Colourspace by Jeff Minter from Llamasoft **IMPORTANT NOTICE** Some monitors and televisions may produce a scrambled picture during the STROBOSCOPIC effects (such as Preset 5). This resembles a television which needs it's vertical or horizontal hold adjusted. This will not harm your set. The STROBE effect sends an unusual (but not harmful) signal to your television or monitor. A few sets cannot decode this signal and the picture gets scrambled. The problem is caused by your set and it is not a bug in the program. THE SOLUTION: Use a different television or monitor. If this not possible, experiment with different STROBE rates. It is likely your set will be able to handle the STROBE at a different speed. If the problem persists, do not use the STROBE effect with that monitor or television. Or else look upon the scrambled picture as yet another special effect. This documentation may not be copied, photocopied, reproduced, translated, or telecommunicated in any form, in whole or in part, without the prior written consent of Antic Publishing, Inc. The accompanying program material may not be duplicated, in whole or in part, for any purpose. No copies of the floppy disk(s) may be sold or given to any person or other entity. Notwithstanding the above, the documentation and accompanying disk(s) may be duplicated for the sole use of the original purchaser. Antic is a trademark of Antic Publishing, Inc. COLOURSPACE a light synthesizer for Atari computers What is Colourspace? Colourspace is the second stage development of an idea which grew out of an appreciation of good rock music, and an interest in the way in which music and light go together. Most people who attend rock concerts enjoy lighting effects during the performance, often involving lasers and projections onto large screens behind the group. Such effects usually enhance the enjoyment of the music for those watching. What I wanted to do was make the lightshow playable in much the same way as a musician plays his instrument. An operator interpreting the music visually in realtime could seriously blow the minds of people watching as well as having a really good time himself. The original idea was for a device to be played on stage and controlling large lighting rigs and lasers, and obviously I had neither the cash or expertise to build such a device, so it remained as only an idea until I decided to experiment with using a computer to generate the effects on a TV screen, for use in the home. The resultant program, PSYCHEDELIA, is now available for many popular micros, and has freaked quite a few people out. Using keyboard and joystick, operators can produce lightshows to accompany their favorite music. The displays have been described as being like "interactive fireworks". Whilst satisfying on their own, the displays are best to the accompaniment of loud music, which acts like a catalyst and vastly increases the enjoyment of playing. The system is set up like a synthesizer, with user-controllable variables defining the modes of pattern-generation. Users "perform" using the joystick and can store away effects for later recall by a single keypress. This program, COLOURSPACE, is based upon the same basic idea. By using the unique Atari screen hardware and colour pallette, the effect of the program is much improved. The difference between Psychedelia and Colourspace is as pronounced as the difference between a Mini and a Ferrari. Using the Atari you can get curved screens, hardware reflections, interlace effects, stroboscopics, dynamic colourflows, and variable resolution screens. There are 80 presets available for programming, 16 user-definable lightforms, and a foreground drawing mode. There is even a mode which allows you to perform simultaneously with another player or with the computer. Loading COLOURSPACE COLOURSPACE is a machine-language program which does not require the presence of the BASIC language to function; in fact it will not work correctly if BASIC is present, following load procedure should be followed. Atari 400/800: Remove any cartridges from the system. Turn on the disk drive, then put the disk in. Turn on the computer. The program will load and run automatically. Atari XL/XE models: Remove any cartridges from the system. Turn on the disk drive, then put the disk in. Turn on the computer while holding down the OPTION key. The program will load and run automatically. Once loaded the program will immediately begin the Auto Demo. Auto Demo Mode When first booted the program will be running in this mode. It is probably a good idea to watch the Auto Demo for a bit if you have never seen Colourspace before. The demo runs through all of the 80 demonstration presets and gives some idea of the effects you can achieve using Colourspace. Taking Control To terminate auto demo, just press the "A" key. The message "TERMINATED" will appear at the top of the screen and pattern flow will stop, leaving a glowing pixel -- the cursor -- on the screen. (There may be some foreground graphics there, too -- if there are you can wipe them off by pressing "W"). If you haven't done so already, plug a Joystick controller into Joystick