1122 lines
53 KiB
Plaintext
1122 lines
53 KiB
Plaintext
BTN: Birmingham Telecommunications News
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COPYRIGHT 1989
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October 1989 Volume 2, Issue 10
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Table Of Contents
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-----------------
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Article Title Author
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Policy Statement and Disclaimer................Mark Maisel
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Editorial Column...............................Mark Maisel
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Cybernetic Languages...........................Dr. EBCDIC
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Insights.......................................Ron Albright
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The World Of MIDI Part 2: MIDI Specifications..Keith Cahoon
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Sex On A BBS...................................Jeff Hollingsworth
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ProFile: Chris Mohney.........................Chris Mohney
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Gamer's Corner: Battleship Door...............Eric Hunt
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Our Local Bulletin Board Systems...............Mark Maisel
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Message Board..................................Barry Bowden
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Known BBS Numbers..............................Mark Maisel
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Eznet Multiple Echo List.......................Randy Hilliard
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-----------------------------------------------------------------------
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Disclaimer and Statement of Policy for BTN
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We at BTN try our best to assure the accuracy of articles and
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information in our publication. We assume no responsibility for
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damage due to errors, omissions, etc. The liability,if any for BTN, its
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editors and writers, for damages relating to any errors or omissions,
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etc., shall be limited to the cost of a one year subscription to BTN,
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even if BTN, its editors or writers have been advised of the likelihood
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of such damages occurring.
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With the conclusion of that nasty business, we can get on with our
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policy for publication and reproduction of BTN articles. We publish
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monthly with a deadline of the fifteenth of the month prior to
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publication. If you wish to submit an article, you may do so at any
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time but bear in mind the deadline if you wish for your work to appear
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in a particular issue. It is not our purpose to slander or otherwise
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harm a person or reputation and we accept no responsibility for the
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content of the articles prepared by our writers. Our writers own their
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work and it is protected by copyright. We allow reprinting of articles
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from BTN with only a few restrictions. The author may object to a
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reprint, in which case he will specify in the content of his article.
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Otherwise, please feel free to reproduce any article from BTN as long as
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the source, BTN, is specified, and as long as the author's name and the
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article's original title are retained. If you use one of our articles,
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please forward a copy of your publication to:
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Mark Maisel
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Editor, BTN
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221 Chestnut St.
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BHM, AL 35210-3219
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We thank you for taking the time to read our offering and we hope that
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you like it. We also reserve the right to have a good time while doing
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all of this and not get too serious about it.
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Guest Editorial
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by Ricky Morgan
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Those of you that are regular readers of BTN may recall last month
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Randy Hilliard alluded to the fact that he had found a "volunteer" to
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write a Guest Editorial.
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Well now it's my turn to give you the other side of that story. A
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word of warning to all; when at a BTN party, be careful about what you
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do or say around Mark, Randy and in the future me, or you may find that
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you will be the NEXT guest editor.
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-------------------------------------------
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Scenario of picking a guest editor for BTN:
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Mark Maisel: Rick would you like to do a guest editorial for BTN?
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Ricky Morgan: No.
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Randy Hilliard: Are you sure Rick? We would really LIKE for you to
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write an editorial for us.
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Ricky Morgan: I'm really flattered guys-but no, I don't think so...
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NO! Thanks anyway.
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At this point Mark and Randy confer quietly between themselves.
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Then turn back to Rick.
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Mark Maisel: Well Rick, would the fact that we have some rather
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REVEALING photos of you and Jessica Hahn sway you into
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doing a guest editorial for BTN?
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Ricky Morgan: Ha! I like that. You couldn't possibly have anything
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like that; I've never even met the girl.
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Randy Hilliard: Rick, you would be surprised at what Mark can do with
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a computer, a digital scanner and an old copy of
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Playboy.
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-------------------------------------------
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So here I am doing a guest editorial for BTN. I'm still not sure
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what I did to deserve this dubious honor. Outside of being a survivor of
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two BTN parties, (I left early each time), I have no other credentials
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or literary talents that would qualify me for this honor.
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I have only been on the local BBS scene for about six short months,
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I'm not well known and don't intend to be, as I stay in out of the way
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conferences; so technically I'm still a new kid of the block.
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And what a block! If you read last months Insight by Ron Albright
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you have some idea about what I'm referring to. The diversity of the
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people that I have met and talked to is simply overwhelming. Where else
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can people from such widely varying backgrounds meet, converse, and
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sometimes argue, on everything from the weeks current events to ancient
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history. If there is something you want to know about virtually
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anything, chances are that on a board somewhere, there is someone who
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can help you. All you have to do is ask.
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BTN itself is a melting pot of people with experience in all types
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of fields. I hope you enjoy this issue as much as I have enjoyed all the
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past issues; which brings me to my editorial duties. I hope that I can
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uphold the fine tradition set forth by Mark and Randy.
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This month Dr. EBCDIC is back with Part II of the series he started
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last month on Cybernetic Languages. Don't let the title scare those of
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you who, like me, aren't into programming. DOC does a very good job of
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explaining what can be a very confusing topic.
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Ever left a message for someone, only to find out later that the
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receiver misunderstood the intent of the message? There are some
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limitations to the written word and how feelings are expressed, this
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comes from someone who only recently had the intent of a written message
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misunderstood. Ron Albright's Insight, this month addresses that
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problem, some of the causes, and several thought provoking solutions.
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This is a "MUST READ" for anyone active in telecommunications.
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Keith Cahoon brings us Part 2 in his "World of the MIDI" series.
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This month it's MIDI specifications that he discusses, along with what I
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think is a good look at the data format as well as hardware interfacing
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for a MIDI.
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Jeff Hollingsworth gives us an inside look at something we would
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all probably like to know more about; Sex on a BBS. I wonder how much
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field research he did on this? Quite frankly I don't understand what
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possesses those people to become involved in the Adult conferences. To
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each his own, I suppose.
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Guess who finally got caught up in his own web, Chris Mohney,
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thats' who! Chris, the dreaded Profiler, finally found his name in the
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hat that proclaims the name a victim each month. Find out all about
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this unusual fellow by reading his very own ProFile.
