||
located in the same room as the Richo copy machine. I know, your saying
|
||
I've seen that piece of junk torn apart in that room. Well, not any more.
|
||
Now we have a brand new, never been used Printronix 300 line printer.
|
||
|
||
How do you use it, you ask?. Its simple.
|
||
|
||
If you are on KIM, then:
|
||
|
||
Add the following line to your login.com file:
|
||
|
||
$ASS 'F$LOG("SOUTH$PRINT") SYS$PRINT
|
||
^^^^^^^^^^^^^
|
||
|||||||||||||--this MUST be uppercase
|
||
|
||
Or you may type that at any time.
|
||
This will the automatically cause all print jobs of yours to
|
||
go to this printer. You must DEASS SYS$PRINT to return to printing at
|
||
the other printers.
|
||
OR you could add the line:
|
||
|
||
$sou*thprint :== "ass ''f$log("SOUTH$PRINT")' sys$print"
|
||
so that typing SOUTH will cause listings to be qued in the south printer.
|
||
Caution: Make sure the line is types EXACTLY as shown. SOUTH$PRINT must be
|
||
upper case and don't leave any ' or " out!On
|
||
------------------------------------------------
|
||
If you are on ERNIE or BEEZ:
|
||
|
||
Simply type: $PRSOUTH filename.
|
||
(PRS filename is all you really need, the rest is for people who like to type)
|
||
|
||
NOTE: Remote printing will ONLY print a file. It will NOT act like
|
||
a normal print que for other programs such as MAIL or MUSE. However, there is
|
||
still a way to get your listing in these cases.
|
||
This means that your job or jobs should NOT que a listing for printing,
|
||
but simply keep it in a file. Then use the PRS command to print it.
|
||
(After you get your listing, you may wish to delete the print file to save
|
||
on disk space)
|
||
|
||
MUSE users, simply give a name to MUSE when it asks for what printer. If
|
||
MUSE cant find a printer with that name, it simply creates a file which
|
||
has that name, and adds the extension .LIS. When you exit MUSE, type PRS
|
||
followed by the name of you gave MUSE.
|
||
MAIL users should simply FILE the desired messages for printing to a mail file
|
||
then PRS the mail file. Note, however, that you MUST change the protection
|
||
on the newely created mail file to world read or KIM won't be able to copy
|
||
the file. See me for more details if interested in doing this!
|
||
------------------------------------------------
|
||
As with the other printers, your are still responsible for keeping
|
||
this room neat and clean, stacking listings, and refilling the printer if
|
||
empty. If you don't know how to refill the printer, Dave Shepperd, Steve
|
||
Suttles or I will be gald to show you how. At this time, no paper is being
|
||
stored at this location, but that should be changed in the near future.
|
||
For the time being, you must go to the old printer room and snag a box
|
||
for yourself. Since there will only be a few of us using this printer,
|
||
and I'm only telling the people at this end of the building, the job
|
||
should be a simple one and I doubt if the printer will need to be fed
|
||
paper very often.
|
||
|
||
Thanks
|
||
-Owen-
|
||
___________________________________________________________________________
|
||
From: FARRAND 26-JUN-1984 23:28
|
||
To: MARGOLIN
|
||
Subj: CHANGE IN BENIFITS
|
||
|
||
|
||
DEAR JED
|
||
I AM SORRY THAT THE CHANGES WERE PUT OUT THIS WAY.I WAS UNAWARE
|
||
OF ZUFALLS WRITE UP .------THE CHANGES ARE FOR THE WORSE YOU ARE CORRECT AND
|
||
THIS SHOULD HAVE BEEN MADE CLEAR TO EVERYONE. WE ATAIRI TRIED VERY HARD TO
|
||
KEEP
|
||
___________________________________________________________________________
|
||
From: KIM::OLIVER 6-JUL-1984 12:55
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Hello?
|
||
|
||
|
||
......This is Lawrence Kansas....is there anybody out there?
|
||
......We'll be staying on the air for as long as possible........
|
||
......This is Law(boom)^%$#$@#..
|
||
___________________________________________________________________________
|
||
From: KIM::PACKRAT 12-JUL-1984 11:08
|
||
To: @SYS$MAIL:ENGINEER.DIS
|
||
Subj: Attention users of Applied Microsystems Devsys
|
||
|
||
|
||
If you have been having problems with the DTB, DTF, or DT function
|
||
on the Applied Microsystems Development system, I may have a cure for
|
||
you. Apparently, the Devsys has quite a few bugs still, one of which
|
||
is that the DTx function will lock up the system if there are too many
|
||
symbols. A temporary cure for this is to selectively delete symbols
|
||
from the file that you download. I have changed Jim Morris' gensym
|
||
program to allow an optional third file. To use the new gensym program:
|
||
|
||
In you login.com:
|
||
csym :== $sys$userdisk:[packrat.68000]gensym
|
||
|
||
In your link68.com:
|
||
$ csym file.ab file.sym [file.exc or file.inc]
|
||
|
||
What this .EXC or .INC file will do, is look for symbols that match
|
||
the strings in the file. If there is a match, then the symbol is
|
||
either left in the .SYM file if the extension is .INC, or left out of
|
||
the .SYM file if the extension is .EXC. Some examples:
|
||
|
||
ab*
|
||
M_FOO
|
||
M_G*
|
||
|
||
will match any string starting with ab, a string called M_FOO, and
|
||
any string starting with M_G. Any letters after the * will be ignored.
|
||
|
||
|
||
So, a recap, if you want to exclude a set of symbols, use a file called
|
||
file.EXC, and fill the file with strings to match the symbols you don't
|
||
want. If you want to keep a specific set of symbols, then use a file
|
||
called FILE.INC, and fill the file with strings to match the symbols you
|
||
want to keep.
|
||
|
||
Any complaints, comments, praise, MONEY, will be gladly accepted.
|
||
Abuse gladly returned to owner.
|
||
|
||
Peter Thompson.
|
||
___________________________________________________________________________
|
||
From: KIM::FXL 12-JUL-1984 14:21
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: Auf Wiedersehn
|
||
|
||
|
||
Hello coinop
|
||
|
||
With regrets, and after much soul-searching, I have decided to resign.
|
||
While there are many factors that went into this decision, by far the most
|
||
important is the following:
|
||
|
||
On Monday I took the following position: put the present product bonus
|
||
plan in writing, or I will quit. More specifically I would need to be assured,
|
||
IN WRITING, and in a LEGALLY BINDING CONTRACT, that such events as the sale of
|
||
Atari Corp., or getting laid off (or fired) by new or existing management, do
|
||
not affect the payment of past due royalties.
|
||
|
||
I was informed that this would not happen in the near future, if ever,
|
||
but I was assured that the present bonus plan is still in effect until further
|
||
notice and that the August payment would "probably" be paid on time.
|
||
|
||
This put me into a difficult dilemma. Do I stick to my word, and
|
||
possibly lose a large (>$5000) bonus in August, and possibly even larger sums
|
||
of money next February for consumer cartridge sales. Or do I go back on my
|
||
word and stick around a while longer. I admit, I had to think about it.
|
||
From a purely greed standpoint it would be stupid to turn down the chance
|
||
at that much money for one or two more months of work.
|
||
|
||
But then I read one the robot stories by Asimov, called "the
|
||
Bicentennial Man". In it a robot buys his freedom for $600,000. The robot had
|
||
earned the money by producing wood sculptures. He argued that money is no
|
||
object when it comes to freedom. I agree. I can no longer work for any
|
||
organization that treats the creators of its products like pawns in the
|
||
corporate game of chess.
|
||
|
||
My plans for the immediate future are to relax, and take a break. Then
|
||
I will seek out new corporations, and go where no game designer has gone
|
||
before.
|
||
|
||
I have enjoyed working with all of you, its been fun. You can
|
||
reach me at (xxx) xxx-xxxx. The answering machine message is strange
|
||
sometimes, but then what else would you expect.
|
||
|
||
Good luck to all of you,
|
||
Franz X Lanzinger
|
||
|
||
( the X stands for ex Atari employee)
|
||
___________________________________________________________________________
|
||
From: KIM::SHEPPERD 30-JUL-1984 16:42
|
||
To: @sys$mail:junk
|
||
Subj: More VAX classes.
|
||
|
||
|
||
I found a neat but UNDOCUMENTED (which means we have NO books on it contrary to
|
||
what the program will tell you) program on Turtle that you may be intrested in
|
||
running. Its VMSCAI which is a VMS tutorial resident on the vax. For the novice
|
||
user and "once in a while" user it can probably be a great help. Its been
|
||
copied to all the systems. To use it type:
|
||
|
||
$ MCR VMSCAI
|
||
|
||
and do what it says. It will only work on a VT100 or a CIT101, however. The
|
||
keypad key PF2 is always a HELP key, and the PF3 key is an EXIT key. Repeated
|
||
pressing of the PF3 will exit each level of the program until you're all the
|
||
way back to DCL.
|
||
|
||
|
||
ds
|
||
___________________________________________________________________________
|
||
From: KIM::COX 1-AUG-1984 14:40
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: USERS OF 16K X 4 DRAM BEWARE!!
|
||
|
||
|
||
RAM USERS BEWARE!!!
|
||
|
||
The Fujitsu version of the 4416 (16K X 4) DRAM as qualified under Atari
|
||
part number 137323-001 will not work in a board with a RAS/CAS generator
|
||
designed like the one on Crystal Castles. The CAS HIGH to RAS LOW delay
|
||
time on both the TI and INMOS parts is specified as 0ns, while the Fujitsu
|
||
part needs 30ns for the 150ns version. On Crystal Castles, the CAS signal
|
||
clears an S74 to generate the leading edge of RAS. No way can it work.
|
||
I have asked that Fujitsu be disqualified for 137323-001.
|
||
Ross Cox
|
||
___________________________________________________________________________
|
||
From: ERNIE::DENCKER 2-AUG-1984 18:36
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Software Testing Job Opportunities
|
||
|
||
|
||
If anyone knows of some software people who might be interested in
|
||
contract work (such as the Consumer Div. programmers), my sister is looking
|
||
for them:
|
||
Software Testers $10-18/hour
|
||
Sr. Software Testers $15-30/hour
|
||
Test Directors $30-45/hour
|
||
|
||
Please tell them to contact:
|
||
|
||
Claudia Dencker, Vice-President of the West Coast Office
|
||
International Bureau of Software Test
|
||
536 Weddell Dr., Suite 7 (near the Lion & Compass)
|
||
Sunnyvale 94089
|
||
xxx-xxxx
|
||
|
||
This company's claim to fame is that it's the UL of software testing. They
|
||
test mostly microcomputer programs, but are also getting into minicomputer
|
||
programs.
|
||
|
||
Andrea
|
||
___________________________________________________________________________
|
||
From: KIM::HORSEMAN 3-AUG-1984 08:48
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: SELLING LOTS OF THINGS AT VERY LOW PRICES (SOB SOB)
|
||
|
||
|
||
FROM CHRIS HORSEMAN AND KIM WHITMORE:
|
||
|
||
HOME PHONE: xxx-xxx-xxxx
|
||
|
||
ADDRESS: xxxxxxxxxxxxxxx
|
||
|
||
DUE TO CIRCUMSTANCES BEYOND MY CONTROL, I SHALL BE SELLING MY
|
||
HOUSE AND MOST OF ITS CONTENTS ALL AT VERY REASONABLE PRICES (FIRE SALE).
|
||
THE FURNITURE IS ALL BREUNER'S BEST AND I HAVE RECEIPTS FOR ALMOST EVERY-
|
||
THING. I WILL HAGGLE TO SOME EXTENT ESPECIALLY FOR VOLUME PURCHASERS, BUT
|
||
I AM TAKING A BATH ON THIS ALREADY (THE ONE THING YOU CANT TAKE IS THE BATH).
|
||
|
||
HOUSE 3/4 BEDS,POOL,FIVE YEARS OLD. $227,000
|
||
|
||
CAR: FIAT SPIDER 2000 (PININFARINA) 1982 MODEL BOUGHT JULY 1983
|
||
4500 MILES, SILVER GREY, BEIGE LEATHER INTERIOR,ELECTRIC WINDOWS
|
||
BLAUPUNKT CASSETTE/RADIO IMMACULATE
|
||
|
||
$9000.00 OR BEST OFFER
|
||
|
||
ELECTRONIC BITS AND PIECES:
|
||
|
||
MARANTZ STEREO COMPLETE SYSTEM : SELL FOR $600.00
|
||
|
||
DIRECT DRIVE TURNTABLE,GRAPHIC
|
||
EQUALISER,STEREO CASSETTE RE- COST NEW $1,200.00
|
||
CORDER,TUNER AMP,2 PAIRS SPEAKERS
|
||
|
||
2 MATCHING OFFICE LAMPS, SELL FOR $50.00
|
||
|
||
ONE FLOOR ONE DESK BEIGE. COST NEW $102.00
|
||
|
||
GOLD ARC FLOOR LAMP SELL FOR $45.00
|
||
|
||
COST NEW $70.00
|
||
|
||
GOLD STANDARD FLOOR LAMP SELL FOR $60.00
|
||
|
||
COST NEW $135.00
|
||
|
||
TWO SONY 13" TVs SELL FOR $200.00 each
|
||
|
||
COST OVER $400.00 each
|
||
|
||
ONE SONY 24" TV (with remote) SELL FOR $350.00
|
||
(cable ready)
|
||
COST NEW $650.00
|
||
|
||
TWO CHINESE VASE TABLE LAMPS SELL FOR $100.00 pr
|
||
(with two matching vases,red and blue)
|
||
COST NEW $300.00 pr
|
||
|
||
|
||
LARGE SEARS/KENMORE WASHER AND DRYER SELL FOR $400.00
|
||
|
||
COST OVER $700.00
|
||
|
||
LARGE REFRIGERATOR/FREEZER WITH SELL FOR $350.00
|
||
ICEMAKER
|
||
COST NEW $650.00
|
||
|
||
MISC. WILL HAGGLE
|
||
|
||
TOASTER, LIQUIDISER, LARGE COFFEE MAKER, STEAM IRON, CLOCK RADIO,
|
||
2 ATT PHONES ( WHITE TOUCH TONE ), VACUUM CLEANER (2hp,SEARS),
|
||
FLOOR CLEANER ( ELECTRIC, VARIETY OF BRUSHES).
|
||
|
||
FURNITURE: (ALL 18 MONTHS OLD OR LESS AND LIGHTLY USED)
|
||
|
||
L-SHAPED DESK,VENEER,FILING DRAWER SELL FOR $150.00
|
||
AND 3 OTHER DRAWERS
|
||
COST NEW $260.00
|
||
|
||
STEREO CABINET,SMOKED GLASS DOOR SELL FOR $100.00
|
||
DARK WOOD VENEER
|
||
COST NEW $190.00
|
||
|
||
BOOKCASE 7'*5' MOVEABLE SHELVES SELL FOR $70.00
|
||
MATCHES DESK ABOVE
|
||
COST NEW $130.00
|
||
|
||
OFF WHITE, SECTIONAL SOFA SELL FOR $900.00
|
||
QUEEN SLEEPER, TWO CORNERS
|
||
TWO ARMLESS,OTTOMAN COST NEW $1,814.00
|
||
|
||
BEAUTIFUL DARK WOOD COFFEE TABLE SELL FOR $130.00
|
||
SQUARE
|
||
COST NEW $250.00
|
||
|
||
GLASS AND GOLD CHROME 3-LEVEL SELL FOR $370.00
|
||
ROUND COCKTAIL TABLE
|
||
COST NEW $599.00
|
||
|
||
LETTERMAN PAINTING SELL FOR $120.00
|
||
|
||
COST NEW $199.00
|
||
|
||
DINING ROOM TABLE AND 6 CHAIRS SELL FOR $1000.00
|
||
(2 ARM)
|
||
COST NEW $1,829.00
|
||
|
||
MATCHING CHINA CABINET SELL FOR $800.00
|
||
|
||
COST NEW $1,399.00
|
||
|
||
MATCHING SERVER/DRINKS CABINET SELL FOR $350.00
|
||
|
||
COST NEW $599.00
|
||
|
||
ALL THE DINING ROOM FURNITURE IS ROSE WOOD AND IS IN PERFECT
|
||
CONDITION. IT BREAKS MY HEART TO HAVE TO SELL IT!