Port 1. First Encounter It's a good idea to put on some decent music at this stage, to help you get in the swing of things. Use the Joystick to move the cursor. Moving the stick and pressing the FIRE button will cause pattern generation. Try holding down FIRE and doing lines, curves and swirls. Pulse the FIRE button, waggle the stick, just get the feel of the system and see what it does. Press any of the keys marked ESC, 1, 2...DELETE to change the effect. When you have had enough, read on to find how some of the simpler keyboard commands work. Keyboard Controls There are many keyboard controls affecting the performance of the light synthesizer. The controls fall naturally into various groupings, each controlling different functions and having different effects. The simplest keys are also those which have the most obvious effect on the display, so we'll look at those first. The "S" key changes the symmetry of patterns being produced. There are five basic settings: y-axis reflection, x= axis reflection, x/y reflection, quad symmetry and no symmetry at all. Some of the screen modes will affect the way the symmetries are displayed, since some modes incorporate their own hardware reflection modes. The "M" key changes the type of screen upon which you draw. The basic screen types are as follows: Variable Resolution -- you can change the size of the pixels by pressing "Z" (to increase) or shift-z (to decrease). Hardware Reflect -- a high-resolution mode in the top half of the screen is reflected by hardware in the lower half of the screen. Curved Colourspace 1 -- by varying the y-resolution of the screen from top to bottom, the effect of projection onto a quarter-cylinder is created. Curved Colourspace 2 -- as above, but projected onto a half-cylinder. Curve + hard reflect -- half-cylinder projection with hardware reflect halfway down the cylinder. Curve/reflect 2 -- two half-cylinders, each with hardware reflect as above. Zarjaz interlace mode -- a hi-res screen is interlaced with its own hardware reflection to give an interesting "shaded" effect. The space bar changes the current lightform-primitive (the shape which you move to generate the patterns). There are eight pre-defined ones, and 16 more which can be edited by the user. The space bar steps sequentially through all the available options. The "E" key toggles between "explosion" and "normal" drawing mode. In "explosion" mode the cursor leaves a trail of "explosions" rather than the usual image of the lightform-primitive. This mode is usually most effective if you are using a pulsed stream (see PULSE RATE later). The Colour Control Bank This is one of the most complex areas to be covered. The exceptional colour capabilities of the Atari can be exploited to the full, and static or dynamic colourflows produced. Experiment a lot with this mode because its potentials are pretty impressive. Before you start experimenting, follow these instructions which should leave you in a mode where your alterations are easily visible: 1) Press the key CAPS (the caps lock key) repeatedly until the message "PRESET BANK #000" appears at the top of the screen. 2) Press the number key "3". Try the patterns -- you should be on a graduated red colourflow. If you're not, repeat the procedure until you are. 3) Once you are in that mode, proceed. If you get into trouble during any of the examples, pressing "3" will restore you to that original red colourflow. Altering All Colours Simultaneously This is useful if you have a colourflow in, for example, shades of blue, and you wish to change to greens or reds. It is possible to change each colour in the flow individually (as detailed later), but when each colour has only to be transposed by an equal amount, it is simpler to change all the colours simultaneously. In order to understand how best to use the colour controls, you need to know how the colours are numbered. There are sixteen basic hues, and sixteen intensity levels within each hue. For example, colour 0 is black and colour 15 is white. The numbers in between represent the intermediate shades of grey between black and white. It's easier to think in terms of music: steps of 16 are like octaves in music. If you add 16 to a particular colour, you get the next colour up in the same intensity. The colours themselves are laid out in more or less rainbow order. To alter all the colours at once, you use a variable known as the Simultaneous Adder. Initially, this is set to 16, but you can adjust it to whatever you like (see Adjusting a Variable, below). Try adjusting the colourflow by performing the following actions: Press "*" until the top of the screen displays "CKEYS=COLOURS". This tells the system that you will be operating on the colour values. Then press the "H" key (Perform Simultaneous Add). The message "COLOURFLOW RESYNCED" will appear, and if you make some patterns you will see that the colours have changed slightly. The more you press "H" the more the colourflow is transposed. Adjusting a Variable So far you've been adding 16 to the colourflow, resulting in a transposition of hue but remaining at the same intensity. Now try changing