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TraxWeekly Issue 049
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founded march 12, 1995 _| : _____ t r a x w e e k l y # 49
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- | TraxWeekly Issue #49 | Release date: 02-29-96 | Subscribers: 493 | -
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Welcome to TraxWeekly #49!!!
And a big round of applause for Populus, founder of this publication!
Having been forced to leave around issue #3 for personal reasons, Populus
has rejoined the TW team. As the creator of this publication, his insight
and ideas will be extremely useful as we set out on our next 50 issues.
Again, there are few articles this week. Our music reviewing crew has
broken down due to boredom and won't be back for awhile. =) Zinc brings us
tracking tips from various musicians, and Shawnm concludes his music
history essays this week with "Tablature and Tuning Systems."
What about TraxCulture? Music Reviews? Biased and humorous commentary?
Well, issue #50 is waiting for contributions! Just wait and see what we've
got for you NEXT week.
Enjoy!
-psib [traxweekly]
gwie@owl.csusm.edu
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General Articles
1. Preparation, Destination......................Psibelius
2. The Evolution of TraxWeekly...................Populus
3. TraxTips #1...................................Zinc
4. The Development of Tablatures
and Tuning Systems.................Shawnm
Group Columns
5. Epinicion Productions
6. Explizit
Closing
Distribution
Subscription/Contribution Information
TraxWeekly Staff Sheet
/-[General Articles]--------------------------------------------------------
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--[1. Preparation, Destination]--------------------------------[Psibelius]--
Whoopee. It's been quite a long time since I've written anything of note
for TraxWeekly, so here I am again...
Next week, we will be celebrating. No, the communications decency act
was not repealed. No, Future Crew has not released Unreal 3. Almost one
year after its founding, TraxWeekly will celebrate its 1st birthday, and
also release its 50th issue!
It seems that interest in TraxWeekly has waned over the months. We can
only continue covering compos and reviewing music before it becomes old
hat. I know for sure that the music reviewers are bored out of their
skulls wondering, "why the heck am I *DOING* all this?" Looking back at
earlier issues from the tens and twenties, I notice that the "spirit" of
this publication has really taken a downhill slide.
Nowadays, we're so insistent on "technicals." You know what technicals
are. Those articles filled with tons of statistical data, analysis of a
billion subjects that wouldn't be missed of the world ended at this very
instant. At the beginning, TraxWeekly was an awaited release every week,
full of entertaining stories, hilarious TraxCulture, and once in a while,
an occasionally heated debate that had serious effects on the Music scene.
Granted, I don't mind Shawnm's articles on music theory and the like. It's
nice to read something on a higher level sometimes. But how much is too
much?
Now where are we at? Thanks to requests, we've become a pretty serious
and uptight publication. Music reviews are getting extremely bland. The
ages old argument about ratings makes me puke. All the compos seemed to
have faded away without much notice...what's happening??? Is our music
scene becoming so big and boring that we fail to even CARE anymore?
I really miss the days when we could waltz into #trax and grab the latest
song by a cool musician. The days when Daredevil would spread around
guitar tunes, Basehead was shaking things up, and Firelight was here and
there with Firestorm. Nowadays we walk into the channel and we're
bombarded by 99999999999999999 kazillion xdcc offers of music from 999999
9999 bajillion people. If the review from Hornet are any indication,
people are releasing music for the sake of releasing it, not for creating
something for someone to listen to and enjoy. It's depressing to look at
a recent file listing and see "+" and "*" next to 70% of the new releases.
I haven't released a single song for about half a year now, because I
constantly see need to improve upon it. I would settle for a much smaller
volume of GOOD songs being released than the gig of trash uploaded every
single day.
Can we simply compose for the enjoyment of it? Forget the fame. It's not
really worth the struggle unless you can be in that top 10%, and be there
consistently. Don't take me wrong. Given the decision, of my own group's
300 something songs, I'd seriously consider keeping about 30 of them. The
rest is garbage, some less trashier than others (not to hurt any feelings,
we all tried. But sometimes we just didn't try hard enough).
