I Know You...

Temps de lecture : 21 minutes.

So, the story so far¹Click to « Steinberg, you say? » if you’ve already read the previous articles.:

• In April 2019, I started a thread-based Twitter love letter to my years as an Amiga fan, back in the days when I didn’t have to worry about bills, taxes, and dating apparently. This thread tried to give an overview of demos, modules (the musical kind), and music tools on the Amiga (especially ProTracker, and its inspiration: The Ultimate Soundtracker).
  That thread lasted only three days²And 25 or so tweets, in 3 separate threads. ‘cos if it’s easy it ain’t fun., but got me thinking: Where did the author of The Ultimate Soundtracker, Karsten Obarski, get the idea for his paradigm-shifting³Important topics require important-sounding words, mate. tool?
  That threw me down a rabbit hole of searches and deleted forum posts and date comparisons and emailing people left and right, trying to answer that one question: When did the « tracker » way of composing music (or, the music sequencer) made the jump from a hardware, physical product to a software product? ⁴Did I succeed in answering that question in the end? Read on…
• In July 2021, I turned my 3 love-letter threads into a proper blog post, which quite innocently ended with a single⁵but very lengthy question, which I’ll sum up as this:
  « Did step-sequencing really made a single jump from the expensive, Australian-made Fairlight CMI II sampling workstation in 1982, to the cheap, German-made Soundtracker software in 1987, as Wikipedia implies? »⁶Told you it was lengthy. I already had the answer in several notes, links, and emails. I just needed to write that down. ⁷Welcome to today, four years after the initial threads and searches, where the present article is finally scratching the surface, yaaaay procrastination (and fatherhood)!
• In September 2021, I started this « Soundtracker origins » series, where I presented the context of the creation of The Ultimate Soundtracker by Karsten Obarski, its demise as a commercial product, its rebirth in a thousand free clones, the vanishing of its creator, and his apparent inspiration: Chris Hülsbeck’s SoundMonitor, in 1986. Getting closer to 1982, woohoo!
• On January 1st, 2023, I published part 2 of my Soundtracker Origins series, where I explored the origins of SoundMonitor, got to interview Chris Hülsbeck himself, and learnt that his inspiration could be⁸His memory of 1985 is foggy, understandably. I don’t even remember what I had for lunch yesterday, let alone 30 years ago. Probably Nutella crêpes, come to think of it. Steinberg’s MIDI Multitrack Sequencer.

And now, today.

To remind you of the steps to cover, we’re trying to go from this to that.

Steinberg, you say?

In Part 2 of this series, Chris Hülsbeck told me that he remembers using Steinberg’s MIDI Multitrack Sequencer tool on the Commodore 64 computer, around the time he wrote his own tool, Soundmonitor.

Steinberg⁹By the way, if you are germanophone, please excuse the sad pun in the title of this present article…? In 2023, they are one of the biggest musical software/hardware company, with industry-defining contributions such as Cubase of course, and the VST plugin interface, amongst other inventions.
In terms of well-known names for professional and amateur studio musicians, they’re up there with Digidesign/Avid (makers of Pro Tools) and Ableton (makers of Ableton Live).

But 40 years ago, in 1983, they were three, working from a living room in Hamburg: Karl « Charlie » Steinberg (31), Manfred « Manne » Rürup (32), and Nicole Rürup, Manfred’s wife (age unknown).

At the time, Karl was a musician and audio engineer, and Manfred was a musician and a salesman at a music shop. In the early days of the Steinberg company¹⁰Thus named because « Rürup » didn’t sound international enough to them., Nicole took care of design and manuals¹¹« She’s very good at graphics and so she did some of the company adverts and helped produce the manuals. We had this little Roland computer plotter and we did our first manuals with that. » (source).

We’re lucky to have several early interviews online.
Let’s start with Manfred:

Interviewer: « In the 80s you formed a new wave project called Direktion and released ‘Jeder Tag Wunderbar’ in 1982.« 

(…) I went to a studio on the countryside, called Delta-Studio. The studio was willing to take the risk of producing my songs. So I went into the recording room to meet the engineer and there he was: Karl Steinberg. It was one of these moments where two souls meet for the first time.

At that time, 1980, I was part time working in a keyboard shop, at Amptown in Hamburg which gave me access to the latest in keyboards and samplers and to the MIDI¹²The MIDI (Musical Instrument Digital Interface) protocol makes it easy to transmit musical data between digital devices like keyboards and computers. Instead of sending sound files, it transmits event messages such as pitch, velocity, and timing. Upon its release, it revolutionized the music industry by enabling seamless interaction between digital musical instruments and computers, profoundly influencing the creation, recording, and production of music. protocol which was released in 1982 I think¹³Ackchyually, 1983. *tips fedora*..

from the excellent It’s Psychedelic Baby magazine interview, May 2021.

Says Karl:

I was always interested in electronics; in 1976 I built an analogue sequencer with sliders, but you could also speed it up and use it as a waveform generator. However, my soldering was never too good. Then I became a studio engineer, and that’s when I met Manfred Rürup. We soon discovered that we thought on the same wavelength, and because Manfred was working a lot with keyboards, we always had access to the latest gear.

(…)

One day [Manfred] gave me some sheets of paper which had MIDI data formats on them. As I had already been working with Sinclair computers – ZX81 etc. – I suggested to him that it would be very easy for me to write a MIDI program. So I used a Commodore 64 computer to develop it, which Manfred had at home, and then we just started to sell it to other people we knew.

(…)

I used to work at Manfred’s home. That’s where we started building the little MIDI interfaces which I developed and even soldered up all by myself. They were the very first things we did there.

from the Sound on Sound interview, July 1986.

Says Manfred¹⁴And no, no trace of an interview of Nicole online.:

At that time I played with Inga Rumpf and thus had the opportunity to visit the music dealers in the morning with my portable SX64¹⁵The portable version of the C64. and to present our system to them. However, the interest was not very great. But we were only a three-man company: Charly, my wife and I, and when you sell ten MIDI packages, that’s « big business » (laughter).