|
||
|
||
KITCHEN TABLE AND FOUR CHAIRS SELL FOR $200.00
|
||
RANDOM "PLANK" STYLE VENEER
|
||
LIGHT PINE TYPE WOOD COST NEW $545.00
|
||
|
||
TABLE TENNIS TABLE AND ACCESSORIES SELL FOR $40.00
|
||
|
||
COST NEW $96.00
|
||
|
||
LIGHT BROWN SECTIONAL SELL FOR $800.00
|
||
QUEEN SLEEPER,TWO CORNERS
|
||
AND AN ARMLESS COST NEW $1546.00
|
||
|
||
DARK WOOD AND GLASS SQUARE SELL FOR $95.00
|
||
COFFEE TABLE
|
||
COST NEW $179.00
|
||
|
||
MATCHING SOFA TABLE SELL FOR $95.00
|
||
|
||
COST NEW $179.00
|
||
|
||
TV STAND (DARK WOOD) SELL FOR $30
|
||
|
||
COST NEW $75
|
||
|
||
CHINESE HAND CARVED RUG 9'*12' SELL FOR $1000.00
|
||
CAMEL/BEIGE COLOURED
|
||
(ANOTHER HEART BREAKER) COST NEW $2300.00
|
||
|
||
|
||
COMPUTER DESK SELL FOR $210.00
|
||
SET UP FOR PRINTER,DRIVES,ETC
|
||
COST NEW $370.00
|
||
|
||
ROTATING OFFICE CHAIR (BROWN) SELL FOR $29.00
|
||
|
||
COST NEW $58.00
|
||
|
||
DOUBLE BED SELL FOR $500.00
|
||
|
||
COST NEW $998.00
|
||
|
||
PINE CHEST OF DRAWERS SELL FOR $35.00
|
||
(UNVARNISHED)
|
||
COST NEW $70.00
|
||
|
||
KING SIZE BED SELL FOR $300.00
|
||
|
||
COST NEW $500.00
|
||
|
||
HEADBOARD SELL FOR $185.00
|
||
MEDIUM WOOD, PARALLEL ROUNDED
|
||
PANELS COST NEW $349.00
|
||
|
||
MATCHING NIGHTSTANDS SELL FOR $250.00 pr
|
||
TWO DRAWERS
|
||
COST NEW $478.00 pr
|
||
|
||
MATCHING DRESSER SELL FOR $300.00
|
||
3 DRAWERS EITHER SIDE
|
||
CENTRAL DRAWER AND CUPBOARD COST NEW $559.00
|
||
|
||
MATCHING MIRROR FOR DRESSER SELL FOR $125.00
|
||
|
||
COST NEW $240.00
|
||
|
||
MATCHING TV. STAND/BOOKCASE SELL FOR $270.00
|
||
WITH CUPBOARD UNDERNEATH
|
||
COST NEW $499.00
|
||
|
||
BLUE LOVESEAT SELL FOR $300.00
|
||
|
||
COST NEW $549.00
|
||
|
||
LARGE GAS POWERED BARBEQUE SELL FOR $75.00
|
||
|
||
COST NEW $150.00
|
||
|
||
PATIO TABLE, UMBRELLA AND SELL FOR $150.00
|
||
TWO CHAIRS (BRAND NEW).
|
||
COST NEW $250.00
|
||
|
||
OTHER MISCELLANEOUS ITEMS.
|
||
___________________________________________________________________________
|
||
From: KIM::ALBAUGH 3-AUG-1984 09:34
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Phone list (again)
|
||
|
||
|
||
If you have not done so already, please take a few minutes to
|
||
send me your name, address, and phone #. Not only those who are leaving,
|
||
but those who are staying. I hope we can keep up the many valuable friendships.
|
||
As before, anyone who sends me their info gets a copy of the whole list.
|
||
Please use the following form:
|
||
|
||
Mike Albaugh
|
||
xxxxxxxxxxxx
|
||
(xxx) xxx-xxxx
|
||
Thank you,
|
||
Mike.
|
||
p.s. The list will also be available on Jeff Bell's B.B.S. (xxx) xxx-xxxx.
|
||
The current plan is to have the list accesible to anyone who is on it. For
|
||
more details, see Jeff.
|
||
___________________________________________________________________________
|
||
From: KIM::MENCONI 3-AUG-1984 10:00
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: This is Goodby...
|
||
|
||
|
||
It has been good working with all of you. I mean it sincerely when I
|
||
say that I have always considered Coin-Op to be the elite of the game
|
||
divisions. Keep it up!
|
||
I like Atari. I have been here (but not in this "division") almost 3 years
|
||
and have grown quite attached to the ol' fuji. I wish you all the best and
|
||
sincerely hope that each of you, and Atari as a whole, succeeds. You still
|
||
have hard times ahead of you but I have faith that you will pull through.
|
||
|
||
Good luck,
|
||
Dave
|
||
___________________________________________________________________________
|
||
From: KIM::GARFIELD 3-AUG-1984 10:18
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
|
||
|
||
Garfield Is Dead! Long Live Garfield!
|
||
___________________________________________________________________________
|
||
From: KIM::RAY 3-AUG-1984 10:50
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Farewell
|
||
|
||
|
||
I'm sad to say that I will be leaving ATARI after 7 very enjoyable
|
||
years. I doubt that I will ever again be able to work with as many
|
||
exceptionally talented and fun people.
|
||
|
||
I wish each of you all the best wherever life takes you. To those
|
||
of you who are staying with ATARI, I wish you the best of luck in
|
||
turning this see-saw industry around.
|
||
|
||
I hope that I someday have the opportunity to work with you again.
|
||
|
||
It's been REAL!!
|
||
|
||
Sincerely,
|
||
John Ray
|
||
___________________________________________________________________________
|
||
From: KIM::VICKERS 3-AUG-1984 11:00
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: The "Newer" ATARI
|
||
|
||
|
||
From: KIM::DEUS 3-AUG-1984 11:35
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: GOODBY AND GOODLUCK
|
||
|
||
THIS IS THE FIRST TIME AND THE LAST TIME I AM USING THE MAIL .
|
||
YES ,I HAVE FEW WORDS TO SAY.ATARI HAS BEEN GOOD TO ME AND I HAVE NO
|
||
REGRETS.IT HAS BEEN FUN WORKING WITH ALL OF YOU AND GOOD LUCK TO ALL
|
||
OF YOU WHERE EVER YOU MAY END UP.AS VERY WISE OLD TURK TOLD ME:
|
||
" THIS IS IT"
|
||
"THERE ARE NO HIDDEN MEANINGS"
|
||
" THE MOST IMPORTANT THINGS ,EACH MAN MUST DO FOR HIMSELF"
|
||
|
||
|
||
I MAY BE CONTACTED AT HOME FOR THOSE WHO MAY WANT TO CHAT ABOUT
|
||
ANYTHING.MY HOME ADDRESS AND PHONE NUMBER IS:
|
||
xxxxxxxxxxxxxxxxxx
|
||
(xxx) xxx-xxxx
|
||
|
||
SO LONG, SAM DEUS
|
||
___________________________________________________________________________
|
||
From: KIM::RUBIN 3-AUG-1984 12:15
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: Garfield is in good company
|
||
|
||
|
||
Garfield may be dead...but he was seen leaving carrying a
|
||
set of golf clubs!!!!!!!!
|
||
Golf has died too!
|
||
-O-
|
||
___________________________________________________________________________
|
||
From: KIM::BABCOCK 3-AUG-1984 13:20
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: One more for the road
|
||
|
||
|
||
Goodbye to all those whose lifes intersected with mine. I've enjoyed
|
||
working with you all these past few years. Good luck to all those
|
||
who must now carry on the tradition of Atari, "the serious funtakers."
|
||
May we meet again in future incarnations, and may you never take any
|
||
wooden garfields.
|
||
|
||
Eddie Dean Babcock, Jr.
|
||
|
||
P.S. I'm listed in the Albaugh white pages.
|
||
___________________________________________________________________________
|
||
From: KIM::SINGH 3-AUG-1984 13:47
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: GOODBYE TO ALL
|
||
|
||
|
||
GOODBY... TO EVERYONE ... ITS BEEN GREAT WORKING HERE.
|
||
DURING MY THREE AND HALF YEARS OF EMPLOYMENT AT *ATARI* I HAVE ENJOYED THE
|
||
WORKING ENVIRONMENT AND ALL THE SPECIAL PEOPLE OUT THEIR.I FEEL FORTUNATE
|
||
TO HAVE WORKED ON THE VARIOUS COMPUTER GRAPHICS SYSTEM AT ATARI. MY FUTURE
|
||
GOALS ARE TO CONTINUE IN COMPUTER GRAPHICS,VOLUNTEER FOR SIGGRAPH, CONTINUE
|
||
WITH MY STUDIES IN PROGRAMMING AND BE A GOOD MOTHER.
|
||
|
||
AND NOW I'M GOING OUT IN THE ATARI TRADITION .... "POUR ME ANOTHER ONE PLEASE"
|
||
|
||
|
||
|
||
*****GOOD FORTUNE****
|
||
TO EVERYONE
|
||
___________________________________________________________________________
|
||
From: KIM::RUBIN 3-AUG-1984 14:18
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: Owen doesn't work here any more...
|
||
|
||
|
||
I just wanted to say good bye to all the great people I have
|
||
worked with these past 8 years.
|
||
|
||
"good bye to all the great people I have worked with these
|
||
past 8 years"
|
||
|
||
I've really enjoyed the Atari experience. I hope those staying
|
||
can pull the company out of this deep hole. Who know, maybe the company
|
||
will grow big enough again that I can someday come back and disrupt
|
||
everything again. And if not, and if it gets smaller and smaller...
|
||
who knows, maybe one day I can come back and buy it!!!!!!!!
|
||
|
||
Ill be about one more week, so get your abuse while you still
|
||
can!!!!!
|
||
|
||
It feels like graduation from school again...so now I got to go
|
||
out into the real world and find a job!!!!!!
|
||
|
||
Im in the Albaugh white pages, feel free to call anytime, either for
|
||
a chat, or for the Rubin answering message of the month!
|
||
|
||
-O-
|
||
___________________________________________________________________________
|
||
From: KIM::ANDERSON 3-AUG-1984 14:38
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Last Farwell
|
||
|
||
|
||
It has been great fun being here at Atari. I hope to
|
||
see all your games in the arcade soon.
|
||
|
||
It was nice knowing you all.
|
||
|
||
"Code 6"
|
||
|
||
Watch Out For Stray Lightning Bolts!
|
||
|
||
karl
|
||
___________________________________________________________________________
|
||
From: KIM::MANAGEMENT 2-AUG-1984 14:50
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Let's get Drunk
|
||
|
||
|
||
There will be an ATARI GAMES -wide "meeting" tommorrow
|
||
|
||
(Friday, August 2, 1984) at the Red Lion Inn near the airport
|
||
|
||
(on Brokaw) at 2:00 P.M. for all employees who can attend.
|
||
|
||
You'll need money for drinks; bring some. The meeting will
|
||
|
||
last 'till the money runs out.
|
||
|
||
|
||
|
||
This has been a public service announcement.
|
||
___________________________________________________________________________
|
||
From: KIM::PETROKA 2-AUG-1984 15:20
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Let's get drunk
|
||
|
||
|
||
Does "all employees" mean all people who got the message or
|
||
does it mean all the people who are still employees at 2 p.m.
|
||
tomorrow?
|
||
___________________________________________________________________________
|
||
From: KIM::MANAGEMENT 2-AUG-1984 17:31
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Response to public query
|
||
|
||
|
||
This response is threefold:
|
||
|
||
The event at the Red Lion Inn (on Brokaw) is NOT a
|
||
"survivor's party." Everyone is invited to attend.
|
||
|
||
The official management viewpoint of the occasion is
|
||
not specified. I (the sender) do not represent company
|
||
management on this. I personally believe they are looking
|
||
the other way. While they cannot encourage this event,
|
||
they do not discourage it.
|
||
|
||
Last but not least, my name is not Owen. I have been
|
||
asked to pass on the message because nobody wanted to take
|
||
credit (answer all the questions) for authorship. Me either.
|
||
(Mostly because I don't have any answers.)
|
||
___________________________________________________________________________
|
||
From: KIM::WHITEBOOK 5-AUG-1984 09:35
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: BOSCOLE III
|
||
|
||
|
||
Boscole is dead... Long live Boscole!!!!!!!!!!!
|
||
___________________________________________________________________________
|
||
From: MARGOLIN 6-AUG-1984 16:40
|
||
To: FARRAND, MARGOLIN
|
||
|
||
|
||
John,
|
||
I realize that you are probably busy right now, but I have discovered
|
||
something that I think you should know about. This information came from
|
||
Sophie. She and her husband are the couple who actually run the cafeteria.
|
||
I have no way of verifying the following information, but if it is true,
|
||
then it is a serious matter.
|
||
----------------------------------------------------
|
||
Tony Dietz worked out a real sweetheart deal for providing us
|
||
with a cafeteria.
|
||
|
||
It seems that Atari pays Have-A-Snack money so we can have a
|
||
cafeteria. However, Have-A-Snack does not itself provide this service.
|
||
A company called Super-Snack does and PAYS HAVE-A-SNACK FOR THE PRIVILEGE.
|
||
|
||
The couple who run it (Super-Snack) paid Have-A-Snack $60K
|
||
(not refundable) plus pay a percentage of the gross. In return Super-Snack
|
||
receives nothing from Have-A-Snack.
|
||
|
||
Sophie (of the above couple) described to me how Have-A-Snack
|
||
got her to sign the contract. They insisted that she sign it right then
|
||
and there or else forget about it. She was not given the opportunity
|
||
to have an attorney read and explain it to her and since English is
|
||
not her native language she could not understand it by herself.
|
||
|
||
She is afraid to complain because Have-A-Snack has threatened
|
||
to kick her out without notice (keeping the $60K) if she says anything.
|
||
---------------------------------------------------------
|
||
If this stuff is true, I believe it may come under the Federal
|
||
Anti-Racketeering Laws, especially if, as I suspect, Tony Dietz has
|
||
some kind of "special relationship" with Have-A-Snack.
|
||
|
||
Is there some way that you can quietly check it out? I don't
|
||
want to get Sophie in trouble.
|
||
|
||
Thanks.
|
||
___________________________________________________________________________
|
||
From: KIM::MARGOLIN 9-AUG-1984 16:44
|
||
To: @SYS$MAIL:JUNK
|
||
|
||
|
||
What's the difference between Atari and the Titanic?
|
||
|
||
The Titanic had entertainment.
|
||
___________________________________________________________________________
|
||
From: KIM::ALBAUGH 9-AUG-1984 16:51
|
||
To: KIM::MARGOLIN
|
||
|
||
|
||
But the Titanic's entertainment was only for first class.
|
||
(Tourist class was the entertainment for some of the first class
|
||
passengers... but that's another story.)
|
||
___________________________________________________________________________
|
||
From: ERNIE::BELL 10-AUG-1984 09:01
|
||
To: KIM::MARGOLIN
|
||
Subj: Titanic
|
||
|
||
|
||
I don't recall anyone ever daring to say Atari was un-sinkable...
|
||
___________________________________________________________________________
|
||
From: KIM::RUBIN 10-AUG-1984 12:36
|
||
To: KIM::MARGOLIN
|
||
Subj: DIFFERENCE BETWEEN TITANTIC AND ATARI
|
||
|
||
|
||
1). TITANTIC HAD LIVE ENTERTAINMENT.
|
||
2). NOTHING!!!!!!!
|
||
3). THE TITANTIC HAD A REASON FOR GOING DOWN!
|
||
4). THE TITANTIC HAD A CAPTIAN AT THE HELM!
|
||
5). THE TITANTIC WENT DOWN IN AN HOUR.
|
||
6). THE TITANTIC HAD 750 SURVIVORS.
|
||
(OUT OF 2500, 750 WERE SAVED....OR 30%)
|
||
(FOR ATARI (1981), OUT OF 10,000, 100 WERE SAVED...OR 1%)
|
||
|
||
JED, IF YOU REPRINT THIS LIST, PLEASE REMOVE ME NAME FROM IT...OK????
|
||
-OWEN-
|
||
___________________________________________________________________________
|
||
From: KIM::OVERBY 10-AUG-1984 13:50
|
||
To: KIM::MARGOLIN
|
||
|
||
|
||
I ALSO HEARD THAT THE TITANIC WAS OF A 'TRIPLE-SCREW' DESIGN.
|
||
___________________________________________________________________________
|
||
From: KIM::SALWITZ 6-SEP-1984 10:03
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: An Open Letter To Skip Paul..
|
||
|
||
|
||
Skip,
|
||
|
||
I know I speak for myself when I say how sorry I am that you will no
|
||
longer be working with Coin-Op. You brought good, positive attitudes to
|
||
Coin op.. something I fear we are in BAD need of now. It was nice to see upper
|
||
management really get excited about what we do and who we are. I know that you
|
||
hate Bally as much as I do and that they hate you too. (that's good.) You showed
|
||
how much you believe in Coin-Op's future and you seemed willing to do glorious
|
||
battle for it. I hope that the "new" Coin Op can keep your attitudes.
|
||
|
||
thank you sir..
|
||
|
||
John F. Salwitz.
|
||
|
||
|
||
P.S. ( the control works great.. but there are still plenty of priority bugs..
|
||
maybe you and D.T. can find work together. )
|
||
___________________________________________________________________________
|
||
From: MARGOLIN 10-AUG-1984 14:18
|
||
To: SKIP, MARGOLIN
|
||
|
||
|
||
Skip, I sent this to John several days ago and have not received a reply.
|
||
Perhaps you can help.
|
||
****************************************************************
|
||
John,
|
||
I realize that you are probably busy right now, but I have discovered
|
||
something that I think you should know about. This information came from
|
||
Sophie. She and her husband are the couple who actually run the cafeteria.
|
||
I have no way of verifying the following information, but if it is true,
|
||
then it is a serious matter.
|
||
--------------------------------------------------------------
|
||
Tony Dietz worked out a real sweetheart deal for providing us
|
||
with a cafeteria.
|
||
|
||
It seems that Atari pays Have-A-Snack money so we can have a
|
||
cafeteria. However, Have-A-Snack does not itself provide this service.
|
||
A company called Super-Snack does and PAYS HAVE-A-SNACK FOR THE PRIVILEGE.
|
||
|
||
The couple who run it (Super-Snack) paid Have-A-Snack $60K
|
||
(not refundable) plus pay a percentage of the gross. In return Super-Snack
|
||
receives nothing from Have-A-Snack.