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Dive! Dive! Dive! Eric Hunt tells everyone how to get started
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playing the newest game sensation, Battleship. He includes some of the
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boards where you'll be able to get set up playing, the revision level
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current on each board and some of the differences in each revision.
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In Our Local Bulletin Board System, Mark Maisel interviews THE
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Sysop that everyone wants to know more about; the infamous and
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mysterious MONTY, of The Crunchy Frog.
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We wrap up with Barry Bowden's October Message Board, (get involved
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in these meetings people!), Mark's List of Known BBS numbers, and
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Randy's Eznet Multiple Echo List. Mark has further enhanced the BBS
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List by denoting BBS' that are part of FidoNet. See last month for a
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brief explanation of FidoNet.
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Enjoy and don't forget to let these guys know how much you enjoy
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their work.
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O.K. Mark, Randy...the deed is done. You said one contract, I've
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fulfilled my end, now are you going to destroy those picture?
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Mark........?
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Randy.......?
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-----------------------------------------------------------------------
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Cybernetic Languages: Part II
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by Dr. EBCDIC
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I know what you are thinking, "Has DOC lost his mind or what?" Here
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I am writing another one of those Cybernetic articles. Last issue I
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talked about a language called Modula-2, a descendent of Pascal. Well,
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that is fine for those people who like to program in Pascal and 'C', but
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what about us that like to program in Basic? The Doc has a cure for you
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too. Did you ever wish that your Basic programs would run faster or
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that you did not have to load BASICA or GW-BASIC first? If you answered
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yes to any of these questions then a compiler is what you want.
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First we need to get a few things taking care of. There are two
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types of languages. One is an interpreted language and the other is a
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compiled language. Let's discuss the interpreted language first.
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Interpretation means that the computer must take each line of a program
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as as it runs and convert it into machine code before executing it. If
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a particular line of code runs more than once the interpreter converts
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it into machine code each time it runs. This conversion takes time
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which is why Basic runs slower than a compiled language. When you run
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Basica or GW-Basic you are running an interpreter.
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A compiled language on the other hand works a little differently.
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What a compiler does is to go through the entire program and convert it
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into assembler code without executing the program. The compiler places
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this assembler code into an .OBJ file, which it then converts into a
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binary file with an .EXE extention which can be ran directly from DOS.
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When you type in the name of an executable file you are running the
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machine code which means that the computer does not need to convert the
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program as it is running. Since the computer does not need to interpret
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each line as the code runs the program runs much faster.
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There are a number of different Basic compilers available today.
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IBM has a compiler that it calls BASCOM which will compile your Basica
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and GW-Basic Programs. MicroSoft has a compiler called QuickBASIC, and
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Borland's compiler is called Turbo Basic. Turbo Basic is the compiler
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that I use, so I am more familiar with it. Turbo Basic works a little
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different than Basica and GW-Basic and has an expanded function and
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command set. There are no line numbers in TB, instead you use labels. A
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label can be up to 30 characters long. An example label would be
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(MainRoutine: ), in a GOTO statement you give it a label (i.e. GOTO
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MainRoutine ). This simplifies understanding and debugging the source
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code since labels are usually somewhat descriptive.
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An example of a Turbo Basic program to print your name X number of
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times using lables and some extended TB functions would look like this:
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Main1:
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CLS
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INPUT "PLEASE ENTER YOUR NAME: ",NAME$
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INPUT "HOW MANY TIMES TO PRINT: ",X
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FOR LOOP1 = 1 TO X
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PRINT NAME$
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NEXT LOOP1
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DoAgain:
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INPUT "WANT TO PRINT YOUR NAME AGAIN: (Y/N) ",YN$
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IF UCASE$(YN$)><"Y" OR UCASE$(YN$)><"N" THEN GOTO DoAgain
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IF UCASE$(YN$)="N" THEN GOTO End1
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GOTO Main1
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End1:
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END
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It is that simple. UCASE$ is one of many functions that TB
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supports. UCASE$ will ignore upper and lower case, and will accept
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either one.
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One of the nice advantages to TB is that you can compile your
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Basica and GW-Basic programs with it. TB can execute a program from
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it's editor and if it encounters an error it will reload the program and
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place the cursor on the line where the error occurred and give you a
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message telling what the error is. Turbo Basic also allows you to call
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routines that were written in Assembly Language.
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The TB Package comes with some example programs and documentation
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on how to use the TB compiler. TB has a Full Screen Editor, which
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allows you to use the arrow keys to move around on the screen and easily
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make changes to the program.
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Turbo Basic cost around $79.00 and in my opinion is well worth it.
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CIAO, Until we meet again.
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========== THE DOC ==========
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A.K.A. Ferlin Scarborough
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References:
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Readers Digest Great Encyclopedic Dictionary.
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Credits:
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BASCOM and BASICA are Trademarks of International Business Machines.
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GW-BASIC and QuickBASIC are Trademarks of MicroSoft.
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Turbo Basic is a Trademark of Borland.
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-----------------------------------------------------------------------
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Insights
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by Ron Albright
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Copyright (C) 1989 Ron Albright
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[Reproduction in any form for other than personal use requires
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written permission of the author.]
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In a survey of 701 managers and professionals from Fortune 500
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corporations published by Nancy Madlin in "Management Review" (May,
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1985), asked several questions about how computers and new forms of
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communication are used in the workplace. The value placed on computers
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was obvious. If the executives were given ten thousand dollars to spend,
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68 percent said they would buy a new computer; only 13 percent would add
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a staff member. However, while 53 percent of the respondents had
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teleconferencing centers available to them, less than one-third (30
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percent) found teleconferencing very useful, and only slightly more (37
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percent) found electronic message centers useful. Electronic mail was
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useful to 41 percent. It is apparent the technology of electronic
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communication has failed to meet, at least to some degree, the needs of
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business as a communications facility. The question is why?
