HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.synth
Subject: Re: for sale: moog and guitar stuff
From: Andrea TONI <andrea@SIHP03.SI.ESTEC.ESA.NL>
Date: Wed, 14 Oct 1992 13:21:13 MET
Organization: ESA-ESTEC (European Space Research and Technology Center)Keplerlaan 1 2200 AG  Noordwijk (EUROPA)
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Phone:         Int +31 1719 83606
Fax:         Int +31 1719 84697
Mailer: Elm [revision: 66.33]
Comments: To: "('Redistribution of rec.music.synth')" <SYNTH-L@AMERICAN.EDU>

>
> F O R  S A L E:
>
> Music Stuff:
>
> moog Prodigy.
> yes, this is a real moog and it makes neat-o moogy noises.
> astound your friends by playing the cool keyboard part from "tom sawyer."

.. If I'm not wrong the part on tom sawyer is an Oberheim OB (X or A) ..
that sparkle all over the amazing "Moving Picture" !!

--
Ciao,
------------------------------------------------ENV---ENV---ENV----------------
 Andrea TONI (andrea@sihp03.si.estec.esa.nl) 	 |     |     |
 Planetary and Space 				VCO-->VCF-->VCA--> DUCATI 900SS
 Science Division (SI)				 |     |     |
------------------------------------------------LFO---LFO---LFO----------------
From: davei@comp.lancs.ac.uk (Mr D Ingles)
Newsgroups: rec.music.synth
Subject: Re: CAKEWALK for WIN???
Keywords: CKW
Date: 13 Oct 92 08:14:27 GMT
Organization: Department of Computing at Lancaster University, UK.

In article <1992Oct12.150935.8712@mnemosyne.cs.du.edu> gfini@nyx.cs.du.edu (Gianluca Fini) writes:
>Cakewalk for Win??? It exists ? I didn't know. Is it interesting I normally use
>MasterTrack Pro 4.5 or Finale as notator. Does Cakewalk Win include a notator??

Yes but only a very basic notator.

>Is it better then the two programs mentioned above? 

Not for notating ! It is however a very nice 'all round' package. It has 
built in sysex routines and a scripting language.

>Tell me something ... I knew Cakewalk was a Dos program!!!
>Can I find it in Italy or in Europe??

The demo of it should be still on ftp.cica.indiana.edu

Davei
From: dce@smsc.sony.com (David Elliott)
Newsgroups: rec.music.synth
Subject: Re: Dropouts in Hi-8mm
Date: 9 Oct 92 00:06:19 GMT
Organization: Sony Microsystems, San Jose, CA


In article <1992Oct8.161920.23010@leland.Stanford.EDU>, jay@cmn19.Stanford.EDU (Jay Kadis) writes:
|>                                                        I still get an  
|> average of one to two video dropouts on every 60 minute tape I've shot.   
|> I'm not convinced this would be enough to defeat robust error  
|> detection/correction algorithms, though.

It also depends on the distribution of the data on the tape.

If you have a large data block and you interleave your bits wide
enough, the dropout will only cover one bit, which can be corrected.

If, on the other hand, you actually write bytes on the tape as you go,
any dropouts will lose entire bytes, and you must deal with
(unacceptable, IMHO) concealment instead of correction.  This is also
true if the blocks aren't large enough to go around the dropouts.

Of course, these things are well-known in the digital tape world, so I
expect that all digital tape systems handle dropouts very well.

In other words, if dropouts cause problems, I don't expect to be able
to buy one of these units.

--
...David Elliott
...dce@smsc.sony.com | ...!{uunet,mips}!sonyusa!dce
...(408)944-4073
..."I take my arms and I wrap them around my art." - F
From: gjocc@brt.deakin.edu.au
Newsgroups: rec.music.synth
Subject: Cubase for Windows?
Date: 12 Oct 92 16:03:06 EST
Organization: C&CS, Deakin University
NNTP-Posting-Host: vax2.viccol.edu.au

Has anyone had a look at Cubase for Windows?
How does it compare to the Atari and Macintosh versions?
What MIDI interfaces are supported (Sound Blaster???)?
Will it run under OS/2 Windows emulation?

