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`Page 43 of 116
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`Unified Patents Exhibit 1023
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`

`

`
`
`
` WW
`
`1mm:
`
`m
`
`loodier than Mmmlijy’s Btnfibg’
`»
`“ ’
`aiintdslgore exmosi‘ve than "I s MIME!
`
`
`
`“-
`
`_
`am: of the mm ”a
`.
`'
`-
`.Werfm ’
`Fame cum
`we've eyer see
`:1 in an action game.”
`
`
`H
`
`“Antisocial psycho-rt“
`ampletely irresistiblei’fmi
`
`t it‘s even
`‘s vinlence is fun.'Bu
`“
`bands.
`Sure, senseles
`V
`more fun when it‘s directed at marching
`
`Page 44 of116
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`Page 44 of 116
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`Unified Patents Exhibit 1023
`
`

`

`
`
`Welcome to Paradise Arizona.
`
`.r~
`
`{:7 rl‘hey're out to getyou or are they? Q: I
`
`‘3»~fi‘f\11
`
`ConsPiracy or Insanity? It doesn't
`matter, you clon't have time to think,
`only time to kill. GO POSTALLx
`
`Blast, maim and fire—bomb your way
`through 1 7 unsuspecting locales.
`But don't get too crazy out here—
`strategy is key so take advantage of the
`
`third-person "PremeAitated"
`
`gerspective that lets you see exactly
`who's cold and who’s still able to
`
`Pull a trigger.
`
`Brutal shooter/strategy combo
`challenges you to keep one eye on
`your target and the other looking
`over your shoulfler at all times.
`
`- Real—thne 313 characters rage
`against beautifully hand—Farmed
`killing fields. {H‘sw“a.
`- So freakin' real. your victims will
`actually beg for mercy anél Scream
`for their lives!
`
`- Multi—Player network Play over
`moélem, LAN. or the Internet-
`so you can go Postal with up to 15
`
`other Death Row candidates.
`
`- Mass muréler opportunities:
`spray Protesters. blast marching
`banas and char—broil ostriches.
`
`- Complete Game Editor incluclecl:
`no bull. this is it, the one we usecl
`to create the game. Create ancl
`manipulate characters. actions
`and Personalities.
`
`‘_ .. a:
`
`rl‘he Postal CID—ROM is available for l’C and Mac.
`Get them first at your looal retailer. wwwgqpostalcom, or by calling
`1—888—797-5867 and give them the code: "Firing Squad."
`
`CONVERT RATED 3V
`i ; 755'“
`
`Unified Patents Exhibit 1023
`
`Page 45 of 116
`
`Unified Patents Exhibit 1023
`
`

`

`By Steven Anzovin
`
`usic business must be the last industry where you and a few friends can get together in a
`base ent and create something that will bring happiness to the world-and make you all
`g
`· lionaires, to boot. Nowadays, however, the technical bar for music demos is a lot
`er'th
`it used to be. Squirrely sound recorded on a scratchy four-track just doesn't cut it
`oClay's industry scouts (grunge being a passe, early-'90s kind of thing). Luckily, you've
`got the foundation for a first-class audio-CD recording studio right in your Mac.
`In this article, we'll show you how to set up a basic Mac recording studio from sound
`equipment you can find in your local shopping mall. We'll explain how to get world(cid:173)
`rocking sound into your Mac, then whip your tracks into shape for mastering onto an
`audio CD that will knock that A&R man's Air Madas off.
`
`MIDI Primer
`
`MIDI (Musical Instrument Digital
`Interface) is a communications
`protocol that allows electronic
`musical instruments to interact
`with each other and with com(cid:173)
`puters. MIDI does not carry
`audio sounds or waveforms,
`just the instructions for making
`them. If you press a key on a
`MIDI keyboard, what comes out
`via the MIDI port is not the
`sound of a note but digital data
`about its signature, tempo, vol(cid:173)
`ume, and so on. This compact
`information can be passed
`quickly from device to device
`and read easily by a computer.
`MIDI supports up to 16 tracks
`of note data. Each track can
`have its own instrument-piano,
`violin, fuzz bass, etc. However,
`unlike a digitized audio file such
`as an AIFF, which always sounds
`the same, MIDI data will sound
`somewhat different played on
`each MIDI instrument, because
`the sound you hear is dependent
`on that instrument's individual
`
`sound-producing qualities.
`To hook a MIDI instrument to
`your Mac, you need a MIDI
`interface, which is a small device
`that connects to the five-pin MIDI
`ports on the MIDI instrument and
`the serial port on the Mac. You
`also need a sequencer, software
`that enables you to record, edit,
`and play back MIDI tracks one
`instrument at a time. (Steinberg's
`Cubase VST is a sequencer
`and also works as sound record(cid:173)
`ing and editing software.)
`Sequences generally are saved
`as standard MIDI files, which can
`be played back on any MIDI
`instrument or sequencer.
`How do you play MIDI files
`on your Mac? Cubase and most
`other full-featured music editing
`programs can do it. You can
`also use Apple's MoviePlayer
`utility (version 2.1 or later) to
`convert a standard MIDI file into
`a Quicklime music movie.
`In fact, double-clicking on a
`MIDI file will generally open
`MoviePlayer and automatically
`perform the conversion.
`
`44 MacADO/CT
`
`Page 46 of 116
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`
`

