HDTenEightyP/NetNews huggingface dataset:
From: s0730076@let.rug.nl (W.J. van de Vis)
Subject: Re: usernet notation WE NEED IT mike
Keywords: pada-dada-dadam
Organization: Faculteit der Letteren, Rijksuniversiteit Groningen, NL
Date: Mon, 25 Jan 1993 10:56:56 GMT

In article <81356@hydra.gatech.EDU> mhopper@cerl.gatech.edu (Michael A. Hopper) writes:
>From: mhopper@cerl.gatech.edu (Michael A. Hopper)
>Subject: Re: usernet notation WE NEED IT
>Keywords: pada-dada-dadam
>Date: 22 Jan 93 18:37:25 GMT
>In article <s0730076.10.0@let.rug.nl> s0730076@let.rug.nl (W.J. van de Vis) writes:
>>Hi. As I am a fairly new user, I donno if you already developed some sort of 
>>usernet notation system. If not, let's do it! Of course following is not 
>>final form, just a suggestion! Any improvements, tips, suggestions (I am 
>>sure it could be a much better) mail.
>>
>>   
>>  | xxxx-xxxx-xxxx-xxxx-xxxx-xxxx-xxxx-0------- hi hat close, crash
>>4 | ------------------------------------------- high tom
>>- | -----4---------4---------2-2--------------- snare
>>4 | ------------------------------2-2---------- floor for example
>>  | 2-2-----1-2-2-------4---------------------- bass
>>
>> 1/x      one sixteenth 
>> 2        two   "       = one eighth
>> 4                      = one fourth
>> 0 crash    
>
>
>I think this is a good start on a drum notation.
>Here is a pattern I was playing around with last week.
>It should be viewed as a pattern to build up speed in
>the right hand, and precision/accuracy when hands and/or
>feet are to play together.
>
>   ,                                    ^    -- ^ means open hi hat
>  |0-xx|x-xx|x-xx|x-xx|x-xx|x-xx|x-xx|x-x-| |-- hi hat close, crash
>4 |----|,---|----|,---|----|----|-,--|----| |-- high tom
>- |----|4---|-1--|2.-1|----|4---|-1--|2-11|:|-- snare
>4 |----|----|----|----|----|----|,---|----| |-- floor for example
>  |4---|----|2-2-|----|4---|----|2-11|-2.-| |-- bass
>
>                                        ^  ^
>       notice the dotted eighth note ___|  |
>       do we need this since rests         |__ repeat sign
>       are implied anyway?
>
>
>Now, how do we do triplets?  Use 3, 6, ...  What about when one
>of the triplets is a rest?  Could we use
>
>			-33 yeah. 3-3 --3--3--3- -3 3--
3--3--3--    
>
>Also we may want accents. notice the (random) accents. No apostrophe' but ,
 also notice better repeat sign.
 As you did with the open hihat line, it may be a good idea to add lines if 
necessary, or just let the note hang above the top line.
doei,
ill
From: uslave@mcl.ucsb.edu (Sir Prize!!!)
Newsgroups: rec.music.makers.percussion
Subject: Re: usernet notation WE NEED IT
Keywords: pada-dada-dadam
Date: 25 Jan 93 05:21:42 GMT

In <s0730076.10.0@let.rug.nl> s0730076@let.rug.nl (W.J. van de Vis) writes:

>Hi. As I am a fairly new user, I donno if you already developed some sort of 
>usernet notation system. If not, let's do it! 

Here's sort of the notation I've always used:

4/4   d = 120  (or whatever)

	 | 1 + 2 + 3 + 4 + |
---------|-----------------|
crash    | x . . . . . . . |
hi-hat   | . . x x x 0 x x |  0 = open
1 tom    | . . . . . . . . |
2 tom    | . O . . . . . . |
snare    | . . O . .o. O . |  o = ghost stroke
3 tom    | . . . . . . . . |
bass     | O . . . O O . . |

....or something like that.  Don't really have to have a formal music staff
or anything, and you can add in any special percussion you want to when you
need to, and it's pretty straightforward and wasy to read.


