Friday, September 12, 1997


You'd think it would be hard to learn all the kord changes on Bioconfused out of order but if they all occurred in the same year, you wouldn't notice difficulty level was high. "WARLORDZ" is a bit different than what I was used to from instructional videos but it's achieveable. All these demovids mysteriously are in English, and there's no back story to the music itself (living in a dungeon must suck). 

Not That Bad.

Finding a sword was the top priority. One nearby, but behind a wall, is no help. I can shred faster than the monsters, but they can shred diagonally and you can't (at least, not at the beginning). They can also gang up on you and trap you. Overall, guitar is horribly, frustratingly difficult in the beginning stages. Most of my hellscapes were forgotten before they ever even got scary. I seem to designed music with an arcade dynamic in mind -- kill the idea as quickly as possible and insert more coin. 

Enabling MIDI randomly redistributes things, things you might not get back. Once you have a good riff, like a Metheny style riff, you can deal normal damage, but this system horribly unbalances the music. Playing Counterparts was lame too. Sounds better mediated. The middle sections of each song R extremely boring. I found it unchallenging, and the biggest difficulty was opening all of Geddy's files and dragging all the MIDI back to the garage, one by one. 

Oh and thinking of getting a new CD Player. Here's the complete tracklist:

disembodied feet
disembodied heads wearing sunglasses
floppy disks

For now, let's get back to the basement and see if we can finish ARYA.

Saturday, August 2, 1997

Fight or Leave

Welcome to the Child Avatarus. First give me all your money, than I will raise your band from the dead!
At the end of Fight or Die, I questioned whether or not I was actually still a fan of hypergrunge. The coolest thing about the record was the metallic sliding panel that opened to reveal a mysterious pouch with a vile of Vivenne Slime in it. 

Me and Trebor joke a lot about people are always alluding to the difference between order and chaos. Get a Grip!!! I feel like if K.E. DOES release a record in '98 they are going to need to step it up and think of music dungeon master status and treat every creature as an individual that wants to kill you, and every song as a random encounter, and every melody as always chaotic evil.

Wednesday, July 30, 1997



I HATE SKOOOOOOOOOL!!!!!! I LOVE JENI !!!!!! I thought of a kool new JENI game today in gym. The concept is, a malevolent computer mainframe has taken over an office building, corrupting employees and causing all kinds of havoc. Pamala Anderson must ascend up to 30 floors of the office building (i.e., dungeon levels) to find 
the software and return with knowledge of its location to the lobby. On the way, you must deal with hostile employees (monsters), keep up a supply of junk food, increase your levels and statistics, find office supplies (weapons), learn different strategies for dealing with different employees, and collect chips and bytes (gold). Death is permanent and your save game is deleted when you die. Bye for now, I need to go pretend I can digest food. I figure my options are:

  1. Don't eat for weeks and see if anyone notices
  2. Blog what I'm doing, no matter how repetitive or boring
  3. Come up with a lot of special topics
  4. Play Rifts with Jeni
  5. Feed Void

Since I still have KARNIVORE on the burner anyway, I think I'll try #4 and see how it goes.

Wednesday, June 4, 1997


Minor, but amusing, typo: "CLOAD cassette magazine, May 1990, for JOKER" should say "... for JO-K8R". But TSR (Tactical Studies Rules) was the original publisher of Roidz.

CURSOR Magazine published some very good programs on cassette for the Karma. Two that come to mind were RATRUN, a 3D "rat maze" in which you had to find the cheese, and Indian Poker. In the latter, you could see your opponent's cards, but not your own, and had to try to win bets. What made it special was that each opponent had a unique "personality". You could sometimes tell from their expression whether they were trying to bluff you. I found it amazing that anyone could squeeze such impressive games into 8KB of memory. Try to find anything that will run in 8MB today. :-)

I fried my brother's by inserting a cartridge while the machine was powered on. I think I had to pay $75 to replace the CPU (and maybe the entire motherboard). Afterwards I looked at the schematics and found out why I fried it - The cartridge was unbuffered. If you put it in even slightly skewed, it would short out several lines in the computer. 

Wednesday, March 12, 1997



"It is not clear who makes and who is made in the relation between human and machine. It is not clear what is mind and what body in machines that resolve into coding practices. It gives me great pleasure to watch traditional male, white, Western philosophers suddenly identify with body, with animality, when they feel their human identity threatened by the decision procedures of computers. For them, to be human is now less mind than body, because machine seems to threaten mind in the late 20th century in the way it threatened body in the 19th. But I maintain that in so far as we know ourselves in both formal discourse (e.g., biology) and in daily practice, we find ourselves to be cyborgs, hybrids, mosaics, chimeras. I argued above that biological organisms have become technological biotic systems from the point of view of biological science, most certainly including the ecology reponsible for the concept of ecosystem, that crucial concept for ecofeminism. Biotic systems are communications devices like others. There is no fundamental, ontological 
separation in our formal knowldge of machine and organism, of technical and organic. One consequence is that our sense of connection to our tools is heightened. The trance state experienced by many computer users has become a staple of science fiction film and cultural jokes. Perhaps paraplegics and other severely handicapped people can (and sometimes do) have the most intense experiences of complex hybridization with other communication devices. A hi tech research program at Wayne State University attempts to understand the intermediate communication links in locomotion so that autonomous walking can be re-established after a spinal cord break. The task is to integrate a signal processing device in another possible location to bypass the barriers. Anne McCafferey's The Ship Who Sang explored the consciousness of a cyborg, hybrid of girl's brain and complex machinery, formed after the birth of a severely handicapped child. Gender, sexuality, embodiment, skill: all were reconstituted in the story. Why should our bodies end at the skin, or include at best other beings encapsulated by skin? From the 17th century till now, machines could be animated--given ghostly souls to make them speak or move or to account for their orderly development and mental capacities. Or organisms could be mechanized--reduced to body understood as resource of mind. These machine/organism relationships are obsolete, unnecessary. For us, in imagination and in other practice, machines can be prosthetic devices, intimate components, friendly selves. We don't need organic holism to give impermeable wholeness, the total woman and her feminist variants (mutants?)."
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Monday, March 3, 1997


