Boss Hm-2 Manual

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By submitting a comment, you are declaring that you agree with these rules: Although the administrator will attempt to moderate comments, it is impossible for every comment to have been moderated at any given time. You acknowledge that all comments express the views and opinions of the original author and not those of the administrator. You agree not to post any material which is knowingly false, obscene, hateful, threatening, harassing or invasive of a person's privacy. The administrator has the right to edit, move or remove any comment for any reason and without notice. Failure to comply with these rules may result in being banned from further commenting. Please do not offer the downloaded file for sell only use it for personal usage. Looking for other manual? For this no need registration. May be help you to repair. You could suffer a fatal electrical shock. Instead, contact your nearest service center. Note! To open downloaded files you need acrobat reader or similar pdf reader program. In addition, Also some files are djvu so you need djvu viewer to open them. These free programs can be found on this page: needed progs If you use opera you have to disable opera turbo function to download file. If you cannot download this file, try it with CHROME or FIREFOX browser. Translate this page: Relevant INSTRUMENT forum topics: BOSS MT-2 METAL ZONE Sziasztok! Megepitettem a cimbeli gitartorzitot, de nem jon ki belole az a hang, ami a YouTube-os demovideokon hallatszik. Ossze szeretnem hasonlitani egy gyarival. Van esetleg valakinek?You can write in English language into the forum (not only in Hungarian). It has an interesting design with both asymmetric soft-clipping diodes, hard clipping diodes and a Ge diode pair in series with the signal for crossover distortion and simple noise gate. A wide variety of tone color creation is made possible with the 2 color mix controls. http://www.dancesport.jp/userfiles/boss-gt-pro-manual-espa-ol.xml

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Follow this Product Overview A legend in the annals of Boss pedals, the HM-2 Heavy Metal is, obviously enough, a pedal intended for those who play heavy metal music. For a lot of players in the heavy realm, the appeal of the HM-2 has a lot to do with the insane amount of boost and tone-shaping this pedal provides. Its unique character has spawned several imitators and landed the HM-2 a place in the signal chain as a who's who of extreme metal players. Video Gallery Product Specs Brand Boss Model HM-2 Heavy Metal (Black Label) Finish Black Year 1983 - 1988 Made In Japan Show More Similar Products From the Price Guide Sell Yours Please check the fields highlighted in red.Currency. Follow this Product Overview A legend in the annals of Boss pedals, the HM-2 Heavy Metal is, obviously enough, a pedal intended for those who play heavy metal music. For a lot of players in the heavy realm, the appeal of the HM-2 has a lot to do with the insane amount of boost and tone-shaping this pedal provides. Its unique character has spawned several imitators and landed the HM-2 a place in the signal chain as a who's who of extreme metal players. Video Gallery Product Specs Brand Boss Model HM-2 Heavy Metal (Black Label) Finish Black Year 1983 - 1988 Made In Japan Show More Similar Products From the Price Guide Sell Yours Please check the fields highlighted in red.Currency. Often, small film companies independently make these kinds of films but occasionally it’s the big Hollywood studios that make a movie which stays in the cultural landscape, even if the initial box office numbers may suggest otherwise. BOSS engineers studied the waveforms of Marshall amps on an oscilloscope and developed the HM-2 to replicate the characteristic midrange grind. It came out like a more compressed version of the Marshall amp sound. Nevertheless, on its release to market in 1983 it sold quite well to legions of guitarists in the “spandex and big hair” era. http://konditsioner-odincovo.ru/upload_picture/boss-gt-8-manual.xml

The groundbreaking parametric EQ on the MT-2 was a major technological leap that enabled the Metal Zone to generate a much wider variety of tones than the HM-2 could. Within 7 months of the Metal Zone’s release, production of the HM-2 ceased forever. It’s a subtle effect that has in the past, fooled some guitarists into thinking it is a “bypass” effect. To others though, the EH-2 is a studio or performance tool like no other. It filters off the high frequencies of your guitar tone, and amplifies them (while also generating harmonic overtones). The amount of amplification depends on how hard you play the guitar, i.e. the harder you play, the more the treble frequencies (and overtones) are amplified. In a final neat trick, when you mix these tones in with the original signal (via the MIX knob), you can either select