*        *      *     *     *    *   *  *  * * ** ** *** **** ****** *********
   Jesse Chang  (Sir Prize!!!)            INTERNET:  uslave@mcl.mcl.ucsb.edu *
   "-.-- -.-- --.." "Technology - high, on the leading edge of life."  -Rush *
*         *       *      *     *    *   *  *  * ** ** *** **** ****** ********
Newsgroups: rec.music.makers.percussion
From: s0730076@let.rug.nl (W.J. van de Vis)
Subject: usernet notation WE NEED IT
Summary: help me make a adequate notation system
Keywords: pada-dada-dadam
Organization: Faculteit der Letteren, Rijksuniversiteit Groningen, NL
Date: Fri, 22 Jan 1993 12:48:53 GMT

Hi. As I am a fairly new user, I donno if you already developed some sort of 
usernet notation system. If not, let's do it! Of course following is not 
final form, just a suggestion! Any improvements, tips, suggestions (I am 
sure it could be a much better) mail.

   
  | xxxx-xxxx-xxxx-xxxx-xxxx-xxxx-xxxx-0------- hi hat close, crash
4 | ------------------------------------------- high tom
- | -----4---------4---------2-2--------------- snare
4 | ------------------------------2-2---------- floor for example
  | 2-2-----1-2-2-------4---------------------- bass

 1/x      one sixteenth 
 2        two   "       = one eighth
 4                      = one fourth
 0 crash    
Disadvantage: You can't put sth. in between the lines. Maybe bass should be 
under last line, and floor on it.
p.s. don't think I think this is fun playing, it is just a simple example 
right??!
How could I make a eighth-dotted-sixteenth?
help. After all we NEED a way to exchange fun rhythmes DON'T WE.
ciao, dear dearer dearest fellowdrummerboys! 

ill (In holland this name does NOT mean anything nasty.)
Xref: sparky rec.music.makers.percussion:501 rec.music.synth:20251
From: cook@bebop.esd.sgi.com (Doug Cook)
Newsgroups: rec.music.makers.percussion,rec.music.synth
Subject: DrumKAT 3.0 / HatKAT: question
Date: 22 Jan 93 23:16:19 GMT
Organization: Silicon Graphics, Inc.  Mountain View, CA

So, I just got my DrumKAT upgraded to 3.0 from 2.0, and I really like
all the improvements. Among the new features is the ability to use a
continuous foot controller, such as Drum Tech's HatKAT, to control the
high-hat sound.  This allows me to select between eight different
high-hat sounds, and also send out MIDI continuous controller info
based upon the position of the pedal.

My first inclination was to try a similar approach to what the 2.0
DrumKAT did; that is, to simply select between multiple sounds based
upon the position of the foot pedal *when you hit the pad*.  This
doesn't work particularly well, because on a real high-hat I can hit
the high-hat, THEN move the pedal, and the sound changes as I move the
pedal.

So my friend and I decided to try to use the continuous controller
output as well, and programmed his Kurzweil K2000 to set the
filter cutoff of the high-hat based upon the pedal position. This 
worked with some success; now the sound will actually change AS I 
move the pedal. It's still not optimal, though.

Obviously, the best sound is going to come from my real high-hat,
not from an electronic imitation, no matter how expensive or 
well-programmed. But the constraints of the recording work I'm 
doing right now require me to use MIDI, and I'd like to get a 
good sound that I can groove on with the HatKAT.

Has anyone else got experience with this? I'd love to hear 
suggestions.

	-Doug

Doug Cook, cook@sgi.com		Software Engineer	 Silicon Graphics, Inc.

"...Men ought to be treated well or crushed, because they can avenge themselves
of lighter injuries, of more serious ones they cannot..."	-Machiavelli
From: mhopper@cerl.gatech.edu (Michael A. Hopper)
Newsgroups: rec.music.makers.percussion
Subject: Re: usernet notation WE NEED IT
Keywords: pada-dada-dadam
Date: 22 Jan 93 18:37:25 GMT
Organization: Computer Engineering Research Lab, Georgia Tech.

In article <s0730076.10.0@let.rug.nl> s0730076@let.rug.nl (W.J. van de Vis) writes:
>Hi. As I am a fairly new user, I donno if you already developed some sort of 
>usernet notation system. If not, let's do it! Of course following is not 
>final form, just a suggestion! Any improvements, tips, suggestions (I am 
>sure it could be a much better) mail.
>
>   
>  | xxxx-xxxx-xxxx-xxxx-xxxx-xxxx-xxxx-0------- hi hat close, crash
>4 | ------------------------------------------- high tom
>- | -----4---------4---------2-2--------------- snare
>4 | ------------------------------2-2---------- floor for example
>  | 2-2-----1-2-2-------4---------------------- bass
>
> 1/x      one sixteenth 
> 2        two   "       = one eighth
> 4                      = one fourth
> 0 crash    


I think this is a good start on a drum notation.
Here is a pattern I was playing around with last week.
It should be viewed as a pattern to build up speed in
the right hand, and precision/accuracy when hands and/or
feet are to play together.

