953 lines
48 KiB
Plaintext
953 lines
48 KiB
Plaintext
.Start.of.DemoNews.089.........................................................
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______/\___________________________ __ ________________ ___ /\_______
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\____ \ ________ _ _ ______ \ / \| \ ________ | \/ ______/
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/ | \ _) \ \_/ \ | \ / \ \ _) \ | \______ \
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/ | \ \ | \ | \ / \ \ /~\ \ / \
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\_____ /_______/___| /________/ \____\_____/_______/_________/________/
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\_____/ |____/
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DemoNews Issue #89 - May 7, 1995 | Size : 48,894
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------------- | Subscribers : 1333
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DemoNews is a weekly newsletter for the demo scene. | Last Week : 1328
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It is produced by Hornet at the site ftp.cdrom.com. | Change : +5
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=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
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<CONTENTS>
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=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
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Uploads
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Articles
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X95 Results.................................The Dark Judge
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The Gathering 95 Early Report...............Adept
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NAID: Its About Time........................GraveDigger
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How to Win a Demo Compo.....................Trixter
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Tracking Tips II............................GraveDigger
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Review of Several Compo Songs...............GraveDigger
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1st Place NAID Graphic Ripped...............GraveDigger
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Advertisements
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EMF Verses Revision II......................EMF
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Calgary Music Disk..........................Calgary
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The Turrahan Relm...........................Turrahan
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Subscribing
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Closing
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=-[Uploads]-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
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=----------------------------------------------------------[File Information]-=
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All files listed below are on ftp.cdrom.com or one of its mirrors.
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Ratings are completely subjective and do not necessarily reflect opinions
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of the demo scene in general.
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ftp.cdrom.com too slow? Try our mirror at ftp.luth.se. You may even
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upload to this site under /pub/msdos/demos_upload.
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=-------------------------------------------------------------[Music:General]-=
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Location /demos/music Size Rated Description
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=-------------------------------- ---- ----- ---------------------------------=
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/songs/1995/mod/a/amu-blo.lha 103 ***+ Demo Music Castrated blogies
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/songs/1995/mod/a/amu-chi.lha 142 **+ Trance Chilly
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/songs/1995/mod/a/amu-cra.lha 94 ** Trance Craving for Madness
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/songs/1995/mod/a/amu-eat.lha 540 *** Hardcore Eat this!
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/songs/1995/mod/a/amu-emo.lha 172 *** Ambient Emotional Outbreaks
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/songs/1995/mod/a/amu-mat.lha 62 ** Techno Maturalize
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/songs/1995/mod/a/amu-mus.lha 65 **** Demo Music Mushed Potatoes
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/songs/1995/mod/a/amu-rus.lha 58 ****+ Demo Music Russian Drug
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/songs/1995/mod/a/amu-tir.lha 76 ** Realism Tirquise Panther
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/songs/1995/mod/a/analog_f.zip 41 ****+ Ambient Analog feelings..
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/songs/1995/mod/g/gcomp.zip 237 **+ Ambient Gcomp
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/songs/1995/mod/g/greenj.zip 393 **+ Rave Green Journey
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/songs/1995/mod/g/groovy.zip 1037 *** Realism Kilobytes
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/songs/1995/mod/i/iwantu.zip 397 ** Techno I Want U
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/songs/1995/mod/l/letitli.zip 158 *** Realism Let It Linger
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/songs/1995/mod/m/martians.zip 125 ** Techno Martin Squale Song
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/songs/1995/mod/m/monolog.zip 137 **+ Ambient Monolog
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/songs/1995/mod/p/phung.zip 257 ***+ Ambient Funk Phunq Ethereal
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/songs/1995/mod/s/soulrap.lzh 241 *+ Techno/Rap Soul Rap
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/songs/1995/mod/u/ultimate.lzh 260 ** Ripped Akinternal (Intro)
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/songs/1995/mod/w/wendel6.lzh 191 *+ Techno Wendell's Sixth
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/songs/1995/mod/w/wildmcar.zip 461 **** Dance wild-mcarthur
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/songs/1995/mod/w/willofth.zip 810 ** Realism will_of_the_wind
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/songs/1995/mod/y/yo_space.zip 23 * Hypnotrance Space Waves
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/songs/1995/mtm/i/inferno.zip 502 ****+ Ambient Inferno
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/songs/1995/s3m/c/chang1.lzh 53 ** Ambient Change (Part 1)
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/songs/1995/s3m/c/cl_bizar.zip 123 *** Trance Club Bizarre Remix
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/songs/1995/s3m/d/d-always.zip 47 *** Ambient Always Hopeful
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/songs/1995/s3m/d/daybreak.zip 61 *** Ambient Daybreak 1995
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/songs/1995/s3m/d/dsp-tech.zip 326 ** Techno Technotron
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/songs/1995/s3m/e/epi-orbi.zip 96 *** Trance Orbit: Vivarin II
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/songs/1995/s3m/e/erj.arj 101 *+ Industrial ERJ
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/songs/1995/s3m/f/fa-rflct.zip 194 ***+ Ambient Reflections
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/songs/1995/s3m/h/hisprox.zip 51 * Industrial History Project X
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/songs/1995/s3m/m/maz-next.zip 225 ***+ Tech/Ambient The Next Revolution
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/songs/1995/s3m/n/nex-nc.zip 177 **+ Trancey Tech No Control
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/songs/1995/s3m/n/nin_frag.zip 630 * Ripped Head Like a Hole
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/songs/1995/s3m/n/nknothin.zip 180 **+ Ripped Nothing Else M..
