2. About This Document
You are reading the Frequently Asked Questions (FAQ) Document for the Usenet
Newsgroup rec.music.makers.guitar.acoustic
. The goal of this document is to make information that is commonly asked
for in the rmmga newsgroup available from one consolidated, and centrally
maintained source.
This document will be posted to the rec.music.makers.guitar.acoustic
newsgroup every two weeks. Eventually it will be made available via ftp from a
publicly accessible site. I have no idea where that will be yet. It will also be
available in hypertext format via a WWW Server. Again, where that will be is yet
to be decided.
The scope of this document is limited to those topics which are fairly
objective, and for which the answers do not require extremely lengthy
explanation. In those cases where answers are beyond the scope of this document,
references are given to the appropriate resources to locate additional
information. Clearly argumentative questions (ie "who's the best") are
avoided entirely.
The rmmga FAQ is currently maintained by Grant
Alvis (galvis@austin.ibm.com). Feel free to send comments, suggestions, and
constructive criticisms.
This document was formatted using nroff.
There are supplemental documents to the rmmga FAQ, that are worth checking
out. These are posted to the rmmga newsgroup periodically, and are maintained by
rmmga readers. These include:
Who's Who - Profiles of rmmga readers. Where they live, what style they play,
influences, etc... Currently maintained by Kirk
Reiser (kirk@braille.uwo.ca).
Guitar Companies and Makes - A comprehensive list of guitar companies, as
well as the different makes they produce. Includes company profiles, as well as
details of options/stylings of a variety of different guitar models. Currently
maintained by Tim Maggio (timm@dkbfpny.com).
3. What is the rec.music.makers.guitar.acoustic Newsgroups Charter?
This newsgroup is intended for the discussion of all matters pertaining to
acoustic guitar. Common threads include, but are not limited to: Your guitars
construction, sound, setup, maintenance, worth, etc..., Various acoustic
guitarists, their music, setup, history, etc..., Suggestions for reading
material, videos, records, CDs, etc..., Product reviews, show reviews, album
reviews, etc... You get the idea. If its related to acoustic guitar, then
chances are its appropriate to discuss here.
There are specific news groups for classical guitar and instrument
construction, but even those topics are sometimes discussed here. A quick look
thru the current postings will give a pretty clear indication of what people
discuss here, since the topics remain quite varied.
4. Where Can I Find Guitar Resources on the Internet?
There are lots of guitar resources available on the Internet. Here is a
listing of the most commonly used ones:
4.1 Newsgroups
rec.music.makers.guitar.acoustic
- This newsgroup. Discussion of the relative merits of acoustic guitars,
acoustic guitar musicians, and just about anything of or relating to the fine
art of acoustic guitar.
rec.music.makers.guitar.bass -
Discussion of bass guitars and also postings and requests for bass tablature.
rec.music.makers.guitar.tablature
- Tablature postings and requests for both electric and acoustic guitar.
Also a good forum for "who wrote this?" type of questions.
rec.music.makers.builders -
Discussion of general topics/principles of building musical instruments.
Although not aimed at stringed instruments, there is some discussion of guitar
construction here.
rec.music.classical.guitar -
Discussion of classical guitars and classical music for guitar.
alt.guitar - An alternative to the
rec.music.maker.guitar heirarchy. This newsgroup has some overlap with the
rec.music.makers.guitar newsgroups content.
alt.guitar.tab - An alternative to the
rec.music.maker.guitar.tablature newsgroup. Lots of overlap.
NOTE: The guitar newsgroups in the alt.* heirarchy are supposedly being
phased out in favor of the rec.music.* groups. However, they have persisted for
quite some time, and show no signs of going away.
4.2 FTP Sites
For all of these ftp sites use the user name "anonymous" and your
e-mail address as the password. You may have to do a little poking around to
find what you are looking for, but the sites are pretty well organized.
ftp.nevada.edu (131.216.1.11) - This is
THE central repository for both guitar tablature and lyrics to all sorts of
music, both electric and acoustic.
csclub.uwaterloo.ca
(129.97.134.11) - This site contains a tablature heirarchy geared directly
towards acoustic guitarists. Examples include Leo Kottke, Jorma Kaukonen, Blind
Blake, John Renbourn, etc... Look in the directory: /pub/u/dgaudet/guitar
(Maintained by Dean Gaudet).
jhunix.hcf.jhu.edu
(128.220.2.5) - This site has archives of this newsgroup (rmmga). They are
archived once a week, and are accessible in tar files on a per group basis. Each
tar file represent one weeks worth of postings. It also contains archives of the
acoustic guitar mailing list, which was the predesessor to this newsgroup.
ftp.vast.unsw.edu.au (???.???.???.???)
