HDTenEightyP/NetNews huggingface dataset:
X-Mailer: LeeMail 1.2.4
Newsgroups: bit.listserv.emusic-l
Date:         Fri, 2 Oct 1992 09:14:14 EST
From:         Larry Larraga <larry@TAQUITO.CNS.UDEL.EDU>
Subject:      RE>Vintage Synth Re-issues
Comments: To: Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>

 >What would your list of re-issues look like?

I've often fantasized of a Chroma, but with the expansion built in -
y'know the whole other 16 voice section without a keyboard that used
to fit on top of the Chroma.  MIDI'd, of course.

I'd also like a Sequential T8 with more voices, like a T16 or a T32!
With up to date MIDI master controller features.  Yeah, that's the
ticket!

 >Would you buy them?

Nah.  I'm saving for multiple Casio SK-1s with Serge Samples
loaded...  Darn, forgot I can't turn 'em off again...

Larry
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Mon, 5 Oct 1992 09:49:00 EDT
From:         Mario Vergona <MARIO@BKLYN.BITNET>
Subject:      8/16 bit

hi,
    I do not care particularly about sine waves of the co-sine of
the tangent of the pi root definitions of the sample rate: The bottom
line is this I bought a synth which sounded very good to me and was
8 bit sampled. After a short time I bagan to notice things, the piano,
amoung other sounds, had a static/break up in certain registers, the
recording of cerain things didn't sound as good as I wanted them to
be. I eventually traded that synth in (a K1) because as time went on
the sound bothered me more and more. I got the K4, which is 16 bit,
and there is a real great improvement in the sound quality. It is true
that you can cover up these 8 bit sample break ups with reverb, as Kawai
must have realized and now includes reverb on the K1-II, but 16 bit
sound makes a difference in dry applications.
                                             m
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Subject: (no subject given)
Original-From: wbf@alux2 (Fox)
Newsgroups: bit.listserv.emusic-l
Date:         Mon, 5 Oct 1992 09:56:00 EDT
From:         wbf@ALUX2.ATT.COM

Subject: Re: cheap vinyl?

Hi Dana,

	If you are planning to send out demos, let me suggest that you
consider sending out cassettes instead of 45s or CDs.  Reasons:

	1. Convenience for the record company execs and screeners.  They
all have cassette machines in their homes, offices, and cars.  If you
make it difficult for them to listen and evaluate your demo, it'll be
trashed.  You may be trying to get their attention by having a uniquely
packaged demo, but convenience will win out.  P.S.  Use normal bias tape
and either Dolby B noise reduction or none at all.  Whatever you do,
CLEARLY MARK YOUR DEMO with your name, address, phone number, song
title(s) (limit to three usually), tape formulation (Normal, CrO2,
Metal), and noise reduction choice.  (Mark it NO NOISE REDUCTION if that
was your choice.)  All this must be on the label because there is a good
chance that your demo's envelope and lyric sheet can get separated from
the tape.  In fact, I'd count on the envelope being trashed as soon as
the secretary or screener opens it!

	2. Cost.  Obviously, the lower your cost of duplicating your
demo, the more of them you can send out.  (If you duplicate your demo in
real time, you can also control its quality.)

	Whatever you do, do your leg work first.  If you send
unsolicited material, it most likely will be trashed without a listen as
you fear.  First try sending a letter with a self addressed stamped
postcard/market research survey that asks...
	1. Are you accepting (a) band demos (b) song demos (c) nothing
at this time (d) other?
		(i.e. Do they want artist or composer demos?)
	2. Style of music desired.  List them with a place for the execs
to check off all that apply.  (There's that convienience issue again!)
You don't want to waste your time and money sending techno demos to
execs wanting country!
	3. Format preferred: LP, Cassette (Tape formulation, noise reduction),
45, CD, DAT, open reel (7" or 5"; noise reduction, speed, tails in/out)
	4. Song and time limits to the demo.
	5. Leave plenty of room for the execs to give you any other
requirements they may desire.

