. founded march 12, 1995 _| : _____ t r a x w e e k l y # 59 ______________ |___| _ _______/ /\___________________________ / ____________/ /\__\ _ _______/____/_____________________________ / / _________ \/__/ ______\ \_____________________________ / / / `_ . .~ \____\/ _ __ ___ / / / _____ . _ \ __ ___ _/__/\ / / / / /\ _ The Music Scene Newsletter __ __\__\/ _/__/ / ____/ /__\_________________________________ _____ ___ _ / /\/ /___ __________ _ ______ _ ___ \/ /\ / / /____/ \ \ / /\ / __/\ / /\ \ \ / \ /____/ / / \ / \/ /_ \___/___/ \ \_/___/ / \_/ / / \ ___\ / /_/ /______/\/ \ /______/\/ \ /_____/ // \ \ / / / \ / / \ \ \ \_\ \ \ \_\ \ //____/\____\/ / / / / / \______\/ \______\/ \_____\/ \ \ \ \ / / / / \____\/\____\ / / / / _____ _____ _____ _____ _____ _____ / / / /__/ w /\___/ /\___/ e /\___/ /\__ / l /\___/ /\____/ / / __/____/____/____/____/____/____/____/____/____/____/____/________/ / __\ \____\ e \____\ \____\ k \ ___\ \____\ y \__________/ \____\/ \____\/ \____\/ \____\/ \____\/ \____\/WW ---------------------------------------------------------------------------- - | TraxWeekly Issue #59 | Release date: 05-23-96 | Subscribers: 571 | - ---------------------------------------------------------------------------- /-[Introduction]------------------------------------------------------------ ---------------------------------------------------------------------------/ ,o@P'` ,o@P^"T@o, dSSSP^"T@o, ,o@P^"$$$b ,o@P^"T@o, yyyy Q$$b Q$$b `$$$b `$$$b `$$$b Q$$b `$$$b Q$$b `$$$b yyyyyyyyy $$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$$$$$$ $$$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$$$$$ $$$$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$$$$ $$$$$$$b `$$$b `$$$b `$$$b `$$$b `$$$b T$$$,.d$$P d$$$$$ $$$$$$$"` `"$$$$$$ $$$$$$; i n t r o d u c t i o n t o t r a x w e e k l y ;$$$$$ $SQ2$$$, ,$$iCE$ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Welcome to TraxWeekly #59. We have two rather long pieces on tracking technique this week. Catspaw continues with part of his series on improving songs through the technical aspects of their creation, and Vivid addresses in-song effect processing. It's "crunch" time for schools in the Northern Hemisphere, so apologies if TraxWeekly hasn't been keeping up with music reviews this month. Expect some better quality output starting in June! A reminder to those charitable souls who contribute articles to TraxWeekly: please re-read the format requirements. =) Thank you! Gene Wie (Psibelius) TraxWeekly Publishing gwie@owl.csusm.edu /-[Contents]---------------------------------------------------------------- ---------------------------------------------------------------------------/ ________ _________________________________________________________________ / ____/_/ __/ \ __/ / _____/ \ __/ __/ ___/_ < \____\ \ \\ \ \\____ __/ __/_\ \ \\____ \_____ \__ \ \ \ \\ \ \ww\ \\ \\ \ \ \ \ \_ _\________\________\\___\____\ \_____\\_______\\___\____\ \_____\_______\ General Articles 1. The Finishing Touches.........................Catspaw 2. Tracking Hints................................Vivid Group Columns 3. Explizit Advertisements 4. New Italian Demo Site Closing Distribution Subscription/Contribution Information TraxWeekly Staff Sheet /-[General Articles]-------------------------------------------------------- ---------------------------------------------------------------------------/ --[1. The Finishing Touches]-------------------------------------[Catspaw]-- Intro ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~^~~~^~~~^~~~^~~^~~^~~^~^~^~ Tracker nightmare #4,732: *** DCC SEND:/usr/baygled/newtewnz.zip to necros completed 4.38 kb/sec necroze: t3ll m3 wh4t j00 th1nk 0f my n3w t3wn!