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Issue #280
January 21, 1993
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
To post: Subscriptions, deletions, requests:
bass@uwplatt.edu bass-request@uwplatt.edu
(Bitnet: bass@uwplatt.bitnet) (Bitnet: bass-request@uwplatt.bitnet)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Today's topics:
RE: The Bottom Line #277
Shops & clubs in London
Fretless Bass for Sale: AMAZING PRICE
New SWR Cab, "Henry the 8 by 8"
About nerves and a little tab
Playing bass and reading music
Primus Tab and Intro...
Info Request: small combo amp
RE: Why Can't I remember tunes?
BABoL II
Gig announcement/you want to catch...
(none)
Equipment tried
TubeWorks MosValve bass amp?
More Underrated Bassists...
----------------------------------------------------------
Date: Sat, 16 Jan 1993 20:00:23 EST
From: I'D RATHER STAY A CHILD & KEEP MY SELF RESPECT IF BEING AN ADULT MEANS
BEING LIKE YOU <levined@kenyon.edu>
Subject: RE: The Bottom Line #277
Dear Mike,
As a fellow equipement oggler (sp?) I myself have also been
"torpedoed" by both SWR's luxurious appeal (not to mention impressive
endorsements) and Carvin's checkbook appeal. Here are some points to
consider...
-Carvin's resale value is a fraction of SWR's. A rep is a rep, ya know?
-SWR's have existed long enough to prove road-worthiness (cabs, heads etc)
-VERY IMPORTANT!!! Carvin sorta plays "games" with their spec quotes,
especially regarding rigging options and power output. That is to say
they do not make it clear that you MUST biamp.
All in all I may be wrong, but take advantage of Carvin's 800 number
and pester them for details. Also consider this, you may find a used Carvin
stack by calling around area dealers, but you can always find a new or used SWR
practically anywhere. Also, SWR's rigging options are much wider than
Carvin's (SWR's also look, smell, and taste better, and they use
environmentally safe insulation).
Good Luck,
Dan
----------------------------------------------------------
Date: Mon, 18 Jan 93 16:45:28 CET
From: Pontus Astrom <pop@tessan.datessa.se>
Subject: Shops & clubs in London
I'm goin to London this spring so I want to know where to go shopping
and (h)earing music. I'm into Funk & Jazz (and would like to find a used
fretless Stingray). Either "post" or mail me (and I will summarize).
anyTHANXway
Pop
-----------
Quiz: Eb-7 C7b5 F7 Bb7 ?
----------------------------------------------------------
Date: Mon, 18 Jan 93 13:01:12 EST
From: jost@itd.nrl.navy.mil
Subject: Fretless Bass for Sale: AMAZING PRICE
For sale-
Hohner PJ Fretless, nearly perfect condition (a few scratches)
$100 firm, you pay shipping or pick it up here in Washington
This was my learner's fretless, I've moved on to something else...I want
it to have a good home, I'd also like to sell it fast, as I have limited
storage space for it.
Drop me an email to jost@itd.nrl.navy.mil or call me on either
(703) 516-0648 [work] or (703) 549-3688 [home].
PJ
----------------------------------------------------------
Date: Tue, 19 Jan 93 07:01:32 PST
From: 19-Jan-1993 1000 <rost@tecrus.ENET.dec.com>
Subject: New SWR Cab, "Henry the 8 by 8"
From USENET. Another new SWR cabinet, this one with *8" speakers*! Pretty soon
we'll all be blasting away through walls of headphones if this keeps up...8^)
8^) What a name, sounds like a character on "Shining Time Station".
From: dbox@valentine.ics.uci.edu (Don Box)
Date: 19 Jan 93 08:57:28 GMT
I went to NAMM yesterday and SWR has a new speaker cabinet. It is
called "Henry the 8 x 8" It's about 36" tall with eight 8" speakers
and the same horn as the Goliath II. It weighs slighly more than a
Goliath II BUT it has tilt back casters a la AMPEG SVTs. It looked
bretty cool. It's supposed to be for players that need to overtake
loud guitarists.
As for SWR reliability, I have had nothing but good experiences with
my Goliath II and Jr. I don't own any swr electronics.
From what I remember, Steve W. Raub (sp?) used to be an engineer at
Acoustic. When I have spoken to him, he seemed like a decent guy, and
I'm really critical of people!!