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/songs/1995/s3m/o/o-eastah.zip 5 ** Chiptune Chipvival
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/songs/1995/s3m/p/pro-time.zip 137 **** Ambient Out of Time
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/songs/1995/s3m/s/satanus.arj 36 + Metal Satanus
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/songs/1995/s3m/s/sillyend.lzh 43 * Wacky Silly Ending
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/songs/1995/s3m/s/smeg_poe.zip 260 **+ New Age Parliament of Eter
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/songs/1995/s3m/s/stratosp.arj 235 **+ New Age Stratosphere
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/songs/1995/s3m/t/thetrek.lzh 31 ** Funk-no The Trek
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/songs/1995/s3m/t/tna.lzh 311 *+ Ripped The Troll & Ackley
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/songs/1995/s3m/v/very.arj 106 + Metal Very Necessary
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/songs/1995/s3m/z/znc-guts.zip 35 * Rock Happy Guts
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/songs/1995/s3m/z/znc-sonr.zip 37 *+ Industrial Sonar Extracted
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/songs/1995/xm/b/b13-0012.zip 280 *** Trance Narcosis
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/songs/1995/xm/b/b13-0020.zip 195 *** Ambient In Darkness I Stand
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/songs/1995/xm/c/c_bflood.zip 87 ** Ambient Brain Flood
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/songs/1995/xm/c/c_nept.zip 57 **+ Hardcore Neptune's Lair
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/songs/1995/xm/d/d-3-nin.zip 104 ** Trance 3 Sneaky Ninja
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/songs/1995/xm/d/d-confes.zip 86 *+ Techno Confessions Part 2
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/songs/1995/xm/d/d-manbhn.zip 106 ***+ Hardcore Manualbahn
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/songs/1995/xm/d/d-nine.zip 151 ** Rave Nine
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/songs/1995/xm/e/epi-debu.zip 192 *** Trance Epinicion Debut
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/songs/1995/xm/e/extrem-2.zip 188 **+ Techno Extremia
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/songs/1995/xm/f/faristol.arj 239 **+ Hardcore Faristol Escaldat
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/songs/1995/xm/p/pardal.arj 90 *** Rock Pardal d'Aigua ..
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/songs/1995/xm/r/residu.arj 157 **+ Rock Residu Mental
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/songs/1995/xm/s/sm-weird.zip 294 **+ Techno 100% - Weird?
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/songs/1995/xm/s/somera.arj 138 + Pseudo-Punk SOMERA ESCORXADA
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/songs/1995/xm/s/starfall.zip 360 ***** Realism Persian Starfall
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/songs/1995/xm/z/zoolook.zip 340 *** Ripped Zoolook
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=--------------------------------------------------------[Music:Non-Reviewed]-=
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Location /demos/music Size Description
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=-------------------------------- ---- ---------------------------------------=
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/programs/frontend/ls033.zip 105 FrontEnd Lameshell
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/programs/misc/putins21.zip 15 Replc.InstTxt PutInst v2.1
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/programs/misc/ua20.zip 166 UltraAmender 2.0
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/programs/players/midp100b.zip 62 MIDAS Module Player
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/programs/players/oplay100.zip 243 OmniPlayer v1.00
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/programs/players/randmod.zip 21 Randmod v2.1 by SHuffler
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/programs/rippers/rip01.zip 17 Music Ripper Rip v.1.1
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=----------------------------------------------------------------------[Code]-=
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Location /demos/code Size Rated Lang Description
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=-------------------------------- ---- ----- ---- ----------------------------=
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/graph/formats/anmformt.zip 25 **** C Info on DeluxePaint .ANM
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/sound/asmod09s.zip 90 **** A P GUS MOD playing, routines
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/tutorial/asmvla00.lzh 16 **** A Tutorial; learning assembler
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/utils/ved10.zip 80 **** VED 1.0: Vector editor
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=------------------------------------------------------------------[Graphics]-=
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Location /demos/graphics Size Description
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=-------------------------------- ---- ---------------------------------------=
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/pictures/morph.zip 1603 A morph by The Master
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/pictures/ss-smp.zip 951 A few original renders by Steve Stiles
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/utils/veced300.zip 330 Vecedit v3.00 3D vector editor
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/viewers/disp187a.zip 592 [1/2] Display v1.87 (EXCELLENT viewer)
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/viewers/disp187b.zip 243 [2/2] Display v1.87 (EXCELLENT viewer)
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/viewers/vpic61e.zip 251 Vpic v6.1e Good image viewer
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=-------------------------------------------------------------[Miscellaneous]-=
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Location /demos Size Description
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=-------------------------------- ---- ---------------------------------------=
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/mags/f/flesh15.zip 531 Alt-1, Issue #15 by Lithium
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/mags/j/jonas01.zip 5 Jonas Issue #1
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/mags/j/jonas02.zip 16 Jonas Issue #2
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/mags/s/slave14.zip 407 Alt-1, Issue #14 by Lithium
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/mags/s/ss_spec.zip 787 Specimen Diskmag
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/mags/s/suck16f_.zip 270 Last issue of Lithium's Diskmag
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/masg/y/yahoo05.zip 528 Yahoo #5
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/nets/nad009.zip 7 North America Demo net application
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/nets/sdc_info.arj 79 Sound Distribution Channel Version 003
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/nets/silver.zip 25 Silver Net Application Generator
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/nets/upm-001.zip 7 UPMNet Info/Application Packet #1
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/news/nadd_v10.zip 1392 New Age Demo Database v1.0
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/news/nadd_u01.zip 1428 New Age Demo Database Upgrade #1
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/news/nadd_u02.zip 1291 New Age Demo Database Upgrade #2
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/hornet/traxw/traxweek.006 55 TraxWeekly #6
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/hornet/traxw/traxweek.007 54 TraxWeekly #7
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/parties/rep_p4.zip 960 The Party 4 report by Realtech
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=-[Articles]=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
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=---------------------------------------------[X95 Results]--[The Dark Judge]-=
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Note: The following was taken from a posting on comp.sys.ibm.pc.demos.