- There was a "guitar lesson of the week" going on in the
rec.music.makers.guitar newsgroup in 1993. The lessons ranged in difficulty from
beginner to quite advance topics. They are archived here.
4.3 World Wide Web, Gopher, and Archie Servers
There are some excellent WWW resources for guitar. Although these are not
geared directly at acoustic guitar, they do contain a lot of information that
will be of interest to the "unplugged" crowd.
URL:
http://www.cs.cmu.edu:8001/afs/cs.cmu.edu/user/jdg/www/music.html - The
Mammoth Music Meta-List. This is a gathering of links to all things musical. It
contains a link to "Guitarland" as well (see below).
URL: file://ftp.netcom.com/pub/jcarson/guitar/gl.html
- Guitarland. This is to WWW what ftp.nevada.edu is to FTP. Not suprising
that it is maintained by some of the same people. It has links to all kinds of
stuff, including home pages profiling various artists, music listings, etc...
Definitely worth checking out.
URL: http://www.ircam.fr - Ircam is a
french research and education center in acoustics and music. It is, for the time
being, mostly in french, but several "leading pages" are in english.
URL: http://celtic.stanford.edu/ceolas.html
- The Ceolas celtic music archive. The archive covers traditional and
traditional- influenced music from Ireland, Scotland and other celtic countries,
and includes artist notes, tour and festival information, instrument guides,
resources lists (radio, magazines, mail-order, traditional sessions),
electronically- formatted tunes and much else besides.
URL: http://www.leeds.ac.uk/music.html
- Leeds University Music Department. It provides an on-line album of
traditional tunes from Ireland, England, Scotland and the Northern Isles,
Scandinavia and elsewhere: jigs and reels, polskas and schottisches, waltzes,
bourrees, horos and more. It contains a lot of gif files showing staff notation
for these tunes, and indexes of these files sorted in various orders.
5. How Do You Describe the Sound of a Guitar?
The physical characteristics of an acoustic guitar are easy to identify and
compare. A cutaway, mother of pearl inlays, or wood binding are qualities that
are easy to make decisions as to whether you like or dislike them. The sound
qualities of a guitar are much harder to discern and evaluate. In order to
accurately describe the characteristics of a guitars sound, you must first be
familiar with the nomenclature used to explain the sound qualities of a guitar.
An acoustic guitar's sound has many facets. Here is a brief overview of the
terminology most often used when discussing a guitar's sound. These explanations
are for the most part paraphrasings of the descriptions given by Larry Sandberg
in his (must-have) book, "The Acoustic Guitar Guide".
5.1 Tone
Tone is the quality that makes guitars from various makers sound different.
When you set a string into motion, the string has a fundamental vibration, as
well as many smaller vibrations, called overtones. Most guitars share some
fundamental tones and overtones. Thats what makes them all sound like guitars.
But they each have their own unique combination of fundamental and overtones
also. Thats what makes guitars sound unique.
The woods used for the back and sides of the guitar factor most into the
characteristic tone of a guitar. Rosewood gives a soulful, darker sound.
Mahogany is sweeter and softer, as well as rounder and nicely balanced. Maple is
louder, like rosewood, but has less bass resonance and a more brittle tone.
5.2 Volume
Volume is how loud your guitar is. But not just as measured by a decibel
meter, but also how loud your guitar *seems*. This is directly related to the
quality of the top wood, the top bracing, and the rigidity of the back and
sides. Heavier strings are louder, because they vibrate the top more than
lighter guage strings. Also, larger guitars are generally louder, since they
have more top to vibrate, and a larger sound chamber.
5.3 Presence
Presence is a psychological factor that is very subjective. It is a guage of
how full your guitars sound is. A good measure of presence is how satisfying
your guitar sounds when you play it softly. A strong presence means that the
tone quality does not deteriorate with less volume. The efficiency of the
guitars top plays a large part in the perceived presence.
5.4 Balance
Balance is the relationship between the high and low notes in point of
fullness and volume. In a balanced guitar, the notes have equal authority
throughout the entire range of the instrument. Guitars that are over-balanced
toward the bass are called boomy. Flatpickers and folk singers prefer this type
of balance. Fingerstyle guitarists might prefer a guitar that is balanced toward
the high strings. Balance is usually directly related to the size of the guitar.