`

`MacADDICT 45
`
`Page 47 of 116
`
`Unified Patents Exhibit 1023
`
`

`

`H ere's how to set up your audio record(cid:173)
`
`ing hardware.
`For the very best audio recording environ(cid:173)
`ment, rent time in a recording studio--prices
`start at $35 an hour and head up to the
`stratosphere from there. But if you don't mind
`a bit of variety in your sonic environment, you
`can set up a Mac recording studio at home. To .
`record a live session, you'll need:
`• a large, empty room in which to record
`• any Power Mac or Mac clone
`• good-quality microphones
`• mic stands
`• mic mixer
`• one or more MIDI devices
`• good headphones or monitor speakers
`
`Flip to the diagram on the preceeding
`pages to see how it all hooks together.
`
`Hot Tip:
`If you want to record into your
`Mac from an existing demo tape
`for further editing , your job
`gets a lot easier. Hopefully, you
`recorded on DAT (digital audio(cid:173)
`tape) . It's the only tape medium
`that has the sound quality of a
`CD. Route the outputs of your
`DAT deck through the amp
`to your Mac as shown in the
`diagram.
`
`You're not ready to jam just yet-you
`
`still need music recording software.
`Your choices range from Opcode Systems'
`Audioshop ($80 street) at the low end
`to Macromedia Deck II ($419 street for
`Deck II with SoundEdit 16, 800-470-7211,
`http://www.macromedia.com) to high-end
`professional apps that cost $3,000 or more.
`We recommend a powerful midrange pro(cid:173)
`gram, Cubase VST 3.0 ($799 SRP, Steinberg
`North America, 818-993-4161, http://www.
`steinberg-na.com) . Cubase is a professional
`sequencer/digital-audio application with
`
`some unique capabilities. You can edit MIDI
`and waveforms and hear the changes in real
`time as well as synchronize music tracks to
`various time coding schemes. You also can
`record sound directly into the program as you
`mix up to 32 tracks with an onscreen virtual
`mixing board that looks just like the real
`thing. You don't need a digital-audio card as
`long as you are running the program on a
`Power Macintosh 6100/66 or faster with Level
`2 cache. Expect to spend some late nights
`studying the manuals-Cubase's power is
`matched by its complexity.
`
`Six Tips for
`Direct-to-Mac
`Audio
`Recording
`
`Audio recording works best if your Mac
`is not distracted by other activities.
`Follow
`these suggestions
`for
`the
`best results:
`-Use an AV hard disk (7200 RPM pre(cid:173)
`ferred) with no thermal calibration.
`-Clean everything off the disk and
`defragment it.
`-Detach unneeded devices from the
`SCSI chain, and keep the total SCSI
`cable length as short as possible.
`- Turn off all System extensions except
`those needed to run your audio
`recording software.
`-Turn off file sharing, and close.all pro(cid:173)
`grams except your audio software.
`- Turn off Virtual Memory.
`
`Beating
`the Buzz
`
`-
`
`Homemade recordings often suffer
`from unwanted hums. Here are a few
`tips to keep the buzz at bay:
`- Keep volume levels at no more than
`three quarters.
`-Eliminate possible sources of feed(cid:173)
`back: Disconnect earphones and
`speakers during recording.
`If possible, run the mixer and any
`other analog units on battery power,
`not an AC adapter-unbalanced AC
`power can add a nasty hum.
`-Turn off any unnecessary AC(cid:173)
`powered devices in the area, espe(cid:173)
`cially fluorescent lights.
`- Use the beefiest gold-plated audio
`cables you can find, and keep cable
`lengths as short as possible.
`-Ground any analog equipment, such
`as the mixer, with a grounding
`connector (run a bare wire from
`the mixer to the phono grounding
`connector on the amplifier).
`-Use an equalizer, analog or digital, to
`cut out any stubborn hum frequen(cid:173)
`cies. Cubase has a built-in equalizer.
`
`46 MacADDICT
`
`CUBASE'S INTERFACE RETAINS THE LOOK AND FEEL of pro audio
`equipment. Sound wizards will feel right at home, though others may be
`confused by the profusion of virtual meters, knobs, and sliders.
`
`Page 48 of 116
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`Unified Patents Exhibit 1023
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`