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Okay, the X95 pc & c64 party by Success+Focus+TRC has ended. About 280
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people showed up and some nice demos were released. The main results:
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Demo competition:
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1. Acme
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2. Abstract Concepts
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3. Ground Zero
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Intro competition:
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1. Logic Design
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2. The Clan
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3. Frituur Kraam
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Graphics:
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1. Ricochet/Acme
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Music:
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1. Vic/Acme
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As you can see Acme had a very good weekend :) The party was partly
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sponsored by Sound Solutions, and we of the X95 organization are happy to
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announce that there will be a X95 cd-rom ..
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The first 2 demo's were REALLY good, esp. Acme who are bringing a lot of
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style with them. Try to get those demo's !!
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A full result list with points etc. will be posted by me as soon as I have
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it, as I left the only copy on Tim/Success' his harddisk :(
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-The Dark Judge/Focus c64 & Bonzai pc
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Head of the Jury at X95
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=----------------------[The Gathering 1995 Preliminary Party Report]--[Adept]-=
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Note: The following text was uploaded to our site. We are just reprinting
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it here. This article has been reformatted, but not changed in any way.
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Gathering 1995
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Held in Stavanger 11th of April - 15th of April
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Preliminary Party Report
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This party report contains more than just the ordinary report. It also
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contains what happened inside crew and what was the reasons for all that
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happened at Gathering 1995. This text is not meant to discredit people, it's
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the truth.
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Day 1: Tuesday 11th of April.
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The party officially opened at 0:00. Unfortunately no power was available.
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The power was a bit delayed, and was 99% up and running around 3:00. In
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the middle of the power-failure we had a non-planned opening-ceremony.
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This was extremely bad, even though some of the guys in the hall thought
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it was very cool. Anyway, later that day there was announced that the
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vote-disks was going to cost money... Which was as far from the truth as
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it could get. One member of SHI found very convenient to get money this
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way, and announced it. We thought we had problems with the funding of the
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arrangement.
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Day 2: Wednesday 12th of April.
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The party was up and running, except for some power-failures, caused by
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non-ground systems in the hall. Deadlines was to be, delayed.... We had
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been delayed a whole lot, because of the power-failures. When we where
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going to show them, we had problems again. We didn't have all the
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equipment to show them. But finally we could start the AMIGA versions of
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the Animation-competition. The PC versions and the Wild demo-compo was
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now delayed by 12 hours.
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Day 3: Thursday 13th of April.
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Starting of the day with the PC animation competition and the Wild-Demo
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competition. Which actually ran pretty smooth, considering that we still
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didn't have all the equipment. Deadlines for the graphics and the two
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music competitions was due. Delayed by some hours, of-course. The
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presentation was to be at 03:00, but because I was asleep, it didn't
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start.
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Day 4: Friday 14th of April.
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06:00 last turn in to the competitions. I came to the party place again
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at 09:00, and started on the jury selection of the multichannel
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competition. When I had my jury, we started the 4 channel music compo.
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And from there we went into a room and started on the Multichannel
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selection.
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The graphics competition was started around 15:00, and was finished some
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time later. The multichannel started late that night. In the middle, on
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song number 11. We had a break, because of a hacker in the hall, which
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was wanted by the InterPol. This delayed us about an hour. We ran through
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all the multichannel with a million problems, concerning players to use.
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After that, we were delayed an hour again, before the 4Kb PC intros could
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be shown. They ran pretty smoothly. Then a delay again, and the 64Kb PC
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intros were to be ran. They ran pretty smoothly to.
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Then the shit started. The PC demos were about to start. We started all
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up, with a lot of problems. It seemed that the RGB encoder we used, the
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driver for this caused 4 of the demos to be untimed and one of them lost
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the last part. So I had complaints from all over, that it wasn't correct.
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That's the reason three of the demos had to be tried again. It basically
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sucked. After all this crap, the AMIGA was in the spot. Which
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surprisingly went pretty smooth.
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Day 5: Saturday 15th of April.
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The party had reached it's last day. The competitions finished up at
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around 09:00. Hmm... 1 hour before prize-giving?? A little bit late
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maybe.... YES. And even better, the vote-register program wasn't
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finished on the AMIGA. So... The coder from Spaceballs had to finish it
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up. 6 hours later it was more or less finished, without a PC version.
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GoLLuM was called to do this, all SCOOP people was now home sleeping(with
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a good reason...). The voting was finished later that evening. I got the
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results the day after, and they were totally wrong. All the bad
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productions had won, and the good ones, didn't show up on the list. This
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was very strange, so at 21:00 later that night (some hours ago...) I
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finished up a new vote program, and registered all the votes. I came to
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these results :
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PC Demo : 1st. Complex - Dope
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2nd. SCOOP - Luminous
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3rd. Sorrox
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4th. Proxima
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5th. NOD
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PC 64Kb : 1st. Valhalla - Fluid Motion
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2nd. Valhalla - Bibo-ergo-sum
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3rd. Darkzone
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4th. SCOOP - Psychadelic Mind
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5th. Xenogenesis - Die Ausgeburt
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PC 4Kb : 1st. SCOOP - 4KbFlight
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2nd. Intro number 2
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3rd. Intro number 8
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4th. Intro number 3
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5th. Intro number 1
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Multichannel/MIDI : 1st. Jogeir Liljedahl / VD / FLT / SCOOP
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2nd. Twilight Zone
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3rd. Geir Tjelta / SCOOP
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4th. BIG JIM / Valhalla
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5th. $volkraq / GoLLuM
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(The 4Kb intro list is not complete, I do not have the actual list,
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just numbers).
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The results above are the official PC results. The 4Kb will be fixed as
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soon as possible.
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For those of you who have been at the Gathering 1995, know how it went. It
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wasn't exactly what you might call perfect, others have called a
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disaster-area. The last one is more accurate. I admit all errors done at
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the Gathering 1995, but I won't, and I mean won't admit that SCOOP did any
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of them.
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Thanx for showing up at the Gathering 1995, we hope to see you next year.
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-Adept / SCOOP adept@login.bigblue.no
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=---------------------------------------[NAID: Its About Time]--[GraveDigger]-=
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It's about time.