Epinicion? Argh, Epinicion is (was?) an experiment. An experiment that
somehow took hold, thanks to some heavy dedication and hard work. But like
most experiments, some of them don't hold through. I think that of all the
new (beginner) musicians that were pulled in to the scene by Epinicion,
about thirty or forty of them still remain and release regularly. I'd like
to personally congratulate all of you, I'm surprised you had the guts to
stick with it.
To all of you who have contributed to TraxWeekly in the past: Could you
please contribute to our 50th issue? It only seems like yesterday when we
decided to start this puppy up, and now we're halfway to 100. Also, please
welcome back the FOUNDER of TraxWeekly, Populus!
I don't know. It's up to you, readers.
-psib [traxweekly]
gwie@owl.csusm.edu
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--[2. The Evolution of TraxWeekly]-------------------------------[Populus]--
An introduction would be logical for those you don't know who I am. I'm
the guy who created this newsletter. I'll explain what I wanted to do with
this kind of publication, and my opinion to what happened to it.
I was in the #trax channel one day, and DemoNews was supposed to stop
its activities. The fact that our only newsletter was going away made me
think how it would be interesting to create an all-music one.
My ideal of TraxWeekly was that all the talented people from the channel
would share their knowledge and their passion for music. The fact the music
was made entirely on computers, didn't have anything to do with it. Also
I wanted to include the past composers that didn't get any real
recognition. For example, Moby and Captain were better than many of the
present "stars". They produced a new sound that most people didn't know at
all. I wanted to interview constantly the best musicians the scene had to
offer; just to understand how do they do it. I wanted also to analyse
styles that popped up from here and there. The acticles that Necros did on
music theory went right up my alley. Post-party reports were my idea of
good reading material too. That was my idea of TraxWeekly.
We can't minimize the talent the scene has. The fact that it's being
produced on little beige boxes isn't a reason to say it's crappy. We have
tools today to get a more realistic sound off those modules. Also some
people are record industry ready. For example: Purple Motion was a genius,
he did experimental symphonies in his basement at the age of 17. I'm very
proud of all you people.
But sadly time was fleeing my hands, and I had to pass TraxWeekly to
someone else. Popcorn was a reasonable choice since he had helped me so
much when I was the one doing it. Although he did an excellent job
gathering acticles and producing interviews, he used the mag as his voice
on the net. The fact he was running TraxWeekly made him think he would
have special priviledges on the famous IRC channel. After many IRC wars
( which I didn't witness ) in #trax, people were mad at him.
The newsletter was becoming more the voice of the people who idled the
whole day on the channel than the voice of the people who can actually
composed music. I was furious to see how it was becoming more and more an
Ansi Mag clone. I don't spit on the people who contributed to the magazine
in that time period, but I just want to say that it wasn't my TraxWeekly.
I noticed that Psibelius runs TraxWeekly now. I haven't read many issues
to comment what he was done. I read the last one (#048) and it was
horrible ( btw: this wasn't a flame for him ). I have joined and will
comment the orientation the mag should have. I miss the newsletter I
created so long ago. Psibelius is a respectable and a responsible guy and I
trust him with TraxWeekly. He has the love from the people on the channel,
and that's important.
To wrap up this wonderful text, I promise you people that TraxWeekly is
back. Ideas and contributions are welcome, because they are the backbone of
this newsletter. I know I didn't write much, understand that this isn't my
first language and it asks of me a lot of attention while writting.
-/-
Populus
a.k.a. Nicolas Roberge
Founder of TraxWeekly
nr@clic.net
-/-
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--[3. TraxTips #1]--------------------------------------------------[Zinc]--
After asking around a little, I found several people noticed a lacking
of actual tracking advice in TraxWeekly. I took heed, and got the idea to
do this article. It is the first in the series. I asked various trackers
for some hints/suggestions that they could share with other trackers, and
started this nifty little column.