Greg O'Sullivan
(gjocc@brt.deakin.edu.au)
Newsgroups: rec.music.synth
From: jay@cmn19.Stanford.EDU (Jay Kadis)
Subject: Re: Dropouts in Hi-8mm
Organization: DSO, Stanford University
Date: Fri, 9 Oct 92 17:02:35 GMT

In article <1992Oct9.000619.4579@smsc.sony.com> dce@smsc.sony.com (David  
Elliott) writes:
> 
stuff deleted...
> 
> It also depends on the distribution of the data on the tape.
> 
> If you have a large data block and you interleave your bits wide
> enough, the dropout will only cover one bit, which can be corrected.
> 
> If, on the other hand, you actually write bytes on the tape as you go,
> any dropouts will lose entire bytes, and you must deal with
> (unacceptable, IMHO) concealment instead of correction.  This is also
> true if the blocks aren't large enough to go around the dropouts.
> 
> Of course, these things are well-known in the digital tape world, so I
> expect that all digital tape systems handle dropouts very well.
> 
> In other words, if dropouts cause problems, I don't expect to be able
> to buy one of these units.
> 


You are entirely correct, sir. (As Ed McMahon would say)  I just assumed  
that every digital audio recording system uses interleaving in addition to  
error detection.

Jay
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-VMS-To: IN%"synth-l@american.edu"
Newsgroups: rec.music.synth
Date:         Thu, 8 Oct 1992 09:06:00 EDT
From:         WSCOTT@ACS.WOOSTER.EDU
Subject:      Ensoniq DP/4 questions
Comments: To: synth-l@american.edu

I need some opinions from anyone who has spent time with the DP/4. I
spent some time in the local dispensary yesterday auditioning the DP/4
and then compared it to the LXP-1 and, in comparison, it did not sound
very good at all. On the other hand, I have read reviews that say that
the DP/4 compares with the very best reverbs. I want to know if I'm
missing something. I think I only got the DP/4 to give me two unit rather
than 4 unit effects, for example. But still, the sounds were no great
shakes. Any comments on excellent quality affordable reverb/effects would
be appreciated.

Bill Scott
Newsgroups: rec.music.synth
From: bmu@informatik.tu-chemnitz.de (Bert Mueller)
Subject: want to buy cakewalk
Organization: tu-chemnitz
Date: Tue, 13 Oct 1992 12:15:28 GMT

Hi,


is anybody outthere, who's sell me cakewalk for soundblaster or a copy of it ??

near $40.

bye

--
/\/\/\Bert Mueller (IRC: HEINI)\/\/\/\/\/||\/\<Enjoy the silence!>/\/
\/\/\/University of Chemnitz, Germany/\/\||/\/\==================/\/\
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/||\/\/\/\/\/\/\/\/\/\/\/\/\/
#############Bang: bmu@informatik.tu-chemnitz.de##############
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Re: Trans-X ??
Date: 10 Oct 92 19:03:00 GMT


There was only one legetimate Trans-X album ... Message on the Radio ..
The 'Terass' you refer to must be a bootleg.  In truth, there wasn't even an
actual Trans-X.  Trans-X is, actually a pseudonym used by Pascal Languirand
in order to differentiate the Trans-X HiNRG style from the Montreal 70's
space music style in which his first 3 albums are done.  Anyway, the first
album was a 1977 affair called 'Minos' (for which I get some engineering
credits, BTW).  Next, came (in my opinion, the best of all the Pascal
Languirand efforts) was "La Harmonia Universalia", which in places sounds
a lot like vintage 73-74 Tangerine Dream.  Finally, there was an album of
musical excerpts he composed for his father's (Jaques Languirand) CBC TV
show about mysticism and the occult.  The Trans-X album was the 4th.  Last year
Pascal returned to Montreal and his Space-electronics roots and did an album
called Gregorian Waves.  Apparently, this last effort has gotten quite a lot
of attention in New Age circles.  It's funny that Trans-X is probably his
musically weakest period.  It;s unfortunate that his only fortune (to date)
came as a result of that recording.  HiNRG, indeed.

