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AY 0b:AmBkPac.Pic.(2@(}w U"D `  cP  _ ?_@P _  _0`_? ?_ ߬q__@_@___  _???? !BѶF `0 ` @@?  ? ? 00? `` 0   ` @@@ 00?` ` @  00  @ @@8"@8 @@@@  @@@@@@@@  @@@@@@ @@@@@@@@#q?@????????????$??Gckۡ?}?/[~=ȡs'A?}?/_A~?AsOA?}O/A4n@?!AсýaA?}g/wA8tz3Aہ  @``@ң%2ڳ3!ᣰ1၀`#3 ‚ Ƃ‚ƂŽ‚    @`fd```@@`f3#12p1  BƆƆƂƄ@@@@@FĆF@@@@@@@@@Fx:f1!!11!01!ƂƂƂƄ  `@@Ă@@@@@!!!13!#BBƂB‚BB΄ @@@@@FĆF@@@@@@@@@F&2UO;>'} Hh,M+O =M&B3AZNartikelp'(5'R*)(/A[ vorletzte.artikel&')ZP؅@i9 @2Over and out - but only for this time! @1As already mentioned in the editorial, you will get new content from us in the next quarter. Then it will be all about the Amiga again in the form of: Reports about hard- and software, anecdotes, stories, scene-news, and much more Be curious! And now it's your turn: @2 - Which topics might we have forgotten? - What should we write more or less about? - What did you like? - Where can or should we readju'*!ҭst? - Have we set the right priorities and what might still be missing? @1But the most important part comes now: @2 - Do you want to contribute to Disk-Mag and write yourself? - Do you think you could make our layout even better and more beautiful? - You are skilled in the field of Amiga hard- and software and want to share your knowledge with others by writing articles? - You like programming and prefer to let others write reports? Then get to the ke'_AJyboard! MORE INFO AND THE POSSIBILITY TO ACTIVELY PARTICIPATE IN DISK-MAG AT: @1Facebook: @4www.bit.ly/3tzVrE0 (Facebook "Amiga Rulez") @1e-Mail: @4feedback@@amiga-rulez.de@1 @1We are looking forward to your feedback, your contributions, and your support! @2AMIGA RULEZ DISK-MAG THE DISK-MAGAZINE FROM AMIGA-FANS FOR AMIGA-FANSyour knowledge with others by writing articles? - You like programming and prefer to let others write reports? Then get to the ke+,D210/.-, nAZsysop2.artikel&+-έ@5 ________ .__ __ .__ @4\_ ___ \ ____ | |_/ |________|__| ____ @3/ \ \/_/ __ \| |\ __\_ __ \ |/ ___\ @2Andreas T. "Warlord" @3\ \___\ ___/| |_| | | | \/ \ \___ @3SysOp Stories @4 \______ /\___ >____/__| |__| |__|\___ > @3How I got my Modem @5 \/ \/ \/ @iu @5 ________ @4 \_ ___ \_______ ____ ______ ______ @3 / \ \/\_ __ \/ _ \/ +. Ir ___// ___/ @3 \ \____| | \( <_> )___ \ \___ \ @4 \_____ /|__| \____/____ >____ > @5 \/ \/ \/ 1@1One of my buddies had bought an A2000 with a PC-Card and a 1200 baud modem. (An Amiga 2000 was a great machine. But what was so special about it? At that 1time, I didn't see any advantage in an A2000, which I later regretted when I started to upgrade my A500). Dial-up was a foreign word for me and so I borrowed a modem. +/6Of course, it also came with a Berlin mailbox list. What did the world cost at that time? Strictly speaking, we West Berliners paid only 0.23 DM no matter how long I was in the mailbox. As a trader, that was very convenient for me, of course. I can still remember 2 mailboxes. Something with Sabine from the Ssms-Mailbox 1(later Ssms BBS) and the BBS "Beverly Hills House" from Dr. Crime (there was never something with Dr. Habil Crime!!!!). Of course, I couldn't get into t+0=the BBS because my modem was too slow. 2Then, for some reason unknown to me today, I got in touch with Dr. Crime. 1"You need a faster modem" was his recommendation. I also had to return the 01200 modem in the meantime because the owner wanted it back. 2"Faster - Okay!" so I read magazines and the "fastest" modem was a 2400 baud device called "Pocket 2400"- or something like that. So, I bought one for about 0500 D-Mark and my download sessions started. Of course, I cou+1t{`ldn't dial in again! One phone call and he was at my place the next day laughing "What's that?" - 2400 baud! " Totally lame!" 0@7*At that moment, I must have looked a lot like Pure White*@1 And then I got a tip on the 3USR 14400 Courier HST (with the round LEDs and actually a 9600, which was pimped up). 2In the meantime, I had finally bought my 1084 monitor and now, I needed the 1modem! So, I called a store and asked. The modem cost "only" 2100 D-Mark and the USR Du+2al Standard around 2500 D-Mark. Had to do a lot of work to charm my girlfriend. 2Next month I went to the store and bought it. The advice of the salesman was terrific: "According to the post office you may not connect the device, because it has no postal approval!" "Sure, I was going to put the thing on my shelf anyway!" we both grinned and he dismissed me with a "Have fun with it!". When I arrived home, I connected the modem immediately and called BHH - it was 1workin+g now! But the download speed wasn't impressive! Dr. Crime then gave me an exe file and lo and behold - everything ran perfectly. Except the RAM wasn't enough and I bought a 1.8 MB extension. From now on, I wanted to open new gates in the Amiga world.o postal approval!" "Sure, I was going to put the thing on my shelf anyway!" we both grinned and he dismissed me with a "Have fun with it!". When I arrived home, I connected the modem immediately and called BHH - it was 1workin3 4D =<;:987654RAZsysop1.artikel&35)@5 ________ .__ __ .__ @4\_ ___ \ ____ | |_/ |________|__| ____ @3/ \ \/_/ __ \| |\ __\_ __ \ |/ ___\ @2Andreas T. "Warlord" @3\ \___\ ___/| |_| | | | \/ \ \___ @3SysOp Stories @4 \______ /\___ >____/__| |__| |__|\___ > @3How I found my way to the Amiga @5 \/ \/ \/ @iu @5 ________ @4 \_ ___ \_______ ____ ______ ______ @3 / \ \/\_ __36?o+ \/ _ \/ ___// ___/ @3 \ \____| | \( <_> )___ \ \___ \ @4 \_____ /|__| \____/____ >____ > @5 \/ \/ \/ @1My name is Andreas, I was born in 1968 and am a trained painter, master craftsman, and technician. In a large German company with about 2500 employees, I work as a technical operations manager and lead a department there with 34 journeymen painters and 2 master painters. In 1983 I owned a C64 with floppy drive and a 37~whole bunch of C64 games as backup copies. The C64 was given to me by my mother for 998 D-Mark. The floppy drive was another 200 D-Mark more expensive but I started at first with a datasette, a magnetic tape data storage. So very often games were copied at Stores like Karstadt or Wertheim and put on 2cassette (good old Turbo Tape). Since one of my buddies had a disk drive, I really wanted one too. So, in 1983, at the age of 15, I worked as a paperboy, selling Bild and 38TBZ at a busy intersection every morning at 7 a.m. Many cars stopped and bought my newspapers. The tips were enormous. So, after 1the summer vacation, I bought the disk drive 1541 and a 10-pack of "Scotch" disks for 89 DM in addition. @2How did I get the Amiga? @1At the end of 1985, I saw the advertisement with the Tutankhamun mask for the Amiga 1000 in a 64 magazine. My father came into the room and I excitedly showed him the photo.@7"Do you want a computer like tha39\8t?" @1he asked and I said @7"Nope, there are no games for it!" @1 So I casually missed out on the opportunity to get an Amiga 1000. In 1987 everything went very fast! I went to a buddy for a few games and this 1son of a bitch just had a new Amiga 500 standing there. In addition, a cool stereo system over which the sound ran! Guys, that was so nice to see and the sound was really amazing. The only thing that sucked was that I didn't have an A500 yet. When I was at h3:Kmome, everything on the C64 suddenly looked so dull. 2And that was only because I discovered a new world. For me, it was simply a 1difference like day and night. But I didn't want to ask my parents for money because of that, and I wanted to get through the last year of my apprenticeship first!!!!. Because there were other things, like an apartment that I had moved into in 1988 when I was 18. Instead of a washing machine or something similar, the first thing I bought a 3;1month after my apprenticeship was an Amiga 500, which I could run on the TV 1with a modulator. Of course, this always caused trouble with my girlfriend. 2With the Amiga, I bought 2 games, which I haven't forgotten until today: Waterloo and Jean d'Arc as original. And then this Defender of the Crown - a feast for the eyes. 1However, the purchase of the Amiga was somewhat unfortunate. Since the store didn't have any more in stock at first, the salesman asked me if I would3<^ also 1agree to a demonstration unit for a 50 D-Mark discount. Wow! I really wanted the box and so I agreed. So, the salesman fetched the box and I asked what the trapdoor on the bottom was for. Of course, I already knew what was supposed to go in there. But I was so excited. He said that the memory expansion would be put in there and opened the trapdoor. With my "luck", there was a silver card inside, which the seller then removed. It was an A501 and I stupidly3 =ۓ asked about the trapdoor! 2All in all, everything became much more expensive. I added a memory expansion 1for 400 D-Mark and an Amiga 1010 drive. The drive was so extremely loud that I 1had no fun with it. So, I bought a slimline floppy drive for 350 D-Mark. Later games like Firepower, Millenium 2.2, etc. followed. My buddies at that time had 2all switched from the C64 to the Amiga. Then of course the whole swapping of 2Games started. But at least, I didn't forget to buy3 *7 a washing machine for my apartment :-). everything became much more expensive. I added a memory expansion 1for 400 D-Mark and an Amiga 1010 drive. The drive was so extremely loud that I 1had no fun with it. So, I bought a slimline floppy drive for 350 D-Mark. Later games like Firepower, Millenium 2.2, etc. followed. My buddies at that time had 2all switched from the C64 to the Amiga. Then of course the whole swapping of 2Games started. But at least, I didn't forget to buy>?\/LKJIHGFEDCBA@?]A[ h stw.artikel&>@|@7Brief Talks: @3Theo Theoderich @ik @3DNA:@1 Hi Theo, it's very kind of you to lend me your ear and answer some questions about you and your projects. @3Theo:@1 Of course! I always enjoy talking and writing about Amiga and "Settle the World." @3DNA:@1 You are quite present right now. Many people know you, and even if they don't, mentioning "Settle the World" rings a bell for many. You maintain a project page, are active >Ain forums and groups, and also post your progress on "itch.io." That must be an additional load, and I know you invest every bit of free time into the project. How do you manage it all? @3Theo:@1 Yes, it's quite a substantial workload. But at the same time, I get some feedback there, which I desperately need to keep my motivation up. Moreover, it's the only way to get people's attention to my game so that all the work isn't in vain. The Amiga scene is relatively small, >Band my game "Settle the World" is quite lengthy and complex. So, the only way is to regularly post information and screenshots to maintain interest and hopefully reach at least a few potential new players. @3DNA:@1 I've heard that you're concerned that "StW" might not be played as often as you'd like. I can understand that because I find the game brilliant myself but hardly get a chance to play it. How much feedback are you currently receiving? Do you have >C);any idea about the game's distribution? @3Theo:@1 Well, I don't really get "substantial" feedback from players in the wild. Feedback mostly consists of "thumbs up," "well done," and similar comments. I'm, of course, very happy about those too (as mentioned earlier), but it doesn't help me with the further development of the game. For that, I need "proper constructive feedback" from players who have engaged with "Settle the World." I have Christian Dold, an incredibly mo>DZE%%tivated tester, who has helped me with many issues and with whom I regularly discuss the game (unfortunately, we've never met in person). Some good ideas and discussions have also taken place in our Discord @5(https://discord.gg/UJyZSJJqYg)@1. I post information about the game and its ongoing development there more or less regularly. Every few weeks, I sometimes manage to test "Settle the World" in multiplayer with people. It works quite well through Steam Retro Arch UAE. Un>EK0fortunately, it doesn't happen often because I often can't find "volunteers" willing to play the game with me for several hours in one evening. This is also due to "Settle the World" being very time-consuming. Following the last multiplayer test game earlier this month, I implemented a "Fast Game" mode into my development version. This mode halves the number of rounds needed for building structures and roads and also halves the amount of required building materials. It spe>Feds up the game significantly, especially in the beginning. However, I haven't been able to test it in multiplayer yet due to a lack of willing testers. As for the distribution of my game... I have no idea. Since its release in November 2022 (the first version), it has been downloaded around 1,200 times on "itch.io" (free download at: @5https://theotheoderich.itch.io/settle-the-world)@1. However, I suspect that many players, especially in the early versions, didn't know w>Ghat to do and quickly put the game aside. I've witnessed this several times, which is why I'm also working on an "in-game help" feature that will be expanded over time. "Settle the World" is somewhat like an "Early Access" game, and I know from some feedback that people are waiting for a finished version before trying it out. I can understand that, but it will take a bit more time... probably at least another year. @3DNA:@1 Will you finish "StW" completely, or ar> H$be you aiming for some milestones first? After all, you have another great project in the works that I'm eagerly waiting for a playable demo of - "Caves & Cargo." I saw it at ARC with you, but you just won't release a demo ;) @3Theo:@1 I have to finish "Settle the World," I promised that to my son :-) By the way, it would actually be the FIRST time in my life that I complete a game. However, I do aim for milestones and release new versions accordingly. Back in Decembe> I:Zr 2022, there was the River Update with rivers, then in February 02023, there was the Intro Update, and in August 2023, the Farm Update (which was not just an update but practically a complete overhaul of the program code). "Caves & Cargo" (a kind of "Gravity Force" clone) that you saw at ARC in Duisburg at the beginning of 2022 was my first serious attempt to program in AmiBlitz3. I had spent about a year on a big practice project before that to become familiar with Bl> Jv itzBasic/AmiBlitz3. With "Caves & Cargo," I had something playable for the Amiga for the first time. The game was/is quite playable, but there aren't many levels yet. Creating such levels is very time-consuming, and then in mid-2022, the "BlitzBasic Jam" came along, and I started working on "Settle the World" for the competition (you had to develop a new game for the competition). After that, I only worked on "Caves & Cargo" sporadically, especially on the 1level edit> Kwor. The original plan was to have the level editor finished for Amiga 38 and release the game as a demo. My hope was to find some people who enjoy creating levels. Unfortunately, I won't be able to do it in time, as there's an incredible amount of work left for "Settle the World," and I'm already about six weeks behind my schedule. "Caves & Cargo" will be playable at Amiga 38 at our table. My 11-year-old son is looking forward to visitors who want to play the game with> L[`X him (two-player mode in a horizontal split-screen). I wouldn't be surprised if "Caves & Cargo" is better received there again than "Settle the World." That was the case at ARC, especially kids loved it in the two-player mode. It's quick to learn, quick to play, and not as boring and time-consuming as "Settle the World"... ;-) @3DNA:@1 Okay, I think there are still many questions about you and "Settle the World"... but as you mentioned, you're 100% committed there.> g And you've already answered some questions elsewhere, so I don't need to ask everything again here :) So, thank you very much for the nice conversation, and continue to have maximum success. @3Theo:@1 You're welcome, and thank you very much for giving me the opportunity to talk about "Settle the World." Even though I'm very busy, I always manage to find some time to answer questions! @ik you and "Settle the World"... but as you mentioned, you're 100% committed there.MNOծ:98765N }AY`+charts.artikel&M5 @1For our small new Amiga Disk-Mag, @2Triace Desire @1 asked the people for their favourites and so he created a small chart section. @i5 @1For this, we need - right - you! @21. best recent game (max. 3 years old) 2. best game rather 3. best current active coder 4. best current active graphician 5. best current active musician 6. best current demo (max. 3 years old) 7. best demo ever 8. best recent intro ever uOP1TSRQPAZroot&OQbc00f fff fff 00f *blank* *blank* *blank* *blank* *blank* *blank* Editorial artikel/editorial.artikel Hardware *page2 Games *page2 User Stories *page3 Coders Corner *page4 Pixel Art *page4 Tips & Tricks *page4 Events artikel/events.artikel The Next to Last artikel/vorletzte.artikel User Charts artikel/charts.artikel Greetings artikel/greetings.artikel Imprint artikel/impressum.artikel Help artikel/help.artikel *blank* Exit artikel/exit.artikel *blank* *blank* *blank* *blank* Hardware *ORblank* AMIGA - peripherals Part 1: Joysticks artikel/amiga01joystick.artikel AMIGA - peripherals Part 2: Mice artikel/amiga02mouse.artikel AMIGA - peripherals Part 3: Keyboards artikel/amiga03keyboard.artikel *blank* *blank* *blank* Games *blank* Michael Kafke - ASM - The Computer Game artikel/asm.artikel Stephan Pfrtner - Barbariana artikel/Barbariana.artikel Tigerskunk - Krogharr artikel/krogharr.artikel Theo Theoderich - Settle the World artikel/stw.artikel *blank* *blank* *blanOSk* *blank* *blank* *blank* *blank* *blank* User Stories *blank* Daniel Cloutier - The new View in Retrospect artikel/blick.artikel SysOp Stories (1) - How I found my way to the Amiga artikel/sysop1.artikel SysOp Stories(2) - How I got my Modem artikel/sysop2.artikel Home Computer Stories - Who needs puzzles? artikel/maniacmansion.artikel Martin Klein - Travel Report - An Adventure in Rijeka artikel/rijeka.artikel Daniel Voelkel - A DiskMag? Are you serious? artikel/diskmag.artikel MaOTߧhrtin L. Hermann - Heroes from the second tier artikel/dragonslair.artikel Markus Kunkler - Psygnosis artikel/psygnosis.artikel Romeo Knight - SOUNDTRACK artikel/romeoknight-paula.artikel Portrait - Geoff Grammond artikel/geoff.artikel *blank* *blank* *blank* *blank* *blank* *blank* *blank* *blank* *blank* Pixel Art *blank* Robocop artikel/robocop.artikel Astronaut artikel/astronaut.artikel *blank* Coders Corner *blank* Coders Corner - From The Diary of a Coder artikel/coder.artikel *O]Lblank* Tipps & Tricks *blank* Le Ede - Restoration tips for big-boxes artikel/bigbox1.artikelygnosis artikel/psygnosis.artikel