Balance is also affected by the body woods (Rosewood is boomier than Mahogany),
and the size of the soundhole (a larger soundhole usually balances the guitar
toward the high strings).
5.5 Separation
Separation is the ability of an instrument to express simultaneously played
notes so that they are perceived distincly and individually, rather than as a
homogeneous whole. In other words, when you strum an open E chord, is what you
hear more like one glob of sound or six separate ingredients? An analogy might
be to the flavors that make up a fine sauce. Separation is related to the
quality of the guitar, as well as the player's individual touch.
5.6 Sustain
Sustain is the measure of how long a note keeps sounding after you initiate
it. If the sound decays too fast, you have poor sustain. Sustain is directly
related to the quality of the guitar. More specifically, it is the vibration of
the top that gives you an honest, clean sustain that preserves all the
components of the tone throughout its duration.
6. Tonewoods
The type of wood used on a guitar is probably the single most influencial
factor to its tone. There are a variety of different woods to choose from. Below
are many different wood descriptions and their general tonal properties. These
descriptions are from a Martin Brochere on Tonewoods.
6.1 Back and Sides
6.1.1 Genuine Mahogany
(Swietenia Macrophylla) Brazil. Yellowish brown to reddish brown in color,
Genuine or "Amazon" mahogany is exceptionally stable and consistently
clear. Mahogany is much lighter in weight than rosewood, koa, or maple. In spite
of its weight, mahogany yields a surprisingly strong loud sound with an emphasis
on clear bright trebles.
6.1.2 Brazilian Rosewood
(Dalbergia Nigra) Brazil. Sometimes referred to as "Jacaranda", this
species of genuine rosewood ranges in color from dark brown to violet with
spidery black streaks. The smell is like roses when freshly cut. Brazilian
rosewood is considered nearly extinct and is extremely expensive if available at
all. Martin rosewood models before mid-1969 were made with Brazilian rosewood.
As a result, Martin's long standing reputation for tone was closely connected to
the historical use of this wood. Brazilian rosewood is occasionally available in
very limited quantities for custom or special limited edition orders only.
6.1.3 East Indian Rosewood
(Dalbergia Latifolia) India. Typically richly grained with dark purple, red, and
brown color, East Indian rosewood is resinous, stable and generally more
consistent than most other rosewood species. East Indian rosewood is extremely
resonant producing a deep warm projective bass response that is especially
accentuated on large bodies guitars.
6.1.4 European Flamed Maple
(Acer Campestre) Germany. Curly, flamed, tiger striped, or "Fiddleback"
maple refers to the characteristic alternating hard and soft rippling which runs
perpendicular to the grain in some rarer maple trees. This particular species of
European maple is very hard and reflective, producing a loud powerful projective
sound. Uniquely figured domestic "Birdseye" maple, used on the D-60
models, displays characteristics and tonal properties similar to European Flamed
maple.
6.1.5 Koa
(Acacia Koa) Hawaii. Golden brown color with dark streaks and a lusterous sheen.
koa wood occasionally develops a curly or flamed figure. Regardless of any
figuring, koa seems to have a bass response that is slightly less than that of
rosewood and treble response that is slightly less than that of mahogany. The
result is a very equally balanced instrument.
6.1.6 Morado
(Machaerium Scleroxylon) Bolivia. Also known as Bolivian or Santos
"rosewood", worado ranges in color from a light violet brown to redish
brown with occasional olive and black streaks. Finer in texture than most
rosewoods, morado is a close visual substitute for East Indian rosewood, and has
very similar tonal properties.
6.2 Top (Soundboard)
6.2.1 Sitka Spruce
(Picea Sitchensis) Canadian Northwest & Alaska. Sitka spruce is the primary
topwood for Martin Guitars. It is chosen because of it's consistent quality as
well as it's straight uniform grain, longevity, and tensile strength. Tonally,
Sitka spruce is extremely vibrant providing an ideal "diaphram" for
transmission of sound on any size and style of stringed instrument.
6.2.2 Englemann Spruce
(Picea Engelmannii) United States. Englemann spruce is prized for its similarity
in color to European (German) White spruce as well as its extreme lightness in
weight which seems to produce a slightly louder and more projective or
"open" sound than Sitka spruce. Englemann spruce grows in the alpine
elevations of the American Rocky Mountains and the Pacific Cascades. It is
considerably more limited in supply than Sitka spruce.
6.2.3 Western Red Cedar
(Thuja Plicata) United States. Western Red Cedar has long been utilized as a
soundboard material by classical guitar makers for its vibrance and clarity of
sound. It is extremely light in weight compared to spruce and the tonal result
is generally a slightly louder, more open response.