John
Newsgroups: rec.music.synth
From: news@massey.ac.nz (USENET News System)
Subject: Emax FDD replacement, and upgrades
Organization: DSIR, Palmerston North, New Zealand
Date: Thu, 8 Oct 92 20:35:52 GMT

I have recently purchased an old Emax not an Emax SE or Emax II, AND I keep
getting random disk errors which I suspect to be caused by the now rather 
old disk drive. Therefore the problem is where do I get another, i.e. will a 
double sided 720K drive work etc. Also what upgrades are/were available

Thanks in advance

SiD
From: laut@alien.gici.com (Bill Laut)
Newsgroups: rec.music.synth
Subject: Re: My Apologies... HAH!
Date: 16 Oct 92 03:14:29 GMT
Organization: Gull Island Consultants, Inc.

In article <9210142116.AA08803@ucbvax.Berkeley.EDU>, JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes:
> 
> Ok.. Ok.. stop the hate mail.  I am not.. not.. any kind of zealot.  I have
> nothing against sex change opperations.  I have nothing against abortions.
> And, I am a Libertarian.  Oh, also, I really don't take myself nearly so
> seriously as other people apparently do.  So, lets just leave it at.. I'm
> sorry I offended anybody with my remarks concerning Wendy Carlos' gender
> change.... Geesh..
> 
> John

Holy cow!  All I asked was where was Wendy Carlos, and we ZOOM off into
sex change operations, political correctness, and Freudian psycho-terminology.

This newsgroup is hipper than "rec.comics.strips" when somebody dared to
wish Bil Keane happy 70th birthday! ;-).

-- 
Bill Laut			Internet:  laut@alien.gici.com
Gull Island Consultants, Inc.	Phone:     (616) 780-3321
Muskegon, MI  49440		>> "Usual disclaimers, apply within" <<
Newsgroups: rec.music.synth
From: gilstrap@calvin.sbc.com (Brian R. Gilstrap)
Subject: Re: Distancing Tools (was: Re: "Ethinc" Samples vs. Proteus 3)
Organization: Southwestern Bell Technology Resources
Date: Fri, 9 Oct 92 23:34:34 GMT

In article <1992Oct7.160155.29053@sal.wisc.edu>, rej@sal.wisc.edu (Randy Jones) writes:
|> John Rossi writes:
|> >If I had a vote on such things, I would be strongly in favor of incorporating
|> >the term 'distancing tools' into the OFFICIAL LEXICON OF MUSICAL SYNTHESIS.
|> 
|> But you do, good fellow, you do! Make it so.
|> 
|> If there's any Official Lexicon here, it's the one we're busy (implicitly?)
|> constructing. All we need to make it Really Official is someone to compile
|> it... not sure if I can be trusted with such a task, but I'll be happy to
|> submit definitions.
|> 
|> And, oh, can we nix "MUSICAL" from the title? Otherwise we may not be able to
|> include my works, and certainly not Five's. Unless we amend it to OFFICIAL
|> LEXICON OF MUSICAL AND HEAVILY PROCESSED PAIN SYNTHESIS... sigh.

Well, this may be pretty dumb, but: I'll compile this list.  NOTE: I will *not*
try to mediate the arguments that will result :-).

So, send me your term and it's definition.  Please feel free to send terms/
definitions that "everyone knows", since I'm almost completely self-taught and
probably *won't* know that term/definition.  Send them to: 
gilstrap@calvin.sbc.com (which should be the same as the sender-id for this
follow-up).

As a start:

.TERM: distancing tools
.DEFINITION: those sorts of things which can be applied to generated sound
engine (either a sample-based, wavetable based, or even simple oscillator
based), which allow a synthesizer to make the output sound significantly
different than the input.
.COINED BY: Dr. Nick Rothwell
.FIRST NOTED: 10-9-1992
.LAST CHANGED: 10-9-1992
.EXAMPLE USES: (1) The Wavestation hasn't got squat in the way of distancing 
tools. (2) The K2000 has the best distancing tools I've ever seen! (K2000
junkie starts drooling on the carpet)
.SEE ALSO: K2000 junkie

.TERM: K2000 junkie
.DEFINITION: someone who has lost all sense of proportion and believes the
K2000 is the definition of "good" for music/sound synthesis.
.COINED BY: Brian Gilstrap
.FIRST NOTED: 10-9-1992
.LAST CHANGED: 10-9-1992
.EXAMPLE USES: That guy?  Don't even bother.  He's a K2000 junkie.  All he
cares about is distancing tools.
.SEE ALSO: distancing tools

For the humor-impaired: I don't *have* an opinion on the Wavestation and I
*own* a K2000....now where are those asbestos undies of mine....(goes
rummaging).