between mixing in a regular polarity signal or a polarity-inverted one.Along with a unique pastel lavender paint job, there’s not a single knob to be found anywhere on the DC-2 chassis. In fact, its entire complement of user controls are 4 push buttons which allows the user to select one of the DC-2’s 4 preset sounds. That’s right, presets on a stompbox! At its heart, the Dimension D contained two independent BBD-driven analog chorus units. These dual choruses were preset to VERY subtle depth rates, but the intermodulation between the independent chorus lines and the clever stereo processing meant that the unit created an incredible feeling of depth or added “dimension”, hence the name. The large 2U rackmount SDD-320 was an instant hit upon its 1979 release and became a recording studio staple, becoming a significant constituent of the stereo “sparkly” sound that was familiar on 1980’s pop radio hits. The DC-2 Dimension though, was an entirely new flavour that delivered unprecedented levels of spaciousness and texture to guitar tones with its highly refined, ambient sound. http://www.drupalitalia.org/node/71892

Presumably, in a boardroom decision to incorporate economies of scale, the BOSS designers were tasked to create an effect that used the same circuit that the NF-1 Noise Gate pedal used. From this brief came the idea to completely reverse the operation of a noise gate (which allows the note attack, then clamps down on the tail) and create a unit that muted the attack and swelled the volume of the note tail. However, the knobs on a Les Paul are positioned much more awkwardly to achieve this same effect. The concept of the SG-1 Slow Gear was to recreate this swell effect, completely automatically. Development dragged on much longer than expected, until eventually a suitable result was reached, and the resulting pedal was christened “Slow Gear”. The user demand wasn’t there and production of the pedal ceased within 3 years of its introduction. When the BOSS division of Roland first emerged in 1976, they repurposed the chorus effect from Roland’s famous JC-120 amplifier and made it available in a (gigantic) AC powered foot pedal, named the CE-1 Chorus Ensemble. Though the CE-1 had a slow start, it soon became a huge hit thanks to use by Herbie Hancock and Andy Summers of The Police amongst others and was largely responsible for getting the BOSS brand off the ground. This was no small task and the BOSS engineers took two years to be able to achieve this engineering feat, but the result was worth it. In October 1979, the CE-2 Chorus pedal was released and still stands today as perhaps the most famous chorus pedal ever and a benchmark by which all other chorus pedals are judged. The CE-2 Chorus adds all the depth and sparkle that are BOSS Chorus hallmarks, but also adds a fat, thick midrange boost when engaged that turned out to be a famous and sought after characteristic of the CE-2’s tone. For many players however, (including some of the biggest names in the guitar world), the CE-2 continues to be their go-to chorus pedal and one of the most loved BOSS pedals of all time. http://flordeyebenes.com/images/boss-harmonist-hr-2-manual.pdf

The first 3 pedals to roll off the line were the PH-1 Phaser, the OD-1 Overdrive and the SP-1 Spectrum. Although some users found great use in its ability to sound like a cocked wah-wah or its ability to allow an instrument to pierce through a dense mix, most musicians were somewhat perplexed by the SP-1. Sales were slow and the SP-1 was discontinued from production in 1981. Keyboard and electric piano players however, did hold it in high esteem during its initial run. No self-respecting BOSS junkie can claim their pedal collection is complete without an SP-1 Spectrum on hand. This fact has driven second hand prices into the stratosphere, as rabid collectors enter into bidding wars over this most elusive of pedals. Indeed, it hadn’t been an easy feat. The custom IC chip (the same as found in the legendary SDE-3000 rack delay) could only just fit within the compact chassis, and the engineering team had an immense struggle trying to fit in all the rest of the supporting circuitry. The fact that they managed to do so was an engineering marvel, and after the public had picked their jaws up from the floor, they started buying the DD-2 in huge numbers, despite its substantial price tag. BOSS passed on these savings to the customer by dropping the price of the DD-2, however as the RAM prices kept falling further, an interesting decision was made. Although it has seen a couple of design revisions over the years due to component availability, today’s DD-3 pedal is still essentially the same design as the DD-2 pedal that first blew minds back in 1983. Collectors of course, still clamour to get their hands on a DD-2 for the sake of history, and indeed it is the pedal’s place in history that defines the DD-2 as a cult classic. Tremolo was seen as an antiquated 1960’s effect and the PN-2 didn’t find much favour. https://cashofferoregon.com/wp-content/plugins/formcraft/file-upload/server/content/files/1627308bd8407e---briggs-and-stratton-5hp-industrial-plus-manual.pdf