the value of the Simultaneous Adder to something less than 16 and see what happens when you perform the add. In adjusting this variable you use the CTRL and SHIFT keys, along with the variable's own key, as follows: To increase the variable: hold down CONTROL, and then hold down the variable key (in this case J, the simultaneous adder control key). The variable's name and current value (constantly increasing) will appear at the top of the screen. Release both keys when the value reaches the required amount. To decrease the variable: hold down SHIFT and the variable key, The variable's name and (decreasing) value appears on the screen. Release both keys when the value is right. When adjusting a variable, holding down the variable's key results in continuous adjustment of the variable. You can adjust the value more slowly by using single discrete presses of the variable key. Using the method given above, adjust the simultaneous adder to a value of 1. Press H to see the effect. As you press H the intensities of the various levels of the colourflow are altered. If you pressed H 16 times you would step through one entire colour "octave". Experiment with the control to see what happens. Check the results by playing around with the patterns. Dynamic Colourflows -- an Intro On the Atari program COLOURSPACE it is possible to make use of a new type of effect not available on the Commodore PSYCHEDELIA. Dynamic colourflows mean that it is possible to create patterns where not only does the pattern move through colourspace, but also the colours themselves pulse in a preset rhythm. To get an idea of this effect, try the following example: Press the number key "3" to restore the graduated red colourflow. Set the Simultaneous Adder variable to 1. Press the "*" key until the top of the screen displays "CKEYS=OOZE RATES". Then press "H" to perform the simultaneous add, and play with the pattern to ascertain the result. The metallic "gleaming" effect is caused by the various colours in the flow oscillating smoothly through one entire colour "octave". Because each level of the flow is slightly displaced in colour value from the others, the oscillation causes a "ripple" to run up and down the pattern. Press "H" again and the ripple will slow down. The "ooze rate" which you are adjusting controls the rate at which oscillation occurs. 1 is fastest, larger values introduce a longer delay, and 0 stops oscillation. (Here we will introduce the second function of the "H" key: that of zeroing the colour bank parameters. By pressing shift-H you can set all values in the colour control section selected by pressing "*" (e.g. ooze rates, ooze cycles or ooze steps) to zero. Useful for turning off a dynamic colourflow quickly. Beware using this function on the "colours" bank directly, though -- it will set all your colours to black!). Parameters defining the Ooze The "ooze" is the term I use for the rhythmic cycles of pulsation used for dynamic colourflows. Set up the simple dynamic flow example used just now, and prepare to experiment... Press the "*" key to select Ooze Steps. Set the Simultaneous Adder variable to 1, and the press "H" a few times. The effect you see is due to the pulsation taking place in steps of greater than 1. You can see the pulse steps for any value from 1 to 255 (effectively, -1). It is interesting to set the ooze step to 16, because then the colours oscillate through the hues without varying in intensity. Setting the ooze step to zero effectively stops oscillation by adding zero to the colour flow which has no effect. Press "3" to regain the red colourflow. Introduce a simple oscillation as before by setting the ooze rates to 1. Set the Simul Adder to 16, and press "*" until "CKEYS=OOZE CYCLES" is selected. Press "H" 3 or 4 times. What you see when you run the pattern is that the rate of colourflow remains unchanged, but the flow takes place over a wider range. The OOZE CYCLE parameter specifies how many additions take place before the oscillation turns around. Short cycles oscillate very quickly; longer ones take more time and step through a larger range. (Zero gives, paradoxically, the largest range: the system treats zero as meaning 256). Examples of oscillation ranges under different settings. The base colour is assumed to be black. (Ooze Step=1 Ooze Cycle=16 [default settings]) 0 15 _ _ _ _ _ (Step=2 Cycle=16) 030 _ _ _ (Step=16 Cycle=6) 0 80 Individual Settings for Individual Colourflow Segments So far we have used the Simultaneous Adder to perform ooze operations on all colours within the flow simultaneously. However, each colour within the flow may possess its own individual settings for ooze rate, step and cycle, as well as for colour. This is achieved by assigning each colour its own variable key and then adjusting the value with the CTRL and SHIFT keys, just as you did for the Simul Add variable. The variable keys for the colours are the keys X...