%@%@! Now is not the time to realize you forgot to put the finishing touches on your song. :> Last week, I wrote an article dealing with the finer technical points of writing tracked music. Now granted, little technical details will not necessarily make bad music good, nor will the lack of them necessarily ruin otherwise good music... but little details can mean the difference between a good song with potential, and a great song which has realized that potential. In each week, I'm going to repeat the following short section, which explains the way I do demonstrations of actual tracking... Example Notation ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~^~~~^~~~^~~~^~~^~~^~~^~^~^~ In TraxWeekly 15, Basehead published a phenomenal article on tracking tips. In this article, when demonstrating an aspect of tracking, he used an ASCII simulation of an ST3 interface. Now I'm aware that not everyone uses ST3 or Impulse Tracker, but it's what I'm most familiar with, and since Basehead's diagrams worked well for me, I'm going to use them here. To wit: | C#5 16 48 H83 | /^^^ ^^ ^^ ^^^\ Note & Octave | | ST3/IT Effect & Amount of effect | | sample # | | volume With that out of the way... on to today's spammage. :> Spring Cleaning ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~^~~~^~~~^~~~^~~^~~^~~^~^~^~ I know how it is to be really anxious to release your new song. :> Hell, I've made my own share of mistakes in a rush to get a song out. Still, it's worth it to take the time to clean up after yourself and tie a little bow on the package. What do I mean by that? Well, let's start from the important thing--the actual song data--and work our way down to the miscellanea. Much of this, unfortunately, will be tracker-specific to the ST3/IT interface, as I'm not sure what the equivalents for FT2 and MMEdit will be in many cases--but there should be something for everyone. :> Space-saving. If you're one of those mad phat trackers who sits down and tracks something from start to finish in one sitting, not all of this may apply to you... but if you're like the rest of us, you may skip around in patterns a lot, coming back to one at one point, jumping over to another, fiddling with things, writing an intro, etc etc. In all of this jumble, working or temporary patterns, samples, and experiments can go forgotten in the final release. This is the most common source of what's euphemistically referred to as "hidden tracks". As entertaining as these can be for the curious, they're often embarassing--and patterns take up space! Whether or not they're used in the order list, patterns *are* saved and do eat up excess space; a lot more of it, in fact, than you might think. An early tune of mine had almost 30k in dead patterns! Therefore... it's a good idea to go through your song with a fine- toothed comb. Are there any temporary patterns you've forgotten? Samples you loaded at one point and forgot to delete? This one can be especially easy to overlook in FT2 or ST3, which don't make the fact that you have a sample loaded in a given slot jump out at you very well. Clear out unused patterns (in ST3/IT, hit Alt-L twice in that pattern, then clear block) and clean up the order list if necessary. All done with that? Good. :> Now, go through each pattern from top to bottom--this usually shouldn't take too long unless your song is very lenthy, and is worth it. Do you use a lot of vibrato, volumeslides, portas, or other effects at the same value in a row? (ie, in ST3/IT, four or five D10 effects to slide the volume up) If you do, and you haven't done this already, you may want to go through and zero out some of the effect fields. When a given effect has 00 as the parameter, it assumes whatever the last value it was given. This saves a negligible amount of space, but it's something (and is especially important for cutting down the size of chip songs, which tend to use a lot more effects than other songs), and it's a lot easier to type in if you learn to get into the habit of using this. For example: 24 | G#5 01 .. D10 | | ... .. .. .00 | | ... .. .. D10 | | C-5 02 .. .00 | 25 | ... .. .. D10 | | ... .. .. .00 | | E-5 02 .. G03 | | C-5 03 32 .00 | 26 | ... .. .. D10 | | ... .. .. .00 | | ... .. .. G03 | | C-5 04 51 Q43 | 27 | ... .. .. D20 | | ... .. .. .00 | | ... .. .. GF0 | | C-5 04 51 Q43 | 28 | ... .. .. H81 | | ... .. .. .00 | | ... .. .. D10 | | C-5 02 .. .00 | 29 | ... .. .. H81 | | ... .. .. .00 | | ... .. .. D10 | | C-5 03 32 .00 | This is kind of wasteful. It could just as easily be redone like this: 24 | G#5 01 .. D10 | | ... .. .. .00 | | ... .. .. D10 | | C-5 02 .. .00 | 25 | ... .. .. D00 | | ... .. .. .00 | | E-5 02 .. G03 | | C-5 03 32 .00 | 26 | ... .. .. D00 | | ... .. .. .00 | | ... .. .. G00 | | C-5 04 51 Q43 | 27 | ... .. .. D20 | | ... .. .. .00 | | ... .. .. GF0 | | C-5 04 51 Q00 | 28 | ... .. .. H81 | | ... .. .. .00 | | ... .. .. D00 | | C-5 02 .. .00 | 29 | ... .. .. H00 | | ... .. .. .00 | | ... .. .. D00 | | C-5 03 32 .00 | Much better. :> The lead on the left still rises in volume, and the vibrato continues. The backup instrument in track 3 starts a porta to E-5 (which would probably, as a sidenote, sound horrible :), and because an earlier D10 in that row was issued, the D00 can be used to do it again. Finally, in track 4, the retrig on instrument 4 (probably a drum) is continued as normal. ** be forewarned ** Certain effect commands have shared "memories"--that is, two or more effects share the same space in memory for which effect parameter they remember. Common ones are the Fxy and Exy effects, but many of the others differ from format to format. Be sure to consult your tracker's documentation to find out which effects share memory! Okay, once all of that cleanup's done.. now it's time to check for obvious flaws. Look for things like the problems with looping mentioned in last week's article. Other things to keep a very close eye on are, for instance, global volume. I've seen many, MANY modules which slide down the global volume at the end for a nice fadeout... but which do not reset it at the beginning of the song. This is really a big no-no. This means that the song can *not* loop... after the first play, no sound will come out because the global volume will still be at 0 or whatever it was left at when the song reached the end and looped around. Anyway, now that I've covered the end of the songwriting process, let's take a look back at the midst of it... Volume, Frames, and Retrigs ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~^~~~^~~~^~~~^~~^~~^~~^~^~^~ Okay, if you're like the rest of us, one of the first effects you probably learned was the volumeslide. In the ST3 command set, this is the Dxy command. If x is 0 and y isn't, the slide is down, and vice versa. Pretty simple, right? Well, kind of. It says in the documentation of most programs that the higher the value, the faster the slide... but beyond that, the explanation is technical and dense. I skipped over it the first few times I read it. So most people find a value that "kind of" fits how fast they want the volume to go down, and issue a long line of those--or they pick an ascension or descension, like 1-2-3. Example: 24 | G-5 01 .. D10 | | ... .. .. .00 | | ... .. .. .00 | | B-4 01 .. D10 | 25 | ... .. .. D00 | | ... .. .. .00 | | ... .. .. .00 | | ... .. .. D20 | 26 | ... .. .. D00 | | ... .. .. .00 | | ... .. .. .00 | | ... .. .. D30 | 27 | ... .. .. D00 | | ... .. .. .00 | | ... .. .. .00 | | ... .. .. D40 | How many of you know what the tracker docs mean when they talk about "frames"? They're talked about everywhere, from speeds to slides to retrigs, but I've been consistently surprised how many people find it a difficult concept to grasp. A shame too, because understanding frames is a vital key to using effects... well, effectively. =) To put it simply, a frame is a slice of time. An extremely short one, merely a fraction of a second. The faster the tempo or bpm, the shorter the duration of a frame. Think of a frame as a tick on a clock. Hold that thought. Now, think back to the speed of the song (set with Axx in the ST3 command set). The