|
||
|
||
Sophie (of the above couple) described to me how Have-A-Snack
|
||
got her to sign the contract. They insisted that she sign it right then
|
||
and there or else forget about it. She was not given the opportunity
|
||
to have an attorney read and explain it to her and since English is
|
||
not her native language she could not understand it by herself.
|
||
|
||
She is afraid to complain because Have-A-Snack has threatened
|
||
to kick her out without notice (keeping the $60K) if she says anything.
|
||
-----------------------------------------------------------
|
||
If this stuff is true, I believe it may come under the Federal
|
||
Anti-Racketeering Laws, especially if, as I suspect, Tony Dietz has
|
||
some kind of "special relationship" with Have-A-Snack.
|
||
|
||
Is there some way that you can quietly check it out? I don't
|
||
want to get Sophie in trouble.
|
||
|
||
Thanks.
|
||
___________________________________________________________________________
|
||
From: KIM::MORRIS 10-AUG-1984 16:10
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: new boot eprom for applied microsystems emulator
|
||
|
||
|
||
To all using the Applied Microsystems Emulator.
|
||
|
||
I have a new boot eprom for it, i haven't found out what it fixes yet but
|
||
I will do soon.
|
||
|
||
If you come to my office, (old old common area, near starfighter lab) I'll
|
||
give you a prom to install.
|
||
|
||
Someone out there also has the piece of paper that tells us where to put the
|
||
prom, so if they can get that to me i'll copy it.
|
||
|
||
Jim x7118.
|
||
___________________________________________________________________________
|
||
From: KIM::PETROKA 13-AUG-1984 10:00
|
||
To: @SYS$MAIL:JUNK.UAF
|
||
Subj: letters from the lovelorn
|
||
|
||
|
||
Dear Abby:
|
||
Now that some of the smoke has cleared from the last reorganization,
|
||
I have a few thoughts about it that I would like to get some feedback on.
|
||
To start off, I must confess that business and economics was not one
|
||
of my strong points in college so I may be totally off base here, but I'm
|
||
wondering if it would have been possible to come right out and tell everyone
|
||
that there were going to be some layoffs of XX% and the reason for them was
|
||
blah blah blah, and give out the information that was presented on tuesday
|
||
to the remaining Atarians to everyone before the layoffs happened. The
|
||
way rumors were floating around all week, everyone knew it was going to happen
|
||
so why couldn't we be told why it had to happen before the ax fell? Was some
|
||
of the information company confidential so that soon to be x-Atarians couldn't
|
||
know them? If that was the case then that sensitive information could have
|
||
been left out, but is knowing how much it costs Atari to stay in business
|
||
and how much the company profits are projected to be and the fact that our
|
||
expenses are higher that our revenues, is knowing any of these things
|
||
detrimental to the company?
|
||
I was told there was a meeting for all the people that were laid off
|
||
on friday morning. If there was, I obviously didn't hear what was said, but
|
||
couldn't everyone been given that information on monday or when ever it was
|
||
decided that the layoff had to happen instead of letting the rumors start?
|
||
I was also told that on the day before the layoffs there were some
|
||
security problems (I assume that means that some equipment had grown legs and
|
||
was walking out of the building). Could some of this been avoided if people
|
||
knew why the layoff had to happen? It seems real easy to take being laid off
|
||
very personally, i.e. the company doesn't like me, the company doesn't
|
||
appreciate me, the company doesn't think I'm competent, and what follows is
|
||
people getting angry and wanting revenge, i.e. well I don't deserve being
|
||
treated this way so I'm gonna do something just to get even because if they
|
||
can screw me then I can screw them. But after seeing the way the numbers add
|
||
up, or should I say don't add up, it's obvious that it was a business move and
|
||
not a personal attack.
|
||
I hope this doesn't sound like I think I could have handled it better
|
||
and come next election vote for me because I'll put a terminal in every office,
|
||
legalize marijuana and build a swimming pool & softball field in the back forty
|
||
because I wouldn't take the job if they paid me. I just want to know if stuff
|
||
like this only happens when the planets line up and the tooth fairy gets a
|
||
fortune cookie that reads "you will meet someone as gay as you are" or can it
|
||
happen in the real world or why it wouldn't work in fairy land or here or the
|
||
real world or what thoughts you have about anything that would help me
|
||
understand this crazy business of paying people to make stuff and then trying
|
||
to sell the same stuff to someone else for more than what it cost to make.
|
||
|
||
Naive Natconian
|
||
___________________________________________________________________________
|
||
|
||
From: ERNIE::CAMERON 18-SEP-1984 16:02
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: ANNOUNCEMENT
|
||
|
||
|
||
WATCH THE NEWS FOR THE TIME AND PLACE OF THE BIG CLOSING
|
||
CEREMONY AND PARTY FOR MARINE WORLD!
|
||
|
||
|
||
BARBEQUE AND SUSHI TO FOLLOW
|
||
___________________________________________________________________________
|
||
From: SHEPPERD 12-OCT-1984 09:55
|
||
To: ALBAUGH,MARGOLIN,RITTER,HAYES,CHARM::MARBLE, CC::RAINS
|
||
Subj: 1272
|
||
|
||
From: FARRAND 12-OCT-1984 09:48
|
||
To: SHEPPERD
|
||
Subj: RE: Non-eng terminals
|
||
|
||
I ALREADY HAVE MY TERMINAL THE ONLY OTHER ON EE I WOULD SUJEST ASK YOU TO
|
||
PROVIDE WOULD BE TO MARY FUJIHARA SO SHE AND HER GROUP CAN SHARE ONE.
|
||
JOHN
|
||
|
||
I WILL ENSURE 1272 IS COMM TO ALL FOR YOUR INFO THE LEASE FOR 172272
|
||
IS HELD BY CITY BANK IN A BLIND TRUST MANAGED BY THEM.TO SHOW YOU HOW MUCH
|
||
WE CARE ABOUT THE PARA'S CITY BANK TOLD US WHO THE INVESTORS WERE THEY ARE
|
||
IN THE PROPERTY WORLD IN SINGAPORE AND ARE NOT RELATED TO UOR OUR INDUSTRY OR
|
||
EVEN TO ELECTRONICS.THE LEASE EXPIRES JUNE 1985 WE HAVE FIRST RIGHTS TO
|
||
CONTINUE AT CURRENT MARKET RATES.WE WILL DO THIS DESPITE WHAT JED THINKS ALL
|
||
OUR CALCULATIONS HAVE BEEN BASED ON HAVING TO PAY HIGH MARKET EVEN WITH THESE
|
||
UNLIKELY NUMBERS IT MAKES VERY SOUND FINANCIAL SENSE TO MOVE SAVINGS UNTIL
|
||
JUNE JUST TO COIN OP 1$1MILL WHEN RENT INCREASE COMSEES IN JUNE 650K PER YEAR
|
||
AT TOP RATE AT EXPECTED RATE 9T(TODAYS MARKET RATE) $1MILL. 1501 RENT ALSO
|
||
INCREASED IN AUGUST1985.
|
||
J.F.
|
||
___________________________________________________________________________
|
||
From: KIM::MARGOLIN 15-OCT-1984 13:04
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: Regulator/Audio III Prototype
|
||
|
||
|
||
Some Asshole stole my Regulator/Audio III prototype. It was the only
|
||
one with the new audio circuitry, and was to be tested this morning.
|
||
If you are the miserable cretin who has this board, return it by 2:00 pm
|
||
today, and I may let you live.
|
||
|
||
Thank you or else,
|
||
|
||
Jed
|
||
___________________________________________________________________________
|
||
From: ERNIE::MILTY 22-AUG-1984 09:57
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: SIGNUP NOW FOR ADDITIONAL TRAINING
|
||
|
||
|
||
It is now, and always has been , the policy of this Company to assure its
|
||
employees that they are well trained. Through our SPECIAL HIGH INTENSITY
|
||
TRAINING program (SHIT), we have given our employees more SHIT than any
|
||
other company in the area.
|
||
|
||
If any employee feels that he or she does not oeceive enough SHIT on their
|
||
job,or that he or she could advance to another position by taking more SHIT
|
||
see your supervisor.
|
||
|
||
Our management people are specially trained to assure you that you will get all
|
||
the SHIT you can handle.
|
||
|
||
an
|
||
|
||
Any individual who feels he or she has not received sufficient SPECIAL HIGH
|
||
INTENSITY TRAINING , should see your supervisor so they can put you at the top
|
||
of their SHIT list.
|
||
___________________________________________________________________________
|
||
From: KIM::MORRIS 23-AUG-1984 14:04
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: applied microsystems 68010 emulators.
|
||
|
||
|
||
1. There are still three 68010 emulators out there that have not had one of
|
||
the proms updated. This new prom fixes the system lock up due to the
|
||
symbol table being over 320. If you have one of these emulators come and
|
||
get your free? prom from Jim Morris' office.
|
||
|
||
2. I would like to keep a record of where our emulators are so that any other
|
||
updates to the firmware can be implemented quickly, so please reply with
|
||
the location of your one, (and its serial number) thanks.
|
||
|
||
Jim x7118.
|
||
___________________________________________________________________________
|
||
From: KIM::SUTTLES 29-AUG-1984 20:32
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: It's HERE! Almost what you might have wanted!
|
||
|
||
|
||
Greetings, hackers!
|
||
|
||
A new utility has been created, called DISASM.
|
||
It is a general-purpose disassembler for 8 bit micros
|
||
(up to 16 bit address space). It supports several
|
||
processors currently, and more are expected shortly.
|
||
It also DOESN't support several processors; as I said,
|
||
it deals with micros with byte opcodes. It does not
|
||
do the 68000, and probably never will...that will probably
|
||
be a different program.
|
||
|
||
To use it, do a $RESTART (to get the symbol) and
|
||
then $DISASM gets you in. There is documentation in DOK:
|
||
which is also online with the HELP command. There are a
|
||
number of improvements that could be made to the disassembler,
|
||
and I need some feedback to let me know which ones are of
|
||
value to you guys. When (if {ha ha}) you find bugs, let me
|
||
know & I will fix them as fast as I can. Enhancements will
|
||
be essentially by popular demand. Enjoy!
|
||
|
||
sas
|
||
___________________________________________________________________________
|
||
From: KIM::VANELDREN 30-AUG-1984 13:12
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: SYSTEM USAGE ON KIM....F.Y.I.
|
||
|
||
|
||
For those who have an interest or concern regarding system usage or
|
||
response time on KIM, the following info may be of some use to you:
|
||
1. Up until approximately 9:00 am each weekday, KIM is sitting in a "NULL"
|
||
state waiting for work approximately 99% of the time.
|
||
2. Between the hours of 9:00 am and 10:30 am, KIM is sitting in a "NULL"
|
||
state approximately 95% of the time.
|
||
3. From 10:30 am until noon, KIM utilization builds up to about 50%.
|
||
4. From nnon til about 5:00 pm, KIM is pretty much busy full time.
|
||
5. From 5:00 pm til 7:00 pm utilization again rapidly drops off to about 50%.
|
||
6. From 7:00 pm onward, utilization seems to vary somewhat, but in general,
|
||
by 9:00 pm, KIM is again sitting in a "NULL" state 90 to 100% of the time.
|
||
These are my observations over the past two weeks. They may or may not be
|
||
typical of the past or future, but you may find them of some use, especially
|
||
if you have concerns or problems with respsonse time during your current
|
||
working hours. As I said,.....F.Y.I.
|
||
|
||
Dan Van
|
||
___________________________________________________________________________
|
||
From: KIM::SUTTLES 30-AUG-1984 15:45
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: Everything you wanted to know about DISASM (but were afraid to ask?)
|
||
|
||
|
||
Hi again (fellow) hackers!
|
||
|
||
As some of you are so quick to point out, I have a caustic sense
|
||
of humor concerning failure of the HELP facility in DISASM. Sorry
|
||
about that. For those of you who are still curious after having had
|
||
your fingers slapped, it should work now. I have found the cause of
|
||
the problem, and I am working on it for the long term. For the short
|
||
term (no jokes about the semester being up already) there is a bandaid
|
||
patch in the logical name tables. For those of you who are nozy enough
|
||
to chase down the image, don't plan on it being there forever, cuz it's
|
||
gonna move ($DISASM will still work, but $MCR DISASM will soon also
|
||
work).
|
||
|
||
Thats all for now (till the next dozen bug reports...)
|
||
|
||
sas
|
||
___________________________________________________________________________
|
||
From: KIM::HOGG 30-AUG-1984 16:48
|
||
To: @ALL
|
||
Subj: Bar Games and Passive Brainstorming
|
||
|
||
|
||
Greetings and Salutations!
|
||
|
||
I have decided to try and use the junk mail list for possibly
|
||
constructive activity, such as a passive brainstorming session about the
|
||
new games market that seems to be virtually untapped and waiting for
|
||
someone to do just that. The market being referred to is "Bar-Games".
|
||
|
||
To start the session off, I would like to present some of my analysis of
|
||
the market place, existing games in that market, features that the games
|
||
should have or not have, and some possible game ideas. Hopefully this
|
||
will help trigger your imagination and you will share these ideas with
|
||
your co-workers and myself by using the mail system (@sys$mail:junk).
|
||
Even if you might be responding to just one person's comments you should
|
||
send the response to all so that we might share your ideas and comments.
|
||
Afterall, that's what brainstorming is all about.
|
||
|
||
|
||
THE MARKET PLACE
|
||
|
||
Local neighborhood bars where people get together to socialize is as yet
|
||
an untapped market. These bars are not of the same nature as the bars
|
||
that are located in this area (and south) in that they are predominately
|
||
centers of social interaction. They tend to be of a more quiet nature,
|
||
except for some of their patrons. The patrons are not into playing
|
||
games, especially video type, but do play some games as part of their
|
||
socializing. They go to these establishments to watch television to see
|
||
major sporting events or just visiting friends. They are definitely
|
||
casual game players.
|
||
|
||
The games are sometimes owned by the establishment and sometimes handled
|
||
by an operator. It is possible that we may have two product lines, one
|
||
for sale to the owner of the establishment which may or may not have a
|
||
coin mechanism, and the other more traditional variety (for us) to be
|
||
sold to and handled by an operator.
|
||
|
||
Games that are sold to the establishment owner would have to be very
|
||
reasonably priced and be very reliable. A more expensive game might
|
||
also be sold but would have to last a very long time. i.e., such as a
|
||
pool table.
|
||
|
||
One approach to non-coin games might be to sell them to breweries or
|
||
liquor manufacturers with, of course, their product names all over them
|
||
which they might give or sell to the establishments in a similar fashion
|
||
to beer signs.
|
||
|
||
|
||
THE EXISTING GAMES
|
||
|
||
The patrons of these bars do play such games as pool, shuffleboard,
|
||
dice, cards, darts, etc. These games have certain properties that I feel
|
||
must be in our bar-games if we are to be successful in this marketplace.
|
||
|
||
Some of the features that these games have are as follows:
|
||
|
||
1. There is no time limit associated with the game. That is, each
|
||
player has an unlimited amount of time to setup at each turn.
|
||
|
||
2. They are multi-player games that may be played by a single player,
|
||
but are more "fun" with two or more players.
|
||
|
||
3. Each player has a turn. That is, they don't play simultaneously.
|
||
|
||
4. In some of the games, a player must make use of what is leftover
|
||
from the previous player's turn. This adds a strategy to the game.
|
||
Unlike our existing games where each player has their own playfield
|
||
results or starts fresh with a new set of circumstances whether or not
|
||
there is another player in the game.
|
||
|
||
5. They are competition games, i.e., not cooperative. Individuals
|
||
competing against each other.
|
||
|
||
6. A player is NEVER competing against the machine. The machine is the
|
||
mechanism by which a player either competes with himself or with other
|
||
individuals.
|
||
|
||
7. There is an element of chance in the game. Skill is not the only
|
||
factor.
|
||
|
||
8. Fast eye-hand coordination is not a factor.
|
||
|
||
9. The games are relatively noise free. Sound is not a big factor.
|
||
|
||
10. They are not involved strategy games. The strategies involved are
|
||
fairly simple and straight forward. They are definitely not head games.
|
||
|
||
11. To play most of the games the players must physically move to the
|
||
game itself. The games are not physically located where the people sit
|
||
to drink and converse. This would eliminate the concepts of a cocktail
|
||
table or a bar top unit. The games that are played where the patrons
|
||
sit are very small physically, i.e., dice or cards.
|
||
|
||
|
||
|
||
OUR GAMES
|
||
|
||
1. The type of games that should not be done are those that try to
|
||
duplicate any of the existing games, i.e., a video pool game.
|
||
|
||
2. The game should provide activities that can't be done with the
|
||
existing games, i.e., Anti-gravity. The game could be similar, but must
|
||
be different.
|
||
|
||
3. There should be an element of chance to the game. This would allow
|
||
less skilled players to compete in a reasonable fashion.
|
||
|
||
4. The type of controls that the game uses should be simple and
|
||
straight-forward to operate. The use of joysticks should be eliminated
|
||
from consideration as they seem to represent the arcade style of games
|
||
and that would put-off the players we are trying to reach. The controls
|
||
should be limited to buttons, whirly-gig, trackball, and/or a
|
||
spring-loaded lever type.
|
||
|
||
5. Video games could easily be done with an 800 chip set.
|
||
High-resolution graphics and sophisticated sounds are not necessary nor
|
||
are they desired by the players. Lower resolution CRTs could be used
|
||
helping to keep cost down.
|
||
|
||
6. Kinetic games should not be too large or noisy. They should make
|
||
use of lights for attraction and for game play.