[.Use "*" to select which colour function you wish to adjust (colour, ooze rate, ooze cycle or step) and then adjust the value in the usual manner. (When adjusting an ooze parameter associated with an already-oscillating colourflow, you should perform a resync (shift-*) when you have finished, or else the flow wll be "out of step". Always resync after individual colour operations). The background colour can be set and made to oscillate just like the colourflows. Its variable key is the inverse-character key on the keyboard (the 2-coloured box on XL/XE s, the Atari logo key on old 400/800s). Quite amazing effects can be worked out by using dynamic colourflows. The ability to give each stage of the flow its own oscillation parameters gives the system a large potential for some really zarjaz effects. Experiment with the system and see what comes out... Before leaving the subject of colour we'd better deal with the subject of stroboscopics. These high-intensity flashing effects can be very effective in dark rooms... Strobo is turned on and off by pressing the "?" key. The flash rate is adjusted by single presses on the ] key. The setting is displayed as STROBO ZAP RATE at the top of the screen. The fastest is 1, the slowest is 7. We find rates of about 3 or 4 to be very effective. For maximum effect use a bright screen as background. Ooze does not take place during stroboscopics. WARNING: Stroboscopic effects are very intense, especially in situations where there is no other light. Some people may be upset by stroboscopics of particular frequencies. Care should be taken in the use of strobo FX to ensure that they don't freak anyone out in a negative manner. Other commands affecting the display After having introduced the simple display-modifying parameters early on (Symmetry, Shape etc) we can now go into more depth. I'll run through each control in turn: E = Explosion mode. When enabled, the cursor draws not with the usual lightform, but with a small "explosion" of 8 pixels. This is most effective with a bit of Pulse on, but it can look good with no Pulse and a slow Cursor Speed. The key toggles between normal and explosion mode. T = Tracking on/off. Tracking, when enabled, means that when the buffer is full the program actively looks for the next best place in the buffer, resulting in a more consistent -- but fragmented -- colourflow when the buffer fills. If disabled, the program waits for the buffer to empty completely before adding new data, so you get a characteristic "pulse" at Buffer Full time. (Don't worry if this seems heavy. Just play around with the control and see.). P = Pulse Speed. Normally when you hold down the FIRE button you get a continuous stream of pattern. By adjusting this variable, you can introduce a "pulsed stream" effect. Adjust the variable by using CTRL and SHIFT along with this key in the usual manner. O = Pulse Width. When you have set up a pulse stream using P, you can further alter the stream by using this variable to set the WIDTH of the pulses. Adjust using CTRL, SHIFT and this key. D = Smoothing Delay. During pattern plotting, large patterns take longer to plot than small patterns. At high speeds this can result in a certain "lumpiness" of the colourflow. Introducing a larger Smoothing Delay evens out the irregularities in such cases. This variable is also used a lot for special effects: a slow cursor speed and a large SD can give some zarjaz slow motion effects. Experiment with both high and low values (range is 0-255) to see what happens. Adjust as usual via CTRL and SHIFT. B = Buffer Length. Used to alter the length of the plot buffer (the amount of pattern points the system can cope with at any one time). Usually set to 64 but other lengths are used for various types of special FX. Adjusting the variable is achieved by single or repeated presses of the B key. V = Vector Mode on/off. A drawback of using 8-way joysticks as control inputs to Colourspace is that all traces are at 90 or 45 degree angles. Selecting Vector Mode introduces a new method of control using the stick. If you imagine that the cursor is a Telepathic MetaGoat, then pushing the stick forward makes the goat go faster forwards; pulling back makes it slow down; and pushing it left or right makes it turn to the left or right. Using this method you can get 32 different trace angles instead of only 8. C = Cursor Speed. You usually draw at the rate of 50 pixel/sec motion. By adjusting this variable you can slow this rate down. Also used in conjunction with Speed Boost for special FX. This variable is adjusted by single or repeated presses of the C key. X = Speed Boost. Forces the cursor to go faster than the standard interrupt rate of 50 pixels/sec. Useful for really fast tracks, often best with a bit of pulse too. Low Cursor Speeds with high Speed Boost values can give some well strange effects. Adjust with single or repeated presses of the X key. Q = Sloth Mode on/off. The mode breaks up diagonal traces into a lot of horizontal and vertical components. The resulting trace has a "stepped" effect which can look really zarjaz on some patterns. All these controls have been briefly looked at here. The best way to find out what they do is to get a light form you know well (like that red Preset 3 of bank 0 that we used as an example earlier) and modify it using these parameters, separately or in