most common speed is 6, as it is the default. It may seem odd that the larger the number of the speed, the slower the song... until you think of it as a delay. A delay in frames. To wit, whatever you set the speed of the song at, that is how many frames elapse for each row. So in the above example, 24 frames would pass from the beginning of row 24 to the end of row 27. Four rows, six frames per row at speed 6, 24 frames. Are you still with me? That means that at speed 8 there would be 8 frames for each row, and yes, at speed 1 (if you actually need this kind of precision) there would only be one frame for each row. Now, that probably sounds obscenely technical. You're probably wondering, "great, but what the smeg does that have to do with tracking?" Read on, my friends, if you haven't already guessed. Let's take a look at the basic volumeslide, Dxy. In the documentation, it says that the slide reduces the volume by a number equal to the speed minus one, to cut through the technical drek. So if you're playing at speed 6, an effect of D01 would slide the volume gradually down by 5 over the course of that row. Likewise, a D02 would slide by 10, and so on. a D03 at speed 4 would slide down by 9. You can use this to eliminate the trial and error from your tracking. For instance, let's say you've got a nice string sample doing a chord pad in the background. You want the strings to fade in and out just a tad between changes. Assuming the default volume that you wish the strings to be at is 59, and that this is at speed 6... 29 | ... .. .. D02 | | ... .. .. .00 | | ... .. .. D02 | | ... .. .. D02 | 30 | ... .. .. D00 | | ... .. .. .00 | | ... .. .. D00 | | ... .. .. D00 | 31 | ... .. .. D01 | | ... .. .. .00 | | ... .. .. D01 | | ... .. .. D01 | 32 | F-3 02 34 G30 | | ... .. .. .00 | | G#4 02 34 G30 | | A#4 02 34 G30 | 33 | ... .. .. D01 | | ... .. .. .00 | | ... .. .. D01 | | ... .. .. D01 | 34 | ... .. .. D02 | | ... .. .. .00 | | ... .. .. D02 | | ... .. .. D02 | 35 | ... .. .. D00 | | ... .. .. .00 | | ... .. .. D00 | | ... .. .. D00 | In this, you have the string sample being forced to begin at volume 34. We then issue a D01 to start a slow slide, which slides it up to 39. Then we have two rows of D02 effects, which each slide it up by 10, giving an end volume of 59. Assuming that the chord prior to the example above began the same way, this slide would be reversed just before this one came in. Simple enough, you think. But what if you want to combine volume slides with normal settings in the volume column? Let's say you're doing a dropoff trick from a prior tracking tips article, which entails going to a high note and doing a fast porta down while dropping the volume. Let's say that we need to toss some effects in there, so, at speed 5: 48 | C#6 02 33 UC3 | - Begin the note at volume 37 with a slight vibrato 49 | ... .. .. K20 | - Slide the volume up to 41 while maintaining vibrato 50 | ... .. 44 H82 | - Set the volulme up a little more, increase vibrato 51 | ... .. .. K01 | - maintain vibrato, slide volume down to 40 52 | ... .. 32 H71 | - lessen vibrato, continue slide in volume column 53 | ... .. 20 E0E | - simulate a slide of D03 while doing porta down 54 | ... .. 12 E00 | - decrease slide to D02, continue porta, issue noteoff 55 | ... .. 04 E00 | - continue D02 slide and porta down 55 | ^^^ .. .. .00 | - issue notecut to kill volume and note completely Now, let's take a look at another common effect which utilizes frames--the retrig. Used properly, the retrig can be one of the most powerful effects that exist. Used poorly, it can give a sense of overkill, or at worst, ruin a song. The way retrig works is commonly misunderstood, so let's bring it back to frames again and look at the command. Retrig: Qxy In this, the 'y' is the parameter we want to worry about first. It is directly related to what speed you're at. What retrig does is wait for 'y' frames into the row it's issued on, and