|
||
|
||
7. Light type games, ala wall-games, might be made smaller and use LEDs
|
||
as opposed to incandescent lamps. Back-lit graphics should be kept
|
||
simple and minimal.
|
||
|
||
8. Video and kinetic type games would probably have to be in
|
||
stand-alone type cabinets providing areas in or on the cabinet for
|
||
placing drinks and have a place for ashtrays.
|
||
|
||
9. Behind-the-bar type games would have to be light type (a form of
|
||
wall-games) that are fairly small and simple with probably no audio or
|
||
very little.
|
||
|
||
|
||
|
||
GAME IDEAS
|
||
|
||
1. Arithma-cubes - a dice game
|
||
|
||
This could easily be a wall-game or a video game.
|
||
|
||
There are four (4) dice used. The players decide whether the highest or
|
||
the lowest score wins. There are foUr math functions that must be used
|
||
add, subtract, multiply, and divide. Each "throw" of the dice the
|
||
player must use one of the die numbers and one of the math functions of
|
||
their choice. Each of the math functions may only be used once. The
|
||
game is over after each player has had five (5) "throws" of the dice.
|
||
|
||
The player must pick a starting number out of their first throw.
|
||
Thereafter the picked number must be used in conjunction with a selected
|
||
math function that operates on the first or the previous result for that
|
||
player. After the last player has used their last math function, the
|
||
game is over and the winner declared.
|
||
|
||
During the game each players score might be graphically as well as
|
||
numerically displayed. This would give the players visual feedback as
|
||
to the relative standings of each player during the game.
|
||
|
||
The game should be able to handle a minimum of four (4) players.
|
||
|
||
|
||
2. Game #2 - This is where your ideas start!
|
||
___________________________________________________________________________
|
||
From: KIM::VANELDREN 30-AUG-1984 13:12
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: SYSTEM USAGE ON KIM....F.Y.I.
|
||
|
||
For those who have an interest or concern regarding system usage or response
|
||
time on KIM, the following info may be of some use to you:
|
||
1. Up until approximately 9:00 am each weekday, KIM is sitting in a "NULL"
|
||
state waiting for work approximately 99% of the time.
|
||
2. Between the hours of 9:00 am and 10:30 am, KIM is sitting in a "NULL"
|
||
state approximately 95% of the time.
|
||
3. From 10:30 am until noon, KIM utilization builds up to about 50%.
|
||
4. From nnon til about 5:00 pm, KIM is pretty much busy full time.
|
||
5. From 5:00 pm til 7:00 pm utilization again rapidly drops off to about 50%.
|
||
6. From 7:00 pm onward, utilization seems to vary somewhat, but in general,
|
||
by 9:00 pm, KIM is again sitting in a "NULL" state 90 to 100% of the time.
|
||
These are my observations over the past two weeks. They may or may not be
|
||
typical of the past or future, but you may find them of some use, especially
|
||
if you have concerns or problems with respsonse time during your current
|
||
working hours. As I said,.....F.Y.I.
|
||
|
||
Dan Van
|
||
___________________________________________________________________________
|
||
From: KIM::WHITEBOOK 31-AUG-1984 10:50
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: good-bye
|
||
|
||
|
||
To all the wonderful people at Atari:
|
||
|
||
I'd like to say to everyone that I have, on the whole, found
|
||
my stay here to be fun. But more than this, all the people at Atari
|
||
are the kind that I can say I've been proud to associate with.
|
||
|
||
We have a lot of talent here, still. Although some real lights
|
||
were lost in the last re-organization there is enough here to continue
|
||
creating exciting games.
|
||
|
||
I regret that as the game market has changed, Atari's most
|
||
innovative concepts have only been seen within company walls. We have
|
||
not been able to successfully market many of the best ideas in entertainment
|
||
that I have seen developed here.
|
||
|
||
Part of this is due to the arcade and street market conditions.
|
||
Some is due to the drag which consumer and home computer had put on Atari's
|
||
continued operations. Much, I fear, has been due to the lack of consensus
|
||
and common goals.
|
||
|
||
I leave Atari to pursue my goals elsewhere. Those goals are the
|
||
same ones I came here with: to develop a real-time animation development
|
||
system for character animation of a high quality. Of course, I have
|
||
realized that many skills go into any development project and have branched
|
||
off into 3-d design like I, Robot and Last Starfighter as a subset of the
|
||
problem that I have decided to tackle.
|
||
|
||
My vision of the future of Atari is not compatible with those goals,
|
||
at least not in the 1 to 2 year near future. The greatest lesson I have
|
||
learned here is to DO IT NOW , or don't do it at all. Time after time I
|
||
have prepared for a project and planned all the great things that could be
|
||
accomplished, only to have corporate re-structuring eliminate the resources
|
||
necessary to acheive success.
|
||
|
||
My advice to you is: DO IT NOW! Whatever dream you have of a better
|
||
future for yourself personally, or the Company as a whole, the time is now.
|
||
|
||
Yours truly,
|
||
|
||
Barry A. Whitebook
|
||
___________________________________________________________________________
|
||
From: KIM::SUTTLES 6-SEP-1984 00:10
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: new and improved DISASM
|
||
|
||
|
||
There is a new release of DISASM out on Kim. I will put it
|
||
on the other nodes when there is either someone who complains
|
||
or some stability in the program (don't hold your breath here).
|
||
|
||
|
||
New Features:
|
||
|
||
DISASM now understands the 65C02 (CMOS 6502, ala MAC65C).
|
||
|
||
The HELP file has been enhanced a great deal (and also the
|
||
DOC file since it comes from the same place, cuz I'm lazy).
|
||
|
||
The HELP file is now looked for in the place where it belongs
|
||
and is, so it won't throw up on you or call you nasty names when
|
||
you talk nice to DISASM.
|
||
|
||
There is a SHOW VALID CPUs command, which tells you which
|
||
opcode processors have been linked in to that image. That way
|
||
when it starts getting too big and we have to split it into parts,
|
||
it won't take long. Also, new CPUs can be added quicker this way.
|
||
It will also help you find the one you want (and know what to call
|
||
it).
|
||
|
||
There are 2 new modes, CONSTANTS and GLOBALS, created to
|
||
suppress (if you want) the part in front of the generated source code
|
||
which defines all the byte and word CONSTANTS with equates, and
|
||
GLOBALizes all the referenced labels. NB: It is possible to refer
|
||
to a label and not have a definition for it (if it falls in the
|
||
middle of a multi-byte opcode).
|
||
|
||
|
||
NEW BUGS:
|
||
|
||
Let me know!
|
||
|
||
|
||
Old bugs (I know, I'm working on them):
|
||
|
||
CPU'S should require the name be fully spelled out (no
|
||
abbreviations), to avoid potential confusion from ambiguity
|
||
(SET CPU 65 is obvious, no? but which one will you get NOW?)
|
||
|
||
There should be some kind of SHOW MODE command
|
||
|
||
ASCII, ASCIZ, ASCIN, AI, AZ, AN commands, BYTE, WORD too.
|
||
|
||
It should remember how you last showed a location (once ASCII & co
|
||
are working) and use that mode when it writes the source file.
|
||
|
||
It would be convenient if it knew about other kinds of files
|
||
besides .ROM and .LDA. For now, if it isn't one of these, use MIXIT
|
||
and fixit.
|
||
|
||
|
||
sas
|
||
___________________________________________________________________________
|
||
From: KIM::HOGG 6-SEP-1984 09:03
|
||
To: @ALL
|
||
Subj: Two more Bar Games for your comments
|
||
|
||
|
||
The Fishing Games for Bars
|
||
|
||
Video Game
|
||
|
||
This is a casting game that involves a joystick type control except that
|
||
it has two encoder wheels for two way rotation. The control revolves
|
||
around a shaft out of the side with a button activated by the thumb.
|
||
I'm not sure what to do for right or left handed players. The control
|
||
also has a 30-45 degree left-right movement for lateral casting control.
|
||
|
||
The idea is to cast a fly rod, with fly, at rising fish. If the player
|
||
manages to get close enough to a rising fish then the fish takes the
|
||
bait and the player receives points based upon the size of the fish.
|
||
The size of the fish can most often be determined by the player by the
|
||
amount of splash that the rising fish make. The larger fish will tend
|
||
to make a smaller amount of water disturbance. Some of the fish will
|
||
jump completely out of the water, others might just show their dorsal
|
||
fin.
|
||
|
||
The target area might be indicated by the maximum size of the water
|
||
rings generated by the rising fish, i.e., the larger fish making the
|
||
smaller disturbance would be a more difficult target and thereby being
|
||
worth more points.
|
||
|
||
Losing the hook, i.e., by snagging something or losing the fish loses
|
||
the player a life. A bad cast might catch a fish anyway if the cast at
|
||
least reaches the minimum target. A cast that is released on the
|
||
backward swing will always foul on a tree, bush, rock or maybe, just
|
||
fall to the water behind, i.e., it's random, but most likely it will
|
||
cost the player a hook. A bad forward cast (too short) will cause the
|
||
player to catch a CARP that will cost the player points. A cast that is
|
||
too long might catch a minnow (or a Bluegill) and be worth very little.
|
||
Or maybe the bad cast is recoverable and the player tries it again.
|
||
|
||
The fishing could be done on a lake environment or a stream for making
|
||
the targets more difficult, i.e., fish are in pocket water.
|
||
|
||
The fishing could be for bass which would involve snags and targets of a
|
||
more difficult nature.
|
||
|
||
The type of fishing could be selected by the players at the start of the
|
||
game or during the attract mode.
|
||
|
||
The game is over when a number of fish have been caught, or when the
|
||
hooks are all lost, or ...
|
||
|
||
|
||
Mechanical Game
|
||
|
||
This is a fish landing game that uses a feed-back joystick, but has no
|
||
video. Instead the game uses back-lit fish pictures or images and a
|
||
string of LEDs for feed-back to the player and audience.
|
||
|
||
The feed-back joystick is the rod which has a thumb controlled release
|
||
button for the cast. The cast is really a start the rotating selection
|
||
of the type of fish being caught. The amount of forward speed the
|
||
player puts on the control determines the rate of cycling the selection
|
||
arrow goes through before coming to rest on the selection. The player
|
||
does not really make the selection, but affects the selection process.
|
||
|
||
The selection of fish might be Marlin, Shark, Salmon, Trout, Bass,
|
||
Bluegill, Minnow, and definitely a CARP (catching the CARP might cost
|
||
the player points or some penalty). Each will have a different point
|
||
value, length of fight, and force of fight.
|
||
|
||
There will be a string of LEDs that will reflect the force of the cast,
|
||
and the force of the fish's tug on the pole.
|
||
|
||
The player will get 3-5 fish per game. The play is started by a player
|
||
gripping the control and depressing the button with the thumb. Forward
|
||
movement of the control and the release of the button will start the
|
||
selection cycling of the lights behind the selection arrows to the left
|
||
of the set of fish pictures or images. The selection cycling will slow
|
||
down of its own accord and rest on the selected fish. The selected fish
|
||
is worth a number of points scaled to reflect the size of the fish being
|
||
represented. A Marlin might be worth 1000 points and a minnow 100. The
|
||
selected fish will be hooked and begin fighting the pole. The player
|
||
must try to keep the pole as centered as possible so as not to let it
|
||
contact the ring switch. If the front or sides of the ring switch makes
|
||
contact with the pole the fish gets away and it is the next players
|
||
turn. If the back of the ring switch (i.e., the stick is pulled all the
|
||
way back) makes contact with the pole, there will be a delay before the
|
||
fish gets away. This will allow the player to pull all the way back,
|
||
momentarily, on the control without losing the fish, but if held back
|
||
too long the fish is lost.
|
||
|
||
Each fish will fight for a predetermined amount of time. The time will
|
||
vary depending upon the size of the fish. The fish will be considered
|
||
landed if the player maintains control for this time duration. The
|
||
points awarded for the fish will be determined by the length of time
|
||
that the player plays the fish. The player receives points up to the
|
||
maximum for the size fish selected and possibly bonus points for landing
|
||
it. If the player loses the fish (the pole makes contact with the ring
|
||
switch) before the fish is done fighting, the player is awarded the
|
||
points earned up to that time. The length of time, points earned and
|
||
bonus at landing are determined by the size of the fish that was
|
||
selected on the cast. Then the next player gets a turn.
|
||
|
||
While the fish is being played by the player the string of LEDs should
|
||
light in a series to reflect the amount of pull the player is fighting
|
||
to provide the player and onlookers with control feed-back. The harder
|
||
the pull by the fish causes more LEDs to be turned on. This will
|
||
provide for the player and the audience a visual indication as to what
|
||
is happening with the control.
|
||
|
||
This game should be a 1-4 player game. This will require 4 sets of 8
|
||
segment displays for scores. The rest of the needed indications for the
|
||
players will be done in back-lit graphics, such as, who's turn, fish
|
||
lost, and any other needed messages.
|
||
___________________________________________________________________________
|
||
From: KIM::SUTTLES 11-SEP-1984 10:02
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: More about DISASM...
|
||
|
||
|
||
There is a new release of DISASM out on Kim. It still is just on Kim.
|
||
|
||
|
||
New Features:
|
||
|
||
The HELP and DOC files have been enhanced to show the other improvements.
|
||
Unless future changes affect the HELP or DOC files directly, this can be
|
||
assumed in the future.
|
||
|
||
The 6809 processor is supported. It uses MAC69 syntax. The addressing
|
||
modes are not all explicit, so there may be ambiguities in the resultant
|
||
source code. As far as I know, this is the last 8 bit (as measured by opcode
|
||
fetch) processor that will be added to DISASM.
|
||
|
||
Incidentally, for those of you who are interested, there
|
||
exists a PDP-11 disassembler which was obtained from DECUS.
|
||
See Dave Shepperd or me for details. There currently is no
|
||
other 16 bit CPUs set up, nor 32 bit.
|
||
|
||
There is a RESET command to restore the operating modes to the startup
|
||
or default conditions. This includes radix and verify, but does not include
|
||
current CPU setting or user memory contents (a READ file stays READ).
|
||
|
||
There is a SHOW MODES command to find out what the current (or default)
|
||
mode settings are. It also shows what CPU you are set up with.
|
||
|
||
It now understands .HEX files and .DLD, in addition to the .LDA, .ROM, and
|
||
image files that it used to.
|
||
|
||
|
||
NEW BUGS:
|
||
|
||
There was a documentation error concerning DUMP mode. As this applies
|
||
only to debugging the expression evaluator, I hereby express doubts that
|
||
the error expressed any significance. In any case, it was fixed.
|
||
|
||
If you find any, let me know!
|
||
|
||
|
||
Used bugs:
|
||
|
||
CPU'S should still require the name be fully spelled out.
|
||
|
||
ASCII, ASCIZ, ASCIN, AI, AZ, AN commands, BYTE, WORD too.
|
||
|
||
It should remember how you last showed a location (once ASCII & co
|
||
are working) and use that mode when it writes the source file.
|
||
|
||
|
||
sas
|
||
___________________________________________________________________________
|
||
From: KIM::HOGG 13-SEP-1984 17:02
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: C Cross-reference Utility
|
||
|
||
|
||
NOTICE TO ALL "C" PROGRAMMERS
|
||
|
||
I have just recently placed a C cross-reference program into
|
||
SYS$SYSDEVICE:[GENERAL], called CXREF.
|
||
|
||
CXREF accepts a C source file as its input and puts out a ".CRF" file
|
||
which contains a line numbered copy of the source and a cross-reference
|
||
of all strings, literals, numeric constants, and symbols. C reserved
|
||
words and comments are ignored.
|
||
|
||
Strings are anything between a " and a ", i.e., "this is a string".
|
||
|
||
Literals are anything between a ' and a ', i.e., '0' is a literal.
|
||
|
||
Numeric constants are numbers. i.e., 32 is listed from array[32];.
|
||
|
||
Symbols are seperated into two types, those whose first letter is
|
||
uppercase and those that start with a lowercase letter. These are
|
||
listed under the headings:
|
||
|
||
--------------------|
|
||
SYMBOLS (UC) | for those starting with an uppercase
|
||
--------------------|
|
||
|
||
--------------------|
|
||
SYMBOLS (LC): | for those starting with a lowercase
|
||
--------------------|
|
||
|
||
The default extension for the input file is ".C"
|
||
|
||
By defining a word to run CXREF, one can use that word with an input
|
||
filename to obtain a cross-reference listing.
|
||
EXAMPLE:
|
||
|
||
WORD :== $ SYS$SYSDEVICE:[GENERAL]CXREF
|
||
|
||
or
|
||
|
||
WORD :== $ DOK:CXREF
|
||
|
||
To obtain a cross-reference:
|
||
|
||
WORD FILENAME (if FILENAME is a .C file extension)
|
||
|
||
This will input FILENAME.C and output FILENAME.CRF
|
||
|
||
or one could use:
|
||
|
||
WORD FILENAME NEWNAME.EXT
|
||
|
||
and this would input FILENAME.C and output NEWNAME.EXT
|
||
|
||
Anyway, it is there for those who may find it useful and for those who
|
||
won't, don't. If you experience any difficulties let me know. As if
|
||
you wouldn't.
|
||
|
||
From: KIM::MORRIS 19-SEP-1984 16:22
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: intermetrics assembler & utilities
|
||
|
||
To everyone using the Intermetrics 68000 assembler & utilities.