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One reason for the general lack of acceptance of computer
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conferencing is that the system is so inadequate in conveying the whole
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content of information. Certainly, it is efficient in transferring pure
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data (in the form of numbers, graphs and spreadsheets), but it is unable
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to communicate other aspects of information. For example, how can a
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manager convey to an audience his emphasis on increased sales of a
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specific item? Sure, he could type "I WANT YOU TO SELL 1000 WIDGETS IN
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1986!!!!" The capital letters and the string of exclamation points would
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express some degree of importance. But is it sufficient? How about "IT
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IS IMPERATIVE THAT YOU SELL 1000 WIDGETS IN 1986 !!!". The slight
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change in language with the use of the strong "imperative" certainly
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adds strength to the directive. But with computer communications,
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clearly, you are unable to perceive the other parts of communications
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that we can use as clues to supplement the inadequacies of the English
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language. Without visual contact with the speaker, there are no visual
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clues to reinforce meaning. The determined expression on the speaker's
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face, the hand pointing to the audience or pounding on the lectern, and
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the emphasis on the word "YOU" cannot be appreciated through a computer
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monitor.
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But we know, almost empirically, that expression of emotions does
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not require sound. The American Indian can express a wide range of
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information and emotions through their sign language. Deaf mutes can
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accomplish the same. Admittedly, usage of "non-verbal" language is
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important to the deaf mute, but the communication is primarily contained
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in the hand signals. The fact that we are not able to convey the full
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range of information content (which would include not just the
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quantitative data but also the qualitative undertones) does not reflect
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a fault with the medium itself. It is more evidence of our failure to
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develop it more fully to meet our needs.
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Each year we assimilate, from other languages and through
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inventiveness, new words and phrases into our language to symbolize new
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objects, events, and emotions. Without such accretions and
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modifications, our language would become increasingly inadequate for
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daily use. Why is this not done for electronic communications? If there
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is an inadequacy with the language in this medium, why not make
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adaptations to cause it to be more useful? If the language is to become
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more effective for us - better adapted to our present and future
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communication needs - then changes must be made to enable us to transmit
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what we really mean to say.
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As we are exposed more and more to the medium, it will become
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increasingly apparent that our language is an imprecise method of
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expressing ideas. As opposed to mathematics, where the symbols are
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concise and convey a singular meaning, the language of communication is
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generally imprecise. Alfred Korzybski, in his publication "Science and
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Sanity" (1933) lamented at this dichotomy between the language of
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physical science and ordinary communication. He likened them to the
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variance between the concept of a "map" (defined and distinct) and that
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of a "territory" (generalized and vague). Korzybski knew that this
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degree of linguistic deficiency was reflected in much of the"insane"
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behavior of people who derived much of their perceptions of the real
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world from imperfect language and who used and relied on often deceptive
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language in their efforts to convey and receive language. He also
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emphasized the difference between communications that clearly relate or
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refer to an element of reality (extensional), and those that are
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nonspecific or vague because they refer to subjective values
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(intentional) or to generalizations (high-order abstractions), where the
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"receiver" cannot "know" what reality is actually involved. Thus, as
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computerized information exchanges continue to increase, we will see the
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development of increasingly improved symbolization which will be more
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suitable to the electronic medium. I hesitate using the term "language"
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for, as yet, we do not know what form the new symbolism will take. But
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we can assume that it will change and evolve to add even more precision
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to how we transfer information to other people through
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telecommunication.
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Another reason for us to concentrate resources on developing a
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suitable symbolism for the computer telecommunication is our increasing
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interaction with the rest of the world. As we move toward Marshall
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McCluhan's "global village" with it's associated global economy, we will
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need to develop an efficient method for electronic information exchange.
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There are stories in our news today of computer connections being made
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between universities in the United States and Russia, as well as Canada
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and Europe. This is not the ancient quest for a "universal language." It
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is not imperative for the entire world to adopt the symbols for personal
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communication, nor must the electronic "alphabet" necessarily be
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suitable for use as a personal language. Morse code was adopted
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internationally as a method to transmit information but was impossible
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to adapt to verbal communications. Semaphore is universally recognized
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on the seas. Similarly, the new computer tokens may or may not be useful
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as a spoken language. That would be ideal, but the difficulties in
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getting the people of the world to adopt a mutual language are
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awe-inspiring and previous attempts have failed. It is logical, though,
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to pursue a specialized symbol form which could be learned and used by
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that segment of society dealing with electronic information exchange.
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English, despite it's many linguistic faults, appears to be suited, at
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least as a basis, for the new symbology. As a language, it is one that
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can be understood without attention to vocal inflection. The general
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meaning can be conveyed in a monotone voice (as opposed to other
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languages which make essential use of rising of falling inflections).
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We should also look at languages which use ideographs to convey
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whole words. Rather than an alphabet, this form of logographics may be
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more efficient. With the advance of complex computer graphics,
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displaying such complex symbols would not be difficult. If one could
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develop a method to transmit these logographs through one or two
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keystrokes, it would sufficiently resolve the problem of the size of the
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keyboard required to transmit the information. It should be feasible for
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the commercial information networks to form a cooperative and begin
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fielding and financing an international and multifaceted committee to
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begin study of this new symbology. Who should be involved in developing
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this electronic "dictionary?" One can envision, of course, computer
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experts (particularly those working in graphics and telecommunications),
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business leaders (to input what they would need to make the system a
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success), and linguists (to be the main force in developing the symbols
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themselves). Further, representatives from the advertising industry
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could lend expertise in how to utilize visual images for maximum impact.
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The new logographs could be implemented on the various systems and
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tested, revised, and retested to achieve optimal efficiency for
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information transmission. Special trial sites could be implemented in
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several large business arenas ad people trained to use the new symbols
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rapidly. Trial information exchanges could be tested, timed, and
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critiqued. Over time, the ideographs could be further refined and
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implemented on increasingly larger scales. If a sufficient efficiency
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could be achieved, universal adoption would naturally follow.
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One could envision an entire cadre of professional not unlike
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translators at the United Nations that would transcribe what we say into
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the new symbols. New keyboards, incorporating the new "electronic
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shorthand" could be produced. Much like those used by courtroom
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stenographers, these new keyboards could facilitate transcription of
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conversations with all their vocal nuances and inflections. The first
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crude attempts are already underway. There are communications programs
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for both the IBM and Macintosh computers that allow one to
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teleconference with displays of faces for smiles, frowns, and winks.
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Businesses have rarely neglected supporting developments that will
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improve profits, and increased access to information through improved
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telecommunications would do just that. In any case, it is a problem
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worth thinking about. All parties should be interested. The
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telecommunications industry because it would lead to increased usage of
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the medium; business, because it would lead to enhanced information
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exchange. The computer industry should become involved for it would lead
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to more machines and communications software bought and sold. Let us
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hope that it is realized and addressed soon so that we all may benefit.
