The VCF Midwest 2023 Report

You! Yes, you! Are you wondering if anyone shares your passion for an old arcane operating system? Then I’ve got the place for you! Come on down to Vintage Computer Festival Midwest! It’s the most happening place for obsolete tech this side of Lake Michigan! They’ve got Commodores, they’ve got Apples, they’ve got stuff you haven’t even heard of! What the Hell is this? I don’t know, but I wanna find out! Here in Userlandia, we’re going to Chicagolandia for VCF Midwest.

It’s September, and you know what that means—computer con! Geeks across America leap aboard planes, ride friendly trains, or climb into automobiles to make their way to VCF Midwest. With 2023 being its eighteenth edition, it’s been around long enough that people could yearn for its early days. Nostalgia for a thing celebrating nostalgia? Stranger things have happened. The show’s popularity has risen dramatically over the past five or six years, and there’s never been a better time to meet up with fellow enthusiasts of obsolete technology.

Success breeds success and VCF’s attendance has grown year over year as folks like me come in from parts unknown. As I boarded my flight from Logan to O’Hare, I wondered how they would accommodate the expected increase in crowd size. Going to the show with me was my friend Mark, an Illinois local who lives about twenty minutes away from the venue. He’s a veritable regular, having attended the show since 2019. After stuffing a hot hatchback full of old computers and components to donate to the show, we hopped on I-294 and made our way to the Waterford Banquet and Conference Center at Elmhurst’s Clarion Inn. The conditions for attending VCF were largely the same as years past. Free entry? Check. Free tables? Check. Free Parking? Also check. We expected the show to have more attendees than last year, and adjusted our plans accordingly.

Number one: get there early enough to get a good parking spot. We got one of the last remaining spots when we showed up ten minutes before opening time last year. This year we showed up about half an hour before opening and empty spots were already becoming scarce. Somehow we scored a primo parking spot near the doors.

Number two: pack a lunch. Last year the line at the cafe was extremely long and we lost our parking spot after going out to eat. Bringing some sandwiches, chips, and Polars saved us both time and stress.

Number three: bring a hand truck. Last year we had to make multiple trips to the faraway parking spot to unload donations. A hand truck reduced it all to one easily managed delivery of servers and PCs directly to the garage sale.

Some things just can’t be planned around, like waiting in lines or navigating through the sea of bodies or when interesting stuff shows up in the free pile. But what you can plan for is all the cool stuff you’ll see at the show’s amazing array of exhibitors.

Exhibits and Ambience

Just as Mark and I tweaked our plans for attending, the VCF Staff did the same for exhibiting. A big challenge facing VCF Midwest 2023 was the demand for exhibitor space. Allocating floor space for exhibits and tables was so tricky that the show needed to implement a waitlist for the first time in its history. To create more room, the VCF staff relocated the Panel and Auction space from Hall A to a downstairs function room. Now all four sections of the Waterford’s main ballroom could be combined into one large exhibit hall, resulting in 25% more exhibition space. This created some unique logistical challenges for the auction, which I’ll address later, but the tradeoff was worth it.

The crew also optimized the space between tables to improve navigation in the ballroom. Last year the wall dividers were partially open to let people cut through from hall to hall, and this year the dividers were opened even further. Combine that with a central alley bisecting all four rooms and you could walk from one end of the ballroom to another without exiting to the main hallway. Compared to last year the main ballroom actually felt less claustrophobic despite the mammoth crowd of people. One place where crowding can’t be fixed is the main hallway, which serves double duty as vendor space and people space. The vendors lining both sides of the hall and the free pile attracted a sea of people during peak hours, which generated wave after wave of traffic.

Computers of all kinds are peppered throughout the ballroom, but it’s fair to say that the more power-hungry Jurassic-era megafauna congregated in Hall D. Familiar faces like the Meridian PBX and the VCF Midwest phone system from Shadytel Midwest anchored a room full of terminals and workstations. Turn right from the door and you’ll land upon this set of Apollo Workstations. I loved seeing these since I used to live a mile away from Apollo’s headquarters in Chelmsford, Massachusetts. Forgotten Machines’ massive exhibit featured all kinds of stuff from companies that are long gone, like Data General. Did you know RCA made microprocessors? I didn’t until seeing them at Josh Bensadon’s table!

Scott Swayze’s Retromodem was a piece of hardware after my own heart. It’s a replacement PCB for external Hayes Smartmodems just like the 1200 baud one I had back in the day. It connects to your Wifi network up to the maximum supported speed of your serial port, and even makes simulated dial tone sounds when you connect to a telnet bulletin board. It wasn’t the only WiFi to modem bridge on display, either—the WiRSa adapter is a cute little device that bridges your old machine to a new network.

Almost all of these exhibits of the sixties and seventies era machines had some kind of guided demo to help explain these machine’s roles in “data processing.” A common theme amongst these exhibitors of niche and very old equipment is sharing the unique experiences of machines that are hard to find. Steve Maves had a NeXTstation, DEC AlphaStation, and a blue and white G3 with a 21 inch monitor all on one table. That’s so laser focused to my tastes that I couldn’t help but bask in 21 inches of Trinitron glory.

Though other beefy workstations were peppered around all four halls, it was nice to see the evolution of “real machines for real work” as you walked up and down the aisles of Hall D. There were enough Silicon Graphics boxes on display to explore the real breadth and depth of their power. System Source was back, this time with some new additions to their lineup. Other SGI stands included a multiplayer mini-LAN with graphics performance that would have blown away a contemporary PC.

Most people visiting the show are going to be interested in their own favorite platforms, and there’s a healthy balance of hits and deep cuts from the exhibitors. I figure that Commodore was the most well-represented company, with over a dozen tables featuring 64s, 128s, and Amigas. The most distinctive had to be this Commodore Colt PC—I’ve never seen a Commodore PC clone in person before, and this was a fine example. Most tables featured a unique thing you could do with a Commodore, like Paul Wilga showing off a C64 playing Sonic and a C128 with an 8-bit Guitar Hero clone. CBMstuff featured their colored keycaps, Wifi modems, and even a Mega65. It was my first time seeing a Mega65 in person and I have to admit that it looked really cool. Amigas were peppered about here and there, but Ethan Dicks probably earned the award for most Amigas on one table. This funky tower lived side by side with an A1000 and A3000.

You can’t go to an old computer show without tripping over a bunch of Apple computers, and this one’s no exception. Friend of the show Sean from Action Retro had his modded SE/30, of course, but it was joined by one of his new acquisitions: a wicked-fast IIfx. Next door was Joshua Stein, with a working Mac Portable and PowerBook 100 side by side. Passers-by could get a real sense of the magic Sony pulled off in transforming the former into the latter. Speaking of cool portables, Pete R. had a full DuoDock connected to a portable Color StyleWriter. There’s not enough printing at these shows, and anyone who facilitates it gets a gold star. Other cool friends Ron from Ron’s Computer Vids and Steve from Mac84 were nearby to talk all about old Macs. Need some floppies copied for your Apple II? Intergalactic Microsystems had a live AppleSauce setup that could burn your disk images to a real floppy on demand. Avery Grade and Bea Thurman’s Apple II Sight and Sound had this monster stack of Apple IIgs multimedia which let the computer really flex its audiovisual muscle. The towering Altec Lansing speakers are the peak of 1990s computer audio aesthetic. Lots of Mac mods were on sale from CaymacVintage, with ROM SIMMs, flashers for those SIMMs, diagnostic equipment, and more oddly specific stuff for your oddly specific Mac.

Atari computers and consoles rivaled Commodore in how much table space they occupied. The Chicago Atarians lead the charge with this fantastic Atari VCS display, which carries the torch from their big glass cabinet that unfortunately perished after last year’s show. Ever used an Atari Falcon? I got a chance to test drive one thanks to Liam Coyne’s display of ST systems. Maybe 8 bits is more your style, and if that’s the case you could see a whole lineup at Slor’s Atari for Show, Small Iron for Dough. If you want to connect to other Atari fans using original hardware, the Atari BBS community had live demos to show how you can still go online with your Atari computer in 2023. And if you’re interested in BASIC programming on the Atari ST, check out this Apollo standalone running the GFA Basic editor.

What about IBM and compatibles? Joshua Conboy’s OS/2 and You returns, this time with even more paraphernalia and boxed software. Kevin Moonlight’s collection of IBM Palmtop Thinkpads demonstrated that a little chassis could mean big power. Of course they can run DOOM, but did you know they could be repurposed to portable video players? If workstations and servers are more your style, then Mike Mason and Chris Simmons’ tables have what you need. An AS/4000 next to a PS/2 Academic System tower shows that whether it comes in black or white, IBM knows how to make a good looking server. IBM tech also powered this retro selfie station thanks to this washing machine-sized printer. Where iBM goes, clones tend to follow, and there’s plenty of PC platform equipment lurking about.

With the host of the usual British computer exhibition unable to exhibit at the show this year, the community had to step up to ensure representation of computing from across the pond. Sinclair systems of all kinds were highlighted at Scott Hardin’s table. The Other 8-Bit Computer Maker had the full line of Sinclairs from the ZX80 all the way to the modern ZX Spectrum Next. And since the Spectrum is one of the most-cloned systems out there, you could see some modern reproductions on display from Chris and Gavin Tersteeg.

If you thought I’d forget about the Tandy folks, think again. VCF Midwest takes place during SepTandy, after all! Almost every hall had a CoCo or two running a demo. And you can’t escape the TRS-80; this one at Nihongo Retro had a very cool floppy replacement with USB thumb drives.

Japanese computers also had a healthy presence thanks to some new and returning faces. Danielle from Thegirlgeek returned with the Casio Loopy and Sharp x68000, but there were other x68000s lurking about as well. Nearby was nephrite.fm with Nihongo Retro, which had a lovely NEC PC-98. Not one, but two Famicom Basic setups were on display this year. And if you were curious about the MSX, Liam Coyne’s Sony MSX setup was a fine way to see the platform that built Hideo Kojima’s empire.

Dante Blando had this neat micro server called the NetWinder. Made by Corel of CorelDraw fame, the NetWinder could be deployed as a slim server or workstation. It has the distinction of being the first commercial ARM-based Linux machine. Neat!

Want a Gravis Ultrasound but don’t have the scratch to get one on eBay? Ian Scott’s PicoGUS can bring one to your ISA-based computer thanks to the power of the Raspberry Pi Pico. And if you want to learn more about other PC sound cards, the OPL Archive can fill you in on the wonders of FM synthesis.

Hey Kids, it’s Crusty the Mac! This Mac SE has survived multiple burials, and amazingly still works, although when I came by it wasn’t running anything or doing anything. This meme machine makes a rustic fashion statement at every festival it visits.

Keeping a returning exhibit fresh is a challenge on its own, and the folks at Genericable are doing their best to keep the excitement around obsolete cable television alive. Preview Guide and the Weather Channel kept everyone up-to-date on the event’s programming and weather conditions. Princess Twilight Sparkle has blessed the weather this weekend, apparently. Sit down with a character generator and make your own title sequences to show off to your friends at home!

Lastly, I’d like to give an award for “Committing to the bit” to this giant SX-64. This macrocomputer is exactly the kind of gimmick I want to see at these shows. The CMBSX64 Ultimax looks like the kind of interactive exhibit you’d find in a science museum. Very cool.

Testing the Limits

VCF Midwest has called the Waterford Conference Center its home since 2019, and every event has exceeded expectations. With an estimated 3,000 attendees this year—nearly 50% more than last year—VCF is showing no signs of slowing down. And that popularity brings some complications, both expected and unexpected. For 2023 the venue and VCF staff tackled these challenges head-on, and they largely succeeded.

The first—and most obvious—limit is parking. This year VCF Staff made official arrangements for overflow parking, but it was quickly exhausted on Saturday. Given its location in suburban Chicagoland, cars are the only practical way to get there. Carpooling might be a good idea if you’re local! If you’re staying at an offsite hotel, consider sharing a ride with a fellow attendee. There isn’t much more that can be done except moving to a new venue, so my advice to fellow attendees is to arrive early and plan your day so you don’t lose your spot.

I’ve already mentioned the adjustments made to the exhibit hall to maximize table space. I think these moves worked out in favor of the show, because more tables means a wider variety of exhibitors. But allowing more tables isn’t without complications. Power was particularly problematic—there were considerable voltage sags as the weekend progressed. Many demos and machines lost power at various times during the weekend. Some exhibitors scrambled for voltage regulators while others had to wait for electricity to be restored. Expanding into Hall A was also the last lever the show could pull to increase indoor exhibit space—there’s literally nowhere left to put tables without making significant compromises.

Another consequence of expanding the exhibit space is changing the flow of walking traffic. I thought the main ballroom felt less crowded overall despite more people attending the show. Most of the attendees were cognizant of not blocking aisles, and exhibitors did a good job of keeping their tables within their actual space. But when you put a bunch of bodies in one room you’re bound to hit a few snags. Take the end cap of Hall B. It’s been the traditional home of the show’s VIP guests, and on the face it sounds like a great idea. Being able to meet LGR, Krazy Ken, 8-Bit Guy, Voidstar, and Ben Heck all in one row of tables sounds like an amazing idea. But the downside to that is lines, lines, and more lines. Plus, when a non-tabling guest holds court nearby, that adds even more bodies into the mix. Thankfully the lines eased up as the show went on, but there was always a bunch of bodies in the area. Are there ways to solve this? Absolutely, but they come with their own tradeoffs. VIPs could be split up and moved around the hall to clear up the jams, but that takes away some of the magic of seeing all these people together. Plus, the guests might like being in their traditional spots! The right and proper solution is a dedicated VIP area with queues, but the guests might not like that isolation, and it can’t be done in the current venue anyway due to lack of floor space.

Lines and bottlenecks weren’t exclusive to the VIP guests, either. This year the show’s doors didn’t actually open until 9, and sure enough a significant line formed at the door. This line took a while to clear as it immediately led into the garage sale and T-shirt tables, which formed their own line that interfered with this line! There is an alternate entrance to the venue, so you weren’t blocked completely, but if you were a newbie this wasn’t eminently obvious. There’s not enough space to relocate those tables, and the doors aren’t wide enough to set up multiple entry queues without blocking egress. The sizable T-shirt and garage sale line did move at a reasonable pace during the day, but you needed to commit to it. I don’t think it cleared up until the T-shirts sold out in the mid-afternoon.

The last bottleneck is food service. You were going to wait a while to get lunch from the venue’s cafe, and tables were crowded. If you weren’t hungry enough for lunch but still felt a bit peckish, a stand offering snacks and drinks for sale was open in the main hall on Saturday. That was new for this year and it’s a smart way to let people get something light without clogging up the main counter. Also, I understand that encouraging people to buy lunch to support the venue is a noble idea, but a single register is not up to the task of feeding everybody at the show. We brought our home-packed lunches because we had the capability and that freed up a spot in line for someone that was traveling from out of town and needed to eat at the cafe. To cover my lack of buying lunch I donated an extra $20 to the show, but I’d have no problem spending that money on expanded food options if I didn’t have to wait 30 or 40 minutes in line.

Let’s Make a Deal

VCF Midwest is jokingly referred to as an overgrown flea market, and the people cracking those jokes aren’t wrong. Just like last year, vendors in the hallway and some exhibitors in the ballroom are happy to sell you just about anything. If you’re hunting for something specific, this is a good place to find it. Computers, parts, and paraphernalia are all here if you’re willing to open your wallet.

Most of the vendors were folks in the main hallway selling hardware and software in spreads across their tables. Karl and Ted’s Excellent Macventure specialized entirely on classic Macs and Mac accessories. There were more Macs at this table than I could count, and I’d say they’d sold about 95% of them by Sunday afternoon. Bonus Life Computers were back with more restored machines, and the usual Commodores and Tandys were joined by this cool Tektronix terminal. The Wisconsin Computer Club was parked in their usual spot by the corner with an impressive array of parts for many old machines. BitHistory’s buckets of big box software was cool, but these Zenith Data Systems laptops are even cooler.