By the way, the offer to collect the _Lexicon_of_Musical_and_Sound_
Synthesis_Terms_ is genuine.

-- 
Brian R. Gilstrap                      Southwestern Bell Technology Resources
gilstrap@calvin.sbc.com                550 Maryville Centre Dr.
Phone: 314-529-7639                    St. Louis, M0 63141          USA
Newsgroups: rec.music.synth
From: plate@cdsmn.mn.org (Doug Plate)
Subject: Re: Keyboard feel (was: Re: CZ101 for sale)
Organization: Dicomed, Inc.
Date: Wed, 7 Oct 1992 03:38:41 GMT

In article <1992Oct5.151312.28458@funlwb.enet.dec.com> sullivan@nodename.dec.com (Greg Sullivan) writes:
>
>In article <BvK4CK.6qH@cdsmn.mn.org>, plate@cdsmn.mn.org (Doug Plate) writes...
>>There are several keyboard instruments that make me say, "This instrument
>>plays itself!"  Examples being: Hohner Clavinet (funky, funky, funky),
>
>What does a Hohner Clavinet sound like? Could you give me a few examples of
>popular songs? I've heard this talked about before, and I would like to know
>more about it.
>Greg Sullivan                         |  This space may one day be better

I'm hard pressed to come up with some popular examples of a Clavinet right 
now!  The first thing that jumps to mind is Stevie Wonder's "Superstition".
There is some excellent clavinet work on Jeff Beck's "Blow by Blow" album
(played by Max Middleton?).  Gary Wright's "Dream Weaver" has a clav played
with distortion to make it sound like an electric guitar.  I think Rick 
Wakeman played a Clavinet on "Round About" by YES.  And I'm pretty sure
there's Clavinet to be heard in Edgar Winter's "Frankenstein".

Regards,
Doug Sr.

Newsgroups: rec.music.synth
From: summeral@ucsu.Colorado.EDU (SUMMERALL  ELMINA LANIER)
Subject: Source for effects patches (se-50, dsp128, generic)?
Summary: Where?
Organization: University of Colorado, Boulder
Date: Tue, 13 Oct 1992 19:09:03 GMT

There seem to be a lot of synth patches around, but what about favorite effects
patches?  I'm specifically interested in vocal and guitar patches for a Boss
SE-50 or a digitech dsp-128, but it seems like so many processors have similar
parameters for similar programs that even generic patches would do.  Is there
an ftp site that had any of these, or a BBS?

Thanks in advance,

Thomas Summerall
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.synth
Subject: Re: metlay/eirikur fooled by vfx-sd
Date: 16 Oct 92 15:47:48 GMT
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <9210161343.AA11151@ucbvax.Berkeley.EDU> JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes:
>
>["analog" == patching flexibility]
>
>When I think 'ultimate analog' I think about the Polyfusion system I had a
>long time ago... only about 10 times the size.  The K2000 furnishes this kind
>of power and doesn't take up a whole room.

True, but the sound has to be there too.  Now that I've been digging into
my K2000R, I am discovering more and more that there is a fundamental sonic
quality to the box that I haven't experienced since the analog days.
I would dare say the the K2000 surpasses my Polymoog in terms of
analog-type sounds.  (Keep in mind that while the Polymoog has great
filtering, it loses in the oscillator department because of the
top octave divider approach.)