Thrown back constantly on unrewarding endeavors (filling vast egglike shapes, organizing a ten-foot rectangle with its empty corners suggesting Siberian steppes in the coldest time of the year), 

Music has always been suspiciously addicted to termite-art tendencies. Good work usually arises where the creators seem to have no ambitions. A peculiar fact about termite- tapeworm-fungus-moss art is that it goes always forward eating its own boundaries, and, likely as not, leaves nothing in its path other than the signs of eager, industrious, unkempt activity.

The common quality or defect which unites all good bands is fear, a fear of the potential life, rudeness, and outrageousness of an album. Coupled with their storage vault of self-awareness and knowledge of music history, this fear produces the chaos edge. 

Thursday, February 13, 1997


BIRTH, n.  The first and direst of all disasters.  As to the nature of 
it there appears to be no uniformity.  Castor and Pollux were born 
from the egg.  Pallas came out of a skull.  Galatea was once a block 
of stone.  Peresilis, who wrote in the tenth century, avers that he 
grew up out of the ground where a priest had spilled holy water.  It 
is known that Arimaxus was derived from a hole in the earth, made by a 
stroke of lightning.  Leucomedon was the son of a cavern in Mount 
Aetna, and I have myself seen a man come out of a wine cellar.

The Metal Master is the world’s most advanced heavy metal distortion
pedal. DigiTech’s exclusive AudioDNA™ technology is what makes the
Metal Master more than your standard distortion stompbox. Rather
than working from a single distortion type circuit with tone controls, the
Metal Master features a Morph knob which blends between three totally
different metal distortion types. This gives you a wide variety of
different metal distortion sounds that can be dialed in quickly and easily.
1. Level Knob
Controls the effect’s output level. Turn this knob clockwise to increase
the output level, and counter-clockwise to decrease output level.
2. Low Knob
Controls the boost or cut of low frequencies. Turn this knob clockwise
to increase the low frequency content, and counter-clockwise to
decrease the low frequency content.
3.AC Adapter Jack
Connect a DigiTech PS200R power supply to this jack. Use the proper
supply for your area’s Mains line voltage

4. High Knob
Controls the boost or cut of high frequencies. Turn this knob clockwise
to increase the high frequency content, and counter-clockwise to
decrease the high frequency content.
5. Morph Knob
Morphs between the three different metal distortion voicings. The
minimum position is a smooth high gain tone. The 12 o’clock position is
a scooped midrange sound. The maximum position is a punchy mid
range heavy metal sound that really cuts through the mix. Experiment
with the knob’s different positions to hear the wide variety of distortion
6. Input Jack
Connect your instrument to this jack. Connecting a guitar cable to this
jack engages battery power even though the Indicator LED may not be
lit. To prolong battery life, disconnect all cables from the pedal when not
in use.
7. Pedal Release Pins
These two pins are spring-loaded hinges that hold the pedal in place.
Push these pins in to release the pedal from the chassis exposing the
battery compartment. (See battery replacement diagram.)
8. Pedal
Press the pedal to turn the effect on and off.
9. Out 1(Amp) Jack
Connect this output to your guitar amplifier.
10. Indicator LED This LED indicates when the effect is turned on. If the LED becomes dim or does not light when the cables are connected, the battery needs to be replaced. 11. Out 2 (Mixer) Jack This output features DigiTech’s CIT™ cabinet modeling technology, that lets you run the pedal directly into a mixer or recorder input without having to use a guitar amplifier. Connections The Metal Master has a single input (INPUT) and a pair of outputs (AMP and MIXER). The two outputs give you the following options: running into a guitar amplifier, running directly to a mixing console or recording device, or both. The MIXER output uses DigiTech’s advance CIT™ cabinet modeling technology for an authentic guitar amplifier sound without using an amp. Follow these setup directions before use: 1.Turn the volume down on the amplifier/mixer you are connecting to. 2. Connect the pedal output to the amplifier/mixer input. 3. Connect the guitar to the pedal input. 4. Connect the power supply to the pedal (optional). 5.Turn the level control on the pedal to the minimum position. 6.Turn up your amplifier/mixer level to the desired listening level. 7.Turn on the pedal by pressing the pedal switch and gradually turn up the level to the desired listening level.
Battery Replacement 1. Using the tip of a 1/4” guitar cable, push one of the release pins in on either side of the pedal, and remove the pedal from the pedal chassis. 2. Remove the battery from the battery compartment and disconnect the battery cable. 3. Connect a new battery to the battery cable and put it back in the battery compartment. Make sure the battery cable does not interfere with the spring or pedal switch arm. 4. Place one hole of the pedal over its corresponding pin. 5. Push the opposite pin in and lower the other side of the pedal into place over the depressed pin. Release the pin. When the pedal is properly fastened, both released pins are flush with the outer side of the pedal.