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-----------------------------------------------------------------------
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The World Of MIDI
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by Keith Cahoon
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Part 2: MIDI Specifications
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MIDI Data Format
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There are five types of midi data: Channel Information,System
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Exclusive System Real Time,System Common and System Reset. Each data
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type begins with a status byte which define specific commands in that
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category. Status bytes can be distinguished from data bytes by the most
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significant bit always being set. After the status byte has been sent,
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|
successive data of that type can be sent without the preceding status
|
|
byte being sent, until a different data type is selected. System Common,
|
|
System Real Time and System Reset information is sent to all channels
|
|
in the MIDI network.
|
|
|
|
Channel information commands are sent to specific channels by a
|
|
four bit address that is encoded in the Channel Information status byte.
|
|
The most significant four bits of the channel status byte define the
|
|
command and least significant four bits are used to address the selected
|
|
channel. The associated data following the status byte can identify keys
|
|
being pressed or released, their velocity, and pressure or "After
|
|
Touch".
|
|
|
|
System Common information is used to select song and measure
|
|
numbers for all units.
|
|
|
|
System Real Time information is used for synchronizing all units
|
|
together. System Real Time information can interrupt Channel and System
|
|
Common Information, but cannot interrupt System Exclusive data.
|
|
|
|
Timing-Clock-In-Play:
|
|
This clock is sent while in play mode. The system is synchronized
|
|
with this byte which is sent at a rate of 24 clocks/quarter note.
|
|
|
|
Measure-End:
|
|
The Measure-End is sent at the end of each measure instead of the
|
|
Timing-Clock-In-Play.
|
|
|
|
Start-From-1st-Measure:
|
|
This status byte is sent immediately when the play button on the
|
|
master MIDI controller is hit. The first Timing-Clock-In-Play must be
|
|
sent within 5ms of this code being sent.
|
|
|
|
Continue Play:
|
|
This is sent when the continue button on the master MIDI controller
|
|
is hit. The sequence will restart at the point where the sequence
|
|
stopped on the last Timing-Clock-In-Play. Timing-Clock-In-Play must be
|
|
sent within 5ms of this code being sent.
|
|
|
|
Timing-Clock-In-Stop:
|
|
This byte is sent while in stop mode to synchronize the phase
|
|
locked loop during stop mode.
|
|
|
|
|
|
System Exclusive Information Allows the transfer of data in the
|
|
manufacturers own format as long as the data stream begins with the
|
|
System Exclusive status byte followed by the manufacturers ID# and ends
|
|
with the End Of Block character. All actual data contained in the System
|
|
Exclusive data stream must have the most significant bit reset. System
|
|
Exclusive data can only be interrupted by the System Reset Command.
|
|
|
|
System Reset initializes all equipment to power up condition.
|
|
-----------------------------------------------------------------------------
|
|
|
|
|
|
Channel Information
|
|
|
|
Command Bytes Hex Binary / Decimal
|
|
-----------------------------------------------------------------------------
|
|
Note off .................. 3 8n kk nn 1000nnnn 0kkkkkkk 0vvvvvvv
|
|
128-143 0-127 0-127
|
|
Note on ................... 3 9n kk nn 1001nnnn 0kkkkkkk 0vvvvvvv
|
|
144-159 0-127 0-127
|
|
Polyphonic key pressure ... 3 An kk tt 1010nnnn 0kkkkkkk 0ttttttt
|
|
160-175 0-127 0-127
|
|
Control change ............ 3 Bn cc zz 1011nnnn 0ccccccc 0zzzzzzz
|
|
176-191 0-127 0-127
|
|
Program change ............ 2 Cn pp 1100nnnn 0ppppppp
|
|
192-207 0-127
|
|
Channel pressure .......... 2 Dn tt 1101nnnn 0ttttttt
|
|
208-223 0-127
|
|
Pitch bend ................ 3 En mm ll 1110nnnn 0mmmmmmm 0lllllll
|
|
224-239 0-127 0-127
|
|
-----------------------------------------------------------------------------
|
|
|
|
|
|
System Exclusive
|
|
|
|
Command Bytes Hex / Binary / Decimal
|
|
-----------------------------------------------------------------------------
|
|
System exclusive .. Data dependent F0 ii xx F7
|
|
11110000 0iiiiiii 0xxxxxxx 11110111
|
|
240 0-127 0-127 0-127
|
|
|
|
End Of Block .............. 1 F7
|
|
11110111
|
|
247
|
|
-----------------------------------------------------------------------------
|
|
|
|
|
|
System Real Time
|
|
|
|
Command Bytes Hex Binary / Decimal
|
|
-----------------------------------------------------------------------------
|
|
Timing clock in play ..... 1 F8 11111000
|
|
248
|
|
Measure-end ............... 1 F9 11111001
|
|
249
|
|
Start from 1st measure .... 1 FA 11111010
|
|
250
|
|
Continue Play ............. 1 FB 11111011
|
|
251
|
|
Timing clock in stop ...... 1 FC 11111100
|
|
252
|
|
-----------------------------------------------------------------------------
|
|
|
|
|
|
System Common
|
|
|
|
Command Bytes Hex Binary / Decimal
|
|
-----------------------------------------------------------------------------
|
|
Measure information ....... 3 F2 mm LL 11110010 0mmmmmmm 0LLLLLLL
|
|
242 0-127 0-127
|
|
Song select ............... 2 F3 ss 11110011 0sssssss
|
|
243 0-127
|
|
Tune request .............. 1 F6 11110110
|
|
246
|
|
-----------------------------------------------------------------------------
|
|
|
|
|
|
System Reset
|
|
|
|
Command Bytes Hex Binary / Decimal
|
|
-----------------------------------------------------------------------------
|
|
System reset .............. 1 FF 11111111
|
|
255
|
|
-----------------------------------------------------------------------------