`

`T ime to cut some tracks. Get your audio
`
`up and running, then:
`1. Open the Sound control panel (or the
`Monitors & Sound control panel, depending
`on which System version you use), and select
`tl1e sound input you want to use. In most
`cases, this will be the microphone. Set the
`input level to three quarters, maximum. Also
`tum the Ale11 Sound volume to mute-you
`don't want to hear that during recording.
`These options are available also in the
`Monitors & Sound control panel under the
`Sound section.
`2. In Cubase, open an existing song or set
`up a new song.
`3. Create a new audio track, or choose an
`existing track from the pop-up list in the
`Track Llst.
`4. Set the Record Status button in the Track
`Inspector to Enable. If you want to play the
`incoming audio through your Mac's speak(cid:173)
`ers or headphones, also make sure that
`Monitoring is enabled in the Track Inspector
`and that the Global Disable Monitor option
`in the Audio menu is not checked.
`5. Open the Monitors window by selecting
`Monitors in the Audio menu. If you've got
`some sound going in the studio, you should
`see action in the VU meter. If the clipping
`indicator is blinking, it means the sound
`input is louder than your system can com(cid:173)
`fortably handle without distortion. Adjust the
`
`level of the sound source until the clipping
`indicator stays off.
`6. Click the Record button in the Transpo11
`panel, or press the aste1isk key. When you're
`done, press Stop.
`You've laid down your first live audio
`track. You can record as many more tracks
`and segments as your storage space will
`allow, use Cubase's equalization and effects to
`play with them, then arrange them in the
`Arrange window (tlle sequencer). Have fun!
`
`Sound - -
`
`- l~_s_ou_n_d _l n _ ___ .,..~1--···-··-·----···-·-·-·-·-····-·
`
`r·a· ""n' "'mom,., ~
`
`[Options ... J
`
`OPEN THE SOUND control panel and make sure
`sound input is set to Built-in.
`
`I nput Source:
`
`Micr ophone
`®
`
`AV Connector
`0
`181 Playthrough
`
`Internal CD
`0
`
`([ OK
`
`)J
`
`CHOOSE AN INTERNAL sound-input option from
`the Sound control panel.
`
`Choosing a
`CD-R Drive
`
`If you're shopping for a CD-R drive,
`there are three main factors to
`consider : drive speed, recording
`software , and compatibility.
`Speed: Specs for CD-R drives
`two speeds:
`the recording
`cite
`speed and the playback speed . For
`example, a 2 x 4 drive records at 2X
`and plays at 4X . Cu rrently, 6 x 6
`drives are about the fastest you can
`buy. Faster drives are better, of
`course-a 2X drive masters a disc
`in 38 minutes, whereas a 6X drive
`takes less than 12 minutes for the
`same task- but they are also more
`expensive. Good bargains for 2 x 4
`drives are available right now (less
`than $600) .
`Software: A CD-R drive is only
`as good as its premastering soft(cid:173)
`ware. Adaptec's Toast CD-ROM Pro
`(formerly published by Astarte) is
`the program of choice for the Mac(cid:173)
`it's full-featured , easy to use, and
`has thorough documentation.
`Compatibility: Some drive
`mechanisms don 't support the less
`common CD formats. Enhanced CD,
`also called CD Extra or CD Plus,
`causes particular problems for some
`drives. Check with the drive manufac(cid:173)
`turer before you buy, and, after pur(cid:173)
`chase, regularly check for updated
`drivers on the manufacturer's bulletin
`board service or Web site.
`
`HERE'S WHERE YOU check the levels of
`audio coming into Cubase.
`
`PLAY YOUR SONG and record new tracks from Cubase's Transport window.
`
`What's a CD-R?
`
`Compact Disc-Recordable (CD-R). is the
`standard format for direct desktop record(cid:173)
`ing of CDs and CD-ROMs. Most CD-R
`drives can create discs in all the most
`common digital disc delivery formats:
`CD-ROM, Photo CD, Compact Disc(cid:173)
`Interactive (CD-I) , Video CD, and Audio CD.
`The secret of CD-R recordability is in
`the CD-R disc's characteristic gold coating,
`actually a multilayer deposit containing
`a recording layer of light-sensitive dye
`
`covered by a reflective gold layer and a
`scratch-resistant protective top layer. A
`high-powered writing laser in the CD-R
`deck creates microscopic "marks" in the
`recording layer of the blank disc that mimic
`the pits in a pressed (silver) CD. The writing
`process is usually called "burning a CD,"
`and that's not just slang ; you can feel the
`residual heat from the laser action if you
`touch a recently burned disc. But handle
`them with care: CD-Rs are more fragile
`than ordinary CDs.
`CD-R blanks are inexpensive (around
`
`$8) , contain the same quantity of data as
`CD-ROMs (about 650MB), and can be
`played in any standard CD-ROM drive or
`player. That makes them an ideal data stor(cid:173)
`age medium, except for one big limitation:
`The data you write is permanent.
`If you know you won't fill up a disc in
`one recording session, you can format a
`multisession disc that can be written to over
`several sessions. You could, for example,
`write a 200MB session one day, then pop
`the disc back in the next day and write the
`remaining 450MB in a second session.
`
`Mac ADDICT 47
`
`Page 49 of 116
`
`Unified Patents Exhibit 1023
`
`