combination. You'll soon get the hang of things. The Preset Banks Once you've set up a good colourflow, it's convenient to be able to stash it away for later recall by a single key press. There are 80 presets available for you to store parameters on. The presets are arranged as five banks of sixteen presets each. To read data out of a particular preset, you use the "CAPS" key to switch between preset banks, then press the preset key of your choice. All of the top row of keys are preset keys, plus two of the cursor keys on the second row down. The presets come already assigned with 80 examples, but you can overwrite these with your own data. To assign your own data to a preset, select bank as previously described, then type SHIFT together with the preset key you've chosen. The message STASHING PRESET#nn will appear. Your data is now assigned to that key. Recording, Dual Modes, Pattern Definition, Foreground Painting Record Mode The system can remember your joystick motions and keyboard presses for later playback. To make a recording, follow this procedure: 1) Select the preset you want to start with; 2) Press SHIFT-R to begin recording; 3) Use joystick and keys at will (system can record about a quarter hour of play); 4) Terminate RECORD mode by pressing R (system drops out automatically if it runs out of memory). To play back a recording, press just R on its own. The system recalls the last preset you'd selected before you started recording, then plays back what you did. When it reaches the end of the recording, it repeats itself. Playback can be stopped at any time by pressing R. Dual Modes It is good fun to get two people together to give a dual Colourspace demo. If a second joystick is plugged in then dual-operator play can take place. Press J to select between NORMAL and DUAL mode. In DUAL mode, each player has a cursor which runs at HALF the speed of the equivalent NORMAL mode cursor. The second player's lightform can be selected by pressing the semicolon ";" key. All the other controls apply to both users' colourflows. You can also play dual with the computer, by first using RECORD mode to record some motion, Then press CTRL-R to begin Mixed Mode playback. The computer plays back your recording (without keypresses) at half-speed with Cursor 2, and you control Cursor 1 simultaneously with the joystick. Press CTRL-R or J to terminate the mixed mode. Pattern Definition There are 16 lightforms which the user can modify at will. Select the lightform you want to change by pressing SPACE until it appears. Kill any Speed Boost, then press U to enter define mode. A message will appear telling you which level you're on and how many points are free. Lightforms are made up of seven "stages". Stage one is the central point which is plotted at the cursor. Stages 2 to 7 can have their points anywhere. You are shown the Stage One point at the centre of the screen. Use the stick and button to enter as many Stage 2 points as you require then press RETURN to progress to Stage 3. Repeat until you've done Stage 7, then press RETURN to quit. The lightform you just defined will now be active. The more points there are in the total lightform, the slower it'll run when finished. The total number of points per lightform is limited, too. For really fast patterns use patterns with only one or two points per level. Foreground Painting It is possible to draw on the "front" of the screen by using the Foreground Paint Mode. Select which symmetry you wish to draw in by using SHIFT-G, then turn off any Speed Boost and press SHIFT-F to enter the Foreground Draw mode. Once in this mode you can draw up to 1000 pixels' worth of design. Press FIRE to enter a point. Press SPACE to change the plot colour -- there are the usual colours plus the background colour, and colour#8 which is the same colour as the cursor. Use DELETE to delete points sequentially starting with last point plotted, if necessary. Once you've drawn your design press RETURN to exit draw mode. If you then make patterns you'll see them pass UNDER the foreground drawing. With a foreground design in memory, you can plot it in two different ways. If you press F, then the pattern will be drawn in exactly the same positon as when you drew it. If you press G, the pattern will be drawn with the first point starting at the current cursor position. You can draw the pattern anywhere on the screen, as often as you like. To clear off the screen, press W for Wipe Foreground Screen. All plotting to the foreground screen can be done under any of the five symmetry possibilities -- just press shift-G to change between them. The possibilities presented by the Define Pattern and Foreground Design modes are quite extensive. Record mode is good for when you want a more "human" demo than that provided by the Auto-Demo mode, and the Dual mode is really good if you get two people in some kind of empathic synchrony. Saving your Atari Colourspace creations With the large amount of preset memory and user-definable shapes, it's useful to be able to store your presets, patterns and foreground drawings for loading later. COLOURSPACE allows SAVEing to cassette tape