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The North American Demo Scene has had tremendous talent for quite a long
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time. Enough to hold a demo party. Enough to hold such an event that would
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be a fine presentation of everyone's hard work. Even though it always seems
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to us that Europe holds all of the "good" coders, graphicians, and
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musicians. They display their talents several times throughout the calendar
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year at various demo parties at equally varying party sites. But despite
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these facts, there is talent on this side of the puddle.
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Even though Europe has had all of the major demo parties up to this point
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in time, with tens of thousands of watts of stereo sound equipment, and
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large screens where demos and intros are shown, its about time North
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America had a taste of the fun.
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Finally, a demo party. Some 700 North Americans gathered together under one
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roof for two days of competitions, raving, coding, composing, drawing, and
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just having fun. It's about time we had our moment in the spotlight. About
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time our songs were cranked out on a 15,000 watt amplification system.
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About time our graphics were flashed on the big screen to the
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partygoing-audience. And about time our intros and demos were played in
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this makeshift theater as the crowd of onlookers applauded and cheered for
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the same things that we have all secretly loved to witness on our bedroom
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computers for so many years.
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But this was different.
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Everything being witnessed in the compos was new. Brand new. And we were
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the first to witness it. It was our time, right then and there. Just like
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an "authentic" European demo party. These productions were not downloaded
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from an FTP site. They were not transported via floppy disk from a friend's
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house. In fact, a lot of these productions were just a few hours beyond
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their final completions. I believe that all of the intro entries were
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completed on-site. And many were probably just *started* that weekend, too.
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This stuff was *hot*.
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And now; long last, the NAID partygoers come to realize the significance of
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the event. No better way to cherish the demo scene than to dress it up and
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take it out in style.
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North America has earned it, and after all is said and done, it must also
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be said, the party crowd couldn't have acted in any more of a respectable
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way. I heard no reports of fights, severe injuries, stolen property, or
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anything that would otherwise cause others to not enjoy themselves. This
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crowd was a mature, honest, and fun-loving bunch. Perhaps some foolish
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things were done, but only because of the high energy level that people
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were experiencing.
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People were patient as technical bugs were worked out of the system. They
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patiently waited for the final results at the end of the event. They
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happily applauded the winners, and they thoughtfully encouraged those who
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did not win.
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|
|
One person comes to mind with that last thought. Necros, the winner of the
|
|
music competition, showed his maturity and respect for others with his
|
|
awards speech. He offered words of encouragement, and he pointed out the
|
|
underlying comraderie that we all shared; that no one man is better just
|
|
for winning a competition, and that talent is a common asset among us all.
|
|
|
|
North America has not only held a demo party, but it was a grand success;
|
|
so much in that aspect that another one has already been talked about and
|
|
the organizers are starting to get back to work.
|
|
|
|
And after the big screen at NAID was taken down, after the speakers were
|
|
switched off, and after the last classroom-for-sleeping was locked shut, I
|
|
must say that North America deserved it. Here's to all the fun times (and
|
|
not- so-fun times) we all had in planning, organizing, attending, and
|
|
eventually leaving NAID. And let's all hope that we can pull it off again
|
|
next year.
|
|
|
|
-Brett Neely gd@ftp.cdrom.com
|
|
|
|
|
|
=----------------------------------------[How to Win a Demo Compo]--[Trixter]-=
|
|
|
|
A Brief Warning: This article is meant for the fledgling (or confused :-)
|
|
demo group/coder, and assumes the reader has a basic understanding of demo
|
|
terms, slang, and demo effects. If you do not have this understanding, or
|
|
are a little rusty, check out the URL
|
|
"http://www.mcs.com/~trixter/html/demos.html" before you read this article.
|
|
|
|
NAID was certainly one of the most surprising demo compos, and I was very
|
|
glad to have been one of the judges. Since NAID, I've been asked by many
|
|
of the people who entered the demo compo how they could have placed better.
|
|
|
|
Without going into a technical list of things immediately, I'll offer the
|
|
most obvious answer right now: Design.
|
|
|
|
First, let me explain this rationale. Sure, optimizing effects is
|
|
important, of course, but every year we keep hitting the upper limit of
|
|
what our PC's can do. It's getting to the point where previously original
|
|
effects are now becoming commonplace, like Gouraud shading, environment
|
|
mapping, texture mapping--even Phong shading is becoming common. We need
|
|
something *original*. We need something *different*. After all, aren't
|
|
demos really a sophisticated art form?
|
|
|
|
Design is the number-one factor that will ultimately impress the audience.
|
|
Everyone has seen 3d cubes rotating on the screen, but how many have seen
|
|
100 or so cubes slowly combining to form a larger, complex object?
|
|
Everyone's seen a 3-D ship flying through a 3-D vector city, but what would
|
|
happen if the ship flew inside one of the buildings? What would it see
|
|
inside? It's that original quality--style--that demos are missing and need
|
|
badly.
|
|
|
|
What if you already have design, but the audience or judges didn't rank
|
|
your obvious Second Reality-killer number one at the compo? Well, there's
|
|
many things that factor in a lower or higher score--follow this checklist
|
|
before you submit any demo to a compo:
|
|
|
|
- Try Bezier curves for object movement/paths. Many objects in demos today
|
|
either don't move at all, or they start/stop/turn "on a dime". Jerky
|
|
movement looks hurried; smooth movement looks professional.
|
|
|
|
- Code for faster frame rates, even at the expense of *less* objects. Use
|
|
ModeX (or a derivative) if you have to. The audience is used to seeing
|
|
stuff running in either one or two frames, which is more pleasing to the
|
|
eye anyway. While the coders in the audience might appreciate all the hard
|
|
work involved with trying to display 1000 texture-mapped polygons, the
|
|
frame rate can never go faster than about 15 frames-per-second doing
|
|
computation intensive effects. The result, no matter how optimized, has
|
|
the *appearance* of slow code, and might not please the audience.