`

`CD Format
`Coloring Book
`
`You think Rhapsody with its Blue Box
`and Yellow Box is colorful? It's hue(cid:173)
`deprived compared with the CD uni(cid:173)
`verse. Here's a chromatic guide to cur(cid:173)
`rent CD formats, according to the cover
`colors of their published specifications.
`Red Book: The original specifica(cid:173)
`tion for audio CDs and the equipment
`needed to play them. Audio CDs can
`contain up to 74 minutes of 16-bit,
`44.1 kHz digital stereo audio. In other
`words, each audio sample occupies
`four bytes (two bytes or 16 bits
`per channel) , and there are 44, 1 00
`samples per second of audio. Audio
`CDs are playable on nearly all com(cid:173)
`pact disc equipment.
`Blue Book: Specification for the
`Enhanced CD/CD Extra/CD Plus for(cid:173)
`mat, a multisession CD with audio
`tracks in its first session and a data
`track in its second session. Only the
`audio tracks are visible to an audio CD
`player; a CD-ROM player can also
`access the data session for MPEG
`video, still images, etc.
`Yellow Book: Specification for the
`CD-ROM (CD Read-Only Memory) for(cid:173)
`mat. CD-ROMs contain data sectors
`formatted for one or more operating
`systems. You can format a CD-ROM for
`the Mac's HFS
`(Hierarchical File
`System); as an ISO 9660 disc, which
`can be read by Mac, Windows, and
`Unix machines but lacks support for
`Mac niceties like long file names; as a
`Mac/ISO hybrid disc, which can be
`played on various platforms but pre(cid:173)
`serves the Mac interface when played
`on a Mac; and as a CD-ROM XA, which
`contains audio tracks in the first session
`and CD-ROM data in the second.
`White Book: Specification for the
`format, which contains
`Video CD
`MPEG-compressed full-motion video
`for playback on special MPEG decod(cid:173)
`ing systems such as CD-I players and
`some CD-ROM drives.
`Green Book: Specification for the
`Compact Disc-Interactive (CD-I) format
`developed by Philips and playable on
`CD-Interactive equipment and some
`makes of CD-ROM drives.
`Orange Book: Specification for
`Compact Disc-Recordable
`(CD-R) ,
`writeable compact discs that can be
`mastered in desktop CD-R drives.
`
`Once your track is edited, you'll need to
`
`save it to a file that can be burned on a
`CD. That's no problem for Cubase audio files,
`which are automatically saved as AIFF files,
`the industry-standard, high-quality audio for(cid:173)
`mat. If you've been mixing MIDI tracks,
`you've got to get the MIDI into audio (AIFF)
`form. To do this, play the MIDI tracks
`through your MIDI instrument, output them
`as audio via the instrument's audio out, and
`bring them back into Cubase in an audio
`recording session.
`
`Here's a brief outline of how to get a
`Cubase song ready for premastering:
`I • Mix down all the audio tracks to two
`channels, for stereo left and right.
`2. Select Pool from the Audio menu to see
`the Audio Pool window, a spreadsheet of all
`the audio files in your song.
`3. Choose the Prepare Master option in the
`Audio Pool's pop-up File menu. This takes all
`the audio files used in your song and extracts
`only the parts the song actually uses. The
`result is a slimmer, trimmer song that takes
`up no more disc room than it needs.
`
`N ow it's time to set up the CD-R
`
`recorder. For this article, we used the
`Master CD Plus 4 x 6 ($1,099 SRP, MicroNet
`Technology, 714-453-6000, http://www.
`micronet.com), a solid, fast performer. It
`functions as both a recordable unit and a
`standard CD-ROM/audio CD player. (See
`"Choosing a CD-R Drive," p47.)
`After connecting the drive, install the
`driver, which will replace the standard
`Apple CD driver in your Extensions folder.
`
`Keep a backup of the Apple driver in case
`you need it. The new CD-R driver will also
`manage your internal CD-ROM drive.
`You'll also need to install CD premas(cid:173)
`tering software. The Master CD Plus comes
`with Toast CD-ROM Pro 3.0 from Adaptec
`( 408-945-8600, http://www.adaptec.com),
`the most popular mastering software avail(cid:173)
`able for the Mac. Toast is up to version 3.5
`($99 SRP), and it includes some new
`features worth checking out.
`
`MICRONET'S MASTER CD PLUS is a solidly built 4X CD-R drive.
`
`0 nee you've got your music into
`
`stereo AIFF files, and the CD-R
`recorder is up and running, the next step is
`premastering-creating an exact replica
`of an audio CD file on your hard disk for
`eventual transfer to a CD. With Toast, this is
`a simple drag-and-drop operation:
`I • Choose Audio CD from Toast's Format
`menu.
`2. Drag your song from the Finder into the
`window. If you have more than one song,
`make sure they are in the exact order you
`want them on the CD. You can drag them
`around in the window as necessary.
`3. Click the Check Speed ... button. Toast
`will run a preliminary check to see if your
`system is fast enough to write the disc. If you
`
`Toast CD-ROM Pro
`
`~_o__j_r3-0hJ Pi~
`
`3 D.2 PPC
`
`[~:~·=-- ~ 1
`
`SCS l 9'n 0 ,ID6 ~ .
`
`I Chetk Spee d ... I ( Writ e CD ... I
`
`THE TOAST MAIN WINDOW. The interface
`couldn't be much simpler.
`
`can't write it at 4X, Toast will step you back to
`ZX. The result will be the same; it will just
`take longer.
`4. Conduct a complete premastering test by
`
`48 MacADDICT
`
`Page 50 of 116
`
`Unified Patents Exhibit 1023
`
`

