Surround processors/preamps as stereo preamp ???
Erwin Claus
available which are also very good as normal high end stereo preamps like
Pass, Krell, Spectral, ... ?
Erwin
Steve Zipser
In article <72retg$6...@btmpjg.god.bel.alcatel.be>,
cla...@access.bel.alcatel.be says...
Erwin:
As a matter of fact there are :-)
Read the following review from Stereophile .....
Cheers,
Steve Zipser
EAD REVIEW from STEREOPHILE GUIDE TO HOME THEATER
I takes a lot of courage for a small high-end company to send its
flagship product to a reviewer who's been less than enthusiastic about
their products in the past. Enlightened Audio Design's original
TheaterMaster Signature processor was reviewed in SGHT's Winter 1996
issue. To paraphrase myself. "great sound, rotten ergonomics."
Fast forward two years: the current TheaterMaster isn't merely a
revision, it's a completely new product. Ergonomically, it has as much
in common with the original iteration as a Model has with a Windstar.
Instead of faint, inscrutable beeps, the TheaterMaster now has a large
LCD readout to supply visual feedback. It seems that EAD has done
their homework and come up with a processor worth betting the farm on.
One for the money
If Jeff Rowland made a surround processor, it would probably
look very much like the EAD TheaterMaster. This unit shares the
Rowland "trademark" front-panel finish: a shiny aluminum lenticular
surface with a fire-stripe glow. Originally, EAD had planned to use
the same fabricator and actually pay Rowland Research for the
front-panel design, but current production is done by a different
firm, and Rowland decided to forgo any royalties. Moral: If you copy,
always steal from the best (and try to pay them).
The only button on the front panel is a small circular one centered
below a large blue LCD panel. It serves two functions: switching from
standby to operational mode and engaging the remote-learning mode
(more on that later). The TheaterMaster has six single-ended RCA
analog inputs and six digital inputs. Four of the digital inputs are
RCA coaxial; the other two include one TosLink and one AT&T optical.
Digital inputs 2 and 3 can be dedicated exclusively to DTS and Dolby
Digital sources via internal dip switches. Outputs include single-
ended RCA jacks for 5.1 channels, balanced XLR outputs for the front
right and left chan-nels, and digital and analog tape outputs. The
rear panel also includes a con-nector for the SwitchMaster video
processor, IEC AC connec-tor, calibration microphone in-put, 12V
trigger -switch connector, and master on/off switch. If you own a
laserdisc player with RF AC-3 out-puts and plan to play AC-3 LDs,
vou'll need an additional RF demodulator box. EAD makes the DT- 1
($500) for just that purpose. Internal technical features include
EAD's trademarked Digital Flywheel reclocking circuitry, which uses
two voltage-controlled crystal oscillators (one each for 44.1 and 48
kHz sampling rates) to reduce digital jitter. EAD was one of the first
manufacturers to embrace HDCD, and the TheaterMaster has full HDCD
capabilities. The Signature model brings analog sources into the
digital domain using six precision Burr-Brown PCM 1702 Series K 20-bit
DACs in addition to a 20-bit Crystal Semiconductor CS 5390 fifth-order
delta-sigma A/D converter. The unit also has a Teflon analog circuit
board, ultrapremium. passive components (including 0. 1% preci-sion
Vishay resistors), and separate DACs for the balanced outputs'
positive and neg-ative polarities. (This configuration is used in
stereo mode only; for matrix and sur-round modes, only one DAC is used
for each front channel.) The Signatures audio-circuit topology is
remarkably similar to EAD's recently discontinued DSP-9000 III D /A
converter; only the power supply is different. The 9000's power supply
was in a separate box with extensive regulation; a simpler, less
intensive regulation scheme makes it possible for the TheaterMaster to
be a single-box unit. All the controls for operating the Theater-
Master are found on a touchscreen learning remote, which is the same
one that Rotel uses for their most recent processors. It is infinitely
flexible and capable of operating not only the TheaterMaster, but also
your CD, LD, DVD, TV, satellite system, and model train set. There are
two main screen layouts, one for regular operation and one for setup
functions, which you select with two buttons on the bottom left of the
touchscreen.