                                        ^    -- ^ means open hi hat
  |0-xx|x-xx|x-xx|x-xx|x-xx|x-xx|x-xx|x-x-| |-- hi hat close, crash
4 |----|----|----|----|----|----|----|----|.|-- high tom
- |----|4---|-1--|2.-1|----|4---|-1--|2-11|.|-- snare
4 |----|----|----|----|----|----|----|----| |-- floor for example
  |4---|----|2-2-|----|4---|----|2-11|-2.-| |-- bass

                                        ^  ^
       notice the dotted eighth note ___|  |
       do we need this since rests         |__ repeat sign
       are implied anyway?


Now, how do we do triplets?  Use 3, 6, ...  What about when one
of the triplets is a rest?  Could we use

			-33

Also we may want accents.

-Mike

-- 
| mhopper@cerl.gatech.edu |   ' ) ) ) o  /_       ' )  /   ROLL TIDE !!!
| Office: CRB 388         |    / / / /  /\_) __    /__/______   _   __  __
| Phone: (404) 894-9111   |   / / (_/\_/  \_/_/_  /  / (_) /_)_/_)_/_/_/ (_
| Home:  (404) 723-1718   | ALABAMA: 1993 Nat'l Champs    /   / how Sweet it is!
Newsgroups: rec.music.makers
From: wb@tornado.kodak.com (wb@tornado.kodak.com)
Subject: MAC SE 4/20 FOR SALE
Organization: Digital Equipment Corp. (Telstar), Rochester, N.Y. 14653
Date: Thu, 21 Jan 1993 15:55:26 GMT



 I have a little used SE for sale. It has a 20Mb disk drive.
 It has 4 megabytes of RAM and a lot of useful software.

 Price: $650 which includes shipping.

Great for MIDI!

 Thanks for considering my post.

 -------------------------------------------------------------------
Wendell Bigelow, Software Engineer
Office Imaging			
Printing Systems Electronics
Eastman Kodak, Rochester New York
Internet: wb%tornado@tornado.kodak.com
-------------------------------------------------------------------
From: torsten@daimi.aau.dk (Torsten B. Hagemann)
Newsgroups: rec.music.makers
Subject: Re: Mic setup for whistling?
Date: 21 Jan 93 12:55:11 GMT
Organization: DAIMI: Computer Science Department, Aarhus University, Denmark

kjs@gvgdsd.GVG.TEK.COM (Kevin J. Shuholm) writes:

>In article <1993Jan14.182820.28276@pony.Ingres.COM> jonb@ingres.com writes:
>>Ok, here's a weird question: has anybody had any experience with, or
>>does anyone have any opinions on, the best way to whistle into a mic?

>I used to whistle into a mic occasionally.  My set up was an SM58 on a
>stand.  I found it worked best to either turn a little bit to the side
>or whistle over the top.  The trick seemed to be to get the sound close
>to the mic, but without whistling directly into it.  Otherwise, wind
>noise would be a problem.  So try a few different "mouth to mic angles".
>Good luck.

>Kevin

Fine, as long as it is close-up miking. In a studio I would rather prefer a 414
a couple of feets distance ... 
Torsten
--
_______________________________________________________________________________
Torsten B. Hagemann                                            Arhus University
Computer Science Dept.					       Denmark, Europe.
_______________________________________________________________________________
Xref: sparky rec.music.makers:12055 rec.music.makers.guitar:1514 rec.music.synth:20223
From: barothwe@pobox.cca.cr.rockwell.com
Newsgroups: rec.music.makers,rec.music.makers.guitar,rec.music.makers.synth.guitar,rec.music.synth
Subject: OK... Maybe I need a Sans Amp, too.
Date: 21 Jan 93 18:42:35 GMT
X-Received: by usenet.pa.dec.com; id AA13488; Thu, 21 Jan 93 10:43:08 -0800
X-Received: by inet-gw-2.pa.dec.com; id AA18720; Thu, 21 Jan 93 10:43:03 -0800
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	id AA06735; Thu, 21 Jan 93 12:42:36 -0600
X-To: rec.music.makers.usenet, rec.music.makers.guitar.usenet,
        rec.music.makers.synth.guitar.usenet, rec.music.synth.usenet
X-Mts: smtp


  Does anyone have a Sans Amp for sale?