DB
Brian Rost
rost@tecrus.enet.dec.com
508-568-6115
DEC, Hudson, MA
*******************************************************************************
"Have you noticed how the hole in the ozone layer has grown
progressively larger since rap got popular?" -Anonymous
*******************************************************************************
----------------------------------------------------------
Date: Tue, 19 Jan 93 16:45:49 +0100
From: Patrick Schaumont <schaum@imec.be>
Subject: About nerves and a little tab
Hi,
Here are two little messages to the land of bass and bottom.
1. Nerves on gigs ... anyone knows what I mean ? Every time
there are people from outside watching (like on a gig) I
get the nerves and I loose all speed I can normally play when
practicing. This is quite a frustration, of course,
learning all bottom lines as good as you can get them
to sound, and then finding out on stage that your fingers
won't follow your mind any more. I was wondering wether
everybody doing gigs experienced such problems; I mean, do
you play worse due to nerves ? If so, do you just live
with it or what ?
2. I already saw and used a lot of bass tabs here. Here's
my 0.02$ worth (And it really is 0.02$; this is a beginners'
tab, it is one of the first I ever played. Sorry you
20-finger tappers and 160 bpm slappers. Also, I didn't
added timing - I guess that everyone knowing the song
won't have any problem figuring this out).
Three Imaginary Boys - The Cure
This is a nice intro which isn't originally in the song,
G |------------0-----2-----2-----2--5--5--------------------|
D |*--2--3--2-----2-----3-----3-----------------------------|
A |*--------------------------------------------------------|
E |---------------------------------------------------------|
G |------0-----0--------2-----2--0--0-----------------------|
D |--------------------------------------------------------*|
A |---3-----3-----3--0-------------------------------------*|
E |---------------------------------------------------------|
Here is the bottom line used in verses:
G |---------------------------------------------------------|
D |*---2--2--3--2--------------------------1--1--2--3------*|
A |*---------------------------2--2--3--2------------------*|
E |----------------3--3--5--3-------------------------------|
Text:
'Walk across the garden in the footsteps of my shadow
see the lights out no-one's home
In amongst the statues stare at nothing in the garden moves
Can you help me ?'
Here's the chorus tab:
G |---------------------------------------------------------|
D |*---------------------0--2--------------4--5--4--0------*|
A |*---0--0--0--0--3--3--------2--2--2--2------------------*|
E |---------------------------------------------------------|
Text:
'Close my eyes and hold so tightly scared of what the
morning brings
Waiting for tomorrow never comes
Deep inside the empty feeling all the night time
leaves me'
G |---------------------------------------------------------|
D |----------5--4--------4--3--------3--2--------3--2-------|
A |---------------------------------------------------------|
E |----3--3--------2--2--------1--1--------0--0-------------|
Text:
'Three Imaginary boys ...'
This one's the solo, normally played by the lead, but it's
nice to play it on bass (And I really see no reason why
basemen shouldn't do a guitar solo)
G |-----0--2--4----8--8--9--11--9--7--4--4--4--2--0---------|
D |--2-----------------------------------------------4------|
A |---------------------------------------------------------|
E |---------------------------------------------------------|
G |-----0--2--4----8--8--9--11--9--9--11--11--12--12--------|
D |--2------------------------------------------------------|
A |---------------------------------------------------------|
E |---------------------------------------------------------|
G |--14--14--16--16--20--20--21--21--24---------------------|
D |---------------------------------------------------------|
A |---------------------------------------------------------|
E |---------------------------------------------------------|
If do not have 24 frets, you can go down back after the
14th fret of the third bar like this:
G |--14--14--16--16--14--14--12--12--11---------------------|
D |---------------------------------------------------------|
A |---------------------------------------------------------|
E |---------------------------------------------------------|
That's it. Quite simple.
Pit.
----------------------------------------------------------
Date: 19 Jan 93 21:38:00 GMT
From: chris@green.att.com
Subject: Playing bass and reading music
Greetings,
I have been reading The Bottom Line for several months and have
not seen this subject discussed. As a bass player, do you read music?