Because this is a "soft-touch" membrane remote, it's very easy to go
from one screen to the other-sometimes too easy. Fortunately, the
screen lights up to make it easier to figure out which screen you're
on aixten time any This soft-touch unit is no more delicate than any
other remote I've used, but it does require more careful storage and
use. It's all too easy to unintentionally push a button while picking
it up, putting it down, or accidentally placing something on top of
it. I quickly developed the habit of placing it face-down on a hard
surface for storage. If you put it face-down on a soft surface like a
cushion or couch, it might start behaving like an electronic
equivalent of Linda Blair in The Exorcist, especially if your cat
decides to sit on it; one night I was awakened from a deep slumber by
the system generat-ing pink noise. Bad kitty. During the first 1 few
weeks I had the TheaterMaster in my system, I discovered the principal
pitfall of a "smart" remote: It can get stupid in an instant. The
first sample soon started flashing "BATTERY LOW" so, like any dutiftil
owner, 1 proceeded to change its batteries. Big mis-take-the remote
suffered instant amnesia. It's rather disconcerting when every button
you push elicits the same response: 11 ERROR." 1 called EAD, only to
discover that some of their first remotes-of which mine was one-had
gone DOA. While I waited for FedEx to deliver a new one (it wa s
Friday afternoon, of course), I tried out the EAD's "learning"
feature. You can program any learning remote by holding down the
TheaterMaster's front button for three sec-onds during startup. The
unit then cycles through all its commands while sending the codes to
the remote. With a bit of experience, you can completely program
a remote in about five minutes. Once you line up the IR windows
properly, the process is simple and relatively pain- less. I recommend
that anyone who owns a piece of gear with no front- panel controls
(e.g., TheaterMaster) be prepared with a back-up remote that is
already programmed and ready to go.
Two for the show
Unlike many A/V preamps that incorporate video processing in the same
box as their audio functions, the TheaterMaster Signa-tureis an audio-
only unit. Video switchingis handled by the companion SwitchMaster
($1995), which interfaces with the Theater-Master through an RS-232
umbilical cord. The primary disadvantage of this arrange-ment is that
it precludes an onscreen status display from the TheaterMaster. If you
want to know what's what, you've got to check the unit's own LCD
display; depending on where you put the TheaterMaster in your room,
this could be a problem. Nevertheless, there are several advantages
to putting the video functions in a separate box. For example, this
lets you upgrade your video capabili-ties, such as adding component
and HDTV sources, without rendering the Theater-Master obsolete. Also,
EAD claims they can achieve better performance by isolating audio and
video functions in separate chassis. Of course, many third-party
external video s-switchers are also available. I've used the Monster
Entech Director AV 4.1 and the Camelot Technologies Crystal Vision
CPS- 1 1 with the TheaterMaster. For especially 1 complex home-theater
applications, you could also use a "professional" video 1 switcher
from a company like Extron. Other 1 manufacturers' video switchers
might not integrate with the TheaterMaster as seam- 1 lessly as the
SwitchMaster, but they are all capable of greater flexibility than
conven- 1 tional one-box units.
For users who prefer one-box convenience, the
TheaterMaster/SwitchMaster combo is fully and transparently
integrated. The SwtchMaster has six S-video and six composite-video
inputs, which can be linked to any of the TheaterMaster's digital or
analog inputs. Other features include a digital comb filter with
advanced 2-D circuitry and a vertical enhancer for compos-ite-video
sources. The SwitchMaster pro-vides composite, S-video, and separate
S, Y, and C outputs. There are also S-video and composite tape monitor
outputs.
Because a video processor's ability to pre-serve the quality of video
sources is just as important as an audio processor's ability to pass
audio unscathed, I put the EAD SwitchMaster through a ftill series of
bypass tests. Ideally, a video switcher should have no noticeable
effect on the video sources routed through its circuits. Granted,
neither of my two display devices-the Vidikron Epoch D-300 LCD
projector and the Proton 331 direct-view moni-tor-are state-of-the-art
display devices, but they're good enough to determine if the Switch-
Master is doing any-thing dire to the picture On S-video inputs from
both LD and DVD sources, the SwitchMaster passed my bypass tests with
flying colors.
The SwitchMaster's built-in digital comb filter clearly outperforms
the Proton 331's internal filter on composite-video sources. The
SwitchMaster's vertical enhancer did improve apparent vertical
sharpness on composite sources, but it also increased 11 ringing"
artifacts when I checked it with the Video Essentials DVD. For soft-
looking VHS tape, the vertical enhancer will certainly augment
apparent sharpness, but it is best left off with high-quality DVD and
LD sources. (Most users will probably be using the S-video connections
for LDs and DVDs anyway.)
