Archive-name: car-audio/part3
Rec-audio-car-archive-name: FAQ/part3
Version: 2.3
Last-modified: 5 Jul 94


      4 Subwoofers

 This section describes some elements necessary for
 understanding subwoofers - how they operate, how to build
 proper enclosures, how to pick the right driver for you, and
 how to have a computer do some of the work for you.

    4.1 What are "Thiele/Small parameters"? [CD,RDP]

 These are a group of parameters outlined by A.N. Thiele, and
 later R.H. Small, which can completely describe the electrical
 and mechanical characteristics of a mid and low frequency
 driver operating in its pistonic region.  These parameters are
 crucial for designing a quality subwoofer enclosure, be it for
 reference quality reproduction or for booming.

 Fs    Driver free air resonance, in Hz.  This is the point at 
  which driver impedance is maximum.
 Fc    System resonance (usually for sealed box systems), in Hz
 Fb    Enclosure resonance (usually for reflex systems), in Hz
 F3    -3 dB cutoff frequency, in Hz
 
 Vas   "Equivalent volume of compliance", this is a volume of 
  air whose compliance is the same as a driver's 
  acoustical compliance Cms (q.v.), in cubic meters
 
 D     Effective diameter of driver, in meters
 Sd    Effective piston radiating area of driver in square meters
 Xmax  Maximum peak linear excursion of driver, in meters
 Vd    Maximum linear volume of displacement of the driver 
  (product of Sd times Xmax), in cubic meters.
 
 Re    Driver DC resistance (voice coil, mainly), in ohms
 Rg    Amplifier source resistance (includes leads, crossover, 
  etc.), in ohms
 
 Qms   The driver's Q at resonance (Fs), due to mechanical 
  losses; dimensionless
 Qes   The driver's Q at resonance (Fs), due to electrical 
  losses; dimensionless
 Qts   The driver's Q at resonance (Fs), due to all losses;
   dimensionless
 Qmc   The system's Q at resonance (Fc), due to mechanical 
  losses; dimensionless
 Qec   The system's Q at resonance (Fc), due to electrical 
  losses; dimensionless
 Qtc   The system's Q at resonance (Fc), due to all losses; 
  dimensionless
 Ql    The system's Q at Fb, due to leakage losses;
  dimensionless
 Qa    The system's Q at Fb, due to absorption losses;
        dimensionless
 Qp    The system's Q at Fb, due to port losses (turbulence,
        viscousity, etc.); dimensionless
 
 n0    The reference efficiency of the system (eta sub 0) 
  dimensionless, usually expressed as %
 
 Cms   The driver's mechanical compliance (reciprocal of 
  stiffness), in m/N
 Mms   The driver's effective mechanical mass (including air 
  load), in kg
 Rms   The driver's mechanical losses, in kg/s
 
 Cas   Acoustical equivalent of Cms
 Mas   Acoustical equivalent of Mms
 Ras   Acoustical equivalent of Rms
 
 Cmes  The electrical capacitive equivalent of Mms, in farads
 Lces  The electrical inductive equivalent of Cms, in henries
 Res   The electrical resistive equivalent of Rms, in ohms
 
 B     Magnetic flux density in gap, in Tesla
 l     length of wire immersed in magnetic field, in meters
 Bl    Electro-magnetic force factor, can be expressed in 
  Tesla-meters or, preferably, in meters/Newton
 
 Pa    Acoustical power
 Pe    Electrical power
 
 c     propagation velocity of sound at STP, approx. 342 m/s
 p     (rho) density of air at STP 1.18 kg/m^3

    4.2 What are the enclosure types available, and which one is right
 for me? [JLD]

 Only the order of the enclosure         First Order
 itself is shown here.  The addition     Infinite-Baffle or Free-Air
 of a crossover network increases
 the order of the system by the                  |
 order of the crossover.                         |
 Example:  If a First-Order, 6dB/Oct.           /
 crossover (single inductor in series          /
 with the speaker) is used with a            ||
 Fourth Order enclosure, the total           ||
 system is a fifth order.                      \
 Note:  Air volumes and ratios shown            \
 here may not be to scale.  This is              |
 designed to provide order information           |
 only.