If you weren’t looking for hardware, there were plenty of people selling software. Big box, small box, jewel box, and even no box programs were available. Plenty of console games were for sale too, with box after box available at an outdoor vendor.

Here’s a clever idea: sell accessories and doodads that people at the show will need, like this rack of video and power cables. It’s brilliant, really—you could buy a Commodore 64 at one table and then walk over to 8-Bit classics to buy a matching chroma-luma cable. And when you’re done messing about with your new system, you could kick back and read one of the many books they had for sale about computing history.

Need a hard drive emulator? The BlueSCSI folks were here in full force with all flavors of BlueSCSI to replace your sputtering SCSI hard drives. With some Macs on hand to demonstrate its features they were able to sell almost their entire inventory over the weekend. Not bad!

MacEffects had a shiny new product to present: a transparent RGB mechanical keyboard for the Apple IIc. If you don’t set yours up in an Apple rainbow pattern, then you’re not really living. Their color Mac SE cases were on display, though I wasn’t sure if any were actually for sale. I still marvel at the clarity of the transparent Apple II case—if this same case travels to all the shows, it’s held up really well.

And hey, it’s great to see the TechDungeon folks again after meeting them for the first time at VCF East. Their array of merchandise has expanded considerably, and they had a pile of boxed vintage machines that they sold throughout the weekend.

Joining the more business-like vendors were individuals selling large collections, personal or otherwise. This is where you see the niche and the exotic. If you wanted a NeXTstation, here’s one begging for you to take it to its forever home. Sun pizza boxes were hot and ready for takeout. This is where those flea market comparisons come into play, and this veritable bazaar of computing could easily drain your wallet if you weren’t careful. Make sure to practice your haggling skills ahead of time. You’re dealing with old, used gear, and that comes with all the caveats you’d expect.

Most vendors labeled the machines that were working and ones that needed work. If you’re looking for a bargain, you could save by buying a machine that needs repairs. There were certainly plenty of as-is or project machines for sale. But make sure you know what you’re getting into, as almost all sales are final. If a fixer-upper isn’t your style, you might be more comfortable paying a little more for a machine that’s known to be working. For example, Bonus Life has a guarantee and a warranty on systems that have been serviced and tested.

I noticed fewer tables with bins of random stuff for sale in the main exhibit halls this year, which is a plus in my book. One reason why is that most of this year’s large collections of miscellany weren’t indoors. Because of the high demand for tables, the show staff gave official blessing to set up outside. That meant tables lining the walkway to the main entrance and people selling out of the trunks of their cars. This kept people from wandering the halls trying to sell stuff, which I think is helpful for traffic flow. There weren’t too many parking lot tables, and they largely stuck to areas where their wares wouldn’t block traffic. These folks were also incredibly lucky that the weather was clear and sunny all weekend long. If the show was a week later it would’ve been raining outside and the entire experiment would’ve been scuttled. There’s also the risk of the tragedy of the commons when it comes to parking lot sales. Who determines who gets to set up where? I even saw someone set up an awning, which, well, okay, one is fine, but imagine if a bunch of people started setting up tents or awnings and hijacking adjacent spaces for their makeshift sales? I have to imagine that if the show wants to set up an unofficial outdoor flea market area, the center courtyard would make a great place for it.

After you spent your discretionary dollars at the various vendors, your next stop could be the VCF Midwest Garage Sale, which sells donated items to raise funds for the show. This year’s sale was especially packed, and some bargains could be had if you swung by at the right time. This is a great showing by the community, and I’m sure the show raised thousands of dollars from the generosity of attendees who donated items. There’s only one suggestion I’d make to my fellow donators, and that’s to put a little bit of effort into what you’re giving to the show. Case in point are these old HP Inkjet printers. We had a debate over whether they were uncool or not—we settled on cool due to the fact they had both parallel and serial ports—but damn were they dirty. Considering the effort Mark put into his servers—cleaning them, zeroing out the disks, loading a valid ESXi install, and so forth—the minimum you could do is wipe them down. A little bit of spit shine can go a long way to help the show sell your donations. You do want to raise as much money as you can to benefit VCF, right?

If some of the donations were too cool for the garage sale, they would get set aside for the famous VCF Midwest auction. The downstairs function room was at full capacity as chief organizer Jason Timmons once again donned a getup straight out of a county fair—complete with Stetson hat! But he wasn’t all hat and no cattle, because even when faced with several technical challenges the auction kept a brisk pace. The first challenge was how to present the items to hopeful bidders. Bringing them all downstairs wasn’t practical, so the crew upstairs used cameras to broadcast a video stream of the items up for bids. Everything from Xserves, terminals, and big box games paraded across the big screen next to Jason, and save for a once or twice hiccup on the camera feed this worked like a charm. I didn’t bid on much—I tried for some of the boxed software, but was quickly outbid by other attendees. Even with all the cool stuff on display there wasn’t something that spoke to me personally like that NeXT accessory kit did last year. Don’t worry—the show got my money in other ways.

Last, and of course not least, is the legendary free pile. This year’s free pile was so huge that it was two piles, really—one in its normal home in the hallway corner and another in the outside courtyard. Once again this was possibly only because of good weather—a passing rainstorm would have soaked anything on the open tables. Yet the organizers did the best they could to tame this torrent of generosity. Guesstimating how much will be given away is an impossible task, but I can’t imagine next year’s free pile being any smaller. To my fellow attendees, consider your behavior when taking and leaving items at the free pile. The inside free pile was unable to cope with the number of items and people constantly hovering over it. Sometimes it felt less like a share-alike giveaway and more like vultures picking on corpses. The VCF Midwest rules are pretty sensible, but maybe people aren’t adhering to the spirit of the pile. For instance, don’t bring non-computer stuff. Who leaves a pressure cooker, honestly? Also, to you jerkbenders taking stuff off the table to resell it, shame on you! And for God’s sake, don’t leave stuff behind for the show to dispose of afterwards. You know who you were.

People and Panels

Vendors and exhibitors may get attendees in the door, but what makes them stick around is the crowd itself. I know that’s tautological, but a convention would be a pretty lonely place if you were the only person there. With a dizzying crowd of attendees, exhibitors, guests, and staff, you’re in good company when it comes to old computers. It’s hard not to make new friends and connections with a crowd as big as this one.

VCF Midwest’s a community driven show, and that’s reflected in its panel schedule. Programming an event like this isn’t easy, but VCF Midwest strikes a balance of big crowd-pleasers and niche subjects I’ve never heard of before. Where else can you hear about reverse engineering an online service, or a deeply detailed history of a dead software company? There’s the requisite Youtube personality roundtable, of course, but you’re missing out on some really cool presentations if that’s the only one you see. Ever wondered how a terminal works? Richard Thompson will take you inside old-school HP, DEC, and Beehive models to show you how we interfaced with mainframes and minicomputers. Eric from Eric’s Edge had a whole stack of slides about Hypercard. Ron and Steve served up a sequel to last year’s Mac collecting panel by focusing on PowerBooks and Apple portables. The willingness of the show to let people passionately delve into niche topics is great to see.

Community is also about doing things together, and there were two excellent ways to do that. One was the Build-a-Blinkie tables by the bistro, where you could learn the basics of flux and solder. I saw several complete strangers having a great time learning some DIY skills. They weren’t just building circuit boards, they were building friendships. Same goes for the LAN Party area right next door. A collection of machines from the height of the LANing era running some greatest hits like Quake, Unreal Tournament, and Doom gave attendees the chance to take a fifteen minute break from the hustle and bustle to relax with some gaming. There’s a special feeling you get when fragging folks shoulder-to-shoulder that can’t be replicated online.

But the most powerful connections we can make are one-on-one with other people. Imagine my surprise when Taylor and Amy from their eponymous show pulled me over at their table to talk about the Apple IIe Computers of Significant History. Or chatting about the finer points of my sound card history with Ian Scott of PicoGUS fame. Something that people forget is that everyone behind those social media handles and Twitch streams and YouTube videos are, well, people! Striking up a conversation is the best way to learn about all the stuff you see. The enthusiasm of exhibitors performing live demos or chatting up random passers-by was infectious. Everywhere you looked you saw people forming new connections and building a stronger community.

Another benefit to mingling with people in person is drawing on a vast ocean of expertise that can be hard to replicate online. A prime example is picking the brains of fellow fixers and tinkerers. During the filming of my SE/30 video the display would spontaneously go blank. A reboot would usually bring it back to life, but it eventually stopped booting altogether. I swapped the logic board with my SE and the problem followed, so I could safely rule out the analog board as the culprit. Could I have messed something up when recapping the board? After spending many hours fruitlessly trawling 68KMLA and TinkerDifferent, I couldn’t figure out quite where to go. Poking around with my multimeter was proving fruitless. At that point it was beyond my ability to troubleshoot, so I brought my SE/30 logic board with me on the trip so Mark and I could diagnose the problem together. With his working SE/30 and a spare parts board I was sure we could solve the mystery. After some poking around with a logic probe and the schematics we determined that something was preventing the CPU from starting—we just didn’t know what.

Mark chatted with Adrian Black about theory of operation, while I tossed a few symptoms at Tom from Amiga of Rochester and his tablemate Eric. They had a few ideas, and the first thing they said to troubleshoot was clock generation. Either the crystal was bad or something was faulty with the clock circuit. Check the clock lines to the chips and find the fault. Armed with that advice, we took another crack at the SE/30 board after the show. After some more interrogation of the clock circuit, we found the culprit: a ferrite bead on the bottom of the board. There’s three of them in series, and the middle one—part J13, that little guy right there—was cracked at its input terminal. It looked OK visually, but it lifted right off the board when heat was applied to it. That bad bead broke the circuit providing 5V power to the clock crystal, and without power the oscillator can’t oscillate. No clock means no CPU which means no booting! We replaced the bum bead with one from the parts board and that cured it of its black screen blues.

We had an inkling that it could be a clock problem, but we didn’t know exactly where to look or which chips to probe. Having some experts to point us in the right direction saved us hours of faffing about. Mark posted a complete post-mortem on 68KMLA, just in case if you run into the same issue. We owe many thanks to Tom, who ought to get a medal of commendation for offering advice to anyone who asked while simultaneously fixing paying customers’ boards.

The Vibe

As I was chatting with Nik Chavez of NK-Tek-Fix Retro Market, he made a quip that I thought summed up the entire show. “VCF Midwest? More like VCF Wild West.” He said he couldn’t claim credit for it since he'd heard it from someone else, but this game of telephone rings true. VCF Midwest is capital-C Chaos. Not in the Discord or Jack Garland sense, but in the Muppet Show sense. You never know what you’ll see, and it’s guaranteed to be a good time, but without concerted wrangling by those at the top it would’ve come crashing down.

I’ve tabled at conventions that collapsed because their staff couldn’t handle the pressure or their spending dreams outstripped their budgetary grasp. VCF Midwest isn’t one of those shows—the community shows up not just in person, but with their financial support. The staff is cautious in how they expand the show so as not to overspend. Diversity of both the people attending and the exhibits on display are its greatest strength.

And yet I see VCF Midwest at a crossroads. The past few years have seen such explosive growth because it’s attracting previously untapped audiences. It’s not just local graybeards sitting around reminiscing about the old days. Parents bring their kids to share a piece of their own childhood. Fans come to shake the hands and talk to the hosts of their favorite Youtube channels and podcasts. The numerous vendors create an bazaar so unique that people show up just to shop. The graybeards are still around, but they’ve become elder statesmen who can pass on their knowledge to whole new audiences. This isn't unique to VCF Midwest, but it’s certainly been the beneficiary of prominent figures in the community like LGR consistently returning and using their platform to advertise the show. There’s an almost San Diego Comic Con style air of “I gotta be there, it’s where all the action is!” To their credit, Chicago Classic Computing has embraced this unexpected spotlight wholeheartedly. They understand the kind of responsibility this reputation requires.

The big question is will they be back in Elmhurst again next year? I’m not privy to the show’s financials, so I have no idea what they can afford or what kind of agreements they have in place. But the limitations of the venue have to be on their mind, even if they’re already locked in for next year. The adjustments made for this year have given them enough runway to accommodate some growth. But could the venue absorb another 50% increase in attendance? That’s a valid question. Could the venue support the event five years from now? I’m not sure it could—but that’s assuming current growth trends continue.

I think a good way to blunt some of the demand on tables is to continue emphasizing the main ballroom as exhibitor-oriented space. Take what worked about this years’ changes and extend them further. One way to do it is embracing the flea market reputation and actually organize an outdoor flea market in the central courtyard. Put up one of those big enclosed tents like at a wedding and move the vendors inside along with other traders. Allow people to sell out of the trunks of their cars, but enforce rules like no awnings or tents or occupying adjacent parking spaces. Make sure anyone who wants to do that signs up ahead of time and is assigned a parking space, say, along the north line of spots. Revoke people’s privileges if they behave badly. Take the space gained in the hallways and prioritize it for more exhibitor tables.

I’m sure the staff has plenty of ideas like these to improve the show. I wonder what they could do with just 25% more floorspace, let alone 50. Having some more panel rooms would do wonders, because having more panels balances out the people traffic in the exhibits. Even having more space just for people to walk around would improve the ambiance. You want a show to feel lively, of course, but no one likes feeling like a sardine in a can. When the day finally comes that they have to change venues, I’m confident they’ll handle it well. It wouldn’t be the first time they’ve moved, after all.

After the show wrapped up on Sunday, Mark and I surveyed his massive haul of Macs and miscellany, all of which he acquired for somewhere around $350 total. Not bad, considering some of the price tags I saw around the show. After a dinner break we dove right in to working on my SE/30, inspired by the people we met and the spirit of keeping our favorite old computers going. I even got to spend time enjoying some local fun. If you ever come to Chicago, check out American Science Surplus—I bet if they had a table they would’ve done pretty well too.

That’s the fun part of shows like this—the atmosphere energizes you. Talk to any random person at the show and you’ll hear about what an amazing time they had. There’s no such thing as a perfect convention because pleasing everybody is impossible. Someone won’t be able to get a table, or the weekend conflicts with their schedule, or they couldn’t find that incredibly obscure part they wanted to buy. Them’s the breaks, but that’s not a fault of the show itself. People come back to conventions as long as they’re not boring, and VCF Midwest is anything but boring. Its fate rests on the overall health of the vintage computing hobby, which I believe will weather the eventual deflation of its bubble. I look forward to next year and seeing all the new and exciting ways VCF Midwest will grow.

Sun, Surf, and Street Fighter: The World of East Coast Beach Arcades

Don’t you love a good arcade? It’s hard to beat the lights, the sounds, and that adrenaline rush you get when notching a high score. Not all arcades are created equal, though—some are best experienced on a hot summer’s night. Here in Userlandia, we’re taking a vacation to the beachside arcade.

Along the east coast of the United States are numerous towns that live and die by the tidal wave of tourists that crash upon their beaches. Hundreds of hamlets from Rehoboth to Bar Harbor boast beaches and boardwalks guaranteeing a glamorous getaway from the complications of the city. Each one has its own claim to fame, but after visiting enough of them you’ll notice some recurring themes. Candy shops that craft delicious chocolate fudge and sticky saltwater taffy. Amusement parks that feature rides of indeterminable reliability. Gift stores that sell humorous T-shirts of questionable legality. But there’s one place that literally outshines them all: the town arcade.