These are only a few questions to ask.  If you sit down and think things
through more thoroughly than my off-the-top-of-my-head survey questions,
you'll come off a LOT more business-like than 99% of the people sending
out demos.  THIS IS A BUSINESS - NOT ART to labels and publishers.  All
they want is a hit to make them rich.  They'll never get it unless YOU
write it and send it to them.  When you've wallpapered your living
room/personal studio with rejections, then you can say that you've made
the attempt!  And be business-like and professional.  They won't deal
with emotional artists unless they recognize your genius!

Bill
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Original_To:  BITNET%"EMUSIC-L@AUVM"
Newsgroups: bit.listserv.emusic-l
Date:         Mon, 5 Oct 1992 17:14:00 CDT
From:         Z3CBN@TTACS.BITNET
Subject:      ALESIS ADAT PROBLEM

Has anybody encoutered a sync problem with the ADAT?
A local studio tech. told me he had heared of one but was not specific.

Cliff
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Envelope-to: EMUSIC-L@AUVM.BITNET
X-VMS-To: IN%"EMUSIC-L@AUVM.BITNET"
Newsgroups: bit.listserv.emusic-l
Date:         Tue, 29 Sep 1992 20:38:00 EDT
From:         ROTHBART@ITHACA.BITNET
Subject:      Re: Electronic Music School

Give me a call at the Ithaca College School of Music, 607-274-3171.  I'm Peter
Rothbart, Director of the EMS here.  We've three studios, one intro analog
studio, another is a Mac based MIDI with SoundTools, SampleCell, Performer, DX
and TSX synths, a bunch of other Samplers, SMPTE lockup to video, etc.  Studio
A is Synclavier based, with FM and direct-to-disk recording.  We've four
electroacoustic courses offered on a regular basis, a variety of independent
studies including a lot of film scores done in conjunction with the
Communications School and a variety of internships available.  I'll be glad to
talk to you, or anyone else who is interested.  Peter
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Acknowledge-To: <S058990@UMRVMA>
Newsgroups: bit.listserv.emusic-l
Date:         Sun, 4 Oct 1992 23:38:48 CDT
From:         John Cobb <S058990@UMRVMA.BITNET>
Subject:      CONVENTIONS

I would be pleased to recieve a list of new-music conventions in the USA and
Canada. Please include addresses and e-mail addresses if they have one. If you
do not want to send through group please send to:
s058990@umrvma.umr.edu (internet)
or
s058990@umrvma (bitnet)
Please Help!
Thanks in Advance,
John Cobb
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Mailer: Elm [revision: 66.25]
Newsgroups: bit.listserv.emusic-l
Date:         Sun, 4 Oct 1992 21:39:17 EDT
From:         Keith Hall <khall@S850.MWC.EDU>
Subject:      Re: Oberheims: another post from the man with too many questions
Comments: To: "(Electronic Music Discussion List)" <EMUSIC-L@AMERICAN.EDU>

>
>  Can anyone tell meDoes anyone have an Oberheim Matrix-1000,
>  6, or ^6r? Can ould you tell me a bit
> about it (the 1000)/them? Is the 1000 actually analog or is it subtractive
> synthesis? Is it a module? (are the 6 and 6r modules as well?)     

I don't own a Matrix-1000 myself, but I do have a friend with one.  It
is a module and it is analog.  The catch here is the oscilators on this
unit are digital.  The sine waves are produced by digital oscilators and
from there the unit is all analog.  The benefit of this is that there is
little of a tunning problem which Voltage Control Oscilators have.  So
as with many old analogs you must constantly tune the machine (if there
is no self-tuning algorithim). I believe it has 16 voices, but with most
old analog units (this is not actually that old) it is capable of only
playing one patch at a time (not multitimberal).  The sounds are really
nice, but be ware, you have to edit them through midi software.  That
means you must buy a software package (I think it must be purchased) for
your computer and use it to edit and create the sounds. This takes away
from the beauty of most analog units where you can simply turn a knob to
open a filter.  But the sounds truely are full, fat, whatever you like
to call it.