`

`writing in simulation mode first. Choose the
`Simulation Mode option in the Write CD dia(cid:173)
`log that appears when you choose Write CD
`in the Toast main window. The simulation
`process will do everything exactly as the real
`mastering process does, except tum on the
`laser. If you've made any mistakes, they'll
`show up before you've sacrificed a blank CD.
`Keep in mind:
`• Audio tracks must always be the first
`session on a CD; otherwise, audio CD players
`can't recognize them. If the first session is
`more than 625MB or 99 tracks, you won't be
`able to record a second session. (See "What's
`a CD-R?" p47) for more on sessions.)
`• Make sure you've got roughly IOMB
`free on your hard disk for every minute of CD
`audio you want to premaster.
`• Upping Toast's RAM cache will help
`to smooth out erratic data transfer rates.
`Choose Preferences from the Edit menu and
`set it to two times the drive's writing speed
`(the Generous setting) . If you're using a 2X
`drive, the RAM cache will be set to 4MB.
`
`fludloTracles
`
`I 811N U 1 .,.t Hu l .r
`
`.... 11M1t1H11
`2 ........ _
`J Muhrt•....,.H""
`4
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`Add ...
`
`nenuwe
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`
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`
`..._,., .. ._.: O u.-. Tirxtl'W1:w•
`0 UH'*-1o/'1riwt
`
`••
`DRAG AND DROP TRACKS from the Finder
`into this window, then arrange them to suit.
`
`Check S eed
`
`Select t he tr acks to t est:
`
`Tr -
`S t a l H
`1 T.tta• • a... n L. Hot ohtclliM
`2
`la t lN Hood-OW- ·- Hot clwcktd
`3 H o .. ln4 ... ( H ou)
`Hot chtektd
`4 Bttt .. can Ra t Opnt... Hot ohtckt d
`" Ol••mt Sun4a,, (Hon_ Hot chtcktd
`
`0
`
`Test All
`
`[ Concel
`
`IC
`l n Test B
`
`DO A SPEED CHECK before writing a CD to
`make sure your drive can feed data to the
`CD-R recorder last enough.
`
`Toast
`CD-DA 2.0
`
`Toast CD-ROM Pro is fine for basic
`audio CD premastering, but Adaptec
`has a mastering program geared
`specifically to the needs of pro audio.
`Toast CD-DA 2.0 ($149.95 SRP) adds
`features that give your disc professional
`polish, such as nondestructive cross-
`fades and level adjustments between
`tracks, and nonsilence gaps. (You can
`fill the standard two-second silence
`between tracks with applause, rude
`noises, etc.) Trimming functions make it
`easier to remove unwanted noise or
`silence at the beginning and end of a
`track. Toast CD-DA 2.0 supports WAV
`files and Split Stereo files as well as
`AIFF and Sound Designer II
`files
`(Digidesign's Sound Designer II
`is a
`high-end music recording and editing
`program) . The program also batch-
`writes multiple CDs to autoloaders and
`transporters for high-volume mastering.
`
`fl h l oMnd lt•m •
`
`,UJIIJUIIJJlH I U'll llU'llJ
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`OCI Oll;OO . ,,., __
`
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`Your disc Is r eody .
`