One particular arcade lies on the rocky coast of southern Maine. In the village of York Beach is a nondescript white building emblazoned with the name Fun-O-Rama. Walk by in the morning when it’s closed and you might mistake it for a warehouse. But there’s no mistaking its purpose when the doors roll up and the light and sound burst forth from its confines and crash over Short Sands beach. It’s hard to imagine a time without Fun-O-Rama’s presence on the beach, but its history dates back to post-World War 2 America. When a bath house on Short Sands Beach was demolished in 1946 the land didn’t stay empty for long. Elmer Laughton, a York local who ran a jukebox and vending machine business, built Skateland on the site in 1946. Beachgoers spent their days rollerskating and enjoying penny arcade amusements. But by the time I first visited in the 1980s Skateland had long given way to Fun-O-Rama.

Fun-O-Rama

Your first impression when walking through the doors is that they don’t make arcades like this anymore. Its wooden floors host over a hundred machines of varying vintages. Everything is powered by good old-fashioned quarters dispensed by machines or—gasp—a human being! After collecting your cup of quarters, the next question is where to spend them. The plentiful players and conglomeration of cabinets might be overwhelming for the first-time visitor. But what appears to be a random arrangement of games is actually organized into a rather reasonable layout.

One corner is dedicated to sit-down driving games. Whether it’s cars, motorcycles, semi-trucks, or white-water rafting, there’s enough multiplayer options to satisfy everyone with a need for speed. Next to that is pinball row, featuring some classic tables like South Park, The Addams Family, Star Wars, and Theater of Magic. Walk past the ticket counter and into the back half and you’ll find rows of classic video game cabinets. Dig Dug, Asteroids, Ms. Pac-Man, oh my! Opposite those cabinets are games of chance, which let you risk your quarters for tickets or prizes. Oh, and there’s Skee-Ball too, because of course there’s Skee-Ball.

One credit for a 1980s video game costs a very 1980s price of one quarter. If you’re a Scrooge McDuck type looking for maximum play time for minimum money, you’ll want to check out the pinball tables. While a single game costs fifty cents, you can get three games for a dollar. That’s probably the best bang-for-buck in the building. The more modern video games ask for a dollar or more.

If you’ve never been to a beach arcade before, it’s easy to get sucked in by all the blinking, bleeping, and blooping. Games are packed together tightly to amplify their audiovisual assault on the senses. Nostalgic millennials team up to fight Mr. Burns in Konami’s Simpsons Arcade. Grizzled pinball gladiators bust bumpers and pull plungers for the glory of netting the next high score. Kids race from machine to machine, eager to try something new or win a bunch of tickets. And when they’re all done, they can step right up to the prize counter to trade in their tickets for the toy of their dreams. Or—let’s be honest—a few pieces of candy and some fake teeth.

Something Fun-O-Rama shares with its beach town brethren is a sense of history. Peppered throughout are connections to the penny arcades of old: the fortune tellers, the love testers, the finicky games that ask you to hit a moving target with a quarter to win tickets. Attractions like the clown face shooting gallery add a carnival vibe to the experience. Too many video arcades leaned into the space age whiz kids aesthetic during the video game boom years. Beach arcades might have adopted the new technology of the eighties, but their aesthetics are firmly rooted in the bustling boardwalks of the twentieth century.

Kids don’t care about ambiance and aesthetics, though. Kid me certainly didn’t; I was caught up in the excitement of winning tickets, or playing the newest game, or scoring a hundred-point shot in Skee-Ball. I eventually realized the cold, hard economics of tickets—there was no way I could rack up the thousands necessary for a big Lego set or portable TV. So I turned my attention to video games, and my family’s annual pilgrimage to York was a chance to experience the newest slate of arcade arrivals. I may have wised up to the ticket trap, but I had another harsh economic lesson to learn: what goes up must come down.

Despite Fun-O-Rama’s guaranteed beachfront crowd it wasn’t immune to the economic realities facing arcades. The purchase price of arcade video games in the 1990s rose in lockstep with their increasing graphical fidelity and mechanical complexity. These more expensive machines demanded more quarters, which meant less repeat plays. Rapid advancements in home video game consoles and PC gaming made them competitive with arcade graphics and sound. Rising capital costs and faltering revenues spelled game over for many arcades after the turn of the millennium. Northeast beach arcades had the same capital cost conundrum, but faced different customer challenges. Yes, they had a guaranteed stream of summer tourists, but their doors were only open for five, maybe six months of the year. And trips to the beach are some of the first things to get cut from family budgets when a recession rolls in.

By the aughts the era of multiple new games every summer at Fun-O-Rama were long gone. Now you’re lucky to get one new headline game every other year. For a while these were of the flashy ticket-dispensing or prize-withholding variety, but real games are making a comeback. The newest machines are Jurassic Park Arcade and Minecraft Dungeons, which are state of the art. But they’re also very expensive. How about showing the pinball fans some love by adding a table made, in, oh, the last decade or two?

I’d wager that about half of the machines in this fine establishment have been here since I was a kid. The Skee-Ball and Killer Klowns From Outer Space might even date back to the Skateland era. All the classic video game cabinets are survivors from the days when they were front and center. Most of the vehicle games have been parked in their corner since the 1990s. Marvel vs. Capcom 2 is probably the newest fighting game in the whole joint, with nary a peep from modern entrants like Street Fighter V. I rarely see anyone playing the old-fashioned games of chance, and honestly that was true twenty or thirty years ago.

Another hangover of the arcade malaise era are the large and complex full-motion machines. The Afterburners and sit-down Spy Hunters are long gone, of course, but the husks of Star Trek: Voyager and Super Alpine Racer are forsaken in the boneyard. I’m pretty sure the Cedar Point rollercoaster simulator hasn’t worked in over a decade. No one in the northeast even knows what Cedar Point is, so it’s no surprise that it hasn’t been fixed. But to leave it non-functional in the middle of prime floor real estate has always struck me as strange. Maybe it’s simply too heavy to evict.

Now, I’m not asking for Fun-O-Rama to turn over its inventory over every year or ditch perfectly functional classic machines. The rows of vintage pinball and video games are what separates places like this from Dave and Buster’s. Without the “Hey, I remember that” factor, these establishments lose a lot of their character. But the reality of classic games is that their risk of failure is higher. To Fun-O-Rama’s credit, the number of machines on the floor that are completely out of order are pretty low. Machines that are D-E-D dead are relegated to the boneyard in the back. They have a repair room and a technician to service machines in-house. But one can’t help from noticing the staffers frequently helping people with machines that eat their quarters. Sticky bumpers or misfiring mechanical features drain the fun out of pinball. Dead monitors put the brakes on multiplayer racing games. Maybe one of the Time Crisis guns doesn’t work, or the sniper sight in Silent Scope is on the fritz. There’s nothing more frustrating than trying an apparently working machine only to find it broken in some way.

Now, I’m aware that no arcade bats a thousand when it comes to functioning machines. This is especially true of classic games, where dwindling part supplies are a real concern. And I’ve seen machines that were out of order in June be restored to a working state in July. But the fact that most of these mechanically and electrically complex machines are generally working in spite of abuse from kids and tourists is a feat on its own. Fun-O-Rama isn’t an arcade museum, and your expectations must be set accordingly.

Truthfully, it’s not Fun-O-Rama that’s changed—I’ve changed. I know way more about the business of arcades now than I did thirty years ago. I eventually visited other beach arcades in Wells, Ogunquit, Hampton Beach, and Bar Harbor. They all shared a certain level of dankness; a kind of funhouse energy that inland arcades lacked. So even though they shared common elements like video games, pinball, and ticket counters, they also had unique reasons to visit one instead of another. The arcade is just another expression of the similar but different nature of the beach towns that host them. York Beach has Nubble Light, the Goldenrod, and Long Sands Beach but Old Orchard Beach has the Portland Headlight, Dickinsons, and… Old Orchard Beach. So it’s no surprise that there’s Fun-O-Rama to face off against Palace Playland.

Knowing about the business of arcades also means I can appreciate Fun-O-Rama on its own terms. Let’s be real: the sun and surf are the primary reason to go to a beach town. Arcade games are just a bonus. If I want to visit a destination arcade, I’d go out of my way to places like the American Classic Arcade Museum in Laconia, New Hampshire or Pastime Pinball in Manchester, Vermont. While kids are allowed inside, they’re not for children. They’ve got more games, a nicer presentation, and they don’t operate like an all-ages casino. If what you’re after is a hardcore arcade experience, those places are more your style.

Fun-O-Rama isn’t here to be the ultra-serious arcade experience for the discerning gamer, and that’s OK. I’ve caught myself griping about how “it’s not how it used to be,” but that’s only from one perspective. In the eighties, the video games and amusements took my money in exchange for fleeting entertainment. Thirty-odd years later, is it really any different? The beach arcade is a cultural signifier; a signpost for fun. It’s all part of a beach town’s charming illusion that this is the way life should be. So mash those buttons, get that high score, and forget about your troubles for a while. What you’re buying with a Dixie cup of quarters isn’t a few rounds of Galaga; you’re buying memories. Whether you’re a kid making them or an adult reliving them, you’ll cherish every one.

The Macintosh SE/30 - Computer Hall of Fame

They say never meet your heroes, but every once in a while they live up to the hype. Here in Userlandia, let’s welcome the first inductee to the Computer Hall of Fame: The Macintosh SE/30.

It’s rare these days to find a computer that expresses some kind of philosophy. One example is Framework, whose primary design focus is upgradability and repairability. Compare that to a sea of lookalike and workalike laptops from competitors who can’t articulate why you should buy their machines over another’s except for price. Of course, there’s another manufacturer that makes computers with some kind of guiding philosophy, and that’s the trillion dollar titan: Apple. You might say said philosophy is “more money for us,” and you wouldn’t be wrong! But on a product level, there’s still some Jobsian “Think Different” idealism at Apple Park. To wit, the rainbow-colored M1 iMac still channels the soul of its classic introductory commercial narrated by Jeff Goldblum—“Step one: Plug in. Step two: Get Connected. Step Three… there is no step three.”

2024 will mark the fortieth anniversary of the Macintosh. Not just the Macintosh as a platform, mind you, but the fortieth anniversary of the all-in-one Macintosh. Today’s iMac is vastly more powerful than the original 128K, but both of their built-in displays say Hello in Susan Kare’s iconic script. Another thing they have in common is a love-it-or-hate-it reaction to the all-in-one form factor. A compact Mac, for all its foibles and flaws, sparked something in people. It had personality. But while the Mac was fun and whimsical and revolutionary, something always held it back. Even die-hard fans couldn’t ignore its insufficient memory or inadequate storage, let alone its lack of expansion. Apple crossed off these limitations one by one with the 512k, Mac Plus, and SE.

Only one limitation remained, and that was performance. Inside the SE was the same 68000 CPU found in the original Mac. Sure, it was slightly faster thanks to slightly speedier memory, but that wasn’t enough to satisfy Mac users who wanted a more powerful Mac without spending five and a half grand on a Macintosh II. They turned to third party upgrades like DayStar Digital’s accelerator boards to give their Macs a turbo boost, and Apple took notice. Why leave that money to a third party when they could take it up front?

Apple announced an upgraded SE on January 19, 1989: the SE/30. This upgrade didn’t come cheap—the SE/30’s suggested retail price of $4,369 was a considerable premium over a vanilla SE. But underneath a nearly identical skin was a brand new logic board based on the range-topping Mac IIx. With a 16MHz 68030 processor and 68882 floating point unit, the SE/30 crammed phenomenal computing power into an itty-bitty chassis space. It’s a rare example of Apple actually giving some users what they wanted. An SE/30 could be a writing buddy, a QuarkXPress workstation, an A/UX server, or even a guest role in Seinfeld as Jerry’s computer.

Although I missed the SE/30’s heyday, I experienced it after the fact through books, magazines, and websites. The argument that the SE/30 is the best version of what Steve Jobs put on the stage in 1984 is a persuasive one. Prominent Mac writers like John Siracusa and Adam Engst proclaim the SE/30 as their favorite Mac of all time. They’re joined by decades of Usenet and forum posts from people all over the globe who love this little powerhouse. All this praise has inflated prices on vintage SE/30s, even ones in questionable condition. So when I was given the opportunity to pick one up, complete in box, for free? Now that’s an offer I couldn’t refuse.

One Person’s Mac is Another Person’s Treasure

You never know what treasure’s buried in somebody’s basement. Back in September I was at a work function catching up with a colleague, and I mentioned my trip to VCF Midwest. “Oh, I didn’t know you collected old computers,” he said. “I’ve got an old Mac from the 90s in my basement. It was my aunt’s, and she barely used it. It’s still in the box. Do you want it?” Do I?! Of course I wanted it! A day later he sent me some photos of the box, and I couldn’t believe what I saw: it was an SE/30! It was like somebody told me I could take a low mileage Corvette from their barn. I stopped by his house the following Saturday and picked up the SE/30, an Apple Extended Keyboard 1, and an ImageWriter II all still in their boxes. I couldn’t in good conscience take all this for free, so I gave him one of my vintage Mamiya film camera kits and a case of beer in return.

I’d love to tell you that I brought this Mac home, took it out of the box, powered it on to a Happy Mac, and partied like it was 1989. But you and I both know that’s not how this works. Schrödinger’s Mac might have succumbed to a multitude of maladies during its many years in the box. Even new old stock or barely used gear suffers from aging components, because a box isn’t a magical force field that halts the passage of time. SE/30s are notorious for using explosive Maxell batteries. Surface-mount capacitors have the capacity to leak their corrosive electrolyte all over the logic board. Spindles and heads inside the mechanical hard drive could be seized in place. The only way to know for sure was to open the stasis chamber and bring this Mac out of hibernation.

Outside the box was a shipping label that said this machine was sold by the New York University bookstore, which was one of Apple’s pilot universities for selling Macs to students and teachers. Inside the box is the SE/30 along with a complete set of manuals, some software, and a mouse. Up first is the open me first packet, containing the system software and tour disks. Bill Atkinson’s HyperCard comes standard for your stack-building pleasure. All the manuals and extras are there too, like the QuickStart guide, quick reference sheet, Apple stickers, and even the “Thanks for buying a Mac” insert. There’s even a a bonus copy of Microsoft Word.

Fully recapped board

Manuals and accessories are nice, but what you really want to see is the Mac itself. This SE/30’s case looks pretty good for a computer old enough to have a midlife crisis. The keyboard and mouse have yellowed a bit more, but it’s nothing a retrobrite couldn’t fix. But how it looked outside mattered less than how it looked on the inside. I cracked open the case to inspect the condition of the logic board. The intact purple Tadiran PRAM battery exhibited no signs of leakage—phew! A light coating of crud clung to the capacitors, which meant a recap job was in order. Barely any dust covered the boards and cables, and the CRT had none of that notorious black soot. The analog board capacitors showed no signs of bulging or leaking. Honestly, this is really good condition for an unmaintained machine of this age. I thought my odds of a successful power-on test were very good. I plugged the board back into the Mac and turned it on. Unfortunately, it powered on with a garbled screen colloquially known as simasimac. This condition could happen for a variety of reasons, but the prime suspect was those cruddy capacitors. After a date with a soldering iron and some tantalum caps, the newly recapped board was ready for another test. I flipped the switch and got a familiar bong—now this Mac is a Happy Mac. Success!

Maximizing My Macintosh

While the recap brought the SE/30 back to life, it wasn’t ready to head back into action just yet. This machine was a bone-stock configuration, and it would need some upgrades to unleash its full potential. My coworker’s parent’s sibling’s former Macintosh came equipped with 1MB of RAM and a 40MB hard drive. That was Apple’s mid-range config for the SE/30, but one megabyte of memory was a bit stingy for a machine that cost over four grand in 1989. The 40MB SCSI hard drive was more appropriate for its price, and I wouldn’t mind keeping it if it worked. Alas, I couldn’t rouse it from its decades-long slumber. Thankfully, both of these problems are easy to solve for the modern vintage Mac owner.

