Musikaliska uttryck och funktioner i interaktiva v rldar - C64.com

y the time I actually explain it I generally realize what the problem is.” [-31:09] That’s an
interesting way to debug code. I tried it, but, it didn’t always work out for me. If you don’t
realize what a bug is, then it tends to be something really, really, really simple. You missed
off some little hush mark, you just forgot to initialize something. Something of that nature.
[-31:40]
[31:47-] Anyway, I moved to the US in 1977 [sic! han menar 1987], did a two month
contract and worked on Ski or Die [1990]. They though that was ok, so they offered me a job.
They said, “Do you want to work in the UK or do you want to work in the US?”, so I said,
“Let me think about that for half a second”, and I says “I want to work in the US.” [-31:17]
So I moved to the US. At that time, going back to the cultural aspects of this, it really became
apparent the huge, huge differences between what happens on the other side of the Atlantic,
and what happens in Europe regarding music and the culture. The one regret that I have about
moving there was that I missed out on an awful lot of developments in Europe, because I was
in the US at the time. I missed out on a lot of this stuff that happened with the development of
the culture, and the whole demoscene, and what happened with music. Music is much more
important in Europe. People are much more into music. People are much more aware of music
in Europe, and they have a general, better [gör situationstecken i luften], taste [skratt] than
what the Americans do, I would say. So it was a little bit of a shock for me going to live in the
United States when the culture is so different. People are into so different kinds of games, and
different ways of doing things. [-33:46] You must become very aware of what’s goes on over
there if you ever work for an American company or publishers. The music reflects what goes
on, on the radio stations, what goes on, on the TV, and things like that. People in Europe are
much, much more into music than the Americans are. Also there is a radical difference in
games in the United States, than in Europe. They tend to be much more simulation, realism
orientated, opposed to Europe, which is more innovative, and I would say, more funorientated
than what the Americans are. It’s a bit of a generalization, I know, [skratt] but, I
would say that that was something that you have to become aware of really quickly. [-35:04]
So, when I was over in America, one of the other things we had to get working on, besides
the Amiga, was the IBM PC, which had like no sound whatsoever. One of the strange things
that happened while I was over there, was that IBM called me up to ask my advise about
sound chips, because they where coming up with a new PC. I can’t remember what it was
called. It was like a PS or something. Of course as soon as I said that, I figured PlayStation,
but it was an IBM PS something or other. And they called me up to ask my advise about
sound chips, and I said “Well if you want the state of the art” , which at the time was the FM
sound chips by Yamaha, I said, ”Well, that’s probably gonna cost you this much,” then I said
“There’s this really crappy Texas Instruments chip called the TI-chip”, which was the same
chip that was in the Amstrad and the MSX and stuff. It was really an awful chip, and I said
“that’s really, really cheap.” There was also another few things that I mentioned as well, and
then eventually they chipped the box and used the crappy Texas Instruments chip. [skratt]
[-36:43]
[36:51-] The audio hardware of the game machines and computers was running to my
estimate about five to ten years behind of what was happening in the music industry.
Microsoft was working on this thing called the multimedia PC, called an MPC standard, if
anybody remembers that. That was happening at that time and the early sound cards started to
be developed for the PC. There was this thing called the FB01, and then an AdLib card, which
was an FM–chip. Then there was a thing called an MT32 that started to be around on the PC
that was a precursor to the SoundCanvas. [-37:52]
[37:59-] One of the innovative companies at that time was Sierra. Sierra Games, they used
to do these huge adventure games and they became very good at exploiting the audio on the
PC. [-38:15] [38:17-] One of my friends left to join Microsoft and he offered me a job at
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