Beijing Paradise BBS Backup/PARADISE.ISO/software/BBSDOORW/BBSAMT44.ZIP/BBSAMT44.EXE

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Data file generated by RCOM.
     BBSAMT v. 4.4, copyright 1995 by Linda R. Bloom
Welcome to BBSAMT43!
Status line
Editing the Form
INTRODUCTORY NOTES
Tutorial Outline
Utilities
Terminals
Notation
Music Strings
Note/Rest Values
Getting Started...
Value Setting
Method 1 - The L Command
Method 2 - Individual Values
Codes for ANSI-BBS Music
The ANSI-BBS Coding Process
Getting Started...
Basic Rules
Divide your code
Code each string
Use an editor
Step-By-Step Coding
STARTING POINT - Raw Code
STEP 1 - Phrasing
STEP 2 - Tempo
STEP 3 - Control Codes
Using ANSI-BBS Music
Screen Attachment
Getting Started...
Design the Display
Add the Music
Using Music in Messages
Getting Started...
Codes for ANSI Music Messages
Sample Message Code
CLOSING COMMENTS
Future Standards
Comments
Author Contact
Registration
Registration Benefits
Registration Form
This version of the BBS ANSI Music Tutorial was
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Press <
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While you edit this form, the following keys are
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INTRODUCTORY NOTES

Tutorial Outline

Utilities

Terminals


Notation

Music Strings

Note/Rest Values

Getting Started...

Value Setting


Method 1 - The L Command


Method 2 - Individual Values

Codes for ANSI-BBS Music


The ANSI-BBS Coding Process

Getting Started...

Basic Rules


Divide your code


Code each string


Use an editor


Step-by-Step Coding

STARTING POINT - Raw Code

STEP 1 - Phrasing

STEP 2 - Tempo

STEP 3 - Control Codes


Using ANSI-BBS Music

Screen Attachment

Getting Started...

Design the Display

Add the Music

Using Music in Messages


Getting Started...


Codes for ANSI Music Messages


Sample Message Code


CLOSING COMMENTS

Future Standards

Comments

Author Contact

Registration

Registration Benefits

Registration Form
Before undertaking this tutorial, you will need to obtain a means of
playing ANSI music on your local terminal.  This will require a
special utility designed for the purpose; among these are
ANSIALL
driver that replaces ANSI.SYS and adds music capability, and
A_TYPE
a replacement for the TYPE command that adds music capability to
screen display.  If you are unable to find such a utility locally,
these are available on the author's BBS.
An ANSI editor, such as
TheDraw
, and an ASCII text editor, such as
, are also required to produce a finished product.
The finest computer music processor available today is a program
called
Melody Master
.  This is the only music processing program
presently available that is capable of producing properly coded,
ready-to-display ANSI-BBS music strings.  The program is in version
2.5 as of this writing, and is available for download on many national
BBS systems as
MELODY25.xxx
. Again, if you are unable to find it
locally, it is available on the author's BBS, or by mail with regis-
tration of this tutorial (separate registration required for continued
use).
You may be familiar with an ANSI music screen system named
ANSIPLAY
While it is an excellent program for composing music screens for
local viewing, it is
@ suitable for producing music for BBS or
message use.  It includes codes and capabilities in its music
strings that are specific to the
ANSIPLAY
 program, and will cause
undesirable effects if used for BBS or message music strings.
Be aware that there are only a limited number of terminal programs
that support ANSI music, and the only way a caller will hear the
music is by using one of these programs.  At the present time, the
following shareware DOS terminals support ANSI music (version numbers
are current as of this writing):