Romeo Knight - SOUNDTRACK artikel/romeoknight-paula.artikel Portrait - Geoff Grammond artikel/geoff.artikel *blank* *blank* *blank* *blank* *blank* *blank* *blank* *blank* *blank* Pixel Art *blank* Robocop artikel/robocop.artikel Astronaut artikel/astronaut.artikel *blank* Coders Corner *blank* Coders Corner - From The Diary of a Coder artikel/coder.artikel *UAV)p>~}|{zyxwvutsrqponmlkjihgfedcba`_^]\[ZYXWVzAGromeoknight-paula.txt.artikel&UWlO@ip @3SOUNDTRACK BY @3ROMEO KNIGHT @2Meine persnliche @2Geschichte des AMIGA-Sounds @2Intro @1Ich bin eigentlich C64. Klingt vielleicht komisch, aber wie bei ganz vielen Computer-Musikern aus meiner Generation (ich bin Jahrgang 1971), war fr mich der C64 der Einstieg zum Musik machen. Die damals einzigartigen Mglichkeiten des SID-Chips, kombiniert mit den Tracks der genialen Musiker, die vor uns schon da waren - ich beschrnke mich darauf, Rob Hubbard stUX lellvertretend auch fr alle anderen groartigen C64-Komponisten zu erwhnen - lieen den Funken, die Faszination fr elektronische Musik, die zu dem Zeitpunkt schon bestand, zu dem festen Wunsch zu werden, selber Computermusik zu komponieren. Denn das Instrument stand ja zu diesem Zeitpunkt schon auf dem Schreibtisch meines Kinderzimmers, es gab demnach gar keine wirklichen Hrden mehr zu berwinden, um damit anfangen zu knnen. Dies ist nun der Versuch, die BedeutungUY8 der musikalischen Fhigkeiten, die der AMIGA damals mitbrachte, aus meiner sehr persnlichen Perspektive chronologisch zusammenzufassen. Da ich praktisch alles nur aus meiner Erinnerung krame, bitte ich, eventuelle Ungenauigkeiten zu entschuldigen. @2Die Vorgeschichte - der C64 @1Fr mich begann es 1985 - ich bekam einen C128, der ja neben dem C64-Modus auch noch einen CP/M-Modus besa, um "serise" Software nutzen zu knnen - ein tolles Argument fr Eltern, die natrlicUZmyh nicht wollten, dass man am Computer nur spielt, anstelle vernnftige Dinge zu machen, wie z.B. fr die Schule. Natrlich lief der Rechner ausschlielich im C64-Mode, und natrlich wurde zunchst vornehmlich gespielt und dazu Disketten auf dem Schulhof mit den neuesten Spielen getauscht. Aber eine bestimmte Auswahl der damaligen Spiele fesselten hauptschlich durch ihre Soundtracks - die Spiele an sich waren oft gar nicht wirklich interessant oder manchmal sogar einfach sU[׋;ichlecht. So kam es, dass ich, nachdem ich am frhen Nachmittag von der Schule nach Hause kam, oft irgendein Spiel startete, um dann zur Titelmusik o.. zu chillen (anstatt wie andere Kinder aktuelle Popmusik o.. anzuwerfen). Bis hierhin unterscheidet sich meine Geschichte vermutlich kaum von der vieler anderer C64-Kids. Ich muss aber rckblickend noch mindestens zwei weitere Menschen erwhnen, ohne die dieser musikalische Entwicklungsprozess fr mich und viele andere wahrU\k:}- scheinlich so niemals stattgefunden htte: Bob Yannes von Commodore, der den SID-Chip quasi im Alleingang entwickelte und damit dem C64 einen vollwertigen 3-stimmigen Synthesizer mitgab, der zu dem Zeitpunkt vollkommen konkurrenzlos war. Und Chris Hlsbeck, der es schaffte, mit dem Soundmonitor eine Musiksoftware fr den C64 zu entwickeln, die es ermglichte, auf die Register des SIDs so zugreifen zu knnen, wie es zuvor nur mit Assemblerroutinen ging. Die meisten deU]#r bekannten C64-Musiker der ersten Generation programmierten notgedrungen ihre eigenen Tools, Player oder Abspielroutinen. Ich aber war frs Programmieren schlicht zu doof, BASIC ging ganz gut, Assembler begann ich damals auch zu lernen, aber ich musste dann recht schnell aufgeben - als dann die Tasks komplizierter wurden, als nur die Bildschirmfarben zu ndern und lustige Farbmuster zu erzeugen. So stie der Soundmonitor auch fr mich die Tr auf, eigene SID-Tunes zu kU^omponieren, die technisch mit denen meiner Vorbilder ohne weiteres mithalten konnten. Zwischen 1986 und 1987 entstanden so ca. 20 SID-Tunes, die leider alle im Nirvana verschwunden sind, weil ich damals noch berhaupt keine Verbindung zur Cracker- oder Demoszene hatte und meine Arbeits-Disketten viele Jahre spter entweder verschwunden oder nicht mehr lesbar waren. @2Die Revolution @1Der AMIGA 1000 war schon seit 1985 auf dem Markt, aber zu dem Zeitpunkt noch U _- ziemlich unerschwinglich. Als dann der AMIGA 500 1987 nach Deutschland kam und dann auch einige Schulfreunde schnell einen besaen, konnte ich mir bei diesen persnlich ein Bild von den revolutionren Grafik- und Soundfhigkeiten machen. Der Entschluss war schnell gefasst - ein AMIGA 500 musste her, die vier Samplingkanle versprachen den nchsten, logisch erscheinenden technologischen Schritt, um noch "bessere" Musik machen zu knnen - fast schon so wie professionell prU `Soduzierte Musik aus dem Radio. Oder zumindest konnte man diesem Ideal irgendwie nherkommen, denn natrlich wusste ich, dass man immer noch mit den extremen Beschrnkungen eines Homecomputers umzugehen hatte. Aber allein diese eine Stimme mehr zu haben schien schon viele Probleme zu lsen, mit denen man bei der Komposition auf dem C64 noch gekmpft hatte. Man muss dazu sagen: Ab der frhen 80er-Jahre galt Sampling als der Hot Shit der Synthesizer-Musik, viele elektroniscU a^he Acts, die einen schon zuvor beeinflusst hatten, verffentlichten pltzlich Alben, die intensiven Gebrauch von Sampling machten, wie z.B. Depeche Modes "Construction Time Again" 1983 und "Some Great Reward" 1984, Jean-Michel Jarres "Zoolook", auch 1984, oder Kraftwerks "Electric Caf" 1986. Es entstanden zu dieser Zeit sogar ganze Acts, die ihren Sound ausschlielich ber Samples definierten, wie z.B. The Art Of Noise oder Yello (die Hip-Hop-Szene lasse ich mal bewusst aueU b6n vor, das wre nochmal ein ganz anderes Kapitel). Und es gab ja auch schon Sampling-Versuche auf dem C64, die damals gefhlt Next Level waren, schlielich war die Hardware gar nicht fr die Wiedergabe von Samples ausgelegt. Aber auer den knackigen Drums von Martin Galways "Arkanoid" habe ich eigentlich nichts in Erinnerung, was wirklich ansprechend klang. Immerhin versetzte mich die rauschig-krchzige Sprachausgabe mancher Spiele in Verzckung, weil es einem ein bisscheU cNn das Gefhl gab, wie an einem Arcade- Automaten zu spielen, die damals mit berlegener Hardware natrlich in diese Richtung konzipiert waren. Unterm Strich: Der AMIGA lag voll im Trend, alles sprach dafr, auf dem AMIGA weiterzumachen, der C128 musste verkauft werden, um das Geld fr einen AMIGA zusammenzubekommen; soweit ich mich erinnere, sorgte das Angebot einer groen Supermarktkette ber 1399,-DM fr einen ziemlichen Run auf die 500er. Nur kurz darauf erwarb ich dazuUd K einen Deluxe Sound-Sampler, ein kleine schwarze Box mit Cinch-Input, um selber samplen zu knnen. Schlielich ging es mir ja auch in allererster Linie darum. @2Faszination und Ernchterung @1Irgendwann Ende 1987 war es dann soweit. Natrlich wurden zuerst Spiele ausprobiert, ich erinnere mich an Marble Madness, das in Grafik und Sound von dem mir auch sehr gut bekannten Arcade-Automaten kaum zu unterscheiden war. Das Glck konnte kaum grer sein. Spiele wie "GarrisonUe3g" oder "Phalanx" besaen Title Screens mit tollen Soundtracks, die aber, wie sich schnell herausstellte, keine irgendwie auf dem Rechner komponierten oder produzierten Tracks waren, sondern einfach 4- oder 8-taktige Loops zuvor im Studio produzierter Musik. Auch einige der sehr frhen Demos featureten derartige Soundtracks, die halt logischerweise furchtbar repetitiv waren. Das dmpfte die Begeisterung aber kaum, es klang halt nicht mehr nach "billiger" Computermusik, Ufcund das war zunchst alles, was zhlte. Ich glaube, das erste Musikprogramm, das ich je auf dem AMIGA ffnete, war "Bars & Pipes". Auf einer grafisch dargestellten Piano-Roll Noten zu setzen, war etwas ganz Neues, auch die fr damalige Verhltnisse fantastisch klingenden Samples klassischer Instrumente machten direkt Lust auf mehr - aber mehr gab es hier nicht! Jeder Spur konnte nur ein Instrument zugewiesen werden, und ich erinnere mich nicht, dass es die Mglichkeit gaUg==b, eigene Samples zu verwenden. Das wirkte eher wie Spielzeug und war natrlich nicht ansatzweise das Tool, mit dem man sich musikalisch weiterentwickeln konnte, schlielich wurde schon auf dem C64 die gesamte Bandbreite subtraktiver Synthese genutzt, inkl. Filtern, Ringmodulation etc.; und pro Spur stndig zwischen Instrumenten hin- und herzuspringen, um das Arrangement voller wirken zu lassen und Spuren zu sparen, war ja auch schon lange obligatorisch. Ich glaube, lnUh$ ger als 2 Stunden habe ich mich mit "Bars & Pipes" insgesamt nicht beschftigt. Dann kam @5Aegis Sonix@1. Hier konnte ich nun meine eigenen Samples einsetzen, und es gab einen Synthesizer, man konnte also Samples und Synthsounds kombiniert nutzen. Dass man statt in einer Tracker-Ansicht Noten auf einem Notenblatt setzen musste, strte mich nicht, ich hatte eine klassische musikalische Ausbildung in meiner Jugend genossen (auf der Klarinette), damit kannte ich mich aus. Ui2EDer Synthesizer in Sonix allerdings enttuschte mich komplett, es gab nur rudimentre Synthese-Parameter und alle Sounds klangen irgendwie gleich, irgendwie nach Plastik. Der allererste Track, den ich mit Sonix komponierte - stimmigerweise "The New Age" betitelt - gewann brigens den 2. Platz bei dem damals ausgeschriebenen Musikwettbewerb des "AMIGA Magazin", das Pendant zur "64'er" aus dem Markt & Technik-Verlag. Als Preis gab es fr mich ironischerweise brigens die AeUjXgis Sonix-Software - keine Ahnung, was sich die Redaktion dabei gedacht hatte, sehr witzig. Aber auch Sonix fhlte sich mit seinen Mglichkeiten sehr schnell beschrnkt an, der Umstieg auf den Ultimate Soundtracker von Karsten Obarski war dann nur logisch. Die Trackeransicht war vertraut, und es gab immerhin Mglichkeiten, die Samples in Echtzeit zu manipulieren, speziell bei den spter inoffiziell weiterentwickelten Versionen Noisetracker und Protracker - V2.3 war dUk9{ie Version, mit der ich dann im wesentlichen bis 1995 alle meine Tracks bzw. Mods (kurz fr Module, wie das Protracker-Format genannt wurde) komponierte. Aber: Die Begeisterung fr die neue Plattform wich recht zgig einer gewissen Ernchterung, trotz meines unbndigen Dranges weiter Musik zu produzieren. Warum? Es war nun offensichtlich, dass der AMIGA eben kein Synthesizer war, Samples waren nicht etwa eine zustzliche Option, sondern ein Muss. Und die Samples waUl͚ ren statisch, d.h. wirkliche Modulationsmglichkeiten, um die Sounds dynamischer und abwechslungreicher, eben nicht so mechanisch klingen zu lassen, gab es erstmal nicht. Und auf dem C64 war das ja vorher schon alles mglich: Filter-modulierte Bsse, dynamische Pulsbreiten-Vernderung, Arpeggios, LFOs, die Hllkurven steuerten uswusf. Tja. Ich samplete fleissig von irgendwelchen Schallplatten, CDs oder Tapes, oder rippte wie viele andere AMIGA-Composer die Samples aus SpielUm$Sen oder Demos. Die Sounds, die auf der ST-01-Disk zum Soundtracker mitgeliefert wurden, hasste ich dagegen; ich wollte nichts von der Stange, und dass Obarski selber diese immergleichen Sounds auch fr seine eigenen Tracks nutzte, half schon mal gar nicht. Das bedeutete aber nicht, dass ich AMIGA-Musik pltzlich generell doof fand. Chris Hlsbecks "R-Type" Title-Track beispielsweise klang atemberaubend und zeigte, dass hochwertige Samples und gute Kompositionsarbeit den MaUnngel an Manipulationsmglichkeiten zumindest irgendwie teilweise ausgleichen konnten. Rob Hubbards "Populous" lie mich hingegen ratlos zurck - ich hatte mir irgendwie mehr davon erwartet, was der Gromeister auf der neuen Plattform zu bewerkstelligen vermochte. Ein groer Teil der Magie war verflogen. @2Jetzt erst recht @1Aber wie schon auf dem C64 mit seiner begrenzten Stimmenanzahl, sorgten die besagten Beschrnkungen bei mir eher dafr, nach Wegen zu suchen, trotzdemUoPtH das Bestmgliche aus der Maschine rauszuholen. Ich begann also mit den Samples zu experimentieren. Ich fing an, Multisamples zu benutzen (mehrere Samples desselben Instruments, die man alternierend oder fr verschiedene Tonlagen einsetzen konnte), fr Drums Samples bereinander zu mischen (dadurch konnte man z.B. eine Hihat spursparend kombiniert mit einer Bassdrum abspielen) oder direkt Akkorde zu samplen, die ansonsten ja schon allein mindestens 3 Spuren in Anspruch gUp#enommen htten - darauf werde ich weiter unten noch nher eingehen. Ein echter Gamechanger waren fr mich aber die neu eingefhrten Kommandos des Protrackers, welche endlich Vibrato, Slides, Portamento etc. mglich machten, insbesondere aber sorgten die Kommandos, den Sample-Start beliebig zu verschieben (Sample Offset) und die Lautstrke des Samples whrend des Abspielens ausfaden zu knnen, fr ein Aha-Erlebnis. Mit dem letzteren lie sich nmlich ein rhythmisch modulUq~ierter Synthsound simulieren: Der Sound wurde, ohne neu getriggert zu werden, abrupt ausgefadet und beim nchsten Step wieder auf maximale Lautstrke gesetzt, was, wenn man extreme Werte einsetzte, einen Stottereffekt zur Folge hatte - der Effekt, der durchgngig eingesetzt bei meinem wohl bekanntesten AMIGA-Track "Cream of the Earth" fr einige Aufmerksamkeit in der Szene sorgte. 1991 war dann ein wichtiger Meilenstein fr mich, als mir angeboten wurde, den Soundtrack fr Urf2die AMIGA-Adaption des japanischen Kultspiels "Bomberman" zu machen - schon seit den 80ern ein Riesenerfolg auf dem NES, Super Nintendo und einigen weiteren Konsolen. Fr Europa wurde das Spiel in "Dynablaster" umbenannt - man fhlte sich mit dem ursprnglichen Titel offenbar in unseren Breiten nicht so wohl. Die Arbeit daran machte groen Spa - ich sa mit einigen Entwicklern und Programmierern fr ein langes Wochenende zusammen in irgendeinem Wohnzimmer in der Nhe vonUs+@ Hamburg, wo ich dann rein nach Gehr den japanischen Soundtrack analysierte und in den Protracker von Hand bertrug, mit Hilfe eigens dafr angefertigter Samples. Die konkrete Vorlage war der Soundtrack der PC Engine bzw. TurboGrafx- Konsole, die hierzulande kaum Verbreitung fand. Nervig war dabei natrlich nur, dass ich einerseits mit sehr wenig Speicher auskommen und dadurch mit einem sehr kleinen Sample-Set arbeiten musste, und dass mir nur drei Stimmen zur VerfgungUt standen; die vierte musste, wie bei vielen Spielen blich, fr die Soundeffekte freigehalten werden. Dieses galt aber nicht fr die Endcredits nach Durchspielen der Singleplayer-Kampagne, so bekam ich dort noch die Gelegenheit, ein fettes eigenes Mod, das alle Register des AMIGA bediente, im Spiel zu platzieren. Wer sich auf YouTube Dynablaster-Playthroughs mit der Musik anhren sollte - es gibt nicht ein einziges Video, in dem der Soundtrack mit der richtigen AbspielrouUu &tine laufen gelassen wird, was durch viele falsch interpretierte oder ignorierte Effekt-Kommandos fr unschne abgehackte Glitches und zerstrte Sounds sorgt. Ich vermute, das liegt an der nicht perfekten Soundimplementation von WinUAE. Das war eben noch ein weiterer groer Nachteil von Samples: Sie raubten viel Speicher, selbst mit den damals blichen 8bit und zwischen 11 und 22kHz Sample Rate (ich down-samplete die Samples meist auf 11-12kHz, um meine Mods nicht zu U v gro werden zu lassen). Weil auch in der Demoszene natrlich oft Speicher- Beschrnkungen eingehalten werden mussten, wenn es darum ging, ein Crack-Intro zu programmieren (musste ja schlielich noch mit auf die Diskette passen), verlangte es nach Chiptunes-Tracks, die statt normaler Samples einfache Wellenformen oder Mikrosamples mit rudimentren Synthesemglichkeiten kombinierten, meistens gemixt mit kurzen Drumsamples. Das machte die Tracks zwar sehr klein, aber fr miU!whch klang das alles wieder schlechter als C64-SIDs. Nur mit Widerwillen lie ich mich dazu berreden, insgesamt zwei Chiptunes ("Enigma Gun" und "Beat to the Pulp") mit dem Chiptune-Tracker SIDmon zu produzieren. Diese kamen gut an und wurden fr mehrere TRSi-Intros eingesetzt, ich allerdings fand das aus der Musiker-Perspektive nicht richtig, musikalisch fhlte sich das wie ein Rckschritt an und ich wollte ganz woanders hin. Mich interessierte eher, wie ich auf der AMIGA-U"xQPlattform noch nher an "richtige" Musik kam, dadurch wurden meine Mods eher immer grer, denn ich benutzte mehr und qualitativ bessere Samples mit hheren Sample Rates, um einfach hochwertiger zu klingen. In der Zwischenzeit, so gegen 1992, hatte ich angefangen autodidaktisch E-Gitarre zu lernen, was natrlich viele selbst- erstellte Gitarrensamples in meinen Mods zur Folge hatte (die Gitarren im "RSi-Hard"-Mod der RSi-Megademo von 1989 hatte brigens noch ein Freund fU#y%%?r mich eingespielt). Ich probierte sogar einen komplettes Metal-Instrumental ("Piggie.s Hut") im Metallica-Stil zu produzieren, das so viele und groe Samples enthielt, dass es zwei Disketten bentigte. Das Ergebnis fand ich aber damals schon nur so halb gut und fr Demos oder Intros war das natrlich vollkommen unntz. Ein ganz anderer Ansatz, aber derselben Philosophie folgend, war 1992 dann "Bsendorfer P.S.S." (das P.S.S. steht brigens fr "plays some shit"). Die IdU$z-9ee war, ein reines Piano-Stck so echt wie mglich auf dem AMIGA zu reproduzieren. Dazu nutzte ich mehrere der oben angesprochenen Sample- Techniken, mit denen ich mir ein regelrechtes Konzept erstellte. Erstens: Ein Sample pro Oktave fr die Melodie und die Bassstimme, also fnf einzeln gespielte Klaviertasten. Dabei nutzte ich die Samples jeweils so, dass maximal 6 Halbtne nach oben und unten transponiert wurden, damit man mglichst nah an der Base Note bleibt, was am nU%{K1atrlichsten klingt. Zweitens: 4 verschiedene Akkord-Samples - Dur, moll, bermig und vermindert. Dazu ein kurzer Ausflug in die Musiktheorie: Die grundlegendsten Akkorde bestehen ja aus jeweils drei Tnen, die in Terzen bereinander geschichtet werden, z.B. besteht ein Dur-Akkord aus einer groen und einer kleinen Terz (wobei eine groe Terz aus 4 Halbtonschritten und eine kleine Terz aus 3 Halbtonschritten besteht), moll aus klein+gro, bermig aus gro+gro und U&|Z_= vermindert aus klein+klein. Dementsprechend hat man mit diesen vier Akkordvarianten prinzipiell smtliche harmonischen Mglichkeiten abgedeckt, wenn man zustzlich anfngt diese zu transponieren, wie man es mit Samples ja normalerweise tut, um Melodien zu spielen. Fr die geneigten LeserInnen: So lsst sich z.B. aus einem verminderten Akkord auf der 5. Stufe mit einer zustzlichen entsprechenden Bassnote ein Dominantseptakkord kreieren. Man sieht also, dass auf diese WU'}tlJeise auch harmonisch komplexere Strukturen mglich sind, als allgemein in AMIGA-Mods so blich waren. Allerdings war der Einsatz von Akkord-Samples nicht grundstzlich etwas Neues, das wurde auch vorher schon hufiger gemacht, Firefox und Jester fallen mir da vor allem ein. Der Plan war jetzt, eine Spur fr den Bass, eine fr die Akkorde (das wre die linke Hand des Pianisten), und zwei Spuren fr die Melodie zu nutzen (die rechte Hand). Diese zwei Spuren wurden beim KomU(~oponieren genau abwechselnd mit Tnen bestckt, damit sie sich jeweils berlagern konnten, so, als wenn der Pianist regelmig das Sustain-Pedal treten wrde. Der ganze Aufwand und ein bisschen Glck beim Komponieren wurden letztlich belohnt, die Demo, "Wicked Sensation", in der das Stck als Abspannmusik eingesetzt wurde, gewann auf der World Of Commodore-Messe 1992 den 1. Preis, bewertet von einer hochkartigen Jury aus u.a. original AMIGA-Hardware-Entwicklern, die brU)igens den Sound bei der Prmierung nochmal gesondert lobten. Das war schon ein besonderer Moment, obwohl ich das zu dem damaligen Zeitpunkt alles noch nicht so wirklich begriffen hatte. Der Preis war immerhin ein Seat Ibiza in braun-metallic, aber neben der schlimmen Farbe auch etwas schwierig unter uns fnf Jungs, die an der Demo beteiligt waren, aufzuteilen. Zum Glck war es mglich, sich den Wagen in AMIGA-Hardware sozusagen auszahlen zu lassen. Soweit ich mich erinneU*'yre, konnte ich den AMIGA 4000, den ich fr meinen Anteil bekam, fr 3500,-DM weiterverkaufen. Als reiner Musiker hatte dieser keinen Mehrwert fr mich. @2PAULA und Marketing @1An dieser Stelle lohnt es sich nochmal, auf ein spezielles tontechnisches Problem des AMIGA einzugehen. Ich hatte die Melodie von "Bsendorfer P.S.S." auf die Stimmen 1 und 2 verteilt, ohne mir darber weiter Gedanken zu machen. Das allerdings hatte zur Folge, dass die beim Abspielen ber eine SteU+*Ereo-Anlage abwechselnd auf der linken und rechten Box gespielt wurde, denn Stimme 1+4 und Stimme 2+3 bildeten jeweils ein Prchen pro Ausgang. Ich dagegen komponierte seit meinen Anfngen ber die interne Mono-Box meines Commodore 1901-Monitors, den ich damals schon mit dem C128 genutzt hatte. Fr den Stereo-Output des AMIGA hatte ich mir dazu eigens ein Y-Kabel gebastelt. Und genau da kam die Krux: Erst anstndig mit einer Stereo-Anlage verkabelt, bekam ich die vermeiU,.