|
||
|
||
Please change the call to CDEFS.COM in your LOGIN.COM file to:-
|
||
|
||
$ @sys$sysdevice:[c68ar2v1.com]cdefs.com ! setup interc stuff
|
||
|
||
This will pick-up the latest release of the C compiler,assembler & utilities.
|
||
|
||
Thank you.
|
||
Jim. x7118.
|
||
___________________________________________________________________________
|
||
From: KIM::PPS 2-OCT-1984 14:42
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: New PPS utilities
|
||
|
||
|
||
I have corrected some file format problems with
|
||
the PPS utilites and have updated PBCONVERT to handle the
|
||
Marble Madness formats. Also, ther are two new utilities,
|
||
PBCOMBINE and BDGRAP which are mainly intended for use on
|
||
the Budget Hardware, although PBCOMBINE can be used with
|
||
any group of .INT files to create an output .INT file with
|
||
selected stamps (in 8x8 groups) from the input .INT files.
|
||
|
||
Any problems, or features please respond to this address.
|
||
|
||
Mr. PPS
|
||
___________________________________________________________________________
|
||
From: ERNIE::GIVENS 2-OCT-1984 16:16
|
||
To: KIM::MARGOLIN
|
||
Subj: TMS-5220C
|
||
|
||
|
||
This has been added to the AVL under Atari part number 137308-002 (just like
|
||
we thought!). The description now reads: IC, LPC Voice Synthesis Processor.
|
||
I'll send you your official copy of the CER right away. See ya! Chris
|
||
|
||
From: ERNIE::GIVENS 26-SEP-1984 15:14
|
||
To: KIM::MARGOLIN
|
||
Subj: Empire part numbers
|
||
|
||
Jed, here are your part numbers...I've listed them at software revision 0 for the
|
||
time being. They will be rev. 1 (or higher) at release.
|
||
|
||
136031-XXX IC,Programmed Devices,Empire (450XX)
|
||
136031-001 { IC,Programmed EPROM,Empire,137328-002,1F
|
||
136031-002 { IC,Programmed EPROM,Empire,137276-300,1J/K
|
||
136031-003 { IC,Programmed EPROM,Empire,137276-300,1K/L
|
||
136031-004 { IC,Programmed EPROM,Empire,137276-300,1M
|
||
136031-005 { IC,Programmed EPROM,Empire,137328-002,U3
|
||
136031-006 { IC,Programmed EPROM,Empire,137328-002,U2
|
||
136031-007 IC,Programmed PROM,Empire,37-82S137,7L
|
||
136031-008 IC,Programmed PROM,Empire,37-82S137,7K
|
||
136031-009 IC,Programmed PROM,Empire,37-82S137,7J
|
||
136031-010 IC,Programmed PROM,Empire,37-82S137,7H
|
||
136031-011 { IC,Programmed EPROM,Empire,137212-001,1L
|
||
136031-012 { IC,Programmed EPROM,Empire,137276-300,1H
|
||
136031-013 { IC,Programmed EPROM,Empire,137328-002,1J/K
|
||
|
||
Please let me know if there are any problems. See ya! Chris
|
||
___________________________________________________________________________
|
||
From: KIM::MARGOLIN 5-OCT-1984 18:53
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: The Proposed Regulator/Audio III
|
||
|
||
|
||
The Proposed Regulator/Audio III Jed Margolin 10/5/84
|
||
|
||
The least expensive Audio/Regulator board for the Not-Budget Systemi (only)
|
||
would be:
|
||
+5 VDC @ 10 A
|
||
+12 VDC @ 0.1 A
|
||
-12 VDC @ 0.1 A
|
||
|
||
Two audio channels, nominally 3.7 Watts each, into 4 Ohms, using TDA 2002's
|
||
connected to the +12 VDC output.
|
||
-------------------------------------------------------------------------------
|
||
An Audio/Regulator board that could be used with either the Not-Budget
|
||
Systemi or the Road Runner game system would be capable of:
|
||
|
||
+5 VDC @ 10 A
|
||
+15 VDC @ 0.4 A
|
||
-15 VDC @ 0.4 A
|
||
|
||
It would have two audio channels, nominally 10 Watts each, into 4 Ohms, using
|
||
TDA 2030's connected to the +22 VDC output. It would cost about $2.00 more
|
||
than one for the Not-Budget Systemi only.
|
||
-------------------------------------------------------------------------------
|
||
This same Audio/Regulator board might be used for the Paper Boy project
|
||
(apparently as part of some kind of backup scheme).
|
||
-------------------------------------------------------------------------------
|
||
Please send your comments to [Margolin].
|
||
Amplifier and Speaker Calculations:
|
||
|
||
For a single ended supply of voltage VS, the peak to peak voltage
|
||
will be VS minus some slop in the amplifier. Use 1 volt.
|
||
Vp-p = VS - 1
|
||
Therefore: Vp = (VS-1)/2
|
||
For Sine Wave Vrms = (VS-1)/2*0.7071
|
||
|
||
Power = Vrms*Vrms/R
|
||
= ((VS-1)/2*0.7071)**2/R
|
||
|
||
Since POWER = I*I*R, I = SQRT(P/R)
|
||
Because it is single ended the effective current is half,
|
||
so for each channel I = SQRT(P/R)/2
|
||
|
||
|
||
|
||
VS R(Speaker) Power Current Amplifier Type
|
||
(V) (Ohms) (/Channel) 1 CH / 2 CH
|
||
----------------------------------------------------------------------------------------------------
|
||
1. 10.3 (unreg) 4 2.7 W 0.41 A / 0.82 A TDA 2002
|
||
|
||
2. 12 (reg) 4 3.7 W 0.48 A / 0.96 A TDA 2002
|
||
|
||
3. 15 (reg) 4 6.1 W 0.62 A / 1.23 A TDA 2002
|
||
|
||
4. 15 (reg) 8 3.06W 0.30 A / 0.62 A TDA 2002
|
||
|
||
|
||
5. 18 (unreg, low line) 4 9.2 W 0.75 A / 1.52 A TDA 2030
|
||
22 (unreg, nominal) 4 13.7 W* 0.92 A / 1.85 A TDA 2030
|
||
26 (unreg, high line) 4 19.5 W* 1.10 A / 2.20 A TDA 2030
|
||
|
||
|
||
6. 18 (unreg, low line) 8 4.5 W 0.37 A / 0.75 A TDA 2030
|
||
22 (unreg, nominal) 8 6.9 W 0.46 A / 0.92 A TDA 2030
|
||
26 (unreg, high line) 8 9.7 W 0.55 A / 1.10 A TDA 2030
|
||
|
||
-------------------------------------------------------------------------------------------------------
|
||
|
||
Not-Budget Systemi current requirements for +12 VDC and -12 VDC:
|
||
|
||
For a TI TMS-5220 + a bunch of LM324's a realistic figure is +12 VDC @ 60 ma
|
||
and -12 VDC @ 95 ma. [The TMS-5220 requires 35 ma from -5 VDC. The +5 VDC comes
|
||
from the +5 VDC logic, not the +12 VDC. Allowing 10 ma per LM324 package * 6
|
||
packages = 60 ma. That is 24 op-amps which should be sufficient.]
|
||
|
||
The Audio they are referring to is the Audio Output Amplifiers that this
|
||
is to help select.
|
||
|
||
The game board requirements should be satisfied by +12 VDC @ 100 ma and
|
||
-12 VDC @ 100 ma.
|
||
|
||
(They could probably use +12 VDC and -5 VDC or +15 VDC and -15 VDC instead).
|
||
(If they are really using LM324's, they shouldn't. They should use TL084's.)
|
||
-------------------------------------------------------------------------------
|
||
The Road Runner game requires +5 VDC @ 7.5 A, +15 VDC @ 0.4 A, and
|
||
-15 VDC @ 0.4 A.
|
||
-------------------------------------------------------------------------------
|
||
The audio output amplifiers cannot be powered from the +10.3 VDC because it
|
||
is already overloaded by the +5 VDC Regulator.
|
||
-------------------------------------------------------------------------------
|
||
The 7812 is good for about 1.5 Amps.
|
||
|
||
The 7815 is also good for about 1.5 Amps.
|
||
-------------------------------------------------------------------------------
|
||
The +22 VDC output is rated at 1.5 A and the -22 VDC output is rated at 1 A.
|
||
Since they come from the same transformer winding, the current available
|
||
from +22 VDC is increased as the current drawn from -22 VDC is decreased.
|
||
|
||
+22 VDC actually ranges from +18 at low line to +26 VDC at high line.
|
||
-22 VDC actually ranges from -18 at low line to -26 VDC at high line.
|
||
-------------------------------------------------------------------------------
|
||
* The maximumn undistorted output level for the TDA 2030 is 10 Watts for
|
||
4 Ohm loads and about 9 Watts for 8 Ohm loads.
|
||
-------------------------------------------------------------------------------
|
||
Possibilities for the Not-Budget Systemi:
|
||
|
||
VS R(Speaker) Power Current Amplifier Type
|
||
(V) (Ohms) (/Channel) 1 CH / 2 CH
|
||
--------------------------------------------------------------------------------------------------------
|
||
2. 12 (reg) 4 3.7 W 0.48 A / 0.96 A TDA 2002
|
||
3. 15 (reg) 4 6.1 W 0.62 A / 1.23 A TDA 2002
|
||
4. 15 (reg) 8 3.06 0.30 A / 0.62 A TDA 2002
|
||
|
||
5. 18 (unreg, low line) 4 9.2 W 0.75 A / 1.52 A TDA 2030
|
||
22 (unreg, nominal) 4 13.7 W 0.92 A / 1.85 A TDA 2030
|
||
26 (unreg, high line) 4 19.5 W 1.10 A / 2.20 A TDA 2030
|
||
|
||
6. 18 (unreg, low line) 8 4.5 W 0.37 A / 0.75 A TDA 2030
|
||
22 (unreg, nominal) 8 6.9 W 0.46 A / 0.92 A TDA 2030
|
||
26 (unreg, high line) 8 9.7 W 0.55 A / 1.10 A TDA 2030
|
||
--------------------------------------------------------------------------------------------------------
|
||
Possibilities for Road Runner:
|
||
|
||
4. 15 (reg) 8 3.06 0.30 A / 0.62 A TDA 2002
|
||
|
||
5. 18 (unreg, low line) 4 9.2 W 0.75 A / 1.52 A TDA 2030
|
||
22 (unreg, nominal) 4 13.7 W 0.92 A / 1.85 A TDA 2030
|
||
26 (unreg, high line) 4 19.5 W 1.10 A / 2.20 A TDA 2030
|
||
|
||
6. 18 (unreg, low line) 8 4.5 W 0.37 A / 0.75 A TDA 2030
|
||
22 (unreg, nominal) 8 6.9 W 0.46 A / 0.92 A TDA 2030
|
||
26 (unreg, high line) 8 9.7 W 0.55 A / 1.10 A TDA 2030
|
||
--------------------------------------------------------------------------------------------------------
|
||
An Audio/Regulator board that could be used with either game system would
|
||
produce:
|
||
+5 VDC @ 10 A
|
||
+15 VDC @ 0.4 A
|
||
-15 VDC @ 0.4 A
|
||
|
||
Two audio channels, nominally 10 Watts each, into 4 Ohms, using
|
||
TDA 2030's connected to the +22 VDC output.
|
||
-------------------------------------------------------------------------------
|
||
The least expensive configuration for the Not-Budget Systemi (only)
|
||
would be:
|
||
+5 VDC @ 10 A
|
||
+12 VDC @ 0.1 A
|
||
-12 VDC @ 0.1 A
|
||
|
||
Two audio channels, nominally 3.7 Watts each, into 4 Ohms, using
|
||
TDA 2002's connected to the +12 VDC output.
|
||
___________________________________________________________________________
|
||
From: KIM::BRAD 8-OCT-1984 09:31
|
||
To: KIM::MARGOLIN
|
||
Subj: RE: The Proposed Regulator/Audio III
|
||
|
||
|
||
Jed,
|
||
The JBL speakers come in 8ohms only!
|
||
|
||
Yes, we plan on using them. I've got most everyone convinced that they can't
|
||
live without them, (or if they do I will be very upset and won't help them
|
||
with their music!!!)
|
||
|
||
- brad -
|
||
|
||
ps Is there any way to decrease the amount of noise in future design
|
||
of the audio amps? We have so much noise in our systems it's irritating!
|
||
|
||
- brad-
|
||
___________________________________________________________________________
|
||
From: KIM::BRAD 12-OCT-1984 16:19
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: An Audio Commentary
|
||
|
||
|
||
Most people don't realize how loud arcade environments really are. The
|
||
ear is a very forgiving organ. On a Saturday night typical arcade 'ambient'
|
||
noise levels can reach 80 -> 90 dB-A. Ambient noise in this case refers to
|
||
people talking (and screaming to be heard over the other noise), all the sound
|
||
competing games, and the usual noise in any large room (air conditioning,
|
||
fluorescent lamps, street noise etc... none of which you can hear anyway
|
||
because of all the other noise!). Sounds produced from specific game cabinets,
|
||
at the players head, can reach 106 dB-A. Add all this 'noise' and you have a
|
||
very serious problem of noise pollution.
|
||
|
||
The Department of Industrial Relations of the State of California
|
||
enacted in 1962 a Noise Control Safety Order for shops, which reads as follows:
|
||
|
||
"If an employee is exposed to noise for five or more hours per normal
|
||
workday, the level shown in [the following table] are the levels at and above
|
||
which the wearing of hearing protectors is mandatory. For employees whose
|
||
exposure to occupational noise is less than five hours per day (this would be
|
||
an arcade... unless you are a devout arcadian!), the noise level may be 3 dB
|
||
higher for each halving of the exposure time, e.g., for an exposure of 2.5
|
||
hours, the noise level encountered may be 3 dB higher in all frequency ranges
|
||
than the values shown in [the table]."
|
||
|
||
|
||
American Standards Octage Band
|
||
Preferred Frequencies Sound Pressure Level
|
||
Frequency Band for Acoustical dB
|
||
Hz Measurements (Hz)
|
||
-------------------------------------------------------------------------------
|
||
|
||
20 - 75 63 110
|
||
75 - 150 125 102
|
||
150 - 300 250 97
|
||
300 - 600 500 95
|
||
600 - 1200 1000 95
|
||
1200 - 2400 2000 95
|
||
2400 - 4800 4000 95
|
||
4800 - 10000 8000 95
|
||
|
||
-------------------------------------------------------------------------------
|
||
|
||
U.S. Department of Labor specifications indicates a maximum permissible noise
|
||
level of 95 dB-A for 4 hours and a 100 dB-A level for 2 hours without hearing
|
||
protectors. There are additional guidelines for other environments such as
|
||
hospitals, restaurants, fairs etc. , all of which have about the same specs.
|
||
I know of no guidelines for the arcade, but it is very possible there is.
|
||
|
||
I'm very concerned with noise pollution. I've expressed my views many
|
||
times to John Ray and he was very receptive to my concerns. He had the typical
|
||
reaction to any problem that you can't personally control - 'What are you going
|
||
to do? We can't dictate to the operators how loud to turn up the game sound'.
|
||
He was absolutely right. We certainly can't put out a game that limits the
|
||
level of sound that is delivered to the player. Put it next to a Spy Hunter and
|
||
you will never hear the game. On the other hand we can control how we present
|
||
the sound to the player and thus begin to lower the ambient noise in an arcade.
|
||
|
||
There are several ways of presenting the sound to the player and at the
|
||
same time lower the ambient noise of the arcade. First we must have crystal
|
||
clear sound. If our audio is relatively clean of digital noise and produces
|
||
crisp clean sound, then our games will be noticed and enjoyed in the presence
|
||
of other games that are full of distortion. Clean sound will cut through the
|
||
arcade noise and will present our games to the public how we hear and developed
|
||
them in our labs.
|
||
Our cabinets must also acoustically involve the player(s) only and not
|
||
the rest of the arcade. Very little sound should mix with the ambient noise of
|
||
the arcade. I am not advocating the limitation of audio into the arcade
|
||
environment. First, this would be impossible without a lot of work and money.
|
||
Second, it would be detrimental to us since one of the 'hooks' that draw people
|
||
to our games is the sound. However, involving the player within this acoustic
|
||
umbrella will enhance the game, involve the player at a more emotional level
|
||
and at the same time cut down the noise pollution in the arcade.
|
||
If we educate the operator, perhaps by way of a chapter in the game
|
||
manual, as to this problem we will be on our way to the elimination of the
|
||
problem. We need to inform the operator that competing sounds, such as his
|
||
stereo, will only interfere with the player's audio feedback from the game,
|
||
reducing the player's enjoyment and which will eventually cut into the
|
||
operator's profits. We should also suggest ways of setting up arcade cabinets
|
||
in his environment to maximize acoustic seperation between games. Lastly we
|
||
should strongly point out our commitment to music in our games and make it
|
||
apparent that the music, sound effects and voice are an integral part of the
|
||
game experience.
|
||
|
||
If we set a precedent in the area of audio by 1) producing clean audio
|
||
electronics, 2) designing superior delivery systems, 3) establishing our
|
||
commitment of the intergration of music, video and game play and 4) presenting
|
||
our concerns and our willingness to help about noise pollution, then we will be
|
||
ahead of the competition and stay there.
|
||
___________________________________________________________________________
|
||
From: KIM::SUTTLES 12-OCT-1984 18:20
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: Hacker's Heaven
|
||
|
||
|
||
Hi hackers!