Anyways, I interviewed four trackers this time: c ray c, Maelcum,
Daedalus, and Acidfrog. I've edited a lot out of the interview, but left
the actual content in tact. (I just cut out a lot of nonsense and jabber-
wocky :) ) Without further adieu, here is some advice straight from
the trackers themselves.
** c_ray_c **
<c_ray_c> don't double channels.
<c_ray_c> if you set one channel all the way to the right, and one all the
way to the left, and play the same thing on both, you're just
wasting a channel
<c_ray_c> you can get the same effect by doubling the volume of whatever
samples you're using (in a sample editor)
<c_ray_c> this increases the quality of the song on the gus because using
less channels increases the playback frequency
<zinc> what sample editor do you recommend for this?
<c_ray_c> uhm... ultra amender and the os/2 system sound editor work
<c_ray_c> I usually use sound edit pro for macintosh
<zinc> And for ms-dos or windows?
<c_ray_c> well, ultra amender for dos... for windows I guess that thing
that comes with windows, recorder or something
<c_ray_c> I haven't used windows in a long time though
<c_ray_c> probably like any sound editor will work
** Maelcum **
<Maelcum> One thing i like to do to ensure the quality of my samples is
high is to sample at a sampling rate that is a direct multiple
(whatever that means =) of the rate i want to end up with.. for
example, i try to avoid sampling at 44khz and then resampling
to 8khz or 16.. if i want a sample to end up at 16khz i'll
sample the original at 32khz instead of the normal 44, and vice
versa. 44 if i want to go to 11khz
<Maelcum> otherwise your samples can get somehow effed up in the
resampling.. dunno the technical bits
<Maelcum> also, ALWAYS sample in 16 bit, and then use a program with good
resampling (goldwave is one, sound forge is another) to go to 8
bit
<Maelcum> and of course the usual advice: always sample hi hats and other
bright instruments with alot of hi end at high rates (32-44khz
is preferable)
<Maelcum> bass drums, etc often work fine at even 8khz
<Maelcum> also, be sure to do any changes (EQ, adding effects, maximising
volume) before converting to 8 bit from 16 bit, and before
resampling down to your final frequency
<Maelcum> Normalising the samples so you have very hot signals will cut
down on quantitization noise
<Maelcum> and don't be afraid to manually edit noise out from things
<Maelcum> Gold Wave is a good editor, some people prefer Cool Edit,
although I always thought it was a bit slow
<Maelcum> Sound Forge is a great one, however it's quite expensive
($250-300), but there's a new light version with most of the
good stuff for about $70
** Daedalus **
<Daedalus> hmmmm, well, when using piano samples, since the samples are
always the same, and real pianos, the keys are struck
differently, use volume control on the samples, <be it with
the Dxx command, or offset the sample with the Oxx command>
<Daedalus> makes it sound a little more live that way.
<Daedalus> it's starting the sample later with the offset, kinda creating
the 'illusion' that the key is being struck with a different
force.
** Acidfrog **
<Acidfrog> if you have the ability to create to create your own samples
sample anything.. sometimes the most obscure sound or noise
can make for a real ace sample.. just sample it and fool with
the sound until you get something that sounds good.. then
build a track around it..
<Acidfrog> I find too many trackers are to scared to sample anything other
than the contemporary instruments...
<Acidfrog> an example would be to make a rythm out of white noise..
<Acidfrog> take 4 different samples of static and adjust the pitches and
duration and then have it playing in the backround next do a
standard drumkit..
<Acidfrog> (thats just an example)
<Acidfrog> What I do is try to "visualize" the song or soundscape.. See a
picture in your head then try and translate what is going on
into sound.. That is the best way to get pure meaning and
emotion into your songs.