That horrible, unwanted and mood-destroying hiss or screech that always seems to At the time, Kakehashi was a young inventor with a passion for electronics, experimentation. VST, AU and AAX. We took our time to find a pristine conditions Japanese version of the pedal (ours is dated 1984) and we modeled it as close as possible. BOSS, HM-2 and Roland are registered trademarks of Roland Corporation U.S. Learn how your comment data is processed. Okay, thanks. Also, the HM-2 can be effectively used even with a single pickup guitar of low output level, because of its high gain. If the sticker is removed or tampered with, the item will not be considered in the same condition as sold, and no returns will be made. If you are having trouble with the item after receiving and testing it, please contact Seller right away. Also, if the serial number or original console warranty stickers are modified or removed, the item will not be considered the same item as listed. There is some very light wear and small paint chipping on the item from use and handling but overall the item is in tested very good, working condition. The box has some light wear and price stickers attached, and the manual has a tear and is folded on the bottom area (shown on photos). Please view photos in this listing for best details of the condition, which are actual photos of the item being sold and not stock footage. Seller does not usually ship on the Weekends. Please message Seller to add postal services such as Insurance, Signature Confirmation, etc. (May include additional costs). There may be an extra shipping charge for shipping to Alaska, Hawaii, Puerto Rico, and anywhere else outside the first 50 states. All terms and shipping costs will be determined by Ebay. There is some very light wear and small paint chipping on the item from use and handling but overall the item is in tested very good, working condition. http://basumati.com/app/webroot/ckfinder/userfiles/files/comix-mt-8800-manual.pdf

The box has some light wear and price stickers attached, and the manual has a tear and is folded on the bottom area (shown on photos). Please view photos in this listing for best details of the condition, which are actual photos of the item being sold and not stock footage., Model: HM-2, Modified Item: No, Custom Bundle: No, MPN: HM-2, Brand: Boss Super high amount of views. 0 sold, 1 available. More Super high amount of views. 0 sold, 1 available. You are the light of the world. Learn more - opens in a new window or tab This amount is subject to change until you make payment. For additional information, see the Global Shipping Programme terms and conditions - opens in a new window or tab This amount is subject to change until you make payment. If you reside in an EU member state besides UK, import VAT on this purchase is not recoverable. For additional information, see the Global Shipping Programme terms and conditions - opens in a new window or tab Delivery times may vary, especially during peak periods and will depend on when your payment clears - opens in a new window or tab. Learn More - opens in a new window or tab Learn More - opens in a new window or tab Learn More - opens in a new window or tab Learn More - opens in a new window or tab Learn More - opens in a new window or tab See the seller's listing for full details. Contact the seller - opens in a new window or tab and request a postage method to your location. Please enter a valid postcode. Please enter a number less than or equal to 3. Sellers may be required to accept returns for items that are not as described. Learn more about your rights as a buyer. - opens in a new window or tab You're covered by the eBay Money Back Guarantee if you receive an item that is not as described in the listing. All Rights Reserved. User Agreement, Privacy, Cookies and AdChoice Norton Secured - powered by Verisign. {-Variable.fc_1_url-

Well, not exactly, but it did offer legions of young metal-heads the thickest, most obscene distortion tones around-perfect for that '80s metal sound -all in a convenient little stomp box that looked pretty evil. Grrrrr. Which do you prefer. Die Haftung auf Schadenersatz wegen Korperverletzungen sowie bei grober Fahrlassigkeit oder Vorsatz bleibt unberuhrt. Keine Rucknahme. Super high amount of views. 0 sold, 1 available. More Super high amount of views. 