Mass storage was first in the lineup, because the hard drive was ding-dong-dead. I needed a better solution than another SCSI hard drive—even if found a compatible drive, it’d just as likely to die as this one. I turned to the current champion of modern retro storage: BlueSCSI. The external DB-25 model is an okay solution, but an SE/30 deserves internal storage. I could have mounted it on the same bracket used by the internal hard drive, but that would mean cracking open the case every time I needed to put something on the SD card. The solution is PotatoFi’s 3D printable PDS slot bracket. Now I can access the SD card from outside the case and even see the BlueSCSI’s status LEDs. Brilliant!

Batting second was RAM. An SE/30 can address a maximum of 128MB of RAM when all eight memory slots are populated with 16MB SIMMs. This stood as the record for the maximum memory inside an all-in-one Mac until the Power Mac 5400 in 1996. Few users actually took advantage of that high ceiling because 16MB SIMMs took a long time to come to market, and when they did, they were outrageously expensive. Nowadays they’re cheap as chips, as my British friends like to say. There’s plenty of eBay shops selling 64 and 128 meg kits for $50 and $100, respectively. Or you can get them from Other World Computing for a similar price. 128MB felt like overkill, so I bought a 64MB kit and saved the difference.

RAM

I snapped four new SIMMs into four empty slots and flipped the power switch. The Mac booted up to the desktop and About This Macintosh displayed a total of 65MB. Hooray! But—there’s always a but with old computers—there’s more to the memory story. Many old Macs, including the SE/30, run a memory test on a cold boot. Stuffing your SE/30 full of RAM will have a significant impact on the duration of this test. A maxed out SE/30 can take a minute or two to go from power on to Welcome to Macintosh, and a 64 meg system takes half as much. But that’s not the only caveat for large amounts of memory. The SE/30, along with the II, IIx, and IIcx have a dirty secret—a 24-bit dirty secret.

Have you ever thought about what defines the bit-ness of a CPU? If I polled the average retro computer enthusiast as to how many “bits” are in the Motorola 68000 CPU inside their Amiga 500, Atari ST, or Mac SE, they’d likely answer “16-bit.” Sega used the 68000 in the Genesis and advertised it as a 16-bit system. And they’re not wrong, but they’re not completely right either. To understand how Apple’s ROMs got so dirty, we have to understand the development of the 68000.

The year is 1976, and Motorola Semiconductor was in a heap of trouble. Sales of their 8-bit 6800 microprocessor were slumping due to stiff competition from the likes of the 6502, Z80, and 8080. Meanwhile, Intel’s marketshare was soaring thanks to their advancements in silicon fabrication. They were already designing a new 16-bit CPU, the 8086, that would leapfrog the 8-bit competition. Now Motorola’s plans to reinvigorate its flagging CPU sales were at a crossroads. They could rush a me-too 16-bit product to market, but it wouldn’t be able to beat Intel on price or performance. Having determined that fighting Intel head-on was a losing bet, Moto would zig where Intel had zagged.

Motorola 68000 in Mac SE

Colin Crook, Tom Gunter, and the 68K team decided that a 32-bit instruction set would be a way to future-proof their design while offering something Intel wasn’t. There was only problem with this clever idea: economically packaging all the support circuitry for a full 32-bit CPU wasn’t yet possible. A dual-inline package CPU with more than 64 pins was costly both in manufacturing and in board real estate. So how could they keep an eye on the future while utilizing then-current tech?

Motorola’s solution was implementing the 32-bit 68K instruction set with 16-bit components. The CPU has 32-bit registers, a 32-bit memory model, and 32-bit data types, but it also offers 16 and 8-bit data types. Only 24 of the 32 address lines are connected to memory, and the data bus and arithmetic logic unit are 16-bit. This let the CPU use those common 64-pin DIP chips. Most programs used the 8- and 16-bit instructions, with 32-bit operations possible if you were okay with reduced performance. This forward-thinking architecture made it easy for Motorola to design a full 32-bit chip, unlike Intel who needed to work around a lot of cruft when designing the 386. 68K software would be forward compatible with Motorola’s eventual full 32-bit chip, so long as you didn’t do anything foolish like hijack the unused high-order memory address bits for non-addressing purposes.

Unfortunately Andy Hertzfeld did exactly that when he designed Mac OS’ lockable and purgeable memory flags, to his later regret. The memory pointer had room for all 32 bits, but only 24 were actually used because only 24 physical memory address lines were available on the CPU package. Exploiting this seemed like a good idea at the time; those eight bits weren't doing anything and it’d be an efficient use of limited resources. But that quest for efficiency in the present mortgaged their future, and the bill came due when Apple shipped Macs with 32-bit 68020 and 68030 CPUs. These 24-bit dirty Macs couldn’t address more than 8MB of RAM unless you used A/UX.

Apple fixed this memory malady by including new 32-bit clean ROMs in Macs beginning with the IIci. Application developers also had to fix their apps to avoid touching those memory address bits. Owners of the II, IIx, IIcx, and SE/30 expected Apple to offer a ROM upgrade to unleash their systems’ full potential, but Apple never did. Most users back in the day fixed this limitation by installing a 32-bit patch extension like MODE32 or Apple’s 32-bit Enabler. If you were lucky to find a spare Mac IIsi ROM SIMM, you could install that into your SE/30 and have a truly 32-bit clean compact Mac. But those ROMs were hard to find back then and are even rarer today.

Instead of stealing Peter’s ROMs to fix Paul’s Macs, the community has developed new hardware to clean up Apple’s dirty laundry. I procured a Big Mess O’ Wires ROMinator II, which is one of several modern Macintosh ROM SIMMs. It’s not only 32-bit clean, it also eliminates the memory test, adds a ROM disk, and a few other features. I’m not sure how I feel about the pirate icon and the new startup chime, but I admit it gives the Mac a little more character. If you don’t care for the frills, a GGLabs MACSIMM or a PurpleROM will get you 32-bit cleanliness and a ROM disk for a lower price. Honestly, running Mac OS 7.6 and later on these machines without an accelerator is probably a bad idea. I’m sticking to System 7.5 and earlier.

After the repairs and upgrades, the SE/30 was ready for a test drive. I wrangled words in Microsoft Word, slummed around in SimCity, and floated with AfterDark’s flying toasters. Apple claimed the SE/30 was four times faster than a vanilla SE and it sure feels that way. My past experiences with a Plus, SE, or Classic left me wanting because applications always felt a little slow. Not so with the SE/30—its responsiveness, especially with solid state storage, was excellent. I had to admit I was falling for the SE/30’s charms. I get it now. It’s not just hype or nostalgia—this was the compact Macintosh as it was meant to be, without compromises or excuses. So why did Apple kill it?

SE/30/30 Hindsight

Apple discontinued the SE/30 on October 23, 1991. Its replacement, if you could call it that, was the Classic II. The headline specs for the Classic II sound like an SE/30 in a cheaper package. It had a 16MHz 68030 CPU, 2MB of RAM, and a 40MB hard drive all for the low cost of $1900. Sounds like a good deal, so what’s the catch? While the Classic II’s 68030 ran at the same clock speed as an SE/30, it was hobbled by a 16-bit external data bus, making it 30% slower than an SE/30. Floating point calculations are even slower because the FPU was now an optional add-on. Two, its maximum RAM was cut down to 10MB—a fraction of the SE/30’s 128MB. Three, the versatile PDS slot was replaced with a more limited connector for that optional FPU. All these changes combined to make the Classic II more of an entry level appliance and less of a power user’s machine. SE/30 fans were understandably upset; they wanted an upgrade. Why would Apple kill a beloved Mac like the SE/30 without offering a true successor?

A lot changed at Apple from 1989 to 1991. Jean-Louis Gassée—Apple’s product man responsible for high-cost, high-powered Macs like the IIfx and the Mac Portable—left the company in 1990. CEO John Sculley and newly promoted COO Michael Spindler delivered new marching orders to Apple’s engineers: build less expensive computers to grow Apple’s marketshare. From that standpoint the Classic II was a smashing success. The SE/30’s copious component count made it a prime target for a cost-reduced revision. The Classic II’s highly integrated logic board had 60% fewer chips than the SE/30’s, making the Classic II considerably cheaper to manufacture while maintaining a healthy margin. The street price for an SE/30 with 4MB RAM and 80MB hard drive in 1991 was $2800. A Classic II with the same specs was $2400, and one year later Apple’s retail partners would sell the same machine as a Performa 200 for $1200. Slashing the maximum memory and removing the PDS slot pushed power users to more expensive Macs instead of buying a Classic II and hot-rodding it.

The Color Classic wasn’t the upgrade SE/30 owners were looking for.

By 1993 the black-and-white Mac was looking pretty dated in a world of Super VGA graphics. It had been four years since the announcement of the SE/30, and its fans picked up on rumors of an upcoming all-in-one color Mac. Surely this time will be different and they’d get the upgrade of their dreams. And when the Macintosh Color Classic was announced, it looked it might be the one! It came in a brand new case featuring Apple’s curvaceous Espresso design language and a glorious ultra color Sony Trinitron display. Apple even brought back the PDS slot! But wait—further down on the spec sheet was the same old and slow 16MHz 030 hampered by a 16-bit data bus. And a maximum of 10MB of RAM, again? It’s not different at all, is it, Steve?!

Apple soon realized their mistake and launched the Color Classic II a few months later with a 33MHz 030 and a full 32-bit data bus. Now this was a true upgrade for most SE/30 users, but Apple didn’t sell them in the USA. Too bad, so sad. Apple was descending into its beleaguered era, when prospective Mac buyers had to choose between the dizzying array of Centrises, Quadras, Performas, or whatever Apple’s roulette wheel said they should name their computers on any given day.

But wait—you’re a discerning power user with an SE/30 on their desk. Why should you spend multiple thousands on a new Mac when you could spend multiple hundreds on an accelerator instead? DayStar Digital’s Turbo 040 sold for about $1500 in 1993. As long as you were still okay with monochrome video, this card gave your little Mac enough power to trade blows with the reigning heavyweight champion, the Quadra 950 tower. And if you weren’t okay with monochrome video, Micron’s XCeed brought multiple shades of gray to the SE/30’s display. Color graphics cards were available too. A determined user could hack together an accelerator, graphics card, and network card into this tiny package and keep it going until the PowerPC transition finally made them cry uncle and buy a new Mac.

Apple’s power users have been remarkably loyal to the Mac through some pretty tough times. Not necessarily loyal to Apple, mind you—I have a hunch that the kind of people who owned SE/30s bought Mac clones. But these people stuck with the Mac through the beleaguered era, eventually becoming the bloggers and podcasters who filled the vacuum left by the death of Macworld, MacUser, and MacAddict. Whenever there’s a new Mac announcement I always sense this undercurrent from their coverage that “if only Apple made a computer tailored to my specific needs, it would be the best computer ever! Just like the SE/30, and the Cube, and the G4 towers!” But like it or not, the Macintosh and Apple are no longer the underdog who’s too cool for school. You’d think they’d be happy, because Apple finally won and took over the world, but they can’t be happy because Apple lost their counterculture joie de vive in the process.

Macintosh SE/30 on desk

The SE/30 Abides.

I understand why so many former SE/30 owners have been chasing that machine’s ideal for decades. Perhaps it’s an impossible standard to live up to and their idea of the Perfect Mac can never actually be realized. After all, the SE/30 had its share of shortcomings. But in the context of the overall package they were minor inconveniences. It’s no surprise that it found an audience with college students, writers, and designers who appreciated aesthetics and the value of the overall package while appreciating its technical prowess. If I had one at the time, I would’ve appreciated it too. Sometimes when you meet a hero, you’ve actually met the real deal.

The Vintage Computer Festival East 2023 Report

Whirring hard drives, clackety keyboards, and CRT monitors—ah, the sounds of spring. Unable to resist this siren song, certain species of migratory nerds find themselves congregating at the source of this cacophony: the Jersey Shore. Here, in Userlandia, we’re taking a road trip to the east coast’s finest antique computer event: the Vintage Computer Festival East.

Ah, New Jersey. Home of the Devils, Bruce Springsteen, and Rum Ham. My last visit was back in 2021 for VCF East. After missing the 2022 event due to a scheduling conflict, I cleared my calendar to attend in 2023. I enjoyed the vibe of the 2021 show—check out my review from back then—and a five hour drive from my home base northwest of Boston is reasonable for a long weekend getaway. Driving to the show makes it possible to buy or sell big, bulky computers that won’t fit in a carry-on. With a car packed full of hardware to sell in the consignment hall, I set my course to the Garden State and hopped on the highway.

VCF East’s usual venue is the InfoAge Science and History Museums in Wall, New Jersey. Not much has changed since my last visit, and the same rooms (save for one) played their same roles. Hundreds of antique computers and the people that love them congregated in these halls over the course of three days. With exhibitors that exhibit! Vendors that vend! And consignments to consign! So let’s dive in to the highlights, lowlights, and LED lights surrounding VCF East.

Exhibits and Vendors

Flipping through the show booklet or scrolling through the VCF website reveals an impressive slate of exhibitors and special guests. Keeping a show fresh and attracting new visitors without sacrificing its soul is a tough job, but the VCF crew is up to the challenge. By selecting broad themes like “computers in education” and “keeping computing alive” the team fostered a museum road show vibe. Saturday and Sunday promised over forty tables of exhibitors and vendors across three halls. Some familiar faces returned, while others were new to the show.

One thing I appreciate about many of the exhibits is that they’re not just static machines on display, but active demonstrations of what the computers can do. The first hall was a wonderful microcosm of the entire show. Dan Fitzgerald’s Making Music with the Macintosh featured a Mac Plus, SE, and Mini running various MIDI and DAW apps. You could compose and record your own digital music and take it home with you thanks to a giant TASCAM mixing board.

Across the room was Tech Dungeon, selling some Commodore equipment and accessories like their Freeloader 64 cart. For $25 the Freeloader 64 gives you a system monitor, enhanced DOS, a reset button, and fast load functionality. Maybe I’ll write an in-depth review it in the future. Next, Eli’s Software Encyclopedia had hundred of boxed software titles for sale. Three for $20? Sounds like a fair deal to me. C64, Apple, IBM, and Amiga titles were on hand, many still in their shrink wrap. Foenix Retro Systems had a very interesting booth, demonstrating their F256K “modern” retro computer. It’s a system powered by a 6502 family CPU and its own custom TinyVICKY video system. It’s the first I’ve heard of the project, and I liked what I saw. A Fire Emblem-style demo will always catch my eye. Rounding out the room was Cosmic Void, selling some very cool retro hair dye and computer themed accessories.

The next room offered even more systems to play with. Want to read and punch some paper tape? Corey Cohen’s got you covered. Vlado Vince’s collection of eastern European micros gave a glimpse into a world of computing that many of us hadn’t seen. A magnetic core memory demo reminded us what life was like before DRAM and SRAM. The one-two punch of The Unseen World of PowerPC and Workstation Overload featured many expensive machines I only read about back in the day. Alpha, PowerPC, PA-RISC, and more were on tap to show that Intel wasn’t the only game in town.

Eric Rangell’s booth displayed Apple computers used in education back in the eighties. The centerpiece was an Apple IIGS wired to a MIDI keyboard running music tutor software. But just as important was a IIC running Broderbund’s Science Toolkit. Live experiments ran all weekend thanks to working sensors monitored by the program.

The role of Macs in education and edutainment were well represented on the northern half of the hall. Peter and Heather Fletcher’s exhibition on the Living Books CD-ROM series was a nostalgia bomb for people like me who grew up on the cutting edge of multimedia. Across the way was the Macintosh Classroom, a series of Apple computers running learning software and common educational apps. It was like being back in a 90s middle school computer lab, when Apple was the principal computer in American schools.

Southeast Pennsylvania’s Kennet Classic Computer Museum was on the road here at VCF. An SGI Indigo was on hand to detail new museum exhibits and it looked good doing it. Make sure to stop by the next Kennet Classic events in May and September!