`100 11"_
`
`frMloW
`
`12Tr-CIS21•
`
`TOAST CD-DA 2.0 LETS YOU add sound in
`those wasted gaps between CD tracks.
`
`T he final step is to master the audio
`
`onto a blank CD:
`1. Load a blank disc into the CD-R drive.
`2. Click Write CD in Toast's main window.
`3. Choose Write Session (if you want to put
`additional sessions on the disc later) or
`Write CD (if this is the only session).
`4. You're off and writing. The write could
`take half an hour or more.
`Pop out the hot disc- your first gold rec(cid:173)
`ord. It may not be your ticket to stardom, but
`at least it's evidence that you've paid your Mac
`audio recording dues. 13
`
`As a boy, Steven Anzovin hung around in
`seedy nightclubs, spinning on the bar stools
`and whistling "Satin Doll."
`
`Start writing now?
`
`....., , ~
`
`D strooiat1on Modt
`D Cr.Ht• Ciui lto~9q. First
`
`Write Session B
`Write Disc
`
`Concel
`
`TIME TO WRITE TO THE DISC. This may take
`hall an hour or more, depending on the num(cid:173)
`ber and length of your tracks.
`
`Eject J
`
`(
`
`YOUR DISC is Toasted!
`
`Personal
`Hit Parade
`
`Wish you could hear only your favorite
`cuts from your favorite artists without hav-
`ing to pop discs in and out and keep your
`finger on the Skip button? Sure, you could
`master your own custom greatest hits col-
`lections (subject to copyright restrictions,
`folks!) by capturing each track to your
`hard disk, then writing the files to a CD
`with your CD-R setup. But that's a time-
`sucking hassle that's probably more
`trouble than it's worth.
`
`the product has been
`Although
`discontinued, Microtest (800-638-3497,
`http://www.microtest.com) came up with a
`better system that should appeal to any
`audiophile or DJ wannabe. Audiotracer
`automates the process of assembling
`tracks from various CDs onto one disc. Not
`only can you create custom drag-and-drop
`play lists, but Audiotracer supplies track
`tables of contents for 700 popular albums.
`Best of all, you can write directly from your
`Mac's internal CD-ROM player to a CD-R-
`no need to capture the tracks to a hard
`disk first.
`
`rnilllllllililllnl MRTSHITR CD- ROM CR- 8004 [3f
`Track N.rnt
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`
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`2:5:42
`0:23:30
`"""""
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`
`---
`Drtve : HATSHJTA co-ROMCR-9004 (3 )
`CD : '" Brd:s of Fin ..
`Tr Mk: "'OM Yord '"'
`St .etas : Pi..t"'a
`Dtsplat :I Trad: TlrM
`r- ---~-
`
`1t : MATStHT A a>-ROM CR-8004 (3 )
`s : FWq
`~ ' CE::::)
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`u
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`[ ~ Play II []Stop J n ··~ ~
`
`[DD Pause JI a, Ej e ct J
`CJK:JCEO
`
`I
`
`ose~1 on
`
`(ci ... s...100 )
`naltze ~
`oct ~
`~
`
`LOOK, MA, no premastering! Make your own
`greatest hits collections with Audiotracer.
`
`MacAOOICT 4 9
`
`Page 51 of 116
`
`Unified Patents Exhibit 1023
`
`