0 sold, 1 available. You are the light of the world. An effect not always well known, sometimes even forgotten or underrated. So let’s start ! By the way, the HM-3 is a Germanium Hyperfuzz, meaning a rounder and warmer sound. With the COSM technology (Composite Object Sound Modeling), the sound of the BOSS HM-2 was brought back in a digital version. Today, this unit is discontinued. This is used to set low frequencies around 100 Hz. To the right, you boost them. To the left, you cut them off. This is used to set high frequencies around 1 kHz. To the right, you boost them. To the left, you cut them off. In the middle, there is no action. When you turn it on the right, the distorsion will be more deep with a lot of sustain. For those who want to know more about GILMOUR’s use of the HM-2, please follow these link, this one or this one. They ask 2 friends who play in MORBID for help: the drummer L.G. PETROV, who will be on vocals, and one of the guitarist Ulf “Uffe” CEDERLUND. NIHILIST is now complete and the band can start writing and recording their first demo: “ Premature Autopsy ” released in March 1988. Enter Johnny HEDLUND, a friend of the band, as a bassist, with “Leffe” taking the rhythm guitar. The band, now known as ATHEIST, can be seen as the initial creator of the “Swedish Sound”. Leif engaged by mistake the distorsion pedal creating THE sound through his amp (an old Hagstrom). The rest was just all about settings. Then he showed me his gear. Many thanks to him again ! https://pikewallis.no/wp-content/plugins/formcraft/file-upload/server/content/files/1627308dbe53ad---briggs-and-stratton-5hp-quantum-engine-service-manual.pdf

He made it its trademark, since so many bands passed through his studio to obtain this thick, heavy and mythic sound. Nicke didn’t feel like playing with Johnny, which lead to NIHILIST’s split. That will lead to 2 bands being formed, ENTOMBED and UNLEASHED ( It may also be one of the reasons why UNLEASHED never used the HM-2). If one band was signed by EARACHE the other one was signed by CENTURY MEDIA. This webpage lists all the band which recorded at the Sunlight over the years (you can click the underlined names to get details about their discography, line-up, credits and album arts). Therefore, a lot of band will follow the trend, without necessarily recording at the Sunlight.Eventhough GRAVE is listed, the band never used HM-2. Nothing really complicated here ! Level is more soft in DISMEMBER’s guitar sound). Seeing him some years later in DISFEAR for the “ Misanthropic Generation ” support tour, he was using the same gear. The take was made with microphones chosen and placed by Jens BOGREN. He also gave the information about “ Resurrection Through Carnage ”: the BOSS in a DIGITECH GNX2 preamp with the “MARSHALL” preset, through the speaker emulation. Then he chose a plug-in which copies the frequencies (such as the Voxengo CurveEQ) taking the ENTOMBED’s intro of “Drowned” and applied them to the take. All the infos are located here. The BEHRINGER HM-300 will fit in perfectly.The same occurs with the Wurm Distorsion by KMA Audio Machines. If the name is a tribute, so is the sound. When less is more ! Direct link You can hear them in these videos: The infos are inside the booklet of the 2002 release, but for the exact settings, you will have to experiment (It’s mainly possible to think that the BOSS HM-2was used to boost the MT-2 gain in the clean channel). And as does G.C Green from GODFLESH, you can heavily use it on a bass too. BARTONSTEEL.COM/tony/barton/ckfinder/userfiles/files/comix-mt-7100-manual.pdf

It’s also and above all a unique and characteristic, copied, declined, worked again and adapted sound signature for the listener who will obtain a certain atmosphear, from the putrid cellar to groovy Death’n’roll via Grindcore. But it’s especially the insurance to get a sound who will be heavy, fat, viscous and acid. Circuits are analogue, and the pedal has 2 modes, Standard and Custom). It would only mete out justice and especially amply deserved,,, Thanks to Geoffroy Lagrange for this article ! Article en francais disponible ici. En savoir plus sur comment les donnees de vos commentaires sont utilisees. It’s a pretty weird thing, and that’s partly why I’d like to take a closer look at it here. During my analysis of this pedal, I’ve discovered its dirty secret. You can open up the back and twiddle some little pots and switches, so it actually has more controls than they put on the front panel. Since that front panel has seven controls already, this is a pretty flexible pedal. The PDS-1550’s Channel A has the same distortion stage, followed by the same gyrator-based tone shaping. It adds a few things, but all the bits of the HM-2’s distinctive sound are there. So if you want a chainsaw metal sound, but don’t have a HM-2 collectors budget, maybe you can still find a PDS-1550 cheaper.One is a Tubescreamer-style overdrive circuit, and the other is a high gain metal distortion with a double tracking delay effect as well. Both of these drive circuits go to the output via a parametric EQ stage. This is slightly a shame, since if you set the EQ up for good tone on one drive sound, you’re unlikely to want exactly the same settings for the other