|
|
|
|
- Make sure your demo has a consistent look and feel. Try to keep the
|
|
style of music and graphics along the same vein of style or thinking. For
|
|
example, if your demo has a techno-part at the beginning, that's fine, but
|
|
don't have the harsh, pounding techno music still playing when you display
|
|
your soothing, peaceful voxel landscape. (An exception to this would be
|
|
something like the landscape accelerating up to warp speed, where it would
|
|
match the frenzied pace of the music.)
|
|
|
|
- Try to sync the graphics to the music whenever possible. It's usually
|
|
simple to do, and heightens the overall effect considerably. Look at
|
|
Second Reality and Tome of Opticron for some examples.
|
|
|
|
- Never assume your audience won't notice anything. The audience, a pack
|
|
of demofreaks, is looking at your demo very intently for two reasons: 1.
|
|
They've never seen it before, and 2. They're going to award the best three
|
|
(or more) a prize. If you have a small flaw in your z-buffering routines,
|
|
for example, and part of a solid object goes hollow at some point during
|
|
the demo, the audience will most likely pick up on it and remember the
|
|
flaw, even if it only happens once.
|
|
|
|
- Do not rip ideas, music, graphics, or code. It doesn't matter if you are
|
|
paying homage to the original author or mocking him--do *not* rip anything.
|
|
Ripping is nothing but plagiarism, and coders in the audience who are fluent
|
|
in demo coding and demos can spot this a mile away.
|
|
|
|
- If you absolutely have to use a standard effect, do not try to emulate
|
|
the original. The audience doesn't want to see another texture-mapped
|
|
dolphin, Gouraud-shaded duck, or "Intel Outside" logo spinning and zooming.
|
|
Besides, if your effect is too close to the original, the audience might
|
|
think you ripped the code (see last point).
|
|
|
|
- Don't brag. Even if you are a widely recognized group, it might be
|
|
advantageous to wait until the end of the demo before announcing your
|
|
group. This way, the audience won't be disappointed if the demo doesn't
|
|
live up to their initial impression. (I'll explain a little further:
|
|
Let's say you're, oh, Future Crew, and you announce that fact right at the
|
|
beginning of the demo. Already, your audience has in mind all the good
|
|
connotations, feelings, and experiences associated with Future Crew. As
|
|
rewarding as that is, it's also a major strike against you, because now
|
|
you've got to beat your previous efforts, or else the audience will end the
|
|
demo feeling disappointed--because you didn't meet *their* expectations.)
|
|
|
|
Granted, some of the above might seem like common sense, but it helps to
|
|
review. Keep in mind the above knowledge when coding or designing your
|
|
masterpiece, and your 6th or 5th-place demo could place 2nd or 3rd next
|
|
time. Good luck!
|
|
|
|
Note: All my previous articles, including this one, are also available as
|
|
a formatted, hypertext documents at
|
|
http://www.mcs.com/~trixter/html/demos.html#editorials.
|
|
|
|
-Jim Leonard trixter@ftp.cdrom.com
|
|
|
|
|
|
=--------------------------[Tracking Tips II: Octave Doubling]--[GraveDigger]-=
|
|
|
|
If you have a melody line in your tune that either sounds too quiet or too
|
|
thin, you can add some extra power by using octave doubling. Octave
|
|
doubling is simply the process of sounding the same note at a higher or
|
|
lower octave. This can make your instrument more dominant and increase its
|
|
power.
|
|
|
|
Here is an example of octave doubling:
|
|
|
|
Before doubling: After doubling:
|
|
|
|
| Channel 1 | Channel 2 | | Channel 1 | Channel 2 |
|
|
|C-4 01 64 ...|... .. .. ...| |C-4 01 64 ...|C-5 01 64 ...|
|
|
|
|
When you use this technique, the volume of the instrument may become too
|
|
loud. There are two methods that I use to resolve this. First is to cut
|
|
both volumes in half, thus mixing the instrument the same loudness but
|
|
across two octaves instead of one. Example:
|
|
|
|
Before: After:
|
|
|
|
| Channel 1 | Channel 2 | | Channel 1 | Channel 2 |
|
|
|C-4 01 64 ...|... .. .. ...| |C-4 01 32 ...|C-5 01 32 ...|
|
|
|
|
Another method is to cut the volumes to still total the original volume,
|
|
but do so favoring the octave you want to be more present. The example
|
|
below favors the note in the 4th octave while adding the 5th octave note
|
|
just for effect:
|
|
|
|
Before: After:
|
|
|
|
| Channel 1 | Channel 2 | | Channel 1 | Channel 2 |
|
|
|C-4 01 64 ...|... .. .. ...| |C-4 01 48 ...|C-5 01 16 ...|
|
|
|
|
Using octave doubling can help give your tune a more dynamic sound. It can
|
|
help liven up weak-sounding instruments. There are lots of possibilities
|
|
also; you can go one octave below, two octaves in either direction, and
|
|
also use three or more different octaves for one note.
|
|
|
|
Be sure to catch the next in the series, entitled "Norman's Law." It
|
|
explains how to simplify the process of chord changes.
|
|
|
|
-Brett Neely gd@ftp.cdrom.com
|
|
|
|
|
|
=------------------------------[Review of Several Compo Songs]--[GraveDigger]-=
|
|
|
|
_____BASS.MOD by Chris Muland / Spaceballs
|
|
|
|
This song is a 4-channel 31-sample MOD file that absolutely stretches the
|
|
limits as far as packing the instrument list. The first "sample" is actually
|
|
5 or 6 samples all compacted into one file, with the idea that sample offsets
|
|
will sound the different samples at the right time.
|
|
|
|
I have never seen this done before, so I was quite amazed at how clever a
|
|
technique it was. Maybe it's been done and I don't listen to enough old
|
|
music, but hey, this is _neat_. :)
|
|
|
|
The song uses original extended guitar and synth samples, which add a very
|
|
nice realism feel to the song. There's some things that just can't be
|
|
tracked, no matter how many effects are used.