Ȥntlichen Stereo-Qualitten des AMIGA zu hren - und das Resultat war ausnahmslos frchterlich, da alle Instrumente offenbar wahllos zwischen dem linken und rechten Kanal hin- und hersprangen, je nachdem, wie man sie auf die Spuren verteilt hatte, und insbesondere, wenn man alle mglichen freien Steps in den Patterns ausnutzte, um das Arrangement voller wirken zu lassen - eine wie weiter oben erwhnt sehr bliche Kompositions-Technik bei den wenigen zur Verfgung stehendeU-kn Stimmen. Beim World of Commodore-Event war das fr mich ein Alptraum - mein Stck wurde vor groem Publikum nicht so abgespielt, wie ich es beim Komponieren immer gehrt hatte. Glcklicherweise war jemand in der Technik in der Lage, den Output fr die PA wenigstens beim zweiten Abspielen (nachdem wir gewonnen hatten) auf Mono umzuschalten, nachdem ich darauf hingewiesen hatte. Naja. Was genau war also jetzt das Problem? Letztlich hatte Commodore bei der BeschreibunU.H=g des AMIGA in der Werbung schlicht gelogen, und man kann es bis heute immer noch berall lesen: 4-Kanal Stereo-Sound. Das bedeutet eigentlich, dass man in der Lage sein sollte, diese 4 Stimmen ber eine Routing-Matrix auf 2 physikalische Outputs -Links und Rechts- auszugeben. Man kann somit den Pegel bestimmen, mit dem jeder Output von jeder Stimme versorgt wird, im besten Falle sogar automatisierbar. Aber nein: Rein technisch gesehen bietet der AMIGA etwas anderes, nmlU/.Oeich 4 Stimmen, von denen jeweils zwei gemeinsam mit einem der beiden Mono-Ausgnge festverdrahtet sind. In ein echtes Stereo-Setup integriert sorgt das dann fr den unerwnschten Effekt aus extremem Links-/Rechts-Instrumentenchaos. Der AMIGA gibt einfach von Haus aus kein Stereo aus, wobei es ein Leichtes ist, das softwareseitig zu simulieren. Allerdings msste man dafr zwei Stimmen opfern, weil man dann jeweils eine Stimme jedes Stimmenprchens identisch bestcken mssU0SIte, Variationen der Pegel der beiden identischen Spuren unterein- ander wrden dann die Positionierung im Stereo-Panorama bestimmen. Das wre echtes Stereo. Das war aber niemals eine Option, das Opfer wre viel zu gro gewesen - dann lieber alle 4 Stimmen in klarem, ehrlichen Mono. @2Evolution und danach @11995 war fr mich die aktive AMIGA-Zeit vorbei. In den spten Jahren '94 und '95 komponierte ich noch fr eine handvoll Spiele, vermutlich htte ich die Plattform sonU16שst noch etwas frher aufgegeben, denn schon seit ca. '92 standen bei mir zu Hause eine Yamaha SY-77 Synthesizer- Workstation und ein Ensoniq EPS-16+Sampler (von dem die Bsendorfer-Samples stammten), das Geld dafr hatte ich mir mit Ferienjobs zusammengespart. (Fun fact: Bob Yannes, der SID-Chip-Entwickler, war Mitgrnder der Firma Ensoniq, nachdem er Commodore 1982 verlassen hatte.) Dazu besorgte ich mir einen gebrauchten Atari Mega ST4, um meine Synths mit Cubase per MU2ҥIDI ansteuern zu knnen, damit ich endlich diese besagte "richtige" Musik machen konnte, die ich immer im Kopf hatte. Der AMIGA wurde so in diesem Zuge vollkommen uninteressant. Auch hier ist vielleicht noch ein wenig Kontext wichtig: Ich hatte zwar seit 1987 Kontakte zur Demoszene, war Member bei Red Sector, TRSi usw. und dementsprechend an vielen Demoprojekten beteiligt, aber auf Szene-Events, Copyparties oder sonstige Treffen war ich nie erpicht. Das war niemals die SchU3cTuld der Leute oder der Szene selber, sondern lag an mir: Ich war extrem schchtern, sozial ngstlich, und auch die Tatsache, dass mein Name irgendwann recht bekannt war, war mir eher unangenehm, vor allem auch, wenn ich in irgendeiner Form lobend darauf angesprochen wurde. Ich glaube, ich war in meiner ganzen aktiven Zeit bei insgesamt vier Parties, witzigerweise sind davon aber nur die eher positiven Erinnerungen hngen- geblieben. Die Demoszene war fr mich also eher ein U4willkommenes Vehikel, meine Musik unter die Leute zu bringen; so richtig aktiv teilzunehmen, war dagegen eher nichts fr mich. Die Musik stand fr mich eben immer im absoluten Vordergrund - das hat sich aber auf die Demoszene bezogen heute sehr stark gendert, also in dem Sinne, dass mir die dort entstandenen Freundschaften und das Socializing auf Partys sehr wichtig geworden sind. @2Zurck zur Musik: @1Ich darf an dieser Stelle nicht unerwhnt lassen, dass die Musik,U5Şk die ich damals mit diesem Synthesizer-Setup nach meiner aktiven AMIGA-Zeit produzierte, nach meiner eigenen Einschtzung wahrscheinlich die schlechteste Musik ist, die ich je gemacht habe. Ich bin mir heute recht sicher, dass das daran lag, dass ich mit den pltzlich schier endlosen Mglichkeiten, Spuren und Sounds, die mir zur Verfgung standen, berhaupt nicht klarkam, und das, ohne es zu merken. Ich war es bis dahin gewohnt, in engen technischen Grenzen zu arbeiten und mU62Dich auf das Wesentliche zu konzentrieren. Paradoxerweise fhrte das Wegfallen dieser Grenzen eben nicht dazu, dass meine Kreativitt beflgelt wurde, sondern stattdessen verlor ich mich in den ganzen Optionen, fand keine Richtung und verga, dass nicht noch mehr Spuren und noch mehr Instrumente gleichzeitig bessere Musik bedeuten. Aber vielleicht ist das auch nur Teil eines natrlichen Prozesses, sich als Knstler selbst zu finden. (Klingt hochtrabender, als es gemeint iU7hQ6st.) Wie auch immer. Bis heute hat sich eines nicht verndert: Die Faszination fr C64-Musik ist fr mich grer geblieben als fr den AMIGA-Sound. Den direkten Beweis dafr bekam ich, als ich Anfang der 2000er erstmalig die Remix-Szene der Retro- Computerplattformen im Internet entdeckte. Gegen 2003 fing ich an, selber C64- Remixe zu produzieren, natrlich als erstes jene SIDs, die mich damals als Teenager am meisten fasziniert hatten, und natrlich berwiegend Rob HubbU8=uard. Mein Anspruch war dabei und ist es bis heute, das Original neu zu interpretieren, aber das originale Feel und die Stimmung trotzdem beizubehalten und wieder einzufangen. Einfach eine moderne Version, irgendwie besser produziert mit den heutigen Mglichkeiten, wre mir meistens zu wenig gewesen, obwohl es natrlich auch dafr einige gelungene Beispiele anderer Remixer gibt. Beim Remixen, mit Jahrzehnten Abstand zu der Zeit, in der ich die originale Musik erstmals U9;min meiner Jugend gehrt hatte, sollte nochmal deutlich werden, wie sehr mich vor allem der C64 inspirierte: Das wohlige Nostalgie-Feeling, das in den 2000ern durch das Anhren vieler SID-Tunes wieder bei mir ausgelst wurde, bekam ich bei nur sehr wenigen AMIGA-Tunes. Aber noch viel wichtiger: SID-Tunes bieten mehr Projektionsflche fr einen Remix. SID-Sounds sind nur sehr bedingt dazu geeignet, andere Instrumente nachzuahmen oder exotische Klnge zu erzeugen, die aueU:=dfrhalb des typischen C64- Grundsounds liegen. Aber die Stcke selber sind hufig sehr phantasievoll und mit viel Liebe zum Detail arrangiert, und deuten oftmals verschiedenste musikalische Genres an. Man denke an "Monty on the Run", das wie instrumentaler Rock mit wechselnden Soloinstrumenten klingt oder "Bionic Commando" von Tim Follin, dem ein deutliches Latin-Feeling innewohnt. Letzteres sorgte dafr, dass ich daraus einen Remix machte, der mit klassischer lateinamerikaU;~nischer Instrumentierung und ein wenig Santana-Stil das wiedergab, was mein inneres Ohr in diesem Tune schon immer gehrt hatte. Allgemein formuliert: Aus Remixer-Sicht lsst sich typische C64-Musik wie eine weie Leinwand mit einer groben Skizze beschreiben, die man dann nach seinen eigenen Vorstellungen ausmalen, finalisieren und reinzeichnen kann. AMIGA-Musik dagegen ist viel strker vordefiniert, da die benutzen Samples ja die zu nutzenden Sounds, ja im Prinzip die U<tgesamte Klangwelt und die Stilistik, eigentlich ziemlich genau vorgeben. Darauf kreativ aufzubauen erfordert meiner Meinung nach einen viel genauer geplanten und durchdachten Ansatz, vor allem, wenn es einem wichtig ist, nicht einfach nur eine modernisierte Version des Originals zu produzieren. Nichtsdestotrotz ist es toll, dass die Entwicklung nicht nur neben, sondern auch auf der AMIGA-Plattform selber bis heute nicht aufgehrt hat, die Popularitt in der Demoszene iU=st auch aktuell ungebrochen. Natrlich gab es damals schon Bestrebungen, die Grenzen der Plattform zu sprengen - man denke an den OctaMED oder den Oktalyzer, die durch internes Samplemixen die effektive Stimmenanzahl zum Komponieren auf 8 erhhen konnten. Meine eigenen Versuche, mit dem Oktalyzer endeten aber wieder schnell, weil die schon kompromittierte Audioqualitt der 8-Bit-Samples durch den internen Rechenprozess nochmals halbiert wurde und der Sound, der dabei am EnU>9\de rauskam, mir einfach audio-technisch zu schlecht klang. Seit 2020 gibt es z.B. Amigaklang von Virgill, einen modularen Samplesynthesizer, der es mglich macht, kleine, aber toll klingende Samples zu synthetisieren, etwas, was ich schon in den 80ern bestimmt gerne genutzt htte. Die Entwicklung dieser Tools wird heutzutage meist in der Demoszene getrieben von dem Bestreben, noch kleinere Mods mglich zu machen, weil die grenbeschrnkten Formate fr Demos und Intros wU?=ie 4k, 8k oder 64k plattformbergreifend immer populrer geworden sind. @2Outro @1Was bleibt als Schlusswort? Ich habe kein wirkliches. Fr mich war der AMIGA eine musikalische Phase - eine, der ich einiges zu verdanken habe, die mir extrem geholfen hat mich weiterzuentwickeln und mich in einer sehr exklusiven Szene als Musiker populr gemacht hat. Das habe ich natrlich auch den ganzen Menschen, den Programmieren, Orgas und sonstigen Scenern, mit denen U@ich damals zu tun hatte, und die mir eine "Bhne" gegeben haben, zu verdanken. Aber ich musste weiterziehen, als die musikalischen Mglichkeiten dort fr mich ausgelotet waren. Danach, eine Zeit lang Mitte der 90er, besa ich nicht mal einen Computer, ich konzentrierte mich voll und ganz auf meine damalige Band, Gitarre spielen und Live-Musik. Allerdings bin ich auch froh, dass ich ber 10 Jahre spter, 2007, wieder zurck in die Demoszene gefunden habe und diese nochmUAal ganz neu erleben und erfahren konnte - schlielich war es jetzt mglich, "richtige" Musik ( ;-)) im Studio fr Demos zu produzieren- im Grunde das, wo ich in den 80ern schon immer hin wollte. t lang Mitte der 90er, besa ich nicht mal einen Computer, ich konzentrierte mich voll und ganz auf meine damalige Band, Gitarre spielen und Live-Musik. Allerdings bin ich auch froh, dass ich ber 10 Jahre spter, 2007, wieder zurck in die Demoszene gefunden habe und diese nochm\!SAHrobocop.artikel&S@ir RoboCop by Josea A. Gonzalez P )('AY&diskmag.artikel& IܽiAZ;rijeka.artikel&Ra @i0 @2Martin Klein - Travel Report @2An Adventure in Rijeka - Exploring Culture, History, and Technology @1In the idyllic month of June 2023, my family and I embarked on an unforgettable journey along the Croatian coast. Our base was in Rijeka, a charming city rich in history and culture. During our explorations, we ventured into nearby cities such as Crikvenica, Opatija, and Pula, each luring us with its unique charm and attractions. @2Crikv} 3enica: A Coastal Town with Historical Flair @1Our first-day trip took us to Crikvenica, a picturesque coastal town overlooking the Adriatic Sea. The long promenade along the coast and the fine pebble beach invited us to a relaxing day by the sea. However, Crikvenica has more to offer than just beach life. The St. Antonius Church, built in the 18th century, impressed us with its baroque architecture and intricate frescoes. But what we particularly appreciated was the atGvmosphere of the many small restaurants along the beach promenade. @2Opatija: Where Elegance Meets Nature @1The elegant city of Opatija charmed us with its blend of historical grandeur and breathtaking nature. Its long-standing tradition as a spa resort is reflected in the magnificent villas and hotels along the promenade. A highlight was our stroll through the adjacent Angiolina Park, which houses a fascinating variety of plants from around the world. We also took a boat tour along the coast, accompanied by some dolphins. They clearly enjoyed providing us with an escort, evident from their numerous leaps out of the water. It was a fantastic and unforgettable experience. @2Pula: A Journey through Ancient Heritage @1Our exploration also took us to Pula, known for its remarkably well-preserved Roman amphitheater, the Arena of Pula. This impressive structure from the 1st century AD could accommodate over 20,000 spectators and once served as a venue for gladiator fights and other events. However, we only admired the amphitheater from the outside since there were already numerous tour buses in the parking lot, resulting in a long queue at the entrance. We opted to explore the city center a bit and made a detour to the nearby shopping center, which offered a welcome change with its numerous Croatian stores. @2The Peek&Poke Computer Museum: Where Technology Writes History! @1One of the highlights of our vacation was undoubtedly the visit to the Peek&Poke Computer Museum in Rijeka. This unique museum takes visitors on a fascinating journey through the evolution of computer technology. Spread over an area of 300 square meters and two floors, it covers the early mechanical calculating machines to the latest innovations in the digital age. Here, the history of information technology comes to life. For example, you can marvel at the first 1-gigabyte hard drive, whose size and sh|ape resemble parts of a washing machine. At the heart of the museum were dozens of exhibits that illustrated the progress of computer technology. There's even an impressive collection of old mechanical typewriters. Tom Hanks, a collector of such wonderful pieces himself, would have been delighted. Another highlight was undoubtedly the functional reconstruction of the legendary ENIAC, one of the first electronic mainframe computers. This impressive colossus of cables Gand control panels served as a reminder of how far we've come since the early days. The exhibition also includes milestones like the Apple I, the first IBM PC, and many devices from Commodore, including the famous "breadbox" C64. You can also see some fantastic Amiga computers, such as the Amiga 500 (my first Amiga after the C64), A600, A1000, A1200 (my second Amiga, equipped with a hard drive as part of the MagicPack), A4000, a Commodore CDTV, and of course, an Amiga CD32 PD console. If only I had come a week earlier, I could have played some games on the CD32. Unfortunately, some students from the nearby school beat me to it and had so much fun playing that the controllers didn't survive. A DVD player was running a DVD of the "C64 Demosampler #1," and the typical C64 SID sounds transported me back to my childhood - what a nostalgia trip! While I marveled at the many Commodore devices, my wife and daughter were more excited about the  exhibited Nintendo and Sega game consoles. You could try out some games on an N64 and Sega MegaDrive. A round of "Mario Kart 64" on the N64 is always a good idea, isn't it? Arriving back at our vacation apartment in the evening, I felt compelled to share my impressions and some of the many photos I had taken directly with our "Amiga Rulez" group. And so, it happened that I went to the museum again the next day. You see, our "Amiga Rulez" member, "Rene Benseler," happened ·l to be in Pula at the time, and he had learned about the museum through me, so naturally, he wanted to go there too. It made sense to meet in person since we were both in the area. So, I made the trip, and on that occasion, I also picked up an Amiga 500 and an Atari pillow for another member of our group, Stephan Knippschild. It's quite something when you go on vacation to beautiful Croatia @i1and end up meeting with an @2"Amiga Rulez"@1 member. Life can be full of surprise bzs. There are some merchandise items available for purchase at the museum on-site (coffee mugs, magnetic pins, pillows, etc.), but unfortunately, there is no online shop. However, they do have a website where you can find out more about the museum in Rijeka (@3https://www.peekpoke.hr/)@1. @2Final Thoughts: A Journey Full of Diversity @1Our journey through Rijeka and its surrounding cities revealed the impressive diversity that Croatia has to of B|fer. From sunny beaches to historical treasures and the fascinating, small yet exquisite "Peek & Poke" Computer Museum, this was truly an unforgettable trip that left us with new impressions and memories. As we look back, we can say with a smile on our faces that we not only enjoyed the Croatian sun but also took a brief journey back to our childhood, filled with many great memories.gh Rijeka and its surrounding cities revealed the impressive diversity that Croatia has to of:Ȧh|{gfe4%  lA[!romeoknight-paula.artikel&E AYUpsygnosis.artikel&T19_@ia @2Psygnosis - the path of myths, legends, and immortality @1If you want to write about Psygnosis, you should not start directly with it. That's weird, but it has its justification. Liverpool has always been an extremely flourishing source and city for many activities and celebrities. There are the Beatles, Liverpool FC, and the Royal Albert Liverpool Philarmonic Orchestra, just to name a few. We go back in time and find ourselves in the midst of thec~e software and games scene during the 80s, which was booming in the UK like nowhere else. At the beginning of this time period, there was quite a lot of so-called "one-man- development". Companies like Odin, Bubble Bus, or The Edge are literally sprouting from the ground in the UK. 3However, starting in the mid-80s, the nature of game development changed. Software houses like Hewson or Ocean, which had relied on large teams and many programmers from the beginning, su5 rvived. More and more of the small software 1companies disappeared from the market. The cost factor struck relentlessly. Many studios had to file for bankruptcy. 