Williams Solved Demolition Man (Williams, 1994) new guys first post

filmguy

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Favorite Pinball Machine
bronco/Demolition man
this is my first post and of course it's for help. I am pretty good with the older pinball machines and just went through and rebuilt a 1977 bronco. I bought my first computerized pinball machine. It's a williams Demolition man. I bought it because I mixed the sound on the movie and thought it would be cool to have a machine from a movie I did. Got it home, set it up, everything lights up all 5 balls are in it but now the help. How do I get it in free play mode? I read online everything I could and did a search and my eyes are starting to bleed. I have no Idea how to get into the menu or what to do when I get in. If there is a dummies guide I would buy it. any help is really appreciated . I have a new machine and I can't play it. thx.
 
Solution
I can't blame you. For once I'd like to own a piece of something I had a creative investment in myself! Such is Hollywood? Btw, how come you can mention Hollywood for being paid there and I get the dickens for mentioning Hollywood when I haven't been paid at all?

Open the Demolition Man coin door.
Inside, Push the ENTER key twice to enter the MAIN MENU.
Watch the DMD.

Push the UP button to cycle to the A. ADJUSTMENTS
menu. Push the ENTER button once.

Push the UP button to cycle to the A.3 PRICING ADJ.
menu. Push ENTER to do so.

Push the Up button to cycle to the FREE PLAY option. Press ENTER. Then press the UP button to cycle the YES/NO and ENTER to select your choice.

Once selected, press the CANCEL button repeatedly...
I can't blame you. For once I'd like to own a piece of something I had a creative investment in myself! Such is Hollywood? Btw, how come you can mention Hollywood for being paid there and I get the dickens for mentioning Hollywood when I haven't been paid at all?

Open the Demolition Man coin door.
Inside, Push the ENTER key twice to enter the MAIN MENU.
Watch the DMD.

Push the UP button to cycle to the A. ADJUSTMENTS
menu. Push the ENTER button once.

Push the UP button to cycle to the A.3 PRICING ADJ.
menu. Push ENTER to do so.

Push the Up button to cycle to the FREE PLAY option. Press ENTER. Then press the UP button to cycle the YES/NO and ENTER to select your choice.

Once selected, press the CANCEL button repeatedly to return to Play Mode and close the coin door to kill the Nag Screen that appears when you fail to do this...

... :)
 
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Solution
thx great directions but when I open the door I get coin door open interlock disables playfield high power. I push the enter button twice nothing happens basicly the same screen.
 
The Interlock Disabled is a safety feature.
Believe me, you don't want to touch anything in there, especially "Elvira".

Make sure you are pressing the ENTER button, and twice to get to the menu. If that doesn't work, try closing the coin door and then turning off the machine, then turn it on.
Wait for the game to set up and then try the door and buttons again.

If the ENTER button is still not working, try shooting it with a contact cleaner. See Radio Shack, or better yet, if you happen to be visiting the Hollywood area, try Fry's Electronics in Burbank for the goods. The button contact might be dirty.
 
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tried 6 more times with the same results doesn't seem to want to go into menu mode. it's 1am here so I am going to sleep but will mess with it in the morning thx again for your help.I will figure it out maybe it's a bad something or another. I don't know enough about the machine yet to figure it out but 6 months from now I will. If you have any other ideas let me know and thx again.
 
If I have any other ideas, I want paid!

But the pinball talk is free. :)
 
got into the back cabinet and went through and made sure all plugs were tight and now it works. I love it but now my wife won't let me play it.thx to everyone who helped me it's appreciated and now I have to find out where to get the vulgar rom. I wonder if they just pulled the sound from the film. I know we did a special recording for the machine but I don't remember any vulgar things recorded for the game. thx again
 
Hey, we're having fun here.

The vulgar ROM (ROM with swearing) is listed as the H6 Home ROM (non-commercial release):

http://ipdb.org/search.pl?any=Demolition+Man&search=Search+Database&searchtype=quick

Could be the swearing was duped from the film.
There's a Swear ROM for the Terminator 2 machine also, but I think that version was duped. Arnold did the commercial voices for the machine.

Did Stallone and Snipes do additional voices for the game?
I haven't played it lately, but I'm thinking there is an "Extra Ball" sound byte in the game by one of them.

Did the actors do the voicing at your studio or were the sound bytes sent in? Have you met them?
 
I mixed the production sound on demolition man and 4 other stallone films. They went into a studio and recorded additional lines for the game. Most of what I heard on the game I recorded they were taken from the movie. one line that sly says"nice shot" I don't believe was in the movie but lines like "what are you doing here" from wesley and "not to many people get a second chance John Spartan" came right out of the film. I am retired now but yes I have met them all. If you look at the film again you will see in the film jessie ventura who went on to become a govenor and next to him is jack black neither had lines but they were known as the scraps in the film when Stallone goes underground.
If you are interested check this out
Amazon.com: Work in Movies? Are You Crazy! (9781426915321): Tim Cooney c.a.s.: Books
you can read alot of it without buying. there are alot of pictures to.
 
Is that your book?

As an Official outsider through no direct intent of my own, I've become Very Aware of just how much The Hollywood Community functions as an Underground Mob Network...er, as Family in Government.
No, I'm not crazy about this town. Do they always Borrow everything they see? Or hear about?

Me, I got smacked down with an in-house Hazing by my family for not being fake enough I GUESS! I never had any idea they were in the trade (my folks pretended to be Poor) but many, many ideas and songs, and plots of mine mysteriously wound up on the t.v. and the big screen, over one hundred films, teleplays, books and songs, many well-known, many won awards.

In Pennsylvania 1957 at the age of three, I was sitting crossed-leg on the floor listening to my Brother's acoustic phonograph that used a sewing needle-type stylus and resonator head with an extra-resonant tonearm to sound the recording; no electric amp.
My Brother had earlier told me that the record needle vibrated against the groove of the recording as the record spun, supported in place by the two walls of the groove.

I was resting my head on my hand listening when I then became aware of how the sound only came from the phono, unlike directionality from the surrounding room, so I covered my left ear with my left hand to "hear the recording to the Right side" and then revered my hand and ear to hear the sound to the Left. Then I began patting my ears Left, Right repeatedly and the sound then spread out around me. I remembered what my older Brother said, and I told him that I thought they could use the two walls of the groove, the outer wall and the inner wall, to each represent one ear, one wall for the left side sound and the other for the Right side sound, and use two microphones to record the direction of sound, then apply the left and right channels to the side of the cutting head at an angle, instead of at the vertical angle of a mono recording, up and down. Within the year, RCA introduced the stereo phonograph record. About that same time, there was a informational t.v. show, "You Asked For It!" hosted by Jack Smith. The show was based on viewer requests. In one episode, the UNIVAC computer was featured. I asked my Brother if the computer could play music and sounds based on the digital numbers being converted to voltages, and what the computer itself sounds like if the digital signal were played through a loudspeaker.

In Burbank 1959-60 at the age of 5/6 I was looking at my Father's RCA Radio and T.V. Vacuum Tube Repair books. He began studying RCA T.V./Radio repair at Allegheny Tech in Pittsburgh in 1956, "or claimed to". In one, there was a cross-section diagram of a waveform. I wondered what would happen if someone were to add an inverse voltage to an upright voltage, and when adding a phase-inverted Right Channel from a Stereo recording to the Left Channel. How would the result sound? I thought it would remove the front center sounds. Six months later, the difference signal was adopted in order to provide for compatible FM Stereo broadcasting, though that use was beyond my intent at the time. I was never told it was borrowed and still do not know for sure. About this time, I talked to Brother about recording music digitally to an optical plastic disk with a mirror-aluminum layer, as well as the future possibility of digital video, and a thick disk of magnetic material that could also record short analog video and be accessed immediately for real-time playback.
There was also an article in one of the books about Envelope Volume Expansion and between this circuit and high frequency bandpass circuits, I thought about high passing the high end of an audio or video signal before recording it and then low passing the signal at playback to put the signal above the noise of the medium, tape or record, possibly also using the volume expander in reverse compression/expansion mode. The high pass version became the Dolby Noise Reduction system, first used in videotape. The Expander config became the DBX Noise Reduction system. The folks never told me whether it was me. We were "still Poor and non-connected".

I was born with a Cleft Palate with an accompanying Speech Impediment which is part of the reason I have been rejecting overtures from a non-responsible Hollywood house of pranksters representing performance and music. I also do not sing very well, but have a gift of songwriting.
In 1960, I had a portable reel-to-reel tape recorder to practice my speech therapy, and the damned reels kept falling off the machine and unspooling across the floor. I then talked about (to my poor non-connected family) putting the spools inside of a cartridge, and doing the same for spools of camera film.

I was playing with a cheap lenticular animation toy about this time, where the lenticular lens was used to isolate two frames of 2D motion, and loving the View Master, I played with closing one eye, then the other and saw that the two frames were ghosting at different angles, and suggested trying to use the lenticular lens instead to display a left/right 3D image. Two years later, in 1963, the first commercially produced lenticular 3D picture, that of *I think* a bust of Thomas Edison shot against a museum room with a black and white checkerboard floor, appeared on the cover of Look Magazine.

Back in Pennsylvania 1962 at the age of 8 I suggested a movie screen using beads of glass to increase the image brightness and viewing angle. My Step-Grandfather, or whoever he really was, represented himself as the local rich dairyman for the County and my Grandmother was always showing her slides of pictures.
The beaded screen went to Drive-In use and won an Oscar. I was never told it was my idea and I still can't say at all if it was.
At that same house, in 1957 I made up a song at my Grandmother's piano based on sting music boxes, but it was an original tune. I later heard the very same tune as The Theme from Tammy and the Bachelor. But my folks "had no connections to show business".

In 1966 at the age of 12 I was talking about a camera mount that used either a gyroscope or a counterweight like a plumb bob or pendulum for stabilizing track shots.
In 2004 I also mentioned mounting a camera on a robot arm, then mounted to the roof of a car so that the camera could rotate around the actors inside while driving down the street without seeing any equipment in the background of the shot.

In 1966-67 I talked to the family of "a school friend" about using four channels for records, and they immediately pointed out using a difference signal for a rear channel.
Note: If you use what is called a Haffler speaker arrangement for deriving a four channel effect, that is two speakers connected hot to each channel on the amp without a return ground path, just ground to each other, the two speakers will output the difference between the left and right channels, but...if you add a return ground path through an additional speaker, then the difference pair will still play difference, but that return ground path speaker will sound the front center, albeit at poor audio quality.
About that time I also discussed using a rear screen projection for a movie, but with a vertical tilt and curved around the actors. A Diorama rear screen. And a multi-band frequency control based on sub-octaves. And a shatterproof flexible vinyl for phonograph records.
And using crystals for tweeters.
And with the aforementioned 'friends', I talked about using several speakers arranged side by side in a round cabinet, aligned at the edge of each speaker's sound image...

In the early 1970's I suggested to who knows(?) about using a separate track on a movie soundtrack for low frequency effects and a deep set of heavy magnet/coil woofers to shake the theater.

In the mid 1980's, frustrated with the poor separation of matrix surround systems, I reasoned that you could derive the front center channel digitally, possibly using AND gates, in order to subtract the .5 front center from the left/right channels, then combine the result in two or three configs for recovering a discreet multichannel surround output. About that same time I suggested using a optical disk for the movie soundtrack with only sync to disk on the film strip.

In the mid 1970's I discussed with who knows(?) about using a high pass with the Volume Expander circuit for better dynamics. And a recording tape made with air-dried peanut oil. Looking back on that one, I assume those gray tapes are probably falling apart? I know the company quit using Peanut Oil. And about that time, using digital processing in television. and by 1979,using computers to synchronize movie and sound editing. By that time, I was under The Hazing and started remembering things.

In 1984, laying around my family's apartment in a total funk due to the brutal Hazing (The Silence),. I was watching the t.v. with the crappy NTSC analog color and thinking about using digital proportional differencing of the video and audio signal to increase depth-of-field dynamics for a more 3D-like effect and hit upon using linear digital averaging of each color channel and between the channels to create the (then) NTSC phase-modulated analog color signal. It was in use by the time of the 1984 Olympics, as was video and audio bandwidth expansion. And yet, everyone around here pretends not to notice the depth-of-field effect. Some joke.

Back before The Hazing, in the later 1970's, I had already come up with a method of increasing the usable speaker diameter for use in a car, by using four speakers for each speaker. By 1989, I included using a series/parallel wiring on the four speakers to improve power handling, and I've been hanging on to this system ever since, but JBL suddenly appeared with "their version" called The JBL Diamond Array system, including series/parallel wiring.
But dear family, in passing this system to JBL, has left out the best part of the config for some reason.

In 1995 I suggested using silver LCDs for a digital projector.

And that's Not All. I'm still holding 3D digital projection, but the folks know about it. Not sure about the 3D audio, though in '85 while suffering a twitch in the ear I noticed that the sound on the radio spread out in "surround" and then discovered rapid panning of sound between channels for a "surround effect".

So, what's with the Hollywood folk anyhow?
Is Hazing an effective means to conduct a sensitive contractual negotiation? Why do they think they own people who they owe personal business properties and money to anyhow? And if you want to know how estranged I am, I'm talking about my family and I'm asking you.
I also do not get to discuss ANYTHING with them until I give in. A Pig in a Poke.
 