 Second Order                        Second Order
 Acoustic- or Air-Suspension         Isobaric* Acoustic-Suspension
 or Sealed                           (Compound Loaded)
  _______________________             _______________________
 |                       |           |                  _____|
 |                      /            |                 /    /
 |                     /             |                /    /
 |                   ||              |              ||   ||
 |                   ||              |              ||   ||
 |                     \             |                \    \
 |                      \            |                 \____\
 |_______________________|           |_______________________|


 Fourth Order            Fourth Order            Fourth Order
 Bass-Reflex or          Passive Radiator        Isobaric*
 Vented or Ported        Bass-Reflex             Bass-Reflex
  _______________         _______________         _______________
 |               |       |               |       |          ____ |
 |              /        |              /        |         /    /
 |             /         |             /         |        /    /
 |           ||          |           ||          |      ||   ||
 |           ||          |           ||          |      ||   ||
 |             \         |             \         |        \    \
 |              \        |              \        |         \____\
 |               |       |               |       |               |
 |               |       |              /        |               |
 |               |       |             /         |               |
 |           ____|       |            |          |           ____|
 |                       |            |          |
 |           ____        |             \         |           ____
 |               |       |              \        |               |
 |_______________|       |_______________|       |_______________|


 Fourth Order                    Fourth Order
 Single-Reflex Bandpass          Isobaric* Single-Reflex Bandpass
  _________________    ____      _______________________    ____
 |         |       |  |    |    |               |       |  |    |
 |        /        |  |    |    |              / \      |  |    |
 |       /                 |    |             /   \             |
 |     ||                  |    |           ||     ||           |
 |     ||                  |    |           ||     ||           |
 |       \                 |    |             \   /             |
 |        \                |    |              \ /              |
 |_________|_______________|    |_______________|_______________|


 Fourth Order                      Fourth Order
 Three Chamber                     Three Chamber Isobaric*
 Single-Reflex Bandpass            Single-Reflex Bandpass
  ____________   ____________      ______________   ______________
 |      |     | |     |      |    |       |      | |      |       |
 |     /      | |      \     |    |      / \     | |     / \      |
 |    /                 \    |    |     /   \           /   \     |
 |  ||                   ||  |    |   ||     ||       ||     ||   |
 |  ||                   ||  |    |   ||     ||       ||     ||   |
 |    \                 /    |    |     \   /           \   /     |
 |     \               /     |    |      \ /             \ /      |
 |______|_____________|______|    |_______|_______________|_______|


 Fifth Order = Fourth Order Enclosure + First Order Crossover
             = Third Order Enclosure + Second Order Crossover, etc.


 Sixth Order                        Sixth Order
 Dual-Reflex Bandpass               Isobaric* Dual-Reflex Bandpass
  ____    _____________    ____      ____    ____________    ____
 |    |  |       |     |  |    |    |    |  |      |     |  |    |
 |    |  |      /      |  |    |    |    |  |     / \    |  |    |
 |    |  |     /               |    |    |  |    /   \           |
 |           ||                |    |          ||     ||         |
 |           ||                |    |          ||     ||         |
 |             \               |    |            \   /           |
 |              \              |    |             \ /            |
 |_______________|_____________|    |______________|_____________|
 
 Sixth Order
 Three Chamber                        Quasi-Sixth Order
 Dual-Reflex Bandpass                 Series-Tuned Bandpass
  _    _________   _________    _      _________________    ____
 | |  |   |     | |     |   |  | |    |           |     |  |    |
 | |  |  /      | |      \  |  | |    |          /      |  |    |
 |      /                 \      |    |         /               |
 |    ||                   ||    |    |       ||                |
 |    ||                   ||    |    |       ||                |
 |      \                 /      |    |         \               |
 |       \               /       |    |          \              |
 |________|_____________|________|    |       ____|             |
                                      |                         |
                                      |       ____              |
                                      |           |             |
                                      |___________|_____________|


 Seventh Order = Sixth Order Enclosure + First Order Crossover, etc.


 * Isobaric or Coupled Pair (Iso-group) Variations:

 A variety of configurations may be used in the isobaric loading
 of any order enclosure. Physical and acoustic restrictions may
 make one loading configuration preferable to another in a
 particular enclosure.