Dana, hope you have luck finding a nice analog machine, I'd like to pick
one up soon.  I'm glad to see someone else is interested in TECHNO.  I
love the stuff.  I try to catch all the RAVES in D.C..


Keith Hall
khall@s850.mwc.edu
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Mon, 28 Sep 1992 13:59:35 +0100
From:         "(Adam Mirowski)" <mir@CHORUS.FR>
Subject:      Re: Think C-MIDI i/o
Comments: To: EMUSIC-L@AMERICAN.EDU

>>>what the heck is a semaphone?
>>
>>A mis-spelled semaphore.
>
>Hm. Hey, this could be the name of a new instrument! Some sort of
>two-sound synthesiser? Two-positioned synthesiser? Ideas please! ( ( :-) )

A synthesizer with half-decent sounds.
Or a typo on suzaphone (I am not sure *that* spelling is right).

--
Adam Mirowski,  mir@chorus.fr (FRANCE),  tel. +33 (1) 30-64-82-00 or 74
Chorus systemes, 6, av.Gustave Eiffel, 78182 Saint-Quentin-en-Yvelines CEDEX
From: HARNDEN@AMERICAN.EDU (ronin)
Newsgroups: bit.listserv.emusic-l
Subject: Re: Roland sampler question
Date: 6 Oct 92 16:18:29 GMT
Organization: The American University
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU

just what do you mean by 'support' anyway? this isn't a piece of
windows software that requires constant tweaking and upgrading just
to work properly. there are many people around who can service it if
goes wonky. sheesh... i've still got my old arp and prophet going.
if the machine serves your needs, hang on to it. using electronic
intstruments isn't like driving a car, where you just gotta have the latest
model or you just ain't hip. if you can dig it, keep it.

-----------< Cognitive Dissonance is a 20th Century Art Form >-----------
Eric Harnden (Ronin)
<HARNDEN@AUVM.BITNET> or <HARNDEN@AMERICAN.EDU>
The American University Physics Dept.
4400 Mass. Ave. NW, Washington, DC, 20016-8058
(202) 885-2748
---------------------< Join the Cognitive Dissidents >-------------------
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Fri, 2 Oct 1992 00:20:33 CST
From:         Rod Lemcke <LEMCKERO@MAX.CC.UREGINA.CA>
Subject:      XOR profile wanted!!! Please...

Does any body out there have a profile for the Alesis D4 drum module.  The prof
ile is for the DR.T's XOR on the Amiga.  Please reply if you can help me.  I
would be MORE than thankful and dp my best to return favor.


                                                            Thanks...
                                                                      Rod L.
            By the way I'm not on the emusic-l echo
                     you can reach me on synth-l
                                                   ...THANKS!
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Apparently-To: emusic-l@american.edu
Newsgroups: bit.listserv.emusic-l
Date:         Thu, 1 Oct 1992 22:04:02 EDT
From:         Eirmkur Hallgrmmsson 01-Oct-1992 2205
              <eirikur@RANGER.ENET.DEC.COM>
Subject:      Vintage Synth Re-Issues
Comments: To: team@ranger.enet.dec.com
Comments: cc: eh@ranger.enet.dec.com, emusic-l@american.edu

You know, playing around with a Fender synth. has made me think about applying
their vintage guitar re-issue concept to synth marketing.....

I get the feeling that Roland could make some money with a TR-808 reissue.  Put
MIDI on it, just to differentiate it from the original (which would still be in
demand).

Ok.  TR-808, what else?

Roland D-50  (mucho temptation to ask for cleaner PCM and a few other things)

Moog MiniMoog
Moog Taurus pedals (original, not II)
Moog PolyMoog
			add MIDI to all of the above

Elka Synthex		HAD MIDI, even then.