`

`e're curious about anything concerning our beloved Macs.
`We've gone over them inside and out. Suddenly, it occurred
`to us, "Who makes these things?" Never ones to pass up an
`opportunity to procrastinate, we hopped in a car and went searching
`through Silicon Valley, seeking Apple software engineers. When we spotted
`" '
`three cars in one chiveway sporting Apple decals, we knew we'd hit paydirt.
`At one point, all except Bob, the lone PC guy, were Apple engineers.
`Since the restructuring in March, Mike is the only one left at Apple. They
`were too tight-lipped to tell us anything about Rhapsody but were per(cid:173)
`fectly willing to tell us their story and show us their digs. When their old
`house in the Santa Cruz hills decided to take a dive into a nearby river,
`they knew it was time to look for a new home. There were only two
`requirements: It had to be close to their jobs at Apple's Cupertino,
`California, headquarters, and it had to hold all their gear.
`They found this home in the Belmont hills, took one look at the
`view, and knew they'd found the right place. They called the landlady
`on a cell phone, and the deal was done. We were lucky enough to get
`a tour of this high-tech heaven.
`
`~ FINDA
`
`QUICKTIME
`VR MOVIE
`of the
`MonkeyBoys'
`living room
`on The Disc.
`
`By Kathy Tafel
`Photos by Ken Bousquet
`
`AS MIKE PUT IT: We wake up in the morning, look out the windows
`across the bay to San Francisco and the Bay Bridge, and say, "Gee,
`another gorgeous day in paradise. What a shock." (The MonkeyBoys,
`from left: Mike Kobb, Rick Mann, Christopher Cotton, and Bob Grosso.)
`
`ml ONE HUNDRED FEET OF ETHERNET
`cable connect the computers in the
`den with those in the living room .
`Although most of the time the 'Boys
`have CodeWarrior fired up, some(cid:173)
`times you can catch them in a game
`of network Marathon . Soon to be
`added to the mix is an Ascend
`router to facilitate ISDN access, but
`for now they must connect to the
`Net with mere modems.
`El RICK'S POWERMAC 8500/180 is
`the most powerful desktop machine
`in the house. Plugged into it are
`two 17-inch monitors, AppleDesign
`
`Powered Speakers, Apple
`VideoPhone camera, CyberSound
`MIDI keyboard, and a Kensington
`TurboMouse.
`
`fl cHRIS BEEFED UP HIS QUADRA
`800 with a 100MHz PowerPC 601
`upgrade card and uses two 13-inch
`monitors. Peripherally, Chris
`hooked up an Apple LaserWriter
`16/ 600 with a fax card (named
`MonkeyFacts) and a Color PageWiz
`Scanner.
`f!I MIKE HAS A POWER MAC
`8100/ 80AV with an Apple 20-inch
`
`multiscan monitor and an Apple
`13-inch RGB monitor. A VCR is con(cid:173)
`nected to the AV input on the 8100
`so that he can watch TV while
`working on the 20-inch screen.
`AppleDesign Powered Speakers
`and a ThrustMaster joystick and
`Weapons Control System round out
`his accessories. Mike has a private
`pilot's license and flies a T-6 World
`War II advanced trainer; he's still
`searching for the perfect flight sim.
`
`ll EVEN THE CATS HAVE HIGH-TECH
`TOYS. Here, Taylor chases a laser
`light pen beam up the wall.
`
`Page 52 of 116
`
`Unified Patents Exhibit 1023
`
`