Three to get ready
Setting up the TheaterMaster Signature is rel-atively simple. Once
you've finished attach-ing all your input devices and output cables,
you go into the TheaterMaster's setup menu and specify your speaker
configuration. In my large room, I use Dunlavy SC-VI speakers for the
front right and left channels and a Dunlavy SC-IVN for my center
channel. These are all large speakers with full bass capabilities, so
I chose the Large Speaker option from the EAD menu. I use Dun-lavySC-
IAVspeak-ers for the rear channels, which were configured as small
speakers with a rolloff at 50 Hz. (The rolloff point can be any
frequency between 50 and 250 Hz.)
You can set up the TheaterMaster to pro-duce a "phantorn"center
channel, although it's hard to imagine anyone springing for a
Signature without a full-blown system that includes a center speaker.
There is also a "3Stereo" mode for those who dont have surround
speakers. Subwooferless users can also set up the system sans bottom-
thumper. If you do have a subwoofer-and I hope you do-bass information
from large speakers can be sent to the subwoofer via the Signature's
internal bass-manage-ment system (more on this feature later). If you
use balanced interconnects to your front right and left amps, you must
activate the balanced output with the special but-ton on the remote.
After you've configured your speakers, it's time to connect the
supplied microphone, place it in the center listening position, and
run the AutoSetup program. This adjusts all speaker levels
automatically. Once their lev-els are adjusted, the unit shifts into
Auto-Delay mode, which calibrates each speak-er's distance from the
center position with a series of clicks. EAD recommends that you set
the subwoofer level by ear using a full-frequency two-channel program
source. What a perfect time to dig out Bob and Ray Throw a Stereo
Spectacular (RCA LSP-1773) and call up "The Round Room."
Once your initial setup is done, it's time for the most important step
in the entire process: saving it in memory. The Theater-Master has
enough memory to store 10 dif-ferent settings. EAD recommends using
Recall 1 for the initial setup, and I concur. No matter how far away
from the original setup your tweaking takes you, it's always comfort-
ing to know that you can get back to your basic settings by pushing
Recall 1.
I quickly found that the best settings for discrete surround sources
delivered far too much volume to the rear speakers when I used the
matrix-derived surround mode. This was not a problem, with stereo
sources. To solve this problem I merely readjusted the rear levels and
saved that setting to the Matrix Recall button. With many DTS sources,
I found the bass level much too high with the original setup, so I
adjusted the settings to my liking and saved them to Recall 2. Other
setups, like the one for movies with re-EQ turned on and a higher
subwoofer level, can also be easily saved.
With 10 memory locations, it's a good idea to write down what each one
is optimized for. And it's very important to save each setup at fairly
low volume levels, because recalling them returns to whatever volume
level you saved. With high-level sources, you might end up pinned to
the far wall like the Maxell Man. The TheaterMaster's controls are
neither logically hierarchical nor naturally. intu-itive, but they are
not inscrutable. After a week with the instruction book on your lap,
you should be able to operate it with rela-tive ease. The LCD readout
is quite com-plete; once you learn how to use the remote's Display
function, you can quickly check (and adjust) any setting. Go man go!
I assumed that going from my longtime two-channel reference, the EAD
DSP-9000 III D/A, to the TheaterMaster would be a sonic step down, but
it was more of a step sideways. Although the TheaterMaster doesn't
have quite the dimensional realism of the DSP-9000 111, it does have a
larger overall soundstage.
Fortunately, lateral imaging is just as pre-cise as with the DSP-9000
III, but the TheaterMaster's front-to-back depth is slightly flatter.
The difference is especially noticeable on "Come Away Hecate" from
Shakespeare's Lutenist. Theatre Music by Robert Johnson (Virgin
Classics CDC 7 593212): Emma Kirkby and David Thomas appear to enter
the hall from farther back through the EAD DSP-9000 111, but the hall
also seems narrower. Once they're at the front of the stage, both
appear to be closer together with the DSP-9000 111, as well as a bit
more three-dimensional.