If so, do you also improvise or modify the written score? What types
of music do you play that has a written score? How did you learn to read
music? Since I am illiterate when it comes to reading music, I can only
work from fake books (guitar chords, melody line, and lyrics only). What
am I missing out on? I only play for fun and have no ambitions towards
any professional, but there has been an occasion or two when I needed to
play from something written. Comments and discussion are welcomed.
---
Chris Hardin chris@green.att.com ...!att!green!chris 404.750.5246
----------------------------------------------------------
Date: Tue, 19 Jan 1993 16:15:54 -0600 (CST)
From: Kenneth Churchill <churchil@plains.NoDak.edu>
Subject: Primus Tab and Intro...
Greetings all in Bass-land. This is my first posting to TBL, and
as such, I'll start with the customary Introduction...
I play a Yamaha RBX-200 on a Crate B40-XL practice amp. I have
only been playing for about 4 months, so I don't think I'm particularily
good. :-)
Now to my posting:
Does anyone out there have any Primus tab? I am looking for the
following songs in particular, but any will do: Tommy the Cat, Jerry Was
A Race Car Driver (4-string tab, please), Harold of the Rocks, Too Many
Puppies, and John the Fisherman.
Either reply to me through E-Mail at either address below, or if
they want it, post it in TBL... Thanks in advance for any help rendered.
+-----------+ +------------------------+
| | I am: Ken Churchill | |
| Egg | churchil@plains.NoDak.edu | Mr. Bungle |
| | ud191217@vm1.NoDak.edu | |
+-----------+ +------------------------+
(((((((((((((((((*********************.*******************)))))))))))))))))
----------------------------------------------------------
Date: Tue, 19 Jan 93 14:17:53 EST
From: rm@centerline.com
Subject: Info Request: small combo amp
It seems like I'm going to be doing a reasonable amount of work in the
near future for which it would be nice to have a small combo amp, and I
was hoping for suggestions. I've currently got a large amp with effects
which is big enough for anything I ever do and it sounds great, too.
But it is a pain for me to load in with it, requiring two trips with a
hand truck, or (at least) three without one. I also have a little
practice amp which is really only good enough for solo practicing or jazz
(or other quiet music) rehearsals.
What I'm looking for is probably a GK M150E/112 (catchy name, eh?) which
is a 26 pound combo amp with a single 12" speaker that puts out
(probably) 75 watts into its (probably very inefficient) builtin
speaker. It's got a built in chorus and compressor. If anyone has any
experience with this amp, I'd appreciate it, particularly if you gig
with it. I've never played through this amp, but it would suprise me if
it sounded bad, given my experience with other GK amps. About the only
drawback is the price- about $600. I really couldn't consider a new
one, but if they can be found on the used market, I'd be interested in
that too.
If there are any similar amps that anyone knows about, please let me
know about them as well. I've seen a little single 10" Carvin combo in
the catalog that looked fine on paper, but at almost twice the weight,
it is probably too heavy (I'd like to be able to reliably take this on
the bus on a regular basis). And I used to have a Peavey TKO 80 which
was a little too big, a little too heavy, and sounded like shit (that
really didn't bother me too much though) but couldn't be beat for $75
used.
Thanks in advance.
rm
----------------------------------------------------------
Date: Mon, 18 Jan 93 18:16:27 EST
From: rm@centerline.com
Subject: RE: Why Can't I remember tunes?
Nice theory about the different parts of the brain and all Oz, but me
thinks you can't remember the lyrics for the same reason that I can't
remember them- because you're old! 8-) In the words of my famous
father-in-law: "Getting old isn't so bad, but when your memory goes,
forget it."
Seriously though, I do know exactly what you mean. I usually try to
beat either the bass part or the lyrics into my head first, and then
learn the other one- sometimes this helps. Also, if I'm learning a part
from written music, I generally "accompany" myself by singing along.
This was done originally just so I would have some harmonic context in
which to compse a bass line (or justify a written out line), but it does
have the side effect of drilling the lyrics into my head. For my last
gig, I had to learn the tune "A Whole New World" from the Alladin movie-
being a funky kind of guy, not the kind of material that I would
normally gravitate to. It has about a bizzillion changes and a
modulation, and parts of it were going to be played rubato, so I learned
it by singing along as I composed my lines. I don't know if I should
recommend this technique or not- now I have a bunch of all-too-precious
brain cells permanently dedicated to the lyrics of a song I will never
sing! But anyway, I do sympathize with your plight.