6.2.4 Western Larch
(Larix Occidentalis) United States. Western larch has clearly marked annual
rings and a fine uniform texture. Larch is harder and stronger than most
conifers including spruce. It bears a close visual resemblance to Sitka spruce
and due to its increased stiffness, it is an appropriate choice for scalloped
braced models yielding a projective and crisp response.
6.2.5 Koa
(Acacia Koa) Hawaii. Historically, koa tops have appeared primarily on small
bodied 0 & 00 size hawaiian guitars and ukuleles although recent koa
Dreadnoughts and custom guitars have been popular. Koa produces a predominately
bright treble response with less volume than spruce, but the slight loss in
volume is overshadowed by the extreme beauty of the grain. Koa tops are
available on special order and custom instruments.
6.2.6 Genuine Mahogany
(Swietenia Macrophylla) Brazil. Mahogany was first introduced as a topwood in
1922 on the lesser expensive Style 17 guitars. Tonally mahogany is less
projective than spruce, producing a subdued response that is crisp and delicate
with emphasis on the midrange. Mahogany tops are available on custom instruments
only.
7. How Does a Guitars Construction Affect Its Sound?
7.1 Bracing
Bracing adds strength to the top without (hopefully) killing too much of the
top's vibration. A set of medium gauge steel strings on a normal dreadnought
scale length (25.4") guitar exerts about 185 lb of tension. This would
splinter a thin wood top if it weren't braced. A top thick enough to hold this
much tension without bracing would be very quiet and tinny-sounding. Another
important function of the braces is to efficiently propagate the vibrations
through a large area of the top. Bracing also plays a major role in determining
the tone of a guitar.
7.1.1 Scalloped Bracing
In scalloped braces, wood is selectively removed from certain areas of the
braces to weaken the top enough to allow it to vibrate freely without weakening
it so much as to make it structurally unsound. Scalloped braces typically have a
longitudinal cross-section reminiscent of a suspension bridge.
All current Martin steel-string guitars that have scalloped bracing have the
following stamp on the inside: "USE MEDIUM GAUGE, OR LIGHTER, STRINGS
ONLY."
7.1.2 X-bracing
Martin steel-string guitars (and most of the multitude of guitars that are
copies of them) have X-bracing. This means that the two main braces under the
top run in an "X" from the upper bouts to the lower bouts. The
"X" crosses somewhere between the soundhole and the bridge (about
which more below). There are several auxiliary braces other than the main X-
braces.
7.1.3 High-X bracing
On most X-braced steel string guitars, the "X" crosses about 1.5 -
2" below the soundhole. On guitars with "high-X" bracing, the
"X" crosses about 1" below the soundhole. The effect of this is
that the bridge rests less directly on the main X-braces, and can thus transfer
more of its vibration to the top. This is also called "advanced
X-bracing" and "pre-war" bracing.
One of the features that make the pre-war Martin steel-string guitars so
desirable (and sound so good) is their scalloped, high-X bracing. Supposedly the
reason that Martin stopped using this type of bracing in the '40's is that so
many people back then used heavy-gauge strings, which will quickly damage a
guitar with such light bracing, and which led to many warranty repairs.
Some builders currently offer models with high-X bracing. These include (but
are no doubt not limited to) Martin (D-16H, HD-28 Custom 15, and some
"Guitar-of-the-Month" models) and Collings (dreadnoughts). High-X
bracing is usually scalloped.
7.2 Neck
8. Who Makes Top Quality Acoustic Guitars?
There are hundreds of guitar makers around the world. Some are large
companies that have been around for over a century. Others are highly skilled
luthiers who have just surfaced in the last decade or so, and only make a
handful of guitars each year.
8.1 Large Guitar Companies
These are companies that produce 1000+ guitars each year, and generally
incorporate some sort of automated manufacturing process in the construction of
their guitars.
18. What is a Good Travel Guitar?
19. What Types of Capos are Available?
The capo is a device that lets you change the key to which your instrument
is tuned, without retuning. Simply slap it into place, and voila, you're ready
to go. Capos are often used to allow you to change keys, but still utilize open
strings. For example, you can play the chords F#, B, and C#7 simply by placing
the capo on the second fret and playing the basic E, A, and B7 chords.
Capos come in 3 basic types. Each has its advantages and disadvantages. They
are outlined below, and makers of each type are given.