|
|
|
|
|
|
Symbol Definitions
|
|
|
|
Symbol Name Hex Binary Decimal
|
|
-----------------------------------------------------------------------------
|
|
nnnn Channel code 0-F 0000-1111 0-15
|
|
0kkkkkkk Key number 00-7F 00000000-01111111 0-127
|
|
0vvvvvvv Key velocity 00-7F 00000000-01111111 0-127
|
|
0ttttttt After touch 00-7F 00000000-01111111 0-127
|
|
0ppppppp Program change 00-7F 00000000-01111111 0-127
|
|
0mmmmmmm Most significant byte 00-7F 00000000-01111111 0-127
|
|
0LLLLLLL Least significant byte 00-7F 00000000-01111111 0-127
|
|
0sssssss Song number 00-7F 00000000-01111111 0-127
|
|
-----------------------------------------------------------------------------
|
|
|
|
|
|
0ccccccc is coded as follows:
|
|
|
|
Name Hex Binary Decimal
|
|
-----------------------------------------------------------------------------
|
|
Control address 00-7F 00000000-01111111 0-127
|
|
Pitch bend MSB 00 00000000 0
|
|
Controller 1 MSB 01 00000001 1
|
|
Controller 2 MSB 02 00000010 2
|
|
Controller 3 MSB 03 00000011 3
|
|
Continuous controllers 4-31 MSB 04-1F 00000100-00111111 4-31
|
|
Pitch bend LSB 20 00100000 32
|
|
Controller 1 LSB 21 00100001 33
|
|
Controller 2 LSB 22 00100010 34
|
|
Controller 3 LSB 23 00100011 35
|
|
Continuous controllers 4-31 LSB 24-3F 00100100-00111111 36-63
|
|
Switches 64-95 (on/off) 40-5F 01000000-01011111 64-95
|
|
Local/Remote keyboard control 7C 01111100 124
|
|
Omni mode select / All notes off 7D 01111101 125
|
|
Mono mode select / All notes off 7E 01111110 126
|
|
Poly mode select / All notes off 7F 01111111 127
|
|
-----------------------------------------------------------------------------
|
|
|
|
|
|
0zzzzzzz is coded as follows:
|
|
Name Hex Binary Decimal
|
|
-----------------------------------------------------------------------------
|
|
Control value 00-7F 00000000-01111111 0-127
|
|
|
|
For mode selections (0ccccccc = 7D-7F 01111101-01111111 125-127
|
|
the value of 0zzzzzzz must be 00 00000000 0
|
|
|
|
Pitch benders should range from 00-7F 00000000-01111111 0-127
|
|
with a 0zzzzzzz value of 40 01000000 64
|
|
being center or no pitch bend
|
|
|
|
Other controllers range from 00-7F 00000000-01111111 0-127
|
|
|
|
Switches are defined as off= 00 00000000 0
|
|
on= 7F 01111111 127
|
|
-----------------------------------------------------------------------------
|
|
|
|
|
|
0xxxxxxx is coded as follows:
|
|
|
|
Name Hex Binary Decimal
|
|
-----------------------------------------------------------------------------
|
|
System exclusive data 00-7F 00000000-01111111 0-127
|
|
Data can be any number of
|
|
bytes but the most significant
|
|
bit of each byte must be reset
|
|
-----------------------------------------------------------------------------
|
|
|
|
|
|
0iiiiiii is coded as follows:
|
|
|
|
Name Hex Binary Decimal
|
|
-----------------------------------------------------------------------------
|
|
Manufacturers ID# 00-7F 00000000-01111111 0-127
|
|
Sequential Circuits 01 00000001 1
|
|
Kawai 40 01000000 64
|
|
Roland 41 01000001 65
|
|
Korg 42 01000010 66
|
|
Yamaha 43 01000011 67
|
|
-----------------------------------------------------------------------------
|
|
|
|
|
|
MIDI HARDWARE
|
|
|
|
The MIDI interface is a serial asynchronous current loop interface
|
|
operating at 31.250 KBS. It is configured as 1 start bit, 8 data bits,
|
|
no parity and 1 stop bit. This means that 1 byte of MIDI data including
|
|
start and stop bit, a total of 10 bits can be transferred in 320
|
|
micro-seconds.
|
|
|
|
The actual MIDI connections consist of two or three DIN 5-pin
|
|
female jacks on the MIDI instrument. The interface circuit is a 5-mA
|
|
current loop specifically designed to prevent audio ground loops. The
|
|
output is designed to drive only one output, with interconnecting cables
|
|
not to exceed 50 feet. The cable should shielded twisted pair, with the
|
|
shield connected to pin 2 at both ends. Note that while the MIDI OUT
|
|
jack pin 2 of the instrument is grounded, the MIDI IN jack is not. This
|
|
allows the cable to provide shielding without creating ground loops.
|
|
|
|
The optional third jack or MIDI THRU, provides a direct buffered
|
|
copy of the data received at the MIDI IN jack.
|
|
|
|
-----------------------------------------------------------------------
|
|
|
|
Sex On A BBS
|
|
by Jeff Hollingsworth
|
|
|
|
OK! Now that I have your attention, you are probably asking
|
|
yourself, "How can someone have sex on a BBS?". What do they do, climb
|
|
up on their keyboards when they are on-line? Close but not quite right.
|
|
Well I'll tell you. It is done with "Electronic Pulses of Light".
|
|
|
|
Yes everybody, I am writing an article even after all of your
|
|
warnings. Mark wooed me with videos and grits.
|
|
|
|
Now, lets get back to what I was talking about. What does sex on a
|
|
BBS mean? In this case, what I am talking about are the X-rated
|
|
Conferences that are on many of the boards around town. More and more
|
|
of the boards are starting to put one up. Now all you parents out there
|
|
don't start screaming right away. To get in one of these conferences
|
|
you must ask the Sysop for access. You have to be 18 years of age or
|
|
older on some boards while others require a minimum age of 21 years.
|
|
Most of the Sysops I know will check on your real age. Enough about
|
|
the rules, lets get to the good stuff.
|
|
|
|
Sorry people, I am unable to quote from the stories I have read.
|
|
Something about the law I think. The X-rated Conferences I am familiar
|
|
with are "The Lust Boat" on the Joker's Castle and the other is
|
|
"Roxanne's Massage Parlor and Chain-saw Repair" on The Crunchy Frog. I
|
|
think the Conferences are a good idea. They let people live out their
|
|
fantasies without leaving the comfort of their homes. They cost less
|
|
than phone sex, free if it's a local call. They help others with their
|
|
writing skills. Some people they help with their vocabulary. But the
|
|
feature that is the most important of all is that the X-rated
|
|
Conferences are just good clean fun. Well... OK, they are fun anyway.