 Composite or Push-Pull                  Compound or Piggy-Back
 or Face-to-Face Loading                 or Tunnel Loading
  _________________                 ___________________________
 |                 |               |                       ____|
 |                / \              |                      /   /
 |               /   \             |                     /   /
 |         >>> ||     || >>>       |               >>> ||  || >>>
 |         >>> ||     || >>>       |               >>> ||  || >>>
 |               \   /             |                     \   \
 |                \ /              |                      \___\
 |_________________|               |___________________________|

 Back-to-Back Loading                    Planar Loading
  _________________________         ___________________________
 |                _________|       |                        |  |
 |                \       /        |                       /   |
 |                 \     /         |                      /    |
 |              >>> || || >>>      |                    || >>> |
 |              >>> || || >>>      |                    || >>> |
 |                 /     \         |                      \    |
 |                /_______\        |                       \   |
 |_________________________|       |________________________|  |
                                                            |  |
                                                           /   |
                                                          /    |
                                                        || <<< |
                                                        || <<< |
                                                          \    |
 >>> indicates direction of                                \   |
 >>> simultaneous cone movement.                            |__|

    4.3 How do I build an enclosure?

    4.4 What driver should I use?

    4.5 Is there any computer software available to help me choose an
 enclosure and a driver? [MH]

 Various enclosure design software is available via ftp from
 ftp.uu.net in the /usenet/rec.audio.high-end/Software
 directory.  The most popular program there is Perfect Box,
 which is in the file "perf.uu" (or "perf.zip").

 For an overview of many programs and devices available for
 enclosure design, obtain the file "sahfsd01.doc" at the
 ftp.uu.net archive.  The filename stands for "Software and
 Hardware for Speaker Design", and was added to the archive
 in June 1994 by an anonymous contributor.

    4.6 What is an "aperiodic membrane"? [CD]

 An aperiodic membrane is one part of a type of subwoofer
 enclosure.  It is an air-permeable sheet which has
 frequency-dependent acoustical resistance properties.  The
 original design goes back to Naim, for use in home systems, but
 has been applied by several individuals and companies in car
 audio.

 The completed system will be aperiodic, which means it will
 prove to be over-damped with a Q below 0.7.  In contrast, most
 car audio systems range from sort of to grossly underdamped,
 with Q's > 0.8 and higher.  These high-Q systems have poor
 transient response, nasty peaks in frequency response, and high
 rates of roll-off.  Aperiodic systems will feature excellent
 transient response, smooth frequency response, and extended
 very-low frequency reproduction.

 Another benefit of the system is that you can pretty much
 choose whichever driver you'd like to use, as long as they are
 big.  The Thiele/Small parameters (which would normally
 determine what kind of box would be used) are taken into
 consideration by the membrane designers so that the response is
 extended and overdamped, regardless of the characteristics of
 the driver.

 Physically, the aperiodic membrane isn't for every car.  It
 requires sealing the trunk from the passenger compartment in an
 air-tight manner, as well as sealing the trunk from the outside
 for best results.  The drivers are then mounted into the baffle
 between the passenger compartment and the trunk, as would be
 standard in an infinite-baffle/free-air set-up.  The aperiodic
 membrane is then placed either in front of the driver or behind
 the driver, depending on the type.  When mounting behind the
 driver, the membrane is used as the rear-wall of a very small
 box which the driver sits in (as in Richard Clark's infamous
 Buick Grand National).  So, in short, it's not suitable for
 trucks, jeeps, R/V's, or hatchbacks.

 You should probably only get an aperiodic membrane if you've
 got money to burn, lots of amplifier power, some big subs, a
 sedan, a desire for trunk space, and no wish to boom.  If your
 tastes lean towards bass-heavy booming, as opposed to
 well-recorded acoustic instruments, you're not going to be
 pleased with the result.


      5 Installation

 This section describes how to do what you want once you know
 what it is you want to do.

    5.1 Where should I buy the components I want? [JSC]

 Most of the time, you will either buy from a local dealer, or
 from a mail-order house.  Buying from a local dealer can be
 good because you get to deal directly with a person: you can
 show them your car, ask specific questions, haggle prices, get
 quick service when there are problems, get deals on
 installation, etc.  But there can also be advantages to buying
 mail-order: generally cheaper prices, sometimes better service,
 etc.  In either case, you should always check prices before you
 buy, inquire about warranty service, and ask about trial
 periods.

    5.2 What mail-order companies are out there? [JSC,JM,MM]

 Crutchfield             800/955-3000
 1 Crutchfield Park
 Charlottesville, VA 22906 USA

 Advantages: great customer service; generally knowledgeable
      sales and tech support personnel; custom mounting
      kits, wiring harnesses, etc. free of charge.

 Disadvantages: limited product line; generally higher prices
         than local shops.


 J.C. Whitney            312/431-6102
 1917-19 Archer Avenue
 P.O. Box 8410
 Chicago, IL 60680 USA

 Advantages: lots of "miscellaneous" items; 10kW amps for $19.99

 Disadvantages: 10kW amps that really only put out 1mW and break
         after first 10 minutes of use.


 Parts Express           800/338-0531
 340 E. First St.
 Dayton, OH 45402 USA

 Advantages: large selection of electronics supplies at
      respectable prices.  Showroom prices said to be
      better than catalog prices.

 Disadvantages: also carries some of the same quality-level
         components as J.C. Whitney.


 Classic Research/Z-Box 602/571-0171
 5070 E. 22nd St.
 Tucson, AZ  85711

 Advantages: creates custom door panels with car audio in mind.

 Disadvantages: only services expensive sports and luxury cars.


 MCM Electronics         800/543-4330
 650 Congress Park Drive
 Centerville, OH 45459-4072

 Advantages: sells lots of decently priced trinkets (fuses, fuse
             holders, wire, etc.) and has excellent service and
             available technical support.

 Disadvantages: ?

    5.3 What tools should I have in order to do a good installation? [JSC]

 Electrical tape - lots of it.  Make sure you get some that can
 withstand extreme temperature ranges.

 Wire cutters/strippers and crimpers.  Get a big pair with
 stripper holes precut for individual wire sizes.

 Angled screwdrivers.  Makes taking dash and rear deck speakers
 out a lot easier.

 Multiple size screwdrivers, both flathead and Phillips.
 Magnetic screwdrivers can be a big help when trying to get
 screws into (or out of) tight spaces.

 Various wrenches, pliers, and socket sets, depending on your
 vehicle.

 Metal drill and saw.  You'll need these if you need to modify
 your vehicle for new speaker cutouts or to accommodate a new
 head unit.

 Hot glue gun.  Good for putting carpeting or door panel trim
 back in place after modifications.

 Razor knife.  Helps for detailed modifications of door panels
 or carpeting, especially when installing new speakers.

 Wire.

 Shrink wrap or flex tubing.  Good for protecting wire,
 especially in the engine compartment.

 Multimeter.  Helps to diagnose installations.

 Extra hardware (screws, nuts, bolts, connectors, etc.).

 Fuse puller and extra fuses.

 Wire ties.  Helps to tuck wire away in otherwise exposed
 areas.

 Small light source.  A flashlight will do - you just want
 something that you can poke around the innards of your car
 with.

 Tape measure.

    5.4 Where should I mount my speakers?

    5.5 What is "rear fill", and how do I effectively use it? [HK,JSC]

 Rear fill refers to the presence of depth and ambience in
 music.  A properly designed system using two channels will
 reproduce original rear fill on the source without rear high
 frequency drivers.  Since recordings are made in two channels,
 that is all you will need to reproduce it.  What is captured at
 the recording session (coincident pair mics, Blumlein mic
 patterns, etc.) by a two channel mic array will capture the so
 called "rear fill" or ambience.  Many of the winning IASCA
 vehicles have no rear high frequency drivers.  Also a lot of
 this has to do with system tuning.  If rear high frequency
 drivers are added, however, the power level of the rear fill
 speakers should be lower than that of the front speakers, or
 else you will lose your front-primary staging, which is not
 what you want (when was the last time you went to a concert and
 stood backwards?).  The proper amount of amplification for rear
 fill speakers is the point where you can just barely detect
 their presence while sitting in the front seat.  Separates are
 not a requirement for rear fill; in fact, you may be better of
 with a pair of coaxial speakers, as separates may throw off
 your staging.

    5.6 How do I set the gains on my amp? [JSC]

 The best way to do this is with a test tone and an
 oscilloscope.  Since most people have neither item, the
 following will work approximately as well.

   1) Disconnect all signal inputs to the amp
   2) Turn all sensitivity adjustments as low as possible
  3) Turn head unit on to around 90% volume (not 100% or else
     you'll have head unit distortion in there - unless you've
     got a good head unit) with some music with which you're
     familiar, and with EQ controls set to normal listening
     positions
   4) Plug in one channel's input to the amp
   5) Slowly turn that channel's gain up until you just start
     to notice distortion on the output
   6) Turn it down just a wee little bit
   7) Disconnect current input
   8) Repeat steps 4-7 with each input on your amp
   9) Turn off head unit
 10) Plug in all amp inputs, and you're done

 If by some chance you do have an oscilloscope (and preferably a
 test disc), you do essentially the same thing as above, except
 that you stop turning the gains up when you see clipping on the
 outputs of the amplifier.

 Note that if you are paralleling multiple speakers on a single
 amp output, you need to set the gains with all of the speakers
 in place, since they will be affecting the power and distortion
 characteristics of the channel as a whole.

    5.7 How do I select proper crossover points and slopes?

    5.8 How do I flatten my system's frequency response curve?


      6 Competition

 This section describes the competition branch of the car audio
 world - what it is, and how to get involved.

    6.1 What is IASCA, and how do I get involved? [JSC,HK]

 IASCA is the International Auto Sound Challenge Association, a
 sanctioning body for car audio competitions held throughout the
 world.  Competitors earn points at each competition, and those
 that perform the best each year can advance to the finals.
 Prizes (trophies, ribbons, and sometimes cash) are usually
 given out to the top competitors in each class at every
 competition.

 There are registration forms for IASCA in every issue of Auto
 Sound and Security (see 7.1).

    6.2 What is USAC, and how do I get involved? [HK]

 USAC is another sanctioning body, similar to IASCA.  However,
 USAC places greater emphasis on SPL measurements than IASCA.

    6.3 What are the competitions like? [HK,CD]

 [HK writes:]

 They are much like loud car shows: a lot of cars parked with
 their hoods/doors/trunks open showing their audio systems.
 There are two types of judging styles: 1) drive through - where
 competitors drive their own vehicles to judging stations to be
 judged, and 2) walk-arounds - where the teams of judges will
 walk around the event site and judge vehicles that fit within
 their judging assignments.  Typically SPL is done first with
 the mic stand in the driver's seat and the competitor in the
 passenger side adjusting only the volume.  Hearing protection
 must be worn.  After SPL measurements are completed, RTA
 measurements are performed by playing pink noise.  When the
 volume level is within the specified "window" around
 90db-110db, the RTA judge will signal you out, and at that
 point you must exit the vehicle for the actual scoring
 measurements.  The next area for judging should be sound
 quality where two judges will sit in your car and judge the
 sound quality based on IASCA's reference CD/tape.  The next
 area is installation judging where the competitor has 5 minutes
 to explain and show the installation of his/her vehicle.  It is
 very useful to have a picture book/album of photos of the
 installation that may not be visible to prove that items not
 visible do exist.  When that is completed, the competitor can
 park the vehicle and show spectators the vehicle.  These
 procedures may differ from show to show, and at the
 regional/final levels they are very strict in what can and
 can't be done, e.g. a judge will make sure no adjustments are
 made after SPL until after sound quality judging is over, ear
 protection, etc.

 [CD writes:]

 Most involve a lot of waiting around.  Thus, they are perfect
 for meeting other people interested in car audio, and seeing
 some installations which may give you some ideas.  They're also
 perfect for listening to some cars that sound a lot better and
 a lot worse than your own.  In IASCA competition, the cars are
 judged on:

   Sound Pressure Level (30pts)
   Frequency Response (40pts)
   Staging (40pts)
   Stereo Image (40pts)
   Frequency Separation/Clarity (40pts)
   Sound Linearity (20pts)
   Absence of Noise (40pts)
   Ergonomics (20pts)
   Wiring/Electrical System Cosmetics and Integrity (35pts)
   Cosmetic Integration Consistency (40pts)
   Component Installation Integrity (55pts)
   General Creativity (20pts)
   Attention to Detail (15pts)

    6.4 Should I compete? [CD]

 You should compete if:

 a) You have an ok sounding stereo
 b) You have an ok installation (i.e. no amps/changers sliding
    around in the trunk)
        c) You'd like some pros to comment on your system
 d) Your feelings won't get hurt if you don't get first place
 e) You've been to a contest and talked to competitors about it
 f) You've read the rulebook
 g) You've listened to a test disc in your car, and
    understand what the sound quality judges are listening for

 You can compete even if you don't do all of the above, but the
 recommendations will help you understand and gain the most from
 competing.

    6.5 What class am I in? [HK,JSC]

 This section is mainly geared toward IASCA.

 [HK,JSC write:]

 There are three classes: novice, amateur, and pro.  The novice
 class is intended to be an unintimidating level where beginners
 can start out; however, a competitor may only be in the novice
 class for one year, at which time he is automatically moved to
 the amateur class.  Most competitors stay in the amateur class
 indefinitely, unless they become affiliated with a car audio
 shop or manufacturer, at which point they are moved into the
 pro class.