Rhodes Chroma, but not the Polaris  (has parallel port, MIDI could be external)

Gleeman Pentaphonic?  (Now I'm getting silly)

What would your list of re-issues look like?  Would you buy them?
Of the above, I'd probably buy the Synthex, and the Taurus. I have a Chroma,
and I don't do House :-)

Just to play devil's advocate against my original TR-808 example, the markup,
which is to say profit, on selling ROM cards of TR-808 sounds, is probably
higher than selling a re-issue of the hardware (software is more profitable),
and this way they can still demand top dollar for this year's features in the
drum machine, and stay competitive.

Eirikur
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
From: metlay@NETCOM.COM ((metlay))
Newsgroups: bit.listserv.emusic-l
Subject: The Matrix-1000
Date: 5 Oct 92 16:40:33 GMT
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Mailer: ELM [version 2.3 PL11]
Comments: To: "(EMUSIC-L)" <emusic-l@auvm.american.edu>

Keith's data on the Matrix-1000 are essentially correct, Dana,
except for the polyphony. It is a six-voice unit, not a sixteen-voice.

The amount of circuitry per voice for a true analog machine has
prevented any synth so far from breaking the twelve-voice barrier.
Most affordable units have either six or eight voices. If you want
to learn how to program analog, I suggest a machine with a front panel,
like a Juno 106 or better yet a Chroma Polaris.

--
metlay            | and she's a master of return hitting
atomic city       | giving rhythm to her posts
                  | so you read her and think hey it sounds good
metlay@netcom.com | and wish her posts had a soundtrack too    (f. ercolessi)
From: xrjdm@CALVIN.GSFC.NASA.GOV ((Joseph D. McMahon))
Newsgroups: bit.listserv.emusic-l
Subject: Chaos in Composition
Date: 5 Oct 92 21:32:18 GMT
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Mailer: ELM [version 2.4beta PL13]
Content-Type: text
Content-Length: 1266
Comments: To: "(Electronic Music Discussion List)" <emusic-l@auvm.american.edu>

The 3rd-quarter issue of the Computer Music Journal has an interesting article
"Chaotic Systems as Simple (but Complex) Compositional Algorithms". This
article gives a good overview of methods for using both iterated maps and
continuous-flow simulations to provide raw material for compositions.
A number of clearly-written and well-commented C programs are included,
alog with graphical "scores" of sample outputs. The Henon attractor, the
standard map, the Lorenz butterfly, and the Henon-Heiles gravitational
field simulation are all given as examples, along with ideas on mapping two-,
three-, and four-dimensional chaotic systems into music.

I heartily recommend this article to anyone who's interested in adding
chaotic processes to their compositional toolbox. I'm hoping to write
some special-purpose code to allow me to set these systems in motion
and listen to and perturb them in real time. I see lots of wild applications
for this stuff. How about a running system  whose parameters are under
continuous realtime control via a PowerGlove or other interesting
continuous controller? How about installations which monitor something
in their environment to changes the iteration parameters in real-time?
Lots of good possibilities here.

 --- Joe M.
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Envelope-to: emusic-l@auvm.BITNET
X-VMS-To: IN%"emusic-l@auvm"
X-VMS-Cc: SBREWST1
Newsgroups: bit.listserv.emusic-l
Date:         Mon, 5 Oct 1992 10:58:00 EDT
From:         Toad the wet sprocket <SBREWST1@ITHACA.BITNET>
Subject:      Roland sampler question

Hi everyone!

I just joined this listserv and I've got a question about an old friend of
mine, the Roland S-10 sampler.  I heard it's been (*gasp*) discontinued.  If
this is indeed the case, I'd like to unhand this sampler because, frankly, if
I can't get support for it, I might as well get a newer, more innovative/recent
model.  I, however, am not sure which sampler to buy.  I wonder, should I stick
with Roland, move "up" to Korg, Ensoniq or Yamaha?

Any suggestions/comments, especially in light of this 8/16bit sampling rate
discussion, would be quite welcome.  Thanks.