<Acidfrog> Musical theory is ok but I find that it can restrict your
creativity.. don't be afraid to step out side musical
boundaries.. If you compose in a set of rules or guide lines
your stuff will end up sounding just like everything else
created be those standards.
<Acidfrog> If it sounds good.. then it is..
I hope these tips help! Stay tuned, I'll be writing a follow-up to this
article in the near-future. If you have any tips yourself, and but
don't want to write up an entire article, please email them to me, and
I'll try to incorporate it into the next edition of "TraxTips" - zinc / rays@direct.ca
- zinc / rays@direct.ca
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--[4. The Development of Tablatures and Tuning Systems]-----------[Shawnm]--
This was originally written as an essay for my Music History class
in 1994.
The part on tablature doesn't relate directly to tracking, though it
is a form of music notation that is quite different from normal
music notation, just like in a tracker, we use a system of notation
that is quite different from regular notation. This can also be
interesting to some of you guitarists and keyboardists, since the
lute is an ancestor of the guitar, and the harpsichord (which also
used tablature a long time ago) is in a way an ancestor of the
piano.
The section on systems of tuning might prove to be more interesting.
In modern times, we use the system of 'equal temperament'. What that
means is that the octave is divided up into 12 semitones of equal
value. In the past, other systems were used, where the octave was
divided up in different ways. So, then, you can look at this as
a history of the development of the modern system of notes that we
use in Western music.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Introduction:
~~~~~~~~~~~~
Throughout the centuries of musical development, there has
been a great deal of concern in the manner of tuning and notation
for various instruments. Musical scholars of the times were always
searching for a way to best represent their music on paper, and a
way to tune the instruments to what they thought were the proper
musical pitches.
As well, lute music was very popular, and methods of notating
for the lute were evolving. Different regions in Europe each
produced some very specific types of lute tablature. The lute
music was getting to be quite complicated in its polyphony, and
composers and performers alike were searching for easier ways to
read and write lute music. Tablature began before the 16th
century, but it was during that time that it underwent many
important developments.
Systems of Tablature:
~~~~~~~~~~~~~~~~~~~~
In the early days of the lute, its strings were plucked with
a plectrum and was mostly used to play a single line of music, with
the occasional strummed chords at cadences and other important
points. During the second half of the 15th century, there was a
change to playing with the fingertips. "Tinctoris wrote of holding
the lute 'while the strings are struck by the right hand, either
with the fingers or with a plectrum'" (Reese, p.520). This change
was so significant for the lute's development, that it led to the
invention of new special systems of notation known as tablature
(Reese, p.520). Tablature is a notation "that indicates finger
placement on the frets rather than pitches in a strict tonal sense"
(Reese, p.520). Besides the change in playing style, there was
also a change in the music being composed. Tablature was also
created because of the complex polyphony that was being played on
the lute. Perfomers and composers of the time wanted a way to
transmit the music in a quicker manner than the standard set of
notation. Throughout its development, tablature became not only
more and more complex with its symbols, but also more useful to the
performer, since it indicated all nuances and ornamentations. It
is stated that "the simplicity, clarity and logic of such common
features of tablatures were considerably in advance of staff
notation" (Sadie, Tablature, p.506)
There were three main kinds of tablature, developed in
Germany, France, and Italy" (Sadie, Lute, p. 347). Spain also
produced its own type of tablature, but it wasn't as major a
development as the others were. The lute tablatures that have
survived the ages are "in such an advanced stage" (Reese, p.521),
leading us to realise that they must have had quite an extensive
history of development (Reese, p.521). "However, the earliest
surviving examples, which are Italian, come to us only from the
beginning of the 16th century" (Reese, p.521).
Italian tablature had six lines, with each representing a
string (or course). The highest line stood for the lowest-sounding
string, and so on. Figures from 0 to 9 were placed on the lines, 0
calling for the open string, 1 for the first fret, and so on.