01984 was a special year. Imagine Software was born and made a big noise in the British press. The newly founded company announced the much-hyped "mega-games", which were celebrated by British gaming magazines as the new superstars of the scene even before the release. 2Here flowed no cheap, but apparently only the finest champagne and that was 2non-stop around the clock. The founders were often photographed in sinfully expensive sports cars and told everyone, even those who did NOT really want to 1know, how extraordinary and great their games were going to be, which should also appear on the market soon. However, the bombshell burst faster than probably thought - the "mega games" turned out to be a perfect and perfidious marketing stunt. The company perished and the games nebver officially appeared. Ocean Software took advantage of the opportunity and secured the name and the trademark rights. A wise decision because Ocean later published many well-known arcade hits under the name Imagine, almost exclusively developed originally by Konami. But the defeated by the names of Ian Hetherington, David Lawson, and Jonathan Ellis did not give up. New strings were pulled. Briefly formed under the name "Fire Iron," Sinclair UK reportedly paid the he5jfty sum of 100,000 English pounds to Ocean for the naming rights of "Bandersnatch," one of the titles that never appeared before. This was to create a drawing card for the hapless Sinclair QL. Sinclair distanced itself from this deal again a short time later and Psygnosis was born - its first title "Brataccas" based on the ominous "Bandersnatch" - one of the "Mega-Games" that never made it to the release under Imagine Games. This is also where Psygnosis' first unique se:@lling point was developed. While other publishers and manufacturers relied on simple designs for artwork 2and packaging, Roger Dean was recruited as designer. The artwork had a high aesthetic standard, but more importantly, an enormously high recognition value. The first important milestone was thus reached. Also, the famous Psygnosis lettering along with the owl came from his pen. More 2known as a publisher, Psygnosis also started developing games in-house. Very 1unuPsual from the beginning was the contract arrangement with the programmers. 2While they were previously paid one-time by most competitors and received a small obulus from the sales revenues, at Psygnosis many were hired as full-time employees from the beginning - a real novelty with high fixed costs. Lawson in particular was not afraid and took full risks. This was to prove to be right and groundbreaking. 1The Amiga versions suffered from the typical "ST syndrome" in the  }bbeginning. Simple 1:1 conversions were the rule, mainly with a slightly better sound. The 1ST initially sold much better in the UK than the Amiga, and was secretly and off the record already considered the winner in the 16-bit war. But then Atari UK made a serious mistake. The ST was released in a bundle with 20 (!) absolute top games, which led to higher hardware sales, but at the same time lowered the game sales drastically. Besides, more and more developers learned to  ㄉappreciate the much better hardware of the Amiga. At the beginning of 1988, the Amiga finally established itself in the UK as the number 1 among the 16-bit computers and also became the internal lead platform at Psygnosis - from now on, the ST had to be content with downsized versions. 1The Psygnosis boxes and games were sometimes sinfully expensive but often 2featured exclusive content. T-shirts, for example, were included in the packaging - no other company was as sal \es-driven as these Brits. They knew what they could do and let the market and others clearly feel it. 01989 was a special year for Psygnosis and the "addicted" Amiga gamers. Shadow 3of the Beast" was enthusiastically brought to the attention of gamers in 1advance by magazines. Reflections developed for Psygnosis - Martin Edmondson and Paul Howarth produced and programmed. David Whittaker, already well-known and successful on 8-bit computers, composed the music and effect Fs. Martin once said about David: @2"We approached him every day with new ideas. I think he was almost on the verge of insanity. But he delivered on everything we imagined."@1 The game appeared and with shaky hands, the disk was inserted. The player was greeted with such a pompous "Welcome" that it easily pulled the rug out from under your feet. Whittaker's soundtrack was epic, powerful and unforgettable all at once. There was no other game at the time of release that   could even come close to matching it technically. And at the same time, this was the great weakness of the early Psygnosis games - playability. Apart from jumping, punching, kicking, and now and then an unspectacular solving of mini-puzzles, there wasn't much offered in terms of gameplay - besides, the difficulty level was high, too high - this should also remain a trademark of Psygnosis for a long time. Average players never saw the end without a cheat. Developed by DMA Design, "Blood Money" did it better in the same year. One of the best intros on the Amiga, hellishly good music by Ray Norrish, and a high difficulty level rounded off the overall package. But in contrast to the beast, this title lured you to the screen again and again. Difficult parts could be mastered after several attempts - a high replay value with enormous addiction potential was the logical consequence. And finally, the German press recognized the quality of the P1sygnosis forge. But the British could do much more than just action. Strategy and Psygnosis, can that work? @2Yes, it can.@1 Lemmings appeared in 1991 and fascinated not only die-hard fans. The combination of tactics, the right strategy, and a pinch of hustle and bustle captivated me from the beginning. At first nicely accessible, but more challenging from level to level - a mixture that was a complete success. Lemmings was a super hit and was implemented on every knor_wn system - even on the Atari Lynx - an indestructible evergreen, even today. Towards the end of the Psygnosis era on the Amiga, the third "Beast" part once again inspired - for many the best part of the series in terms of gameplay. And with "Brian the Lion" (also for AGA) the Brits showed that on the Amiga Japanophile game ideas and multifaceted level design are possible - great playability, beautiful animations, and a great level design looked as if it had been made fr/Kxom a single piece. What has remained of the fascination of Psygnosis in the end? Wonderful memories, games that could make every ST and PC owner jealous, catchy songs, and lots of fun. In addition, the courage to leave familiar ground and enter new paradigms. This took a lot of courage and inner strength. In the end, these are the paths and ideas that many other studios have copied, acquired, and adopted. Can there be a better compliment? @2No, certainly not.@1 Thane (k you, Psygnosis or as Hnschen Rosenthal would say: @2THAT WAS GREAT!@1 Markus "Riddler" Kunklerries, games that could make every ST and PC owner jealous, catchy songs, and lots of fun. In addition, the courage to leave familiar ground and enter new paradigms. This took a lot of courage and inner strength. In the end, these are the paths and ideas that many other studios have copied, acquired, and adopted. Can there be a better compliment? @2No, certainly not.@1 Than swAY ymaniacmansion.artikel&䕂@i8 @2Home Computer Stories @3Maniac Mansion - Who needs puzzles? @4Dennis Pauler @1Adventure stories on the computer have always fascinated me. It started in 1985 2with simple text adventures on the C64. In German, of course, because I had 1just learned to read and I was still far away from understanding English texts. A very simple adventure game from a program disk of the magazine @3CPU@1, which I had received as a gift at a computer fair, took me for the first time into an adventure, which did not depend on joystick skills. With texts, two-word phrases, and simple images, I wandered through a castle without really understanding what I was actually doing. But the fascination was awakened. 2The fox hunt from the Input64 magazine 6/85 made it easier for me - not on 1horseback with a rifle, but homing in on transmitters as a radio operator. I 2didn't3L have a clue about radio either - that was to come years later - but while walking through the forest I solved my first adventure puzzles (at this point a nice greeting to the wild boars, who let themselves be convinced by my 2collected acorns to clear the way). I made my first excursion into fantasy worlds during my visit to Dragon Valley. In this game, too, I loved exploring the world, which, despite simple graphics, took shape mainly in my head. A great milestone in m[!y adventure career was the journey with detective Sir Charles Foxworth and his assistant Regis aboard the paddlewheel steamer Delta Princess. Without the keyboard, using only the joystick, an icon and menu control system, and detailed graphics, I set out to find the murderer on the Mississippi River. 1The game was staged, like a movie with complex (by the standards of the time) sets and an illustrious round of crime suspects. You could talk to the 2passengers, gather c`Nlues, and move freely through the steamer as an animated character. Unfortunately, I was not able to solve the case at that time, because my backup copy had a reading error at the crucial point. Crap. But this sorrow was quickly forgotten when one day the first two SCUMM adventures from Lucasfilm Games found their way to me. I was very taken with Zak McKracken, but it was the English version and my school English still had serious gaps in understanding. So, it was the GØerman version of Maniac Mansion that I was particularly fond of. The first tough decision had to be made before the actual game started: Which three children should I choose? And what for? I don't remember exactly which combination I chose. The only thing that was clear 2was that the nerd (i.e. Bernhard) had to come along! After the atmospheric intro, we stood together in front of the old manor house. The task was to save Dave's girlfriend Sandy! So, I started to put togetÆkdher simple sentences with the cursor control and then 2sneaked into the house. As soon as I was inside with Dave, I ran into Edna, 2the lady of the house. She didn't take long and threw me into the dungeon. 2She babbled something incomprehensible to me about "tying me to the bed". 2One in prison, I was left with another two children. With the rather timid Bernhard, I then ventured further into the house, taking everything along the 2way that wasn't nailed down. Who [t knew what a salty old roast and a broken bottle of tomato ketchup could be used for? The story began to capture me. I had never experienced such immersion. The house inhabitants' own lives, which I was able to witness @in 3again and again in cutscenes, did the rest. But let's fast forward 2to the encounter with Grntentakel: Did you know that Bernhard was so 1afraid of Doctor Fred's living invention that he ran away screaming as soon as he saw him? Too bad that Dave, th ň\e brave one of the troupe, was languishing in the dungeon. But at least, Bernhard managed to throw the hungry tentacle a piece of food (e.g. a rotten roast or a broken bottle of tomato ketchup) again and again before he ran away screaming. With a little patience, this mystery was also solved, Bernhard got past the tentacle - and ran into the arms of the family's son. He sensed espionage, threw Bernhard into the dungeon and that was the end of my journey. Two children  xFin the dungeon with important items in the inventory. @3So how should it continue? @1I saved the score and used my phone joker. I told my friend Michael, who already knew the game, where I had gotten stuck and asked for help. He was very surprised how far I had already come without help and told me in a three- quarters of an hour phone call (at 23 pfennigs per unit) in detail the steps up to rescuing Sandy. I memorized everything, followed the clues, and was finally ab r le to call the meteor police, get rid of the evil meteor, and successfully complete the mission. However, I didn't realize that I had deprived myself of some of the fun of the game by doing this. We weren't familiar with the term "spoiler" back then, and we didn't yet recognize the value of puzzles as a game element. For me, it was just about exploring the house, absorbing the environment in amazement, and freeing Sandy. This experience was a real first for me. Maniac  Mansion was not only my first "real" point-and-click adventure but also the first one I completed! I was also able to finish Zak McKracken thanks to numerous hints (and a German version). However, it would take until The Secret of Monkey Island for me to master an adventure game on my own without being handed the solution on a silver platter. @3But that's another story.@1ng the environment in amazement, and freeing Sandy. This experience was a real first for me. ManiacɊP@ip @3SOUNDTRACK @3BY ROMEO KNIGHT @2My Personal Story @2of the AMIGA Sound @2Intro @1I am actually a C64 fan. It may sound strange, but like many computer musicians 1of my generation (I was born in 1971), the C64 was my first step into making 2music. The unique possibilities of the SID chip combined with the tracks of ingenious musicians - Rob Hubbard is mentioned here as a representative of all 1great C64 composers - let the spark and the fascination for elWectronic music, which already existed in me at that time, grow into the firm desire to compose computer music myself. The instrument was already on the desk in my childhood room at that time. So, there were no real obstacles to overcome to get started. This is now the attempt to chronologically summarize the importance of the musical abilities that the AMIGA brought along at that time from my very personal perspective. Since I'm practically just digging everything o5pA[krogharr.artikel&4q;j @ic @1Brief Talks: @6Tigerskunk @1Krogharr 2@1We could take the opportunity to get Michael Borrmann aka 2Tigerskunk for a little interview in our first issue of the 3disk magazine Amiga Rulez to learn a bit behind the scenes about his new game Krogharr. @2DNA:@1 3Dear Michael, first of all, thank you for taking the time 1to answer our questions. What I always wanted to know: How 2did the name Tigerskunk come about in the first place? A little ͅs/tribute to the tiger duck? ;) Is there a little story about this? @2Tigerskunk:@1 That was my pet name from the mother of my second child (my ex-girlfriend so to say :D ). In the beginning, it was only "Tiger", but then somehow "Pepe the Skunk" was added, and she invented a mixture of both: The "Tigerskunk". I found it so funny that I used it for my amiga projects. @2DNA:@1 Well, speaking of names, how did the hero of your latest game come to be Krogharr? A cross bΆetween Krog and Barbarian, maybe? @2Tigerskunk:@1 That was already a few years ago. But I think that's how it came about: I first wanted to end with "ARRRR". Then the name somehow came up like that. Later I heard that in Scandinavia "Krog" means "beer mug". Of course, that fits even better, purely by chance. @2DNA:@1 How many levels will there be? What is the story about and will we see a final fight in a tavern? @2Tigerskunk:@1 1Four levels are planned so far. In^ terms of difficulty, even casual players 0should be able to play through the game. The story is that the evil @7PILSATOR@1 1has stolen the beer from Krogharr's tribe. Now Krogharr is out for revenge. But I still have to think about the final fight scene. There is nothing set in stone yet ;). @2DNA:@1 In many classic Amiga games, it was common for the coder to add some cheats. Are there any cheats or easter eggs to be found in your game? Is it worth the search? @2Y}Tigerskunk:@1 I personally have some flags inside the code to become immortal for better game testing. But its nothing that can be activated by a key combination or so. @2DNA:@1 The OCS graphics are really impressive. How you play with the Biplanes and the colors is world-class. You have already shown that in Inviyya as well. What do you think about AGA? @2Tigerskunk:@1 Actually, it's cool that there are AGA and the 1200 series. Somehow, this is the C65 of the Amiga =ix>that really appeared then. It's great that there is still a level higher than OCS. But for me personally, OCS is much more fun to code with. I like the limitations from a creative point of view much better than the bottlenecks that AGA imposes on you. The OCS is for me just a very coherent and elegant chipset embedded in a fantastic computer. But there are certainly many people out there who think AGA is better. @2DNA:@1 Which programs do you use to create your graphics and Eanimations? Do you only use Amiga native software or do you also work with a PC or Mac? @2Tigerskunk:@1 I use Aseprite and Visual Studio on the Mac. I also use a bunch of self-written tools building everything exactly the way it is needed for my code. @2DNA:@1 And what about music and sound effects? Do you use a classic Amiga tracker or do you also work on a Mac, e.g., with Audacity or Milky Tracker? @2Tigerskunk:@1 I use OcenAudio to edit samples and Protracker 2_)H.3 for music on Mac OS. There's a version that works very well and is quite handy for me. @2DNA:@1 After the space spectacle Inviyya and Inviyya 2 - Hyperblaster, which is still in development, you are now working on something completely different with Krogharr. How did that come about? @2Tigerskunk:@1 I had a very tough time privately in spring and was then quite demotivated to continue on Inviyya2. I was almost ready to give up the whole retrocoding topic. ԸX Then I "quickly" thought about doing something else to give me a whole different set of ideas. Kroghaar came back to my mind and I wanted to