|
|
|
|
The song is a meg in size, which will cause problems on GUS cards with less
|
|
than one meg of RAM. This is about the _only_ time that I don't regret owning
|
|
a soundblaster. :)
|
|
|
|
For a four-channel song, this is a well-designed and nicely structured song,
|
|
taking full advantage of the limits with which it must conform.
|
|
|
|
_____ASCENT.S3M by Necros / Five Musicians, Psychic Monks, Legend Design
|
|
|
|
This song took first place at NAID 95.
|
|
|
|
"I feel that music is the art which can best express the emotions which flow
|
|
within us," Necros once told me. "It conveys something bigger than it is."
|
|
|
|
And with that, lets get our binoculars and watch the ascent of his cloud
|
|
eagle.
|
|
|
|
A very gentle intro, it begins with a clean arpeggiated guitar layering the
|
|
rhythm chords and a pan flute taking the lead. The flute does not at any time
|
|
feel limited by the rows and patterns that it is tracked on. Often using two
|
|
and up to four channels to echo the flute lead, its depth can be felt. Often
|
|
an instrument can feel very boxed-in by the tracker, but this is not the case
|
|
here.
|
|
|
|
At 0:17, a gentle percussion background is added. A low ride cymbal is
|
|
played on off-beats and a kettle drum is played on an alternating beat
|
|
pattern.
|
|
|
|
At 0:37, a very catchy chord change is executed on the 16th row into a
|
|
pattern. A chord change on the first row is nothing new of course, but this
|
|
change is offset, and stands out more. Also at this point, the percussion
|
|
accompaniment gets more aggressive.
|
|
|
|
At 0:58 into the song, indian chants are introduced into the song. This is a
|
|
nice touch, giving the song a very "real" feel to it; something Necros has
|
|
made popular in the past, with songs such as "Realization" I and II. Also,
|
|
around this point in the song and again at the end of the song, a looped
|
|
bird-chirping sample is used which highlights the concept of the eagle.
|
|
|
|
I have but two complaints for this song. The drum loop used throughout much
|
|
of the song is too aggressive for my liking. The crashing hi-hat is a
|
|
distraction to the peaceful melody and the snare could be a little more
|
|
recessed. And the ending comes too quick; another two patterns to gently
|
|
take away some of the instruments and perhaps leave the listener with a
|
|
variation of the melody fading out would have made a nicer ending, in my
|
|
opinion.
|
|
|
|
And unfortunately, the flawed looping of his chord sample can be heard as it
|
|
fades out in the final seconds of the song. With Scream Tracker though, there
|
|
is no easy way to get a good loop out of a sample. Sometimes you just have to
|
|
be lucky.
|
|
|
|
But the ending is a nice finish, and the song also had to fit within five
|
|
minutes for the compo, which it did with seven seconds to spare.
|
|
|
|
Upon winning, Necros addressed the audience with a very mature speech. His
|
|
words of encouragement were just a small reflection of the maturity of the
|
|
entire party crowd.
|
|
|
|
I wouldn't have voted for any other song to win first place.
|
|
|
|
_____CANTFAKE.S3M by Basehead / Five Musicians, Kosmic
|
|
|
|
This song finished in third place at NAID 95.
|
|
|
|
It has also stirred up a bit of controversy (among one composer in
|
|
particular, but no names here) due to the content of its samples. This song,
|
|
along with Necros's "Ascent" and "Bass" use samples with more than a single-
|
|
play note in them. ("Ascent" having the indian voices and "Bass" having the
|
|
original synth and guitar samples). And what is the problem here? I hear no
|
|
complete song-segments, just *individual* instruments that contain a melody.
|
|
And the song it was sampled from has not been recreated, it has been
|
|
glorified. You will hear that Basehead has a background melody and a
|
|
percussion accompaniment going. I don't think that was the idea of the
|
|
original composer of Basehead's flute, guitar, and sax samples. Therefore,
|
|
I see no problem with it.
|
|
|
|
Basehead uses a "swing" effect throughout the song, an effect he uses often.
|
|
This is executed by changing the pattern on every row between two numbers
|
|
that average out to the tempo desired. This is a nice effect to give a
|
|
tracked tune a more lively feel.
|
|
|
|
As composers continue to surpass the limits of the machine, the products of
|
|
the demo scene carry on with a force too powerful for many old-school demo
|
|
freaks. This brings us to the question "What is acceptable?" The answer:
|
|
You just have to decide for yourself.
|
|
|
|
_____DOPE.MOD/ONWARD.XM by Jugi / Complex
|
|
|
|
The "Dope" demo was awarded first place at The Gathering 95.
|
|
|
|
The Gathering 95 gave birth to a trackdemo by Complex. And Complex
|
|
rightfully kicked off their "1995 World Domination Tour."
|
|
|
|
Jugi, the musician for Complex, wrote "dope.mod" with FastTracker 2. This
|
|
28-channel mod could only be played in a limited number of players: Fast
|
|
Tracker 2, Triton's Protected Mode Player, Cubic Player, MikMod, and
|
|
MOD4WIN.
|
|
|
|
Jugi also entered "onward.xm" into The Gathering's multichannel music compo;
|
|
a tune which is a shorter version of Dope's eight-minute-and-then-some
|
|
soundtrack.
|
|
|
|
I am going to give in-depth reviews of these two songs, pointing out the
|
|
similarities and the differences.
|
|
|
|
"Onward" starts out a bit too quickly, in my opinion. Although, it is a
|
|
shortened version of "dope.mod," and was most likely cut in order to fit into
|
|
a time limit. I also wonder if I heard Onward first, which of the two I'd
|
|
like better. The long and dramatic intro to "Dope" provides a nice intro for
|
|
the demo, as the hardware-scrolled logo glides by and the two blue phong-
|
|
shaded objects take the stage.