|
||
|
||
For those of you who use the MAKE utility written by Landon Dyer,
|
||
there is a new "utility" named PREMAKE. It takes one argument, which
|
||
it will prompt for, which is the name of an included file. PREMAKE's
|
||
function is to search *.MAC files for ".INCLU" (minimum for a .INCLUDE
|
||
directive) or ".COPY" and the name of a file which has just been changed
|
||
(the included file). For all .MAC files containing these strings, the
|
||
current date is changed to "now" by copying the file on top of itself.
|
||
MAKE will sense this as a change, and the next time you MAKE your program,
|
||
the files so tagged by PREMAKE will automatically be assembled.
|
||
|
||
PREMAKE has limitations. Because it must physically examine the file
|
||
(twice) to check for inclusion, it is not reasonable (in terms of CPU time
|
||
and hence operator wait time) to give PREMAKE the name of a file and have
|
||
it un-nest all those files in which it is included (every time it found
|
||
a match, it would have to start all over again, looking for INCLUDEs or
|
||
COPYs for the file it just tagged). To get around this, PREMAKE spits
|
||
out the name of all the files referring to the file recently modifed
|
||
(the included file). It is up to you to realize that some of these files
|
||
are NOT highest level files and to do a premake with them, yourself.
|
||
|
||
PREMAKE only checks *.MAC; files in the current directory. This is
|
||
cuz your interdependencies are not expected to go outside any specific
|
||
directory, and it is annoying to have to type "[]*.MAC;" every time
|
||
you wanna use it. If anyone can justify a reason to make the searched
|
||
filespec different, or variable, send mail to this address.
|
||
|
||
sas
|
||
___________________________________________________________________________
|
||
From: KIM::PPS 14-OCT-1984 14:40
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: PBREDUCE update
|
||
|
||
|
||
I have fixed PBREDUCE to eliminate the too
|
||
large .MAC files created by it. Thus, the text lines
|
||
should match the ones in the original text .MAC source
|
||
file. Please check any uses of this to insure no
|
||
unforeseen results. As usual, send any comments to
|
||
the PPS account.
|
||
|
||
That is all,
|
||
Mr. PPS
|
||
___________________________________________________________________________
|
||
From: KIM::SHEPPERD 15-OCT-1984 16:00
|
||
To: @sys$mail:engineer.uaf
|
||
Subj: Oh sheet, mon
|
||
|
||
|
||
We're in the process of getting a spreadsheet for the VAX. There's two in
|
||
contention for our hard earned dollars, so the writers have allowed us a
|
||
trial run of their product for about 30 days. The first of the two, FLOW_CALC
|
||
has arrived and is now installed on Kim. The documentation that accompanied
|
||
this product sucks. There is barely a paragraph on each command and no examples
|
||
at all in it. I guess that they assume you'll use the online help stuff which
|
||
there is an awful lot of to get you out of trouble. There are two demo programs
|
||
with it, FCINTRO and FCTUTOR which you can run on a VT100 or CIT-101. FCTUTOR
|
||
is very good, I think you'll get a kick out of it. Please send comments to this
|
||
address. The next time you login or RESTART you can type:
|
||
|
||
$ FCTUTOR !to run the tutorial
|
||
$ FCINTRO !to run the introduction
|
||
$ FCALC your_file !to make your own sheet
|
||
|
||
Have fun.
|
||
|
||
ds
|
||
___________________________________________________________________________
|
||
From: KIM::SUTTLES 15-OCT-1984 17:06
|
||
To: @SYS$MAIL:ENGINEER.UAF
|
||
Subj: The hell of hacking ... or, the subcellar of Hacker's Heaven
|
||
|
||
|
||
This missive is dedicated to (and
|
||
done in) the style of Jeff Boscole, who,
|
||
dedicated or not, was done in, in
|
||
inimicable style.
|
||
|
||
There has been a fair amount of debate about the PREMAKE utility.
|
||
I am seriously considering a veterinarian to eliminate the planarians.
|
||
|
||
MAKE was originally a UNIX utility, used to conditionally build
|
||
programs from their component parts, if (and only if) any one or more
|
||
of the parts was newer (more recently changed) than the "target".
|
||
Definitionwise, the TARGET is the unit currently being built, and it
|
||
DEPENDS on those units (files) which are inputs to the program doing
|
||
the build (compiler, assembler or linker). The target of one step is
|
||
quite possibly depended upon in subsequent steps in the build of a
|
||
particular program. This is indeed the case with current workings of
|
||
68000 "C" development. The executable binary is dependent on one or
|
||
more object modules, each of which is dependent on one or more assembly
|
||
language sources, each of which is dependent on one or more compiler
|
||
sources.
|
||
|
||
As you can see from the not-quite-nonsense spouted so far, MAKE as
|
||
originally conceived is not intuitively obvious in function, when the
|
||
details are known. It is intended to be fed an input file, called a
|
||
makefile, which is a list of the dependencies to be resolved, and the
|
||
command text neccesary to resolve each.
|
||
|
||
There is an infinite number of applications for the Unix version of
|
||
MAKE. It was designed for a system with several potential sources for
|
||
a given module, and several layers of dependencies for a specific utility.
|
||
I am not prepared to describe nor debate the use or usefullness of MAKE;
|
||
I do feel compelled to point out that it is a convenience tool; a simple
|
||
command file (in fact, simpler than the corresponding makefile in every case)
|
||
can rebuild the desired end module unconditionally. The primary advantage
|
||
of MAKE is in the elimination of CPU time that can be pinpointed as non
|
||
essential, and hence user time in waiting for the processes that are not
|
||
entirely neccesary. In our own case, this would reduce the load on the
|
||
VAX a tiny bit.
|
||
|
||
Landon Dyer's incarnation of MAKE assumed MACxx development, and I
|
||
cannot say for certain, but I expect it was MAC65 only.
|
||
|
||
There is also a version written in C by Eddie Babcock. I don't know
|
||
a whole lot about it either, but since Landon's was written in DCL, Eddie's
|
||
will have the advantage of speed at least, and probably quite a bit of utility
|
||
as well.
|
||
|
||
The whole purpose of PREMAKE was to allow users of MAKE to cheat. There
|
||
are header files for virtually every sizable project, containing such
|
||
information as copyright notices, authorship, identity, and documentation,
|
||
which matter not a whit to the execution of the program in which they are
|
||
included. Yet for all the same reasons as these, they must be included in
|
||
each and every module at the source level. Global options, such as debugging
|
||
flags, are also included here, to make the unit easier to develop. Here is
|
||
the problem with mixing these non-code items (which are subject to change
|
||
due to many sources, legal, managerial, and financial, not to mention
|
||
whimsical) and developmental stuff you put there BECAUSE you intend to
|
||
change it: unless the changes will directly affect the function of a
|
||
module in which they are included, you don't really want to reassemble (or
|
||
whatever) the source unless and until you are ready to release. There is
|
||
no way that the computer can know and/or correlate all of these things.
|
||
Look how much fun you had, and you KNOW how the system works!
|
||
|
||
So, in order to reduce the time between iterative versions (hackings)
|
||
{RE-CURSE: 1) See recurse. 2) What happens when you rehurt yourself.}
|
||
you can cheat. Avoid non-essential compiles / assemblies with MAKE.
|
||
Avoid redundant assemblies by eliminating non-code header file dependencies.
|
||
When such a header file will cause an effect in the generated code, use
|
||
PREMAKE to search for the inclusion directives and renew the date on the
|
||
source module, forcing MAKE to recognise the change.
|
||
|
||
To reduce the clamor for change in PREMAKE, it has been changed.
|
||
PREMAKE is implemented as a DCL command file, and is now used with three
|
||
parameters: the file type of the sources, the required text of the
|
||
inclusion directive, and the filespec that has changed, and requires
|
||
recompilation. For the MACXX assemblers, which is assumed to be the
|
||
majority case, PREMAKE is defined at login time as:
|
||
PREMAKE :== @SYS$SYSDEVICE:[UTILITIES.COM]PREMAKE .MAC .INCLU
|
||
... and you use it as $ PREMAKE HEADER or $PREMAKE HEADER.MAC
|
||
if HEADER.MAC is the file with the changes. For C programmers, you
|
||
can either redefine PREMAKE or invent you own word as in:
|
||
PREMAKE :== @SYS$SYSDEVICE:[UTILITIES.COM]PREMAKE .C #INCLUDE
|
||
... and the default extension will be .C; PREMAKE will search
|
||
"*.C;" for #INCLUDE and your filename on the same line. If your filename
|
||
is a .C file, the extension needn't be specified to be recognised.
|
||
|
||
Of course, anything costs. Because of making it general for languages,
|
||
the second search was eliminated. It used to search for .COPY as well as
|
||
.INCLU (.INCLU is all you need for .INCLUDE to be recognised), but now it
|
||
does only the .INCLU directive. If you want to search for .COPY, you will
|
||
have to define your own word, and do it as well as PREMAKE. It still does
|
||
not nest. PREMAKE still only checks *.MAC; files in the current directory.
|
||
|
||
As usual, if you or any of your operatives should get burned, I will
|
||
disavow any responsibility for my actions. Bug reports should be sent to
|
||
this address.
|
||
|
||
sas
|
||
___________________________________________________________________________
|
||
From: ERNIE::GIVENS 17-OCT-1984 19:23
|
||
To: KIM::MARGOLIN
|
||
Subj: resistor part number
|
||
|
||
|
||
Jed, I've just assigned a part number per your CER. It is:
|
||
|
||
116007-001 Resistor,WW,0.1 Ohm,5W,5%,Flame-proof Vendor: Dale Electronics Vendor P/N: CP-5 0.1 5%
|
||
|
||
I'm checking on approving TRW as a second source. I'll let you know.
|
||
And I'll forward your copy of the CER (#3560) via inter-office mail...
|
||
Have a nice evening,
|
||
Chris
|
||
___________________________________________________________________________
|
||
From: KIM::SHEPPERD 1-NOV-1984 19:11
|
||
To: @sys$mail:junk.uaf
|
||
Subj: The other spreadsheet
|
||
|
||
|
||
The other spreadsheet that I mentioned the other day has been installed. Its
|
||
called Graphic Outlook and can be started with:
|
||
|
||
$ GRO your_filename
|
||
|
||
There's a couple of demo packages that you can run to see how it works:
|
||
|
||
$ GRO/COM=GRLOOKDIR:GRAPHMW !graphics on a VT125
|
||
$ GRO/COM=GRLOOKDIR:LOWRESGR !graphics on a VT100 (or CIT101)
|
||
$ GRO/COM=GRLOOKDIR:ITRATE !iteration to a goal demo
|
||
|
||
In order to display graphics, they recommend that your terminal be set:
|
||
|
||
$ SET TERM/NOWRAP/FORM/NOBROAD
|
||
|
||
There's also some tutorials:
|
||
|
||
$ GRO/COM=GRLOOKDIR:BRIEF !short lesson
|
||
$ GRO/COM=GRLOOKDIR:TUTOR1 !more extensive
|
||
$ GRO/COM=GRLOOKDIR:TUTOR2 !"Building a worksheet"
|
||
|
||
There is a manual with this one that is quite reasonable, certainly much better
|
||
than FlowCalc's manual.
|
||
___________________________________________________________________________
|
||
From: ERNIE::CAMERON 6-NOV-1984 09:10
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: ANOTHER PLOT UNCOVERED
|
||
|
||
|
||
Thanks to the quick thinking of Jed, a ingenius plot to
|
||
control our minds and pocketbooks with the powers of subliminal
|
||
suggestion has been uncovered! The killer is.........
|
||
|
||
the BEVERly heritAGE hotel
|
||
|
||
the message is there!
|
||
___________________________________________________________________________
|
||
From: SHEPPERD 12-OCT-1984 09:55
|
||
To: ALBAUGH,MARGOLIN,RITTER,HAYES,CHARM::MARBLE, CC::RAINS
|
||
Subj: 1272
|
||
|
||
From: FARRAND 12-OCT-1984 09:48
|
||
To: SHEPPERD
|
||
Subj: RE: Non-eng terminals
|
||
|
||
I ALREADY HAVE MY TERMINAL THE ONLY OTHER ON EE I WOULD SUJEST ASK YOU TO
|
||
PROVIDE WOULD BE TO MARY FUJIHARA SO SHE AND HER GROUP CAN SHARE ONE.
|
||
JOHN
|
||
I WILL ENSURE 1272 IS COMM TO ALL FOR YOUR INFO THE LEASE FOR 1272
|
||
IS HELD BY CITY BANK IN A BLIND TRUST MANAGED BY THEM.TO SHOW YOU HOW MUCH
|
||
WE CARE ABOUT THE PARA'S CITY BANK TOLD US WHO THE INVESTORS WERE THEY ARE
|
||
IN THE PROPERTY WORLD IN SINGAPORE AND ARE NOT RELATED TO OUR INDUSTRY OR
|
||
EVEN TO ELECTRONICS.THE LEASE EXPIRES JUNE 1985 WE HAVE FIRST RIGHTS TO
|
||
CONTINUE AT CURRENT MARKET RATES.WE WILL DO THIS DESPITE WHAT JED THINKS ALL
|
||
OUR CALCULATIONS HAVE BEEN BASED ON HAVING TO PAY HIGH MARKET EVEN WITH THESE
|
||
UNLIKELY NUMBERS IT MAKES VERY SOUND FINANCIAL SENSE TO MOVE SAVINGS UNTIL
|
||
JUNE JUST TO COIN OP $1MILL WHEN RENT INCREASE COMES IN JUNE 650K PER YEAR AT
|
||
TOP RATE AT EXPECTED RATE 9 (TODAYS MARKET RATE) $1MILL. 1501 RENT ALSO
|
||
INCREASED IN AUGUST1985.
|
||
J.F.
|
||
___________________________________________________________________________
|
||
From: MARGOLIN 12-OCT-1984 18:57
|
||
To: MARGOLIN
|
||
|
||
|
||
I received a copy of your mail message entitled " non-eng terminals ".
|
||
|
||
I would like very much to understand it (since I am mentioned in it) but
|
||
unfortunately, I cannot.
|
||
|
||
My copy came with very little punctuation and with words missing.
|
||
|
||
I don't know what you mean by " comm " or " para's " or what it is that
|
||
I apparently think.
|
||
|
||
I am not trying to be funny or even disrespectful. I honestly don't understand
|
||
the mail message.
|
||
|
||
|
||
Jed
|
||
___________________________________________________________________________
|
||
From: SHEPPERD 12-OCT-1984 09:55
|
||
To: ALBAUGH,MARGOLIN,RITTER,HAYES,CHARM::MARBLE, CC::RAINS
|
||
Subj: 1272
|
||
|
||
From: FARRAND 12-OCT-1984 09:48
|
||
To: SHEPPERD
|
||
Subj: RE: Non-eng terminals
|
||
|
||
I ALREADY HAVE MY TERMINAL THE ONLY OTHER ON EE I WOULD SUJEST ASK YOU TO
|
||
PROVIDE WOULD BE TO MARY FUJIHARA SO SHE AND HER GROUP CAN SHARE ONE.
|
||
JOHN
|
||
I WILL ENSURE 1272 IS COMM TO ALL FOR YOUR INFO THE LEASE FOR 1272
|
||
IS HELD BY CITY BANK IN A BLIND TRUST MANAGED BY THEM.TO SHOW YOU HOW MUCH
|
||
WE CARE ABOUT THE PARA'S CITY BANK TOLD US WHO THE INVESTORS WERE THEY ARE
|
||
IN THE PROPERTY WORLD IN SINGAPORE AND ARE NOT RELATED TO OUR INDUSTRY OR
|
||
EVEN TO ELECTRONICS.THE LEASE EXPIRES JUNE 1985 WE HAVE FIRST RIGHTS TO
|
||
CONTINUE AT CURRENT MARKET RATES.WE WILL DO THIS DESPITE WHAT JED THINKS ALL
|
||
OUR CALCULATIONS HAVE BEEN BASED ON HAVING TO PAY HIGH MARKET EVEN WITH THESE
|
||
UNLIKELY NUMBERS IT MAKES VERY SOUND FINANCIAL SENSE TO MOVE SAVINGS UNTIL
|
||
JUNE JUST TO COIN OP $1MILL WHEN RENT INCREASE COMES IN JUNE 650K PER YEAR AT
|
||
TOP RATE AT EXPECTED RATE 9(TODAYS MARKET RATE) $1MILL. 1501 RENT ALSO
|
||
INCREASED IN AUGUST1985.
|
||
J.F.
|
||
___________________________________________________________________________
|
||
From: ERNIE::CAMERON 6-NOV-1984 09:10
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: ANOTHER PLOT UNCOVERED
|
||
|
||
|
||
Thanks to the quick thinking of Jed, a ingenius plot to
|
||
control our minds and pocketbooks with the powers of subliminal
|
||
suggestion has been uncovered! The killer is.........
|
||
|
||
the BEVERly heritAGE hotel
|
||
|
||
the message is there!
|
||
___________________________________________________________________________
|
||
From: KIM::VICKERS 22-NOV-1984 15:22
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: book review
|
||
|
||
|
||
Merry Thanksgiving, native American day of mourning.
|
||
|
||
This is a review of a book called The Evolution of Cooperation, by
|
||
Robert Axelrod, a political scientist and game theorist. The back cover of
|
||
the book includes the following quotes -
|
||
|
||
"I never expected to find wisdom or hope for the future of our species
|
||
in a computer game, but here it is, in Axelrod's book. Read it." -
|
||
Lewis Thomas, M.D. (Read his books too.)