I can’t forget to mention the Motorola 88000 exhibit. One of the rarer RISC chips, it’s hard to find working examples of these machines. In an alternate universe, this is what Apple switched to instead of PowerPC.

Dave from Usage Electric had some of his antique terminals and tubes on hand, along with a teletype that could have been ripped from the pages of a steampunk comic book.

The other main exhibit hall was jam-packed with even more variety. It also had its own array of workstations, featuring 50 Years of Unix by System Source. It’s the greatest hits of workstations by Sun, NeXT, Apple, HP, and more. An Apple Workgroup Server running A/UX, a BeBox that seemed a little out of place, and SGI workstations rounded out this colorful clique.

You might remember the hype surrounding Ken and Roberta Williams’ virtual reality remake of Colossal Cave Adventure. It’s not just hype anymore—the game was released earlier this year! Marcus Mera had a full VR setup for you to try the game, as well as an exhibit celebrating its journey from text to VR. If the VR headset was too new for you, then you could play along with a teletype machine in all its clattering glory.

Working Digital Equipment Corporation into the education theme isn’t as tricky as you’d expect. Indeed, Ethan Dicks’ DEC in Education exhibit had a learning PDP-8 and some fun DEC workbooks to teach you about mini computing. Once you’re done with your lesson, you can get your photo taken and converted to ASCII art at the PDP-8 photo booth.

SGI also had some serious representation, with several booths showing various SGI systems and applications. Multiplayer Quake was on hand, along with Alias demos and the SGI Web.

Alastair Hewitt is back again with his TTL logic computer, now with many upgrades and improvements. This time I didn’t forget to bring my LaCie ElectronBlue monitor hood for his monitor! My monitor may be long gone, but his monitor is now complete.

RetroTech Chris’ IBM Classroom had a full network setup featuring IBM’s Classroom LAN Administration system, or ICLAS. This might be the only operational Token Ring network I’ve seen in person. Props to the PS/2 Model 30 286—I’ll get one back again some day!

You might remember Behind the Screens, the folks who preserve old Weather Channel and Preview Guide systems. They were out in full force, and they’ve expanded a bit. Want to know how cable scrambling worked? It’s right there! Just, uh, don’t tell ASCAP about the live performances of music videos.

I also spent some time talking to Dave from Dave’s Retro Video Lab about his collection of vintage camcorders. Despite the fact that I’m producing videos these days, I don’t really consider myself a “video guy”—it’s never been my forte, and I’m usually more comfortable with audio and writing. But Dave and I had a great chat about the invention of electronic image stabilization and our struggles with “doing it live.” His enthusiasm is infectious and his live stream of the event is worth checking out.

Friends of the show Steve from Mac 84, Sean from Action Retro, Ron from Ron’s Computer Vids, and Mike from Mike’s Mac Shack were all gathered together at their Totally Normal Computing table. Their greatest hits were there, like Mike’s prototype iMac G5 and Shaun’s cursed SE/30, but they brought some new material as well. The Apple I replica attracted a lot of attention, as did the ImageWriter LQ and the 20th Anniversary Macintosh G4.

Want to see how digital retouching and painting for video was done before we had Photoshop on commodity hardware? Adrian Wilson presented a working Quantel Paintbox, which allowed many attendees to give live demonstrations of their artistic abilities.

If you’re a TRS-80 fan, then you’ll love Mike Lowen’s Tandyland. S-tier name, no notes. A TRS-80 timeline from the 1977 original all the way up to the mighty model 4P celebrated the life and times of a foundational microcomputer.

Lastly, a big shout-out to Amiga of Rochester, Retro Innovations, and DosDude for performing live repairs, custom board assembly, and upgrades. One such upgrade was soldering G3 CPU upgrades in ball-grid-array Mac logic boards. Turns out that you can upgrade many 604 Macs to a G3 processor if you can solder ball grid array chips! I happened to catch one of these upgrades live, and he made it look so easy. Don’t try this at home, kids.

Panels and Guests

Scheduled along with the exhibitions were three days of talks, classes, and special guests. Hands-on learning has been a part of the Federation’s mission for years now, and the tradition continues in 2023. A learning space dedicated to Commodore computers was one of the headline events for this year’s show, and it didn’t disappoint. Beginner and advanced classes on Commodore BASIC and assembly language were available on all three days to teach you how to keep up with your Commodore. Learning about Commodore wasn’t limited to programming, either. Dave McMurtrie of commodore.international hosted history classes where you could learn about the business dealings of Jack Tramiel and company.

Next door in the Computer Deconstruction Lab was a mini-repairathon as well as build-your-own-board sessions. XT-IDE kits were on hand along with other projects to test your soldering skills. Don’t worry if you don’t know how to solder, because classes were available to help teach you how to wield an iron.

All three days had a jam-packed panel schedule. You could spend eight hours a day watching all the talks, with subjects ranging from the Apple Lisa, the Nabu, computers in schools, and advanced C64 sprite programming. Unfortunately I missed most of Friday’s panels, which means I’ll have to catch the VODs that the Federation conveniently posts on their Youtube channel. I did catch the Friday Streamer Roundtable, featuring Adrian Black, Jeri Ellsworth, David Lovett, and Fran Blanche. Casting Bill Herd as the moderator was a brilliant choice. I love Bill’s candor—he’s able to get away with some good-natured ribbing, especially with this group of guests. Bill also hosted Saturday’s roundtable, which featured David Murray (the 8-Bit Guy), Steve from Mac 84, Sean from Action Retro, and Mike from Mike’s Mac Shack. Both panels were worth attending as the guests had very different answers to Bill’s questions.

My favorite non-roundtable panel award goes to Jeri Ellsworth. Retro nuts know her best as the wizard behind the C64-on-a-chip found in the C64 Direct to TV joystick. But that device is only part of her story. She told tales of her time as a computer shop owner, race car builder, and augmented reality startup CEO. I highly recommend checking out the VOD once it’s live.

Consignment

One of the big draws of VCF East is the consignment hall. It’s open to anyone willing to schlep their stuff and fill out a form. It’s like stepping back in time to an old computer store, which means you can see some seriously cool stuff. At previous shows I’ve arranged some trades ahead of time with other attendees, but this year I decided to try my luck as a seller. Overall the consignment sales experience was excellent, with only a few minor hiccups that were handled by the VCF team.

Life as a seller starts with signups. Back in 2021, you had to list your items for sale on a paper form. 2022 overhauled the process by introducing an electronic inventory system and bar code price stickers. This carried forward to 2023 and it was a pleasure to use. After sending an email expressing your interest in consignment, the staff replied with a Google Sheet linked to their inventory system. All I needed to do was itemize my items, proclaim my prices, and quantify my quantities. At check-in the staff printed out a string of price stickers using that spreadsheet data. When the barcodes are scanned, the point of sale system looks up the price and seller info. This makes tracking who sold what and how much they’re owed a breeze. Checkout and payments are handled by VCF staff, saving consignors from babysitting their wares.

Not that I would have been able to babysit anyway. Unlike 2021, which hosted the consignment in the large open hall in building 9010-C, 2023’s consignment was in the two adjacent cafeteria rooms. Apparently this is because that hall is under renovation. These smaller, cramped quarters meant a maximum capacity of 25-ish people, and that meant a long wait just to browse. If you weren’t in line first thing in the morning, then you were going to miss out on some of the unique items for sale.

Being a consignor also grants some advantages as a buyer. After bringing in my items, I was able to browse around and see what’s for sale. There were some legit deals on those shelves. I bet this $100 A600 was bought by the first person in line. But what caught my eye was a Compaq ProLinea 4/33. If you’ve read my Computers of Significant History about this machine, you’d know why I want it. $70 was a reasonable price and I knew I had to get in line early to have a good chance at buying it.

I joined the line on Saturday at 8:30 AM in preparation for a 9 AM opening. By any reasonable measure I had a decent spot in line, and I was in the room by 9:30 or so. Fortunately nobody had snagged the ProLinea, so I was able to bring it home. My buyer’s experience was painless. A Square cash register meant customers could pay with cash or cards, and the barcode scanning made checkout a breeze. The easier it is for people to buy things, the easier it is for consignors to make money, and the easier it is for the show to earn a 15% commission.

There were hiccups and adjustments, of course. Most were born from good intentions. The free pile was originally located in the corner of one of the consignment rooms. Between the crowds and issues with checking receipts, it was eventually moved outside. Good thing it didn’t rain during the day. This change wasn’t immediately obvious, since there was no signage or announcements, but consignment staff informed people when asked.

Another inconvenience to shoppers was a perk for others: the consignment hall closed for an hour or two to serve lunch on Saturday. That’s because lunch was served from inside the hall. I believe this food service is in partnership with the JROTC or something, as I saw volunteers serving various foodstuffs from the larger consignment room. I overheard grumbling from various attendees about this, and I see both sides of the argument. On the one hand, offering lunch for sale is a great idea because there’s not much around for food unless you want to give up your parking spot and drive off the campus. On the other hand, the crowd was enormous and losing a chunk of the day to browse and buy might have messed with your availability for shopping. Still, VCF did what they could within the constraints put upon them. An outdoor food tent for the volunteers or a food truck would be a good idea. I also didn’t really like the idea of food mixed in and around stuff for sale, but as far as I know there were no spills or disasters.

I did have one consignment problem during the weekend. One of my items for sale was a Sun Ultra 10 workstation with various accessories included. Sometime on Saturday the matching keyboard and mouse disappeared. I only noticed this late in the day because I was busy at panels and couldn’t really check the room due to the long lines. I notified the show staff, who made it a priority to find the missing items. Luckily, they did—the keyboard and mouse were reunited with the tower before the hall opened on Sunday morning. The system eventually sold later that day. I can’t thank the VCF staff enough for taking the problem seriously and saving the day.

This leads to another tricky part of consignment, and that’s item lots. I had two lots to deal with—the aforementioned Sun workstation and a TI-99 collection I was selling on behalf of a friend. The TI-99 was easy enough—I had the machine and a box of software and accessories. I attached a readme and price tag to the box, and set the computer next to it. Seemed fairly obvious that they went together. With the Sun, I laid the accessories on top of the case. In my mind, this implied they went together, but I can see the ambiguity there. I want the accessories to be seen to increase the attractiveness of the lot, but with the way things were laid out on the shelves it’s hard to tell where one group stops and another begins. I’m not sure of a good way to improve this, other than to use more readies and tape and boxes to keep everything together.

Another conundrum is dealing with the rush. Given the number of Saturday attendees this year, there still would have been lines and wait times if the larger hall was in use. But with how tightly packed the merch was and how few people were let in, the whole thing had a Black Friday kinda vibe, and I don’t think that’s the atmosphere the show runners were angling for. I hope there isn’t an escalation of either camping or backroom dealing in our future. That said, the lunchtime break did have one benefit: it cleared out the line, which reset the vibe of the room.

My other points about consignment are more towards fellow sellers and, to a lesser degree, buyers. I’ve done a lot of conventions where I’ve tabled and sold things, and the key to making sales is knowing your audience. I saw a lot of Mac Pro towers, and the vast majority didn’t sell. Odds were that they were asking for too much money, but let’s be honest: people aren’t going to this show to buy ten year old Xeons. Haggling was an option, but that required getting contact information from the volunteers. I bet most buyers didn’t even know that was an option. If you’re a seller open to negotiations, I’d recommend attaching signs with your phone number to your items. Most consignors who wanted to cut prices opted to update their spreadsheets and print new price labels on Sunday morning.

Another piece of advice: don’t bring a bunch of late-model office or home PCs. They might be useful to somebody, but it’s not in the spirit of the show, and it’s no surprise there were still a bunch around at the last call. I saw a lot of plasticky Pentium 4 Dell towers and late aughts HP boxes from various sellers. Now, I know a decent number of them sold, but the leftovers implied that supply far outstripped demand. These machines have very little collectible value at the moment. Of course, we said the same thing about Pentium MMX PCs a decade ago. Just give it time.

What about pricing? Most of the gear ran the gamut from “bargain” to “expensive but fair.” I think the most expensive item was an Amiga 4000 tower with a Video Toaster and some accouterments which stickered at $3,000. Yes, that’s a lot of money, but given that they’re generally unobtanium, I’m willing to allow it. One of the gotchas of trading in vintage gear is that you might have something that’s rare, but if you don’t have a buyer, then it doesn’t matter what it’s valued at. The guidelines warned that eBay prices were “too high,” and I think most people heeded that warning. You also have to factor in the show’s 15% commission into your price, which I think is a fair take. Everything sold at the consignment hall benefitted the Federation in some way—not a bad idea for a fundraiser.

I think people like using these events as an opportunity to pass gear along to someone who needs it. If you bought something with the intent to flip, you’re bad and you should feel bad. That’s why I’m glad when good people find a good bargain. A great example is this Macintosh LC 575 picked up by Ron from Ron’s Computer Vids. It was tucked away with the faceplate off to the side, and the price label listed the Apple ML model number, which most people don’t understand. A perfect recipe for being overlooked until noticed by a discerning eye. The machine powered right up to a desktop with no problems whatsoever. Maybe the person who brought didn’t have an ADB keyboard and didn’t know about soft power. Had I seen it, I would have bought it. For only $85, this was an incredible bargain, much like the $100 A600. Good find, Ron!

Things slowed down as Sunday wore on. Some otherwise decent machines didn’t sell, either because they were spendy or a little niche. Still, I don’t think anyone was unhappy with their experience. The only thing of mine that didn’t sell was an old boat anchor dual socket Pentium III Dell server, and it was kind of a reach anyway. Getting paid was easy too. Give your name to the staff, they look up your sales sheet, and print it out. After signing with your John Q. Nixon you can request Venmo, Paypal, or cash monies. Aw yeah.

The Experience

As I wandered around the show, I heard some chatter that their Eventbrite presale numbers were more than triple the previous year. The number was somewhere in the range of 650, and that didn’t include at the door tickets. I totally believe it, especially on Saturday. The main exhibit halls were crowded with people, and latecomers on Saturday had trouble finding a parking spot. Sunday was considerably less busy, which made it easier to explore and spend time with the various exhibits. There was still plenty of people, but it felt far less claustrophobic.

What did I bring home from the show, you ask? Unlike VCF Midwest, where I went all-out on that NeXT kit, the neat and weird stuff I would have bought (like the Amigas) were all gone by the time I made it into the consignment hall. I picked up the ProLinea and a $3 new-in-box Compaq keyboard, both of which will be featured in an upcoming video. The Freeloader 64 cart was the other tech item I bought. I also bought a few T-shirts, including the C64 one that I missed from last year’s show. T-shirts and other VCF merch were on sale next to the consignment register, which also has its pros and cons. Yes, you have to wait in line to get into consignment, but I think it’s great for impulse buys—might as well get a shirt while you’re buying a computer, right?

What does the future hold for VCF East? Crowd management has to be high on their list. I’m not sure if the growth trajectory will continue like this, but if Eventbrite pre-sales look similar for next year’s show they’ll surely make some adjustments. I’m sure having some very popular YouTubers on hand goosed the number, as people around here rarely get the opportunity to meet David Murray or Adrian Black. I heard a few people saying that attendees “should really consider some of our other events” like the swap meets, but unless you’re within day trip distance it’s tough to justify the swap meet, especially if you’re east of New York. If I were to go to the swap meet, I’d have to spend a minimum of two tanks of gas (probably $90), $30 to $40 worth of tolls, and a $150 night at a hotel for the chance of finding something interesting. And that isn’t even talking about the traffic. There’s also no guarantee that there would be stuff I’d want to buy, although I’ll grant that the odds are very good. It’s a lot easier to justify that kind of expenditure on a long weekend with a lot of events.

Yes, consignment and trading equipment is a large part of the show’s appeal. But visitors want to see the panels, they want to see the exhibits, and they want to talk to the guests. The venn diagram of people who would go to the swap meets or smaller events doesn’t completely overlap with a VCF crowd. I saw license plates from as far away as Washington—jury’s out on whether they were rental cars.

But in spite of the crowds, the lines, and the cost, VCF east was a smashing success. The best part of these shows is always the people. I owe a lot of thanks to Steve, Mike, Sean, and Ron for letting me be part of the Macinsquad, as I dubbed it. Friends don’t let friends take questionable laser printers, even if they’re free. I also met some new people and made several connections, which is another important part of these events. Waiting in line could be boring, but it’s actually an opportunity to make friends with your fellow waiters.

If you’re considering attending next year’s event, try going for the whole weekend and not just Saturday. The VCF team has done a good job spreading events across the three days, and I expect they’ll continue tweaking their schedules to balance the load. Given the changes and updates they’ve implemented already over the past few years, I’m fairly confident they can handle the growth in interest and attendance. The Federation staff put in a Herculean amount of effort into the show, and it really does come through in their presentation and enthusiasm. So if you’re interested in going to the show, make a vacation out of it and enjoy everything New Jersey has to offer. Maybe I’ll see you there.

Which SimCity is the Greatest SimCity?

This originally appeared in Pixel Addict Magazine. It’s been expanded and revised for a video version. You should subscribe to Pixel Addict for more content like this!

Here in Userlandia: I dunno. I never heard ‘ah no mayah.

It’s rare when a game combines art and science in such a way that it becomes a cultural phenomenon. SimCity’s one of them, and I became a SimAddict the first time I plopped a zone. It doesn’t matter if it’s new or old, because I always enjoy a good city building experience. But you never forget your first love, which is why I always come back to the one that started it all. Poll a random gathering of gamers and chances are you’ll find many with happy memories of Will Wright’s SimCity. Whether you’re dutifully detailing a downtown district or marshaling monsters to make mayhem in midtown, there’s no wrong way to play. But maybe it’s been a while since you’ve micromanaged a microcomputer micrometropolis, and you’re ready to dive back into city planning. Thankfully, classic SimCity is the choice for you, with the right amount of charm and complexity to entertain newbies and veterans alike.

Or it would be, if it existed. What is “the original SimCity,” anyway? There's over a dozen “original SimCities,” each for a different platform, each with its own perks and quirks. Just check out this list—Commodore 64, Sinclair ZX Spectrum, Amstrad CPC, BBC Micro and Acorn Electron, Macintosh, Atari ST, IBM PC, Super Nintendo, UNIX, Psion, Palm Pilot, Sharp X68000, FM Towns, Amiga, enhanced Amiga, Amiga CDTV, and a partridge in a pear tree. The same gamers polled earlier will probably share their fond memories of whatever system they played it on too. Before you know it, they’ll all be arguing about which SimCity is the true classic.

“The BBC Micro version did the most with the least!”

“No, the PC version  had the most add-ons!“

“Oh yeah, well, the Super Nintendo version had the best graphics and sound!”

“Fools, the UNIX version had network play!”

There’s nothing gamers love more than an old-fashioned platform fight, and I’m happy to oblige. My history with SimCity started on the C64, where I treated it more like a drawing app than a city builder. I soon graduated to the SNES version, where I spent countless hours crafting copious cities. I even played my fair share on PCs and Macs at school. SimCity ignited a love of city building games that still burns in me today. I’ve played every SimCity sequel and spinoff—even that weird one on the Nintendo DS. So fear not, because as a SimCity expert who's spent years preparing for this moment, I'm here to tell you which classic SimCity is the true classic SimCity.

First to be eliminated, and first chronologically, is the Commodore 64 version. Yes, it's the first game to bear the SimCity name, but it's not the best. Its gameplay was limited, and slower than rush hour traffic when you didn't build enough roads. And its presentation was noticeably worse than the other 8-bits. Think of C64 SimCity as a historical curiosity, like Action Comics #1: something to check out to see where the series began, but not the definitive take. Speaking of the other 8-bits, the Acorn, ZX Spectrum, and Amstrad CPC versions manage to cram the complete gameplay experience into their tiny memory footprints, which is an impressive feat on its own. They have better graphics and sound than the Commodore version, but obviously they're not up to the caliber of the 16-bit platforms. The PC-98, FM Towns, and X68000 versions are nice to play for gamers fluent in Japanese—or so I assume, because that group doesn't include me. The UNIX version may have multiplayer, but it’s so hard to run that you’ll never get to try it, much less find a buddy to share it with. PDA versions are right out. These may be good SimCities, but they are not great SimCities.

This leaves the Atari ST, Commodore Amiga, Apple Macintosh, IBM PC, and Super Nintendo.  Now it gets tougher. You can play the Amiga, Atari ST, or Mac versions and be confident you'll get the complete gameplay experience. There’s even a terrain editor and custom graphics packs, for those who like to customize. Of these three, the Mac supports larger, higher-res screens, but the enhanced Amiga version has better graphics. Still, actually running these versions is more challenging than using the Deluxe PC CD-ROM or emulating the SNES. They’re still not the greatest SimCities.

That leaves us with two contenders: the IBM PC and Super Nintendo. The IBM PC itself had multiple versions—MS DOS, OS/2, Windows 3.1, and Deluxe 32-bit for Windows 95. The DOS version is more like the Amiga and ST versions, but in the interest of fairness, we’ll use the Deluxe 32-bit Windows version as a point of reference. It’ll even run on modern Windows, making it the easiest way to experience classic SimCity. Playing SNES SimCity is almost as easy, thanks to ubiquitous SNES emulation.

The Super Nintendo version makes a strong opening argument thanks to its audiovisual prowess. A crack team of Nintendo pixel artists created brand new graphics, taking full advantage of the system’s capabilities. Watching the seasons change to the tune of Soyo Oka’s brilliant soundtrack is one of the most Zen experiences in gaming. Not satisfied with just updating the graphics and sound, Will Wright and Shigeru Miyamoto teamed up to tweak the gameplay too, crafting the best SimCity possible on a console. New mechanics like bank loans, special rewards, and enhanced tiers of city services are major improvements over other versions of SimCity. Computer gamers wouldn’t get these features until SimCity 2000!

The PC version’s graphics and sound might not be as good as the SNES, but it takes the lead in performance and usability. As good as the SNES version is with a controller, a PC gamer with a mouse and keyboard is a master of multitasking. Maps, tools, and charts are displayed in their own windows alongside your city view, which makes it easier to track your city’s growth without interrupting construction. Plus, the gameplay is literally faster—a 486 PC runs rings around the Super Nintendo’s 65C816. I appreciated these advantages when playing SimCity on a PC, even though I missed the SNES's changing seasons. Plus, PC gamers can create their own custom maps, which is impossible on a console.

It’s a tough call, but SimCity for Super Nintendo is the greatest SimCity. The PC version might be a better simulation, but the SNES version is a better game. It’s the definitive version of a classic that still endures because it’s the complete package. You’ll be charmed by the graphics and sound, but you’ll keep coming back to try to reach the next population milestone. Or you can just enjoy the bonsai experience of putting roads and residences wherever you like, because you’re the mayor and it’s your city. Just remember that happy citizens make for a happy mayor.

What’s Inside A NeXT Computer Accessory Kit?

Here in Userlandia, we’re entering the NeXT dimension.

Ah, NeXT. Now there’s a corporation as lousy as it was brilliant. With their bold black hardware, their object-oriented software, their memorable marketing—and unfortunately, their problematic pricing—NeXT workstations were unlike anything the competition put out. Steve Jobs often bragged that the NeXT was five years ahead of its time—hence the name. But being ahead of your time is no guarantee of world domination—just ask the creators of the Amiga. After five long years selling very few of its very expensive computers, NeXT retreated from the hardware business and shuttered its highly automated Fremont factory. It survived as a software company long enough to be acqui-hired by Apple in a last-ditch effort to save the faltering Macintosh. RIP NeXT Computer Corporation. It died as it lived: spending Ross Perot’s money.

Death for corporations is as certain as it is for humans, but unlike with humans, it doesn't have to be the end. Like your favorite underappreciated artist, NeXT was far more successful after its demise. Every Apple device sold over the past twenty-ish years runs an operating system based on NeXT software. More people know about NeXT today than ever before because of Apple's miraculous turnaround after Steve Jobs rejoined the company. That awareness, combined with the trendiness of retro computing, means a hot market for old NeXT gear. Even a non-functioning NeXT looks good on a shelf. But actually getting a NeXT on that shelf is easier said than done. According to my sources—which, annoyingly, don't cite their sources—barely fifty thousand NeXT computers were actually sold. Most were used in corporate or university settings, which makes finding complete examples even more difficult because institutions have a tendency to sell off unused hardware. The spooks at the CIA loved NeXT machines, maybe theirs were melted down.

Victory at the Auction!

But owning hardware isn’t the be-all and end-all of the vintage computer hobby. Tons of peripherals, software, manuals, merch, and media are ready to move in with your old computers. The best way to find this memorabilia are places like swap meets and vintage computer shows, and that’s how I acquired the subject of this episode. Listed in the 2022 VCF Midwest Auction preview was a “Complete NeXT Cube Documentation Set.” “Big deal,” I thought, “it’s just some manuals.” But when it came up for bids, I realized I was wrong to judge an item by its listing. It was actually a complete accessory kit for a first-generation NeXT Computer. This NeXT box contained not only a complete set of documentation, but also software, warranty cards, setup sheets, and the famous NeXT computer brochure. Topping it off was a sheet of NeXT logo stickers, and I’m a sucker for shiny stickers. If no one else had been interested, I could have walked away with it for a mere $50, but apparently I'm not the only one with excellent taste in antiquated computer paraphernalia, and after an honest-to-god bidding war, I paid $270. A small price to pay to support the convention.

Discovering a complete-in-box NeXT Cube or NeXTstation might not even be possible these days. I thought the same thing for a complete accessory kit. This accessory box might be the closest I ever come to getting a new NeXT computer. But buying a new computer isn’t just about the computer—at least, not for me. It’s also about the experience of setting it up and settling in. That means perusing the packaging, browsing the booklets, and enjoying the extras. It’s the same vibe you get when opening up an old big-box computer game and combing through all the feelies. NeXT certainly obliged on this front, providing a hefty accessory kit that held everything you needed to get started.

The NeXT Brochure

Opening the box reveals the famous NeXT computer brochure. Granted, the NeXT brochure has long since been scanned and uploaded, but actually holding a real one is a different experience. This particular example shows some signs of use but it’s in otherwise excellent condition. Actual-sized photographs of the one-foot cubic computer adorn the front and back covers, giving you a taste of what’s to come. Each page is printed on heavy 100 to 120 pound satin text paper, which is almost as thick as the cover. This isn’t some throwaway piece—the designers wanted you to treat this brochure with respect.

The NeXT System Board

In keeping with NeXT's intended user base of academics, the brochure opens with a thesis statement. A NeXT Computer was, and I quote, “the yardstick for measuring computing in the nineties.” This remarkably persuasive argument plays out over twenty-six pages, describing seven unique features. The actual-size depictions continues with the system board and storage sections. These cutting-edge creations are impressively captured in a full-scale full-color reproduction. Each component on the NeXT board is purposefully arranged in a model of engineering elegance where no square inch is wasted. That’s due to an overwhelming usage of surface-mount components. NeXT invested millions of dollars developing an automated assembly robot that could pack both surface-mount and through-hole components closer than ever before. That’s old hat today, but cramming this many circuits and components on to a board was cutting edge in 1988. It was complete overkill, of course, and this very expensive automaton would become a symbol of NeXT’s delusions of grandeur. But it’s hard to argue with the actual finished product. If circuit boards could be art, this would be it.

Magneto-optical didn’t kill the hard drive star.

Turning the page brings us to a magneto-optical disk, which still looks kind of futuristic, even thirty years later. Both the board and cube are tough acts to follow, and the marketing copy makes a case for the disk by promising vast rewritable storage that wasn’t chained to one computer. You could transform any NeXT cube into your own computer by popping in an optical disk with your own OS, documents, and applications. Unfortunately, this first-generation Canon MO drive didn’t live up to the hype. It was slow and unreliable, which are bad qualities to have in a boot device. No other computers used the format—it was proprietary—so exchanging data without a network or an external disk drive was literally impossible. Even if you had the non-NeXT version of that Canon MO drive, it couldn’t read NeXT disks. NeXT quickly abandoned the MO drive and pivoted to floppies, CD-ROMs, and networked storage. The only legacy of that optical disk today is, of all things, Mac OS' "busy" cursor. Yes, that spinning rainbow beach ball was originally a spinning magneto-optical disk.

Motorola 56001 DSP

More impressive than magneto-optical disks was the Motorola 56001 Digital Signal Processor. A DSP endowed every NeXT computer with powerful 16-bit 44.1KHz sound playback and recording capabilities. Every app in NextStep had access to the DSP’s digital audio and MIDI music capability thanks to the included SoundKit and MusicKit frameworks. Sadly, the brochure is only paper, and can’t convey the difference between CD-quality digital sound and the 8-bit 22KHz that most PC sound cards were capable of at the time. The brochure also claims that the DSP can be used for all sorts of things, like emulating a fax modem entirely in software, or controlling a very impressive array of external devices. While there were DSP-specific add-ons like imaging boards and sound samplers, my reading of old NeXT newsgroups and modern NeXT forums indicates that most NeXT users never plugged anything into their DSP ports.

PostScript for both display and print.

Software also gets its due, with the Display PostScript engine billed as the next generation of “What You See Is What You Get.” By using PostScript for a device-independent display model, the same commands used to print were also used to create the computer’s display—a revolutionary idea at the time. NextStep’s window server could combine high-resolution raster images, vector graphics, and outline fonts to render a high-resolution display that far outclassed a Windows PC or Mac… as long as you were okay with grayscale. NeXT wasn’t the first to utilize a device-independent display—look up Sun’s NeWS for a contemporary competitor. But since Display PostScript was an official Adobe product, it gave NeXT serious graphical bonafides. DPS, like the MO drive, was an attempt to disrupt the status quo. But unlike the MO drive, DPS was more successful, even though it wasn’t exactly speedy and NeXT took a lot of heat for not initially supporting color. Speed improved over time and NeXT did announce color machines in late 1990. DPS was replaced by the PDF-based Quartz in Mac OS X, which carries on the legacy of a device-independent display layer.

UNIX for Mere Mortals

Another familiar quote is “UNIX for mere mortals.” Other UNIX systems had GUIs, but NextStep was arguably the easiest one to live with on a daily basis. It had all the benefits of a multitasking, multithreaded, protected-memory environment with ease of use that rivaled a Macintosh. You didn’t have to use a command line to get your daily tasks done, but it was there just in case. Apple used the same exact sales pitch when OpenStep became Mac OS X, which appealed to a new wave of techies and developers who previously overlooked Macs.

The software story continues with several pages about NextStep's bundled applications. The parallels to Mac OS are noticeable, with today's Dictionary.app serving as the heir to NextStep’s Webster and Digital Library. Same goes for NextStep’s e-mail application, to which Mac OS’ Mail.app still bears a passing resemblance. It was the most advanced e-mail system you could buy in 1989, and Steve loved demoing NeXTmail and its advanced features. Combine that with WriteNow—a full-featured word processor—and you could be writing your dissertation minutes after setting up your NeXT.

Developers! Developers! Developers!

Last in the brochure are pages discussing software development and NeXT’s third-party partnerships. NeXTstep’s application framework kits allowed developers to spin up custom applications in no time by using common code objects. Then, after you built the app, you created the UI in Interface Builder by dragging and dropping controls on to a window template. This was the most revolutionary part of NextStep, but it only got one page of copy! Mac OS and iOS still use this framework methodology, and other visual toolkits have copied NextStep’s philosophy with varying degrees of success.