Google-translated from the TOS Magazin interview, January 1992.
I’m pretty sure I’m missing on a LOT of interviews just because I don’t know the right German keywords to search…

Musicians writing software for musicians… Kinda reminds me of both Karsten Obarski (in part 1 of this series) and Chris Hülsbeck (in part 2), who each saw a personal need and successfully scratched an itch that, hitherto unbeknownst¹⁶I warned you there’d be important-sounding words. So there. to them, was common to all musicians.

Not much remains online of their MIDI Multitrack Sequencer (1984), not even a screen capture¹⁷Unless you’re like me and you went down that same rabbit hole as I did, and came back with this.. But that’s possibly because that tool was quickly surpassed by Steinberg’s next creation, Pro-16, another MIDI sequencer which quickly gained quite a bit of success from the moment it was released in 1985.

There are many different software sequencers on the market for the CBM 64¹⁸Commodore Business Machine 64. That’s a mouthful. and they all have something to offer, but none of them are as complete and easy to use as this one. Well done Steinberg: 10 out of 10!

A review of Steinberg Pro16 MIDI Sequencer, aptly titled « The Professional’s Choice« , in Sound on Sound (April 1986).

You can record the notes of a MIDI keyboard, track by track, and replay all tracks in parallel, up to 16 tracks, even with effects like the pitch wheel.

To our 2023 eyes, it looks pretty basic and clunky, but at the times, it was an eye-opener on the possibilities offered to everyone, professionals and hobbyists alike.

Alright, I hear you, « Enough already with the History lesson! »

Did I succeed in contacting them?

My attempts at talking with « those who know »

I agree, this subtitle does not bode well…

Well, I figured I would never be able to contact neither of the Steinberg co-founders directly, so I tried to go the official route:

No answer. Figures.

Let’s get personal, then!
Karl « Charlie » Steinberg has an old-school online presence, where he writes about current projects — ever since he sold Steinberg to Pinnacle in 2003, I suppose he has a lot more free time on his hands. The website doesn’t look quite up-to-date, but he seems to enjoy being the keyboardist for the German band Stier.
Sadly, I cannot find a contact email on his website — I guess we can understand that he doesn’t want to be too easy to contact.
Oh well…

I couldn’t find an online presence for Manfred Rürup, nor Nicole Rürup¹⁹Weeeeeellllll, that’s not quite right. It’s more « I couldn’t find a readily accessible online presence », really. As a matter of fact, there is a « Manfred Rürup, Supervisory Board Member at Ableton » (yes, Ableton, not Steinberg) on LinkedIn who looks an awful lot like an older version of the hippie guy from above. But I couldn’t message him directly because I had to be a LinkedIn Premium member to do so, and, well, I guess I decided not to bother him, when I started this research project back in 2019?. Damn.
Where to look?

With their early success and growing projects, Karl Steinberg and the Rürups started hiring employees, and were soon joined by musician and software developer Werner Kracht in 1985.
Mr. Kracht worked for Steinberg on a couple of educational products, then in 1986 he developed the successor to Pro-16, called Pro-24, for the Atari ST²⁰A machine that comes with a built-in MIDI interface: no more custom dongle to bundle with the software! To this day, the Atari ST remains a very important machine for musicians, thanks to this hardware choice by Atari. ²¹But Amiga roulaize quand même, hein..
Herr Kracht wrote Pro-24 on the Atari ST pretty much on his own, because Herr Steinberg was very busy producing various OEM versions of Pro-16 for different hardware manufacturers — it was a real money-maker for them at the time.
Pro-24 was the first music software written for the Atari. It had quite an impact on the industry as a whole.
That first step on the Atari ST market was key for the Steinberg business, as it would lead three years later to the creation of Cubase in 1989 — mostly created by Mr. Kracht and a small team, as I understand.

Werner Kracht does have a nice online presence, with extensive information about his musical whereabouts — and a long, informative and ultimately bittersweet write-up of his programming endeavors and his relationship with the Steinberg company as a contractor for 25 years (written in German; Google Translate link).
Of note, there is also this recent in-depth video interview (which, yes, I watched from beginning to end). He also published several videos from his early work at Steinberg.

I found his email address on one of the pages on his website.
So let’s contact Mr. Kracht!

Well, that didn’t pay off.
My Steinberg early-employees lead dries up…

In order to get first-hand information, I need to contact Mr Steinberg himself, it seems. An impossible task, I suppose: finding the direct contact address of the former CEO of one of the greatest music company there is!

Oh well…

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But.

  

  

There’s this one webpage.

  

  

Where… Maybe? It doesn’t seem to be directly tied to… but we never know… doesn’t hurt to try I guess?

…and, what do you know, the very next day:

My friends, two years after I started this on-and-off quest, I was in direct contact with Karl Steinberg.

Let’s breathe a little.

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Interviewing Karl Steinberg

Mr Steinberg (I’ll call him Karl from there on²²‘cos after 5 emails I think it’s fair of me to call him a friend.) seemed genuinely interested in digging in his memories (and even his attic!) to retrieve memories, send me screenshots and pictures, and generally answer my questions.

So, let’s copy-paste from those emails, shall we?

XB: By email, Mr. Hülsbeck told me that his « inspiration for the note representation came from an early C64 midi sequencer by Steinberg, which didn’t display notes as symbols, but as a list of single letter note name, an optional ‘sharp’ symbol if needed and a number for the octave ». He later wrote that his inspiration was the « MIDI Multitrack Sequenzer » from Steinberg.

KS: As nice as it sounds, I cannot confirm that.

Our first C64 Program was indeed named « Midi Multitrack Sequencer », little known, and so it’s hard to even find a picture (see below).

It already had the « Songtable » which was later continued in its successor, Pro 16.
But there was no MIDI editing with Midi Multitrack Sequencer. Pro 16 later featured a keyroll editor (quite remarkable for that time if I may say so). Midi Multitrack Sequencer had a quantize feature²⁴The ability to move notes around on the playing grid, in order to adjust timing or to correct imperfections., which would also allow for double- or half-speed playback, and transpose²⁵The ability to change the pitch of a note, to adjust melody or, again, to correct imperfections — a predecessor to Auto-Tune.; it also even featured sync (Roland) via a proprietary sync interface

I assume you (or Chris) are referring to JMS (Jellinghaus Music Systems) Multitrack Composer (see picture).