be able to design it in a manageable period of time. So around 3 to 4 months. And tadaaa, the motivation came back, and now, I even have a lot of ideas for Inviyya2. @2DNA:@1 I know that you wrote Inviyya completely in Assembly. Is that the case with Kroghrarr, too? @2Tigerskunk: @1 Yes, Krogharr as well as Inviyya 2 are based o 4(YKn the Inviyya engine. Both games even use large parts of the same code. And that is for Amiga and Neo Geo! So, everything I'm currently building for Krogharr is also useful for Inviyya2. @2DNA:@1 Are you planning to port this to other systems as well? I imagine that in assembly code to be very difficult. Or is the programming on the NeoGeo similar, because it is also based on the MC 68000? @2Tigerskunk:@1 Neo Geo is no problem at all. I think I should be able to get it DD running in a week. MegaDrive would be interesting, of course, because it's also based on a 068K CPU. I had a short glimpse at it. We will see ;). @2DNA:@1 Is it also interesting for you to develop a game, especially for the Vampire Amigas? The SAGA chipset is an amazing development. Ports like VanillaConquer aka Command and Conquer or Robin Hood: Legend of Sherwood already show the potential of this Amiga generation very impressively. @2Tigerskunk:@1 I think the vampi !Jre cards are great. However, I always have the approach of wanting to take full advantage of what the hardware offers. As a "one-man show", I am completely undersized there. I'm now, after seven years, just good enough to build something that takes advantage of AGA and Neo Geo and doesn't look totally awful on those systems. @2DNA:@1 Have you ever considered writing down your experiences about Amiga game development in a book? So that your know-how and valuable tips and t Kricks won't get lost as a legacy to the Amiga community? @2Tigerskunk:@1 Unfortunately, I'm not interested. There are by now enough good tutorials on how to build games anyway. That was completely different in 2016 when I started. @2DNA:@1 Many thanks, Micha, for your time and interesting insights into your thoughts. We wish you a lot of fun and success with all your projects and of course, we hope that you continue to stay with the Amiga community for a very long time 4L with many new games. We are already impatiently looking forward to Krogharr the BEERserker. @im @2Tigerskunk:@1 Thank you, DNA, and I'm curious how your Disk-Mag project will go on... :) erent in 2016 when I started. @2DNA:@1 Many thanks, Micha, for your time and interesting insights into your thoughts. We wish you a lot of fun and success with all your projects and of course, we hope that you continue to stay with the Amiga community for a very long time ڠbut of my memory, please excuse any inaccuracies. @2The Prehistory - The C64: @1For me it started in 1985 - I got a C128, which had a CP/M mode in addition to 2the C64 mode, to be able to use "serious" software - a great argument for parents, who of course didn't want you to only play on the computer, but also do useful things with it, e.g., for school. As expected, however, the computer 2ran exclusively in C64 mode for playing games on it. Floppy disks with the 1new D0Qest games were exchanged in the schoolyard. But some of the games at that time were mainly captivating because of their soundtrack. The games themselves were often not really interesting at all or sometimes even just bad. So, it was 2not uncommon, after coming home from school in the early afternoon, that I 1often started some game and then chilled to the theme music or something like 2that (instead of listening to pop music or whatever like other kids). Up to this point, ..G`AZimpressum.artikel&ݦS{ @i7 @2AMIGA RULEZ - THE DISK-MAG @1is published quarterly on floppy disk or as an .ADF file for the Classic Amigas. The editorial team currently consists of Markus Kunkler (Riddler), Markus Becker (Pixelwalker) and Daniel Voelkel (DNA). Only together we are a strong team. Therefore, we are looking for support in the areas of editing, translation English <--> German, coding, graphics, and music. The magazine is free of charge and is filled both with contribut޾8ions from guests and from our own authors. The aim of the magazine is a relaxed sharing of information and opinions in the style of a disc mag of the 90s. More information about the magazine and the possibility to contribute: @4www.bit.ly/3tzVrE0 (Facebook "Amiga Rulez") @4www.amiga-rulez.de @4www.amiga-rulez.com @2Copyright: @1All articles published in the magazine are protected by copyright. All rights and translations are in this respect reserved. Comments and a16rticles in AMIGA RULEZ always reflect solely the opinion of the respective author, not that of the entire editorial team. @2Idea: @1 Frank Hfels @2Code: @1 Daniel Voelkel @2Editorial team: @1 Markus Kunkler, Markus Becker, Daniel Voelkel @2Graphics: @1 Markus Becker, Frank Hfels, Daniel Voelkel @2General support:@1 Sven Koopmann, Jens Wohnig @2Great Music:@1 Triace Desire @2Systems used: @5A@1500, @5A@11200, @5A@14000TX, @5A@1500mini, WinUAE @2Software in useI' AZ>greetings.artikel&EU @i6 @1No release without greetings and thanks. It's just part of the tradition. But don't worry, they won't take up half the magazine. @2Frank "Witchbone" Hfels AKA Frank H aus L @1 I greet my dear wife Erika and our princess Hope (our dog), who wholeheartedly support me in my work, whether it's in the hardware or software field. She gives me the space to pursue my hobby. I send warm greetings to my acquaintance Thomas Neubauer. It was through him that I~F retrieved my Amiga from the cellar. Ten years ago, I was still using the C64 when he appeared with his defective A500, and everything began. Greetings to DingensCGN and DigitalKeeper from the A1k Forum, who supported me in troubleshooting with their helpful advice. @2Sven "Koopie" Koopmann@1 I greet my wife Sabrina, who fully supports me in my hobby, "Amiga," and my colleague Manuel Jurado, who got me back into getting another Amiga through lunchtime conversations. Ϥ @2Markus "Pixelwalker" Becker@1 I greet my brother Michael, who shares the Amiga hobby passionately with me; Emmanuel, the epitome of German-French friendship; Jony Ive, who embodies true inspiration for the desire for design; and Steve Jobs, who awakened in me a completely new understanding of product culture and philosophy. @2Markus "Riddler" Kunkler@1 My greetings go to Ed Fries, Wolfgang Eckhardt Back (RIP, WDR Computerclub), and Brian Dickinson. Thank you! @2JenPw.s Wohnig@1 I thank my wife and my son for putting up with me and my hobby. A special thanks to Frank H. for his warm and always helpful nature. Stay the way you are. Also, to my mailwoman Carmen, who rings my door almost every day with new, fantastic Amiga games. @2Daniel "DNA" Voelkel@1 I want to express my heartfelt thanks to my charming girlfriend and future wife 1Nicole. She supports and tolerates me and my hobby to the utmost, even when I often don't know when it']s too much. 3Furthermore, I want to thank Michael Kafka. As an AMOS specialist, he was 2always there, through text, phone, video conferencing. The guy is unbeatable, a huge thank you to you. 2And as the originator of the idea for the magazine, a big thank you to Frank. Even though the start of the project was quite bumpy, I hope it will work better in the future. Your helpfulness and ambition are admirable. Furthermore, a greeting to my best friend, Henri, who actively iLFgntroduced me to the Amiga scene in 1996 and sadly left us far too early. And, of course, to all the fellow contributors, authors, and opinion sharers who supported me in working on the magazine. To all the active folks, the coders, graphic artists, organizers, and all other Amiga maniacs: @3THANK YOU! LONG LIVE AMIGA! , I hope it will work better in the future. Your helpfulness and ambition are admirable. Furthermore, a greeting to my best friend, Henri, who actively iŬk@1: Cosmigo - Motion Pro NG Steffest - DPaint.js Jasc - Paintshop Pro 5 Francois Lionet - AMOS Sunset Design - grafx2 WinUAE @2Issue 23-01 @1MKII@1aniel Voelkel @2Editorial team: @1 Markus Kunkler, Markus Becker, Daniel Voelkel @2Graphics: @1 Markus Becker, Frank Hfels, Daniel Voelkel @2General support:@1 Sven Koopmann, Jens Wohnig @2Great Music:@1 Triace Desire @2Systems used: @5A@1500, @5A@11200, @5A@14000TX, @5A@1500mini, WinUAE @2Software in use!Q1=A[ geoff.artikel&@ih @4Markus Kunkler @4Portrait: Geoff Crammond @5The Origins @4Geoff Crammond, actually Geoffrey J. Crammond, is a closed book for many gamers. Some don't even know his name, but they do know what he has programmed over many years. We try to bring light into the darkness. Crammond was born and grew up in England. After completing is regular schooling, he decided to study physics. Physi'$cal laws and calculations fascinated him at a young age. He successfully completed his studies and then began working for the Marconi Company in London. At the time, Marconi was one of the leading telecommunications providers in the UK. Crammond spent eight years there professionally before breaking new ground in this area. He learns to program in Fortran at Marconi and ib+9nternally takes care of the mathematical and object programming implementation of models related to the business activities of his employer. 2The computers Crammond was working with at the time he later described as 2"room-filling". One cannot speak of microcomputers here yet, but he is 2interested in the coming technology - at the end of the 70s (especially overseas) and beginning of the 80s, especially in the UK, various manufacturers># 2began to produce computers also for private use and introduce them to the market - the era of the so-called home computers has begun. @5Crammond, the BBC, and how they both got a computer: @4 In the early 1980s, the BBC jumped on the bandwagon of computer-related television shows and programs. The "BBC Computer Literacy Project" was launched. With the series, the declared goal was to actively and practically illustrate the programming and creation of programs for 클various tasks - but in the beginning, they still needed the right computer for this. The BBC launched a tender in which, for example, Sinclair Research (ZX Spectrum) and Dragon Data (Dragon 32/64) as well as Acorn Computers took part. Since it is a British program, manufacturers such as Atari, Apple, or Commodore are excluded from the beginning and play no role here. Sinclair, including company founder Clive Sinclair, thought they had a great chance. The Spectrum -sold extremely well and was the best-selling computer in Great Britain for a long time. Until now, Acorn had only developed the moderately successful Acorn Atom. In addition, they were in the middle of developing the successor. The Acorn development team nevertheless agreed and managed to complete the successor and present it to the BBC a few days before the deadline. The Acorn was the only computer that met all the broadcaster's requirements, and Sinclair was unexpectedly-b@ eliminated from the race. Thus, the official computer for the show was born and Acorn simply called it "BBC Micro". The BBC B was the most common variant of the computer and technically stronger than the Sinclair Spectrum. Graphics and sound chips were more powerful, plus its CPU was based on a 6502 processor from MOS Technology and not on the (typically British) Z80A structure of the Sinclair. The CPU is clocked at 2 MHz, just like the Atari 800 - and was thus noticeaP(bly faster tha the Commodore 64, which was very popular at the time. Only the RAM of just 32 kilobytes put it somewhat behind the competition in this regard. Crammond saw the computer for the first time in the early 80s at a trade show presentation and was instantly thrilled. He pre-ordered a copy and waited 6 months for his device. After receiving it, he first dealt with the (really good) BASIC interpreter of the BBC but realized very quickly that he could not come cl wose to exploiting the potential of the computer with it. Soon, it was clear to him that he had to switch to assembler. He obtained technical literature specially adapted to the 6502 processor and taught himself this programming language in self-study. He has always been fascinated by 3D graphics. His first self-programmed game, however, was a simple Space Invaders clone called "Super Invaders". At that time, distribution channels were still wild and unstructured. Many g ame developers advertised their games in popular computer magazines. However, Crammond decided to take a different route and sent his game to the Acornsoft label, which distributed and circulated games for their own computers. To his surprise, Acornsoft liked his game. Thus, "Super Invaders" is also his first commercial title. After "Super Invaders" followed "Aviator", a 3D flight simulation in which an English Spitfire is simulated. Again, Acornsoft was handling the d $. istribution. "Super Invaders" and "Aviator" were small sales successes for the manufacturer and Crammond at the same time and were exclusively available for the BBC Micro. But the final breakthrough was still to come... In the meantime, he had a lot of freedom in his work at Acornsoft, who trusted him fully and appreciated him for his knowledge and loyalty and his meticulous way of working. An avid fan of motoring and racing since his youth, Crammond had never lost  4 his interest in it and decided to develop a racing simulation. In 1985, "Revs" was released exclusively for BBC Micro and, from today's perspective, was considered a killer app for the BBC, along with "Elite" by David Braben, which appeared a year earlier and initially exclusively for the Micro. While the predecessors were only moderate successes, "Revs" hit the ground running. Virtually every owner of the Micro who was a racing enthusiast bought the game. Until that  Btime, there was no comparable game for this computer. Presented in a classic 3D cockpit view and squeezed into 32 KB of RAM, Crammond programmed a Formula 3 simulation with an unprecedented gaming experience. Although there was only one racetrack in the original version, buyers and testers alike were thrilled. The game was more difficult and more authentic than any other racing simulation on the market. Small mistakes were immediately punished by flying off the track. Even Zthe aerodynamics of the user's own car (front and rear wings) were adjustable, which had a noticeable effect on the driving behavior - a small novelty at the time. Later, an upgraded version of the game was released for the Commodore 64, which offered more tracks than the original and was distributed by Firebird. This success represented a big personal change for him. From "Revs" on, he earned so well with his games that he quit his job at Marconi and devoted himself oŻnly to game programming. @5A Sentinel and the Amiga: @4 In 1987, a game appeared with which Crammond left the terrain he had been used to. "The Sentinel" is a strategy game - completely untypical for him. The entire playing field is displayed in 3D from the first-person perspective and consists of several squares. High on a hill, the Sentinel watches over the playing area and initially rests. When the player becomes active, it wakes up and scans the game area. It slowly rotCates around its own axis in real-time. For all squares that show an energy value equal to 1 or higher, he withdraws it. On the playing field, there are trees that the player can create and absorb at the same time. In addition, he can build mounds to give himself a height advantage or create a new shell of himself to teleport to another square. Each object has different energy values - a tree has one energy point, a mound two, and a new body shell three points, for example.q Correct - the player cannot move himself to capture fields. He moves on, or more and more up, purely by absorbing and creating objects. Locomotion comes from creating a new shell and slipping into it. But you can only create what your own energy bar dictates. If the sentinel has completely drained all the energy points from your own character, the game is considered lost. From the lower levels, there is no way to defeat the sentinel directly. Only those who manage (to use free space wisely, build objects, absorb cleverly and at least reach the same height as the sentinel have a chance to defeat him. A clear view of the sentinel is the basic condition for this - then you can attack him, take his place, and enter the next level with a hyperspace jump. The graphics are abstract, the game itself has a rather dark atmosphere and is rudimentarily similar to "Tron". Technically flawless, the overall presentation can be classified as qui})te simple. The sound effects are appropriate, and there is no background music (at first). In terms of gameplay, "The Sentinel" can best be described as a mixture of chess and mill (Nine Men's Morris), with a large portion of tactics. The access is nevertheless surprisingly simple and in practice much easier than it has been described here. "The Sentinel" becomes a hit and is NOT released on the Amiga at first: In 1987, the Atari ST sold much better than the Amiga, espe*cially in Great Britain. Only in 1988, combined with the increasing success of the Amiga 500, publisher Firebird decided to release a version for the Amiga as well. The scrolling is better and faster than in any other version, and atmospheric background music was added. Purely in terms of gameplay, however, everything remains the same. Through a clever algorithm, Crammond managed to integrate 10,000 different levels in all versions. After each completed level, the pla=SECTOR_SIZE) linked_sector[coord_y=SECTOR_SIZE) linked_sector[coord_yQA@?>lAYd blick.artikel&=?/@2Daniel Cloutier @3The new View in Retrospect @1Looking back, one sees certain things differently than before: @iw Another adventure in pixel art? No, finally one with rendered backgrounds, yay! Another 2.5D action game again? No, finally real 3D! Oh, the perspective of those days. What was once new eventually becomes obsolete or familiar, and what seemed boringly established back then appears polished and somewhat timeless in retrospect. I=@n 1992/1993, us Amiga players increasingly looked towards the MS-DOS camp for technical marvels made possible by fast Intel 386 processors: epic vector battles in X-Wing, immersive scrolling dungeons in Ultima Underworld, and historic aerial combat in Aces of the Pacific. 2But early 3D games have many successors: are we still playing the second generation today when the twelfth is already installed on our home computers? 2Or the early CD-heavy games like 7th Guest? =AWhat solely relies on novelty quickly becomes old, technology stays fresh for only a short while, and trends 1pass by swiftly. Rendered backgrounds in later DOS adventures (Yes, Malcolm, 1shame on you!) or early attempts at vector graphics? It might suffice for a nostalgic trip, but I can't find lasting enjoyment here. I can personally say that I would like to install Dune by Cryo again, with its chaotic but unique blend of strategy and adventure. Or Chaos Engine by the =/.QtBitmap Brothers, which, despite its flaws, is a polished, even back then "old- school" co-op fun. @iz Instead of technically immature games from the 3D, rendering, and CD era, I tend to return to classics like Turrican, Lotus, or Monkey Island, preferably on the Amiga. These are games that pushed the boundaries of their genre and well-established technology or brought something entirely unique to the table.of strategy and adventure. Or Chaos Engine by the BC`GFEDCAYpibigbox1.artikel&BDiG@2Le Ede - @4Restoration tips for big-box patients @4Episode 01 - Dents, bulges and bruises @it @1Here, in several episodes, various tips are offered to improve damage or other unsightly conditions on the boxes of our beloved video games. Please be careful. As with anything, something can always go wrong. If you have never done something like this before, try it out on a cheap box first. @2Image 01: @1In the image, BE-you can see various deformations on the outside of the box. @2Image 02: @1 To get bulges out of the boxes, we need an iron. Every iron gives off heat to a greater or lesser extent - so start rather cautiously, i.e., with a medium setting. 0If the box cannot be treated, set the iron a little hotter. In any case, place the box between two ordinary pieces of baking paper. @2Never (!) @1iron directly on it. There are big boxesBFޫ that are coated - partly with an aluminum foil or a protective film. Here, ironing could even worsen the condition. 0Aluminum expands when heated, and plastic film melts. In any case, it must be a box that is simply printed. I think you guys know what is meant here. Do not worry, this does not apply to the vast majority of boxes, the above special 0condition is rather rare, but should still be mentioned. @i2 @2Image 03@1 If you ever need to iron on thBGbe top of a rigid big box, make counter-molds out 2 of wooden boards, for example. I have made 1 these, in 5-6 sizes, for different box sizes and heights. You insert these from the bottom 1 of the box so that you don't crush the edge when ironing. @2Image 04@1 This way, it already looks a lot better. If you still have questions, please post them in our Facebook group. We are always happy to answer themB as best we can. rigid big box, make counter-molds out 2 of wooden boards, for example. I have made 1 these, in 5-6 sizes, for different box sizes and heights. You insert these from the bottom 1 of the box so that you don't crush the edge when ironing. @2Image 04@1 This way, it already looks a lot better. If you still have questions, please post them in our Facebook group. We are always happy to answer themHI\pLKJIOAYPBbarbariana.artikel&HJvz@id @6Stephan Pfoertner @1Barbariana @6The game is a mix of many modern gaming techniques that did not exist in 1987. Barbariana is developed for the Amiga 500 and will also run on more powerful devices. The challenge in this project is to give the Amiga 500 something new and fresh, something that we could have done on better systems, but the Amiga 500 gets another chance this way. HK$H To understand the world of Klein-Wiesenhain (the game's central location), several short stories are being created to clarify the connections for the user. You will learn a lot about the character you are playing. You will get to know the people and gain an understanding of the situation in which the village finds itself. 2In the first short story, "The Eternal Night," we meet Wilhelm and Wenzel. Both are survivors of HL>the "Great Raid," as the people call the bloody battle that almost wiped out the village. By the end of the story, one is dead, and the other is left burdened with 2guilt. It's a story of love, seduction, hope, despair, and hopelessness. We get to know the night and its dark dangers. We immerse ourselves in the cosmos of this particularly small world. If gaming in 1987 was mostly arcade, the best computer in the world is now getting new attention. Join us in discovHԲJering the living project "@1Barbariana" @6and experience how the story unfolds in the world of the Amiga. @2http://www.goodthings-development.com/eft burdened with 2guilt. It's a story of love, seduction, hope, despair, and hopelessness. We get to know the night and its dark dangers. We immerse ourselves in the cosmos of this particularly small world. If gaming in 1987 was mostly arcade, the best computer in the world is now getting new attention. Join us in discovMN.9NQAG-astronaut.artikel&MQM@is Astronaut by Jose A. Gonzalez Pof the game (no matter if you have the box or download version) will get free access to all upcoming updates through their user account at amigashop.org! You can find more information at @7www.asm-das-spiel.de @1The game can be ordered at: @7www.amigashop.org/index.php?cPath=49"e: @2Send us your feedback! @6We don't see "ASM" as finished yet! @1If you have any ideas or suggestions on hoOP\ dcba`_^]\[ZYXWVUTSRQP'A[ asm.artikel&OQp c@ib @1Michael Kafke @2ASM @6- The Computer Game @6(The Director's Cut) @1A look behind the scenes @1Which computer game has the longest time in development? Starfield? Duke Nukem Forever? Star Citizen? 1If you go by the numbers, "ASM - The Computer Game", with its 32 years almost 1to the day from the "laying of the foundation stone" in September 1991 to its 1release in September 2023, is theoretically almost on top. But of courseORZw, this 0is not really the case. 0We (graphics: Daniel Schwen, programming: me) put the game, which resulted from 2a programming contest of the cult magazine ASM (Aktueller Software Markt) in 0issue 10/91, on ice for a long time in the middle of 1994. 2After the contest was not canceled at that time (there were too many changes 0in the editorial staff), the graphic adventure for the Commodore Amiga underwent 2a major rebuild to become an independent title, without any referOS ence to ASM. 5"JOY", as we now call it, was not published due to the sudden demise of 1Commodore, however, and literally disappeared into the drawer. We had found an 0interested publisher, but they put too much pressure on us and the gag contract 3didn't suit us either. We didn't continue working on the development of the 2game until 2022. The time in between should therefore not really be counted. 2But still, the game became an important companion in our lives and was never 1OT'14forgotten by us. Why the sudden decision to revive "ASM"? For that, we have to 4go back to 2019. After a painful but fortunately harmless hospitalization, 3I had to stay at home in bed for 2 weeks. After years of Amiga abstinence, 0I started to set up a WinUAE configuration with my development environment from 2back then and had already programmed a small "Snake" game the same afternoon. 0It's probably like riding a bike, which you never forget. On Facebook, I quickly 0found maOUkny like-minded people, and my love for the Amiga was once again awoken. 1Reviving "ASM" was an obvious choice. I imagined how it would be to gather the 2old ASM-Guard and publish a retro-revival-edition - just like the Amiga-Joker 2did in 2017 and 2019. At first, however, this all remained just an idea. It 1seemed to be too much work for me to start such a project next to my day job. 0But in 2022 someone else had the same idea: Alexander Drews (as editor at Amiga 2FuturOVSe certainly not unknown) started working on a new "ASM" issue. Very good! 1Less work for us, but the perfect opportunity to finally complete the game. I 3wrote to Alexander and asked if they wanted to finish the contest from back 3then. He thought it was a great idea! From a call with "ASM" editor Klaus 2Trafford in 1992, I knew that there were 6 entries in total. But the other 5 were no longer to be found. 1Daniel, who had moved to the USA in the meantime, and I began to woOWf#rk eagerly 0on revising the game. We said to ourselves, "All or nothing - now or never! No 0compromises!" The starting point for our final version should be the last state 1of the game from 1994 (with many extensions, improvements, and revisions), but 0again as "ASM" and with the original characters from back then (if they give us 3permission). My little "Snake" clone also found its way into the "Director's 0Cut" as a new minigame so that it doesn't disappear unused in some dirOX ectory of 0my hard disk! 1You can find the whole story in the game's manual, so I'd like to look at the 3development from a different perspective here: How do two 16-year-old pupils 2develop a complete graphic adventure on a scale they've never managed before? 5Long planning? Reading up on the subject matter? Gathering inspiration by 5intensively playing competing games? None of that. Of course, we knew the 0adventure games of the time, but due to the tight 6-month timefraO Y_ >me dictated by 1the deadline, we didn't have the time for such extensive planning or research. 3We just started and added room to room as it seemed reasonable and logical. 6Plots, puzzles, and gags popped out naturally and spontaneously from the 0situations. 4We met almost every day after school (mostly at my home). Daniel drew the 0graphics (in Deluxe Paint) and we discussed what could happen in a new room and 4what objects should be there. The first room had a door. Since O ZPbthis is an 2adventure game, this door is locked, of course, and there is no sign of the 3key. Once you have managed to get through, a hallway with 5 doors follows. 2What waits behind the doors for the players, we did not know at this moment. 2One room became a darkroom because we thought this was logical and necessary 0for a magazine editorial office. This automatically resulted in a puzzle, where 2we had to find an undeveloped photo film elsewhere and now figure out how to O []1get a photo from it. The technical background for this was provided by our art 1teacher. What the photo was ultimately needed for was also not clear to us at this point. And so it went on, room by room. 2Daniel and I loved comedies, especially the parodies la "The Naked Gun" or 3"Hot Shots!" had taken a fancy to us. Many gags in the game are therefore 4variations and jokes from these movies adapted to the theme of "computer 4games". Yes, even the cinematic credits at thO \J/e very end are 1:1 the typed 3credits from "Hot Shots!", where we just put our names over and over again 1exwhere it made the most sense. "Production Design," "Camera," "Wigs?" Sure: Graphics -> Daniel. "Editing," "sound effects," "sound recording?" Program engineering -> me. And there's even a recipe for cooking in the credits, just like in the movie (look out for it next time you watch the movie!). We have banana-cress soup, which we haven't tried yet... 2No joke wO ]cas too shallow for us not to include it in the game. Many gags also 3came about more by pure chance. For example, there's a bookstore that looks 2like it's the drawing of a 5-year-old child. How did that come about? Daniel 2was on vacation and I wanted to include the bookstore in the meantime. So, I 1made a sketch in DPaint with a thick, round brush to roughly define where each 1item was. This looked so funny in the finished game that when Daniel returned, 1we decided to just kO^beep it that way. Fittingly, the mouse cursor in this room 1is also bent. When we later added animations to everything and you could, for 0example, open and close the crooked door, it looked even funnier. Another coincidence involved the departure of an NPC. If you make it to the backyard of the building in time, a car appears that honks briefly and then leaves the screen to the right. Something I didn't consider when programming: some scenes don't use the entire width of tO_h+he screen, but have a black bar on the right and left to create a feeling of narrowness. Such is the case with the backyard. When I finished programming the departure sequence and wanted to try it out, the car went out of the screen beyond the black bar as if nothing was wrong. I hadn't expected that and was literally on the floor laughing. We didn't really care whether the players ultimately understood this as a gag or regarded it as a supposed graphics error. 3Only whO`%en a joke was completely confusing did we remove or rework it. As a 1programmer, you develop a kind of "blinders on" effect at some point. You just 5know the whole backstory and putting yourself in the player's shoes isn't 2always easy. That's why it's so important to put your game in front of some 1people for testing and preferably explain NOTHING to them. This is what we did 3in the last 3 months before the release and the resulting feedback from the 0testers we "recruited" fOaCWQrom the Amiga community was enormously helpful and made 0the game even better. Here's another example: At the beginning of the game, in true "Monkey Island 2" style, there is a choice between "Play half" and "I want it all". 7@1In the original version, we didn't explain "play half" any further. After 1starting the game, the right half of the screen was simply black - with no way 4to change this. We found it extremely funny. Our thought: the player will 3restart annoyed anOb4d choose the option again. Maybe he doesn't notice it the 2second time, but at the latest the third time, when he reads "Play HALF", he 0should notice it, right? 1No, the player didn't notice. We got some feedback that the game was buggy and 2unplayable. We left the gag in but instead added a "Welcome to Play Half" text, 1followed by an animated fade-out of the right half of the screen. 2And since the light switch in the image had no function so far, you can now 0exit this modOcQ?e using it. Feedback from our testers also led to the small pocket 1computer, which you have in your inventory from the beginning and which can be 0used to call up all important texts with hints again later. It happened several 3times during the test phase that testers clicked away a text too quickly or 6simply forgot the content (the game is very text-heavy, which is why we 0describe it more as a "text adventure - with graphics"). @1The desire for such a lookup function Od2arose and we implemented it immediately. I could write a long origin story for every room and every gag, which could probably fill a big book. But who would be interested in that? And it would also spoil the game - more than I probably already did here. That's why I'll close my little report at this point and end with a request to all "ASM" players out there: @2Send us your feedback! @6We don't see "ASM" as finished yet! @1If you have any ideas or suggestions on hoOpWw to improve the game even further, we'll be happy to hear about it! All buyers of the game (no matter if you have the box or download version) will get free access to all upcoming updates through their user account at amigashop.org! You can find more information at @7www.asm-das-spiel.de @1The game can be ordered at: @7www.amigashop.org/index.php?cPath=49"e: @2Send us your feedback! @6We don't see "ASM" as finished yet! @1If you have any ideas or suggestions on ho fS%released albums that made intensive use of sampling, like Depeche Mode's "Construction Time Again" in 1983 and "Some Great Reward" in 1984, Jean-Michel Jarre's "Zoolook" in 1984, or Kraftwerk's "Electric Caf" in 1986. There were even whole acts that defined their sound exclusively through samples at that time, like The Art of Noise or Yello (I'm deliberately leaving the hip-hop scene out of it. That would be a whole other chapter). There were already sampling attempts on gs the C64, which at that time felt like the next level. But the hardware wasn't really designed for sample playback. Apart from the crisp drums of Martin Galway's "Arkanoid", I don't remember anything that sounded really appealing. At least the raspy voice output of some games put me in rapture because it made me feel like playing on an arcade machine designed with superior hardware. Bottom line: The AMIGA was hip. Everything indicated to continue on the AMIGA. The C128 had {Ԑo to be sold to get money. As far as I remember, the offer of a big supermarket chain for 1399 Deutschmark caused quite a run on the A500. Only a short time later, I bought a Deluxe Sound Sampler for it. A small black box with RCA input to be able to sample myself. After all, that's what it was all about for me in the first place. @2Fascination and disillusion @1At the end of 1987, the day had come. Of course, the first thing to do was to play games on the Amigahizyxwvutsrqponmlkji!AZamiga03keyboard.artikel&hj"Z@iy @2Markus Becker @2AMIGA and its revived peripherals @2Part 3: Keyboards @1 1From spare parts solutions for Classic Amigas to various connection adapters and completely new keyboards, there is now a whole range of products. However, 4the availability of niche products is rather short-lived. Therefore, this article can only provide a snapshot of the current situation. @2AMIGA KEYCAPS: 3@1Those who were already case modding the Amiga key-boarhkj[Ud computers, primarily 1the A500 and A1200, in the late 1990s and early 2000s often had no choice but 4to improvise with old stock products from the Amiga world. For example, at 0times it was a common fashion to cannibalize the keycaps of a CDTV keyboard for 0a black-painted A1200 case. 7Fortunately, A1200.net has provided a remedy. New Black keycap sets are 4currently available for all Classic Amigas with Mitsumi switches in various 1language layouts. A translucent version hl0Mand a selection of other color options 0will be offered in the near future. 2For BigBox Amigas, on the other hand, which have been retrofitted with a USB 0keyboard with Cherry MX switches by their owners, Steve Jones had offered Amiga 1keycaps in black and white as part of his Checkmate product line for a while. @2MECHANICAL REPLACEMENT KEYBOARDS: 6@1A first start for new keyboards was made in 2018 with the Kipper2k MX 3A500/A1200 replacement keyboards, which were not inhmMtended as a collection of 2individual parts, but as a complete replacement of the existing keyboard. 1You could order the keyboards mainly via the AmigaOnTheLake online shop in, as 1you would expect, black or white. At the moment, however, it is unlikely that 2they will be produced again and that the stocks will be replenished. Next step was the KA59 Replacement Keyboard from Rasport, which was specially developed for the A1200. The following selection options are avahnچ eilable: @2- Keycaps-Colour in white or black - 3 switch options for the expression of the tactile click feedback - 11 Language layouts - Capslock LED color adjustable (red/green/blue) @1The haptics of the typing sensation through the click feedback are phenomenally well done here - at least if you have consciously chosen the blue switch option. Those who are among the select few who have had the pleasure of testing this know what I mean: this thing is a must-have for everho8y A1200 owner. 