Third Parties Will Surely Come, Right?

The final page is NeXT’s closing argument, restating their thesis that they have created a new standard of computing. Endorsements from leading third-party developers project an air of legitimacy, as does retail sales support from BusinessLand—which was ultimately that company’s undoing. Lotus is making a spreadsheet! Adobe is porting Illustrator! FrameMaker will be there too! And it’s true that all these apps eventually shipped for the NeXT. But that's the problem: eventually. Jobs and NeXT were perpetually behind schedule. It was a classic example of Steve Jobs' hubris. He thought he could bring this into existence by sheer force of willpower, Green Lantern-style. He thought that once everyone saw it, they would agree and say "oh yes, this is brilliant!” The brochure concluded by saying the NeXT decade had already begun, which is just begging to disappoint

The Quick Setup Guide

But that's in NeXT's future. We're pretending to be in NeXT's present. We're done thumbing through the brochure, and now it's time to set up our new cube. We won’t have to do it alone, because the Quick Setup card is here to help. An overhead photograph shows a complete NeXT computer system with each cable numbered in the order you’re supposed to connect them. It’s a nice picture, but as a step-by-step guide it’s a bit weak. There’s no flow to the layout, and that triggers my comic book page layout sensibilities. Your eyes ping-pong around the page instead of naturally flowing from left to right. Or you’ll follow the steps at the top and ask “where’s number four again?” because the numbers don’t stand out on the page. Despite everything Steve Jobs ever said about functional design, this is a case of aesthetics over practicality.

A Library of Documentation

Next comes a reminder that this box wasn't advertised as "unopened", just “complete.” Instead of the standard three-prong IEC power cord, there's some thin ethernet terminators and jumpers, and a laser safety data sheet. "Do not look directly into the laser with your remaining eye" indeed. The magneto-optical drive does have a laser in it, but this datasheet has the word "printer" on it, so it's probably from a NeXT laser printer's box. Maybe that's what I'll get at the next auction, no pun intended.

NeXT Documentation Library

With the miscellany out of the way, we’re left with a pile of documentation. These books are less fancy than the brochure, but they’re still quality examples of late eighties documentation. As far as I can tell, these NextStep 1.0 manuals aren't anywhere online, so this might be the first time you've seen them. Maybe I'll get myself an overhead scanner for Christmas, so I can put them on archive.org without damaging their binding. All the books follow NeXT’s minimalist packaging style, featuring plain white covers, Helvetica Italic type, and a giant NeXT logo. Hey, when you’ve got a logo that good, you place that cube front and center.

First in the stack is the Registration, Warranty, and License booklet. Your introduction to NeXT documentation cheerfully reminds you to fill out your warranty card and make sure all your doodads and thingamabobs arrived safely in their boxes. If you fill out the registration card as intended, and can find a mailbox that goes to 1989, you can get a free NeXT t-shirt, which is an offer I wouldn’t have refused. Inside the license booklet are illustrations of the contents of the NeXT computer box, the NeXT accessory kit, and the MegaPixel display box. And yes, I can confirm that everything except for the power cord is in this kit. NeXT tried to get away with a mere 90-day warranty on the original NeXT computer and accessories. If you weren’t satisfied, a NeXT dealer or service provider could sell you a one-year extended warranty for $600 plus the reseller’s markup. Not including hard drive coverage, of course—that’s another $300 plus markup! And remember, all these prices are in 1989 dollars. I’m sure Steve Jobs thought that was a bargain. NeXT eventually realized that expecting people to accept a 90-day warranty on a ten grand computer package was pushing their luck. Newer models had warranties for a full year.

Batting second is the Getting Started booklet. If you skipped—or, more likely, lost—the Quick Start sheet, this guide helps you connect your NeXT computer and peripherals. It also introduces the basic concepts of the NextStep GUI, Workspace Manager, and the Laser Printer. The guide’s user tutorials cover the basics of using a graphical interface, which was still novel in 1989. If you were new to computers, this guide would get you comfortable with using your NeXT in about an hour.

A more advanced user might dive right into the thickest tome: the NeXT User’s Reference Manual. This 460-page book is admittedly pretty dry, but it's well-written for a computer manual, and exhaustively details included applications like the Workspace Manager, NeXTmail, and the WriteNow word processor. This book’s got your back when you need the steps for building a bootable optical disk, pruning the print queue, or finding forgotten files. In addition to NextStep there’s several chapters about the care and feeding of the NeXT computer and peripherals. Need to peek inside that ominous black cube to add some memory or change the clock battery? There’s a complete walkthrough for disassembling the cube, and port pinouts for the technically curious—like you!

If you were in charge of a network of NeXT computers, the Network and System Administration guide was up your alley. This manual guides you through setting up Netinfo, the directory service that NextStep used to locate other servers, manage user accounts, and enable network booting. NeXT developed Netinfo instead of licensing Sun’s Network Information Service, because Sun was, at the time, their bitter rival. NetInfo hung on until Mac OS 10.4, and this material might look familiar to you if you were a Mac network admin around the turn of the century.

Last but not least is one of the more interesting booklets: the Release Notes. Printed in November 1989, this is the last-minute stuff that missed the deadline for the Getting Started or User’s Reference manuals. NeXTstep 1.0 was famously late and a little rough around the edges, and I’m not surprised that there’s a nine page booklet full of uncomfortable little admissions. Here’s a few of the more humorous ones.

  • Initializing an optical disk appears to freeze the Workspace Manager. Don’t panic! The highlighted menu item means it’s busy, you see, and for some reason there was no dialog box with a progress bar. I couldn’t find that reason on record anywhere, but I’m sure there was one. So be patient.

  • A period on its own line in an email message is interpreted as the “end” of the email by NeXTmail. Anything after that gets ignored. Period, end of story, I guess.

  • If you print to a network printer and the job fails with an error, you have to abort the print job on both the client and server before anyone can print again.

  • Don’t choose an invalid startup device. Apparently 1.0 didn’t hide unavailable boot options, and you could easily put your NeXT in an unbootable state if you picked the wrong one. So don’t accidentally choose NetBoot when your machine isn’t connected to a network. The only way out is using a magic key command to enter the ROM monitor, and then typing in the code to boot from another device. Good luck.

If you happen to run into a problem not mentioned in this long list of limitations, NeXT helpfully provided two feedback forms at the end of the booklet. Simply mail or fax your bug report to Redwood, California and they’ll get right on it.

Stickers and Stuff

And now, the part you've all been waiting for, the reason why I spent way too much money on this box of stuff. Behold: a letter-sized sheet of NeXT logo stickers! With fifteen stickers across three different sizes, NeXT really wanted you to slap their logo on everything. Compare this to Apple, whose contemporary sticker sheet gave only gave you four stickers. I’m very fortunate that only one sticker’s been used from this sheet, and that it was one of the smaller ones. The previous owner apologized for the missing sticker, but I told him it was okay. Stickers are made for sticking, and I’m lucky that he chose one of the little ones.

The NeXT Generation of Stickers

Now, I know what you’re thinking. “Why did you spend so much money on those stickers when you can buy stickers from some rando on Redbubble?” Well, there’s some advantages to the genuine article. If you look closely at most of the NeXT logos on the web or on knockoff products, you’ll notice that they just swiped a flawed logo from Wikipedia. It’s got the wrong colors and a non-uniform gap separating the sides of the cube. Symmetrical means all sides have to be the same! These stickers are actual, 100% accurate NeXT logos, and that satisfies the fussy little designer in me. Amusingly, despite my fussing about Wikipedia having a slightly wrong version of the NeXT logo, I didn't think to check that they still had the slightly wrong version. On November 14, a few days before I recorded this episode, Wikipedia user DigitalIceAge extracted a clean version from a copy of the press kit on archive.org. Thank you, DigitalIceAge. Nice to know I'm not the only one who cares about that sort of detail.

But let’s say you’re okay with a mildly inaccurate NeXT logo. After all, there’s very few genuine NeXT stickers out there, and I recognize that most people aren’t as picky as I am. I don’t begrudge them their knockoffs, because the market abhors a vacuum. If Apple won’t supply NeXT merch, someone else will. But even if you don’t care about the accuracy of the logo, you might be wondering about the construction of these stickers. How do they compare to a knockoff? First, these stickers are solid spot-color inks based on vector artwork. The linework is sharp and the colors match the Pantone swatches selected by Paul Rand. Second, they’re clear, not white, so there’s no distracting borders. Third, they’re vinyl and not paper, which makes them significantly more weather resistant.

I’ll grant that a lot has improved in sticker printing technology over these past thirty-odd years. We’ve got magical direct-print inks that don’t need fussy flexography or sensitive silkscreening to make a durable, water-resistant design. Redbubble will happily sell you stuff printed on clear or white gloss vinyl. But the wildcard is fade resistance. If you’ve used one of the old rainbow Apple stickers, you know that they eventually fade under the sun’s unforgiving ultraviolet rays. These NeXT stickers would likely do the same even if they used fade-resistant inks, but that process usually takes years of outdoor abuse. Redbubble vinyl stickers are printed with UV-resistant inks, but I’ve yet to get one that’s lasted more than a year outdoors without fading significantly. Still, $280 buys a lot of knock-off stickers. When they inevitably fade, you can slap on a new one. Not so much with these genuine NeXT stickers—once they’re gone, they’re gone.

There’s three items of interest left in the accessory kit, and two of them are these magneto-optical disks. One is blank, the other is a system software disk for installing NextStep on a hard drive. I didn’t have MO disks of any kind in my collection until I bought these, and now I’ve got some of the most infamous. While NeXT’s MO disks may have missed the mark, the technology was still used for many years as a high-capacity archival format. The lesson here is that even the most promising tech can fall flat if circumstances are wrong.

The Magneto-Optical Disks and the Hex Wrench

And last, but certainly not least, is a NeXT-branded hex driver. Odds are most users won’t have a hex driver to loosen the cube’s screws, and NeXT solved this problem by including one. Why they did that instead of using  Phillips or Torx screws—well, I assume they had a reason, but like with the absence of a disk initialization progress bar, I haven't been able to find anyone willing to go on the record about it. Its handle is molded in the same angular fashion as the cube and MegaPixel display, with distinctive ribs and—ooh, fancy—a NeXT logo. It’s even got a ball-point at the end—not a pen, obviously, it's a little thingy that doesn't seem to have a technical name other than ‘ball-point.' These normally help hex drivers fit in tight spaces, but those clever engineers at NeXT figured out another use. Check the reference manual and you’ll see that you’re supposed to use the ball end to help pull the system board out of the case! Just snap the ball head’s groove into the conspicuous hole on the bracket and pull out the board. Sure, you can use your thumbs, but where’s the fun in that?

Now that we’re left with an empty box, one question remains: was this worth almost three hundred bucks? I could have bought an actual computer for that much money, but this is rarer and neater. Perhaps that’s flimsy post-hoc justification, but it’s nice to have something genuinely rare to call my own. None of this stuff is particularly useful on its own, except for the stickers and perhaps the hex driver. But something doesn’t have to be useful to be collectible—it can be appreciated in the context of its time. NeXT was on a mission to redefine computing, and in spite of its troubles and Steve Jobs’ flaws, the enduring legacy of NeXT in Mac OS and iOS proves that they got something right. These accessories and extras were expressions of that mission, and this box shines a seldom-seen light on that past. All that’s left is to find a NeXT cube and complete the set.

The Adobe and Pantone Color Apocalypse: Frequently Asked Questions

Here in Userlandia, we’re brought to you in glorious ultra-color.

If you’ve been reading some parts of the internet lately, you might’ve seen a brouhaha over the quote-unquote “fact” that Pantone has “copyrighted colors.” They’re forcing Adobe to pay them oodles of money for color swatches, and Adobe said “no you.” Now users have to pay $15 a month just to use COLORS? Madame is outraged!

Well, it’s more complicated than that. The reality is that the world of color is difficult, even for those of us that see and feel it every day. Many working designers don’t know all the fiendish intricacies surrounding the tools of their trade. Your real questions are “how does this affect me” and “what can I do about it?” Or maybe you’re used to picking colors from all those swatch books in Photoshop and wondered why it’s such a big deal that they went away.

In the name of expedience I’m writing this in a question-and-answer format. Sit back, grab some popcorn, and be prepared for more than you wanted to know about the Pantone Matching System.

Q: Who am I and why should you care?

I got my start in the graphics industry back in the nineties. My high school had a graphic arts program, and that’s where I fell in love with computer graphics. I graduated from college in 2006 with a bachelor’s in art with a concentration in graphic design. During those years I also worked several jobs as a designer, prepress technician, and all-around computer toucher. In 2007 I was hired by a prepress workflow software company as an apps specialist, which is a fancy way of saying “you’re a quality assurance engineer, tech support person, and a hardware tech.” I then spent the next fifteen years developing software that solved printing problems for mom-and-pop shops, megacorporations, and the US Federal Government. I had to know about software, hardware, color, fonts, screening, process control… In short, my fingers have been in a lot of ink tins. I changed careers last year and I’m out of the graphics industry today, but I still help solve people’s PostScript problems. I’m still a graphic artist at heart.

Q: What is Pantone?

If you’re not in the print or advertising business, this might be the first you’ve heard of Pantone. Pantone’s sales pitch is about solving a specific but very real problem: consistently reproducing a particular color amongst a variety of media and substrates. If you’re the brand manager for Coca-Cola, you want Coke Red to be Coke Red regardless if it’s on a bottle, can, or wax cup. If you’re the printer that prints the labels for Coke bottles, you want a consistent way to measure and confirm the color of ink when you print it. If you’re an ink manufacturer making the inks used by that printer, you want to guarantee that every tin of Coke Red ink is the same color ink every time. Pantone’s ink-spertise is the binding factor between these groups.

Most companies don’t have Coca-Cola’s copious cache of coins to commission Pantone to develop a specific ink formulation for their brand colors. Most designers choose colors from one of Pantone’s many color libraries. This is the company’s bread and butter and why they’re so entrenched in various creative industries. If you’re a designer hired by a company to select a signature color, you’d crack open your Pantone Solid Coated book and choose from one of the many hues available. Might I suggest Pantone 185 C? It’s a classic, saturated red that’s guaranteed to catch your eye. Now that you’ve picked a color, you can tell anyone that utilizes Pantone’s system to match that color when designing a logo, printing a brochure, or silkscreening a T-shirt. Congratulations, you’re now a brand expert.

For decades Pantone’s primary business was selling swatch books to printers and designers, formulating inks, and licensing said formulas to ink manufacturers. Because there’s only so much growth in that market, Pantone leveraged their dominance in print to other markets. They soon expanded their color production expertise into plastics, fashion, makeup, and more. With PR stunts like “Color of the Year” Pantone continually tries to cement their brand as the canonical source for color. While I’d say they’re more mainstream now than two decades ago, I don’t think they’re on the tip of the general public’s tongue.

Q: Can you copyright a color?

The answer is no, you can’t. That’s a glib, reductive answer to the idea of colors as intellectual property, but it’s not wrong. What is color anyway? Think back to your middle-school science classes and you’ll recall that color comes from varying wavelengths of light. The mushy organic bits in our eyes are sensitive to those differing wavelengths across the visible spectrum. Since we can’t trust our lying eyes, humans invented color science to mathematically and scientifically measure what, exactly, is color. Since color science is math, the law in the United States is pretty clear: math can’t be copyrighted. You can’t like, own red, man.

However, you can copyright a book or database. Cookbooks are a perfect example. Recipes can’t be copyrighted, but if you wrote a fancy nerd cookbook with photos and recipes for “goblin cookies” and “magical roasted beast?” That’s a different story. Your new transformative work certainly qualifies for copyright protection. What’s eligible for copyright in a cookbook is the presentation, commentary, and organization applied to otherwise uncopyrightable recipes. Think of the Pantone Matching System as a cookbook for colors. Pantone has carefully organized their color recipes into specific groups, applied a distinct presentation, and designed an identifiable mechanical style with their fan-out guides. The same would go for an electronic database containing Pantone’s color formulas. I’m not a lawyer, but I’ve been involved with enough IP like this to know the general idea.