-*   Scott

---------------
SBREWST1@ITHACA
Scott  Brewster
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Mailer: ELM [version 2.3 PL11]
Newsgroups: bit.listserv.emusic-l
Date:         Mon, 5 Oct 1992 07:30:54 EDT
From:         "(Derek Burney)" <burney@TURING.SCS.CARLETON.CA>
Subject:      Re: 8 bit vs. 16 bit
Comments: To: EMUSIC-L@AMERICAN.EDU
              Oct 4, 92 9:58 pm

Just a quick addition to the question of sampling quality.

Although the number of bits used to represent the data matters a
great deal, the rate matters as much, if not more.

You always need to sample at a rate twice that of the highest frequency
you want to hear. That's because the sampling algorithms require two
sample points before they can determine the frequency, so if you want
to get a note that is 20k for instance, you need to be sampling at least
at 40k (again for numerical convenience) for the algorithm to find the
frequency.

One more thing...

One reader mentioned that "sound quality" is subjective since noise to
one person may be preferable to someone else. I beg to differ. While
an individual may prefer to have noise in a particular sample, it's still
a sample of lesser sound quality than a cleaner one. All other parameters
being equal, 16 bits will always return a better sample than 8.

Cheers,
Derek Burney
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Sat, 3 Oct 1992 21:41:02 +0000
From:         Nick Rothwell <cassiel@CASSIEL.DEMON.CO.UK>
Subject:      Re: Vintage Synth Re-Issues
Comments: To: EMUSIC-L@auvm.american.edu

>Roland D-50  (mucho temptation to ask for cleaner PCM and a few other things)

Hell, no. While I'm all for improved control and connectivity (e.g. adding
MIDI to an old synth, and/or racking it), "improvements" in the sound would
ruin the character. I like the D-50's grainy, hissy sound.

And remember: Roland did do what they saw as a D-50 improvement. It's
called the D-70. Would you trust them?

>What would your list of re-issues look like?  Would you buy them?

A reliable, functional VFX. Or: almost any of the boxes I have with good
MIDI. A multitimbral MKS-70 with working MIDI would be rather nice.

Nick.
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Sun, 4 Oct 1992 16:36:28 -0500
From:         William Flanagan <MWA210@UTDALLAS.BITNET>
Subject:      Re: 8bit vs 16bit?
Comments: To: Electronic Music Discussion List <EMUSIC-L@american.edu>
              4 Oct 1992 12:46:34 -0500 from <D_NIBBY@UNHH.UNH.EDU>

Dana-

go to the local computer store, and listen to the difference.  8-bit is
much less clear than 16-bit samples.

If you like, liken it to an 8-bit GIF and a 16-bit GIF.  What's the
difference there?  Well, one looks a whole lot better (more colors).
The same goes for samplers (more sound).

William
From: D_NIBBY@UNHH.UNH.EDU (Dana Nibby)
Newsgroups: bit.listserv.emusic-l
Subject: Re: Vintage Synth Re-Issues
Date: 3 Oct 92 21:08:12 GMT
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Mail-System-Version: <VAX-MM(284)+TOPSLIB(151)@UNHH.UNH.EDU>
Comments: To: EMUSIC-L@AMERICAN.EDU

Nick--

  From what VFX-SD owners have told me (and I know it's not in production
anymore) the VFX-SDI + VFX-SDII are very reliable. While yes, the original
VFX wasn't so reliable. So why not pick up a used VFX-SD?


  Dana
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Fri, 2 Oct 1992 09:41:00 EST
From:         "(Robert Depin)" <DEPIN@TARGET.COM>
Subject:      RE>Vintage Synth Re-issues
Comments: To: EMUSIC-L@AMERICAN.EDU

How about an ARP 2500 or 2600 with a MIDI module ?  It would be nice to have the
ability to get back to the modules of a synthesizer.  Wanna go full modular -
how about a polyfuision (I think that's the name) rack system ?

I think the I'd be inclined to consider the ARP 2600 since it is smaller than
the 2500 and had the inter module connection already made.  Yet the 2500 is
definitely the more flexible.  It'd be interesting to see what type of patches
could be created on these with a MIDI keyboard providing, 8 channels of CV,
Trigger and Gate.