I have no answers for the things that happened to you in your life and barley have answers for the ones that happened in mine. When I got in the film business you had to have a relative or a friend and I had neither.I BSed my way in and made a 35 year career out of it. I have had some great ideas and protected them as well as several script ideas.I once showed a script to a producer on murder she wrote He said it was good but wasn't interested. I mixed the first 4 years of that show and there were pieces of my script showing up in about 5 different episodes. I learned my lesson and I never let it happen again.If you write something or have a good idea write it like a script and register with the WGA. you can do it online. If someone takes that idea and screws you the WGA will take your time stamped script and deliver it to the court where the judge opens it and you are then protected. Other than that all I can say is I am glad to be retired.thx for your previous help and hang in there.
 
Hey Guy, you are the first responder to admit that this town is sometimes not quite right.
Try getting someone at BOM or KJs to admit anything close to that. I get pariah for thinking it.

I would protect my stuff, but I was taken by my family behind my back. Whoops, too late you know. Go to college? Gain the education? Nope. I'm interfered with. Almost Stage Mothered Smothered. They are investors.
Get temp work at WB Records and get slipped a bad aluminum ladder with a bent leg on the first day in, and the fun never stopped the whole time I was there as flesh and bone. And the same at Image Transform, N. Holly.
And then the Hazing.

The Only reason I know anything is going on is, those few experiences that my folks have provided to clue me, like my "poor old man" getting a job as a punch press operator in 1960.
One day he stops in at work for some reason with me along and I get to meet "his Boss". Good God! The Boss looked like Larry Fine, right down to the same hair. I think for a minute or two and then asked the man, "Are you Larry?".
His Boss said, "No. I'm Curly".
He was a very nice man, but that was a good day around here.

Over and out.
 
Whoops...

Murder, She Wrote. The mystery series based on the idea of Agatha Christie portrayed as a character researching her book ideas while caring for friends and solving their "real-life mysteries". Don't ask me how I know this. It was on t.v., right? I think I saw it in my sleep.

The Lethal Weapon series: Black and White with The Cop on the edge borrowing a bit from Indiana Jones; serial action. Don't ask me how I know this. It was a movie series, right? And from the same guy who dreamed up Damien (and Freddy Krueger, Michael Myers, Jason, 60's Living Dead and more) in the 60's and '70's, but not those guys.

The Die Hard series: a direct updating of the Indiana Jones concept, but a modern-day cop in the place of the altruistic adventurer, predating 9/11. Don't ask me how I know it. From the same guy who created "Moonlighting" and I.J. and S.W. and A.G., but once again, not that guy.

I do need to ask about the sound business. You've worked on many action pictures and I detect more punch in the current FX.
In the past the sound would be fattened by combining two or more sounds in a composite mix, for instance, a meat slap and a rolled newspaper twack for the sound of a face punch. These days the sound can also be enhanced digitally.

Have you done any digital sound FX enhancement and are they using anything like frequency gating by time or by the dynamics of the FX, that is, the Attack peaks are passed mid-high freq., while the embodied "thud" is a switched level Freq. in the digital processor, cutting off the mid high, then the subwoofer finish with no main bandwidth freq., so the entire sound byte (Attack/Sustain-embodied/resonance-decay) switches freq. mid-high treble/mid-bass/subw? Or is that being digitally enhanced by an envelope/control voltage?
 
it depends on who is dubbing the movie because its their choice. they might stack efffects on top of each other or they might do some of the things you were talking about. But the bottom line is after they do it and are happy with their work some producer or director 3 days out of film school has the final say and they might have to do it all over again.
 
Is it often a matter of the FX vs. the story arc, feel-flow, in short, not overwhelming a buildup too soon before the climax?

Does it sometime become a matter of the FX upstaging the egos of the production or star?
I note in a similar situation how, given a remake or revisionist project, there seems to be a reluctance to match or improve upon the quality of the original film, star, director, etc., as if it would be disrespectful to learn from them and carry the torch. Sometimes it seems like that, as if Nobody has the capability to at least duplicate something like the original Twilight Zone except the "Lost" special using Serling's scripts, and other times it appears more the fault of a fanboy impulse to remake something, but without a clue, and sometimes it appears the desire of 'an Auteur' to 'make it theirs' without regard to what the story means to the audience.

Hey, I was wondering if you have your computer set up for sound production? What sound card would you recommend for home production, music or sound editing, or should that be a pro computer system like a Sphere Media Processor, etc.?
The only reason I know of that system is because one of "the local folks" dropped one off at my front door without a word, though it is a 4:3 SD video system with a burnt-out power supply! I also have an empty box of Dove Chocolates from The 2007 EMMYS! But no chocolates...

If you are in the Hollywood area, you might be interested in the Pins and Needles Pinball Arcade at The Bedrock recording studio in Echo Park. The arcade is upstairs, above the studio. They also have tournaments. This is their page:

http://www.pinsandneedlesla.com/
 
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