Yahoo Tuning Groups Ultimate Backup makemicromusic New music on Soundclick.com

I've put up a new piece on SoundClick.com, which is the site where all
my other pieces hang out. http://www.soundclick.com/PrentRodgers and
look for Subduction Zone.

I named the piece this for the way that I move from one key to
another, kind of like the Pacific Plate moving underneath the North
American Plate to create the volcanos around here in the Pacific
Northwest.

The tuning is from the Partch Tonality Diamond, but extended to the 13
limit (only minimally). Most of the notes are within the haxany
derived from six harmonics of the 11 limit. That is,
8:9:10:11:12:14:16 for the major scale and 1/12:11:10:9:8:7:6 for the
minor scales. See the Diamond at
http://prentrodgers.home.comcast.net/listen/diamond-15-inc.gif . You
may have to enlarge it to see the note names I use. It's in Sagittal.

From the liner notes on Soundclick:

Subduction Zone

Subduction Zone is a piece for Alto Flute, Bass Clarinet, Guitar,
Marimba, Finger Piano, and percussion. It is based on four chords in
the Partch Tonality Diamond: F 4/3 minor; A 8/5 major; C 1/1 major;
and A 5/3 minor. There are many notes in common between these scales,
and many more that are only slightly different. The subduction takes
place where the differences lie.

This piece exploits the challenging ratios between many of the notes
in the four scales. Here is a chart that summarizes these differences:

Movement of notes

F minor; bend; A major
1 F 4 /3; 9 :10 5 E 6 /5
2 G 16/11; 77:80 6 G 7 /5
3 A 8 /5; 1 :1; 1 A 8 /5
4 B 16/9; 81:80 2 B 9 /5
5 C 1 /1; 1 :1; 3 C 1 /1
6 D 8 /7; 77:80 4 D 11/10

In this chart, the second degree of the F 4/3 minor scale, G 16/11,
has to drop down by a 77:80 to reach the 6th degree of the A 8/5 major
scale, which is G 7/5. That's about 1/2 of the normal 12 tone
semi-tone. The movement from the 4th degree of the F 4/3 minor scale,
B 16/9 to the 2nd degree of the A 8/5 major scale, B 9/5 is much
smaller. It's a movement of an 81:80, nearly imperceptible. The
thematic material is about how those changes come about, at the
margins of the chord changes, the tectonic plates in the analogy to
geological processes. There are similar charts moving from A 8/5 major
to C 1/1 major, and then to A 5/3 minor.

I had a lot of fun with the glides within the scales as well. There
are movements from one scale degree to another, up and down. The
guitar, flutes, clarinets, and finger pianos move often from the 1,3,5
degrees to the 2,4,6 degrees. Triads made of the 1,3,5 sound like
typical minor or major chords. The 2,4,6, sound pretty far out. The
tension is in the movement from one to the other.

I also exploit 4 note chords based on scale degrees 1,4,6,3 or 2,5,1,4
or others. These sound more like typical fourth based harmonies rather
than the triadic 1,3,5 and 2,4,6.

I also played around with trills, from one scale degree to the other.

The finger piano is made from samples taken from an instrument I built
many years ago, consisting of spring steel tongues tuned with little
bits of solder to ensure the overtones are in tune with the
fundamental. The sounds are picked up with hand wound magnetic
transducers.

The marimba plays either single notes or rolls on chords, but very
fast rolls that sound more like bamboo gamelan instruments than a
traditional marimba.

Plate tectonics - the basics

Lithospheric plates. The uppermost part of the Earth is subdivided
into a small number of rigid plates which comprise about 85% of the
surface. In places these are separated by non-rigid (deforming) zones.
Elsewhere plate boundaries of three types exist: divergent or
spreading (e.g., mid-oceanic ridges), convergent (e.g., subduction
zones), and strike-slip (e.g., the San Andreas fault zone in
California or oceanic transform faults).

Volcanism commonly is associated with the first two types of margins.
An example of the first type is the currently active Axial Seamount
which lies on the Juan de Fuca Ridge off the coast of Washington.
Convergent margin volcanism produces the 'ring of fire' around the
Pacific ocean, and is typified by the Cascade volcanic arc in the
Pacific Northwest US.

Convergent margins are among the world's most seismogenic zones, and
are characterized by progressively deeper earthquakes as one proceeds
from trench to back-arc region - at most convergent margins, these
earthquake foci define a dipping plane (the Wadati-Benioff zone, or
WBZ) which corresponds to a fault zone between subducting oceanic
lithosphere and the overriding plate. Such zones are characterized by
chains of trench-parallel volcanoes (volcanic arcs) fed by magmas
rising from depths of up to ~100 km.

I don't pretend to know what all that stuff is about, but my uncle
John wrote the book, and I like the idea of massive movements of rock
turned into chord changes.

Prent Rodgers
Music that's Fake but Accurate

🔗Joseph Pehrson <jpehrson@...>

***Seems pretty masterful to me. Also there seems to be more variety
in the instrumental textures than in the early pieces. Just about
the perfect length... substantial, but not too long.

J. Pehrson

--- In MakeMicroMusic@yahoogroups.com, "Prent Rodgers"
<prentrodgers@c...> wrote:
>
> I've put up a new piece on SoundClick.com, which is the site where
all
> my other pieces hang out. http://www.soundclick.com/PrentRodgers and
> look for Subduction Zone.
>
> I named the piece this for the way that I move from one key to
> another, kind of like the Pacific Plate moving underneath the North
> American Plate to create the volcanos around here in the Pacific
> Northwest.
>
> The tuning is from the Partch Tonality Diamond, but extended to the
13
> limit (only minimally). Most of the notes are within the haxany
> derived from six harmonics of the 11 limit. That is,
> 8:9:10:11:12:14:16 for the major scale and 1/12:11:10:9:8:7:6 for
the
> minor scales. See the Diamond at
> http://prentrodgers.home.comcast.net/listen/diamond-15-inc.gif . You
> may have to enlarge it to see the note names I use. It's in
Sagittal.
>
> From the liner notes on Soundclick:
>
> Subduction Zone
>
> Subduction Zone is a piece for Alto Flute, Bass Clarinet, Guitar,
> Marimba, Finger Piano, and percussion. It is based on four chords in
> the Partch Tonality Diamond: F 4/3 minor; A 8/5 major; C 1/1 major;
> and A 5/3 minor. There are many notes in common between these
scales,
> and many more that are only slightly different. The subduction takes
> place where the differences lie.
>
> This piece exploits the challenging ratios between many of the notes
> in the four scales. Here is a chart that summarizes these
differences:
>
> Movement of notes
>
> F minor; bend; A major
> 1 F 4 /3; 9 :10 5 E 6 /5
> 2 G 16/11; 77:80 6 G 7 /5
> 3 A 8 /5; 1 :1; 1 A 8 /5
> 4 B 16/9; 81:80 2 B 9 /5
> 5 C 1 /1; 1 :1; 3 C 1 /1
> 6 D 8 /7; 77:80 4 D 11/10
>
> In this chart, the second degree of the F 4/3 minor scale, G 16/11,
> has to drop down by a 77:80 to reach the 6th degree of the A 8/5
major
> scale, which is G 7/5. That's about 1/2 of the normal 12 tone
> semi-tone. The movement from the 4th degree of the F 4/3 minor
scale,
> B 16/9 to the 2nd degree of the A 8/5 major scale, B 9/5 is much
> smaller. It's a movement of an 81:80, nearly imperceptible. The
> thematic material is about how those changes come about, at the
> margins of the chord changes, the tectonic plates in the analogy to
> geological processes. There are similar charts moving from A 8/5
major
> to C 1/1 major, and then to A 5/3 minor.
>
> I had a lot of fun with the glides within the scales as well. There
> are movements from one scale degree to another, up and down. The
> guitar, flutes, clarinets, and finger pianos move often from the
1,3,5
> degrees to the 2,4,6 degrees. Triads made of the 1,3,5 sound like
> typical minor or major chords. The 2,4,6, sound pretty far out. The
> tension is in the movement from one to the other.
>
> I also exploit 4 note chords based on scale degrees 1,4,6,3 or
2,5,1,4
> or others. These sound more like typical fourth based harmonies
rather
> than the triadic 1,3,5 and 2,4,6.
>
> I also played around with trills, from one scale degree to the
other.
>
> The finger piano is made from samples taken from an instrument I
built
> many years ago, consisting of spring steel tongues tuned with little
> bits of solder to ensure the overtones are in tune with the
> fundamental. The sounds are picked up with hand wound magnetic
> transducers.
>
> The marimba plays either single notes or rolls on chords, but very
> fast rolls that sound more like bamboo gamelan instruments than a
> traditional marimba.
>
> Plate tectonics - the basics
>
> Lithospheric plates. The uppermost part of the Earth is subdivided
> into a small number of rigid plates which comprise about 85% of the
> surface. In places these are separated by non-rigid (deforming)
zones.
> Elsewhere plate boundaries of three types exist: divergent or
> spreading (e.g., mid-oceanic ridges), convergent (e.g., subduction
> zones), and strike-slip (e.g., the San Andreas fault zone in
> California or oceanic transform faults).
>
> Volcanism commonly is associated with the first two types of
margins.
> An example of the first type is the currently active Axial Seamount
> which lies on the Juan de Fuca Ridge off the coast of Washington.
> Convergent margin volcanism produces the 'ring of fire' around the
> Pacific ocean, and is typified by the Cascade volcanic arc in the
> Pacific Northwest US.
>
> Convergent margins are among the world's most seismogenic zones, and
> are characterized by progressively deeper earthquakes as one
proceeds
> from trench to back-arc region - at most convergent margins, these
> earthquake foci define a dipping plane (the Wadati-Benioff zone, or
> WBZ) which corresponds to a fault zone between subducting oceanic
> lithosphere and the overriding plate. Such zones are characterized
by
> chains of trench-parallel volcanoes (volcanic arcs) fed by magmas
> rising from depths of up to ~100 km.
>
> I don't pretend to know what all that stuff is about, but my uncle
> John wrote the book, and I like the idea of massive movements of
rock
> turned into chord changes.
>
> Prent Rodgers
> Music that's Fake but Accurate

🔗Igliashon Jones <igliashon@...>

Sweet Holy Moses, Prent! This is fantastic! The scale comes
together very well with the timbres to produce a sort of earthy but
sophisticated sound. I could almost imagine some wacky music
programmer for the Weather Channel sneaking this in to freak out the
populace. I always get a kick out of JI music (especially of this
caliber), it's so familiar and yet so alien-sounding.

Best,
-igs

🔗Dave Seidel <dave@...>

Fantastic, Prent, masterful as usual and also quite playful. For a piece with a geocentric metaphor, there's a lot of "air" in the sound (in the sense of being spacious, and also not vertically dense). Nice use of percussion, too (are those from McGill samples as well)?

- Dave

Prent Rodgers wrote:
> > I've put up a new piece on SoundClick.com, which is the site where all
> my other pieces hang out. http://www.soundclick.com/PrentRodgers and
> look for Subduction Zone.
> > I named the piece this for the way that I move from one key to
> another, kind of like the Pacific Plate moving underneath the North
> American Plate to create the volcanos around here in the Pacific
> Northwest.
> > The tuning is from the Partch Tonality Diamond, but extended to the 13
> limit (only minimally). Most of the notes are within the haxany
> derived from six harmonics of the 11 limit. That is,
> 8:9:10:11:12:14:16 for the major scale and 1/12:11:10:9:8:7:6 for the
> minor scales. See the Diamond at
> http://prentrodgers.home.comcast.net/listen/diamond-15-inc.gif . You
> may have to enlarge it to see the note names I use. It's in Sagittal.
> >>From the liner notes on Soundclick:
> > Subduction Zone
> > Subduction Zone is a piece for Alto Flute, Bass Clarinet, Guitar,
> Marimba, Finger Piano, and percussion. It is based on four chords in
> the Partch Tonality Diamond: F 4/3 minor; A 8/5 major; C 1/1 major;
> and A 5/3 minor. There are many notes in common between these scales,
> and many more that are only slightly different. The subduction takes
> place where the differences lie.
> > This piece exploits the challenging ratios between many of the notes
> in the four scales. Here is a chart that summarizes these differences:
> > Movement of notes
> > F minor; bend; A major
> 1 F 4 /3; 9 :10 5 E 6 /5
> 2 G 16/11; 77:80 6 G 7 /5
> 3 A 8 /5; 1 :1; 1 A 8 /5
> 4 B 16/9; 81:80 2 B 9 /5
> 5 C 1 /1; 1 :1; 3 C 1 /1
> 6 D 8 /7; 77:80 4 D 11/10
> > In this chart, the second degree of the F 4/3 minor scale, G 16/11,
> has to drop down by a 77:80 to reach the 6th degree of the A 8/5 major
> scale, which is G 7/5. That's about 1/2 of the normal 12 tone
> semi-tone. The movement from the 4th degree of the F 4/3 minor scale,
> B 16/9 to the 2nd degree of the A 8/5 major scale, B 9/5 is much
> smaller. It's a movement of an 81:80, nearly imperceptible. The
> thematic material is about how those changes come about, at the
> margins of the chord changes, the tectonic plates in the analogy to
> geological processes. There are similar charts moving from A 8/5 major
> to C 1/1 major, and then to A 5/3 minor.
> > I had a lot of fun with the glides within the scales as well. There
> are movements from one scale degree to another, up and down. The
> guitar, flutes, clarinets, and finger pianos move often from the 1,3,5
> degrees to the 2,4,6 degrees. Triads made of the 1,3,5 sound like
> typical minor or major chords. The 2,4,6, sound pretty far out. The
> tension is in the movement from one to the other.
> > I also exploit 4 note chords based on scale degrees 1,4,6,3 or 2,5,1,4
> or others. These sound more like typical fourth based harmonies rather
> than the triadic 1,3,5 and 2,4,6.
> > I also played around with trills, from one scale degree to the other.
> > The finger piano is made from samples taken from an instrument I built
> many years ago, consisting of spring steel tongues tuned with little
> bits of solder to ensure the overtones are in tune with the
> fundamental. The sounds are picked up with hand wound magnetic
> transducers.
> > The marimba plays either single notes or rolls on chords, but very
> fast rolls that sound more like bamboo gamelan instruments than a
> traditional marimba.
> > Plate tectonics - the basics
> > Lithospheric plates. The uppermost part of the Earth is subdivided
> into a small number of rigid plates which comprise about 85% of the
> surface. In places these are separated by non-rigid (deforming) zones.
> Elsewhere plate boundaries of three types exist: divergent or
> spreading (e.g., mid-oceanic ridges), convergent (e.g., subduction
> zones), and strike-slip (e.g., the San Andreas fault zone in
> California or oceanic transform faults).
> > Volcanism commonly is associated with the first two types of margins.
> An example of the first type is the currently active Axial Seamount
> which lies on the Juan de Fuca Ridge off the coast of Washington.
> Convergent margin volcanism produces the 'ring of fire' around the
> Pacific ocean, and is typified by the Cascade volcanic arc in the
> Pacific Northwest US.
> > Convergent margins are among the world's most seismogenic zones, and
> are characterized by progressively deeper earthquakes as one proceeds
> from trench to back-arc region - at most convergent margins, these
> earthquake foci define a dipping plane (the Wadati-Benioff zone, or
> WBZ) which corresponds to a fault zone between subducting oceanic
> lithosphere and the overriding plate. Such zones are characterized by
> chains of trench-parallel volcanoes (volcanic arcs) fed by magmas
> rising from depths of up to ~100 km.
> > I don't pretend to know what all that stuff is about, but my uncle
> John wrote the book, and I like the idea of massive movements of rock
> turned into chord changes.
> > Prent Rodgers
> Music that's Fake but Accurate
> > > > > > > > Yahoo! Groups Links
> > > > > > > >

🔗Prent Rodgers <prentrodgers@...>

Microtonalists,
I've put a new piece up on my SoundClick site. Point your browser to
http://www.soundclick.com/PrentRodgers and look for "For the
Downwinders". It's based on a scale derived from the ratios of the
otonality, starting at 10. Another way to think of it is
10:11:12:13:14:15:16:18:20. This mode gives me a minor feel when I
stress the triad E G B.

I started this off when Christopher Bailey talked about trying to
compose something for his least liked chord, the C-G-C# triad. He
asked if there is a tuning that could be based on this, and several
theoreticians came up with some ideas. I explored how the Partch
Tonality Diamond, taken to the 15 limit, has many instances that
approach this triad.

For example, the following three notes chords are variations on his
triad:

9: 14:20 - D 9/8 - B 7/4 - E 5/4
10:15:22 - E 5/4 - B 15/8 - F 11/8
11:16:24 - F 11/8 - C 1/1 - G 3/2
12:18:26 - G 3/2 - D 9/8 - A 13/8
13:20:28 - A 13/8 - E 5/4 - B 7/4
14:22:32 - B 7/4 - F 11/8 - C 1/1
15:22:32 - B 15/8 - F 11/8 - C 1/1
8: 12:18 - C 1/1 - G 3/2 - D 9/8

They all have a different feel, but they all include close
approximations of the chord.

The title is taken from the recent trial in Spokane, WA, in which
those who lived downwind of the Hanford Nuclear Reservation and sought
compensation for thyroid cancer won a Phyrric victory, when the
damages awarded were far smaller than their legal costs.

Hanford is where the plutonium was made for one of the bombs dropped
on Japan to hasten the end of the war. One of the trade-offs for
meeting the deadline for production at Hanford was a callous disregard
for the personal safety of those who lived downwind of the plant.

Prent Rodgers

🔗Aaron Krister Johnson <aaron@...>

Prent,

Let me be the first (unfortunately, no one on the list seems to, of late, if
ever, *listen* to music and comment on it anymore) to congratulate you on a
fine new piece!

What I liked about this one is that this still remains identifiably *you*, but
you seem to have introduced new procedures that give unexpected results, i.e.
it sounds more composed than usual; less algorithmic, in a very good way. I
was happy not to hear a signature rhythmic figure of your algorithms (eighth
rest followed by 2 sixteenths) that happens alot--we are spared that in this
new one (not to say that the pieces they do occur are *bad*, it's just that
the long view gives the picture of a sort of algorithmic 'rut')

Keep up the fantastic work, and BTW, would you ever consider working in a
different tuning than a Partch JI diamond? ;) If not, I'll still happily
consume your next offering, and the next, etc....!

Best,
Aaron.

On Monday 01 August 2005 5:41 pm, Prent Rodgers wrote:
> Microtonalists,
> I've put a new piece up on my SoundClick site. Point your browser to
> http://www.soundclick.com/PrentRodgers and look for "For the
> Downwinders". It's based on a scale derived from the ratios of the
> otonality, starting at 10. Another way to think of it is
> 10:11:12:13:14:15:16:18:20. This mode gives me a minor feel when I
> stress the triad E G B.
>
> I started this off when Christopher Bailey talked about trying to
> compose something for his least liked chord, the C-G-C# triad. He
> asked if there is a tuning that could be based on this, and several
> theoreticians came up with some ideas. I explored how the Partch
> Tonality Diamond, taken to the 15 limit, has many instances that
> approach this triad.
>
> For example, the following three notes chords are variations on his
> triad:
>
> 9: 14:20 - D 9/8 - B 7/4 - E 5/4
> 10:15:22 - E 5/4 - B 15/8 - F 11/8
> 11:16:24 - F 11/8 - C 1/1 - G 3/2
> 12:18:26 - G 3/2 - D 9/8 - A 13/8
> 13:20:28 - A 13/8 - E 5/4 - B 7/4
> 14:22:32 - B 7/4 - F 11/8 - C 1/1
> 15:22:32 - B 15/8 - F 11/8 - C 1/1
> 8: 12:18 - C 1/1 - G 3/2 - D 9/8
>
> They all have a different feel, but they all include close
> approximations of the chord.
>
> The title is taken from the recent trial in Spokane, WA, in which
> those who lived downwind of the Hanford Nuclear Reservation and sought
> compensation for thyroid cancer won a Phyrric victory, when the
> damages awarded were far smaller than their legal costs.
>
> Hanford is where the plutonium was made for one of the bombs dropped
> on Japan to hasten the end of the war. One of the trade-offs for
> meeting the deadline for production at Hanford was a callous disregard
> for the personal safety of those who lived downwind of the plant.
>
> Prent Rodgers
>
>
>
>
>
>
> Yahoo! Groups Links
>
>
>

🔗Jon Szanto <jszanto@...>

AKJ/Prent,

{you wrote...}
>Let me be the first (unfortunately, no one on the list seems to, of late, >if ever, *listen* to music and comment on it anymore) to congratulate you >on a fine new piece!

Hey hey hey, cut us a little slack! Prent just posted 2 days ago, and I've been buried. Late last night I put Prent's work into a playlist with 3 other pieces I needed to get to, so that was the first chance I had to listen. (Not to mention I've got to download *your* new suite and put it in place in the rotation...!)

But I'll second a lot of what Aaron wrote - Prent, this feels quite a bit more organically composed, and (being a percussionist) I find the accompanying percussion bits more natural sounding. My ears detect a more refined 'mix' (though I know it is somewhat pre-planned in Csound) and the entire effect is less mechanistic in this one.

As an aside, when I had taken a partial detour into software engineering, I was partnered with a health physicist, and we were working in nuclear health-related fields. He took a number of consulting trips to Hanford, and his stories were, uh, sobering.

Nice work, as always, Prent.

Cheers,
Jon

🔗George Henry <cruithnelaluna@...>

Hi everyone,

I wrote a while back that I hoped to contribute to this group by
being a commenting listener. I am at the moment listening to Prent's
piece and shall comment.

Actually, I listened to The Downwinders and another piece and a half
on the Soundclick site, to refresh my memory of Prent's sound /
style / approach and then to hear The Downwinders again in that
context. I think I can see ... er, hear ... the point that Aaron and
Jon are making.

I am a person who does not find mechanistic-sounding pieces to be
necessarily a bad thing. Having toyed with software that permitted
one to set parameters, push the Go button and see what happened OR
to make a 100% human brain powered decision about everything that
happens from one instant to the next, and to take an infiinite
variety of intermediate approaches, I can say that some of the
pieces that I created with that software which I enjoyed the most
were those that leaned toward the former extreme. I would generate
material, select results that I liked, and juxtapose them in various
ways. Sometimes I would enjoy a fairly long sequence that was
produced entirely algorithmically and would dub it "a piece" without
alteration.

I suppose that I have had enough experience in that area to
appreciate Prent's descriptions of the varying degrees of scripting
versus indeterminacy in pieces. Maybe my point is that what sounds
mechanistic may be deliberatey composed to sound that way, and what
sounds organic may be generated by an algorithm that produces
results that sound more like the results of a series of deliberate
human choices. Anyway, I think one feels that "I composed this music
with the help of my computer and a chosen set of algorithms" ... not
the other way around! (I am not saying that this is in fact the
case, but that the human participant surmises that it is so. Who
knows what that crafty e-life is up to?)

This piece has plenty of nice JI harmonies, an interesting blend of
timbres, and lots of variety while maintaining a strong overall
consistency.

From a personal perspepctive, I feel it's rather unfair to listen to
a piece of serious music once or twice and say, "Oh, I liked that
one right away," or "Sorry, no can grok." I listened to Partch's
Delusion of the Fury daily for about a year before I felt that it
had revealed most of its mysteries to me - and in the process it
morphed in my perception from interesting but very forbidding /
somewhat off-putting to interesting and thoroughly inviting, like
visiting with one's quite eccentric but very dear long-time
friend. :) This music is not like the latest destined-to-be-a-hit
song by a currently hot country / rock / techno / hiphop / whatever
artist. If I had the time these days, I think I would do well to
listen to a piece like The Downwinders at least once per day for a
while, and see if it becomes "my favorite tune" for a spell before I
get tired of it.

I listened to it a third time while writing, and it is growing on me.

Regards,
George (the discusser / blatherer)

--- In MakeMicroMusic@yahoogroups.com, Jon Szanto <jszanto@c...>
wrote:
> AKJ/Prent,
>
> {you wrote...}
> >Let me be the first (unfortunately, no one on the list seems to,
of late,
> >if ever, *listen* to music and comment on it anymore) to
congratulate you
> >on a fine new piece!
>
> Hey hey hey, cut us a little slack! Prent just posted 2 days ago,
and I've
> been buried. Late last night I put Prent's work into a playlist
with 3
> other pieces I needed to get to, so that was the first chance I
had to
> listen. (Not to mention I've got to download *your* new suite and
put it in
> place in the rotation...!)
>
> But I'll second a lot of what Aaron wrote - Prent, this feels
quite a bit
> more organically composed, and (being a percussionist) I find the
> accompanying percussion bits more natural sounding. My ears detect
a more
> refined 'mix' (though I know it is somewhat pre-planned in Csound)
and the
> entire effect is less mechanistic in this one.
>
> As an aside, when I had taken a partial detour into software
engineering, I
> was partnered with a health physicist, and we were working in
nuclear
> health-related fields. He took a number of consulting trips to
Hanford, and
> his stories were, uh, sobering.
>
> Nice work, as always, Prent.
>
> Cheers,
> Jon