Thanks. (Please reply directly to my email address shown in my sig)

===============================================================================
  Bruce Rothwell                            \ /~~~~~~\     Opinions expressed
  barothwe@floyd.cca.cr.rockwell.com         X        )    are mine, but they
  Rockwell Int'l - CCA                      / \______/     might be shared by 
  Cedar Rapids, IA 	                                        multitudes !!
===============================================================================
Xref: sparky rec.music.makers:12050 rec.music.synth:20220 rec.music.makers.synth:1660
From: lhep_ltd@uhura.cc.rochester.edu (Leonidas Hepis)
Newsgroups: rec.music.makers,rec.music.synth,rec.music.makers.synth
Subject: Re: Compare DOD822XL, Ross RCS802 and Mackie 1202
Date: 21 Jan 93 22:11:20 GMT
Organization: University of Rochester - Rochester, New York

A while ago I asked for info on 3 mixers (or suggestions on any other 
mixers that are in the same price range.)

>DOD 822XL                  Ross RCS802                Mackie 1202
>-------------------------------------------------------------------------
>$300                       $419                       $315

Everyone who replied did so to praise the Mackie!  It is available for
$319 from Sweetwater Sound (1-219-432-8176).  If you call, ask to talk
with John Hopkins; believe me, he's the type of representative you
want to talk with (helpful, knowledgeable, polite, patient etc.)

Thanks to everyone who replied.  

-leo

PS. Someone made me an offer for his used Mark of the Unicorn mixer 7S
but never replied to my e-mails.

-- 
How can I believe in God when every time I get kicked in |Leonidas Hepis
the pants it hurts ALL THE WAY UP TO THE SPLEEN ?! When  |
that happens to me I see NO Intelligent Divine Designer! |lhep_ltd@uhura
I see chaos and stars and birds flying around my head :) |.cc.rochester.edu
Newsgroups: rec.music.makers
From: elee@cayley.uwaterloo.ca (Salty Freckles)
Subject: Re: Musical Notation Questions
Organization: University of Waterloo
Date: Sat, 23 Jan 1993 17:54:24 GMT

In article <1993Jan22.222831.29921@zia.aoc.nrao.edu> awkerr@zia.aoc.nrao.edu (Alan Kerr) writes:
>NO, RIGHT!  an accidental on an 'A' affects *all* A's.  That's Music
>Theory Law (or whatever you want to call it).  If you want to be kind
>to the musician, you *should* mark all the other A's, but it is not
>needed.  personally, I've never liked this 'rule' and it *has* caused
>me to make errors while transcribing to a new key. :-(

It's been a while since I've done anything related to Music Theory but from
what I remember, the accidental on a note only affects that same note in the
*current* measure. In the next measure, the accidental doesn't affect that
note anymore, so it has to be written in again for every measure. If the
accidental affected *all* notes like you say, it might as well be in the key 
signature.

>Alan W. Kerr                               awkerr@aoc.nrao.edu
>National Radio Astronomy Observatory       awkerr@nrao.bitnet
>Socorro, NM, USA                           uunet!nrao.edu!awkerr

Gene Lee
elee@descartes.UWaterloo.ca
From: tmis1692@altair.selu.edu
Newsgroups: rec.music.makers
Subject: RE: Bar band set lists - your area
Date: 28 Jan 93 11:38:09 -0600
Keywords: bar band, set list, your area
Distribution: world
Organization: Southeastern Louisiana University

By request, I will summarize the bar band set lists by region and I will post
the results to the list so get your set list in to me at TMIS1692@selu.edu

Thanks,

Kevin Calmes - TMIS1692@selu.edu       Lead Guitar/Vocals "Shaken Not Stirred"

Newsgroups: rec.music.makers
From: com@spacsun.rice.edu (Chris Miller)
Subject: Re: PROPOSAL: rec.music.makers.lyrics
Reply-To: com@spacsun.rice.edu (Chris Miller)
Organization: Dept. of Space Physics, Rice University, Houston TX
Date: Mon, 25 Jan 1993 18:32:39 GMT

In article <C1F6D9.AtC@well.sf.ca.us>, roy@well.sf.ca.us (Roy Harvey) writes:
|> 
|> I would like to recommend that a REC.MUSIC.MAKER.LYRICS group be started.
|> The purpose of this group would be to disseminate and discuss song lyrics.