On a similar note, I have noticed that if I learn a part by always
having the music in front of me (as opposed to relying on my memory)
then I always need the sheet music every time I play it, no matter how
many times I play it. I have a friend who does theatre work a lot, who
observes the same thing. After a few dozen shows, he plays totally from
memory, but there are other players who come in every night and read the
part. Pretty strange, huh?
rm
----------------------------------------------------------
Date: 20 Jan 93 10:21:11 U
From: Oz Barron <oz_barron@pharlap.com>
Subject: BABoL II
Quick reminder, we meet on Tuesday, January 26 at THe Boston Beer Works.
See Ya There!
-Oz
oz@pharlap.com
----------------------------------------------------------
Date: Wed, 20 Jan 93 10:42:10 EST
From: bobdavis@viewlogic.com
Subject: Gig announcement/you want to catch...
this funky pop band I've been doing sound with. Very high overall
quality, with together instrumental chops throughout, especially the
bassist/drummer and rhythmic togetherness in general. The band's name
is "i2i".
The bassist's name is Larry Jackson, who's been a very "present"
bassist in the boston area for quite a while, including long stints
with "the Courage Brothers" and "Search Party". Say hello.
Thursday, Jan 21 (tomorrow), 9-1, Johnny D's --- Davis Square
(I'll be at this one a little late due to an earlier rehearsal)
And if ya ski, perhaps this will interest you:
Saturday & Sunday, Jan 23-24, 9:30-1, Rusty Nail --- Stow, VT
If you'd like to be on their email or paper mail list, just reply to
me, and I'll put ya on it.
keep smiling
-Bob
----------------------------------------------------------
Date: Wed, 20 Jan 1993 12:15 EDT
From: RWILLIAMS@rabbit.ess.harris.com
Hello Fellow TBLers!
I'm back from NAMM and suffering from post-NAMM depression. For starters,
anyone planning to go in the future should plan on going all four days. You
need the time to see all the equipment, demos, concerts, etc. I believe someone
told me it was 800,000 square feet (thats 18 acres!!). I was there two whole
days and I still somehow missed the Steinberger booth (4500 sq.ft.). The show
was divided up into five halls plus the arena. I understand now why this show
doesn't travel, there are very few places that could match this footprint. I
suppose you're all dying to find out who I met and saw, so here is the tally:
Catagory I: Met and saw play: Michael Manring (Zon Guitars) - Video taped a 20
minute solo performance using various basses plus a three bass solo. Very nice
guy, down to earth, easy to approach, kinda shy. Very expressionistic playing,
a bass god.; Brian Bromberg (Peavy Guitars) - Highly progressive player, using
piccilo bass, and a variety of stringings on the same model bass (his signiture
model). Has new album coming out shortly. Nice guy, normal looking joe, plays
with acoustic styles (see his interview in B.P.). Several minutes of video tape
both with band and solo demo. Amazing thing - his hands barely move, yet
millions of notes are being played.;Bunny Brunell (Carvin) - Exceptional
fretless/upright performer. Plays a wide variety of styles, extremely
dexterous, execelent tapper. Has a signiture fretted five string from Carvin.
His has a Hip-Shot on the "B" string to go down to "A". (Yikes!). Quite type,
french accent. Noticed his nails on his right hand to be quite long. I think he
uses them for intonation. Have a video tape of him and Reggie Hamilton doing a
duet.; Reggie Hamiton - played a jazz improv on fretted with Bunny on fretless.
I think he would have sounded better on fretless judging by his playing
technique. Good display of techniques, excellent timing, good grove, plethora of
scales and modes. Freindly, reserved. ;Unkown Bassist (Roland) - no, he didn't
wear a bag on his head! He played for Roland's demo fusion band. Have on video
tape but the sound is rather distorted due to the intense volume. He did look
familar though. Excellent slap and pop player. Used Peavy MIDI bass. (Check out
the MIDI bass, its an excellent controller and bass guitar). Lastly - Chuck
Rainey - Performed with a trio at the Dean Markley booth. Kept falling out of
the pocket with the drummer. His improv solo was out of time and went to keys
that made no musical sense in the blues-rock style that was being themed. In
all- pretty crappy Chuck. ;(
Catagory II - Bassists I saw play but didnt meet: Will Lee - very exuberant
style, lots of jumping around, joking with the audience. Need I mention he's
good?