19.1 Elastic Capos
These are the least expensive capos you can buy, but also have the shortest
expected lifespan. They are basically a piece of rubber-coated metal rod with a
piece of elastic attached. Simply put the rod at the fret you want, and pull the
elastic band as tight as you need. If you are going to use one of these, make
sure it has a heavy elastic band, so it will hold firm, and last longer. Some
makers of elastic capos include: Bill Russell, Jim Dunlop, and Third Hand.
19.2 Clamp Capos
This type of capo clamps onto the fretboard and has an adjustable
"thumb screw" that allows you to select the proper tension more
precisely than an elastic capo. This type of capo also allows you to do partial
tunings, by only clamping it across the strings you want capoed. For example you
can achieve dropped-D tuning from standard tuning by capoing the 2-6 strings at
the second fret and leaving the 1 string uncapoed. This capo is a little slower
to get into place than an elastic capo, but is more versatile. Makers of clamp
style capos include: Shubb, Saga Golden Gate, Victor, and Kyser.
19.3 U-Shaped Capos
This type of capo is a flat rubber-coated surface with a U-shaped metal bar
that hinges around your guitar neck, and is adjusted using a thumb- screw. It
has the advantage of applying even pressure across the whole neck, but is slower
to get into position than the elastic or clamp style capos. Makers of U-shaped
capos include: Picker's Pal, Paige, Baldy Brothers, and Golden Gate.
20. How Do I Take Care of my Hands and Nails?
Taking care of your hands and nails is important, especially if you play on
a daily basis. Hand care includes both stretching your hands (ie warming up)
before playing finger-busting arrangements, as well as nail care, ie preventing
nail breaks and dealing with broken/worn-down nails.
20.1 Hand Care
One area that can not be overlooked is warming up before you play. Common
sense prevails here. Start off each guitar session by playing something that is
slow, and doesn't involve huge stretches. Scales and arpeggios are always a good
starter. Also, you may want to do some sightreading of a simple piece, since
this will normally keep your movements slow. Or you might try a piece that you
know (and enjoy!) that is not too difficult. Play thru at a moderate tempo, just
to get the juices flowing. A few minutes of warm-up goes a long way towards
preventing hand injuries, just as warming up prevents injury in sports and other
physical activities.
And what about those callouses that build up on your fretting hand? A lot of
British guitarists (e.g. Eric Clapton) use "Surgical Spirit" to
toughen up the skin on their fingertips. Surgical Spirit is simply the English
term for rubbing alcohol. If you wipe your fingertips with it twice a day for a
couple of weeks you'll get callouses tougher than elephant hide!
NOTE: Need info on callouses and Carpal Tunnel.
20.2 Nail Care
Nail care seems to be part voodoo, part common sense. Keeping your nails
strong and evenly filed is essential to maintaining consistency in your sound.
There are basically 2 things to consider: "How do I prevent nail
breaks?", and "What do I do when a nail does break?".
Part of preventing nail breaks means don't expose your nails to dangerous
situations. Common nail breaking incidents are: opening aluminum can tops,
zipping your fly, and snagging them on clothing. Don't let your nails grow
longer than their optimal playing length. The longer they get, the more
suseptible they become to damage.
Another part of preventing nail breaks is preventive maintenance. People
claim that nail polish makes their nails stronger (and shiny!). Others use hand
lotions with Keratin (a natural protein) in them. Still others claim that your
nails get stronger if you ingest powdered gelatin. And there are other products,
like "Barielle Nail Strengthener Cream", which was originally used to
strengthen horse hooves, which has been modified for use on your nails.
If you do get a nail break, your options are basically: 1) Remove the broken
part of the nail, and file the nail as best you can, and wait for it to grow
back, or 2) attempt to repair the broken nail, or 3) replace the nail with a
fake one. Filing the nail is pretty straight forward, and is described later on.
Repairing the nail can be done by reinforcing the nail with a paper/nail polish,
paper-mache type fix up job. Replacing the nail can be done thru a number of
means. These include growing your non-picking thumb-nail long, and using it as a
replacement nail, using a piece of ping-pong ball, using some brand of fake
nail, or even temporarily moving to the use of fingerpicks. There is a brand of
picks called "Alaska Picks" that fit under the nail, and are made of
plastic, so they don't give that metallic sound that normal fingerpicks do.
NOTE: Need info on how to properly file your nails.