drive sound, but that’s what you get. The guts of the pedal are on two pages, and the third page deals with the input and output jacks, power socket, and two stomp switches. Channel B is the Overdrive channel and is much simpler. Both channels are output through the parametric EQ and then an output buffer. I’m going to gloss over that for now. R2 is a bit smaller than we might like to see, but 470K input impedance isn’t bad by the standards of its day. The value of C1 gives a roll-off below 10Hz, so we’re not losing any bass anywhere.We jump to page two of the schematic, and it gets a whole page to itself, whereas Channel B has to share with the power circuitry and all the switching logic. Without knowing the exact timeline, I’m guessing Digitech were “inspired” by Boss rather than the other way around, but both are inspired by earlier pedals. We’ll come to that in a moment. This makes it clear how similar these two stages really are. The frequency response shaping components are chosen such that the whole of the guitar’s spectrum is allowed to pass. There’s no heavy shaping of the signal before we clip it here. So how do these changes play out? That makes this end of the pot almost pointless. We’ll see whether the other end does anything when we get to it. Basically the first transistor stage provides 24dB of boost regardless of pot setting. That’s a gain of x15.8, enough to amplify a 300mV input so that the transistor’s output is at 5Vpp. If you’d designed this from scratch, you’d avoid this kind of problem. What’s amazing is that Boss released it in the condition they did. It’s a rare slip-up from the usually extremely reliable Boss engineers. Having seen already how similar it is to the first stage, we’re not expecting hugely different results, so the frequency response should come as no surprise: We’ve now got 45dB of gain, x178. It’s no wonder it’s a chainsaw. And we’re only on stage 2. The gain varies from 2.5 to 5.7 (8dB to 15dB), so this has a lot less gain than previous stages. These are used as a simple noise gate, since they’re in series with the signal path and they only conduct once the voltage reaches a certain level, so they act as a noise gate threshold. They’ll also introduce a certain amount of unwanted crossover distortion, but since this is a distortion stage anyway, we probably won’t notice. Incidentally, the reason crossover distortion is rarely used deliberately in pedals is because it affects smaller signals worse than larger ones, which is typically the reverse of what we’re after. The first transistor probably won’t clip unless you feed it a pretty hot signal. The second transistor almost certainly will clip. The op-amp will definitely clip, and then the silicon diodes will clip the op-amp output again. So our original signal gets sliced and diced! The HM-2 doesn’t have anything like this. If it had a bit of modulation, it would almost be a chorus on a long setting. We can break it down into subsections to make it easier to manage. Cutoff is about 3.4KHz. They claim 4KHz bandwidth for the delay in the user manual, but 4KHz is the -6dB point, not the cutoff. These are PMOS devices which expect a negative supply, which explains why they’re wired with the supply pins “back to front” here. There are also a couple of DIP switches which add resistors in parallel with the trimmer to change the delay time range. With both switches open, you can have up to 40msecs. With one switch shut, you have up to 20msecs. With both switches shut, you have up to 10msecs. That’s into a flanger range and will have interesting comb filtering effects on the sound, although without the feedback you’d expect on a flanger, they won’t be very pronounced. One mod I would definitely want to experiment with on this pedal would be to add a feedback control to the delay. Whether it sounds any good is an open question, but it would open up a lot of possibilities, especially in combination with the delay range switches. This is audible, even for most over-forties.These are both 3-pole filters, and are identical to the pre-delay filter we’ve already seen. That’s a lot more than you commonly see, and will rid us of any clock noise much better than most. This is a normal inverting op-amp mixer. Both the straight and the delayed signals are given equal weight. The undelayed distortion signal comes in via R43, and the delayed signal via R45, both 62K. Before it gets there, it passes through an extra set of tone shaping filters. Again, this is a trimmer that you can only get at with the back of the pedal off. Not only that, but there are three gyrators giving different frequency peaks, and each is individually switchable in or out with a DIP switch. But since everyone reckons the controls are rubbish and the only setting worth having is maximum boost on both, a switch is enough. It’s also worth pointing out that although the PDS-1550 uses different component values, the