QModem Test Drive v. 4.60

Telemate v.4.20

CI Link v. 3.5b

Slick Terminal v. 6.5a

SMT v. 1.1

QCom v. 3.20d

BananaCom v2.0a
It is suggested that you keep these programs on-line and available
for your callers to download if you plan on adding ANSI music to
your BBS system. It's also a good idea to post a bulletin or news
item for your callers explaining the necessity of using a
music-capable terminal program in order to receive the music.
Music strings are written in the same format as the BASIC
statement.  Codes that are accepted and properly interpreted by
terminal programs:
Sharp
>(repeat from | as required)
       Sets tempo;
 represents a number between
 and
           Default tempo is
         Sets octave;
 represents the octave number.  Default
           octave is
 through
          Note; standard notation.
          Pause; represents a rest.
  or
    Sharps a note; insert after the note you wish to sharp.
          Flats a note; insert after the note you wish to flat.
        Length; sets value of multiple notes/rests, may be dotted
           Default length is
 (see
Value Setting
@Codes that are not universally accepted, and that may cause
problems for callers, are listed below.
It is strongly recommended
that these codes be avoided when writing music for BBS or message
 and
    Octave changes; used in place of the
 command.
Notes and rests are coded the same way.  The only difference is that
a note is is represented by its
letter name
, while a rest is rep-
resented by the letter
.  Values are represented by the
denominator
of their fractional names.
Any value may be dotted; a dot adds one-half the value of the note/rest.
For example, if a quarter note is worth one beat, a dotted quarter note
is worth one and one-half beats.
          Whole note/rest        =
          Half note/rest         =
          Quarter note/rest      =
          Eighth note/rest       =
          Sixteenth note/rest    =
          Thirtysecond note/rest =
          Sixtyfourth note/rest  =
Values may be set in either of two different ways, depending on the
complexity of the music and the desired quality of the final result.
 option described under "Music Strings" sets the value for all
following notes/rests until another value is specified.  Individual
notes/rests with differing values may be inserted in the string by
inserting the value directly after the note/rest.  After that
note/rest plays, the default value will return to the last preceding
 command.  For example, this is the first line of
Mary Had A Little
, written using the
 command:

EDCDEEE
 sets the normal note value as a quarter note.  Three half notes
are in this line of music; therefore, three of the notes are
followed by the half note value of
.  The rest of the note values
default to the quarter note set by the
 command at the start of the
string.
This method is good for "quick and dirty" coding of short, simple
pieces of music that are hand-coded using a text editor.  It is not
the preferred method for more complex music, because it makes
identification and debugging of individual notes/rests more
difficult, and allows for greater error in transcription.  Because
of those drawbacks, it is NOT recommended that the
 command be
habitually used in writing ANSI-BBS music.
In this method, the value of each individual note/rest is inserted
immediately following the note/rest itself.  Repeating our example
Mary Had A Little Lamb
, using the individual value method:
           E
This method requires more string space, but it also allows for quick
identification of an individual note/rest, making error location and
correction much easier, and directly translates the "staff/note"
pattern of music transcription into a code form.  This makes it much
better for writing and debugging complex music.  An added benefit of
this method for serious students of music is that the mimicry and
reinforcement of good transcription habits will carry over into
pen-and-ink transcription as well.
As an example of more complex music code, here is the first line of
Hail To The Chief
         O2G8A16.B32O3C8O2B16.A32G16.A32G16.E32D8C8
The line contains 3 octave changes and 10 note value changes.
Examining this string should make the drawbacks of habitual
command use obvious!
These codes are the building blocks that create effective and
properly written ANSI-BBS music.  This coding "style" is designed to
blend easily with the graphics codes which are already familiar to
SysOps, making the process of adding music to graphics as painless
as possible.  In addition, these codes are recognized by just about
any music-supporting terminal program, providing musical enjoyment
to the most callers with the least potential incompatibility.
      Reset code - Clear all previous values; "fresh start".
          Used at the beginning and end of each string of music.
[nn;ccH
  Cursor location code - Move the cursor to the designated
          location on the screen and leave it there.
 represents
          a line number between 1 and 25,
 represents a column
          number between 1 and 80.
          Examples:
[25;1H
 moves the cursor to the bottom left
          corner of the screen;
[1;80H
 to the top right corner.
      Invisibility code - Renders the following string
          invisible; none of the code in the string will appear on
          the screen.
       Music code - Begin music string; code in the following
          string will be interpreted and played as music (also
          see
Future Standards
 section and included
BANSI002.DOC
         End music code - Closes the playable portion of a music
          string
(The left arrow is
ASCII 27
.  The double sixteenth note is
ASCII 14
@Codes that are not universally accepted, and that may cause
problems for callers, are listed below.
It is strongly recommended
that these codes be avoided when writing music for BBS or message
      Music Foreground/Music Background; used in ANSIPLAY and
           some other specialty music systems.
>   Style code <Normal/Legato/Staccato>; sets the style of
           the string.
The first line of
Mary Had a Little Lamb
 coded for use in a BBS
system screen would look like this:
[23;1H
 T90O2E4D4C4D4E4E4E2D4D4D2E4G4G2
A completed piece of ANSI-BBS music will consist of one or more
strings of code, each 80 characters or less in length.  It will
begin with the reset code, followed by the cursor location code, the
invisibility code, the music code, and tempo/octave/note/rest/value
codes, and end with the double sixteenth note character (ASCII 14),
followed by the reset code.
Final assembly of ANSI-BBS music is always done using an ASCII text
editor.  There are three basic rules to follow in assembling the
final product:
1) Divide your music code into logical sections that can be
coded as individual strings.
  For example, divide a song
   into phrases or "lines", and make each phrase or "line" a
   separate string of code.
There are a number of reasons for this.  First, it makes error
location and correction much easier.  Second, it helps to keep
strings at a proper length.  Third, it enables you to split a song
into portions and use it in creative ways, such as playing the first
part when a caller enters a door, and the final part when he exits
the door.  Last, it enables you to use only a portion of a longer
piece of music, while still retaining the integrity of and access to
the entire song.
2) Code each string as though it were a complete piece of
music.
This means that each string should follow the coding pattern given