|
|
Most or none of what is written can be taken seriously.
|
|
|
|
Let me try to find a end for this article, as it is already longer
|
|
than Mark wanted. If you are a BBS user like most of the people who
|
|
read BTN, join one of the X-rated Conferences on a BBS near you. Don't
|
|
be afraid or shy. Just start it off by writing about one of your sex
|
|
fantasies and read about the fantasies of other users. Most boards that
|
|
support an X-rated Conference allow handles so your identity is
|
|
protected. Then sit back and type in the fun.
|
|
|
|
editor's note - If you are easily offended by expressed sexual
|
|
depictions, descriptions, and innuendoes, please
|
|
do not join one of these conferences. You will
|
|
not like it. MM
|
|
|
|
-----------------------------------------------------------------------
|
|
|
|
PROFILE
|
|
by Chris Mohney
|
|
|
|
The Pro File is a short, half-serious biographical sketch given to
|
|
various computer telecommunications personalities around Birmingham.
|
|
Victims are selected randomly from a group of names put into the
|
|
notorious Hat. Anyone who thinks himself brave or witty enough may
|
|
petition for admittance to the Hat by leaving E-Mail to me (Chris
|
|
Mohney, most boards around town) to that effect. Anyone who wishes to
|
|
suggest more questions or sneakily nominate someone without their
|
|
knowledge may take the same route ....
|
|
|
|
Well, I kind of ended up doing this myself this time. I suppose it had
|
|
to happen eventually.
|
|
|
|
---------
|
|
|
|
Pro File on CHRIS MOHNEY
|
|
|
|
---------
|
|
|
|
Age: 18
|
|
|
|
Birthplace: New Orleans, Louisiana
|
|
|
|
Occupation: Electronics salesman
|
|
|
|
My hobbies include: Reading, writing, decidedly NOT arithemtic,
|
|
computing, playing certain non-cliche games,
|
|
arguing, boosting my ego by beating up small
|
|
children, laughing, being sarcastic, movies,
|
|
miniature painting, and lots of things illegal
|
|
without the consent of both parties.
|
|
|
|
Years telecomputing: Four, but only about two for real
|
|
|
|
Sysop, past/present/future of:
|
|
I want to run a board eventually, but I want to wait until I can
|
|
afford to do it right - i.e., a dedicated computer & a dedicated
|
|
phone line just for the BBS. I can't really decide on a name; too
|
|
many things like "The Slaughterhouse", "The Vulgar Unicorn," "Red
|
|
Shift" and a whole bunch of others appeal just about equally. I
|
|
imagine I would change the name monthly, at least.
|
|
|
|
My oddest habit is: Being able to make a flatulating noise using the
|
|
palm of my hand and my eyesocket, a trick I have
|
|
yet to see duplicated.
|
|
|
|
My greatest unfulfilled ambition is:
|
|
Immortality! Wealth! Power! Babes! And a working heater in my car.
|
|
Or maybe a new car.
|
|
|
|
The single accomplishment of which I am most proud is:
|
|
Getting a few of my (apparently) worthier literary efforts
|
|
published.
|
|
|
|
My favorite performers are:
|
|
Pink Floyd, Van Halen, the Scorpions, Christopher Walken, Rutger
|
|
Hauer, Arnold Schwarzenegger, the Kids in the Hall, Penn & Teller,
|
|
David Letterman, James Woods, Brian Dennehy, Harrison Ford,
|
|
Aerosmith, Sean Connery, Stephen Wright, Emo Phillips, John
|
|
Carpenter, Michael Biehn, Monty Python, Phil Hartmann, and lots of
|
|
others who I'll remember when reading this in BTN.
|
|
|
|
The last good movie I saw was: The Abyss
|
|
|
|
The last good book I read was: "The Black Company," by Glen Cook. Am I
|
|
the only one who likes this guy or
|
|
something?
|
|
|
|
If they were making a movie of my life, I'd like to see my part played
|
|
by: Kiefer Sutherland.
|
|
|
|
My pet peeves are: Very small and easy to feed, though they do chew on
|
|
the furniture.
|
|
|
|
When nobody's looking, I like to: Check and make sure Elvis isn't
|
|
making faces behind my back.
|
|
|
|
-----------------------------------------------------------------------
|
|
|
|
Gamer's Corner
|
|
by Eric Hunt
|
|
|
|
Battleship Door
|
|
|
|
In this month's exciting issue of Gamer's Corner I will take a look
|
|
at Battleship, modem style.
|
|
|
|
Battleship is the classic game of war guessing. I say guessing
|
|
because that is what I do most of the time when I play this game.
|
|
Currently there are three versions of Battleship on the local boards:
|
|
1.0, 3.0, and 3.2. As you can imagine, 3.2 is the best version around.
|
|
|
|
The game was produced by the same software company that makes
|
|
Backgammon, so the look and feel is identical to Backgammon. To start a
|
|
game, you can either join a game needing a player or start a new game.
|
|
In either case, you will have to position each of your ships on the
|
|
board. The board is laid out in coordinate form and you specify the
|
|
starting peg and the direction. Here's where a new twist comes in: You
|
|
can place your ships diagonally on the board, adding another element of
|
|
chance to the game. Deciding the direction is a bit tricky, since the
|
|
directions are laid out with random letters as such: e s d b f g h i I
|
|
means go diagonally down and to the right, E means go diagonally up and
|
|
to the left, etc., etc. Once you have placed your ships on the board,
|
|
you must either wait for someone to join your game or wait for the
|
|
person who started your game to move. From then on, simplicity is the
|
|
name of the game. When you enter the door, it tells you in which games
|
|
you have moves waiting, or if you have no moves waiting, it tells you
|
|
so. Selection 1 from the main menu allows you to move in a game you are
|
|
currently involved in, selection 5 shows all current games, opponents,
|
|
and who's turn it is. Selection 7 exits the door. One interesting
|
|
feature of versions 3.0 and 3.2 is the ability to leave one-line
|
|
messages to your opponent. These can be a handy way to keep from
|
|
cluttering up the main message area or just to have fun! A note about
|
|
entering moves: Version 1.0 requires that you enter each ordinate of the
|
|
guess separately, pressing enter after each. Versions 3.0 and 3.2 allow
|
|
you to enter the entire coordinate at once.