Catagory III - Bassists I met but didn't see perform: Lee Sklar, John
Patitucci,Rudy Sazaro (OK, I can't spell it!) and VICTOR WOOTEN (!!!!). I
missed Victor's demo and I could have shot myself!. Oh, the Kiss bassist
(Simmons?) was there too (oh boy).
Catagory IV - Bassists I missed all together! : Nathaan East, Vail Johnson and
Stu Hamm. Oh Well!
There were also full-fledged concerts after hours that required tickets.
However, the tickets must be obtained first thing from the designated booths
else they're history. I waited just a little too long and missed out.
Victor Wooten has a duet album coming out with Steve Bailey. Fender debued the
"Urge" bass that Stu Hamm endorses. Very small body. Neck has a larger radius
than the Kubicki but the width makes it easy to play. Nice action. Didn't get
to plug it in. Played a Linc bass. Unusual dual arc neck. The cross-section of
the neck has a semi-triangular shape that works well. The body is semi-hollow
and very light and comfortable. The sensitivity was awsome! Playing lightly
presented a singing fretless sound while poping and slapping gave a brilliant,
dynamic sound. Various configurations available. Highly recomended. Another was
a Robin Machetti series five-string fretted. Body is stepped in parallel with
the neck in such a way as to provide a continuous thumb rest along the length
of the body above the pickups. Very bright, hot sound. String spacing was
rather close, but still slappable. Excellent action. Very pricey (1695 and up).
Beautiful finishes and woods. Head stock is Vee'd to make tuner access easier.
The Carvin Bunny Brunell signiture five-string has a progressive string spacing
which puts the strings further apart at the bridge. Very playable. Comes in
fretted and fretless. Fretless has a nice growl to it. Reasonably priced.
Zon has a variety of basses on display including a 10-string, the Michael
Manring Hyperbass, a headless Steinbergerish type bass, and several fretted and
fretless models. Beautiful finishes and woods, great sound and playability.
Listened to many cabs. Found most with tweeters to be quite bright (bleeding
ears, etc). SWR was used for the majority of the demos. The Trace Elliot had a
mellower sound but still full-range and punchy. The Bag End cabs were very
compact and retained a big sound. Messa Boogie, definately a Rock-n-Roll
system. Fender showed off its new bass stack. A 200 watt head with cross-over,
EQ, compression, 4x10 and 1x15 cabinets. Pretty generic. A lot of unusual and
foreign instruments. Everything from sitars to bagpipes, steel drums, and weird
looking little guitars with millions of strings.
In all, a very impressive show, even if it did rain the entire time I was
there. If any of you have specific questions, mail me directly and I try to
answer them for you.
----------------------------------------------------------
Date: 20 Jan 93 15:14:37 U
From: Oz Barron <oz_barron@pharlap.com>
Subject: Equipment tried
I had a day off for MLK's B'day and thought I'd treat myself to a day in the
music stores. Sooo... I went to a couple of our local establishments and
brought my bass.
I wanted to check out small cabs. The first thing I saw was the Hartke 210
transporter. The combo was NOT in stock, so, I plugged my trusty 'berger into
the hartke head into the 210 cab. The cab was very clear, but thin. with
dramatic EQ settings on the head, the fullness of the bass came out.
I then plugged into the Eden 410 just below it and...(Brace yourselves Eden/SWR
lovers) I did not lie it. I thought the 210 sounded MUCH fuller, and was
certainly more clear.
A quick word about the head, It was the biamp model, but only one amp was in
use. What a nice head! One thing that struck me was that this head offers
both a solid state and a tube front-end, and the tube pre-amp blew away the
solid state pre-amp. Why is that? Did the designers concentrate all their
energy on the tube? I mean, there is no reason that I know of for a tube to
sound much more brilliant, crisp and clear, then a transistor. Tech heads wish
to respond?
Anyway, I then went on to try out a Peavey 210TX cab, 2-10" spkrs with a horn.
I played this through a Peavey MkIII head set absoulutly flat. I plugged it in
and... WOW!!! I had to ask wice if it was the only cab plugged in. What
depth! What clarity, what a blast! WHAT A PRICE!! $280.00 vs $399 for the
Hartke!!!