above; i.e., if any string is played individually, it will reset,
locate the cursor, set invisibility, set tempo, and reset at the
end.  This will prevent any unwanted effects from creeping in due to
typographical errors.  It also makes error location and correction
much easier, as each string can be examined and corrected
individually without affecting the final product.
3) Always perform the first two steps using an ASCII text editor
   even if you use a music coding program such as
Music Maker
Such programs are an excellent aid, but they DO NOT produce
completed, ready-for-use ANSI music!  The single notable exception
Melody Master
, which will produce ready-to-run music strings
for BBS system use.  If you wish to be able to "subdivide" the song,
however, you will still need to use an ASCII editor to rearrange
the notes into suitable phrase divisions.
To quote the old adage, "anything worth doing is worth doing well".
No SysOp would be satisfied with running half a BBS program; why
even think of settling for half-written music?  Poorly coded music
does not make a positive impression on anyone, and may actually
detract from a system rather than add to it.  In other words, either
use properly coded music, or don't use it at all!
We will use the song
Dixie
 as an example to demonstrate the
finishing process.  A sample of this song at each stage is included
in this archive under the filenames shown in the "After completing
this step" line of each section.  It is strongly suggested that you
play these samples as you proceed through the description, to
familiarize yourself with the effects of each step in the completion
process.
NOTE  - If the song is hand-coded, all of the following steps can be
performed in the process of coding.  The code should be frequently
saved and tested for accuracy.
Here is the song in raw code, as produced by a program such as
Music Maker
NRAW.BBS
[M T60O3C32O2A32F16F16F32G32A32A+32O3C16C16C16O2A16O3D16D16D16.C32D16.
[M C32D32E32F32G32A8.F32C32F8.C32O2A32O3C8.O2G32A32F8.O3C32O2A32F16F16
[M F32G32A32A+32O3C16C16C16O2A16O3D16D16D16.C32D16.C32D32E32F32G32A8.
[M F32C32F8.C32O2A32O3C8.O2G32A32F8.O3C32C32F16A16G16F16D16F8D16G8.D16
[M G8.C16F16A16G16F16D16E16F16.D32C16O2A16O3F16.O2A32A16G8O2A16F8.A16G8.
[M O3D16C16O2A16O3F16.A32G16F8O2A16F8.A16G8.O3D16C16O2A16O3F16.A32G16F8
The first step is to divide the code into phrases/"lines"
of no more than 55 characters each.  This particular song has
familiar lyrics, which makes the division easy:
T60     O3C32 O2A32 F16  F16 F32G32 A32 A32+ O3C16 C16 C16 O2A16
\Line
(tempo)
 Oh,   I     wish I   was    in  the  land  of  cot-ton,
         O3D16 D16   D16.  C32 D16. C32 D32 E32
\Line
         Old   times there are not  for-got-ten,
and so on.  As you divide the lines, be sure to add the octave code
to the beginning of any lines that do not already begin with it!
After completing this step, our song looks like this (
NSTEP1.BBS
[M T60O3C32O2A32F16F16F32G32A32A+32O3C16C16C16O2A16
D16D16D16.C32D16.C32D32E32
F32G32A8.F32C32F8.C32O2A32O3C8.O2G32A32F8.
C32O2A32F16F16F32G32A32A+32O3C16C16C16O2A16
D16D16D16.C32D16.C32D32E32
F32G32A8.F32C32F8.C32O2A32O3C8.O2G32A32F8.
C32C32F16A16G16F16D16F8D16G8.D16G8.
C16F16A16G16F16D16E16F16.
D32C16O2A16O3F16.O2A32A16G8
A16F8.A16G8.O3D16C16O2A16O3F16.A32G16F8
A16F8.A16G8.O3D16C16O2A16O3F16.A32G16F8
In order to understand how this affects your music, try this
experiment.  Using your text editor, copy line 3 of
NRAW.BBS
a file, and name it
JRAWTEST.BBS
@.  Copy line 3 of
NSTEP1.BBS
@ to a
file, and name it
JTEST.BBS
@.  Then play each test file, and compare
the results.
The next step is to add the tempo setting to the beginning of each
line, and add the appropriate octave code to the beginning of any
lines that do not already begin with it.  You can determine the
octave code for lines that do not begin with one by reading backward
through the previous line until you come to an octave code; that is
the code to begin the line.
After completing this step, our song looks like this (
NSTEP2.BBS
O3C32O2A32F16F16F32G32A32A+32O3C16C16C16O2A16
O3D16D16D16.C32D16.C32D32E32
O3F32G32A8.F32C32F8.C32O2A32O3C8.O2G32A32F8.
O3C32O2A32F16F16F32G32A32A+32O3C16C16C16O2A16
O3D16D16D16.C32D16.C32D32E32
O3F32G32A8.F32C32F8.C32O2A32O3C8.O2G32A32F8.
O3C32C32F16A16G16F16D16F8D16G8.D16G8.
O3C16F16A16G16F16D16E16F16.
O3D32C16O2A16O3F16.O2A32A16G8
O2A16F8.A16G8.O3D16C16O2A16O3F16.A32G16F8
O2A16F8.A16G8.O3D16C16O2A16O3F16.A32G16F8
In order to understand how this affects your music, try this
experiment.  Using your text editor, copy the last line of
NSTEP1.BBS
to a file, and name it
JTEST1.BBS
@.  Copy the last line of
NSTEP2.BBS
to a file, and name it
JTEST2.BBS
@.  Then play each test file, and
compare the results.
Now we are ready for the final step, adding the control codes and
making each string a complete, individual display unit.
At the beginning of each string, before the
, we insert:

[23;1H
At the end of each string, after the
, we add:

After completing this step, we have the finished product (
NDIXIE.BBS
[23;1H
[M T60O3C32O2A32F16F16F32G32A32A+32O3C16C16C16O2A16
[23;1H
[M T60O3D16D16D16.C32D16.C32D32E32
[23;1H
[M T60O3F32G32A8.F32C32F8.C32O2A32O3C8.O2G32A32F8.
[23;1H
[M T60O3C32O2A32F16F16F32G32A32A+32O3C16C16C16O2A16
[23;1H
[M T60O3D16D16D16.C32D16.C32D32E32
[23;1H
[M T60O3F32G32A8.F32C32F8.C32O2A32O3C8.O2G32A32F8.
[23;1H
[M T60O3C32C32F16A16G16F16D16F8D16G8.D16G8.
[23;1H
[M T60O3C16F16A16G16F16D16E16F16.
[23;1H
[M T60O3D32C16O2A16O3F16.O2A32A16G8
[23;1H
[M T60O2A16F8.A16G8.O3D16C16O2A16O3F16.A32G16F8
[23;1H
[M T60O2A16F8.A16G8.O3D16C16O2A16O3F16.A32G16F8
In order to understand how this affects your music, try this
experiment.  Using your text editor, copy the last two lines of
NDIXIE.BBS
@ to a file, and name it
JTEST3.BBS
@.  Copy the last two lines
NSTEP2.BBS
@ to a file, and name it
JTEST4.BBS
@.  Play
JTEST3.BBS
@, and
then
JTEST4.BBS
@; observe the cursor as you do so.
The most common method of using ANSI-BBS music is to attach it to a
screen display.  If properly done, callers with music-capable
terminals will receive and enjoy the music as an esthetic addition
to the visual display, while those without music capability will
never even know it is there.  This can be a bit tricky, and it will
require some extra time and effort; the end result, however, is well
worth the energy.
The first step is to choose or design the display to which music
will be added.  Ideally, the display should not involve the last two
lines of the screen (24 and 25).  If necessary, you may bring up the
chosen display in an ANSI editor and block-save it so that it covers
lines 1 to 23 only.  This will leave line 24 free for the cursor and
for any text, prompt, etc., that may follow the music when the dis-
play is used within a program, and line 25 free for the status line
required by many terminal programs.
Once the display is chosen, sized, and saved as ANSI, bring it up
in an ASCII text editor (
TheDraw
, or any other ANSI editor).
Move the cursor to the next line after the existing code, and block
copy your completed song into the file at that point.  Then re-save
the combined file, using the ASCII editor, under the original
filename.  The music will be invisible, and will play whenever the
file is displayed.
Additional planning is required when adding music to menus or other
displays that are followed by a prompt.  Make sure that the cursor
will be below the last line of the menu display; two lines below, if
possible.  The prompt will then appear clearly, separate from the
menu.
Remember, it is possible to have too much of a good thing!  There is
no limit to the number of music strings that can be attached to one
screen, but more than a few seconds' worth can be a bit irritating.
Selected strings of music, used with restraint, can add greatly to
the ambience of a system.  A long concert at every change of display
will not, and, indeed, may drive callers away instead.
Uses for ANSI music are limited only by the imagination and
creativity of the SysOp.  It may be used with menus, newsletters,
announcements, in messages, in Email, and anywhere else that ANSI
itself is possible.
Before posting a musical message on any BBS, make certain that such
messages are allowed on the system and the base in which you wish to
post.  Also be aware that some BBS software automatically screens
out all ANSI control codes, and may strip your music to a visible
line of nonsense characters instead of playing it, or refuse the
uploaded message entirely.
Because most BBS message editors will not allow any high ASCII codes
to be entered while typing a message, music must be posted by
uploading it.  There are two ways to do this.  First (and easiest),
you can compose your entire message offline using an ASCII editor,
and then upload it to the system using either your terminal
program's ASCII upload capability or the BBS's "upload text" option
(if available).  Alternatively, you can prepare just the music
itself offline, then log in, enter and sign your message, and add
the music after your signature but before saving the message using
either of the above-mentioned upload methods.
Again, it must be emphasized that not all systems welcome ANSI music
in their posts; be sure to check first!
When music is to be sent as a message, rather than incorporated into
a system screen, the coding scheme is a bit different.  Because BBS
message systems vary so greatly in format, and because those
receiving the message may or may not have ANSI and/or music
capability, it is important to code the message so that it has the
least possible potential for negative effects on the reader.  To
accomplish this, the following codes are used:
To begin the string -
        Records the cursor's current column position, which will
           be within the message system's acceptable "writing area"
       Invisibility code
Follow these two codes with your music string.
To end the string -
        Returns the cursor to the column position recorded at
        Returns the cursor to the beginning of the existing row
       Resets screen attributes at end of song
Thus, the first line of
Mary Had a Little Lamb
 coded for posting as a
message would look like this:

[M T90O2E4D4C4D4E4E4E2D4D4D2E4G4G2
The crucial consideration when using music in messages is the cursor
location.  Bear in mind that any cursor location code will leave the
cursor where you have located it when the music ends.  Anything that
comes after/below that point will be overwritten by the next
display. This can be quite disconcerting if the music is in a
message, and causes the message text to be obliterated before it can
be read!  Thus, rather than "guesstimating" the location for best
results in a message, we use the
 code to keep the cursor where
the message system itself has put it.
In addition to allowing for the message text itself, remember that
BBS message systems use a "formatted" display for viewing messages.
By using the
 and
 scheme for our cursor location, we make
sure that the cursor location code leaves the cursor in a place
where it will not interfere with the message system's format.  Don't
forget the reset code at the end of the last string.
Here is our sample song coded for message use (
NDIXIE.MSG
[M T60O3C32O2A32F16F16F32G32A32A+32O3C16C16C16O2A16
[M T60O3D16D16D16.C32D16.C32D32E32
[M T60O3F32G32A8.F32C32F8.C32O2A32O3C8.O2G32A32F8.
[M T60O3C32O2A32F16F16F32G32A32A+32O3C16C16C16O2A16
[M T60O3D16D16D16.C32D16.C32D32E32
[M T60O3F32G32A8.F32C32F8.C32O2A32O3C8.O2G32A32F8.
[M T60O3C32C32F16A16G16F16D16F8D16G8.D16G8.
[M T60O3C16F16A16G16F16D16E16F16.
[M T60O3D32C16O2A16O3F16.O2A32A16G8
[M T60O2A16F8.A16G8.O3D16C16O2A16O3F16.A32G16F8
[M T60O2A16F8.A16G8.O3D16C16O2A16O3F16.A32G16F8
Notice that the music strings are the same; only the leading and
closing codes are different.  If this message were to be captured
and converted for use in an ANSI-BBS screen, only the leading and
closing codes would require modification, and these changes would
be very simple to make using the global pattern change function of
an ASCII editor.
As it now exists, ANSI music coding has conflicts with the established
ANSI coding standard.  The most notable and troublesome of these is the
 sequence, which by standard is supposed to represent "delete line".
Paul Wheaton of Banana Programming has done a thorough study of the
conflicts between the ANSI standard and ANSI music codes.  Bloomunit
wishes to strongly endorse the changes he suggests in the enclosed
BANSI003.DOC
, and to encourage all software authors and developers to
make the suggested modifications to their ANSI music-supporting communi-
cations programs by
January 1, 1997
The most notable of these suggestions is replacing the
 sequence for
starting ANSI music with the
 sequence, which has no conflicts at all
with the existing standard, and furthermore is easy to remember since it
relates to the
 character (
Ctrl N
) which closes a music string.
With cooperation and united effort, those of us who use and support BBS
ANSI music can bring about a permanent change for the better, and make
it more accessible for all to enjoy.
It is my sincere hope that the information given here will inspire
many SysOps to add music to their systems, and to do it well.
Properly used, music can add a wonderful touch to a BBS, and
personalize it in ways that nothing else can.
If you found this tutorial helpful, or you have any questions or
comments, please feel free to contact me by modem or mail.  If you
choose to register, you will be added to the mailing list for any
future updates and news reports concerning ANSI-BBS music.
              Allow me to leave you with this thought:

"Next to the Word of God, music is the greatest gift."
                          (Martin Luther)
                 I wish you the blessings of both!
BY MODEM:
     Bloomunit BBS for Homeschool Families
              [phone], 8n1, 24 hrs/7 days, 14.4 bps
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              FamilyNet:         Linda Bloom @8:3111/10
              CompuServe/CIN:    74401,1606
              Internet-Email:    [e-mail]
                       Homepage: http://www.flinet.com/~bloomunit
BY MAIL:
      Linda Bloom
              4986 Palm Beach Canal Road
              West Palm Beach, FL 33415-3101
Registration of BBSAMT is only $10.00!
Registered users are sent a bonus disk containing a TSR code
reference for use in coding their own music, the shareware
release of
Melody Master
, assorted ANSI music utilities, and
a collection of ready-to-use ANSI-BBS songs.
: The registration fee covers registration of BBSAMT and
the costs of duplication and mailing ONLY.  The programs on the
bonus disk must be individually registered with their authors
for continued use.
Choose
 and then
dit to complete this form.
BBS ANSI MUSIC TUTORIAL, version 4.4 -  REGISTRATION FORM
[ ] $10.00 enclosed - Please register my existing copy of BBSAMT43
                      and send me a bonus 3.5" disk containing the
                      shareware release of Melody Master, ANSI music
                      utilities, and a collection of ready-to-use
                      ANSI-BBS songs. (NOTE: This amount covers
                      registration of BBSAMT43 and the costs of
                      duplication and mailing. The programs on the
                      bonus disk must be individually registered
                      with their authors for continued use!)
I got my copy of BBSAMT43 from: [                                  ]
Name:   [                                                          ]
Address:[                                                          ]
        [                                                          ]
City:   [               ] State:[  ] Cntry:[       ] Zip:[         ]
Other mailing info:[                                               ]
Comments:[                                                         ]
         [                                                         ]
         [                                                         ]
Enclose check or money order payable to Linda R. Bloom, and send to:
                             Linda R. Bloom
                       4986 Palm Beach Canal Road
                     West Palm Beach, FL  33415-3101