1Due to long queues, further pre-orders are currently no longer being accepted. 0First, all orders that have already been accepted will be processed, which will 1probably take until the first quarter of 2024. At a later time, the keyboards 0still in stock from production will be offered in an online shop. 2A1200.net is also currently working on a new version of the mechanical Amiga 0keyboard. This should be compatible with the Classic Amigas A500/1200/200hp=y0/3000 5and 4000. In addition, a USB connection is also being considered for PC, 2Raspberry Pi, and even for the Vampire V4 SA. Unfortunately, nothing is known 1about the release date at the moment. But of course, we hope that this project 0will actually be realised. @2ADAPTER: 1@1For those who have bought a Checkmate 1500 Plus desktop case for an Amiga 500 1or 1200 and want to continue using the standard keyboard, there are external 2keyboard cases from the same product hq?Urange available. Surprise: The color of 1the cases is once again available in black or white. For the A500 keyboard, a 0special cable kit is offered for this purpose. The A1200, on the other hand, requires the Keyrah V2 interface and a USB adapter with a corresponding cable connection. For the use of PS2/IBM-AT keyboards, PS2 keyboard adapters are available for the Amiga. The version for the A500 is an add-on board and for the A2000/3000 a cable adapter. With an addih rX;tional PS2-to-USB converter, most USB keyboards can also be used. The typical Amiga reset functionality is integrated via @2WIN-Left+WIN-Right+CTRL@1. @1Such an adapter is available, for example, in the Retroguru online shop. 1Another very popular PS2 keyboard adapter is the Lyra 3. By means of a PS2-to- 7USB converter, USB keyboards that support the PS2 protocol can also be used 4here. As the icing on the cake, a completely user-definable key assignment 0including possih sble multi-media keys is possible. Instead of additional drivers, 4configuration data in the flash memory is used. For the A1200 there is an 4internal version that plugs into its keyboard controller chip, and for the 0BigBox Amigas, there is a cable version. 4USB keyboards can also be connected directly to the Amiga via the SUM USB 0keyboard adapter. For CD32 and BigBox Amigas, the SUM A234/CD32 is available as 3a cable adapter, and for the A600/1200, the SUM 600/1200 is availh table as an 2internal add-on board. The integrated USB stack enables direct support of USB 0HID keyboards without having to install additional driver software. 3If you also want to enjoy wireless USB keyboards on the Classic Amiga, you 5should use the internal AmiKey USB keyboard interface. The standard Amiga 2keyboard can still be used at the same time. Versions are currently available 5for the following Amiga models: A500/600/1200. Especially with a Checkmate computer caseh uP5 , this option is very interesting. 0If, on the other hand, you want to use your complete A600 or A1200 reduced as a 1keyboard on a PC or on a Raspberry Pi, you can use the Keyrah V2 interface for 2this. In addition to the keyboard, two DB9 joysticks can be used on the PC. @2NEW AMIGA USB KEYBOARDS: @1The latest keyboard highlight from Simulant Systems is the mechanical Amiga Classic USB PC keyboard with Cherry MX switches. The keycaps have the Amiga look and the kh veyboard housing is retro beige. Even the original Amiga logo is depicted on the upper front. The keyboard can also be connected to Classic Amigas via a USB HID interface adapter. Simulant Systems is developing its own adapter for this. For FPGA-based Amigas, with the exception of the Vampire V4 SA, Checkmate sells its own USB keyboard with Cherry MX switches. As mentioned at the beginning, these were also available with Amiga keycaps for a while. Apollo Computer offershwq6 the USB-based Apollo Core Key-board for the V4 SA in the Vampire corporate design. At this point, the original CDTV keyboard is also worth mentioning. This can be connected to the V4 SA via a do-it-yourself adapter with an Arduino controller. Thomas Kckerbauer offers information on how to build one yourself on the PCBWAY page. The required USB stack can also be obtained from his GitHub-page. 3The Amiga PowerPCs should not be forgotten either. For a while, I recall my 5inhxmɳ)troductory remark about the short life of niche products, there was the 2AmigaOne keyboard from A-EON. It is black, has a silver AmigaOne logo in the 5middle of the upper front and has embossed boingballs as Amiga keys. The 5keyboard can also be connected to Classic Amigas via a USB HID interface 0adapter. 2Last but not least, the CD32 should be mentioned. Commodore released its own 1CD32 keyboard based on the CD-1221, but matched to the CD32 color look. Since 0Commodore wenhy$"qt bankrupt a short time later, there are only very few models that 3were produced. Accordingly, I would also consider it more likely to have an 1encounter with an alien than with this keyboard. However, if someone can offer 1me this model at an affordable price, i.e. not at exorbitant Ebay prices, then 0I could add it to my Amiga harem. Alternatively, it would also be possible to use the very compact SunRace JME- 08231 Industrial Keyboard. The colors are amazingly close to hzNMithe CD32 look. If you now use a self-adhesive and printable vinyl sticker for the CD32 logo and are not afraid to paint over the A for the two Amiga keys, you will get a very fine solution at a reasonable price. In this sense: let's keep the design in black and white, but ideas and products in colorful variety. @2Markus Becker alias Pixel-Walker @1 LINKS: @4www.a1200.net @1(Keycaps + Replacement Keyboard) @4www.amigaonthelake.com @1(Kipper2k h-wCMx Replacement Keyboards) @4www.retroguro.eu @1(PS2 Keyboard Adapter) @4www.amiga-shop.net @1(Lyra3, SUM, Keyrah V2, AmigaOne Keyboard) @4www.sordan.ie @1(AmiKey USB Adapter) @4www.simulant.uk @1(Simulant USB Keyboard) @4www.shop.apollo-computer.com @1(Vampire V4 SA Keyboard)as and products in colorful variety. @2Markus Becker alias Pixel-Walker @1 LINKS: @4www.a1200.net @1(Keycaps + Replacement Keyboard) @4www.amigaonthelake.com @1(Kipper2k  |ډ. I remember Marble Madness, which was in graphics and sound hardly distinguishable from the arcade machines. My joy could hardly be greater. Games like "Garrison" or "Phalanx" had title graphics with great soundtracks, which, as it soon turned out, were not composed directly on the computer. The songs were 4- or 8-bar loops that had been previously produced in the studio. Some of the very early demos also used such soundtracks, which were logically terribly repetitive. Bu54et that hardly slowed down the enthusiasm, because it no longer sounded like "cheap" computer music, which was all that mattered to me at first. I think the first music program I ever opened on the AMIGA was "Bars & Pipes". 1Playing notes on a graphically displayed piano was something completely new. 1The samples of classical instruments sounded fantastic at that time and made you want to play more. But that was it! Only one instrument could be assigned 3to each track. } ~5~-AX amiga02mouse.artikel&}Ҕ@ix @2Markus Becker @2AMIGA and its revived peripherals @2Part 2: Mice @1When you think of Amiga and Mouse, the omnipresent image of the legendary Tank Mouse with its angular design certainly comes to mind. But even back then, there was more choice than first glance might suggest. 1For example, there was the Commodore CD1200 track-ball controller. Compared to 3the standard CDTV remote, the trackball offered faster control of the mouse }g 4pointer in CDTV applications. This controller also had two DB9 ports. This 1allowed joystick signals to be transmitted wirelessly to the CDTV. So this was 1already a freebie and an invitation at the same time to become a couch potato. 3But trackball mice were not forgotten by the rest of the Amiga world. What 1Commodore didnt do, third-party vendors did. Here, for example, the TKB-MT-AC 1from Alfa Data would be worth mentioning. The device was also known as Crystal 8Trackb}Zؙall because the ball was translucent and gave a slightly glowing 1impression depending on the incidence of light and the viewing angle. This was 0indeed a real eye-catcher. 2Alfa Data had two more exotic mouse replacements to offer: the Alfa Pen and 1Alfa Optical. The Pen is an optical input device that comes with a mouse pad. 1Due to its shape, the device is also known as a brush pen mouse. Alfa Optical 3on the other hand is one of the first optical Amiga cable mice. So if y}Ҟou 3wanted to, you could say goodbye to the ball-mouse and its cleaning cycles. 0Let us do a short swing back to the CDTV. Commodore offered the CD1253, a black 0cable mouse matching the design of the computer. 8But for a more futuristic approach, the CD1252 was the better choice: 2a wireless black infrared mouse with a rounded soft edge design. For energy- 0saving reasons, as the whole thing was battery-powered, there wasa small button 0on the side with which the mouse h}o}cad to be activated before use. Who would have 8thought that - an ergonomic and energy-efficient design from Commodore! 0Okay, but now enough of all the indulgence in nostalgic memories of bygone days. 0We should slowly move towards more contemporary shores. With the Amiga Boingball mouse from A-Eon, there was a wired optical sensor mouse with an additional scroll wheel button for DB9 ports available. This mouse 3was offered in both white and black. The top was decorated } :with a plastic boingball symbol. The Classic Amiga Mouse from AmigaKit has a similar design to the A-Eon model. Here, however, the Amiga tick logo is printed on its top. The mouse is available for DB9 or USB port in white or black. If you own an Amiga 1200 in a black A1200.net case and want to keep its black- beauty look, AmigaKit offers the A1200 mouse - basically identical to the classic version, but only available in black with the white A1200 logo. There is als}ao an adequate branding solution for the Vampire V4 Stand Alone with the wired Apollo Red Mouse. 2Sometimes it's best to stop where you started: the tank mouse. There are two 3interesting revival versions. The A500 mini mouse from Retro Games - simply 3called "The Mouse" - is a cable-connected tank mouse with optical laser 3sensors. For use on a classic Amiga, a DB9 to USB adapter is required. The 0mouse is slightly smaller than the original. However, if you want to stick}| with the classic Tank mouse by pimping it up to 2something more contemporary, we recommend installing an upgrade board with an optical laser sensor. But as we all know: you save the best for last: The newly reissued Tank Mouse by Lukas Remis. I would even say that this is the ultimate in the realm of Amiga mice. At the moment, the mouse is only available at the Irish online shop Sordan. It is a wireless USB Bluetooth mouse. For use with a classic Amiga,}  the Tikus DB9 to USB adapter is recommended, which can be ordered together if required. Mouse and adapter are available in black or white. The replacement buttons can be chosen in red, silver, black or yellow. The special gimmick, however, is the scroll wheel function located in the middle between the two standard mouse buttons and is hidden as a sensor underneath the enclosure. With this in mind: stay loyal to the Amiga and support new products. @2Markus Bec} D5ker alias Pixel-Walker @1LINKS: @4https://www.amiga-shop.net @1(Boingball Mouse) @4https://amigakit.amiga.store @1(Classic + A1200 Optical Mouse) @4https://sordan.ie @1(Tank Mouse) @4https://retrogames.biz/products/themouse @1(A500 Mini Mouse)l wheel function located in the middle between the two standard mouse buttons and is hidden as a sensor underneath the enclosure. With this in mind: stay loyal to the Amiga and support new products. @2Markus Bec^fI don't remember that there was an option to use your own 2samples. The application seemed more like a toy and was of course not even 1close to being a tool that could be used for musical development. After all, the whole range of subtractive synthesis was already used on the C64, including filters and ring modulation. In order to save tracks, it was already common for a long time to constantly switch between instruments per track. I don't think I spent more than 2 hours wit;bnt joystick projects is presented 2below, which help to revive the gaming spirit of the 80s and 90s within the 0retro gaming scene. Before that, however, a few words about the Amiga PowerStick, 0the veteran of the Amiga family. @io 4 When the Amiga computer was secretly 0 still in development under the codename 3 Lorraine, Amiga Corporation initially 3 developed at the beginning of the 80s 0 equipment for video game consoles of the 0 time, su;Mch as the Atari VCS. 2 This includes above all, the Amiga 0 PowerStick, a very handy joystick that 1 is suitable for one-handed use due to 0 its compactness. 0The joystick was supposed to help finance the Lorraine project, but this was 1only partially successful since the video game industry collapsed under the 0video game crash in the United States in 1983. However, as we all know, the Amiga did manage to see the light of day, which is certainly;. a suitable story for a future post. In the booming period of the Amiga, the Competition Pro joystick from Kempston Micro Electronics was particularly popular. A digital joystick with DB9 connection and microswitches made it extremely robust and precise. 5The ArcadeR 9PIN Retro Joystick is without question a worthy successor of 2recent dates. The model is available in many different colors. There are even 3exchangeable spare parts for microswitches, fire buttons and knobs;|! promising 0flexible and long-lasting use. The second fire button offers several adjustable 6options for customization and an option for auto-fire is also available. 3If you are looking for more of the classic arcade hall feeling, I strongly 1recommend the TGS joystick aka The Greek Stick - a handcrafted arcade joystick 6in a compact metal enclosure. When ordering, you can choose whether the 6position of the stick should be designed for right-handed or left-handed 1people. I;sOxt can also be configured whether the joystick should be equipped with 1one or two fire buttons and with or without an auto-fire option. Even the packaging is worth a mention, using a PacMan-style wooden box instead of a padded cardboard box. The now very popular Monster joysticks, the Arcade Evolution Amiga joysticks from AmigaKit and the recently successful Kickstarter campaign for the Immortal joysticks should of course be mentioned in the same breath for premium joys;0Zticks of the first choice. 4No less interesting is the Unithor joystick by Uni-Joy. Despite successful 7crowdfunding, it is currently unclear whether the project will still be 7realized due to internal discrepancies. According to recent reports from 6August 2023, the project will be rebooted, which gives reason for hope. 4Anyone who owns a CD32 knows the basic dilemma of this console: every DB9 2joystick can be connected in principle but is not necessarily really usable. 0;CWSome CD32-Games can only be played properly with the original controller due to 1its own 4-button layout. So it has to be at least a CD32-compatible controller 2like the Honey Bee. The CD32 Retro Kits from Monster Joysticks have recently 2put things right. This set probably represents the only range of joysticks in 0the CD32 world. 0But we are still a long way from reaching the end of the road because the Amiga 2can also be "wireless". Commotron offers the Turbo 2000 Super De; }s luxe Gamepad, 5especially with Amiga Look. However, if you want more product variety, I recommend the Unijoysticle A500 from Retro Moe, a DB9 Bluetooth adapter that supports a large number of wireless controllers. With this in mind: "GAMES ON" for the next 5GameBattle by Amiga Rulez. @2Markus Becker aka Pixel-Walker @1LINKS @5https://tgsjoystick.wordpress.com @5https://www.immortaljoysticks.co.uk @5https://monsterjoysticks.com @5https://www.amiga-shop.net @; vA1(ArcadeR und Turbo 2000 Gamepad) @5https://amigakit.amiga.store @1(Arcade Evolution Joystick) @5https://www.ami64.com @1(Unijoysticle2).e, a DB9 Bluetooth adapter that supports a large number of wireless controllers. With this in mind: "GAMES ON" for the next 5GameBattle by Amiga Rulez. @2Markus Becker aka Pixel-Walker @1LINKS @5https://tgsjoystick.wordpress.com @5https://www.immortaljoysticks.co.uk @5https://monsterjoysticks.com @5https://www.amiga-shop.net @0h "Bars & Pipes" after all. Then came Aegis Sonix. - Here I could now use my own samples and there was a synthesizer. So you could use samples and synth sounds in combination. The fact that you had to put notes on a sheet of music instead of in a tracker view didn't bother me. I had enjoyed classical musical training (on the clarinet) in my youth. I was familiar with all of that. The synthesizer in Sonix, however, completely disappointed me. There were only rudimentaryc` synthesis parameters and all sounds somehow sounded like the same "plastic". By the way, the very first track I composed with Sonix - appropriately titled "The New Age" - won 2nd place in the music contest of the Amiga Magazine - the counterpart to the "64er" of the Markt & Technik Publishing Company. Ironically, the prize was the Aegis Sonix Software. No idea what the editors had in mind, but somehow it was very funny. Sonix felt very quickly limited with its possibiP#lities. Switching to Karsten Obarski's Ultimate Soundtracker was the logical thing to do. The tracker view was familiar and it offered the ability to manipulate samples in real time. This was mainly the case with the later unofficially developed versions of Noisetracker and Protracker. I composed essentially all my tracks or mods (short for modules, as the Protracker format was called) with version 2.3 until 1995. But: The enthusiasm for the new platform quicklAGfspM%Ninstal (2) 8. The Real 40K - Lego (1)ire (5) Heavy Cargo / Focus Design (5) 5. 4kASM / Lemon. (4) Fat Circuits / Offence, Rebels & Alcatraz (4) Griffin / Nah-Kolor (4) 8. Everything turns / Rebels (1) For Real / Spaceballs (1) Logic OS / Logicoma (1) @2All-Time Intro:@1 1. Coda / Abyss (5) Deeppan - the final slice / Efreet (5) 3. 1000% / Scoopex (4) Colombia / Lemon. (4) 5. Everyway / Logicoma (3) Impossible / Loonies (3) 7. Tetris Intro - Melon & Cryu> AGfstartup-sequence+G|???8?