|
||
|
||
"When I read The Evolution of Cooperation in draft form, I scribbled
|
||
all over my copy: 'Incredible!' 'Amazing!' 'Weird!' 'Fantastic!'
|
||
'Fascinating!' 'Elegant!' 'Great!' I guess that tells you what I
|
||
genuinely think of this book." - Douglas Hofstadter, author of Godel,
|
||
Escher, Bach: An Eternal Golden Braid (Another good read, at least for
|
||
skipping around in.)
|
||
|
||
These guys aren't exaggerating, plus the book's relatively short and
|
||
easy reading. Here's how I heard about the book - First, someone who read my
|
||
War & Games article in Sept. Creative Computing sent me a copy of a review that
|
||
a friend of his wrote about the book. Then another reader of the article, and
|
||
president of an educational software company, sent an Apple program he had
|
||
written which, based on Axelrod's book, allows you to play the Prisoner's
|
||
Dilemma and vary the computer's strategy. And then a group called Computer
|
||
Professionals for Social Responsibility wrote to say that a group had formed
|
||
in Berkeley to study and write a paper about applying the Prisoner's Dilemma
|
||
model to attempts to understand and redirect the arm's race. (These meetings
|
||
are every other Thursday in Berkeley, starting Nov. 29. Contact me if you're
|
||
interested.)
|
||
|
||
So let me talk a bit about what's in the book and then I'll discuss why
|
||
it might be of interest to game designers. The essence of life often seems to
|
||
be paradox, and the Prisoner's Dilemma is an elegant mathematical model of one
|
||
basic type of paradox, "in which what is best for each person individually
|
||
leads to mutual defection, whereas everyone would have been better off with
|
||
mutual cooperation." Axelrod uses the theory to examine the uses of
|
||
cooperation and competition in warfare, business, Congress, and biological
|
||
systems. The basic dilemma is (quoting from the inside liner): "How can
|
||
cooperation emerge among self-seeking individuals when there is no central
|
||
authority to police their actions? It is a question that has troubled
|
||
philosophers and statesmen for hundreds of years; its importance has never been
|
||
greater than in today's world of nuclear weapons."
|
||
|
||
Axelrod manages to answer this question for the 2x2 Prisoner's Dilemma
|
||
and to suggest the implications this solution has for the real world. He
|
||
started by organizing computer tournaments to which he invited computer
|
||
hobbyists and professional game theorists to submit their favorite strategy for
|
||
playing the Prisoner's Dilemma. Competing programs included 1) a program based
|
||
on 'outcome maximization', 2) Random, 3) one that cooperates initially but then
|
||
defects forever after the other side's first defection, 4) "a sneaky rule that
|
||
tries to get by with an occasional defection," 5) a program that is designed to
|
||
"look for softies, but is prepared to back off if the other player shows it
|
||
won't be exploited", and 6) a program that "first seeks to establish a mutually
|
||
rewarding relationship with the other player, and only then does it cautiously
|
||
try to see if it will be allowed to get away with something."
|
||
|
||
The winning entry was the shortest and simplest of all the programs -
|
||
called Tit for Tat, it says to start with cooperation and then do what the
|
||
other side did on the last round. While this is not necessarily the winning
|
||
strategy independent of the environment, it is fairly robust, due to four
|
||
properties:
|
||
|
||
1) It is 'nice' - it avoids unnecessary conflict as long as the other
|
||
player does.
|
||
2) It is retaliatory - it responds immediately to provocation.
|
||
3) It is forgiving - it backs off from retaliation as soon as the
|
||
other player stops provoking it.
|
||
4) It is clear - the other side can easily predict its behavior, and
|
||
adapt to it by cooperating.
|
||
|
||
Tit for Tat is not capable of beating any of the other strategies
|
||
one on one, and yet it does best in the tournament because it gets the other
|
||
strategies to cooperate with it. The moral here for success in non-zero sum
|
||
games is - don't be envious. Don't compare your score to your opponent's
|
||
score, but to how well someone else could be doing in your situation.
|
||
|
||
The key factor to the success of a strategy such as this is the shadow
|
||
of the future - the importance of future relations between the same
|
||
individuals.
|
||
|
||
The theory gets extended to show how the different strategies will
|
||
evolve in time (including a graph of how an initially successful non-nice
|
||
rule soon becomes extinct as a result of the extinction of the unsuccessful
|
||
rules it was exploiting.) Axelrod proves a number of theorems, such as one
|
||
which states that a society of 'meanies' (who always defect) can resist an
|
||
invasion by any other strategy which invades 1 by 1 (but a small cluster of the
|
||
other strategy can invade relatively easily by surviving off of their
|
||
cooperations with each other.) However a society made up of a 'nice' strategy
|
||
can be resistant to invasion by 'meanies', even in a cluster. Then he extends
|
||
the theory to territorial patterns (of nations, businesses, birds, etc.) and
|
||
shows graphs of how different strategies can evolve spatially.
|
||
|
||
Why do I mention all this? Well, it's that time of year when some of
|
||
us are finishing up our games and starting to think about new ones, and I want
|
||
to nudge those new games in certain directions. I'd like to see more games
|
||
that allow the player to explore the continuum of cooperation and competition.
|
||
This was very successful in Joust, Rip-Off, and a few other games. And I'd
|
||
like to see more 2-player games in general - 2 player Marble Madness is,
|
||
strictly speaking, a competitive game, but it give you a range of
|
||
competitiveness from hard-core knock-the-other-guy-over-the-edge, to just
|
||
racing against the clock. And it might be nice to have games with less
|
||
emphasis on scores, or no scores at all, or seeing only your score and not
|
||
the other player's, or having a score which is the sum of your score and
|
||
the opponent's score. Of course I'd also like to see more games like Whack-
|
||
A-Mole (why were there no Whack-A-Moles in the auction, that's what I'd like
|
||
to know.)
|
||
|
||
If indeed people form attitudes about life from the games they play,
|
||
and if indeed Ronald Reagan sees the world as a game of Risk, we might as well
|
||
be making games that, in a very non-educational way, teach this new generation
|
||
of little Ronnies out there that the world is not necessarily a zero-sum game,
|
||
that there are ways to play the game so that both sides win.
|
||
|
||
I think there are sparks in this book which could ignite a great game
|
||
idea. The 2-player Prisoner's Dilemma itself is rather boring to play,
|
||
although some fun and visually interesting patterns might result from the
|
||
2-d territorial evolution version of the game. The real interest is in the
|
||
meta-game, the insights from which could be (and have been) applied to a
|
||
variety of situations. I have some thoughts on the subject, which I would
|
||
be glad to discuss with anyone interested, as soon as we all have more time
|
||
(i.e., January.)
|
||
|
||
The book is available for borrowing from me, and for sale in finer
|
||
bookstores everywhere.
|
||
|
||
Earl
|
||
___________________________________________________________________________
|
||
From: KIM::HOFF 15-NOV-1984 11:28
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: SYSTEM I AUDIO BALANCING IS COMPLETE AND PRODUCTION RELEASED
|
||
|
||
|
||
People not involved with audio for System I need not read on:
|
||
|
||
Brad, with the aid of Sam, Don, Minh and others too numerous to name
|
||
have completed the relative balancing of the Pokey, Yamaha and TI Sound
|
||
chips and this "balance" has been incorporated into the production
|
||
released parts list. If you have serious concerns about the appropriateness
|
||
of this balance after reading the rest of the message, please contact me
|
||
or Brad Fuller.
|
||
|
||
QUESTION: What do you have to do to make the audio on your board be
|
||
like production?
|
||
ANSWER: Nothing.
|
||
REASON: All voice cartridges of any REV and
|
||
TTL Main Boards REV(A) and REV(2) modified to REV(A)
|
||
(these will have "REV(A)" marked on the edge connector)
|
||
have the correct component values. In case you question
|
||
your board the "balance" and proper filter/noise supression
|
||
values are listed at the end of this message.
|
||
|
||
METHOD OF BALANCING:
|
||
If you are interested in how Brad arrived at this
|
||
standard, here is what he did.
|
||
|
||
|
||
Adjustment of audio levels for YAMAHA, POKEY and TIVOX for SYSTEM I
|
||
|
||
"To calculate the initial gain of the YAMAHA chip set and POKEY, we first
|
||
produced a full volume sine wave from YAMAHA and a full volume square wave from
|
||
POKEY and 'course' adjusted the level for POKEY. Since it's best to use a real
|
||
live situation we used PACKRAT music and sound effects to 'fine' set the POKEY
|
||
level. We had to compromise on the setting since all music and sound effects
|
||
are never at the same level. After the final adjustment we measured the average
|
||
output of both chips. The POKEY was at about half the peak amplitude as the
|
||
YAMAHA.
|
||
|
||
"To adjust the TIVOX chip level we installed a pot to adjust the TIVOX chip
|
||
gain. This enabled us to set the TIVOX chip for the level desired, then measure
|
||
the resistance at the pot. Since POKEY sounds are usually intermittent sounds
|
||
it was best to use the sound source that the TIVOX chip would have to
|
||
continually compete against, i.e. YAMAHA music. We used different types and
|
||
volumes of music to adjust the TIVOX chip gain. After adjustment of the TIVOX
|
||
chip, we realized that it was very close to the original setting calculated by
|
||
Don Paauw."
|
||
|
||
|
||
PROPER CONPONENTS FOR AUDIO BALANCE AS IN REV(A) PRODUCITON RELEASE.
|
||
|
||
MAIN BOARD--------------------------------------------
|
||
(the problem which is corrected)-
|
||
Pokey noise-
|
||
add C195 1000pf from IC 19E pin 6 to gnd
|
||
Pokey balance-
|
||
R112 1k
|
||
R114 10K
|
||
R70, R74 27k
|
||
Yamaha Balance- none
|
||
Yamaha noise/filtering
|
||
C166,167 .0027 microfarads
|
||
C99, 100 1000pf
|
||
Aux Audio Balancing and Noise-
|
||
Add R138 1k from AUXSNDR to gnd
|
||
Add R139 1k from AUXSNDL to gnd
|
||
Final audio filtering-
|
||
C175, 176 1000pf
|
||
CART BOARD----------------------------
|
||
no changes
|
||
___________________________________________________________________________
|
||
From: HOFF 15-NOV-1984 13:56
|
||
To: MARGOLIN
|
||
Subj: RE: System I Audio Level
|
||
|
||
|
||
Jed,
|
||
Do you recommend that any action be taken?
|
||
Morgan
|
||
|
||
From: HOFF 15-NOV-1984 15:50
|
||
To: MARGOLIN
|
||
|
||
From: MARGOLIN 15-NOV-1984 13:28
|
||
To: HOFF
|
||
Subj: System I Audio Level
|
||
|
||
As of last week, the maximum audio output level produced by Marble Madness
|
||
during game play was 4 Vp-p. The Regulator/Audio III requires 5 Vp-p for
|
||
full output (worst case).
|
||
|
||
Jed
|
||
___________________________________________________________________________
|
||
From: HOFF 15-NOV-1984 16:00
|
||
To: MARGOLIN
|
||
Subj: RE: System I Audio Level
|
||
|
||
|
||
I forwarded the message to Sam and asked him to investigate.
|
||
also a copy of the message is forwarded to you.
|
||
Morgan
|
||
___________________________________________________________________________
|
||
From: HOFF 15-NOV-1984 16:00
|
||
To: MARGOLIN
|
||
Subj: 2nd message
|
||
|
||
From: MARGOLIN 15-NOV-1984 15:42
|
||
To: HOFF
|
||
Subj: System I Audio Level
|
||
|
||
The audio output level should be increased to 5 Vp-p during normal
|
||
game play, and should have a reasonable amount of headroom for peaks.
|
||
|
||
Background:
|
||
|
||
1. If you leave the output purposefully low so that the audio does not clip
|
||
under any conditions, then most of the time it will not be as loud as it
|
||
could otherwise be.
|
||
|
||
2. By having the output high enough to clip with the volume control all the
|
||
way up you assure that it can be adjusted for maximum loudness.
|
||
Presumably the operators will adjust it short of clipping.
|
||
|
||
3. In the old days, the volume was controlled via a rheostat at the
|
||
amplifier output, so that if the amplifier was clipping it could
|
||
not be fixed by turning the volume down. The volume control pots
|
||
on Regulator/Audio III are at the amplifier input.
|
||
|
||
4. The amount of dynamic range available for arcade games is fairly narrow.
|
||
Arcades tend to be noisy, which sets the low end. The high end is set by the
|
||
amount of audio power reaching the player's ears and is limited by the
|
||
threshhold of pain. Also, if too many sounds are turned on at the same time,
|
||
they will simply become an indistinguishable jumble.
|
||
|
||
5. Generally, sounds with very high ratios of peak to average levels (like
|
||
explosions) have been allowed to clip. Otherwise, if the system is adjusted
|
||
to handle the peaks, the average volume level is too low.
|
||
___________________________________________________________________________
|
||
From: ERNIE::GIVENS 16-NOV-1984 14:51
|
||
To: KIM::MARGOLIN
|
||
Subj: all done!
|
||
|
||
|
||
Here are your revised part numbers. They aren't on the AVL at this point,
|
||
so if you need to make additional changes it won't be a problem. (The
|
||
136031-XXX category is reserved for these parts.) I'll add these to the
|
||
AVL (at rev. 1) after rev. 1 samples have been verified by Ed.
|
||
|
||
136031-XXX IC,Programmed Devices,Empire (450XX)
|
||
136031-001 { IC,Programmed EPROM,Empire,137328-002,1F
|
||
136031-002 { IC,Programmed EPROM,Empire,137328-002,1J/K
|
||
136031-003 { IC,Programmed EPROM,Empire,137328-002,1K/L
|
||
136031-004 { IC,Programmed EPROM,Empire,137328-002,1M
|
||
136031-005 { IC,Programmed EPROM,Empire,137328-002,U3
|
||
136031-006 { IC,Programmed EPROM,Empire,137328-002,U2
|
||
136031-007 IC,Programmed PROM,Empire,37-82S137,7L
|
||
136031-008 IC,Programmed PROM,Empire,37-82S137,7K
|
||
136031-009 IC,Programmed PROM,Empire,37-82S137,7J
|
||
136031-010 IC,Programmed PROM,Empire,37-82S137,7H
|
||
136031-011 { IC,Programmed EPROM,Empire,137212-001,1L
|
||
136031-012 { IC,Programmed EPROM,Empire,137328-002,1H
|
||
136031-013 { IC,Programmed EPROM,Empire,137328-002,1J/K
|
||
|
||
Bye, have a nice weekend and Thanksgiving too! (I get next week off!!!)
|
||
|
||
Chris
|
||
___________________________________________________________________________
|
||
From: KIM::TAKIYAMA 16-NOV-1984 15:47
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Company Name
|
||
|
||
|
||
Per Karen Witte:
|
||
1. Copyrights will be registered in the name of Atari
|
||
Games, Inc. The notice line on our game screens
|
||
and in printed material should read:
|
||
|
||
Copyright 19__ Atari Games, Inc. All rights reserved.
|
||
|
||
2. Trademarks will be registered in the name of:
|
||
|
||
Atari Games, a division of Atari Games, Inc.
|
||
|
||
3. Contracts should be entered into in the name of
|
||
"Atari Games, a division of Atari Games, Inc."
|
||
|
||
4. We cannot use the name "Atari" alone. It must be
|
||
distinguished from Atari Corp. and the sale agreement
|
||
requires that we use "Atari Games" or "Atari Games, Inc.".
|
||
We should also use WCI attribution line somewhere on the
|
||
graphics containing our logo as a further distinction.
|
||
This is per New York and I'll keep you posted if it
|
||
changes.
|
||
___________________________________________________________________________
|
||
From: KIM::HOFF 20-NOV-1984 17:31
|
||
To: @SYSIECN.DIS
|
||
Subj: 1st Notice of ECN's Against SYSTEM I Board Sets
|
||
|
||
|
||
Here's the first notice to Engineering of published ECN's against the
|
||
SYSTEM I board set. I'm mailing this to the engineer's and technicians
|
||
involved in the project, to Chris Downend because he's the overall
|
||
Project Leader on this one, and to the "unattached" programmers who
|
||
may not have a technician or engineer looking out for their board.
|
||
If you want to be deleted from this distribution list would you scan
|
||
the list to make sure that someone is looking out for you before requesting
|
||
deletion.
|
||
|
||
Two ECN's (#11963, 11962) are fully released against the TTL Main
|
||
Board. A constructively edited copy of the ECN's is available for
|
||
XEROXing at the System I H/W Bulletin board in Minh's lab. Please update your
|
||
boards and mark them with the ECN numbers.
|
||
The 2 1% resistors for the intensity circuit (ECN 11963 page 4) have not
|
||
arrived as samples yet. Trim your own or wait.