Jellinghaus had a MIDI Interface first which was quite similar to ours (UART), and added that list-based sequencer software which is the first I can remember. Given that it was released around 1984, we were quite fast to create a sequencer with « UI » 🙂

Private e-mail interview from April 2021²⁶Yes, again, I’m that late in publishing this..

🚨Alert, alert, a new player has entered the game! 🚨
Karl here mentions Jellinghaus, a company I have never heard of before! And indeed, seeing from the picture he sent me, their tool does seem to include « text-based » notes that musicians will see again appear in Soundmonitor and, eventually, The Ultimate Soundtracker and all of its clones.

Looks like I’m gonna have to dig up information about that Jellinghaus Music Systems!

However, Karl did send me this picture of Pro 16’s Key Editor, which clearly features « textual » notes on the left column: F5, D5, E4, with a # for black keys.

So, could Chris Hülsbeck really have been inspired by Steinberg’s Pro 16 rather than their Midi Multitrack Sequencer — or even the Jellinghaus system?

I asked Chris directly, sending him the Jellinghaus and Pro-16 images above:

I’m pretty sure it was the MIDI Multitrack Sequencer, but there are no screenshots online from the pattern page and as far as I know the software doesn’t run without the Steinberg Midi Interface hardware… so it may have been the Pro-16 too… it’s been such a long time ago! 😉

From private e-mail exchange from September 2023.

I further sent him the Multitrack Sequencer single screen that Karl sent me.

Yes, then the pattern page may have been from Pro-16…

Maybe I was also dreaming about a pattern edit page… maybe they did not even have one… the color scheme and blinking cursor definitely more resembles the Pro-16, but everything is so hazy at this point… 😉

From private e-mail exchange from September 2023.

So, not quite a definitive answer there. Since all of this happened some 40 years ago, I can understand the foggy memories 🙂
But since Steinberg’s Pro-16 was being reviewed by a UK magazine in February 1986, and Chris Hülsbeck wrote his own Soundmonitor in the Summer of 1986, then it could definitely still be a match — although quite a tight one, I’ll admit.

Anyway, that Jellinghaus thing is an interesting story in itself, but that’s for another article; let’s continue talking with Karl Steinberg about the early Steinberg history.

XB: [Were you] the sole developer of the C64 Multitrack Recorder and Pro-16?

KS: Yes, I pretty much developed those two programs by myself. Then Pro 24 followed on the Amiga, which was mostly done by Mr. Werner Kracht, myself adding some « low-level » stuff. There was also a version of Pro 16 for the Mac II if I remember correctly, ported by somebody else whose name I forgot.

XB: [What were your inspirations for these tools?]

KS: My inspirations were just to see that it was possible; we only just had started to deal with computers. We (Manfred Ruerup, co-founder, and me) were busy in a decent studio (Delta Studios Wilster), Manfred sold keyboards at Amptown Hamburg and always brought in the latest gear, so there was a lot of inspiration from that end. Also I guess sequential drumtracks was inspiring quantize and pattern concepts.
(…)
Later we dealt with samplers, [Fairlight] CMI, [Sequential] Prophet, etc., triggered everything with everything via the studio patchbay and so forth.

Adapted from private e-mail interview from April 2021.

🚨Alert, alert, we have inspiration! 🚨
Karl mentions « sequential drumtracks », which I assume means « drum machines » — but he could also be talking specifically about the DrumTraks drum machine, released in 1983 by the Sequential company (hence, Sequential DrumTraks, with proper capitalization!) — whose CEO, the late Dave Smith (archive), co-authored in 1982 the MIDI specification itself.

Again, a story for another article — but let’s keep in mind that « sequences » and « patterns » were nothing new in the 1983 world of digital music²⁸Although the word « pattern » appears only once in the MIDI specification. But they might be using synonyms?.

Let’s see his other answers.

XB: I’d like to find out whether [you] invented the whole « pattern of notes » representation, or if [you] got inspired from somewhere else, like a drum machine or the famous Fairlight CMI Series II.

KS: See [my previous answer] 🙂
(…)
Not sure what you mean by « pattern of notes »; list-based sequencers like the JMS mentioned above, were probably the first to allow MIDI editing, and that was the obvious choice for computer-based systems as a first step.

Not sure if there were piano-roll type MIDI editors before the Pro 16 addition – it also even featured a score editor later on.

(…)

As for inspirations, I’m certain that it was not only me who was inspired by drum machines. Those were based on patterns and « songtables » (chain of patterns) and featured MIDI, and were the first devices to combine this, so it was kinda obvious to start off from that ground.

Trackers are more closely related to « list-based » sequencers which in turn were the obvious choice from a (pre-)80s computer point of view. There was practically no graphics until Apple, and then Commodore, and then Amiga and many others to follow, and until then you’d have to use computers for music like a typewriter.

(…)

One more note…nothing I say here is proven truth; memories are often changing over time, and I’m particularly bad at this 🙂

Ibid.

As I wrote to Karl, his answers brought me new clues and new directions to find when the « jump » of the sequencer idea from hardware to software happened.

I’m closing this interview with the following: a picture of the Card 32, the MIDI interface that Karl created along with Pro-16, followed by his very own comment on it:

As I understand, Pro-16 was not sold as a software on a floppy disk or cassette: it was sold as part of the EPROM of the MIDI interface itself, thus bypassing any other system request²⁹I hear it’s called a fast loader.! Incredible piece of equipment…

Oh well, let’s drop a couple more pics, just because I can 🙂

And now I can be satisfied in knowing I gave you everything I know 🙂

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It’s interesting in that it seems to have walked parallel paths:

• The people behind the Fairlight CMI Series II’s « Page R » feature where inspired by a drum machine³⁰More on that in the next part of the series! — but this was more about step sequencing, so that did not directly inspire trackers such as the Amiga Soundtracker.