Since the frets divided the fingerboard into semitones, tablature
indicated all chromatic inflections. Rhythm and note lengths were
expressed by different kinds of stems, placed above the top line in
a single row. Their absence meant to repeat the last value shown.
This system applied primarily to the moving part (Reese, p.520-
521). "What was to be done rhythmically to the other parts has
given rise to two schools of thought among transcribers into modern
notation, some of whom transcribe literally, while others aim to
"restore" the part-writing" (Reese, p.520-521).
Tablature also developed a very complicated set of symbols
which each represent a type of ornamentation. While this was
mostly found in the Baroque era, one can see its beginnings in the
16th century. "In the Capirola Lutebook (1517), the earliest known
source of information, two signs are used: one shows figures
notated with red dots; the other consists of two red dots placed
over the figure" (Sadie, Lute, p.354). The single red dot meant a
tremolo with two fingers, and the two red dots was a one finger
tremolo, probably a mordent (Sadie, Lute, p.354). Pietro Paolo
Borrono further explained the performance and notation of ornaments
in his Intavolatura di lauto, printed in 1548 in Milan (Sadie,
Lute, p.354).
Meanwhile, in France, Attaignant published his book, entitled
Tres breve et familiere introduction... in 1529 (Reese, p.553).
The book was intended as an instruction book. It contained a
detailed explanation of lute tuning and tablature. The French
tablature of Attaignant's day, which is quite different from the
Italian, usually employed a five-line staff, in which the highest
line represented the highest pitch string. The lowest string was
represented, when necessary, by a leger line. The eight frets on
the fingerboard were designated by the letters b to i, with a
indicating an open string. Rhythms and durations were indicated as
in the Italian system (Reese, p.553). By the end of the century,
French lute tablatures began to use six lines as the standard
(Sadie, Lute, p.360). It was the French tablature that eventually
developed into the most used form of tablature. It was considered
to be the most clear form, and became popular with composers at the
time (Sadie, Tablature, p.512).
During the 16th century, in Germany, the lute was quite
popular in the homes of the German people and because of this,
German composers attempted to make their tablatures as clear and
simple as possible so that the average person could teach
themselves how to play and interpret the music (Reese, p.668).
Most collections of German lute music "employ a special notation,
the invention of which is ascribed by [Hans] Judenkunig to an
unnamed contemporary and by Virdung and Martin Agricola to Conrad
Paumann. This is a rather complicated affair, in which the
"strings" (five at first and six later, one less than the full
number being double strings in each instance) are numbered and the
frets indicated by letters running across the fingerboard.
Rhythmical values are shown by stems, usually united into groups,
i.e., two semiminims are indicated by , four fusae by
...Some writers...like the Italians, place the time-
signature before each piece; others...omit them altogether or
insert them only at a change of meter. A few Germans...produced
tablatures in Italian notation also" (Reese, p.669). In the end,
however, the German system was far too complicated to be of use to
the average person, and later on, when more strings were added to
the lute, the system would have had to be completely redone. This
was certainly not acceptable.
In 1550 Rudolf Wyssenback printed a transcription in German
tablature of an Italian work. He used half circles to represent
ornaments. These half circles were called "mordanten". But, no
specific definitions of what type of ornament to play were given.
Mordanten simply meant ornaments (Sadie, Lute, p.355). This was
not a very specific method of notation.
The Spanish system of tablature was very similar to the
Italian system, except that the six line staff was inverted, so
that the top line represented the highest sounding string, instead
of the lowest, as in the Italian system. Sometimes, the vocal line
would be included in the tablature in red numerals. In some case,
Spanish lute compositions have barlines, with the length of the bar
being a semi-breve (a whole note). The rhythm notation was as is
in ordinary staff notation (Sadie, Tablature, p.512).