|
|
|
|
"Dope.mod" is everything of what a demo soundtrack should be. The very
|
|
atmosphere created by the music alone could produce the visual images that
|
|
are the result of Jmagic's coding. Not aggressive at all, this song lets you
|
|
catch a breather at what could be a spine-tingling event.
|
|
|
|
The gentle organs in the song provide a great dream-like state of
|
|
consciousness. The melody, though simple, is the strongest link in the song.
|
|
|
|
After a long interlude, the main melody kicks in. Perhaps this interlude is
|
|
too lengthy, but then again, its better not to overplay a melody. The melody
|
|
then is an effective hook for the entire song.
|
|
|
|
When the melody changes key, the shift is downward, not upward, as might be
|
|
anticipated. This is a very nice touch, with the shifted key not dominating
|
|
the entire song, but allowing the other channels to still be heard. It is a
|
|
very powerful effect. Also, with the melody in its original key, it is echoed
|
|
over four channels, but with the key change, it drops to two channels, giving
|
|
an almost reverse effect as some more-common key-change dominating tunes.
|
|
|
|
My only complaint with the dope song occurs at approximately 6:10 into the
|
|
song, when the music again shifts to a different section. In this shift, a
|
|
bass note hangs too long, and should have instead been faded or resounded
|
|
at a pitch that would match the new section.
|
|
|
|
-Brett Neely gd@ftp.cdrom.com
|
|
|
|
|
|
=---------------------[First Place Graphic at NAID was ripped]--[GraveDigger]-=
|
|
|
|
It is with great disappointment that I have to inform everyone that the
|
|
graphic that won first place at NAID was ripped. However, this fact must be
|
|
made known and the details made clear to prevent a reoccurrence.
|
|
|
|
Ever since its first appearance on the screen, there was speculation as to
|
|
the origin of the picture. With such high quality detail, it was doubted that
|
|
the work was an original piece of art.
|
|
|
|
This prompted a thorough and lengthy investigation and questioning of the
|
|
artist. Of course, the artist told a great tale of how he painted the
|
|
picture. He told us that he had a toy robot that he used as a still-life
|
|
model for his picture. He described the shading techniques that he used. And
|
|
several times, he said "I do not have a scanner."
|
|
|
|
There were clues. File dates of the "beta" pictures and the finished work
|
|
were all within a few days. The finished picture itself said "157 hour
|
|
project" on it. When seeing that, I thought, "Wow, that's a lot of time to
|
|
spend drawing." The wire-frame beta picture had specs of other colors on it.
|
|
Daredevil, upon seeing this, said "It looks like he used a graphics program
|
|
with a 'Hollow-out' function on it."
|
|
|
|
But there were more clues. White Noise loaded the finished picture into a
|
|
graphics program. "That's a weird looking line there," he pointed out, noting
|
|
a line with a strange angle. He zoomed in on that, and said something like
|
|
"A scanner wouldn't draw a line like that."
|
|
|
|
All along, the judge who worked in the field of computer graphics said "I
|
|
don't care how it was made, this is a true work of art." This judge also
|
|
handed the "artist" his business card.
|
|
|
|
Unfortunately, the picture was decided to be original and was allowed to take
|
|
first place. Originally, it went without debate among the three judges as
|
|
the top graphic, even before the investigation.
|
|
|
|
Then a couple days ago, I got mail from Snowman telling me that the picture
|
|
was ripped, and he sent a UUEncoded copy of the original gif. Sure enough,
|
|
there's the same robot featured in the winning picture. And it's 99% like
|
|
the ripped picture.
|
|
|
|
I would like to see this artist banned from all future graphics competitions
|
|
at NAID, or any other North American competition. What he did was a false
|
|
representation of someone else's work, and it can *not* be tolerated. There
|
|
are other entries that were hand-created that should have won the prize that
|
|
this cheater won. And as a judge of that graphics competition, I feel
|
|
personally responsible, though maybe I shouldn't. And I feel sorry for all
|
|
of the other entrants who worked so hard on their art.
|
|
|
|
I hereby invite you to email me with a request for a copy of this UUEncoded
|
|
gif. I will have it online for the next couple of weeks and will send every
|
|
request a copy of the file and the articles relating to it. I hope to also
|
|
get a copy of the NAID graphic to include. I will process all requests as my
|
|
time dictates, so please be patient. To the three people who already mailed
|
|
a request to me: please mail me again, I lost your addresses. My email
|
|
address is below.
|
|
|
|
-Brett Neely gd@ftp.cdrom.com
|
|
|
|
|
|
=-[Advertisements]=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
|
|
|
=---------------------------------------------[EMF Verses Revision II]--[EMF]-=
|
|
|
|
.########.
|
|
###########
|
|
####" ##### ###
|
|
###" #### #####
|
|
#### #### ######
|
|
#### #### #######
|
|
#### ##### ## #####
|
|
### #### ## #####
|
|
### #### # ##### .##### ### .### .####. .##### .####.
|
|
### #### ##### ######## ### ##### ######## ######## ########
|
|
### #### ##### ###" #### #### ###### ###" "### ###" #### ###" "###
|
|
#### #### #### #### ### ########### ### " #### ### ### "
|
|
#### #### #### ### ### #####""### #### ### ### "###.
|
|
#### #### #### ### ### ##### ####. ### ### "####
|
|
###. #### #### ### ### #### "#### ### ### "####
|
|
######## ##### ### ### #### "#### ### ### "####
|
|
"######## ##### ###### ### "#### ###### "####
|
|
##### #### ##### ### "### ##### "###
|
|
#### #### ####. .# ### .# ### ####. .# #. ###
|
|
#### #### ########## ### ###. .##" ########## ###. .##"
|
|
##### #### #######" ## "######" #######" "######"
|
|
##### ####
|
|
##### ####
|
|
##### ####
|
|
#####.###" - Revision II -
|
|
"#####"
|
|
|
|
|
|
After eight months of the original release, a fixed version of the
|
|
Assembly'94 winner demo, "VERSES" by EMF, has been released:
|
|
|
|
- works on Pentiums & other fast machines
|
|
- works with only 256k of GUS DRAM
|
|
- works under QEMM7/QDPMI
|
|
- added SB/SBPro support
|
|
- added volume control
|
|
|
|
The audiovisual part is 100% original.
|
|
|
|
|
|
The file is now available at:
|
|
|
|
- ftp.cdrom.com://pub/msdos/demos/incoming/emf_vrs2.zip
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- cray.ap.utu.fi://pub/emf/emf_vrs2.zip
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- ftp.mpoli.fi://incoming/emf_vrs2.zip
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The file size is ~500k.