@~~~~~~~~~~~~~~UUT\o? SYS:System/DiskCopy ,AI#DiskMag23-01.infop P@@(@@mX@' P@x?_ O* z?/x_x /qWzpQx ?pUzuGSx |G@EQ~ >U?E*UC^ UU*>U~TU?U_U??W0 @W0 ppp0@tal9 !  0? ???x??xTd.P   ApP78=p 8Pa8P( UU]@ @ Z@ @ΖlDP@&?_ O* z?/x_x /qWzpQx ?pUzuGSx |GQyQ~ >U?E*UC^ UU*>U~TU?U_U??P/ ?`P8pxpx?p??hJ??F?V??T?\?xXt.W?_??^}?>_}?_@~*PP, R4PVx@` P((`H00*080*h4$`4(*,_DOV/AP/!\'WX A0`ST@ $YJoTE? =_PE U@j*PTT@ U@@* M amigarulez.exe&?_ O* z?/x_x /qWzpQx ?pUzuGSx |G% AI# Disk.infop1@@@,@1h@lX@ 22@@\A@@x UUUꪪUUU꪿U_꪿U_꪿U_꪿U_꪿U_꪿U_꪿U_ꪪ㢙ΩⶡJ#㪭̩⢥J ⢙JUC ETJ@T* UC TW" ETW*PWa*cUPUW(*@@UW UUT UUT *U@T *U@T *U@T *U@T *U@T *U@T *U@T iD|???8?)@@xUUTꪪUUU꪿U_꪿U_꪿U_꪿U_꪿U_꪿U_꪿U_ꪪg,* TTB@*UTW" APW PWa *cA@W*UW ~~~~~~~~~~~~~~$G|???8?@~~~~~~~~~~~~~~UUT\? SYS:System/DiskCopyU_꪿U_꪿U_꪿U_꪿U_ꪪ=AHucp@dAF TYPE@))**H,yBCXNJgJ#r,@BN#z "MJg g&  fB)/  n` ,zB" $<NJg*,zaBa#v"B&JT:@FG8AF* ARMAG.anssuG _____ .__ __________ .__ / _ \ _____ |__| _________ \______ \__ __| | ____ ________ / /_\ \ / \| |/ ___\__ \ | _/ | \ | _/ __ \\___ / / | \ \ / /_/ > __ \_ | | \ | / |_\ ___/ / / \____|__ /__|_| /__\___ (____ / |____|_ /____/|____/\___ >_____ \ \/ \/ /_____/ \/ \/ \/ \/ _________________ ________ .__ __  F.H | | ___________ |o| \______ \ |__| _____| | __ _____ _____ ____ | | ___________ | | | | \| |/ ___/ |/ // \\__ \ / ___\ | | __DISKMAG__ | | | ` \ |\___ \| <| Y Y \/ __ \_/ /_/ > | | ___________ | | /_______ /__/____ >__|_ \__|_| (____ /\___ / | |_____________| | \/ \/ \/ \/ \//_____/ | _______ | | | | || [WHQ] www.Amiga-Rulez.de | DD | =I | V| |____|_______|____| [HQ] on Facebook Amiga Rulez __  ( )  || GrEEtiNgS To yA aLL AmiGa FrEAkz iN Da WorLD ||  ___|""|__.._ Amiga Rulez Feelingr? Home /____________\ \____________/~~~. ?_ O* z?/x_x /qWzpQx ?pUzuGSx |GG8AGR ARMAG.anspsu= _____ .__ __________ .__ / _ \ _____ |__| _________ \______ \__ __| | ____ ________ / /_\ \ / \| |/ ___\__ \ | _/ | \ | _/ __ \\___ / / | \ \ / /_/ > __ \_ | | \ | / |_\ ___/ / / \____|__ /__|_| /__\___ (____ / |____|_ /____/|____/\___ >_____ \ \/ \/ /_____/ \/ \/ \/ \/ _________________ ________ .__ __  F.H | | ___________ |o| \______ \ |__| _____| | __ _____ _____ ____ | | ___________ | | | | \| |/ ___/ |/ // \\__ \ / ___\ | | __DISKMAG__ | | | ` \ |\___ \| <| Y Y \/ __ \_/ /_/ > | | ___________ | | /_______ /__/____ >__|_ \__|_| (____ /\___ / | |_____________| | \/ \/ \/ \/ \//_____/ | _______ | | | | || [WHQ] www.Amiga-Rulez.de | DD | =I | V| |____|_______|____| [HQ] on Facebook Amiga Rulez __  ( )  || GrEEtiNgS To yA aLL AmiGa FrEAkz iN Da WorLD ||  ___|""|__.._ Amiga Rulez Feeling" Home /____________\ \____________/~~~. @kAG "devspo AG "System-Configurationαy||x|ni`@ "  j,CanonBJ5-230P B +type armag.ans 7 amigarulez.execAGLIBSp 4_AGdiskfont.libraryR ";<`NJP! 0Pdiskfont.librarydiskfont 33.16 (10 Feb 1986) HACE" <8NLJg "@#H"NtpNu/ @#,@#Cp/,yN,_#gJCrp/,yN,_# gA* XB!H ,_Nu"y/,yNb,_"N0.nH/,yN.,_p`dos.librarygraphics.library !6 DRzB/ $n*JgNJjTnD"J Q"i"!Iã͸"*/,yNd,_C6 Qf if Q"i"!ISn($R`$_Jn&f`Jn(nZ"y /,yNb,_"y/,yNb,_/.""N0.nH/,yN.,_"N Q"i"!I NupNuRn& NuSn&g .gNpNu jfb^ rn@H/N Nu/NXONuļUgNVH?< .$. ".(@TUJmBTJm$@-@..ނ-Gg~ y hJgn"h xJgRD`p0..-Gp0v ЃJm>"h v` Ю*@Rp0b4%n5hhh RTp P`gBHxN &@Pg/FONTS:.fontH> o"oJig*<4)hd 0Hڀ`0Hယt(p)Bx(p)DvBF0H2Hg,p)2Hg0@ |(`0@ |0H2Hg,p)2Hg0@ |h`0@ |HCRFpFn ` <L|NuNVH?<$n JCtQ/N-@HnN-@&nPg=kkk/ usually mixed with short drum samples. This made the tracks very small, but to me, it all sounded worse than C64 SIDs. It was only with reluctance that I let myself be persuaded to produce a total of two chiptunes ("Enigma Gun" and "Beat to the Pulp") with the chiptune tracker SIDmon. It was well received and used for several TRSi intros; however, I didn't think it was right from a musician's perspective. Musically, it felt like a step backward and I wanted to go somewghere else entirely. I was more interested in how I could get even closer to "real" music on the AMIGA platform. As a result, my mods got bigger and bigger, as I used more and better-quality samples with higher sample rates, just to sound better. In the meantime, around 1992, I started to learn electric guitar autodidactically, which of course resulted in a lot of self-made guitar samples in my mods (by the way, the guitars in the "RSi-Hard" mod of the RSi megademo of 1989 R had been recorded for me by a friend). I even tried to produce a complete metal piece ("Piggie's Hut") in Metallica style as an instrumental version, which contained so many and big samples that it needed two floppy disks. However, I found the result only conditionally good at that time, and for demos or intros, it was of course completely useless. A completely different approach, but following the same philosophy, was @2"Bsendorfer P.S.S." @1in 1992. (By the way, the *A P.S.S. stands for "plays some shit"). The idea was to reproduce a pure piano piece as real as possible on the AMIGA. For this, I used several of the sample techniques mentioned above, with which I created an enormous concept. First: One sample per octave for the melody and the bass voice, i.e., five individually played piano keys. I used the samples in such a way that they were transposed a maximum of 6 semitones up and down so that one stays as close as possible to th!!9e base note, which sounded the most natural. Second: 4 different chord samples - major, minor, augmented, and diminished. A short excursion into music theory: The most basic chords consist of three notes, which are layered in thirds. For example, a major chord consists of a major and a minor third (where a major third consists of 4 semitones and a minor third consists of 3 semitones), minor of minor + major, augmented of major + major, and diminished of minor + minor. Ac"cordingly, with these four chord variations you have in principle covered all harmonic possibilities if you additionally start transposing them, as you normally do with samples to play melodies. For the interested reader: For example, you can create a dominant seventh chord from a diminished chord on the 5th degree with an additional bass note. So, you can see that in this way harmonically more complex structures are possible than were generally usual in AMIGA mods. How#Ze&3ever, the use of chord samples was not fundamentally something new. This was also done more often by others before. Firefox and Jester come to mind. The plan now was to use one track for the bass, one for the chords (that would be the pianist's left hand), and two tracks for the melody (the right hand). These two tracks were precisely alternated with notes while composing, so that they could each overlap, as if the pianist were regularly stepping on the sustain pedal. All $9*the effort and a bit of luck in composing were finally rewarded: the demo, "Wicked Sensation", in which the piece was used as credits music, won 1st prize at the World of Commodore exhibition in 1992, judged by a top-class jury of, among others, original AMIGA hardware developers, who, by the way, praised the sound again separately at the award ceremony. That was a special moment, although I didn't really understand it at that time. The prize was a Seat Ibiza in brown-met%\allic, but besides the bad color, it was also a bit difficult to divide among us, the five guys who were involved in the demo. Fortunately, it was possible to have the car paid off in AMIGA hardware. As far as I remember, I could resell the AMIGA 4000 that I got for my share for 03500 Deutschmark. As a pure musician, this one had no additional value for me. @2PAULA and Marketing @1At this point, a special sound-technical problem of the AMIGA is worth mentioning again. &zwI had distributed the melody of "Bsendorfer P.S.S." to voices 1 and 2 without thinking about it further. This, however, had the consequence that it was played alternately on the left and right speaker when played through a stereo system because voice 1+4 and voice 2+3 each formed a pair per output. I, on the other hand, had been composing since my early days via the internal mono box of my Commodore 1901 monitor, which I had already used with the C128 at that time. For t'Uhe stereo output of the Amiga, I made a special Y-cable. And exactly that was the problem: Only properly wired to a stereo system, I got to hear the "stereo" qualities of the AMIGA - and the result was without exception terrible. All instruments apparently jumped randomly back and forth between the left and right channels, depending on how you distributed them on the tracks. Especially if you used all possible free steps in the patterns to make the arrangement seem fu(X}ller - a very common compositional technique with the few voices available, as mentioned above. At the World of Commodore event, this was a nightmare for me - my piece was not played in front of a large audience the way I had always heard it when I was composing it. Fortunately, someone from the technical team was able to switch the output for the PA to mono, at least on the second playback (after we won and) after I had pointed it out. @2Well, what exactly was the p)4Problem now? @1In the end, Commodore had simply lied when describing the AMIGA in its adver- tising, and you can still read it everywhere today: 4-channel stereo sound. This actually means that one should be able to output these 4 voices via a routing matrix to 2 physical outputs - left and right. One can thus determine the level at which each output is supplied by each voice, in the best case even automatable. But no: From a purely technical point of view, the AMIGA offers*:C# something else, namely 4 voices, two of which are hardwired together with one of the two mono outputs. Integrated into a real stereo setup this then provides the undesired effect of extreme left/right instrument chaos. The AMIGA simply doesn't output stereo by default, although it's easy to simulate this in the software. However, you would have to sacrifice two voices for this, because you would then have to equip one voice of each pair of voices identically. Variations +؄in the levels of the two identical tracks would then determine the positioning in the stereo panorama - that would be real stereo. But that was never an option. The sacrifice would have been far too great. Then rather all 4 voices in clear, honest mono. @2Evolution and after @1In 1995 the active AMIGA time was over for me. In the late years '94 and '95 I still composed for a few games. Otherwise, I probably would have given up the platform a bit earlier. Since arou,9Xnd '92, I had a Yamaha SY-77 synthesizer workstation and an Ensoniq EPS-16+ sampler (from which the Bsendorfer samples came) at home. I had saved up the money for it with vacation jobs. (Fun fact: Bob Yannes, the SID chip developer, was co-founder of Ensoniq after he left Commodore in 1982). I got a second-hand Atari Mega ST4 to be able to control my synths with Cubase via MIDI, so I could finally make that so-called "real" music, that I always had in mind. The AMIGA beca--me completely obsolete in the meantime. Maybe some context is important here as well: I had contacts with the demo scene since 1987, was a member of Red Sector, TRSi, etc., and was accordingly involved in many demo projects, but I was never keen on scene events, copyparties, or other meetings. This was never the fault of the people or the scene itself, but was up to me: I was extremely shy and socially anxious, and also the fact that my name was quite famous at some po.U0int, made me feel rather uncomfortable, especially when I was praised in any way. I think I went to a total of four parties during my entire active time. Funny enough, however, only the rather positive memories have stuck with me. So, for me, the demo scene was more of a welcome medium to bring my music to the people; I didn't really want to participate actively. The music was always in the foreground for me. But that has changed a lot today in relation to the demo s/cene. The friendships that have been made and the socializing at parties have become very important to me. @2Back to the music: @1At this point, I must mention that the music I produced with the synthesizer setup after my active AMIGA time was, in my own estimation, probably the worst music I had ever made. I'm quite sure today that it was because I couldn't handle the suddenly endless possibilities, tracks, and sounds that were available to me, and I didn't realize 0e̔it. Until then, I was used to work with tight technical limits and to focus on the essentials. Paradoxically, the removal of those limits didn't inspire my creativity, instead, I got lost in all the options, couldn't find a direction, and forgot that more tracks and more instruments don't automatically create better music. But maybe that's just part of the natural process of finding yourself as an artist. (Sounds loftier than it's meant to be.) Whatever... To this day,1l one thing hasn't changed: The fascination for C64 music has remained greater for me than for the AMIGA sound. I got direct proof of this when I first discovered the remix scene of retro computer platforms on the internet in the early 2000s. Around 2003 I started to produce C64 remixes myself. Of course, the first ones were those SIDs that had fascinated me the most as a teenager at that time, and mostly Rob Hubbard. My aim was and still is to reinterpret the source mater2 Fial but to keep the original feel and mood and recapture it. A modern version, which is better produced with today's possibilities, would have been too little for me. However, there are of course some successful examples of other remixers. Remixing decades later from the time when I had heard the original for the first time in my youth, it should become clear again how much the C64 inspired me above all: The comforting nostalgic feeling that was triggered in me again b3?by listening to many SID tunes in the 2000s, I got with very few AMIGA tunes. But more importantly, SID tunes offer more projection surface for a remix. SID tunes are very limited in their ability to mimic other instruments or create exotic sounds outside of the typical basic C64 sound, but the tunes themselves are often very fanciful and arranged with great attention to detail, often hinting at a wide variety of musical genres. Think of "Monty on the Run", which sounds lik4S8e an instrumental rock with alternating solo instruments, or "Bionic Commando" by Tim Follin, which has a distinct Latin feel to it. The latter inspired me to make a remix of it, which used classic Latin instrumentation and a bit of Santana style to echo what my inner ear had always heard in this tune. Generally speaking: From a remixer's point of view, typical C64 music can be described as a white canvas with a rough sketch that you can color in, finalize, and draw purely a5Dccording to your own ideas. AMIGA music on the other hand is much more predefined. The samples pretty much dictate the applied sounds, basically the entire sound world and stylistics. To build on that creatively requires, in my opinion, a much more carefully planned and thought out approach, especially if you care about not just making a modernized version of the original. Nevertheless, it's great that the development not only beside but also on the AMIGA platform itself h6聧asn't stopped until today, the popularity in the demoscene is still unbroken. Of course, there were already efforts to break the limits of the platform back then - think of the OctaMED or the Oktalyzer, which were able to increase the effective number of voices for composing to 8 by internal sample mixing. My own attempts with the Octalyzer ended quickly because the already compromised audio quality of the 8-bit samples was halved again by the internal computing process and 7$MUythe sound that came out in the end was simply too bad for me from an audio technical point of view. Since 2020, for example, there has been Amiga Sound by Virgill, a modular sample synthesizer that makes it possible to synthesize small but great- sounding samples. Something I definitely would have loved to use back in the 80s. The development of these tools nowadays is mostly driven in the demoscene by the desire to make even smaller mods possible, because the size-limited 8?{# formats for demos and intros like 4k, 8k, or 64k have become more and more popular across platforms. @2Outro @1What remains as a conclusion? I don't really have one. For me, AMIGA was a musical phase - one that I owe a lot to, that helped me develop immensely and made me popular as a musician in a very exclusive scene. Of course, I also owe that to all the people, programmers, orgas, and other scene companions I dealt with back then, who gave me a "stag98e". But - I had to move on when the musical possibilities there were exhausted for me. After that, for a while in the mid- 090s, I didn't even own a computer, I was fully focused on my band at the time, playing guitar and live music. 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It also plays some music. @2In the main menu@1 There is a main menu from where you can access the articles. The articles are categorized. In the main menu, you can navigate using the arrow symbols "left" and "right". The same can be done using the "left" and "right" arrow keys on the keyboard. Pressing,/oD "ESC" will always bring you back to the start of the main menu if needed. In the main menu, you will see categories and articles. The categories are displayed in orange, while the articles themselves are in yellow. When you hover the mouse over an article, the text will be displayed in reverse. This indicates that you can click on it. After clicking, the article will load and be displayed. @2In the article@1 When you are viewing an article, you can flip th,rough its pages. Here, too, you can use the arrow symbols with the mouse or the arrow keys. Additionally, you can use the "up" and "down" arrow keys to jump to the beginning and end of the article. Pressing "ESC" will take you back to the main menu, to select other articles. You can turn the music on and off at any time by pressing the "M" key. That's it :) Have fun! :)d and be displayed. @2In the article@1 When you are viewing an article, you can flip th-rough its pages. Here, too, you can use the arrow symbols with the mouse or the arrow keys. Additionally, you can use the "up" and "down" arrow keys to jump to the beginning and end of the article. Pressing "ESC" will take you back to the main menu, to select other articles. You can turn the music on and off at any time by pressing the "M" key. That's it :) Have fun! :)d and be displayed. @2In the article@1 When you are viewing an article, you can flip th12(h2AUWfloppy1O@ix @2Markus Becker @2AMIGA und seine wiederbelebte Peripherie @2Teil 2: Muse @1Denkt man an Amiga und Maus, so kommt sicherlich vielen gleich das omni%$#"! 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