Tuning Systems:
~~~~~~~~~~~~~~
Throughout the 16th century, musical scholars made a great
effort at finding a universal method of tuning that would allow
instruments to play together in tune, and that would allow for the
production of all the proper intervals. "Theoretical sources on
this subject reveal an astonishing number of methods as well as
objectives, all of them subject to considerable controversy"
(Maniates, p.133). "Since there was no international pitch,
diverse interpretations of pitch existed side by side in each
region, town, even church - different organs were tuned a varying
pitch-levels" (Reese, p.530). This further complicated the
progression towards a standardized tuning system.
But, the problem with finding a good tuning system was mostly
in the use of keyboard instruments. Since the lute was fretted,
and all six (or more) strings have to share frets across the
fretboard, the frets had to have quite a specific placement for
notes to be sounded correctly over the range of the instrument
(Sadie, Temperament, p.670-671). This resulted in the lute being
tuned to equal temperament, in a time where most other instruments
(keyboards) were falling prey to experimentation in different types
of meantone temperament (Maniates, p.133-147). Equal temperament
is the system used in modern times, where the octave is divided
into 12 equal semitones.
But, what is quite important, is that lutes often played with
other instruments and/or vocalists. Vocalists tended to use a
system of just intonation (Maniates, p.136) and keyboards were
using different types of meantone temperaments. It wouldn't be
until much later that equal temperament became accepted as
standard. Because of this, it was up to the lute player to make
minute adjustments to notes, in order to maintain a good intonation
with the other members of the ensemble, however small or large it
may have been (Sadie, Temperament, p.671). The layout of the lute
does not impose an exact intonation of the scale on the player as
nearly much as that of a harpsichord or an organ (Sadie,
Temperament, p.670). So, while technically, the lute was tuned to
the system of equal temperament, it was not necessarily performed
in that system.
However, there were exceptions. Some performers had lutes
that were tuned in meantone temperaments, or in the pythagorean
system. But, these performers were forced into using some complex
fretting patterns in order to avoid landing on a bad note (Sadie,
Temperament, p.671).
By the end of the 16th century, it was the standard in Italian
writings that lute music would be performed in equal temperament,
and that keyboard music would be performed in some type of mean-
tone temperament (Sadie, Temperament, p.672).
Conclusion:
~~~~~~~~~~
Throughout the 16th century, there were many developments
being made in the use of new tuning systems and tablatures. The
music was getting more complicated, and required specific types of
notation for specific instruments, such as the lute. Different
regions each developed its own type of tablatures to suit its
specific needs.
Keyboard instruments were the main focus in the debates
leading to a new system of tuning. During the 16th century,
musical scholars explored many different tuning systems, starting
with the pythagorean system, and eventually ending up with the
modern day equal temperament. The lute was always tuned to an
equal temperament because of the contruction of the instrument,
most notably the fret system. But, lutes did not necessarily play
in equal temperament. Minute changes were constantly made by the
performer in order to have good intonation with the other
performers, who may have not necessarily used the same tuning
system as the lute.
The 16th century was a time of important musical changes,
debates, and discoveries, which had a great impact on the
development of western music.
Bibliography
~~~~~~~~~~~~
Maniates, Maria Rika. Mannerism in Italian Music and Culture,
1530-1630. Chapel Hill: The University of North Carolina
Press, 1979.
Reese, Gustave. Music in the Renaissance. New York: W. W. Norton
& Company, 1959.
Sadie, Stanley, ed. "Lute." The New Grove Dictionary of Music and
Musicians. London: MacMillan Publishers Limited, 1980.
Sadie, Stanley, ed. "Tablature." The New Grove Dictionary of Music
and Musicians. London: MacMillan Publishers Limited, 1980.
Sadie, Stanley, ed. "Temperaments." The New Grove Dictionary of
Music and Musicians. London: MacMillan Publishers Limited,
1980.
Stolba, K Marie. The Development of Western Music A History.