• And now, it seems the « Commodore line » follows this path: Jellinghaus’ Multitrack Composer ➡️ Steinberg’s MIDI Multitrack Sequencer ➡️ Chris Hülsbeck’s Soundmonitor ➡️ Karsten Obarski’s Ultimate Soundtracker — each taking inspiration from the previous one, and adding a significant progress to the initial idea.
  Their common aspect: describing notes not as in a graphical representation, like the Fairlight CMI II’s Page R did³¹You know, with « ♪ » and « ♫ » and all that jazz., but as « text-based » sequences, such A-3, B-5, F#2³²And no, « X Æ A-12 » doesn’t mean that that poor child has an A at the 12th octave in his name., etc.

Indeed, it looks like the pioneers at the time were quite fast in taking inspiration and improving upon each other’s ideas! What a time it must have been to be in that field!

Now, I have to find out the ones who created the JMS Multitrack Composer — and it seems I’m getting close, as a quick search seems to indicate that they were hardware producers mainly.

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So, there ends an important milestone in my little quest! 🙂

The next parts will focus on each of the two parallel paths that I highlighted above:

• The Fairlight CMI path: finding out how they came up with the idea for their Page R sequencer.
• The « Commodore » path, going down the JMS rabbit hole, and their Multitrack Composer.

Will there be more parts? Who knows? I sure don’t!

Onwards!

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You thought it was over, right?

  

That would be too easy…

     

Get ready foooooor: an 🤘Á̸͈̣̉͆͊̈́̚͝Ḑ̵̧͕͙̀̅̽̎͊͂̿̏̀͒͛̽͘̕͠D̵̢̥̩̫͈̠̘̫̫͎̰̯͈̘̉͌Ḙ̵̱̖̺̜̼̬̰̟͒̐͒̇̿̌̂̔̊̕͘͘N̷̢̯̜̈́́̿̀̄̀̍͑͌̇͗̓̕̚D̶̹̪̈́̿͛̃̏̔̔͋͑́Ų̷̳̱̮͍̪̬͍̥͓̺̯͉͑͐̐M̵̨̢͈̐͠!!!🤘

     

Addendum: Manfred Rürup’s take

Since 2023 is definitely not like 2019³³And I’ve had to take a LinkedIn Premium account anyway, for training reasons., I’ve decided to approach Mr. Rürup, in order to have his own take on the whole thing, and possibly bring a different perspective.

So here goes, a short interview!

XB: Reading various early interviews (notably this one from 1986 and this one from 1992), it sounds like that Nicole was the designer, Karl was the technician and you were the marketing/salesman. Was that as binary as that, or did you share duties? 

MR: That is correct.

Nicole did not design UI or anything like that. She did all the print advertisements and the manuals. 

Private e-mail interview from September 2023.

As a technical writer myself, I can tell you that just producing the documentation for this is no small taks — but it seems she did it « with an electric typing machine, all the illustrations are ASCII art (!!!) and all the binding and transparent plastic cover are typical office stationary from the ’80s« , as per this eBay UK listing, which I’m taking the image below from.

So, yeah, quite a task in itself!

XB: I mention Nicole, your wife, because she was part of the initial team, as I understand, but I hardly see her name in interviews — most of the time, she’s there as « support », or as manual and adverts designer. How did her role grow with the success of the company? Or did she move to another line of work / company eventually?

MR: She continued to do advertisements and graphics and the manuals. A lot to do, as the software became very complex and so the manuals [grew] bigger and bigger.

Ibid.

XB: It seems that Steinberg’s very first product was the MIDI Multitrack Sequencer. Do you remember if it was influenced by an existing product, hardware or software? What were the competitors at the time in the MIDI market? 

MR: The MIDI Multitrack Sequencer was a single page product, because we preferred one page and no menus which lead to another page. I think it was pretty unique. 

Ibid.

XB: How many copies do you think were sold before you moved on to bigger things? This article says « fewer than 50 copies », and in this one you are quoted as saying « when you sell ten MIDI packages, that’s « big business » (laughter) ». Is the real number in between?

MR: The real number is probably around 50 copies. 

Ibid.

Remember the quote from the interview earlier in this article? « When you sell ten MIDI packages, that’s big business (laughter) ». Well, I suppose selling 5 times above your expectations is a sure sign that your little hobby is onto something, and you should push forward. I’m glad they did!

XB: Who did you mostly sell it to? Did it spread outside of Hamburg, to your knowledge?

MR: I think all over Germany and Austria. 

Ibid.

Chris Hüelsbeck was born in Kassel (300 km from Hamburg) and worked for Rainbow Arts in Gütersloh (267 km from Hamburg), so yeah, I suppose he could have found a copy a Steinberg’s early tools at the time.

Funny thing is: both roads from Kassel and Gütersloh to Hamburg pass through Hanover — which is where the CeBIT, the « largest and most internationally representative computer expo » at the time, happened from 1970 to 2018. So information and ideas certainly spread around from this epicenter 🙂

XB: Mr. Steinberg told me about the Jellinghaus Multitrack Composer. Do you have recollection of that tool, of the Jellinghaus company itself, or even of their C64 development team?

MR: What do you mean by « recollection »? Never met them [then nor] since then.

Ibid.

I had to try…

XB: My understanding is that, after the MIDI Multitrack Sequencer, there were a few OEM product and the Pro-16, made by Mr. Steinberg on C64, then Pro-24, made mainly by Mr. Kracht on Atari. Eventually it all lead to Cubase on the Atari, but who’s was the main programmer of Cubit/Cubase 1.0, Mr. Steinberg or Mr. Kracht (or someone else)?

MR: Cubit/Cubase was a team-work of Werner Kracht, Wolfgang Kundrus, Stefan Scheffler, Michael Michaelis and Charly Steinberg. 

Ibid.

Many names, which I could interview, but really, it’s time for this article to be released.

For those interested, here is an in-depth and recent video interview of Wolfgang Kundrus; and Michael Michaelis has a lot of opinions and shares them on his website (en German).
Also, did he forget about Chris Mercer?

XB: It seems to me that Mr. Steinberg was mostly working on M-ROS and low-level stuff, while Kracht (and a team?) worked on the main interface. Is that right?