then restarts the note. This is great for drum tracks! So assuming we were at speed 6, a retrig of Q03 would retrig the note (say, a snare hit) once right in the middle of the row... because 3 is halfway through the six frames of a row at that speed. Simple math, eh? It doesn't stop there, though. You could also issue it as Q02... and at speed six, you would actually get three snare hits in the same row. Or you could issue it as Q04, and you would get the first hit on frame 1 as normal and a second hit on frame 4--which would sound somewhat odd, but if used well, could be cool. :> Note that because of the way retrigs work, I recommend *avoiding* speeds with odd numbers, simply because it is impossible to properly retrig or note delay halfway through the row. Speed 3 isn't that bad, because it's so fast you almost don't need to retrig... but speeds 5, 7, 9, etc, are good ones to avoid if possible. If you need to get those speeds, play around with the tempo (Txx) effect to give it the feel you need in an even number like 4, 6, or 8. Pretty spiffy, eh? But wait, it gets better. :> Since a triple retrig on, say, a ride cymbal at normal volume, sounds fairly blah, we can add a little bit of spice to it with the 'x' parameter of retrig, which is volume control. The following is reproduced and slightly altered from the Impulse Tracker documentation: ________________________________________________________________________ | Value : Vol change each retrig | Value : Vol change each retrig | | 0 : No change | 8 : No change | | 1 : -1 | 9 : +1 | | 2 : -2 | A : +2 | | 3 : -4 | B : +4 | | 4 : -8 | C : +8 | | 5 : -16 | D : +16 | | 6 : *2/3 | E : *3/2 | | 7 : *1/2 | F : *2 | | 8 : No change | | `------------------------------------------------------------------------' You may want to print this out. This may seem rather dense at first, but it will quickly become second nature. Let's say you have the abovementioned ride cymbal, which has a default volume of 32. Now let's say you wanted a series of hits on it which did a high-low-high volume trick. Using retrig, and assuming you wanted the second hit to be about volume 24, it would look like this: 01 | E-7 05 32 Q43 | - first hit at 32 retrigged halfway through down to 24 02 | E-7 05 28 .00 | - third hit at 28 left alone Or for an even better example, let's say you've going a really 'reet marching snare sample that's crisp and clean. You want to do a snare roll with it. Again, at speed 6, volume 50: 01 | C-5 04 50 Q53 | - first hit at 50 retrigged halfway through down to 34 02 | C-5 04 42 Q43 | - first hit at 42 retrigged halfway through down to 34 This gives a rolling feel to the snare. Experiment with these values and use what works best for you. Finally, there's a trick I like to do with tom drums, which I call the "thwump". This assumes the default volume for the tom drum is at 44: 31 | A-6 06 04 QC2 | - Start at almost no volume, and retrig up by 8 each 32 | A-6 06 .. .00 | - The final hit at volume 44 It's hard to describe. Try it in a tracker and see. Closing - For Now ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~^~~~^~~~^~~~^~~^~~^~~^~^~^~ In the solemn interests of keeping the size of TraxWeekly reasonable, I'm going to be spreading this extremely spammy editorial over a few weeks. If people like what I have to say, this may turn into a semi-regular feature for the zine... so if you have comments, feel more than free to email me at the addys listed below, or /msg catspaw on #trax. I'd love to hear any subjects you'd like to see covered, questions you'd like to see answered, and especially any tips and suggestions of your own you'd like to impart. Until then, this is Catsy, signi%#&ghkegg%#^2 . 