Dubuque: Wm. C. Brown Communications, Inc., 1994.
shawnm / New Objectives In Sound Exploration
shawnm@citenet.net
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/-[Group Columns]-----------------------------------------------------------
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--[5. Epinicion Productions]------------------------------------------------
___ _______ _____________ ______ ______ _______ ______ _______ ___________
| // \\ \\_____) \\_____) \\_____) \\ \\ |
: / o \ o \ \ \ \ \ \ o \ \:
// _____// / \ : / \ _____/ \ / : \.
\\_______/ _//______\\_|__//______\\_____//______\\_____//____| /:
: \\____\\ ______________________________ oT /___//|
|________________________// e p i n i c i o n \\________________|
March 21st is closing fast, only a few more weeks until Epinicion no
longer exists.
Thanks to all of you who have made submissions for our final musicdisk.
Currently, we around six megs of music and looking for more. Members,
former members, and friends, please donate a song for our last release!
This music disk is the final mark of our work for the last two years in
the PC music scene.
Thank you.
-----
Submissions can be mailed via MIME or UUE to gwie@owl.csusm.edu
ALL of Epinicion's 1995 and 1996 releases can be found through ftp at:
kosmic.wit.com /kosmic/epinicion
Epinicion's webpage can be found at the following address:
http://www.csusm.edu/public/guests/gwie/epi.html.
Psibelius (Gene Wie)
Epinicion Founder
gwie@owl.csusm.edu
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Explizit TraxWeekly column issue #11 - february 29, 1996
. .
.' explizit `.
`...............'
Hi there!
We're explizit and we're doing GREAT! :)
We make techno music in the Netherlands, you know, that little country,
no, not a provence of Denmark, :), but that little country in Europe
with those colourfull bank-notes! ;=]
Explizit was founded somewhere in November, 1995. Today, February 1996,
we have 12 different country Headquarters, a homepage, an FTP site,
a busy mailing-list (although we could use a _lot_ more subscribers
than 27, come on guys! :)).
Our team consists of muscians, coders, ansi/ascii artists, sysops,
door-coders, gfxians. All working for the same goal: the creation of
Quality techno music.
In a short time our first diskMag will be released. It'll hold many
articles on the Dutch music scene, as well as some cool articles from
foreign people. We could use a _lot_ more articles anyhow!
So if you feel like contributing to Holland's first Music Scene, please
do so! We can use *every* music related article. We can also use every
group and/or board advertisment you send us. So start writing to get
yourselves known over here! =]
Send commands to our little mail-server to receive our modules. If you
subscribe to our list you'll receive every future module automatically.
The commands:
SUBSCRIBE
UNSUBSCRIBE
RETRIEVE <filename> UUE
RETRIEVE <filename> MIME
You can issue multiple commands in one message. Email to explizit@dds.nl
. .
.' explizit members `.
`........................'
Explizit group-mail [use this one!] explizit@dds.nl
Ch:ilm staff explizit@dds.nl
Phonc(ie) music,staff W.Langenhuizen@nl.cis.philips.com
Batjo music tgcpaw@stud.tue.nl
Jay music - none -
KoM'AH music - none -
Paranoid Man gfx - none -
LightWing code pflick@xmission.com
DirtBag ansi/ascii - none -
. .
.' news `.
`..........'
No nuwz yet =]
. .
.' releases `.
`...............'
E-1234!.ZIP 1-2-3-4EVER! KoM'AH XM
Pretty hard rave song ... not commercial at all.
E-3MOON.ZIP 3 Moons KoM'AH XM
Nice trance song, sounds kewl....
E-ULTMTR.ZIP Ultimatter-nebulah KoM'AH XM
KoM'AH's been very productive lately .. :) This is hardtrance. Composed
for the music compo on the explizit WHQ (my board).
. .
.' end `.
`...........'
Thank you for reading, you can ftp all our releases from:
ftp://tillbm.stu.rpi.edu/explizit/
For feedback, info and more, visit our homepage:
http://huizen.dds.nl/~explizit
Ch:ilm/Explizit
explizit@dds.nl
GOA rulez bigtime! :)
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