I was really blown away. I think this cab with the Hartke (or similar) head
would be amazing! I think I need it and my 15" for a killer bi-amp setup that
even I can carry! Check it out!
OK, lastly, I played a 5 string OLD 'berger. It reinforced why I didn't like
them when I first plated 'em, they put 5 strings on a 4 string neck. It's so
close together as to be uncomfortable, and I have SMALL hands.
That's it for now!
Bye!
-oz
----------------------------------------------------------
Date: Wed, 20 Jan 93 22:28:16 -0500
From: mjkobb@media.mit.edu
Subject: TubeWorks MosValve bass amp?
Greetings!
Well, my amp quest continues. I took the Spector over to the
store to try out the amps again (some of you may remember that I
said that I'd tried out a whole slew of amps with one of the store's
Warwicks, and I thought they all sucked, so I concluded that the
bass must've had problems). Anyway, I tried the Hartke, the GK
800RB and the SWR SM-400 again. The Baby Blue was just too small,
and the Ampeg was gone.
The Hartke seems really well engineered, but the sound just didn't
grab me. I had to crank the hell out of the EQ to get the sound I
wanted. The GK 800 sounded (to me) a bit better, but I found the
tone shaping filters to be not what I was looking for. The SM-400
sounded the best of them all, even with the tone controls flat, and
I really did like the tone. Of the amps I've tried, it's winning so
far.
However, there are still two amps that I haven't had the chance to
try: The Eden VT-.75, and the TubeWorks 3300 MosValve amp. I'm
still waiting for literature from the Eden folks, but the TubeWorks
folks sent me some literature. The 3300 sounds pretty cool on
paper, and I was wondering if anybody had had a chance to try one
out. The don't seem to have any in town. What did you think? How
about the other MosValve stuff? Does their "sounds like a tube"
claim hold water? How about the Eden? Anyone? Anyone? Bueller?
;-)
Thanks!
--Mike
----------------------------------------------------------
Date: Wed, 20 Jan 93 23:24 EST
From: LPR100@PSUVM.PSU.EDU
Subject: More Underrated Bassists...
Check out John Myung, playing with Dream Theater. The second album,
Images And Words, is easily available, but the first is out of print
for now except on import from Japan. He plays a mean 6 string, and
has a style that is quite different from the standard rock bass gods.
He uses chords to a large extent, and occasionally does some very tasteful
tapping. The unfortunate thing is, he is mixed quite low and has a very
'muddy' tone on I&W. I'm having trouble picking out a lot of what he
plays, and it wasn't until I saw him live that I was truly impressed.
If these guys come around, don't miss them! (Dream Theater sounds
a bit like Rush meets Yes meets Queensryche, but with lots of originality
thrown in.)
Also, don't miss Doug Pinnick of King's X. Not the flashiest bass player
in the world, but if you've ever wondered how to fill up space in a trio
without playing a million notes per measure, give him a listen. Incredible
voice too....
___ ___ Larry Rossi -- LPR100@psuvm.psu.edu
/ \ _ _ _ _ / \ _ ___
| O | || || | \/ | | O || | | __| And for a moment when our
| -< || || | | | --< | | ||= world had filled the skies,
| O | ||_|| ||\/|| | O || |_ ||__ Magic turned our eyes...
\___/ \___/ || || \___/ |___| |___| Jon Anderson
----------------------------------------------------------
Anonymous ftp access for back issues, etc.:
kappa.rice.edu (128.42.4.7) in the /pub/bass directory
(Username is 'anonymous', password is your e-mail address.
Try typing 'help' for more info once logged in.)
_The Bottom Line_ is a digest dedicated to the art of playing
electric and acoustic bass. It is distributed on a basis that
coincides with the amount of material received, from the
University of Wisconsin - Platteville, USA;
Kevin Tipple, Erik Habbinga, editors
Copyright _The Bottom Line_, 1992
The contents of _The Bottom Line_ are solely the opinions
and comments of the individual authors, and do not necessarily
reflect the opinions of the authors' managements or the digest
management. The editors do not assume responsibility for
copyright infringement of submitted material.
***************************
End of The Bottom Line #280
***************************