6 * *** catspaw has been kicked off channel #trax by everyone (damn flooder) Catspaw / Rat Rat City (206) 246-6647 catspaw@eskimo.com catspaw@masterpiece.com ---------------------------------------------------------------------------- --[2. Tracking hints]----------------------------------------------[Vivid]-- In this article, I'll be only discussing the technical side of tracking and not the musical use or abuse of the described effects :) Some will improve your songs, others won't. (All commands used for explanation are Protracker commands) ## Flange/Chorus ## You need at least 2 channels to get it working. The Sample played on the 2nd channel has to be a little bit delayed, which can be achieved with either the sample offset(9XX) or the note delay (EDX). Also you can try out a fine pitch slide (E1X or E2X) to have more control on the effect or "flanged sound" you want to get. This works pretty fine on brass leads which should sound more full and clear (also try it out with crashes). NOTE: I'm not sure if it works on all soundcards. ## Timestretching ## Many people who love listening to Jungle music know this effect. It's when a vocal sample sounds like he would be slowed down forever. Normally, timestretching is used when a drumloop or vocals have to be fit to a rhythm or a certain speed. In a tracker, it's only good for creating wierd sounds :). First thing to do is a speed up of your pattern (at least ?! Nearly all good sample programs are suitable for doing it, but you should convert the samples to 16bit and at least to 22khz for having best results. If you got comments or new hints, start writing :) yours, vivid [vivid@kosmic.org] ---------------------------------------------------------------------------- /-[Group Columns]----------------------------------------------------------- ---------------------------------------------------------------------------/ --[3. Explizit]------------------------------------------------------------- .____. .....______________.____________________________________________| |__... :::::\__ _____ | ______ \ \______) \_____)_ _____/::: :::::::/ __>/\/ . __/| __/ / /__ \_____ \ \| |:::::: ::::::/ | / \ : \| \_____/ / \ \_ _____/ \ |:::::: :::::/ \__| \_ :::\ / / / | \ / |:::::: :::::\__________/::|______/____|:::\_______/_____/________/_____/___::::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::[sYNOPTiC]::: ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Explizit TraxWeekly column issue #20 - May 23, 1996 Hi there! Lalalalaaaaalalalalaaaaaaalalalaaaalalalalaaaaaalaaaaaaa ... spread your love all over the world ... boy two unlimited SUCKS !!!!!! I know I'm not supposed to say this, and offcourse, two unlimited DOES suck, but their song sounds nice! They should have made it a bit more underground (and lose the bitch singin') and release it on a sublabel .. Because the mellow-dee does sound nice ... Nah .. who carez about 2unl .... Not too many of you know Sturm i guess. Sturm is a young composer i met on my board a couple of months ago. Sturm makes all kind of music but i believe he is in some sort of acid phase (!) right now (BOY i wonder why ;) You should check out some of his modules, they really kick butt (well some of 'em =). Visit his homepage on http://huizen.dds.nl/~sturm for a complete list of all his releases. You can also find him on news:alt.binaries.sounds.mod (or something like that) where you can request some of his modules. His mailto:sturm@dds.nl Give this guy a chance, he really rules! ;) (I get payed to say that btw!) KoM'AH will soon release the first 100% Jungle track for explizit. He made some Jungle tracks before, but they weren't released for Explizit. 