-- 
Scott Amspoker                       |    
Basis International, Albuquerque, NM |  Too bad ignorance isn't really
                                     |  bliss.  Then it could be outlawed.
scott@bbx.basis.com                  |
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Re: 88 Key Controller for K2000R
Date: 14 Oct 92 03:54:00 GMT


Here's my personal opinion... I think that it would be a waste of a tremendous
synthesizer such as a K2000r to attach it to an 88-key weighted keyboard.
I consider this to be especially so for pianists.  The reason is that a piano
weighted keyboard forces (actually it doesn't force, it just acts as a very 
powerful discriminative stimulus which controls the behavior) you to play it
like a piano.  While a piano sounds quite good when played alike a piano,
very few other sounds not usually associated with dynamic keyboard mechanisms
survive the translation.  Again, this is especially true for trained and
practiced piano players.  On the other hand, I recognize the value of a
properly weighted keyboard for piano reproduction.  As a matter of fact, I
spent almost 2 years in search of a MIDI controller which felt (to me) like
the grands I an accustomed to playing.  However, I have found that it is a 
lot easier to adapt a non-weighted keyboard to piano playing than it is to
adapt a piano-weighted keyboard to synth [laying.

Now, with that said, and assuming you are really looking for a good piano
feel, I still recommend the Kawai M-8000 as having the most realistic action
available (at least 2 years ago).  While it may be true that one of the
newer keyboards comes closer (I'd look at the new Kawai which has an action
modeled after their acoustic grands), the A-80 (which has a release which
feels like it is comming through 70 weight motor oil), is not a reasonable
choice.  As a second choice, I would look at some of the Yamaha contrtollers
which are based on the Clavinova action.  They seem to be quite accurate.

Finally, the touch of a piano is a very personal thing.  The above reflects my
opinion alone.  I'm sure that some people (especially those with A-80 remorse)
will differ.  Still, I stand by my first paragraph which suggests that the
best controller for a K2000 may not be piano weighted.

John
Newsgroups: rec.music.synth
From: wang@hp4at.eunet.co.at (Wang)
Subject: net purchases (followup)
Organization: EUnet EDV-Dienstleistungsgesellschaft m.b.H
X-Newsreader: Tin 1.1 PL4
Date: Fri, 16 Oct 1992 10:22:19 GMT

As I mentioned in an earlier post I purchased a Rhodes Chroma. This synth
arrived yesterday. It is in almost mint condition and has only problems with
some of the keycontacts. I've got to find out how to adjust them.
I started programming this thing and I love it! All in all it was a good deal 
although the price for shipping was as high as for the Chroma itself (As I
said it was an overseas deal). At the moment I'm running the synth via a
220V/110V transformer. I'll have to modify the powersupply for our local
requirements.
Meanwhile I got email from the seller of the ealier purchased Multimoog
(Tom M Moravansky) who expressed his sorrow in his writing. We talked
and finally he sent me $50 for the expenses I had to get this synth running.
I received the money yesterday. A good experience.
Since I'm hooked on vintage gear I'm getting more and more used with dealing
overseas. It's mostly a lot of work (phonecalls, postings, email) and may take
a long time (e.g. 3 months all in all in case of the Chroma). But sometimes
it's worth to do that.

;-)
michael


-- 
Michael Zacherl, Wang Austria Ltd., Vienna         |
E-MAIL: mza@pag.wang.co.at                         | "Proof your chances,
PHONE:  +43 (1) 89-111 ext. 433                    |  and leave them or not."
FAX:    +43 (1) 894-17-14                          |     
Newsgroups: rec.music.synth
From: metlay@netcom.com (metlay)
Subject: Re: WANTED:Used Drum Machine/Zoom
Summary: Hee hee ho hurnk!
Organization: Atomic City
Date: Thu, 8 Oct 1992 19:28:22 GMT

In article <gep5CxS00WB3EHikcU@andrew.cmu.edu> Lisa Laverne Vaughan <lv0e+@andrew.cmu.edu> writes:
>I'm also looking for a used ZOOM.  I'd like a 9000 with foot switch, or the
>older model, 9002.  Replies to this account... thankx, lisa

Man, I *knew* we shouldn't have hooked her flute transducer up to William's
Zoom box during the Saturnalia sessions! She played the distortion/chorus
algorithm, and got this GLEAM in her eye....<shudder>

Actually the fuzzed flute was cool as hell. The pad closures turned into
a drum track!