MR: The architecture and UI idea came from Wolfgang Kundrus, Werner Kracht did the data-storage and handling, Charly Steinberg did M-ROS and other things, Michael Michaelis did work for the scoring and Stefan Scheffler did the integration of the User-Interface funktions. 

Ibid.

I have to say a word about M-ROS, for the sake of completeness.

The MIDI Real-time Operating System (M-ROS) was a very innovative alternative operating system, which worked on several platforms (Atari, Apple), and brought true multitasking to systems that weren’t quite able to do that by themselves. Since MIDI meant having different tools working together in (hopefully) real time, M-ROS turned to be essential to the success of that protocol — provided that those tools were written for M-ROS.

It eventually lead to the ReWire protocol, conceived by Propellerhead (makers of Reason) and Steinberg, which was very much used by most other DAWs from 1998 to 2020.

So, no small feat for Karl to be so prescient and technical in 1989!

XB: Did you yourself do any programming on the Steinberg tools?

MR: No, not a single line.

Ibid.

I suppose Manfred is great with a piano keyboard, less so with a computer one 🙂

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And that’s it, my friends.

Let’s close this chapter about Steinberg by remembering that they were first and foremost musicians who were passionate about music and helping other musicians achieve their dream!

Find a copy of this home-made album to convince yourself 🙂

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Other articles in this series:

• Soundtracking sur Amiga : passion, explications et exemples — The Twitter thread that started it all (in French).
• Soundtracker origins, part 1: Where in the World is Karsten Obarski? — About Karsten Obarski, author of The Ultimate Soundtracker.
• Soundtracker origins, part 2: Welcome to Turrican, aah hahahaha — About Chris Hülsbeck, author of Soundmonitor.
• Soundtracker origins, part 3: Facing a stone mountain — About Karl Steinberg, author of MIDI Multitrack Sequencer.

Temps de lecture : 18 minutes.

It’s high time I write part two of this series of articles on the origins of Soundtracker, since the content itself has been lying in my inbox for well over two years now…

As a reminder: I’ve been writing about my « quest » of looking for the missing link between what seems to be the first « tracker-like » interface¹The Page R sequencer, from the Fairlight CMI Series II workstation. At least, according to Wikipedia. and Karsten Obarski’s Ultimate Soundtracker tool, which introduced a cheap tracker interface²Meaning: patterns formed of per-channel columns and single-note rows. But fret not, this loose definition of tracking will soon change. to Amiga musicians back in 1987.

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So, where were we?

In part 1 of this series, we learnt more about Karsten Obarski, who became the « Father of the Soundtracker » at age 22. Through existing interviews, we got to understand where he came from, how he came to create his Ultimate Soundtracker tool on Amiga in 1987, why he called it quits a few months afterwards… and where he probably took his inspiration for The Ultimate Soundtracker.

Said inspiration was, by all accounts, an earlier tool named Soundmonitor, which German developer & musician Chris Hülsbeck wrote and released on Commodore 64 in 1986 — a year before Obarski’s own Ultimate Soundtracker. Hülsbeck was 18.

Chris Hülsbeck went on to become world-famous by creating game music, not the least being the Turrican series of games³If the title of this article wasn’t enough of a subtle clue already.. He nowadays creates royalty-free music, and oversees orchestral renditions of the Turrican soundtrack, amongst other things. Looking at his Bandcamp page, you could say he keeps himself busy. Buy the vinyls!

So that’s the status of our quest: Soundmonitor seems to have been the original tracker.

Or was it?

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Writing computer game music in the 80’s

There’s much to learn about Chris Hülsbeck’s context at the time when he wrote Soundmonitor, back in 1986.

The context is: there were no music tools for the general public — even for seasoned amateurs. The first tools were very expensive and inaccessible to most musicians — let alone people who wrote computer game music.
The Fairlight CMI that I mentioned above⁴In a footnote in the intro. As you do. was only used by a handful of people, for instance, and they were wealthy household names already: Peter Gabriel, Herbie Hancock⁵You can see him demonstrating the workstation, with some guy named Quincy Jones looking over, Stevie Wonder, Kate Bush⁶Yes, « Babooshka », of course « Babooshka »!, etc. Anecdote: The Miami Vice theme was composed on that tool ⁷See the Fairlight (and the theme’s composer) in action in the official music video 🙂.

Before the arrival of affordable tracking software such as Soundmonitor and Ultimate Soundtracker, game musicians had to rely on their programming skills to write their music. Game musicians were, for what it’s worth, programmers before anything else.
Eventually they did write their own music software, however crude and just for themselves, compiling their usual tricks into something easier to use on a regular basis, so as to be more productive.
But in the early days, they simply wrote their music in machine code, adding one hexadecimal value after the other in the code, in order to change volume, pitch⁸La note, pour faire simple., or type of soundwave.

Let’s take Rob Hubbard⁹Not to be confused with that Dianetics guy. Yuck., for instance. A professional studio musician by trade, he got interested in computers in the early 80’s, at roughly 27. He learned to program in Assembly language¹⁰No small feat, even at the time., wrote music tooling, got hired as a game musician, and within a handful of years became of legend¹¹I mean, the guy has recently toured with a symphonic orchestra, conducting his own arrangement of his tunes of yore, for Zeus’ sake! of what is now known as « chiptune » music — music that exploits the sound chip included in computers at the time. Rob was a master at that.

Here’s an example of what great C64 game music sounded like in 1985:

He became a master because he knew about analogue synthesizers before he got into computer music, and thus he understood the possibilities offered by their sound chip — namely, the equally legendary SID chip, whose sound is still very much appreciated today¹²See for instance this Instagram post from my friend Ema, an electronic musician, where she shows how she wired a vintage C64 computer into her setting so as to exploit the unique sound of its SID chip. Hubbard knew he could program the chip’s registers, and he did that aplenty.

Says the man himself in this video interview from 2017:

« I knew all the chromatic pitches pretty much all by heart in hexadecimal. 30x would be a C, 3Cx would be the octave above that, 48x would be the octave above that…
I knew all the numbers: I could get a machine dump and recognize exactly what was going on. »

« I used to know the SID chip inside & out. The filters were always different on the SID chip, you could never rely on them. »

« The Atari has an 8-bit register, so as you got higher in pitch, the resolution got less and less, it becomes very difficult to get certain notes in tune. You write your music around the fact that as you went higher, you could only rely on 3 or 4 pitches. »

« Three channels is basically all you had at your hand, so there was no choice. Later on I did manage to squeeze more out of it because I developed a digital channel as well. People were doing digital audio, using digital samples, and I was the first person who incorporated that into music, so that I could try to get a rock guitar in there with the SID chip, which was just unbelievable pain in the ass, because you’re using four bit, so the volume register (…)

Sounds like a tedious way of writing music — but not that far off from the Soundmonitor screen you see at the top of this article, ain’t it? And Soundmonitor was easy in comparison. Rob Hubbard, and the other genius composers of that golden era, wrote their music right in the code, in hexadecimal if need be.

His C64-Wiki page even says so:

He admits to having 3 ways of working:

• write directly with the C64 by poking bytes using a machine code monitor;
• write using a pen and paper;
• sit at the keyboard and play until the ideas come out.

« Poking bytes using a machine code monitor ». Let that sink in. Now tracker programs look more visually pleasing, for sure.

And, well, the man himself described the musical landscape of the times in this interview:

Kenz: How did you go about composing your C64 tunes? Did you have a music editor that you used, as there were often rumours you used one you made yourself?
Rob: No, I just used an assembler and edited the source code – most people in those days did the same. There really wasn’t time to sit and write an editor, as there was so much work to do.

Commodore Zone interview.
We can also read in that page that he used Mikro Assembler by Andrew Trott, whose current homepage… mentions his interest for the Fairlight CMI. It’s all tied up, I tell ya!

And in another one:

Had you ever considered a music utility yourself?

« No, because I can’t think of any way to make my methods accessible enough to the average punter to make it worth while. »

Another Commodore Zone interview.

Music-making was thus confined to the programming elite.
Says Rob:

« It’s taken me [a] long while to develop my routines, and I’m not about to give them away! » (Rob hinted that one company which had made free with one of his demo disks might shortly regret having lifted his routines!).

Still that Commodore Zone interview.

Trackers were a few years away, because Chris Hülsbeck had yet to release his paradigm-shifting tool.

Let’s get to that.

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The birth of Soundmonitor

Chris Hülsbeck was 18 when he « released »¹³I’ll explain the reason behind those fancy quotes in a minute. Or two, depending on your reading speed. his Soundmonitor tool, in 1986.
What does a teenage geek do in his spare time? Painstakingly type down type-ins from computer magazines of course!

« Type-ins« ? Old farts like me remember buying magazines full of source code, hundreds of pages of them, that you would bring home and then type for hours on your computer, eventually compiling this code into a program or a small game — or a set of system-crashing errors if you typed something wrong. When it did work, that feeling of pride was immense: You had typed it; it was your work of art.
To many, this was the first introduction to programming — as well as English.

Of course the Internet existed since 1983 for some happy fews, and BBSs (bulletin board systems) were already a thing, but modems were still expensive in those days, and consumer-centric machines such as the C64, Atari ST or Amiga 500 weren’t equipped for global communication out of the box.

Magazines started to feature covermounts¹⁵Yup, totally a legit word. (a cover cassettes or floppy, eventually a cover CD-ROM) in the mid-80’s. But still, type-ins were quite popular in the 8-bit era.¹⁶16-bit computers had much more memory and power, and programs became too complex to have their source code printed and shipped around.

Alright alright alright, why am I rambling on about type-ins, you ask? Because that’s how Chris Hülsbeck got his start in the computer music world.

See, in early 1986, German computer magazine « 64’er » launched a music competition. You guessed it, the winner was 18-year-old Christopher Hülsbeck, with this piece of music:

If that doesn’t sound like much to your 2022 ears, read what the jury had to say:

It wasn’t easy for us to decide which song was the best – until we heard « Shades » by Chris Hülsbeck. A short breathless moment of silence, a restart, another short listen and then it was clear to us: this is the winner!

The truly unique composition of « Shades » deserves a lot of credit. Comparisons with the creations of professionals like Jean-Michel Jarre, Eberhard Schöner and similar synthesizer jugglers are not even that far-fetched.
« Shades » also compares favourably with the creations of the well-known C64 music professionals Rob Hubard (he wrote the music for the game « Thing on a Spring », for example) and Martin Galway (« Comic Bakery »).

About the future of the young Chris Hülsbeck one can assume: He can become one of them.

(…)
One more point that needs to be said: When we presented « Shades » for the first time to the C64 fans at the CeBIT fair in Hanover, many thought that this piece of music had been « borrowed » from some professional game. But this is not the case.

64’er, June 1986, translated.
If you’re nostalgic for shoulder pads, check out this 1986 CeBIT news report 🙂

The interesting part is that the whole piece of music was made available to the 64’er readers, through a 3-pages, 8-columnes long type-in fully in hexadecimal¹⁷And a tape you could mail-order..

Even more interesting to us, right in the article presenting the winner, the editorial staff wrote: « Chris Hülsbeck, der Programmierer des Musikstückes »Shades« arbeitet derzeit an einem Editorprogramm » (« Chris Hülsbeck, the programmer of the music piece « Shades » is currently working on an editor program. »)

And, what do you know, five months later came this:

When we started to evaluate our music competition a few months ago, the piece of music « Shades » by Chris Hülsbeck amazed us with some fantastic sounds. Until then, we were only used to something like this from professionals such as Rob Hubbard.

On an enclosed note, Chris Hülsbeck asked if we would like to have the music routine for publication. At that time Chris was programming the routine in an uncomfortable way with a machine language monitor. On the phone, he promised to write an editor around the « music master » (as Chris christened the music routine).

When the sound monitor was finished, we were so impressed that we wanted to make it available to other readers. It became the listing of the month.

64’er, October 1986, translated.

Follows a manual written by Hülsbeck himself, and then this, the type-in for the Soundmonitor program:

Fortunately, you could mail-order a cassette with the program on it. Phew. Enough type-ins already!

Thus was first released Soundmonitor, true father of the trackers. Or is it?

While I started my exploration thinking that Karsten Obarski came up with the tracker layout, it seems Ultimate Soundtracker mostly re-used the layout introduced by Soundmonitor, improving it thanks to the Amiga graphic abilities — and benefiting from the Paula chip, meaning 4 audio channels and the ability to use samples rather than synth sounds.

Now, to find out whether Chris Hülsbeck, in turn, found inspiration elsewhere…

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More context setting¹⁸I promise you this gets somewhere eventually.

Chris’ « manual », published in the 64’er magazine, offers some information of how Soundmonitor came to be, and how advanced it was at the time.

The sound chip of the C64 offers considerable possibilities, but unfortunately the comfort of programming leaves a lot to be desired.
There are already several programmes that support the programming of the SID. Most of them are designed in such a way that you can place notes on the corresponding staves or play sounds via the keyboard.
Even complete music studios are simulated, but all known programmes have a decisive disadvantage: the composed music can only be played if the complete programme is in the memory. If you want to place a piece of music in a self-written basic game, for example, you are ill-served with these programs.

That’s why a completely independent playback routine was programmed, which is called « Musicmaster ». With the appropriate data, results are achieved that can even surpass background music from professional games.
However, it would be extremely uncomfortable if the music data had to be entered with a normal machine language monitor, such as SMON. The piece of music « Shades » was composed in this way, which was time-consuming work.

For this reason, a « monitor » had to be developed that specifically supports the input of music data: the « sound monitor ». The programme differs from other sound editors in some essential features.
The main part of the programme, the playback routine, runs completely independently in interrupt. This means that the song can be listened to at any time, even during editing. This is an excellent control possibility, you can immediately hear what you are typing.
In addition, the sound monitor contains a « realtime-record » (recording of music while playing on the keyboard).

64’er, October 1986, translated.

Still, nothing about a possible predecessor, or an inspiration, or anything. Could it be that our quest ends here? That a passionate teenager simply came up with the tracker-format idea by himself, out of thin hair?

How could we know for sure?

  

  

  

Hm.

  

  

  

Let’s ask Chris Hülsbeck.

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Interviewing Chris Hülsbeck

Unlike Karsten Obarski, who vanished shortly after releasing his Ultimate Soundtracker, Chris Hülsbeck has remained very active online: he makes royalty-free music through his Patreon, has all his music available on Bandcamp, maintains an active Twitter account, has released orchestral version of his most-known work, etc. You could say he keeps himself busy.

As you could see at the bottom of the first part of this series of article, I contacted Chris Hülsbeck back in 2019 through his website, not really expecting an answer — and getting one within 5 hours! Imagine being able to talk directly¹⁹Well, through emails. But still! to someone whose music filled quite a few hours of your teenage years!

I’ll skip the overly long intro and context-setting from my email, since, well, I’ve already written that into this article 😅

To the first question, then!

XB: Did you come up with the tracker layout for Soundmonitor, or did you get inspiration from the Fairlight CMI (or any other tool)?
Were you in contact with Karsten Obarski, or any other « music-programmer » of the time?

CH: Let me start a bit earlier – despite having had 2 years of piano lessons when I was 5 years old, I never got to properly learn or appreciate musical notation.
By the time I was starting to compose and « program » music on the C64 (around age 16), I had developed my own musical understanding and language, otherwise I would probably have tried to represent the notes in a graphical way just like other musical software at the time.

I didn’t know about the Fairlight sequencer page at the time, but the inspiration for the note representation came from an early C64 midi sequencer by Steinberg, which didn’t display notes as symbols, but as a list of single letter note name, an optional « sharp » symbol if needed and a number for the octave. This made the most sense to me for computer music and the rest came together just by needing a simple layout for the song data and the patterns.

I didn’t meet other music software programmers until years later.

Private e-mail interview from June 2019²⁰Yes, I’m that late in publishing this..

🚨Alert, alert, we have an inspiration! 🚨
Chris used a tool by Steinberg, the editor of Cubase, the world-famous DAW²¹Digital Audio Workstation, and inventor of the de facto standard for digital audio plugins, VST²²Virtual Studio Technology.

Back in the 80’s, Steinberg wasn’t the software superstar²³At first I wrote « software behemoth » here, but when checking about it, they seem to have 200 employees — which, sure, is big, but not quite behemoth-y. So let’s go for « superstar » instead. that it is today. It was founded in 1984 by Karl Steinberg and Manfred Rürup, who were musicians and studio engineers, and their passion for the latest musical gear led them to write audio software, starting with the C64.

Their first best-selling software was « Pro-16 » from 1986, a tool able to manager up to 16 tracks of MIDI instruments…

… but their very fist tool was indeed named « Midi Multitrack Sequencer », and released in 1984²⁴The MIDI standard dating from 1983, you could say that Steinberg were at the forefront of the DAW revolution, as told by the history written at the bottom of this page..

So, any of these two tools could have been the inspiration for Soundmonitor, it seems, since they date from before 1986.
It’s hard to find any resemblance with the tracker layout of Ultimate Soundtracker or even Soundmonitor, but the inspiration might as well come from the way those earlier tools operated.

Let’s try and get some details from Chris.

XB: So I understand you came up with the tracker-like layout, inspired by « an early C64 midi sequencer by Steinberg ».
Do you remember the name of that sequencer? Was it Pro 16, Trackstar, or even an earlier tool?

CH: I’m actually not quite sure… maybe it was the « MIDI Multitrack Sequenzer ». I did also work with and loved the Pro-16, but I don’t remember if I did before or after the Soundmonitor.

Private e-mail interview from June 2019.

So, MIDI Multitrack Sequencer is the next step in our quest, it seems. And it’s not a small one, since Steinberg is a whole other kind of thing today.

It’s one thing to contact a music composer who is very much present online; it’s a whole other thing to contact the co-founder and CEO of a company whose later tool, Cubase, is used by a large portion of professional and amateur musicians today.

I’ll try my luck anyway. But that will be a topic for another post here — I don’t know if you noticed, but this article is quite long already 🙂

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Continuing with the interview

Of course I had a few more questions I wanted to ask to the man whose music livened quite a few of my teenage gaming evenings, so here goes!

XB: Your first tune, Shades, was as far as I understand, written directly in machine code — all for a music competition for the 64er magazine, which you won.
What was your journey between writing your own music, and writing your own editor?
And which came first, the song or the editor? 🙂

CH: The creation of Shades was actually quite painful, because I had to edit the hexadecimal numbers representing the note data and everything else directly in the computer memory using a program called a « monitor ».

So my idea was to make a similar program, but tailored to sound data, hence the Soundmonitor was born. When I told the writer for the magazine who was responsible for the music contest about my plans he was very excited and suggested that I should submit it to the sister magazine Happy Computer for their « listing of the month » and it was accepted right away.

XB: In an interview, Rob Hubbard said that he composed his C64 tunes directly in assembler, « most people in those days did the same. There really wasn’t time to sit and write an editor, as there was so much work to do. »
Obviously you took the time to do it. Is it because you weren’t a professional at the time — and thus had more free time?

Who else was making a popular editor at the time?

CH: I was still in school and on Summer break when I created the Soundmonitor, so I wasn’t bogged down with professional music jobs yet (as Hubbard said).

I honestly don’t know of any other editors during that time.
The first scene music tracker I became aware of was actually just a hack of the Soundmonitor called Rockmonitor, which added one track of a rather crude sample playback (different from my own sample playback system, which I never released to the public).

I like the idea of professionals not having the time to take a step back and write a proper tool, and being beaten to the finish line by a teenager on Summer break 🙂

XB: By the way, on your SID Anthology vol 1, Shades is only the second track. Does it mean Planet of War, the first track, is your first officially released track?

CH: Planet of War was composed and programmed before Shades, with a much simpler player, but it was actually released after Shades because of a delay to find a publisher for the game. But for the album I felt it needed to be chronological in terms of when it was composed.

XB: So, just as for Shades, I understand that all musicians at the time were actually programmers with a gift for melody — which might explain why they were few and fondly remembered (Hubbard, Galway, Follin, etc.)
How much of composing at the time was a result of trial and error?

CH: It was very inspiring if I would find a cool new sound or trick when composing, but often I would develop my melodies just with a piano sound on my keyboard synth and then translate that melody into the machine.
In any case it was a very tedious and technical way of creating music and I think that is one reason only a handful of people developed the skills that truly set them apart from the rest.

XB: The published source code for Soundmonitor takes 5 magazine pages long (albeit, with 3 columns). I find that impressively small for a full musical program! Did you already introduce optimizations in there?

CH: The listing is not a source code, but an actual compressed binary… I never released the source code itself and it’s actually a horrible piece of mess because I was so young that I didn’t care about readability or that I would need to ever go back and understand it… 😉

XB: As I understand it, one of the great step forward was that Soundmonitor could save and load files, with a separate playroutine, saving both time and space for other musicians. Was that also a creation of yours, or did you get inspired from others?

CH: That was just a very cool idea I had to give people the ability to put music into their own games or demos, even if they had only very basic programming skills. It also made it very easy for people to share their music and recipients didn’t even need the editor to listen…

XB: In an interview in 1992, Karsten Obarski said that « Even today’s trackers work in that same way, and still use the tone-event data structures which I invented. (Which is a very simple one.) » Do you understand what he means by « tone-event data structures »? I have an idea, but maybe that talks to you more?

CH: No exact idea, but I assume it’s got something to do with how his sequencer triggers notes and modulations. The Soundtracker format was much more streamlined compared to the Soundmonitor and had real memory management, so you couldn’t easily crash it by making mistakes, but I feel that also made it somewhat less flexible. Because trackers are easier to learn and use, the format has understandably surpassed the Soundmonitor.

XB: I found out that different waves produced different sounds (who would have thought? 🙂 ). Sine, square, triangle, sawtooth… Did you make use of these? Did Soundmonitor solely relied on such sounds, or could you import other sounds? (I understand TFMX could load samples, for instance).

CH: I took advantage of all the wave forms and possibilities that the SID chip offered and added sample playback to my own developer version of the Soundmonitor. By the time I developed my next tool TFMX, samples had actually been on the way out because they did not work on a new revision of the SID (until a different way was developed much later) and they took too much memory and CPU power to be included in the ever more complex games that were created. So TFMX doesn’t actually include sample playback, but instead I invented a new way of manipulating the SID chip with every screen cycle through something I called sound macros and it could result in complex instruments that almost sounded like samples (particularly drum sounds). This system lived on with later music I created for the Amiga, game consoles like Super Nintendo and Sega Megadrive as well as on the Nintendo 64 with a new tool that I developed with Factor 5 called MusyX. This sound tool still featured the concept of the TFMX sound macros and Nintendo actually bought a license to use it for their third party developers.

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So that’s it for now!

Karsten Obarski’s Soundtracker took inspiration from Chris Hülsbeck’s Soundmonitor, who in turn took inspiration from Karl Steinberg’s MIDI Multitrack Sequencer. Phew!

What’s next? Will I find the missing link between the Fairlight CMI hardware workstation and later software audio tools? It’s a mystery!

Let’s just say that I closed my emails exchange with Chris Hülsbeck with this small spoiler:

As an aside, I’ve been interviewing the creator of the Fairlight CMI, and I think I know the exact moment when the whole « pattern of samples » format made the jump from a physical drum machine to the Fairlight’s sequencer, and who’s behind it! It’s a small thing, but this is exciting 🙂

See you next time!

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Other articles in this series:

• Soundtracking sur Amiga : passion, explications et exemples — The Twitter thread that started it all (in French).
• Soundtracker origins, part 1: Where in the World is Karsten Obarski? — About Karsten Obarski, author of The Ultimate Soundtracker.
• Soundtracker origins, part 2: Welcome to Turrican, aah hahahaha — About Chris Hülsbeck, author of Soundmonitor.
• Soundtracker origins, part 3: Facing a stone mountain — About Karl Steinberg, author of MIDI Multitrack Sequencer.