Bob
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.advanc-l
Date:         Fri, 2 Oct 1992 09:54:15 EDT
              <ADVANC-L@IDBSU.BITNET>
From:         jdunklee@DHVX20.CSUDH.EDU
Subject:      Statistics

Subject: Statistics

     Has anyone gotten meaningful statistics from ADVANCE for
collection management uses?  We need statistics for accreditation
reports and want to migrate from keeping collection size statistics
manually.  Any details you have about this please send to JDUNKLEE
@ DHVX20.CSUDH.EDU. or 800 E. Victoria Street, Carson, CA 90747

Subject: New Acquisitions Lists

     Does anyone use ADVANCE to get lists of new acquisitions by
HEGIS code?  Please send "how to" information to J. Dunklee
@DHVX20.CSUDH.EDU
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.advanc-l
Date:         Wed, 30 Sep 1992 16:39:39 EDT
Reply-To:     "AUTOCAT: Library cataloging and authorities discussion group"
              <AUTOCAT%UVMVM.BitNet@pucc.princeton.edu>,
              Frederick Pohl <T6IY%CORNELLA.BitNet@pucc.princeton.edu>
              <ADVANC-L@IDBSU.BITNET>
Comments:     Warning -- original Sender: tag was turitz@SFSUVAX1.SFSU.EDU
From:         Frederick Pohl <T6IY%CORNELLA.BitNet@PUCC.PRINCETON.EDU>
Subject:      Cataloging in Acquisitions

I am posting this message for someone who is not an Autocat subscriber.  Please
reply directly to:  William J. Kara, Acquisitions Librarian, Albert R. Mann
Library, Ithaca, NY 14853-4301; (607) 255-7953; EEUY@cornellc.bitnet *or*
EEUY@cornellc.cit.cornell.edu

"Mann Library's Acquisitions Librarian, Bill Kara, is interested in hearing
from other libraries where some cataloging is completed during acquisitions
processing.  Please contact him at [see above]."

Thanks in advance to all who may respond.
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Mailer: ELM [version 2.3 PL11]
Newsgroups: bit.listserv.advanc-l
Date:         Fri, 2 Oct 1992 16:05:43 PDT
              <ADVANC-L@IDBSU.BITNET>
From:         Mitch Turitz <turitz@SFSUVAX1.SFSU.EDU>
Subject:      Re: Statistics

>
> >
> > Subject: Statistics
> >
> >      Has anyone gotten meaningful statistics from ADVANCE for
> > collection management uses?  We need statistics for accreditation
> > reports and want to migrate from keeping collection size statistics
> > manually.  Any details you have about this please send to JDUNKLEE
> > @ DHVX20.CSUDH.EDU. or 800 E. Victoria Street, Carson, CA 90747
> >
> > Subject: New Acquisitions Lists
> >
> >      Does anyone use ADVANCE to get lists of new acquisitions by
> > HEGIS code?  Please send "how to" information to J. Dunklee
> > @DHVX20.CSUDH.EDU
> >
>
> We would like to find out if anyone has come up with a sensible
> circulation statistical report by LC Classification.  We have recently
> migrated from CLSI, which gave a list by statistical categories (in
> finely broken-down class number ranges) defined by the library.
> ADVANCE does have a report by call numbers in very rough categories
> which is not very useful.  Short of entering the entire LC Class.
> scheme by hand, we are at a loss.  -- Hye Ok Park, CSU Fresno
>      	       	    	      	      hye_ok_park@CSUFresno.edu
>
In addition to the above, we would also like to come up with statistics
for cataloging by call number range (e.g. total number of titles deleted
from database in call number ...)



--
**********************************************
* Mitch Turitz, Serials Librarian            *
* San Francisco State University Library     *
* 1630 Holloway Ave., S.F., CA  94132        *
* Voice: (415) 338-7883  FAX: (415) 338-6199 *
* Internet: turitz@sfsu.edu                  *
**********************************************

As usual, should you or any of your opinions
be caught or killed, the library will
disavow any knowledge of your actions.
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU