You might remember Electronic Perspectives: Vintage Electronic Musical Instruments by Tom Rhea previosly posted here.
Heath Finnie wrote in to remind me of the book and I noticed a few new pics of the inner pages have gone up on the Electronic Perspectives website. I thought they deserved a new post. If you are not familiar with the book, here are some details:
"Forty-five years in the making, Electronic Perspectives: Vintage Electronic Musical Instruments contains all of Tom Rhea’s fifty-two influential columns that were first published in Keyboard magazine from 1977-1981. This 400-page tome greatly expands on the original content with updated information and hundreds of newly restored images. Electronic Perspectives: Vintage Electronic Musical Instruments includes two CDs of unearthed recordings; spanning multiple eras of electronic music. All in a gold foil-embossed hardcover book, housed in a deluxe slipcase."
Note Tom Rhea helped design the Crumar Spirit with Bob Moog and Jill Scott. He also penned a few classic synthesizer user manuals. You can find additional posts mentioning him here.
"The Electronic Arts Foundation was started by Tom Rhea, David VanKoevering, and Les Trubey (my father) to promote electronic music and preserve historical electronic musical instruments.
What follows is the text of an article written by Tom Rhea in 1976 for Contemporary Keyboard magazine. Reprints of this article were included in an info package with each synthesizer sold.
Tom Rhea is the president of the Electronic Arts Foundation, has done extensive work as an electronic music clinician, and has served as a synthesizer consultant to keyboard players such as CK Advisory Board member Keith Emerson. Rhea has a Ph.D. in music from the George Peabody College, in Nashville, Tennessee, with The Evolution Of Electronic Musical Instruments In The United States as his dissertation topic. Tom is also a member of MENC (Music Educators National Conference) and the Audio Engineering Society, and has written instruction manuals for Moog Music's performance oriented synthesizer line."
"The manual was written by Tom Rhea. Tom Rhea is a legend of electronic music and a expert on the subject of synthesizers and sound synthesis—just google him to find out.
I like to think of this manual as a glossary of sound synthesis as well as a concise manual for the MICROMOOG. It gets straight to the point.
If only today’s manuals were as well detailed and illustrated as well as bound as this one. The manual starts with actual sound patches, so the user can start “playing” the instrument—instead of today’s programming language user interface crapola digital hell or going through tons of preset sounds before you can start creating. The manual was meant for getting into the synthesizer first and from that point learning the basics of sound synthesis. It may not come as a surprise knowing that Tom Rhea had a big hand in the development of many analog synthesizer models. His first hand experience was key in writing an incredibly useful and informative manual.
Besides being well-written it is a valuable resource for anyone entering into analog synthesis and/or analog synthesizers. The manual has a brief, but detailed explanation of sound, sound synthesis and practice—the explanations are easy enough for someone new to understand and detailed enough for the experienced individual to appreciate. Even if you do not own a MOOG, then you would still learn a great deal from this manual alone—a good place to start.
The manual consists of 8 sections as well as a full schematic at a total of 100 pages.
SECTIONS
1. Introduction
2. Getting a Sound
3. Sound Charts
4. Do-It-Yourself
5. Guided Synthesizer Tour
6. Open System
7. Review of Functions
8. Field Tuning and Technical Data
Plus the full Schematic"
“A Love-Letter for Fans of Electronic Musical Instruments”
… from one of the foremost historians in the field, Dr. Tom Rhea.
Forty-five years in the making, Electronic Perspectives: Vintage Electronic Musical Instruments contains all of Tom Rhea’s fifty-two influential columns that were first published in Keyboard magazine from 1977-1981. This 400-page tome greatly expands on the original content with updated information and hundreds of newly restored images. Electronic Perspectives: Vintage Electronic Musical Instruments includes two CDs of unearthed recordings; spanning multiple eras of electronic music. All in a gold foil-embossed hardcover book, housed in a deluxe slipcase.
Electronic Perspectives: Vintage Electronic Musical Instruments is in pre-production. Price/release date to be determined.
This one was sent my way via Brian Kehew who tells me it will feature the "first Buchla and Moog recordings ever made (both unreleased) as well as Con Brio, etc." See the link above for full details including video featuring the inside of the book. It's a beauty.
"These items were autographed by Tom Rhea at MoogFest 2010. Tom wrote the Prodigy manual and was the project manager for the popular Moog Prodigy synth.
Moogfest 2010 rocked Asheville, NC on Halloween weekend with over 60 bands performing at 5 different venues throughout the city.
Thank you for your support, and good luck bidding!"
"This is a very rare item, probably the first I've seen one on ebay. It is a Frequency Shifter, model 20/20 by 360 Systems.
360 Systems was (and still is) an innovative company that developed this pitch changer (as used by Synergy/Larry Fast, John McLaughlin), one of the first guitar synths (John McLaughlin) the first sample-playback keyboard and many audio post devices since. They also developed the first LINN Drum for Roger Linn. Bob Easton was/is their clever designer."
360 based their design on Harold Bode's rare "Klangumwandler" that was made and sold for Moog in the late 1960s and early '70s.
The Moog/Bode 6552 Klangumwandler ('sound-changer', in German) was an interesting concept, to modify pitch (frequency) without changing the overtone structure. Bode's invention was first created for Ussachevsky's electronic music studio at Columbia University (Bob was quite familiar with the composer and studio, as well as his various students like Wendy Carlos. Wendy and Tomita used this module on their classic albums. Club of the Knobs synthesizers now make a very accurate replica of the original Bode/Moog module and you can see it (and the similarity to this 360 design) on their website. The 360 has the same "series of 5" settings (5,50,500) as the Bode - and mixed vs. independent outputs, although the squelch is internal on the 360 via trimpot. There is CV (Voltage Control) of the frequency - great with a sequencer, CV pedal (McLaughlin) or random. These are similar to a ring modulator, but have a VERY unusual effect at the lowest settings. This is the effect I love (and why anyone should own this) - a deep phasing in stereo, without "messing up" the sonic quality of the original signal - all bass a treble frequencies remain solid, and the harmonics shift around in stereo beautifully. It's weird but not ugly - very HiFi and cool-sounding.
some text from the web):
'... the EWE, which stands for Electro Wagnerian Emancipator. There's only one of them; it was designed for me by Bob Easton at 360 Systems… That is now gathering dust in the warehouse. I tried to use it on "Big Swifty" from Waka/Jawaka - Hot Rats, but it didn't end up on the final track." (BTW synth geeks - this is mystery item was basically just an EML Polybox, same idea!)
'We also have some neat little 360 Systems model 2800 programmable equalizers, which are four-band parametric with memory storage for saving any particular settings that you may like. Those were designed by Bob Easton and are no longer available, but we have a few of them.'"
Update via eben in the comments: "check out the comment in that ebay auction in the questions section - none other than Tom Rhea, author of the minimoog owners manual"
via the auction:
Q: Hey neighbor, interesting that you have a frequency shifter for sale, but your description that a klangumwandler shifts without changing the overtone structure is incorrect. Pitch shifting a la the Eventide Harmonizer does this; Harald Bode built frequency shifter(s) that provide a LINEAR shift in frequency (Hz) for all partials in the input signal. This will, of course drastically change the "overtone structure," not preserve it. Sorry to be a drudge about this, but I knew Harald well, teach this stuff at a well known music College," This message purely in the interest of sharing information. Hope you get a good penny. PS, I have several Bode 1630 FS (lucky me, but just knowing Harald was the real treat!) Tom Rhea (author Minimoog Owner's Manual, etc.) Good luck in the sale! Apr-14-09
A: Hey Tom - you are likely QUITE right. I only said it was based upon the Bode - which seems quite true given the controls and front panel, steps of "5's" etc. Obviously, the audio track given shows what this very unit does exactly, so no deception is implied.
Marc Doty has a new post up at The Bob Moog Foundation website. You'll find more of his discoveries including Crumar Spirit No. 1 pictured here.
"The phrase that kept playing in my head was 'kid in a candy store.' But it was not that. It was more like a kid in a candy world… in a world… well, of pure imagination. Yeah, that’s right. Let Gene Wilder sing that song in your head for a bit, and listen to the lyrics. They all apply."
The Spirit of course was a joint venture between Bob Moog, Jim Scott and Tom Rhea.
via wikipedia:
"Crumar's Spirit synthesizer was originally designed by Bob Moog himself, along with Jim Scott & Tom Rhea. In 1983, they started producing digital synthesizers under the name of Bit, which were marketed in the US under the name Unique."
"Serial number 15 It is extremly rare: about 50 models ever made!!! The Crumar Spirit was designed in 1982 by Bob Moog, Jim Scott & Tom Rhea. The Spirit is original about his amazing not standard features, only fifty to one hundred of these beauties exist! It come in EXCELLENT cosmetic and perfect working order, still with the original skin travel bag. The Crumar Spirit was designed in 1982 by Bob Moog, Jim Scott & Tom Rhea. It was not a commercial success so only fifty to one hundred of these beauties exist! It has a 37-note keyboard with 2 VCO’s. There are saw, triangle, and several square waveforms on both oscillators. You can sync both oscillators. The oscillators have an octave range from 32′ to 4′. Ring Modulation, low and high pass filters, 12 DB & 24DB slope, single & multiple triggering, keyboard filter tracking, band pass filtering, loudness envelope, filter envelope, arpeggiator linked to LFO (mod-X) with 4 different arpeggiations, LFO 1 modulated 6 different ways, a second waveshapable LFO called (shaper-y) with 4 fixed waveforms and shape control adjustable from saw to reverse-sawtooth, performance panel to include Auto & preset glide, and 3 performance wheels, pitch, Mod-x, and Shaper -Y. with the latter 2 having 5 different destinations. An audio mixer with ability to mix OSC A & B with Ring Modulator, and Noise. LFO 1 also has a red noise generator as well as a brightness control for overall boost of the high frequencies. A filter envelope with inverted and normal ADSR & a loudness envelope which can be bypassed. Output Jacks: External Gate in, External Pitch in, Keyboard Pitch out, Keyboard Gate out, OSC B Pedal, Filter Pedal, Shaper Audio Out, ADSR Mix Out, External Audio In. Features * Bob Moog design! * 37-note keyboard * Saw, triangle and several square waveforms on both ocillators Working voltage: 220 / 240 volts."
This is a playlist of ContinuuCon 2016 videos starting with the teaser video. The full playlist follows the description below. Note Tony Rolando of Make Noise's video went up previously here. You can skip any video using the video controls at the bottom of the player.
"ContinuuCon, the First Continuum Fingerboard Conference took place June 9–11, 2016, at the Altamont Theatre in Asheville, NC.
Performers, sound designers, composers and electronic music enthusiasts who attended ContinuuCon explored this uniquely expressive instrument through concerts, workshops, lectures and more. Dr. Lippold Haken, inventor of the Continuum, and Edmund Eagan, developer of the Continuum’s synthesis engine EaganMatrix, were among those sharing their knowledge and musical talents.
With sponsors including the Bob Moog Foundation and modular synthesizer manufacturer Make Noise, the event opened with a reception at the Make Noise factory and included an evening concert, and a dinner (with multiple jam sessions) at Streamside.
Cameras: Geary Yelton, Chris Stack, John Schwenk
Editing: Chris Stack
ContinuuConcert Visuals: Greg Waltzer
Special thanks to: The Bob Moog Foundation, Make Noise, Hong Waltzer, Lora Tannenholz, The Altamont Theater and all the ContinuuCon attendees and guests.
Learn more at continuucon.com and hakenaudio.com/Continuum"
Playlist:
1. ContinuuCon Teaser Video
2. ContinuuCon :: 2016
3. ContinuuCon Quick Take :: Pallav Pandya
4. ContinuuCon :: Continuum History with Lippold Haken - "History and Deconstruction - Dr. Lippold Haken :: A chronological look at the development of the Continuum, from the first design goals to the current state of the art. Including design philosophies and the evolution that has occurred due to exposure to performers and new synthesis techniques."
5. ContinuuCon :: Continuous Pitch-Space Instruments with Dr. Tom Rhea - "A journey through time with the Hellertion, theremin, ondes Martenot, Trautonium, Moog Ribbon, Moog Trazor, and of course now, the Haken Continuum.
Dr. Tom Rhea pioneered introduction of synthesizers internationally as a Moog synthesizer clinician, functional design consultant, artist relations specialist, documentation writer, and marketing executive. Publications include articles and reviews in Computer Music Journal and many owner's manuals, e.g. the Minimoog Owner's Manual.
A noted lecturer on the history of electronic musical instruments, his Ph.D. dissertation on the topic is cited in The New Harvard Dictionary of Music, and in multiple entries in The New Grove Dictionary of Musical Instruments, and now The Grove Dictionary of Musical Instruments, Second Edition.
Conceived and oversaw development of, and wrote the first music for OxyLights, the world's largest permanent music and light installation, as recognized in The Guinness Book of World Records. Artist in Residence at the IEA (Institute for Electronic Arts) 2000-2001 at Alfred University, NY to explore use of DVD technology for presentation of film clips with focus on electronics in the soundtrack.
Cameras: Geary Yelton, Chris Stack
Editing: Chris Stack
Audio: John Schwenk"
6. ContinuuCon :: EaganMatrix pt1 with Ed Eagan - "Design philosophy, the reason for it’s existence, inspirations, why a matrix, what is a matrix, module by module descriptions, simple and complex patching examples, the reasons behind the percular formula construction, integration with MIDI and Max MSP."
7. ContinuuCon :: Tony Rolando on East Coast/West Coast Synthesis - "Make Noise founder Tony Rolando fills us in on the historical differences and similarities in the development of synthesis and electronic music on the East and West coasts. He also includes a demo of Make Noise's new 0-Coast synthesizer module."
8. ContunuuCon :: Continuum Playing Techniques pt1 - "Ed Eagan, Sally Sparks and Rob Schwimmer in a panel discussion and open forum about Continuum playing techniques, and how each has developed their own personal style. Learn more at www.continuucon.com"
"OK, by now, everyone knows the Crumar Spirit was designed by some of the Moog folks, namely Dr Moog, Tom Rhea, and Jim Scott. What's never been explained is how or why. That's where I come in. This is how it might have happened...
Let's first set the stage.
The year is 1982. The monophonic Prodigy and Rogue were still in production. Moog's attempt at a less-knobby synth (the Source) had been released the year before. The powerful but problematic MemoryMoog had finally started to ship and everyone involved really needed a break because of all the problems. New development had temporarily ground to a halt as all hands came on board to salvage the MemoryMoog effort.
During this time, the Rhodes Chroma had also recently been released.
Three Moog folks - Dr Moog, Tom Rhea, and Jim Scott decided to take a short holiday overseas to unwind and reset. They chose Italy as their destination and set off on their trip.
Meanwhile...
In Italy, Crumar had the DS-2 and Performer synths out there. They had also teamed up with a New York based firm to create the GDS and Synergy but they were having as many problems with them as Moog and ARP did with their recent polysynths.
So, the three Moog employees are in Italy, touring around and checking out the local culture. A chance meeting with Mario Crucianelli kickstarts an idea for a new synth. Moog as a company is stretched too thin and is too worn out to take on any new R&D. Dr. Moog and friends discuss features that they'd like to see. Since this isn't going to be branded as a Moog, there is some more freedom to borrow ideas from other synths and to vary from the traditional Moog designs. They have had good luck with the CEM 3340 and 3360 ICs in the MemoryMoog and the Chroma was using the 3350 VCF to create some unusual routings and new sounds. Rather than worry about licensing a Moog filter for this product, the team decided to go off on a new track and try a pair of 3350's and provide separate control over each filter chip.
The idea for a monosynth that could sound traditional or radically modern was born and the Spirit is the result.
Well, that's how it might have happened...
Let's get back around to the auction now.
I have a Crumar Spirit, serial # 62, that's been cleaned and calibrated. In addition to the synth (110 volts) and power cord, I'm including the owner's manual and schematics. In addition, I sketched out the trimpot locations and names for the VCO board to make future calibrations easier. As an added bonus (I'm all about giving you guys bonuses), I'm including 2 CEM 3340 VCO ICs, 1 CEM 3350 filter IC, and 2 CEM 3360 VCA ICs. So you'll never have to worry about CEMs again."
"Up for auction is a Vintage Moog Sonic Six synthesizer. It has been thoroughly cleaned and checked and is in perfect working order. This is an absolutely unique item with a very interesting history. This is the last brand new Moog synthesizer in existence, the last new Moog to leave the factory, and the last Moog Sonic Six synthesizer ever produced.
When Moog ceased operations in 1993, Tim Smith and Dave Weyer , on a tip from Tom Rhea, purchased the remaining inventory from the Moog factory and had it shipped to Montana. The inventory consisted of one completed Sonic Six unit , three that had failed quality control , owner and service manuals ( I will make a copy and include these ) , some circuit boards and power supplys for various models including the MemoryMoog , MultiMoog , PolyMoog , and several boxes of miscellaneous parts. Moog stopped production of the Sonic Six in 1979. The Sonic Sx listed here , the last completed unit , sat on the production line until 1993, and after leaving was kept in Tim Smith's warehouse until his passing in 2001.
Tim Smith was the Western Regional Tech Rep for Sequential Circuits , Arp, Moog and also contributed to the famous Vintage Synthesizers book and articles in Keyboard Magazine. Tim was an expert at repairing all kinds of synthesizers and electronics and over the years became friends with many notable synth designers and gurus ; Bob Moog , Tom Rhea , John Simonton , and Stanley Jugleib to name a few. Dave Weyer is more well known as the amp guru at West Coast Organ and Amp in Hollywood California . His amplifier mods and repaiirs were enjoyed by many well known musicians including Neil Young, John Lennon, and Jimi Hendrix. Tim and Dave also happened to purchase the remaining inventory of Arp and ElectroComp the same year..."
"We are thrilled to announce our collaboration with Waveshaper Media, the producers of the acclaimed modular documentary “I Dream of Wires”, on a new film about Bob Moog, Electronic Voyager.
In association with the Wave Shaper, we aim to create a definitive and personal documentary about the life of Bob Moog. Through the eyes of our Executive Director and Bob’s own daughter, Michelle Moog-Koussa – also a dedicated Moog archivist and historian – we will give viewers an insight into the man behind the iconic Moog brand.
Electronic Voyager takes us on a sonic journey into the often unpredictable life and stunning brilliance of Bob Moog, a man who ‘fell backwards on a banana peel’ into the music instrument business, as well as the psychedelic world of the 1960s music scene. Bob unwittingly revolutionized the face of music, and helped birth an enduring industry.
With Michelle Moog-Koussa as our guide, we are in a very unique position to tell Bob Moog’s story in a new and profound way – from the perspective of his own daughter, who has not only a deep personal connection to Bob Moog, but also a firm dedication to his work and legacy. Bob’s friends, associates and admirers open up when they speak to Michelle about her father, leading to uniquely candid, revealing and joyous stories and insights about Bob Moog.
Electronic Voyager documents a special personal journey for Michelle, to trace her father’s iconic story – visiting the places and meeting the people who were a part of Moog’s history. With exclusive access to unseen family photos and rare historical artifacts from the Bob Moog Foundation Archives, Electronic Voyager opens a window for the outside world to better understand the man behind the legendary Moog synthesizer.
The recent, tragic passing of Bob Moog’s close friend and important collaborator, Keith Emerson – perhaps the most iconic Moog keyboardist – was just another reminder of how important it is to document Bob Moog’s crucial chapter in the history of electronic music, NOW. We are turning to Kickstarter – a direct link to Bob Moog’s friends, admirers and fans – to help us get to work on this important documentary as soon as possible.
Confirmed participants include:
Early electronic music pioneers: Herb Deutsch, Morton Subotnick, Bernie Krause (Beaver & Krause, Moog modular session musician – George Harrison, The Doors), Joel Chadabe, David Borden (Mother Mallard’s Portable Masterpiece Company).
Contemporary Moog musicians: Moby, Adrian Utley (Portishead, Moog Ensemble).
Friends and music industry contemporaries: Dave Smith (Sequential Circuits), Tom Oberheim, Roger Linn, Dave Rossum (E-mu), Mark Vail (Keyboard Magazine), David Mash (Berkelee College of Music), Dominic Milano (Keyboard Magazine), Wayne Kirby (University of North Carolina – Asheville).
Session musicians, composers, technicians: Patrick Gleeson (Herbie Hancock, film composer), Greg Phillenganes (Stevie Wonder, Michael Jackson), Edd Kalehoff (tv/film composer), Michael Boddicker (Michael Jackson, film composer), Will Alexander (Keith Emerson’s synth tech).
Moog employees/collaborators: Bill Hemsath, David VanKoevering, Tom Rhea, Roger Luther, Greg Hockman, Tom Gullo, Dale Ong.
As with any great Kickstarter campaign, we are offering a host of exciting perks, many of which are limited to the campaign and are not available elsewhere. Read all about them and get more details about the project here:
"To celebrate the 75th anniversary of Raymond Scott's music, Brian Carpenter will host a live 3-hour WZBC radio special on Friday, November 16th, at 7pm EST. Co-hosted by Jeff E. Winner (me) of the RS Archives, and Tom Rhea (Berklee, MOOG Music), with special guests: J.G. Thirlwell (FOETUS, STEROID MAXIMUS), DJ SPOOKY, Stu Brown, Will Friedwald, Daniel Goldmark, Irwin Chusid, David Harrington (KRONOS QUARTET), and more. LISTEN HERE: http://wzbc.org/ -or- tune your boombox to 90.3 FM.
"This is a working unit and all knobs and keys operate. The control panels still have the original factory protective plastic covering. The unit has normal cosmetic wear and scratches on the cabinet sides, but can be refinished easily. The metal rear flap for the control panel tilt has a brushed/cleaned area. This was necessary to remove the social security number of the original owner, (remember back in the day you marked your valuables with your SS#). The oscillators sound good, but the bus bar and some knob controls will need cleaning. Some keys will also need to be adjusted. I'm not the expert on Moog restoration, but I believe a person familiar with the brand won't have any problems bringing this unit back to 100 percent.
Included with this auction is a Sound Chart by Tom Rhea to get you started..."
Note: Auction links are affiliate links for which the site may be compensated.
via this auction
"This is one of the most powerful and certainly the most mind-boggling vintage analogue monosynths around. Designed by (the big man himself) Bob Moog, Tom Rhea and Jim Scott in the early 1980s for Italian company, Crumar (from MARio CRUcianelli, in case you were wondering).
Rumours abound as to how many of these were actually made - they arrived at rather the wrong time and were eclipsed by the digital DX7 - as few as 100, definitely not more than 300. This baby is serial number 20. What's more, this exact instrument was previously owned by the legendary and sadly long gone BBC Radiophonic Workshop. Who knows what TV themes and incidental sound effects it has graced? A proper collectors item."
"Rare, vintage Moog-Made Crumar Spirit in excellent working and cosmetic condition with original case. This is a prototype made for Crumar that never actually went into production. Depending on who you talk to, this is 1 of 100, or 1 of 200 units made. This is serial number 0078.
Designed by Bob Moog, Jim Scott & Tom Rhea and released back in 1983. The Spirit is similar to a 2 VCO MiniMoog, but is considerably more flexible. 37-note keyboard, and the 2 oscillators feature basic sawtooth, triangle and square waves and can be synced together.
The filter section features low, high, and band-pass filters and switchable 12dB or 24dB slopes. Other features of the filter include an independent envelope with inverted and normal ADSR, key tracking and single or multiple triggering of the filter. Some other features of the Spirit include a built-in ring-modulator, an Arpeggiator with 3 different patterns that can be linked to the LFO, and there's an external audio input for running external sounds through its filters, LFOs or Ring Mod.
24 knobs, 10 switches and 15 sliders. 3 performance wheels for controlling the Pitch, Mod-X and Shaper-Y modulation effects. The Arpeggiator features 3 modes: Ripple (Up/Down), Arpeggio (Up several octaves) and Leap (Goes up 1 and then 4 octaves)."
"It has just been serviced, calibrated and PAT-tested by James Walker at Synth Repair Services. The keyboard contacts, pots and switches have been cleaned and the power supply recapped. It has been converted from 110v to 240v operation (this is easily reversible).
Dating from late 1973, this instrument is in excellent original condition - it has the early oscillator and filter boards (many of the pcbs are RA Moog boards). It comes in the original suitcase (which is missing its original foam - presumably long since deteriorated) and has a full complement of original literature: owner's manual, Tom Rhea Sound Charts booklet and unused user patch charts tear-off pad - all in excellent condition."
"Forty-five years in the making, Electronic Perspectives: Vintage Electronic Musical Instruments contains all of Tom Rhea’s fifty-two influential columns that were first published in Keyboard magazine from 1977-1981. This 400-page tome greatly expands on the original content with updated information and hundreds of newly restored images. Electronic Perspectives: Vintage Electronic Musical Instruments includes two CDs of unearthed recordings; spanning multiple eras of electronic music. All in a gold foil-embossed hardcover book, housed in a deluxe slipcase."
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