'Jungly Vibez 4' is expected to come out when this issue of TraxWeekly is out (around may 20th). If you're into KoM'AH's jungle style try to find KMH-JNG1.ZIP somewhere (like on my board) which is as good, if not better than 'JNG4' .. A big shout to all USA sysops subscribed to TraxWeekly. We need a LOT more USA bulletin boards to spread our modules through! If you are interested in becoming HQ or distro for your state, please contact me. I can also subscribe you to our list so you'll receive all our future modules by e-mail. We need sites in ALL usa states ... apply now! I'm off. C u later... Ch:ilm . explizit mailto:explizit@dds.nl Explizit internet Hq: http://huizen.dds.nl/~explizit USA Ftp: http://www.rpi.edu/~tillbm/site/explizit Euro Ftp: ftp://sdc.wtm.tudelft.nl/pub/music/groups/EXPLIZIT/ Italy Ftp: ftp://shadow.pegasus.it/music/groups/explizit/ Now online: The Explizit HomeSpace3 http://huizen.dds.nl/~explizit ---------------------------------------------------------------------------- /-[Advertisements]---------------------------------------------------------- ---------------------------------------------------------------------------/ --[New Italian Demo Site]--------------------------------------------------- Now , the demo/music section of the Revenge Of Shadow BBS is in Internet the new demo site in Europe / Italy ftp://shadow.pegasus.it 680 Megs of Music & Demo Stuff from the best Music & Demos Groups..... Revenge of Shadow BBS +39 - (0)464 - 421890 (ITalY) 28.8 bps The Best Of Demo & Music, Shareware, Games, Zx Spectrum, C=64, Amstrad CPC, MSX Emulators, Demos Libreries, Internet News, MOD-S3M-MTM-XM Music Modules. Distro Site of : Skyjump Team (WHQ) - C.B.R. (WHQ) - Fatal Rage (WHQ) - Radical Rhythms (IHQ) H.B.E. (IHQ) - The Factory (IHQ) - Pure Resistance (IHQ) - D.M.K. (IHQ) - Prophecy/Humanoid/ Ultra Tracker (IHQ) - Cubic Player (IHQ) - Mazurka (IHQ) - - Pure/Traxx (IHQ) - Kone/Gas (IHQ) - K.F.M.F. (IHQ) - Neutron (IHQ) - Explizit (IHQ) - E-nergetic (IHQ) - Blacktron (IHQ) - Red Indian Product (IHQ) - Amable (IHQ) - ........ many & many others Support: Future Crew, Apogee, Epic Megagames, Id Software. CALL REVENGE OF SHADOW BBS +39-(0)464-421890 UNLIMITED FILES REQUEST !!!! ftp://shadow.pegasus.it ----------------------------------------------------------------------------/-[Closing]----------------------------------------------------------------- ---------------------------------------------------------------------------/ TraxWeekly is available via FTP from: ftp.cdrom.com /demos/incoming/news (new issues) ftp.cdrom.com /demos/info/traxw/ (back issues) To subscribe, send mail to: listserver@unseen.aztec.co.za and put in the message body: subscribe trax-weekly [name] (NOT address) To unsubscribe, mail same and: unsubscribe trax-weekly (in message body) Contributions for TraxWeekly must be formatted for *76* columns, must have a space preceding each line, and must be readable and understandable. NO HIGH ASCII IS ALLOWED. Different country code pages cause major problems in international distribution, so we must stay with regular text. Profanities and other derogatory subjects should be avoided if possible. Contributions should be mailed as plain ascii text or filemailed (MIME/UUE only) to: gwie@owl.csusm.edu before 6:00pm EST (North America) every Wednesday. TraxWeekly does not discriminate based on age, gender, race, political preferences, religious preferences, or eliteness. ALL COMMENTS GOOD/BAD AND SUGGESTIONS ARE WELCOME! Please contact the TraxWeekly staff at the following addresses: Editor: Psibelius (Gene Wie).................gwie@owl.csusm.edu Staff: Atlantic (Barry Freeman).............as566@torfree.net DennisC (Dennis Courtney)............dennisc@community.net Fred (Fred Fredricks)................fred@paracom.com Kal Zakath (John Townsend)...........jtownsen@sescva.esc.edu Master of Darkness (Todd Andlar).....as566@torfree.net Mhoram (John Niespodzianski).........niespodj@neonramp.com Mick Rippon..........................rip@hunterlink.net.au Populus (Nicolas Roberge)............nr@qbc.clic.net Trifixion (Tyler Vagle)..............trifix@northernnet.com Zinc (Justin Ray)....................rays@direct.ca Reporter: Island of Reil (Jesse Rothenberg)....jroth@owl.csusm.edu Graphics: Squidgalator2 (...)..................sq2@sv.net.au White Wizard (...)...................aac348@agora.ulaval.ca TraxWeekly is a HORNET affiliation. 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