only (not to disk). There are two types of COLOURSPACE file: PARAMETER data (which includes all 80 preset settings, the 16 user-definable lightforms, and any foreground graphics held in store), and DYNAMICS data (which comprises the stored keyboard and joystick data created in the RECORD mode). The CTRL key is used to activate all the tape I-O operations. Ensure that The COLOURSPACE Record mode is not active and that you're not in Draw or Define modes. To start a SAVE, press CTRL-Q (for Parameter Save) or CTRL-A (for Dynamics Save). You'll hear the double-beep signifying the start of a SAVE. Insert a blank cassette and press the PLAY and RECORD buttons on the recorder, then press RETURN. To start a LOAD, press CTRL-W (for Parameters) or CTRL-S (for Dynamics). It is very important that you don't try and load a DYNAMICS file in via a PARAMETERS load; the system would become a little miffed. I'd advise that you keep separate tapes for parameter and dynamics data, or that you keep both files one after the other on a single tape with Parameters first, Dynamics second, so you can do the two loads in the same order each time. When you hear the beep, press the play button on the recorder, then hit RETURN. Tape I-O can be fairly weird at the best of times; if the system seems to be freaking out you'll find that a swift jab of the System Reset button usually sorts the matter out. (You can't naff the system by doing this, don't worry). Always use good tapes or you might find that sometimes you only get a partial LOAD. Other Controls There are one or two additional controls which ought to be detailed: Y = Status Line Enable/Disable. If you're giving a Colourspace demo and don't want the status line to appear at the top of the screen, you press Y to disable it. Pressing Y once more will re-enable it. Z = Variable Resolution control. On the variable resolution screen, you use Z to set up the resolution you require. Z alone decreases the resolution (bigger pixels), SHIFT-Z increases the resolution (smaller pixels). Using COLOURSPACE Firstly gain a good knowledge of the variables and their effect on the patterns. You'll be more able to get the best out of the system if you know exactly which controls do what. If you're ever going to do a "live" demo, work out beforehand the presets you're going to use and put them onto tape. (About 16 presets per music track is pretty usual). You might find it useful to assign someone else as a preset operator so you don't have to take your hands off the joystick. Practice improvisation, too: it's good training to see how well you can synch in with a track you don't know. Each preset setting has its own feel and inertia. A good operator acts as an interface, taking as input the "feel" of the music, and expressing that "feel" in the form of visual output. Summary of Commands A = Auto Demo on/off S = Symmetry change M = Screen Mode Z/SHIFT -Z = Vary Vertical Resolution SPACE = Change Lightform Primitive E = Explosion mode on/off H = Perform Simultaneous Add J = Simultaneous Adder Variable Key * = Select colour control effect SHIFT-* = Colourflow resync SHIFT-H = Zero selected colour parameter bank ] = Set strobo flash rate ? = Turn stroboscopics on/off H,C,V,B,N,M,[ = Individual colour Variable Keys (Inverse Text Key) = Base Colour variable key Q = Sloth Mode on/off T = Tracking on/off O = Pulse Width variable key P = Pulse Speed variable key D = Smoothing Delay variable key X = Speed Boost adjust C = Cursor Speed adjust V = Vector Mode on/off B = Buffer Length adjust ESC,1,2,3,4,5,6,7,8,9,0, , ,DEL,- = , are preset keys CAPS = Preset Bank Select W = Wipe off foreground graphics SHIFT-R = Begin Record Mode R = Stop Record Mode/Begin Playback/Stop Playback CTRL-R = Mixed Record/Live mode on/off U = Define User-Definable Lightform J = Dual Joystick mode off/on ; = Select second user's lightform SHIFT-F = Begin drawing on foreground screen F = Draw foreground graphics in original place G = Draw foreground graphics at current cursor position SHIFT-G = Change symmetry of foreground graphics plot CTRL-Q = Start parameter save CTRL-W = Start parameter load CTRL-A = Start dynamics save CTRL-S = Start dynamics load Y = enable/disable status line Don't worry about the large number of controls. The best way to learn the system is just to put on some good music and experiment. It's just about impossible to create something which looks actively bad, but the real skill lies in getting decent sync between the music and the light display. This skill requires a good feel for music, a thorough knowledge of the lightsynth, and lots of practice. I hope you enjoy playing COLOURSPACE, `cos we certainly do... ______________________________ COLOURSPACE was developed over a period of 1 month using an Atari 800XL running MAC65 assembler and using a single 810 drive. Special thanks to Floyd, Genesis, Steve Hillage, R.J.Dio, some guy called Blackmore who plays guitar a bit, and all the others who inspired the creation of COLOURSPACE... thanks to Atari for tech help & for making such a zarjaz machine... Wait'll I get it running on the 520ST... may all your colourflows be dynamic!!!