One last visit. Not fun. The death of

The death of a website

disjointed communications and shallow teasing in blinking little pictures.
Now, right there in the listing. Then, gone I don’t know where.

Rubbery threads, always pulling, drawing, joining.
Now immediate, strong, hovering.
Then, drawn, weary, snapping in the strain of distant almost but not quite strangers.

community of theme, of wish, of egos, of need.
Rarely fulfilled, frustrated inactive, bustling, telling, not doing. Hoping, not believeing.

tiptoeing through empty halls. around a corner. Wrong one. Try again. peek. hello?
Listening for the correct tone, the right timbre, a refreshing voice. hello?

Sudden laughter rings out through the surface of monotone.
Nervous vocalization of doubt, faking optimism, fearing activism.

unreliable homecomings of fading addicts.
Resent, accuse, point with a stick, thumbs up, shout a hug, a laugh, a flower.

this is we.
A core of wanters, of makers, of distant not quite friends.


Written at the ongoing painful dying of, ——————————————————————————–May 7th, 2011 @ 9:39AM


Now it is truly dead, turned into a foreign bot network. Even the frantic desperate hope has been silenced.

R.I.P DMusic. Because this time I will not come back.

Chris, Spyed, dig a hole and drop DMusic into it. Then squat, crap, wipe your hands, and pretend to care. The difference to what you’ve done since taking over the site would be difficult to find.

JennyK March 6 2013
(DMember since Nov 2003).

WPAudio mp3 player usage and advanced tagg

WPAudio Mp3 Player – A wordpress plugin I really like!

What it is and how to use it. I wanted something that would work with the device ready 2012 wordpress theme so I could finally get rid of all the really bothersome flash-players I’ve had to use. This plugin is simply called WPAudio mp3 player.
Got to the plugin page, click Add new, search for WPAudio mp3 player. , click install, then activate. Done
This player works nicely in all browsers I’ve tried as well as on the iPhone. Check it out.

The easiest way to add a quick single player:

Shortcode with tags:

[wpaudio url=”″ text=”Artist – Song” dl=”1″ autoplay=”0″]

Or use html code:

<a href=”″ class=”wpaudio” dl=”0″ autoplay=”0″>Artist – Song</a>

0 = disabled and 1 = enabled

The plugin settings are completely accessible. and quite straightforward. I recommend this plugin for admins needing accessibility as well as for admins wanting to provide accessibility, no fuss, no pain.

So let’s try it here:

Using shortcode with tags:

[wpaudio url=”″ text=”A Kompoz collaboration – Hard wired” dl=”1″ autoplay=”0″]

Using HTML code:

A Kompoz collaboration – Natural high

And for my own accessibility curiosity, can I wrap this in a heading?

JennyK and friends – Hounddogs


Touching on Subtractive EQ

Subtractive EQ — my 2012 revelation

Cutting frequencies you don’t like instead of boosting those you do. Seems perfectly obvious to me now, but not too long ago I didn’t have a clue.

Subtractive EQ Will Make Your Mixes Better

Graham makes a great case for why that is, on The recording revolution
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Once I figured it out, I totally overdid it. Probably still do. Actually, I most certainly still do. But years of not understanding why there was little clarity in my music created some sort of void that I’m trying to fill now. One other thing I’ve realized while changing the way I EQ, is that this method makes it all but useless to mix on headphones. At least that is my experience. I’m working with monitors now for the equing, until I have a static mix. Then I go crazy on the three dimensions of the mix. At that point I use headphones as I feel I have control over panning and depth. And it’s what I’m comfortable with. I find it’s a good idea to not touch the equalizer as I do. So far it’s too risky for me as my ears are still not quite used to the new phones and gear.

So, my advice to you is: Read Grahams article! Excellent stuff!


Touching on compression


Compression has always been the big mystery for me personally, and many others. It’s one of those magical things that can both make a horrid sound amazing, and any sound utterly useless if used badly.

There’s almost limitless resources these days to learn about it, and at times an article can make your head hurt. So I say it’s better to start with the basics. The controls. This I found today because I felt like I had no good understanding of the specific definition of compressor release. Read more about it on Humbucker music — Compression explained

Most compressors have pretty much the same controls:

1. Threshold sets the level where compression starts to take effect. Sounds below the threshold pass through unaltered and only sounds above the threshold
are compressed.

2. Ratio sets the degree of compression above the threshold level. A ratio of 2:1 represents mild compression and means that when the incoming level (that
is, the level above the threshold) rises by 10dB, the outgoing level will only rise by 5dB. Ratios of up to 5:1 are regularly used for vocals and other
instruments, and can pass by unnoticed by the listener if the other controls are set properly. Higher ratios are used for more serious limiting, where
the level needs more severe control. Ratios of 10:1 and higher are nearly always noticeable to the listener.

3. Attack is measured in milliseconds and determines the time taken for the compressor to start working once the signal has passed the threshold level. 
Why have Attack?  Because sometimes if you leave just a hint of attack (say, for instance, a snare drum hit, or a powerful downstroke on an acoustic guitar)
then it sounds a bit more realistic.  Removing too much attack can sound a touch fake.

4. Release sets the length of time it takes for the compressor to return to its normal state once the signal has gone back below the threshold.

5. Gain is provided because compression always reduces the peak level: the more compression, the lower the level of the outgoing signal. This control is
sometimes referred to as ‘make-up’ gain because it makes up the level that is inevitably lost during the compression process.

The best way to learn the compressor is to first understand the controls, find those places online where you can listen to examples. The effect is, and often should be subtle and is very difficult to hear when first starting out. Then experiment. One thing to remember is that a compressor is a compressor. There are hundreds, if not thousands of compressor plugins out there; free and far from free alike. In most cases, and as a beginner in particular, It’s not going to matter which one you use. You will never hear the difference between them. The controls are what they are and a top radio hit and a bedroom recording can use the same compressor and no one will ever know. It’s how it’s used that’s paramount, not the brand.
[spacer size=20] So, relax, have another beer. Learn how to do it, then do it. Use the compressor. It won’t bite.

Trust – a game in the making –

Trust – and interactive thriller

I have started. Soon we will be able to meet Ivan. Bits and pieces of Ivan, snippets and thoughts about Ivan an how he comes to be. Right now, the game is very slowly coming together in my mind so it’s not going to be a quick process. Six months to write the main code, another six to beta test and then unknown hours to correct, rewrite, revise, and hunt errors in code.

It’s funny but I am looking forward to every bit of that, and I hope I can live up to any expectations after the last game; Crystal and stone, beetle and bone.
Peter, think I can? lol


Refreshing my brain in inform 6 code.
Added needed extensions and created basic files.
Learned that my main character is a bit unstable.
Is reinforcing my main characters instability while brainstorming about secondary characters and location classes.

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There’s not much more I can say at the moment but it is all coming together. here’s a bit of Ivan himself:

Ivan stares blankly into space for a long moment. Insanity has never been a huge concern for this down to earth metal head but he is starting to wonder what’s going on with him. A shiver runs up his spine and he glances nervously at corners, shadows, and unknown phantoms of fancy. “Too fucking creapy in here.”


Ivans eyes widen and for some odd reason, guided by instinct rather than logic, he ducks and turns around. Tense and ready for anything, he glares at the gloom surrounding him. Nothing. Slowly, he relaxes and stands up. “I’ll be fucking madder than my crazy-ass mother soon.”