21. How Should I Take Care of my Guitar?
21.1 Avoid Climate Extremes
Do not expose it to extremes of temperature. If it's too hot or cold for
you, it's probably too hot or cold for your guitar. Don't expose it to quick
temperature changes. If you're in an area of low humidity (<20%), keep it
humidified. Humidifiers that fit in the soundhole are available, or you can
easily make one out of a plastic prescription bottle, some string, and a piece
of a kitchen sponge.
Here is a set of instructions for making your own guitar humidifier:
- Get a small plastic prescription bottle.
- Using a soldering iron or something like that, poke, oh, about
10-15 holes in the bottle, wherever you want. The holes
should be about 2-3 mm in diameter. Make one hole in the
bottom.
- Get a piece of nice thick string about 40-50 cm long.
- Run that string through the hole in the bottom and knot it so it
won't come back out.
- Cut a piece off a kitchen sponge that will fit in the bottle (but
not too tightly). KIDS - ask Mom before doing this ;^)
- Put the sponge in the bottle, put a few drops of water in the
sponge, and put the top on the prescription bottle. The
sponge should be damp, not dripping wet.
- Make sure the outside of the bottle is dry.
When you put your guitar in the case, drop the bottle in the box. (You'll
probably have to pull a string out of the way a little to do this, unless you
have one of those large soundhole Maccaferris. It will probably not be necessary
to loosen a string to do this, though.) Leave the string hanging out so you can
pull the bottle back out later.
Obviously, you don't want to vigorously shake your guitar and case when this
humidifier is installed. Also, on dry winter days, you'll have to put more water
in it every two days or so.
NOTE: Contrary to popular belief, using a Prozac prescription bottle will not
make your guitar sound mellower ;^)
21.2 Simple Maintenance
21.3 Travelling With Your Guitar
22. What Are Tape I, II, and Tape III?
A wonderful idea was brought to fruition by the early participants of the
rmmga mailing-list. Larry Corbett put together a series of tapes containing
tunes performed by rmmga participants. These mysterious and elusive
"Tapes" are quickly developing into rmmga folklore. Why is there no
Tape I? What happened to Tape II? How can I get Tape III? The following is
Larry's explanation of the rmmga Tape I/II/III saga:
The Tape I story. Tape I was "guit's" first attempt to share some
guitar music with its members, and failed big time. The whole process of Tape I
was not a good one. It began as a tape that went from one member to the next on
a long list of folks who were from many different parts of the globe. Almost as
soon as it began we could see the short comings of doing a group tape in this
fashion. It would have taken months to get the tape just through the list let
alone to anyone else who might be interested in hearing it. And then, two months
into the project, it got lost in the mail. End of Tape I.
Tape II and III went much better. Tape II was complete and available to
anyone who wanted a copy in six or seven weeks. Some one suggested that all
contributors should send their contributions to one location, get dubbed on a
master and then distributed to the net. This worked well. I did both Tapes II
and III. Tape II was pretty simple to do and both tapes II and III had a lot of
luck going for them. There was no control on how many folks would contribute,
so, Tape II just about filled a 90 minute tape and Tape III nearly filled two 90
minute tapes.
I sent out over 80 copies of Tape II, and only 10 copies of Tape III after
the contributors got their copies. It took me about 20 minutes per tape to make
a copy. Tape II wasn't too hard to deal with, but Tape III really began to take
up more time than I was willing to deal with. I needed to pass the project on,
which is what I did.
Some one thought it would be a good idea if a few of them would decode to
make ten copies each of Tape II and III and then pass the masters on to the next
person. This is where I left off. I sent both master copies and all liner notes
and jackets out to a volunteer. The masters of Tape II and III are out there
somewhere.....
23. Acknowledgements
Thanks to the following people for their contributions to the FAQ. This is a
great combined effort from a number of helpful and knowledgeable people.
dasherma@us.oracle.com (Douglas Asherman) LCORBETT@MAINE.maine.edu (Larry
Corbett) darsie@ece.ucdavis.edu (Richard Darsie) cddonaghe@halnet.com (Charles
Donaghe) eveland@pecan.esd.sgi.com (Christopher Eveland) bobf@plan9.research.att.com
(Bob F?????) loredo@astrosun.TN.CORNELL.EDU (Tom Loredo) jjm@wwtc.timeplex.com
(James McGowan) mcipriani@aol.com (Mcipriani) neverisk@wp.prodigy.com (Mike
Neverisky) moishi@uoguelph.ca (Mo Oishi) bo_parker@fbpmac.msfc.nasa.gov (Bo
Parker) guy@harlequin.co.uk (Guy Snape)
html'd by Chris Peckham, cmp2@tower.york.ac.uk