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Check also the recently updated EMF homepage designed for Netscape 1.1+
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- http://mits.mdata.fi/~jpm/emf.html
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=---------------------------------------------[Calgary Music Disk]--[Calgary]-=
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.oooooo. d8b
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d8P' `Y8b 888
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888 888
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888 d88888b. 888 .ooooo.dP d88888b. oooo d8b d8b d8b
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888 `8b 888 d88' `88b' `8b `888""8P 888 888
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888 d8888888 888 888 888 d8888888 888 888 888
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`88b ooo 888 888 Y88b. 888 888 888 888 888 888 888
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`Y8bood8P' `Y8bod8"8b "Y888 `Y8bod88P `Y8bod8"8b d888b `Y8bod88P
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.o88' .o88'
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----- M U S I C --------- d88888P' ----- D I S K ----- dRASK8P'
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/~~\ /~~~~~~\ /~~~~~~\ /~~~~~~~\ So, what's the big deal?
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/~~~\ /~~\ /~~\ /~~\ /~~\ /~~\ We've all seen music
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/~~\ /~~~~~~~\ /~~~~~~~\ /~~~~~~\ collections before, right?
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/~~\ /~~\ /~~\ /~~\
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/~~~~\ /~~~~~~~\ /~~~~~~~\ /~~~~~~\ Prepare for something fresh.
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There have been music groups before, but we're the first /Music City/.
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We'd like to announce an upcoming audio production to provide a sampling
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of our ear candy. We've done MC1&2, now watch for us at NAID.
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Attention NAID goers: Attending NAID? We will be distributing 70 copies
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on 3.5" HD disk free! Compliments of Calgary Music & GFX Group.
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........................................................................
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Information: cpoon@acs.ucalgary.ca or Lloyd Yoon at 1:134/40 Fido
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Look for us at major FTP sites soon!
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=---------------------------------------------[The Turrahan Relm]--[Thrrahan]-=
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__ _ _
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| |_ | |_| |.-----.
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| _|| _ || -__|
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________ |____||_| |_||_____| _
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|__. .__|.--.--.----.----./---\.| |_| |./---\.-----.
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| | | | | _| _| .A. || _ || .A. | |
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|__| |_____|__| |__| |_| |_||_| |_||_| |_|__|__|
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.----. __
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| -- |.-----.| |.--------.
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| | | -__|| || |
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|__|\_\|_____||__||__|__|__|
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________________/-\________________
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\ where music meets technology /
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`---------.--------------.--------'
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| 6o4 477 o639 |
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`--------------'
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o Demos (100+ ONLiNE) o DMPC Support
|
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o Compos (Asm'94, The Party IV) o No Ratios, Free!
|
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o Music Disks o 14,400 baud v32 v42b
|
|
o MiDi, Mods, S3Ms, MtMs, XMs, etc o FidoNet, IceNet, etc
|
|
o Ambience Music Crew Distro o Internet E-Mail
|
|
o Epinicion Music Prod. Distro o SoundMod v1 CD-Rom Online
|
|
o Mod 4 Win Distro o Over 900 Megs Online!
|
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-=> The Turrahan Relm *where music meets technology* 6o4 477 o639 <=-
|
|
-=> located in Victoria, BC, Canada ; Call Today! <=-
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=-[Subscribing]-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
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|
|
_____How to subscribe to DemoNews
|
|
|
|
#1 E-mail to listserver@unseen.aztec.co.za (any subject line will do)
|
|
|
|
#2 On the first line in the body of the mail, write:
|
|
|
|
subscribe demuan-list FirstName LastName
|
|
|
|
Examples:
|
|
|
|
subscribe demuan-list Christopher Mann
|
|
subscribe demuan-list Snowman
|
|
subscribe demuan-list r3cgm@dax.cc.uakron.edu <---- WRONG!!
|
|
|
|
The listserver will automatically take the return address of your
|
|
mail. That address is where newsletters will be sent. You can not
|
|
specify an alternate address.
|
|
|
|
#3 Send it
|
|
|
|
_____How to UNsubscribe to DemoNews
|
|
|
|
#1 E-mail to listserver@unseen.aztec.co.za (any subject line will do)
|
|
|
|
#2 On the first line in the body of the mail, write:
|
|
|
|
unsubscribe demuan-list
|
|
|
|
Do not specify any address or name when you unsubscribe. The
|
|
listserver will automatically take the return address of your mail
|
|
and unsubscribe it. You can not specify an alternate address.
|
|
|
|
If you know that your e-mail address will soon expire, please
|
|
unsubscribe it.
|
|
|
|
_____Having Trouble?
|
|
|
|
If you have difficulty with the listserver, feel free to write Snowman
|
|
at r3cgm@dax.cc.uakron.edu.
|
|
|
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|
|
=-[Closing]-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
|
|
|
For questions and comments, you can contact Hornet at:
|
|
|
|
Handle Address Area
|
|
----------- ------------------------ -----------------------------------
|
|
Dan Wright dmw@inca.gate.net Freedom CD coordinator
|
|
GraveDigger gd@ftp.cdrom.com columnist, file mover, musician
|
|
Snowman r3cgm@ftp.cdrom.com organizer, editor (DemoNews), coder
|
|
Trixter trixter@ftp.cdrom.com coder, web master, file mover
|
|
|
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|
|
...........................................................End.of.DemoNews.089.
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