|
||
|
||
[HOFF.SYSI]SYSIECN.DIS
|
||
|
||
_SANDY::_PAAUW! [117,000] SOFTWARE @DON PAUUW
|
||
|
||
_KIM::_BRAD! [053,000] SOUNDS @BRAD FULLER
|
||
_KIM::_DOWNEND! [037,000] PROJ_OFF @CHRIS DOWNEND
|
||
_KIM::_HOFF! [052,000] HARDWARE @MORGAN HOFF
|
||
_KIM::_LY! [057,000] HARDWARE @SAM LY
|
||
_KIM::_MAHAR! [060,000] SOFTWARE @MIKE MAHAR
|
||
_KIM::_MARGOLIN! [062,000] HARDWARE @JED MARGOLIN
|
||
_KIM::_MCCARTHY! [064,000] HARDWARE @PAT MCCARTHY
|
||
_KIM::_MOORE! [067,000] SOFTWARE @RICH MOORE
|
||
_KIM::_NGUYEN! [126,000] TECH_SUP @MINH NGUYEN
|
||
_KIM::_RITTER! [026,000] SOFTWARE @JACK RITTER
|
||
_KIM::_WIEBENSON! [116,000] TECH_SUP @DAVE WIEBENSON
|
||
___________________________________________________________________________
|
||
From: KIM::PPS 27-NOV-1984 12:42
|
||
To: @sys$mail:engineer
|
||
|
||
|
||
This is to officially release updated versions of the
|
||
ever popular PPS utilities. PBEXTRACT, PBREDUCE, & PBFORM
|
||
have been substantially changed. Therefore, please check
|
||
your generated output even if you do not use any of the
|
||
new features.
|
||
|
||
Speaking of features, new additions are documented
|
||
in PBUTIL.DOC as well as in the HELP features of the utilities.
|
||
|
||
For final information, a new PPS account has also
|
||
been established on Charm, so accounts there need not maintain
|
||
their own versions.
|
||
|
||
As always, these utilities (and documentation) are
|
||
located in directory:
|
||
sys$userdisk:[PPS.UTILITIES]
|
||
|
||
Looking Good,
|
||
Walking Tall,
|
||
Feeling Mean,
|
||
( and Blowing Chow)
|
||
___________________________________________________________________________
|
||
From: KIM::MARGOLIN 12-OCT-1984 18:28
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: REGULATOR/AUDIO III
|
||
|
||
|
||
Specifications for the Regulator/Audio III System
|
||
----------------------------------------------
|
||
|
||
+5 VDC @ 10 Amps Regulated
|
||
|
||
+15 VDC @ 0.4 Amps Regulated
|
||
|
||
-15 VDC @ 0.4 Amps Regulated
|
||
|
||
|
||
6.1 VAC @ 0.5 Amps From Power Base (For Coin Door Lamps)
|
||
|
||
120 VAC @ 0.9 Amps Isolated, from Power Base (For Color Raster Monitor)
|
||
|
||
10.3 VDC From Power Base, use for Reset Circuit Only.
|
||
Dropout is at 8 VDC, Holdtime is not guaranteed.
|
||
(or specified). Beware the Jabberwock (EAROM).
|
||
|
||
|
||
(2) Audio Amplifiers:
|
||
Each capable of delivering 6.5 Watts into 8 Ohms or 10 Watts into
|
||
4 Ohms (your choice). Power is for an equivalent Sine Wave input.
|
||
|
||
The volume control is on the Regulator/Audio III Board.
|
||
|
||
The amplifiers will deliver full output with an input of 5 Vp-p.
|
||
|
||
|
||
There will be a Self-Test switch on the Board, providing a switch closure
|
||
to ground. You must provide your own pull-up resistor.
|
||
|
||
|
||
Jed Margolin 10/12/84
|
||
|
||
|
||
P.S. - The REGULATOR/AUDIO III is intended for use in the Not-Budget System
|
||
as well as providing a backup for Road Runner and Paper Boy.
|
||
|
||
Please direct all comments to [MARGOLIN]
|
||
___________________________________________________________________________
|
||
From: VANELDREN 15-OCT-1984 08:50
|
||
To: MARGOLIN
|
||
Subj: AUDIO/REG III
|
||
|
||
|
||
Your spec looks good to me. Thanks again for helping us out on this. I
|
||
just hope we can now manage to pull this off in the time frame we have to,
|
||
and with the parts and leadtimes we have available.
|
||
___________________________________________________________________________
|
||
From: RAINS 15-OCT-1984 09:37
|
||
To: MARGOLIN
|
||
Subj: New and Improved Power Supply
|
||
|
||
|
||
I assume that your specs aren't meant to include the supply current required
|
||
by the audio power amps, otherwise the +15v @ 400mA wouldn't cut it.
|
||
___________________________________________________________________________
|
||
From: KIM::MARGOLIN 15-OCT-1984 13:04
|
||
To: @SYS$MAIL:ENGINEER
|
||
Subj: Regulator/Audio III Prototype
|
||
|
||
|
||
Some Asshole stole my Regulator/Audio III prototype. It was the only
|
||
one with the new audio circuitry, and was to be tested this morning.
|
||
If you are the miserable cretin who has this board, return it by 2:00 pm
|
||
today, and I may let you live.
|
||
|
||
Thank you or else,
|
||
|
||
Jed
|
||
___________________________________________________________________________
|
||
From: RUSTY 29-OCT-1984 10:20
|
||
To: MARGOLIN
|
||
Subj: RE: Audio Power
|
||
|
||
|
||
If I understand your spec correctly, we will only be getting 6.8 watts
|
||
(per channel) if using the supply for stereo. I don't think this will
|
||
be enough. We are pretty close to the edge with what we are running now
|
||
(12 watts, I believe). 10 watts would be OK, maybe 9, but NOT 6.8
|
||
|
||
If there is anything you can do to bring the power up to greater
|
||
than 10 watts, please, PLEASE, PLEASE, consider it.
|
||
|
||
Rusty
|
||
___________________________________________________________________________
|
||
From: MARGOLIN 20-DEC-1984 17:08
|
||
To: STUBBEN, MARGOLIN
|
||
|
||
|
||
To: Rick Moncrief
|
||
Fr: Jed Margolin
|
||
Re: Regulator/Audio III Costs
|
||
Dt: 12/20/84
|
||
|
||
I just received a copy of Rod Peterson's cost information on the
|
||
Regulator/Audio III.
|
||
|
||
I used the best information I could get, and it was wrong. I used as many
|
||
parts from inventory as I could and then it turned out these parts had been
|
||
scrapped.
|
||
|
||
It makes me look bad and I am mad as hell about it.
|
||
|
||
Regulator/Audio III Rod Peterson's cost = $31.95
|
||
|
||
My estimate in September = - $23.64
|
||
-------
|
||
$8.31
|
||
|
||
Total Increase:
|
||
---------------
|
||
1. Inventory Parts $1.91
|
||
2. CTS Pot 1.01
|
||
3. PC Board 3.75
|
||
4. TDA 2030 1.20
|
||
5. Heat Sink .49
|
||
------
|
||
$8.36
|
||
|
||
Item 1
|
||
-------
|
||
When I did my cost estimate I used the best information I could get, which was
|
||
the AMPS system before it was turned off. This was in September.
|
||
|
||
As an example take 24-250477 (470 uF 25V Electrolytic Capacitor). According
|
||
to AMPS we had 71,350 in inventory and paid $0.11 a piece. How could they now
|
||
cost $0.477? And why do they cost almost twice as much as a 1000 uF 25V part?
|
||
|
||
Was the original AMPS entry incorrect?
|
||
|
||
Did the capacitors somehow increase in cost while they were sitting in
|
||
inventory?
|
||
|
||
Did our inventory go through some kind of time warp?
|
||
|
||
Did we store them in a 747 that was kept in the air (with in-flight
|
||
refueling) so as to be immediately available once it was determined
|
||
where the factory was going to be?
|
||
|
||
Did we sell them off and buy them back?
|
||
|
||
There are 9 items that fall into this category, accounting for an increase
|
||
of $1.91 .
|
||
|
||
Item 2
|
||
------
|
||
The CTS volume control pot (119011-103) is listed as $2.028 .
|
||
According to the quote I got from CTS, this would correspond to a quantity
|
||
of 300 pieces. Are we buying our parts in quantities of 300?
|
||
|
||
This accounts for an increase of $1.01 .
|
||
|
||
Item 3
|
||
------
|
||
The PC Board used in the Regulator/Audio II is 91 square inches
|
||
(6.5" x 14") and costs $8.08 . (0.0888/sq in)
|
||
|
||
The PC Board for Regulator/Audio III is 119 square inches (8.5" x 14")
|
||
and costs $12.25. (0.103/sq in). Why is that?
|
||
|
||
Item 4
|
||
------
|
||
The TDA-2030 used in the switcher was listed as $1.50 each. Why are
|
||
they now $2.10 ?
|
||
|
||
Item 5
|
||
------
|
||
The cost of the Heat Sink increased by $.49, presumably by having
|
||
three more holes drilled in it.
|
||
|
||
-------------------------------------------------------------------------------
|
||
It is impossible to get reliable cost information ahead of time. However,
|
||
critical Engineering decisions are often based on price differences of $1.00 or
|
||
less.
|
||
|
||
It is no longer possible to base a design on the cost effective use of parts in
|
||
inventory, because these parts could be scrapped at any time without notice.
|
||
|
||
Atari's system makes parts cost too much because:
|
||
|
||
Atari sells parts from inventory and then buys them back (at an
|
||
inflated price).
|
||
|
||
Parts that require some amount of lead time are purchased at a
|
||
premium because parts are not bought until the game is released
|
||
and games are manufactured as soon as they are released.
|
||
|
||
There does not seem to be any way of buying parts in quantities
|
||
beyond what is necessary for the next release of 300 games.
|
||
|
||
If you want to avoid a price increase on the Transformer Power Base,
|
||
Alltronics-Howard is selling them for $10. Ginsu knives are not included.
|
||
|
||
|
||
Jed
|
||
___________________________________________________________________________
|
||
From: MORRIS 17-DEC-1984 18:32
|
||
To: MARGOLIN
|
||
Subj: 68000 docs
|
||
|
||
|
||
there is a bunch of stuff on:-
|
||
|
||
KIM::SYS$SYSDEVICE:[C68AR2V1.DOC]
|
||
This covers the linker,locator,formatter and mapper etc.
|
||
|
||
The assembler is "Motorola standard" and as such doesn't require
|
||
documentation, or at least that is what they told me. However there is a
|
||
motorola "MAcro assembler manual" available from motorola, nobody I know
|
||
has a copy that is up to date.
|
||
|
||
The intermetrics C compiler documentation is in my office, and the
|
||
greenhills is available from the vax, ask mike mahar where it is.
|
||
|
||
Hope you find the stuff, any problems with the intermetrics stuff
|
||
let me know.
|
||
|
||
Bye for now.
|
||
Jim.
|
||
___________________________________________________________________________
|
||
From: KIM::MAHAR 18-DEC-1984 09:37
|
||
To: KIM::MARGOLIN
|
||
|
||
|
||
Ed Logg has the most complete set of 68k documentation.
|
||
Perhaps he'll let you xerox is.
|
||
mpm
|
||
___________________________________________________________________________
|
||
From: KIM::THOMPSON 18-DEC-1984 10:29
|
||
To: KIM::MARGOLIN
|
||
Subj: 68K software tools
|
||
|
||
I have a copy of the documentation that you are welcome to borrow
|
||
for copying. There appear to be 3 "books" with disinformation in them.
|
||
|
||
Peter.
|
||
___________________________________________________________________________
|
||
From: KIM::WIEBENSON 19-DEC-1984 13:54
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: TEETH
|
||
|
||
|
||
About 5 years ago I went to this dentist because he was so close to
|
||
work (here). He has been the best dentist and now that we are back
|
||
in 1272 I must recomend him as the best around and the closest anyway.
|
||
|
||
Dennis Macaulay, DDS Family Dentistry
|
||
584 S. Mathilda Ave. #1 (near El Camino)
|
||
(xxx) xxx-xxxx *gentle dental care*
|
||
___________________________________________________________________________
|
||
From: STUBBEN 20-DEC-1984 18:31
|
||
To: MARGOLIN
|
||
Subj: A/R III COST
|
||
|
||
|
||
I REVIEWED THE COSTING MYSELF. I AGREE COMPLETELY WITH YOUR COMMENTS.
|
||
THE ONLY THING THAT SEEMED ODD TO ME WAS THE ORIGINAL PCB COST; AT 10
|
||
CENTS A SQ. IN. IT'S A BARGAIN. THAT'S WHAT WE USED TO PAY FOR PCB'S
|
||
IN CONSUMER PRODUCTS. OUR TYPICAL ESTIMATE IN COIN OP HAS BEEN AS HIGH AS
|
||
15 CENTS PER SQ. IN. BUT IF THE OLD A/R PCB WAS SO LOW, THE COST RATIO
|
||
SHOULD HOLD AS SOLELY A FUNCTION OF AREA - WHEN PURCHASED AT THE SAME
|
||
VOLUME.
|
||
I DON'T UNDERSTAND IT - I SUGGEST WE GET A DETAILED EXPLANATION FROM
|
||
PURCHASING. D.R.S.
|
||
___________________________________________________________________________
|
||
From: KIM::SUTTLES 21-DEC-1984 11:46
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: Give a man enough rope...
|
||
|
||
|
||
For those of you who like to screw up more than one file at a time,
|
||
here's a way to have a real orgy. NO WARRANTIES EXPRESSED OR IMPLIED,
|
||
NOT RESPONSIBLE FOR CONSEQUENCES ARISING FROM USE OF THIS PRODUCT. THIS
|
||
TOOL IS GUARANTEED NOT (repeat NOT) TO WORK AS ANTICIPATED, AND WILL
|
||
(GUARANTEED) SCREW UP AS MANY FILES AS POSSIBLE. This is a product of
|
||
Murphy's Awfullest Designs, guaranteed (only) to drive you M.A.D.
|
||
|
||
Now that the disclaimers are out of the way, let's proceed.
|
||
|
||
There are occasions to do batch processing (even on DEC computers) of
|
||
a number of files. I have written a command file to parse a wildcarded
|
||
file specification, and iteratively process each file matching the spec
|
||
for those commands where wildcards are not appropriate.
|
||
|
||
An application example:
|
||
|
||
Recently it was rediscovered (by several people) that DECNET does not
|
||
support STREAM-LF files (the only kind C likes). (The bad news is that
|
||
it will continue to not support them, even in version 4, coming to a vax
|
||
near you sometime in 1985.) DECNET requires major revisions for this, and
|
||
Dave & I are not able to supply these changes as patches, so until DEC fixes
|
||
the source code, C and DECNET won't like each other.
|
||
|
||
The good news is that there is a workaround. When you EDT a stream-lf
|
||
file, a variable-length/cr file is created for output. DECNET LIKES these
|
||
files (I can't speak for C programs from practical experience). So, a
|
||
mass conversion was needed.
|
||
|
||
The example:
|
||
|
||
First, a file was created (say EXIT.EDT) containing the line "EXIT" only.
|
||
Then the symbol PROCESS was defined to be "EDIT/EDT/COMMAND=EXIT.EDT". At
|
||
this point, we can say in dcl, "$PROCESS file" to change said file from
|
||
stream-lf to variable. Now "$@SYS$SYSDEVICE:[UTILITIES.COM]DOFILE *.OL"
|
||
is executed, which will PROCESS each .OL file (the latest version only).
|
||
|
||
I have a symbol defined for this, but you may not want to do that because
|
||
of how dangerous this could be. You can be assured that the command file
|
||
(DOFILE, that is) checks to make sure that PROCESS is defined. However, once
|
||
you define it, it stays defined until you log out or do a $RESTART. So if you
|
||
convert *.OL, for example, and then (accidentally) $DOFILE *.*, you will have
|
||
a real mess. Avoiding the symbol definition for DOFILE is one way to make this
|
||
possibility even more remote.
|
||
|
||
DOFILE is not limited to "doit toit" commands. For example, a mass
|
||
rename or copy might be done by a command file, and PROCESS be equated to
|
||
"@commandfile" in order to provide the linkage. The command file might
|
||
then contain "$COPY 'P1' LQ0:". Incidentally, don't experiment with this
|
||
particular example.
|
||
|
||
There are some other potentially destructive command files that I might
|
||
release if this one doesn't come back to haunt me. It is potentially very
|
||
useful as well as disastrous, and I leave the protection against yourself
|
||
entirely up to you.
|
||
|
||
As always, should any of your files be caught, or killed, the backups will
|
||
disavow any knowlege of your data. Good luck, user!
|
||
|
||
sas
|
||
___________________________________________________________________________
|
||
From: CHARM::AVL 21-DEC-1984 14:42
|
||
To: @SYS$MAIL:JUNK
|
||
Subj: The Approved Vendors List
|
||
|
||
|
||
The Approved Vendors List will be moved from ERNIE to CHARM sometime
|
||
between now and Monday.
|
||
|
||
If you have defined a word in your LOGIN.COM file to access the
|
||
AVL, you may have to make a modification to it..
|
||
|
||
Users with accounts on remote nodes (ERNIE, KIM, or SANDY)
|
||
|
||
Type "SET HOST CHARM" and login to CHARM as "READAVL" (no password
|
||
required). When you exit READAVL, you will be returned to your
|
||
default node and directory.
|
||
You may copy CHARM::SYS$USERDISK:[AVL]READAVL.COM to your directory and define
|
||
a word in your LOGIN.COM file to execute it.
|
||
Example: $AVL :==@READAVL.COM
|
||
|
||
Users with accounts on CHARM:
|
||
|
||
Type "@ATARI$AVL:LOGIN" at the VAX system prompt ($), or just add the line
|
||
below to your LOGIN.COM file and then type "AVL" after your next login.
|
||
|
||
$ AVL :==@ATARI$AVL:LOGIN
|
||
|
||
|
||
Both of these methods will execute a menu driven program that will allow you
|
||
to search the AVL and either save the results in a file in your own directory
|
||
(if it's on CHARM) or forward the results to your mailbox.
|
||
___________________________________________________________________________
|