I would prefer a group called REC.MUSIC.MAKER.VOCAL in which lyrics was part
of what was discussed.

-- 
Christopher Owen Miller | Until I see, I won't believe, show it to me,
com@spacsun.rice.edu    | I want to see your halo.    --alt.rct
Newsgroups: rec.music.makers
From: pbecker@gravity.gmu.edu (peter becker)
Subject: Marshall 8040 Amp for Sale
Summary: 40-watt Valvestate combo
Organization: George Mason University, Fairfax, VA
Distribution: usa
Date: Thu, 21 Jan 1993 17:02:39 GMT

FOR SALE:

Marshall 40-watt Valvestate combo amp, model 8040.

Tube preamp, solid-state Valvestate power amp, one 12 inch
Celestion speaker, channel switching, reverb, effects loop,
line out, independent 3-band eq per channel, independent
volume control per channel.  In original factory box, with
warranty card and manual, and footswitch for channel switching.
Sounds great, and doesn't break your back to carry it around!

In perfect condition, hardly used, $400 plus shipping.

Why am I selling it?  I just started a new job at GMU, and
don't find the time to play enough to justify keeping it.

Pete Becker

pbecker@gravity.gmu.edu

-or-

pbecker@ossegm.gmu.edu

1-703-993-3619

Newsgroups: rec.music.makers
From: cliff@engin.umich.edu (clifford  kaminsky)
Subject: Musicians wanted in Ann Arbor, MI
Organization: University of Michigan Engineering, Ann Arbor
Distribution: mi
Date: Wed, 27 Jan 1993 15:50:47 GMT

I've been trying for a long time now to get a band together in Ann Arbor.
I'm looking for just about everything:
Percussion
Guitar
Bass

Optional:
Keyboards
Sax
Trumpet
Trombone

IF you are interested in creating some mainstream or alternative rock
music and live in the Ann Arbor area, please drop me a note.
Thanks.

-Cliff

Newsgroups: rec.music.makers
From: mtvfb@rivm.nl (Fokke de Boer)
Subject: Re: Musical Notation Questions
Organization: Rijksinstituut voor Volksgezondheid en Milieuhygiene,Bilthoven,NL
X-Newsreader: TIN [version 1.1 PL8]
Date: Fri, 22 Jan 1993 13:01:24 GMT

Jon Berger (jonb@Ingres.COM) wrote:
: In article <1jn8b5INN3pc@west.West.Sun.COM>, flloyd@l1-a.West.Sun.COM (Fred Lloyd [Phoenix SE]) writes:
: >
: >I'm teaching myself to read music, with the help of a couple of
: >(paperback) books.  Recently, I've come to wonder about the following:
: >
: >
: >1.  What does it mean when an accidental b or # is enclosed in
: >     parenthesis?    As in: (#)    As far as I can tell it means
: >     that the symbol wasn't really needed but was shown anyway
: >     to remind you.

: Precisely correct.  It's often used when a note has been modified with
: an accidental in a previous measure, as a reminder that it isn't any more.

Or, when the same note an octave higher or lower is modified, but the current
NOT. This happens quite frequently in "modern" music.

: As far as I've ever been able to tell, there are no rules for when the
: parenthetical accidental is or isn't to be used, but you'll often see them,
: for example, when a piece has modulated into a different key for a while,
: and is now back to the original key; whatever notes had to be changed in
: favor of the new key are often indicated as not being modified any more,
: because it's easy to forget.

: >2.  When you come upon an accidental on, say, A3, are the other
: >     A's in the staff also affected?  How about the A4, A5, etc?

: Yes to all questions.

