VGN: You also composed music for games - what was it like moving from simple PC speakers to dedicated sound cards like the Sound Blasters?
AL [Lowe]
: Well, the PC industry owes a great deal to Sierra in that respect. We were the first people to take advantage of MIDI, expecting people to pay $500 for a MIDI interface card, and $800-1000 for a synthesizer and hook it up to a stereo, just so they could hear great music. And while we were rather naive, we were just pushing ahead. We just wanted great sound in our games.
Meanwhile, (former Sierra Online CEO) Ken Williams was working hard trying to convince (musical instrument manufacturer) Roland that they should mass-produce a soundboard for computers that everybody would want to buy. And he never did convince them - they thought that their market was the musical instrument store, not the computer store. Their customer was a musician, not a PC owner.
We wanted them to make a MIDI interface synthesizer and digital audio converter, a sound playback chip, all built on one board. If they could get it down to just a few chips, they could sell it for $99. That eventually happened - but it didn't happen through Roland; it happened with SoundBlaster. SoundBlaster grabbed the market and took off and ran with it, and the rest is history.
When I first started writing music for games, you had to devote the entire CPU to making sound. We actually sent a positive voltage to push the speaker cone out, pause for so many milliseconds, and then send a negative voltage to pull the cone back in. And then wait so many milliseconds to push the cone back out. If you do that 440 times in a second, the computer will play the note A. To play the note B, you had to do it a little bit faster, and your wait loops had to be shorter. That was literally the level that I started at, just pushing & pulling the speaker cone out with voltage.
Moving to the PCJr was such a thrill. It had 3 sound channels and a fourth noise channel, so you could actually play a 3 note cord and also have some noise that was supposed to be a cymbal. That was really sensational. And the Commodore 64 came out with a really nice synthesizer chip built in, too.
Slightly over 10 years later, on Love For Sail (Larry 7), we recorded live musicians in a studio and digitized their performance, stored it on CD, copied it to your hard drive and played it back to you. You were actually listening to a complete sample. This was all stuff that Sierra had to create from scratch, this was before MP3s and all the standard compression schemes were around. We had engineers who figured out how we could compress .WAV files in half. That would be sensational, and we got to that point. MP3s are condensed to what, tenfold or more - we were happy to get down to half the size, and then later, one-third the size. That was pretty cool, but then MP3 caught up and moved past it. But back then, there were no tools to do that. Everything had to be built by hand.
VGN: Wow. That could be the whole interview. That's a really fascinating topic; I didn't realize it was that complicated to make just a little beep back then.
AL: When we first started with MIDI, there were no books published about it. I knew about it because I was a musician and we were trying to figure out what to do with music. And I said there's this new association just formed of all the musical instrument manufacturers. If you've ever seen pictures of performing bands in the early 80s, the keyboard players had racks of maybe 3 or 4 or even 6 keyboards because each made a different sound that the others couldn't. Nowadays, you just have chips in small units. If you want a different sounds, one keyboard will play any synth.
But back in the mid 80s the instrument manufacturers all got together and said, "Let's create one standard using an agreed-upon serial steam of data". As I said, there were no books, or any information published about it. So we went to the MIDI foundation and they sent us a copy of specification #1, which said "this voltage is a plus, and this voltage is a minus, and there's a gap in between them for so many microseconds..." It was pretty much all the level of voltages required to make it work.