 [CD writes:]

 Are you or were you employed by a car audio manufacturer or
 dealer?
   Yes:  You compete in pro
    No:  Is this your first year of competing?
           Yes:  You compete in novice for the first year
            No:  You compete in amateur

 Note that modifying your amplifiers, buying your equipment
 below retail, or being sponsored by a manufacturer or dealer
 will get you kicked into pro.

 Also note that any home built active gear in the signal path
 (e.g. custom built equalizers, crossovers, or noise gates) will
 get you kicked out of novice.

 Once you know what group you are, you next need to know what
 power category you are in.  Add up the 4-ohm non-bridged rating
 of all your amplifiers, including your head unit if your head
 unit is powering speakers (rather than exclusively feeding
 amplifiers).  Then, find the category you fit into:

 Novice:  1-50  51-100  101-250  251-500  501+
 Amateur: 1-50  51-100  101-250  251-500  501-1000 1000+
 Pro:        1-100      101-250  251-500  501-1000 1001+

 Thus, if you had a Rockford Punch 40 (20Wx2) and a Punch 60
 (30Wx2), with a head unit that put out 6Wx2 (powering, perhaps,
 a center channel) you're in the 101-250 class.  It does not
 matter if your amps are bridged down to .002 ohms; it's only
 the 4ohm rating that counts.  If you no longer used your head
 unit to power speakers, you would be in the 51-100 class (or
 the 1-100 class if you were a pro).

 Competition is usually most vicious in the 101-250 and 250-500
 categories at typical contests.


      7 Literature

 This section describes various literature which you can read to
 brush up on your car audio skills, or to keep current, or to
 see other people's installations, or whatever else you'd like.

    7.1 What magazines are good for car audio enthusiasts? [JSC,MI,NML]

 Car Audio and Electronics   $21.95/year
 P.O. Box 50267              (12 issues)
 Boulder, CO 80321-0267      800/759-9557

 Car Stereo Review           $17.94/year
 P.O. Box 57316              (6 issues)
 Boulder, CO 80323-7316      303/447-9330

 Auto Sound and Security     $28.95/year
 P.O. Box 70015              (12 issues)
 Anaheim, CA 92825-0015      714/572-2255

 Car Hi-Fi                   #23.60/year
 Freepost                    (8 issues)
 TK660                       081 943 5943
 Leicester
 KE87 4AW

    7.2 Are there any newsletters I can read? [MO,HK]

 Autosound 2000 Tech Briefs  $35.00/year
 2563 Eric Lane, Ste D       (6 issues)
 Burlington, NC 27215        800/795-1830

    7.3 What books can I read? [JSC,JW,TT]

 Loudspeaker Design Cookbook
 by Vance Dickason
 Published by Audio Amateur
 ISBN 0-9624191-7-6
 $25-$30

 Designing Speaker Enclosures
 by David Weems
 Published by ?
 ISBN ?
 $??.??

 Killer Car Stereo on a Budget
 by Daniel L. Ferguson
 Published by Audio Amateur Press
 ISBN 0-9624191-0-9
 $19.95


      8 Credits

 [JSC] Jeffrey S. Curtis (curtis@anl.gov)
 [JLD] Jason Lee Davis   (jdavis@wizard.etsu.edu)
 [MI]  Matt Ion          (matt@ship.net)
 [JW]  Jerry Williamson  (jerry.williamson@amd.com)
 [CD]  Cal Demaine       (demaine@ee.ualberta.ca)
 [MO]  Mark Obsniuk      (Mark_Obsniuk@sfu.ca)
 [HK]  Harry Kimura      (harry@alsys.com)
 [RDP] Dick Pierce       (DPierce@world.std.com)
 [BG]  Brian Gentry      (brian@eel.ufl.edu)
 [JM]  Jeff Meyers       (meyers@tellabs.com)
 [MH]  Marvin Herbold    (11mherbold@gallua.gallaudet.edu)
 [TT]  Trevor Tompkins   (tt17+@andrew.cmu.edu)
 [MM]  Matthew E. Meiser (meiserme@nextwork.rose-hulman.edu)
 [NML] N. M. Lines       (csznml@scs.leeds.ac.uk)

Jeffrey S. Curtis                      | Email: curtis@anl.gov
Argonne National Laboratory            | Voice: 708/252-1789
9700 South Cass Avenue, 221-ECT        | Fax:   708/252-5983
Argonne, IL 60439                      |