|
|
|
|
This is a fun and challenging game, as close to the real thing is
|
|
as possible via modem. Currently it is on Smitty's (Ver 1.0), Sperry
|
|
(Ver 3.0), and ST (Ver 3.2). If it is on your board, I'm sorry I didn't
|
|
mention it; I haven't found it there yet.
|
|
|
|
Address all comments and complaints to: Monk Eric on The Crunchy Frog.
|
|
|
|
Next month: Turbo Chess!
|
|
|
|
-----------------------------------------------------------------------
|
|
|
|
Our Local Bulletin Board Systems
|
|
Number Six In A Series
|
|
by Mark Maisel
|
|
|
|
Name: Crunchy Frog
|
|
|
|
Sysop: Monty
|
|
|
|
Software: PCBoard 14.0 /D
|
|
|
|
Been Around: 8 months
|
|
|
|
Baud Rates: 300-2400
|
|
|
|
Bulletins: Bulletins 1-3 are rules for the bbs. remaining bulletins
|
|
describe conferences, and chart the development of the frog
|
|
|
|
Conferences: EZNET, Readers, Listeners, Argument Clinic, Gamers, BTN,
|
|
Amiga, MS-DOS, Writers, Graphic Arts, Roxanne's, BTNWA
|
|
|
|
Computers Supported: IBM & compatibles and Amiga
|
|
|
|
Files Available: Basic utilities and a few fun files for IBM & Amiga
|
|
computers
|
|
|
|
Doors Available: ProDoor 3.01R (Yes, it is registered so TTHHHPPPTTHH!)
|
|
|
|
Special Information: We tend toward silliness so join right in. Real
|
|
information is optional
|
|
|
|
Q. Why did you start your BBS?
|
|
A. Because I thought it would be fun.
|
|
|
|
Q. What has been your greatest reward from running your BBS?
|
|
A. Meeting many new people and having a lot of fun.
|
|
|
|
Q. What are your greatest regrets and annoyance associated with running a
|
|
BBS?
|
|
A. I have to answer my mail every day or it gets away from me.
|
|
|
|
Q. What are your future plans for the BBS?
|
|
A. I am going to keep on doing what I have been doing as long as it
|
|
works.
|
|
|
|
Q. What is the funniest thing that has happened on your BBS?
|
|
A. When having friends over, we engaged with a user in what is now
|
|
called gang chatting a user. This is where the keyboard is passed
|
|
around during a sysop chat and the user is completely disoriented
|
|
because of the different bizarre conversations started and never
|
|
finished by the various members of the gang. It is a lot of fun and
|
|
anything goes. Beware, you might be the next victim.
|
|
|
|
Q. What is your favorite hobby/pastime outside of your BBS and computers
|
|
in general?
|
|
A. Getting exceedingly drunk and throwing up. I bet you all believe
|
|
that right?
|
|
|
|
Q. What do you think your system offers that might cause someone to
|
|
prefer your board over others?
|
|
A. I provide a place for people to cut up and act silly without having
|
|
to worry about the consequences. I also do a healthy business with
|
|
the users who enjoy abuse. I also don't care if you upload files to
|
|
the board. I do not get any thrill from collecting them.
|
|
|
|
Q. Why?
|
|
A. People seem to like calling The Frog as it provides a place to unwind
|
|
after spending all day in the "Serious Adult Sort Of" world. For some
|
|
reason, folks do call and download files. I don't know why but who
|
|
cares.
|
|
|
|
-----------------------------------------------------------------------
|
|
|
|
Message Board
|
|
By Barry Bowden
|
|
|
|
|
|
|
|
October 1989
|
|
S M T W T F S
|
|
1 2 3 4 5 6 7
|
|
8 9 10 11 12 13 14
|
|
15 16 17 18 19 20 21
|
|
22 23 24 25 26 27 28
|
|
29 30 31
|
|
|
|
1 BIPUG
|
|
7 FAOUG
|
|
8 BCCC
|
|
9 BACE
|
|
Columbus Day (Observed)
|
|
10 CCS (C64/C128)
|
|
12 Columbus Day (Traditional)
|
|
16 CCS (Amiga)
|
|
Boss's Day
|
|
17 CADUB
|
|
20 BEPCUG
|
|
21 Sweetest Day
|
|
22 BCCC
|
|
Mother-in Law Day
|
|
24 CCS (C64/C128)
|
|
31 Halloween
|
|
|
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BEPCUG CCS
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Birmingham East PC Users Group Commodore Club South
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Jefferson State Jr. College Springville Road Library
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Ruby Carson Hall, Rm 114 2nd & 4th Tuesday (C64/C128)
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3rd Friday, 7-9 PM 3rd Monday (Amiga)
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Paula Ballard 251-6058 (after 5PM) 7:30-10 PM
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Maurice Lovelady 684-6843
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BCCC BIPUG
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Birmingham Commodore Computer Club Birmingham IBM-PC Users Group
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POB 59564 UAB Nutrition Science Bldg.
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Birmingham, Alabama 35259 Rm 535/541
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UAB School of Education, Rm 153 1st Sunday (delayed one week
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2nd and 4th Sundays, 2 PM if meeting is a holiday)
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Rusty Hargett 854-5172 Marty Schulman 967-5883
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BACE FAOUG
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Birmingham Atari Computer First Alabama Osborne Users
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Enthusiast Group
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Vestavia Library, downstairs Homewood Library
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2nd Monday 7 PM First Saturday, 1 PM
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Benny Brown 822-5059 Ed Purquez 669-5200
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CADUB BNUG
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CAD Users of Birmingham Birmingham Network Users Group
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Homewood Library SONAT Building downtown, 7 PM
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3rd Tuesday, 6:30 PM - 8:30 PM Dan Smart 877-3018
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Bobby Benson 791-0426
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News Bits
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---------
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Just a few notes to throw at y'all:
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1. If y'all use SAS (that's Statistical Analysis System not Swiss
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Army Shell) there is a group of people trying to reestablish
|
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a user group. If you are interested please call 934-3633 and
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ask for Valeria or Norma (UAB Hospital-Information Center
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Services).