resulting frequency response is extremely similar. It’s almost like someone was trying to get the same result without just copying the circuit. That’s very marginally less than a typical graphic EQ band, which use a third of an octave, or a Q of 4.3. All the gyrators share this same bandwidth. The central gyrator has a frequency of 1278Hz. Finally, on the right we have 868Hz. It’s a deep bass peak, and it can only be switched on or off. It’s described in the user manual as a “lo boost” and that’s pretty much it. The others are broadly a lower-mid and an upper-mid control, around the commonly used midpoint of 1KHz. Since that 1KHz point is pretty high for guitar, maybe it’s better to think of them as “mid” and “high-mid”. The only part that changes is that Digitech have the low mid peak set slightly lower (a shade over a semitone), but with a tiny bit more Q. This is a very small difference. Unlike the Boss, in the Digitech pedal you’ve got eight combinations of switches, including the “all off” setting which doesn’t change anything. Here’s what they produce with the trimmer at the “maximum boost” position. The classic “Swedish chainsaw” sound is this with all three switches on. You can tweak the trimmer.But since no-one seems to like such a setting, maybe it’s not a big loss. It’s rather similar to a Tubescreamer at first glance, and probably at second look too, but we’ll note the differences as we come to them. One difference is the way they’ve organised the Gain control (more like a Boss DS-1), and the fact it has no series resistor inside the the feedback loop. This has big consequences. At minimum, the gain drops to one, unlike the Tubescreamer which has a 51K resistor in series with the 500K pot ensuring there’s a gain of x12 even at the minimum setting. This pedal cleans up a lot more. The Tubescreamer use 4K7 in this position. Reducing the value of that resistor by a factor of ten increases the gain by a factor of ten. That’s a lot of gain for a Tubescreamer-type circuit, and way more than the x118 that the original manages. So they’ve taken the same basic circuit and run away with it. At maximum gain, we get only the value of R3, which gives us a highpass action 338Hz. This is still an octave lower than the Tubescreamer which uses a fixed 720Hz, but should be enough to stop the sound getting muddy at higher settings. In a similar way, the amount of topcut provided by the 120pF capacitor C53 also varies with the gain. It has a lowpass cutoff of 2.7KHz at maximum gain, and lets more treble through as you lower the gain. The effect of this will be to tame the massive distortion a bit at higher gain settings, which can hardly be a bad thing given the gain available. Unlike the Tubescreamer, we have a second set of clipping diodes.Unlike the Boss MT-2 Metalzone sweepable mid control, it doesn’t use a Wien bridge circuit either. It uses a state variable filter (SVF), but not any old basic op-amp based SVF, rather a fully current-controlled SVF based on the LM13600 dual OTA chip. The reason for this is that a SVF requires the simultaneous adjustment of two resistances to alter its frequency.On the right, there’s a simple transistor buffer Q9 mixing signals going into the SVF. At the bottom we’ve got the SVF, based on the two OTAs in the LM13600. The output from the second stage U8B is lowpass and is only used for feedback in this circuit. You could completely mess with the parametric EQ by using the lowpass output from Pin 9 of the LM13600 instead. The Frequency control is similarly powerful, with a range from 100Hz to 3700Hz. That’s well down into the bass range, and well up above what we’d normally think of as “mids”. The “Octaves” control changes how wide the peak that we’re playing with is.This is used to optionally disable the EQ for Channel B, the Metal Distortion channel. Set up like this, the Metal distortion has its tone shaping circuit, and the Overdrive has the parametric EQ. This perhaps makes more sense of the dual channel structure. From here, we go out to the output buffer. Absolutely standard building-block stuff.It seems to me that is what Digitech were trying to do here. They took a heavy metal distortion and a overdrive design, and put them in one box. They added a delay to the Metal channel, and they put a powerful parametric EQ on the output to sculpt the sound further. Perhaps none of the elements are remarkable, but I’m damn sure you’ve never seen a pedal like this before, I swear. Anywhere. That’s not enough for you? The two channels are sufficiently different that I can’t see anyone really liking both of them. I’d guess you’ll gravitate to one or the other. Carlos Santana wasn’t really a Death Metal kind of guy, was he. So going from his TS-808 drive tone to screaming mayhem for solos? Maybe not. Or vice-versa; doom-laden guitars with bone-crushing weight to a bluesy crunch for lighter segments. Seems equally unlikely.