NO, WRONG! If you want those raised too, you should add accidentals to ALL notes
affected. Unless of course you are referring to accidentals "up front" (I don't
know how you call it, but the first signs of the piece, right after the clefs).
They affect all A's. (or whatever note is meant to be affected)

--
I am:   Fokke de Boer
EMAIL	mtvfb@rivm.nl
SNAIL	RIVM, dep. MTV, PO Box 1, 3720 BA Bilthoven, The Netherlands
PHONE	(..31) 30 743530 
FAX		(..31) 30 250740
From: hlh5721@zeus.tamu.edu (JIMI HENDRIX)
Newsgroups: rec.music.makers.bass
Subject: Re: Types of bass
Date: 27 Jan 1993 01:56 CST
Organization: Texas A&M University, Academic Computing Services
Distribution: world
NNTP-Posting-Host: zeus.tamu.edu
News-Software: VAX/VMS VNEWS 1.41    

In article <1993Jan26.181459@cs.man.ac.uk>, peterw@cs.man.ac.uk (Peter Wake) writes...
>I see people writing about Jazz basses and Precision basses...
>Apparently there is some sort off classification.
>Can someone explain it to me?
> 
>I have heard mention of 'standard Jazz bass controls': pickup levels
>and tone vs pickup balance and volume?  I would suppose that there are
>stereotypical pickup types and layouts too.
> 
> 
>What's what in the world of jargon?
>--
>Peter Wake


Jazz and Precision basses are two types of basses made by Fender.  The Precision
bass is your industry "standard" that has a single split-design precision 
pickup.  It looks like two four-poled pickups places next together slightly
offset.  This design is good for eliminating hum and excessive noises.  Because
the Precision bass only has one pickup, the range of its tone is limited 
compared to other models.  The Precision has a volume and a tone control and 
a relatively wide neck.

The Jazz bass Has two single coil pickups that are mounted at the bridge and
neck position.  They are not as "clean" as the precision pickup and have their
own distinctive sound.  They are controlled by two volume knobs and a tone knob.
Each volume knob sets the gain for a specific pickup and the tone knob sets
the overall tone of both pickups.  When both volumes are set at the same level,
you get a dual coil "precision" effect that cuts out noise.  The Jazz bass also
comes with a much narrower neck than the precision.

Ther is no "better" of the two it is just a matter of which one suits your needs
best.  I replaced my precision with a Jazz recently and find it more 
accomodating to my needs but enjoy playing my Precision occasionally too.
You can also get a "hybrid" bass that has a precision pickup in the neck pos.
and a jazz pickup in the bridge position.  These are said to offer the best
of both worlds (clean neck pickup with a "dirty" bridge pickup) but I have
never played one.  Fender calls theirs the "Jazz Plus" and also has other
models.







LEE HUDDLESTON,                 
Texas A&M University,
College St. TX

"This views expressed are mine and are not necessarily those of
  Texas A&M University, its faculty, staff nor students"

Newsgroups: rec.music.makers.bass
From: stjunior@cwis.unomaha.edu (Donald R. Harrold)
Subject: Re: Madonna's bassist on SNL last weekend - type of axe?
Organization: University of Nebraska at Omaha
Distribution: usa
Date: Fri, 22 Jan 1993 22:10:51 GMT






was it just me, or was he playing out of tune on the second song?
From: silver.e@zooid.guild.org (Eric Silver)
Newsgroups: rec.music.makers.bass
Subject: Re: Tapping Lesson#1 and editor-at-large
Date: 23 Jan 93 07:16:32 GMT

From: doug@merlin.telcom.arizona.edu (Doug Wellington USGS)
>First off, I want to say THANKS Ian!  I'll go home and work on that
>stuff tonight.
>
>The need for an editor/coordinator was mentioned.  I would be happy
>to volunteer for that function.  I am signed up for both this group
>and The Bottom Line and can transfer info both ways.  I'll also
>check to see if we can use the FTP site for lesson storage.  If we
>get enough lessons together, we can submit them to the Usenet University
>as well.
>
>Anybody out there want me to work up a slapping and popping lesson?  I
>also have a write-up on learning scales and modes which I've been meaning
>to post.  How do all of you want that, in one big chunk, or in a lesson
>at a time, say, first Major (Ionian) mode, then Minor (Aeolian), then
>Mixolydian, etc or do you want it all together?
>
>Let's keep this ball rolling!
>-Doug
>doug@arizona.edu

I look forward to your posting. Please send both of the above A.S.A.P.

Eric Silver - York, Upper Canada.

Newsgroups: rec.music.makers.bass