Harmonically, these two EAD units are remarkably similar. They both
have a musical disposition that makes even raw sources listenable
without robbing them of their edge. Songs like "Drive South," from
John Hiatt's latest anthology, Best of John Hiatt (Capital CDP 7 59179
2), sound intentionally rude but never downright offensive. The DVD
music recording DVD Music Breakthrough (Delos DV 7002) sounds
remarkably natural through the TheaterMaster; in particular, woodwinds
have a warm, natural glow. Anyone wanting squeaky-clean, clinical
solid-state timbres will have to look elsewhere. If anything, the
TheaterMaster errs toward an overly laid-back and mel-low harmonic
pre-sentation.
Coupled with its tube-like midrange, the TheaterMaster has a big,
rollicking low end. In Stereo mode in my large room, I preferred the
setting that rout-ed no additional low-bass information to the
subwoofer. On music sources, the bass was more than adequate without
any augmenta-tion. Again, "tubelike" is an accurate descrip-tion of
the EAD's low-end character.
The Signature exhibits very pleasing low -frequency air and bloom. On
Steve Earle's Train a Comin'(Winter Harvest WH 3302-2), Roy Husky's
stand-up bass is warm, full, and very lifelike. On big-bang material
like Starship Troopers (Columbia TriStar Home Video 71719), explosions
go boom with butt-numbing authority. With its big bottom end and
robust mid-range, the TheaterMaster could easily sound too dark if it
weren't for its wide-open treble presentation. Upper-frequency
information, such as the shimmer of a first-violin section, is airy
and light, just as it is in real life. The TheaterMaster also does a
superb job of pre-serving high-frequency air without sounding
antiseptic or whitening the music's high overtones. If anything, upper
frequencies are ever so slightly sweet. There's no hint of the sound
of eggs frying in place of real cymbals. However, even though the
treble presenta-,tion is mighty mellifluous, it's still necessary to
use the re-EQ button on some sound-tracks to make the overall balance
more son-ic ally palatable.
Resolution of low-level information and inner detail is certainly one
of the Signature's strong suits. On Willie NelsoiYs latest release,
Teatro (Island 314-524 548-2), Nelson and Emmylou Harris are
transport-ed to Planet Gumbo, where they are assaulted and held
captive by a gang of rov-ing percussionists. The TheaterMaster does a
superb job of revealing Harris' plaintive cries escaping deep from
within the mix of threatening jungle rhythms. On the Casper DTS LD
(MCA/Universal 43120), every clever ghostly wisecrack is clearly
audible, even when accompanied by the roar of an ancient vacuum
cleaner.
Oddly enough, I found myself doing a majority of my music listening
with the TheaterMaster in two-channel mode rather than matrix-surround
mode. There are two reasons for this slightly aberrant behavior.
First, the TheaterMaster uses true balanced connections only in stereo
mode, which results in superior inner detail and low- 1 level
resolution. I found music more seductive, with greater finesse, in
stereo. Matrix mode just wasn't as emotionally involving. The second
reason stereo consistently got the nod for music is that I've been
completely spoiled by the Lexicon DC-I's music surround modes. Even
with a lot of fine-tuning, I was never able to get derived sur-round
as searnless, subtle, or convincing from the TheaterMaster as I can
from the Lexicon.
However, the TheaterMaster is simply superb on true discrete surround
music sources, like my current fave, The Best of Sessions at West 54th
Street (Columbia Music Video CDV 50163). Once you go into the DVD menu
and set the audio for Dolby Digital 5.1 (the boneheaded default on
this Columbia DVD is stereo), the surround effects are impressive. On
Ani DiFranco's "32 Flavors," the camera does a slow pan, and the drum
kit moves from right rear to left rear to left front. Patrick
Leonard's DTS mix of Rivers (Unitone DTS CD 1008) has a beautifully
integrated soundfield that surrounds you in a very natural,
nongimmicky way. On DTS movies like Last Man Standing (New Line Home
Video ID3735LI), the rear channels do a fine job of tracking the
bullets bouncing off the back walls.
As with any digital preamp, analog sources must be translated into the
digital domain before they can pass through the TheaterMaster. I've
often found internal A/Ds to be the weak link in digital equaliz-ers
and preamps; as mentioned earlier, EAD uses a 20-bit Crystal
Semiconductor CS 5390 A/D converter in the Signature. I compared the
A/D converter in the TheaterMaster to an $11,000 Accuphase AD-2401 A/D
that I use to record the Boulder Philharmonic. The TheaterMaster's A/D
is not the Accuphase's equal, but it's still very good. Both A/Ds are
outstanding at preserving the original harmonics and dynamics of
analog sources. I was especial-ly impressed by the Signature's ability
to maintain the overall harmonic balance with the same acuity as the
AD-2401.
The AD-2401 does a better job of preserv-ing depth, dimensionality,
and space between instruments; by comparison, the EAD's converters
seem to blur the edges of each instrument ever so slightly while flat-
tening their front-to-back dimensions. The overall effect sacrifices a
certain amount of individuation and makes the soundstage more
homogenous.
It might be folly to recommend anything digital to a rabid analog
devotee, but I must say that stereo Us routed through the Signature
sound very fine indeed. The TheaterMaster's internal A/Ds reduce the
depth and dimensionality ever so slightly, but inner detail and low-
level information are superior to any analog line-stage pre-amp I've
had in my system. By substituting an outboard A/D like the Accuphase
AD-2401, Pacific Microsonics HDCD encoder or Apogee LJV 1000, you can
achieve a levei of quality that should satisfy even the most intense
digiphobe. With a top-quality pro-fessional A/D between your outboard
phono preamp and the TheaterMaster, you should hear almost no loss of
harmonic complexity, and dimensional and dynamic information will pass
through unscathed.
Naturally, Uspent a good deal of time comparing the TheaterMaster
Signature with my reference Lexicon DC-1. Surprise, surprise-they
sound quite different. The Lexicon is substantially more matter-of-
fact in stereo mode, with a less musical, more mechanical quality to
its sound. The Signature is harmonically more complex, with a richer
euphonic timbre. In addition, it exhibits a superior sense of space
and throws a soundstage that's quite a bit larger. But within this
larger soundstage, the TheaterMaster maintains everything in proper
proportion. In stereo mode, the EAD is substantially more emotionally
invol-ving, with an insid-ious way of letting the music get the better
of your ana-lytical intentions. In derived surround modes, the
Lexicon regains most of the sonic ground it loses in stereo mode. in
this application, the DC- I's soundstage is equal in size to the
Theater-Master's, and its front-to-back image is just as full and
well-articulated, although it's still not as harmonically rich as the
EAD. Through the DC-1, each rear channel blends more seamlessly and
integrates more completely into a cohesive three-dimensional
soundfield. If only the EAD had the Lexicon's superb DSP modes; with
the ability to fine-tune so many parame-ters, it might be the DC-1s
equal on derived surround sources. Once again, discrete surround
sources 1 show off the TheaterMaster's rich, natural harmonic palette.
Voices sound less mechanical, and soundtrack scores have a more
musical sheen. Both processors have excellent low-level resolution,
and both do a fine job of retaining dynamic impact and rear-channel
information. However, the TheaterMaster makes even less-than-state-of-
the-art soundtracks sound more relaxed and melodious.
The TheaterMaster Signature delivers sound good enough to seduce even
two-channei hard-liners into the wonderful world of home theater.
Don't step on my blue suede shoes
Since I've dedicated myself exclusively to home-theater journalism,
hardly a day goes by that some audiophile doesift regale me with the
old anachrophile line: A high-end multichannel system can't possibly
sound as good on stereo material as a high-end two-channel system.
They obviously haven't heard an EAD TheaterMaster Signature. It is the
third-best stereopreamp I've ever had in my system. Only the dCS Elgar
and EAD DSP-9000 III can better it on two-channel playback of stereo
digital material. With digital sources, the TheaterMaster Signature is
actually superior to any active analog preamp I've ever heard. For
two-channel devotees who are forced by their families to turn their
dedicated listening rooms into home theaters, the Theater-Master makes
it possible to upgrade the sonic quality of their two-channel systems
as they add multichannel capabilities.
If the original EAD TheaterMaster's user interface was akin to trying
to do the Sunday Times crossword puzzle upside-down while three
sheetsto the wind, the current version is more like doing that same
puzzle sober with a readily available cheat sheet. Granted, it's easy
to unintentionally wind up in setup mode, but the simple solution is
to use an inexpensive third-party remote for regular functions while
reserving the original remote for crit-ical listening sessions. This
will keep unso-phisticated users from screwing up your carefully
tweaked settings.
It's not inexpensive, but the EAD TheaterMaster Signature is a solid
Class AAA pro-duct that delivers sound good enough to seduce even two-
channel hard-liners into the wonderful world of home theater.
--
LETS GO PANTHERS
Sunshine Stereo,Inc http://sunshinestereo.com Tel: 305-757-9358
9535 Biscayne Blvd Miami Shores, FL 33138 Fax: 305-757-1367
PASS Rega NOVA Miranda CODA Audible Illusions CEC Camelot Parasound
Audio Logic Chiro Benz-Micro Dunlavy NEAR NHT Gallo Zenith Arcane
Mordaunt-Short EAD Vans-Evers Monster/ENTECH ESP Straightwire MORE!
Barry Rothman
bar none. We're still waiting to see your apology to Dr. Bruce
regarding his status as a licensed doctor?
Please do us all a favor and apologize and then go away. You are
vile.
"Brian L. McCarty" wrote:
>
> In article <MPG.10bb2f5d8...@netnews.worldnet.att.net>,
> z...@sunswinestereo.com (Steve Ziplevy) writes:
> > As a matter of fact there are :-)
> > Read the following review from Stereophile .....
>
> SALESHACK ALERT!
>
> ZIPPLE THE SALESHACK SEZ:
>
> "I can assure you that neother Bob nor I will leave this newsgroup.
> However, I stopped posting my ads here a while ago, and restrict them
> to the marketplace newsgroups."
>
> This lie posted to alt.home-theatre.misc on 14 October 1998 by Zipple the SALESHACK!
Chuck Ross
brot...@NOSPAMpop3.concentric.net wrote:
> More pathetic bullshit from Brian McCarty, the biggest bigot on RAO,
> bar none. We're still waiting to see your apology to Dr. Bruce
> regarding his status as a licensed doctor?
>
> Please do us all a favor and apologize and then go away. You are
> vile.
>
Barry, I'm kind of surprised you don't recognize the newsgroup's
true obsessive/compulsive as such. He's literally blathering at
the mouth over Zip. He's just speechless, except for the
"SALESHACK ALERT!" thingy.
He must go to bed at night crying, "SALESHACK!, SALESHACK!, SALESHACK!!"
He probably has a parrot that says the same thing.
--
dmz...@my-dejanews.com
opera...@worldjazz.com (Brian L. McCarty) wrote:
> In article <MPG.10bb2f5d8...@netnews.worldnet.att.net>,
> z...@sunswinestereo.com (Steve Ziplevy) writes:
> > Read the following review from Stereophile .....
>
>
> ZIPPLE THE SALESHACK SEZ:
>
> "I can assure you that neother Bob nor I will leave this newsgroup.
> However, I stopped posting my ads here a while ago, and restrict them
> to the marketplace newsgroups."
>
> This lie posted to alt.home-theatre.misc on 14 October 1998 by Zipple the
SALESHACK!
>
I'd like to cast my vote as someone who considers Zip a net plus. He's taken
the time to explain, transmit experiences, etc. Not everything he discusses he
sells.
Oh, yeah, he doesn't miss a chance to plug his business. So what? As long as
it's a plug (e.g., bit of advert embedded in a message of some value) I don't
see the harm. One person's opinion.
-----------== Posted via Deja News, The Discussion Network ==----------
http://www.dejanews.com/ Search, Read, Discuss, or Start Your Own
GSHotdog
reviews.
Gary
Barry Rothman
Howie Ferstler's constant self promotion of his books and long quotes
from those publications.
And, Zip often does discuss equipment he does not sell and gains no
benefit from commenting on in a positive sense.
Trevor Wilson wrote:
>
> dmz...@my-dejanews.com wrote in message
> >I'd like to cast my vote as someone who considers Zip a net plus. He's
> taken
> >the time to explain, transmit experiences, etc. Not everything he discusses
> he
> >sells.
> >
> >Oh, yeah, he doesn't miss a chance to plug his business. So what? As long
> as
> >it's a plug (e.g., bit of advert embedded in a message of some value) I
> don't
> >see the harm. One person's opinion.
>
> **Seconded.
>
> Unlike Brian L, he is happy to discuss matters that run contrary to his own
> ideas. Brian just tucks his tail between his legs and hides for a while.
>
> Cheers,
> Trevor Wilson
> http://www.hutch.com.au/~rage