Q: I hear that UPS owns their own shade of brown. What does that mean?

UPS does not “own” their brown, in the sense that they don’t own the physical properties of said brown. What UPS does own is their trade dress. Colors can be used in specific trade dress, which falls under trademark law and all of its fun foibles. Again, I’m not a lawyer, so don’t take this as legal advice, but there’s a lot of misconceptions around what trade dress means for colors.

Sticking with our example of UPS, you can make brown paint that looks exactly like UPS brown, and sell it too! The catch is that you can’t sell it as UPS brown, and you better not have violated any patents to make it. I would also avoid selling that brown paint to someone else in the shipping industry or using it in your own shipping business. And even then, UPS might sue you for diluting their brand anyway. Whether they’d win would be up to the whims of judges and lawyers. Are you trading on UPS’ reputation by using that color in your trade dress? Other factors would certainly apply, like your logo, typeface, and so on. The point is that UPS or Coke don’t go around suing people for using brown or red, they sue them for infringing on trade dress. But that’s enough of that, let’s get on to the real issue at hand.

Q: So what happened between Pantone and Adobe? Why are we in the current situation?

Around February 2022 news circulated around the print industry that Adobe and Pantone’s licensing agreements were falling apart. This made color and graphics professionals understandably nervous. It’s a safe bet to say money was the cause: Pantone wanted more and/or Adobe wanted to pay less. Most Pantone libraries have already vanished from Creative Cloud, and soon they’ll all be gone. That doesn’t mean you can’t specify Pantone colors, but not having a built-in library certainly makes it more difficult. Of course, Adobe won’t be passing the savings along to you—they’re adding insult to injury by increasing Creative Cloud plan prices this year.

Q: Why were these libraries in these apps to begin with?

Convenience, mostly. Without a swatch library, referencing spot colors was a real pain. Remember that Pantone 185 C I talked about earlier? That’s a spot color—a special ink that exists outside your normal CMYK inks. The vast majority of Pantone’s colors are spot inks. Traditional printing presses use the four-color process of overlaying cyan, magenta, yellow, and black to produce many colors, just like your desktop printer—if you’ve still got one. But this process can’t produce many colors, especially weird ones like metallics, fluorescents, and opaque whites. Referencing spot colors without a library can be a real time sink. You’d have to dig out your Pantone Solid to Process book, type the color name, and then enter all the alternate color space values manually. Because if there’s one thing creative people like, it’s typing in numbers over and over again.

Eventually the early desktop publishing developers—Aldus, Quark, Adobe, and others—licensed libraries from Pantone and other companies to spare you that inconvenience. Now you just clicked on a color and you had a new swatch in a fraction of the time.

Q: Can I use these colors even if I’m not printing a spot color?

Absolutely! Nothing stopped you from selecting a swatch from the Pantone library and converting it to RGB or CMYK. Sometimes your material will run in media like a magazine where they’re not going to print unique spot colors on their interior pages. Even if your particular color doesn’t fit within a traditional CMYK or RGB color model, Pantone made a “close as possible” simulation and included that in the library. Which leads to…

Q: What’s actually in the color libraries used in apps like Photoshop?

The libraries aren’t just lists of color names. Each color has an alternate color space definition that must be included with the ink. In the olden days these were manually calculated CMYK or RGB values. Nowadays they’re LAB values, which I’ll address in a more technical way later. This alternate color space data is written into the PostScript, PDF, PSD, AI, TIFF, and other files written by these apps. When you send your files to a print shop or open them in another application, you’ll see a color preview instead of a mystery black separation. Part of licensing these libraries is to have Pantone-blessed color definitions instead of somebody’s guesses.

Q: Can I still use Pantone colors inside Adobe products?

You sure can! Nothing’s stopping you from scanning a Pantone book with a spectrophotometer, writing down the LAB values, and composing your own swatch library. Perhaps you’ll, uh, acquire a library from somewhere, wink wink. You can also import old swatch libraries from older versions of Creative Cloud. Heck, you could just make a new ink, call it “Pantone 185 C” and set its alternate color value to 100% cyan. The app doesn’t care what you name it, because as far as it’s concerned that’s just another ink. When you use the library to add a swatch, the applications are  copying the alternate color space values and pasting them into the ink you create.

If you were using Pantone color books to pick colors to use in CMYK or RGB colorspaces and not actually creating spot inks, you could definitely explore alternate swatch books. Of course, Pantone would prefer that you shell out $15 per month or $90 per year for their Pantone Connect plugin, a piece of software that I wouldn’t want to use even if it was free. This bloated piece of junk tries to “add value,” when all you really want is a swatch palette.

Q: What if I wanted to make my own Pantone swatch libraries and distribute them? With blackjack and hookers?

You’d be playing with fire, that’s for sure. Pantone’s a litigious company. One of my previous employers never distributed a Pantone spot color library with our workflow software because Pantone demanded an incredibly high licensing fee. Even if we wanted to build a database ourselves, using our own labor and none of Pantone’s provided resources, we would have been sued for distributing it. This led to some of our more enterprising users creating a Pantone database using our format and distributing it amongst themselves. Pantone wasn’t going to roll up to an individual shop and sue them, but I’d expect a cease and desist if you’re posting them on a website.

I can think of many ways to make a non-infringing version of the database, but at the end of the day applications and renderers do some tricks when they detect Pantone names (or variations like PMS 185 C). Another issue that you’ll run into is differing opinions on what constitutes a color. Should your database have the LAB values, or preselected RGB or CMYK values?

Q: Why do people specify Pantone colors?

Something that goes unsaid in a lot of this discourse is that color is hard. There’s an entire industry built around the difficult task of correctly reproducing color, which doing consistently has been a problem for centuries. Computer monitors and printers have magnified the problem, yes, but it’s always been there. Pantone (and its parent, X-Rite, and its parent, Danaher) is one part of the color industrial complex. How do you organize colors, anyway? Names are hard, because you’ll run out of them very quickly and that’s not including language localization. Pantone’s solution to this conundrum was numbers. When you say “I want Pantone 185 C,” every person in the chain has a Pantone book with color chips and formula guides to get you the same hue, every time. At least, that’s the idea—it’s easier said than done.

Q: How is a Pantone ink made?

Painters make different colors by mixing different paints together, and mixing Pantone inks for printing works much in the same way. If you mix a certain amount of Cerulean Blue and Cadmium Yellow paint, you’ll make green paint! But the quality of that green can change depending on the ratio of blue to yellow, let alone if you mix in any Titanium White to lighten things up a bit. The classic Pantone Matching System works in the exact same way, except instead of an artist eyeballing the color, Pantone’s guides contain formulas for recreating the same color every time from a base set of inks. Bob Ross can paint almost any landscape from a palette of fourteen colors, and you can make any one of Solid Coated’s 2,000+ shades from a set of fifteen base inks. It’s amazing how close that is, really. That’s why Pantone persists, because printers needed an agreed-upon way to make the same color every time.

Q: Okay, but I’ve seen Pantone colors written as hex values. Aren’t they the same thing?

You might’ve heard about RGB color, and maybe even CMYK color—these are the two most common color models. RGB adds colors together to create white, while CMYK subtracts them. I’m used to thinking in terms of bits, and hex values are one method of expressing those bits. 8-bit color means 256 different discrete values for a given primitive, with 0 for minimum and 255 for maximum. 255R 255G 255B is white, which is expressed in hex as FFFFFF. It can be none more white. Or can it?

Head back to your science class again and you’ll recall that the human brain perceives color by mixing the responses of various wavelengths of light. Visible light is only a tiny fraction of the entire electromagnetic spectrum, but in terms of frequencies it’s still a lot for us to measure. That chunk of the spectrum spans over 350 terahertz, which means trillions of spectral colors for our peepers to peep. When you see a red rose or a green lime, your eyes are measuring the frequencies of light reflected by those objects. But like a sound wave can have multiple frequencies, so can a light wave. Our brains perceive colors that don’t exist in the sun’s light! That’s because these colors are the result of multiple frequencies mixed together. Purple’s the go-to example, because it’s a combination of reflected red and blue frequencies. Compare that to violet, which exists as a spectral wavelength. This is all wibbly-wobbly colory-wolory stuff, and I won’t bore you with the finer details. But suffice to say that some colors can be reproduced in some media while others can’t, and translating between multiple media is often difficult.

Even if I simplify things and say that we stay within the RGB color model, it doesn’t get easier from there. A device producing RGB color is bound by the spectral properties of its red, green, and blue primitives. Those properties define its “color space,” or the gamut of colors it’s capable of producing. Take red, for example. If you have a computer, a phone, and a tablet, you could ask each to produce 255 red, 0 green, 0 blue. Depending on the manufacturers of the screens and their physical properties, you may see three different reds! One could be dimmer, the other could look more orange-ish. Without knowing the actual spectral properties of these screens, 255 just means “maximum output.” Controlling and accounting for these differences is color management.

Needless to say that you can’t specify the hex value that you entered in for your website’s color in the logo for your printed business cards. Even if you just printed them on your inkjet printer, it must be translated to a CMYK color model, and if your RGB color is too bright, it may be out of the printer’s gamut, rendering it duller than what you’d expect. Color management is out-of-scope here, but this should be enough to give you an idea of why people like an idea of a known, defined library of colors.

Q: Okay, so how did they determine those hex values?

This is the last of the technical bits, I promise. RGB and CMYK values are device-dependent. That means their color rendering is a function of the device’s ability to create (or reflect) light. You can request 255 Red on Monitor A and get a very different result than the same number on monitor B. This has been a known problem for a long time, so the handsomest scientists at the International Commission on Illumination devised the CIELab color space to describe color in a device independent way. This is the foundation of modern production color management, with ICC profiles and rendering intents and all the rest. The LAB color space describes the human perception of color, and we can map the colors our devices produce inside this uniform color space. It’s not the only device-independent space, and it’s certainly not perfect, but it’s good enough for the vast majority of us to get our jobs done.

When you go into Photoshop and choose a Pantone Solid Coated color from the swatch library, it gets converted from a LAB value defined by Pantone into your destination RGB color space. Some color spaces are bigger than others, but Photoshop will try to render an RGB value as close as possible. For most users, that destination color space is sRGB, which is a fairly narrow gamut as far as RGB is concerned.

Pantone does have their Color Bridge guide with CMYK and RGB alternate values for their colors, but they have never documented what gamuts they use to determine those values, along with other relevant color management settings.

Q: Why would Pantone and Adobe do this now? Won’t it annoy a lot of their customers?

Sure will! In fact, both sides are counting on it. You know how cable companies and broadcast networks fight it out every few years over carriage rights? This is basically the same thing. Usually those are just brinkmanship efforts that get resolved with maybe a minor blackout. But this isn’t going that way. Pantone’s had their Connect software live for a while, and Adobe’s let licenses lapse before. If you depend on Pantone colors for your livelihood, you’re gonna be coughing up the cash.

Q: I used one of these colors in my files! What will happen to them?

Unfortunately, it depends on the file and the applications you use! Illustrator files, InDesign files, and PDF files have spot colors—Pantone or otherwise—defined as a unique ink with an alternate color space. You should be able to open them up and see whatever colors you had selected in the file’s swatch palette. You can copy and paste them into a custom library or from document to document. Sometime around… CS6, I think, Adobe introduced a feature called “Book Color” where in addition to the alternate color space they would write in proprietary info that referenced ACB files. Adobe apps prefer this “book color” stuff, which might also trigger a color replacement. The behavior differs depending on the application used.

Photoshop’s a trickier case. The PSD file format has alternate color space declarations for spots, but it’s mostly for the benefit of other applications. If your spot channel lacks alternate color space info, Photoshop used to be able to locate a suitable one in its library. If those libraries don’t exist, you’ll get a very passive-aggressive dialog box warning you that the Pantone libraries are no longer available, and then the dreaded black separation.

Q: Why hasn’t a competitor taken on Pantone?

There are competitors to Pantone, but they mostly exist outside the North American sphere of influence. In Japan there’s DIC and Toyo, and in Europe there’s HKS. There’s also up-and-comers like Spot Matching System. Maybe they could use this as an opportunity to break into the market. But there’s a lot of inertia that will keep Pantone in place in North America. Said inertia has helped and harmed Pantone in the past. Pantone tried creating a new color matching and ink formulation system back in 2007 with the ill-fated Goe system. Goe used fewer base inks to make a wider variety of colors, but its ink was just as proprietary as PMS. Goe failed for a variety of reasons, but the main one was a lack of clarity on the future of PMS. Printers didn’t want to stock two sets of inks, and if PMS wasn’t going away, there wasn’t much of an incentive to change. Before that there was Hexachrome, which was Pantone’s idea to get everyone to move to a six-color printing process of CMYK plus orange and green. This also failed spectacularly because Pantone tried to keep most of the “magic” for itself. Pantone ultimately revamped the existing PMS system via the Pantone+ update, which reorganized the color guide and addressed the formulation of the existing base fifteen inks to give them some of the benefits of Goe’s base inks.

Going back to the traditional Matching System, Pantone controls many patents and formulas regarding the base set of inks used to create their colors. Nothing is stopping an enterprising ink manufacturer from creating knock-off or “compatible” inks, so long as they’re not infringing on patents. After all, Megabloks are compatible with Lego bricks. But as much as people dislike Pantone, there is a level of trust in that name and the ink manufacturers that license it. Print and manufacturing is expensive, and people don’t want to risk trashing their product because a slightly cheaper ink didn’t match.

Q: What if I wanted to switch away from Adobe software? Are there alternatives?

Serif’s Affinity line of products still include Pantone libraries, but who’s to say that Pantone won’t turn the screws on them as well? QuarkXPress still supplies Pantone libraries, but you don’t want to use Quark.

Q: Why are people getting black separations when opening up PSDs?

Photoshop does write alternate color space info into PSD files, but ironically enough doesn’t read it in certain scenarios. In the past it would do a name-based lookup and pick the value from their library. Now that the library’s gone, instead of falling back to the file’s alternate color space it gives you the passive-aggressive dialog box instead. Adobe’s apps in general have gotten aggressive about overriding a file’s internal definition for an alternate color space, and this is the result. I haven’t fully explored all the ramifications yet, but suffice it to say that you can still replace the color in the alternate color space if you have to. Most print workflows and raster image processors will still use their own libraries if you give them one of your PSD files.

Q: Will Pantone lose marketshare because of this? Or Adobe, for that matter?

It’s hard to say. Pantone will absolutely lose mindshare amongst designers and artists who used those Pantone swatch libraries as quick shortcuts. Those same customers will also curse Adobe’s addiction to rent-seeking behavior. But for actual professionals whose livelihoods depend on these standards, they’ll continue to pay while gritting their teeth. For newbies entering the field, their first exposure to Pantone colors are usually in these digital products. I wonder if they really want to lose that.

Pantone should be careful, though, because Adobe knows all too well when a controlling licensor overreaches. Microsoft and Apple made the TrueType font standard in response to Adobe’s iron-grip control over Type 1 PostScript fonts. TrueType eventually morphed into OpenType, which is the standard for font binaries today. All the same conditions are there—font shapes aren’t copyrightable, but binaries are.

I would be surprised if Pantone gets much traction on their plugin outside people who must use it or lose work. It’s lousy software at a terrible price. Piracy of swatch books will rise, and Pantone will have no one to blame but themselves. Maybe this is the kick in the pants that the print industry needs to tell Pantone to pound sand. Or maybe it’ll just be accepted as another tax on the working designer. Either way, the only color Pantone and Adobe seem to care about is green.