-- 
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: williams@ab.wvnet.edu (Tom Williams)
Newsgroups: rec.music.synth
Subject: Re: Ensoniq EPS 16+ (w/ w/o/ Turbo)
Date: 16 Oct 92 20:46:32 GMT
Organization: Alderson-Broaddus College

In article <12OCT199219000090@rosie.uh.edu>, st10t@rosie.uh.edu (Bloo Square) writes:
> 
> Could a person be a one-man-band with just [an EPS 16-Plus]?
> 

          Absolutely!  I use an EPS 13-minus in one-man band stuff. 
          It can easily handle drums and bass while I play the piano
          parts on it.  The 16-Plus is even better, because you can
          stretch the polyphony a bit using the digital effects.

          P.S. Note that there is now a replacement for the 16-Plus,
          called the ASR-10.  Don't pay too much for it.

-- 

                                                -Tom Williams
                                                 Computer Center Manager
                                                 Alderson-Broaddus College
                                                 WILLIAMS@AB.WVNET.EDU
From: jamesmc@ut-emx.uucp (James McCartney)
Newsgroups: rec.music.synth
Subject: Power Glove + MAX, Discovery Chan, Tuesday
Date: 8 Oct 92 20:23:23 GMT
Organization: The University of Texas at Austin, Austin, Texas


    The Discovery Channel's program "Invention" on the evening  of Tues. 
Oct. 13 will contain a short segment on the Austin Robot Group. *IF*
I have not wound up in the edit room's dust bin, there should be film
of me using a Power Glove and MAX to control a K2000. Also featured
will be Brooks Coleman who is the drummer,etc  for 'Liquid Mice' (see
below).

In other news:
   Last weekend I went out with the smallest computer music setup
I have used. This was :


   Powerbook 100 - laptop, running MAX
   Yamaha FB-01 - 1/2 space rack module
   Boss SE-50 - 1/2 space rack module
   opcode midi interface
   
   This was setup as a sound installation during a regular performance
of our group, 'Liquid Mice' at the 'High Time Tea Bar and Brain Gym'. 
It was producing random sequences in a 72 note per octave tuning. In
the words of one patron : 'What *IS* this music? This is maddening, I
can't think!'. Others said they liked it. 
Its GREAT having a setup that can be this small. 
   Brooks did a solo using a suitcase full of parts of radios, electronic
games, electric guitar pickups, phono cartridges, electric clocks,
dishwasher timers, flashing lights, etc, all reassembled with motors, 
rods, belts and chains to control it.


   --- james mccartney
   

Newsgroups: rec.music.synth,rec.music.makers,alt.emusic
From: bmaraldo@watserv1.uwaterloo.ca (Commander Brett Maraldo)
Subject: Re: Copyrights
Keywords: BMI ASCAP
Organization: Unit 36 Research
Distribution: world,local
Date: Wed, 14 Oct 1992 03:30:15 GMT

In article <12OCT199208305832@flute.ccit.arizona.edu> doug@flute.ccit.arizona.edu (Doug Wellington) writes:
>OK, since it got brought up, how does ASCAP/BMI determine how
>to pay each of its artists?  In other words, if I write one little
>song and have it registered with BMI, does that mean that I get
>a certain fee each year, whether or not anyone plays my song on
>a radio or in a bar?  To extrapolate, say I write 50 little songs
>and register them - do I get 50 times that fee?
>Seems like I could make a lot of money from that situation, albeit
>a little unscrupulous...

	If ASCAP and BMI work the same as SOCAN here in Canada then, no
your scheme will not work.  Your publishing royalties are derived from the
amount of licence fees collected and the number of times your registered
works are preformed live or broadcast in/on a licence venue/broadcasting
station.  So, you can register 50 songs but you will not get any money until
they are performed or broadcast.  For example, I am a bit of an affluent
writer and have about 80 works registered with SOCAN, nay have I seen a 
royality cheque.  A friend of mine has a few songs registered and he has
seen a few hundred dollars in royalties - just a matter of commerciality
and public support.

Brett Maraldo
Plexus Productions


-- 
               --------     Unit 36 Research     ---------
	                "Alien Technology Today"
  	 	      bmaraldo@watserv1.UWaterloo.ca
  	           {uunet!clyde!utai}!watserv1!bmaraldo