`

`• MIKE TRIES TO EXPLAIN
`why they need eight "univer(cid:173)
`sal" remotes. Additionally,
`Mike has programmed a Java
`applet on the 540c, which
`controls the infrared box
`connected to the serial port.
`We can understand why they
`go through a brick of AA
`batteries every two months.
`
`l!I THIS IS WHY THEY "NEED"
`THE REMOTES. The home
`theater comprises Mike's
`five-speaker surround-sound
`system, rear-projection
`television , five-disc CD
`changer, preamp/video
`switcher/ Dolby Pro-Logic
`surround processor, tape
`deck, five -channel home
`theater amplifier, 2,700-watt
`Subwoofer, VCR, LaserDisc
`player, Nintendo 64, Sony
`PlayStation (co-owned with
`Chris), and video switcher.
`Mike also has X-10 dimmer
`control of the lights via
`radio frequency remote and
`autonomous computer-programmed
`interface. Rick contributed a Sony
`DVD player and Sony AC-3
`Processor, while Chris added the
`complete Red Dwarf series.
`
`and continuing clockwise is Mike's
`540c, Rick's 3400, Bob's 133MHz
`Compaq, Mike's 3400, and Chris'
`Duo 280c. Rick and Mike have
`Ricochet modems for connectivity.
`Only the 540c has a permanent
`
`home on the coffee table, as,
`according to Mike, it's "the
`best-looking PowerBook Apple
`ever made."
`
`m EVERY KITCHEN NEEDS an X-10
`
`controller.
`
`a MIKE WOULD NEVER HAVE SOMETHING SO
`
`PLEBEIAN as a cable connecting his bass to
`the amp. This is a Nady wireless transmitter.
`l\'I ONE ROOM IN THE HOUSE is devoted to
`storing all the boxes.
`II THIS HOUSE LOVES KITS. This space shut(cid:173)
`tle has a four-bar linkage.
`ml ALL THE TALENTED MONKEYBOYS play an
`instrument. Mike owns a Michael Tobias
`Designs model 535 five-string fretted bass,
`Zon Legacy Elite I custom four-string fretless
`bass, Spector NS-2 four-string fretted bass,
`Steinberger XL-2DBA four-string fretted,
`Spector NS-2 four-string fretless bass,
`Spector NS-5 five-string fretted bass, as well
`as the piano and a Yamaha WX-7 MIDI wind
`controller (do you sense a trend here?) . Bob
`strums an analog guitar, while Chris beats
`away at his drum set. He also has a Yamaha
`RX5 drum machine and a dklO electronic
`drum pad . Rick is really playing "Chopsticks,"
`but he uses his CyberSound MIDI keyboard
`to add sounds to his shareware game, Otiru.
`(MonkeyBoys is a nickname chosen after
`watching the movie The Adventures of
`Buckaroo Banzai: Across the Eighth
`Dimension, in which John Lithgow's alien
`character shouts, "Laugh while you can,
`Monkey Boy!") i3
`
`Kathy Tafel has half as many remotes per
`person at her house.
`
`MacADDICT 51
`
`Page 53 of 116
`
`Unified Patents Exhibit 1023
`
`

`

`It's like buses: For a long time, you don't see a one, but
`
`then three come along at once. Yes, we've finally gotten
`through the mountain of materials, the pile of pleas, the
`Golgotha of "Gee, please!" and selected our choice for the
`Mac Addict of the Year. As testament to the quality and vol(cid:173)
`ume (that's amount, not loudness) of submissions, we've
`also chosen two Honorable Mentions for this august prize.
`When it all came down to it, our Mac Addicts are those who
`have done some truly useful things, and done good not just
`for the Mac but for the world at large.
`
`RHD THE WIHHER IS.
`Our 1996 Mac Addict of the Year
`is Mike Kerner. Mike began his Mac
`career at Ohio's Hiram College when a
`crowded computer lab forced him onto
`a Mac Plus. After whipping up a snazzy
`report with MacWrite, MacPaint, and a
`LaserWriter, he was hooked. In Mac love,
`he learned to hook up Macs, eventually
`building a Mac lab of a few dozen
`computers and LaserWriters. He even
`convinced the biology department to
`purchase a Mac II. He later hosted a
`series of seminars on HyperCard and the