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2. There is a new user group organizing and had their second
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meeting on Thursday 28 September. I do not know when they
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will have the next meeting, but I should know by the first of
|
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the month. Just leave me a message on the Bus System BBS or
|
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send a note to Mark Maisel on the Crunchy Frog about meeting
|
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times.
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-----------------------------------------------------------------------
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Known BBS Numbers For The Birmingham Area
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NAME NUMBER BAUD RATES SUPPORTED MODEM TYPE
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America Online Nodes 1-4 323-2016 300, 1200, 2400
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America Online Node 5 251-2344 300, 1200, 2400, 9600 HST
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*American BBS 674-1851 300, 1200, 2400
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|
*Bus System BBS 595-1627 300, 1200, 2400
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*Byte Me 979-2983 1200, 2400
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*Channel 8250 744-8546 300, 1200, 2400, 9600 HST, V.32
|
|
Club Phoenix 942-0252 300, 1200, 2400
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|
*Crunchy Frog 956-1755 300, 1200, 2400
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|
D3 Systems BBS 663-2759 300, 1200, 2400
|
|
+Duck Pond BBS 822-0956 300, 1200, 2400, 9600 HST, V.32
|
|
Eazy's Playhouse 870-0434 300, 1200
|
|
Elite Fleet 853-1257 300, 1200
|
|
Gateway BBS 854-5131 300, 1200, 2400
|
|
Gizmo's Atari BBS 854-0698 300, 1200
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|
+I.S.A. BBS 995-6590 300, 1200, 2400
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|
Jim's Place 787-5512 300, 1200, 2400
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|
*Joker's Castle 744-6120 300, 1200, 2400
|
|
LZ Birmingham 870-7770 300, 1200, 2400
|
|
*Magnolia BBS 854-6407 300, 1200, 2400, 9600 HST
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|
ProSoft Systems BBS 853-8718 300, 1200, 2400
|
|
Radio Free TROAD 592-2545 300, 1200, 2400
|
|
Role Player's Paradise 631-7654 300, 1200, 2400
|
|
Smitty's BBS 849-7349 300, 1200
|
|
Sperry BBS 853-6144 300, 1200, 2400, 9600 Hayes
|
|
*ST BBS 836-9311 300, 1200, 2400
|
|
*The Connection Node 1 854-9074 1200, 2400
|
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*The Connection Node 2 854-2308 1200, 2400
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|
The Islands BBS 870-7776 300, 1200
|
|
The Modem Mission 491-8946 300, 1200
|
|
*The Outer Limits 969-3262 1200, 2400, 9600 HST
|
|
*The Professional's Board 856-0679 300, 1200, 2400
|
|
Twilight Zone 856-3783 300, 1200
|
|
+Ultra-Vision BBS 856-1593 300, 1200, 2400, 9600 V.32
|
|
Willie's DYM Node 1 979-1629 300, 1200, 2400
|
|
Willie's DYM Node 2 979-7739 300, 1200, 2400
|
|
Willie's RBBS 979-7743 300, 1200, 2400
|
|
Ziggy Unaxess 991-5696 300, 1200
|
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Boards with a "*" before their name are members of our local network,
|
|
EzNet, and public messages left in the EzNet Conferences of any of these
|
|
boards will be echoed to all members.
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|
|
|
Boards with a "+" before their name are members of FidoNet, an
|
|
international network that provides a variety of public forums as well
|
|
as private mail services all over the world.
|
|
|
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-----------------------------------------------------------------------
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|
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Eznet Multiple Echo List
|
|
|
|
EZNET now supports multiple conference echoing but there are a few
|
|
things you should be aware of regarding private mail.
|
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|
|
A. You have one 'address' for private mail. If you are registered
|
|
for private mail on Channel 8250 and someone sends you a private
|
|
message in the Writers conference from Crunchy Frog it will wind
|
|
up in the Writers conference on Channel 8250 as it should.
|
|
|
|
However, if you were registered for private mail on Magnolia and
|
|
someone sends you a private message in a conference that
|
|
Magnolia does not support (echo) then the message will wind up in
|
|
the twilight zone.
|
|
|
|
B. If you go by a handle on one BBS and your real name on another
|
|
even if the private message goes where it is supposed to, you
|
|
will not be able to read it because it is addressed to someone
|
|
else as far as PC Board is concerned. PC Board has no way of
|
|
knowing that Red Foxx and John Doe are the same person. No
|
|
tickee, no washee.
|
|
|
|
Advice on sending private mail: If you don't know if the person you
|
|
are sending private mail to is registered for private mail then keep a
|
|
copy of the message in case you have to find an alternate route.
|
|
EzNet Central will delete your private, undelivered message and inform
|
|
you that the user you attempted to reach is not registered for private
|
|
mail on any EzNet Node.
|
|
|
|
This is a list of the current echos that I am aware of. More are in
|
|
the making and will be posted in future issues.
|
|
|
|
|
|
Eznet Program Hardware Writers Scitech BTNWA
|
|
|
|
American BBS ........ * ..... ...... ....... ...... ..... ..
|
|
Bus System BBS ...... * ..... ...... ....... ...... * ..... P ..
|
|
Byte Me ............. * ..... * ...... * ....... ...... ..... ..
|
|
Channel 8250 ........ * ..... * ...... * ....... P ...... * ..... ..
|
|
Connection .......... * ..... ...... ....... ...... ..... ..
|
|
Crunchy Frog ........ * ..... ...... ....... P ...... ..... P ..
|
|
Joker's Castle ...... * ..... ...... ....... ...... ..... ..
|
|
Magnolia BBS ........ * ..... ...... ....... ...... ..... ..
|
|
Outer Limits ........ * ..... ...... ....... ...... ..... ..
|
|
Professional's Board * ..... ...... ....... ...... ..... ..
|
|
ST BBS .............. * ..... ...... ....... ...... ..... ..
|
|
|
|
editor's note: As a last minute entry in the echo business,
|
|
Joker's Castle's Lust Boat and Crunchy Frog's
|
|
Roxanne's are now echoing messages in order to
|
|
provide better access to all of the perverse types
|
|
who frequent these two areas. MM
|
|
|
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|