Tuesday, I had a bit of a fever, plus a scratchy throat and other cold-like
symptoms. It was nothing drastic, but in this brave new world one should error
on the side of caution. So I did a drive-thru COVID test, and while I waited
for the results, I put myself in quarantine, working remotely from home for
On Wednesday it was nice enough that I had my first time with the desk and
laptop on my terrace this calendar year. As you can see from one of the photos
below, I had to be burdened with a working lunch ‐‐ it was so
I'm quite happy to report that my COVID test came back negative,
though I'm sorry to report that I now am back in the actual office
for that ol' rent-payer.
Back on my patio office space, this past Wednesday.
The view from my patio office.
MORE MOMENTUM IF STILL NOT AT LIGHTSPEED:
I have yet to
master any of
"Medley: 1) The Death of the...; 2) Memories of the Times Before; 3)
Memory's Endbit; 4) The Death of the... (reprise)," but I have loaded the
individual tracks for "The Death of the...." into a new
Logic Pro project. I probably
won't get to any mixing until tomorrow evening.
Working on one of the 89 flashcards for tomorrow's U.D. Law
Since my COVID test came back negative, I am still on to participate in
the trail law class for U.D. Law School
tomorrow morning. The photo on the left shows me at my actual office space
in my apartment working on notes for the gig. Specifically, I'm working on
the flashcards of the facts of the case and of my particular character. I
used 89 index cards to make the flash cards.
The mixing-board window in Logic Pro for "The Death of
The mixing and
"Medley: 1) The Death of the...; 2) Memories of the Times Before; 3)
Memory's Endbit; 4) The Death of the... (reprise)" is further underway.
At least the mixing has begun, with the first section, "The Death of
the...," which is a separate recording from the rest of the medley.
I did not get to that on Saturday evening as I had planned, in part but not
wholly because of learning of the passing of Kip Moore (*see below). But to
some extent it was because of that. I found myself surfing
facebook for memorials and comments
about this terrible event. I also composed the words that appear below in
this blog post, and posted them that night on fb, with what's below slightly
revised from that fb posting.
Yesterday morning I did begin the mixing process for "The Death of
the...." I placed some things on the
stereo pan and
I group together various things into
audio buses. The first
bus is the two stereo tracks for the drum kit: one panned all the way left,
the other all the way right. The second bus has the two piano parts: one,
I guess the main one, panned slightly left, what could be called about
10:30-11:00; the second piano part mirroring that pan but on the right at
about 1:00-1:30 on the arch. The last bus, #3, is the two string synth parts,
one panned flush left, the other flush right.
The other thing I did was balance the volume between each two items in
each bus. Then I threw in some
on one bus (bus #1/the drums), as well as some
filters wherever needed. Lastly, I added some reverb to bus #3, where the
strings are grouped together.
Yesterday evening, when I began to attend to the tracks that do not need to
be sent to a bus, the ones that will be dealt with in the mix as stand-alones,
I found that I did, indeed, need to send one more to a bus (#4). There
was one pop in the recording of the bass line that cannot be filtered out.
I had to add a track then drop in a duplicate of that same bass note from
another part of the bass line, to replace the spot where the pop occurs. I
place the duplicate note in the right spot, then silenced that note with the
pop on the main bass track. Then I sent them into bus #4 so I could manipulate
that bus as one track, as with the other bus tracks.
To finish the night I attended to the three solo parts, and once having done
that, I balanced the volumes for everything: drums (bus #1), pianos (bus #2),
strings (bus #3), bass (bus #4), low horn (solo #1), flute (solo #2), and;
high pan flute (solo #3). And I, as far as I know, placed everything on the
stereo pan for the whole instrumental.
I have a mix, but it's not likely the locked mix. I'll scrutinize tonight
and I am sure I'll be tweaking. I might get to the finished mix tonight,
but I doubt that I will want what I first hear when I sit down with
Logic Pro this evening.
The mastering won't happen tonight, I do know that. I may drop the bounced
stereo WAV file into the
mastering project for the medley as a whole. But I won't be doing any actual
mastering until the rest of the medley music joins "The Death of
the...." in that mastering project.
The main bass track, then the bass insert track (one note),
followed by the track for the bass bus (bus #4)
Yesterday morning, balancing the volume for the two tracks
in each of the original three audio buses.
All the tracks for "The Death of the...." in the
tracks window of the Logic Pro project.
THE WITNESS IS EXCUSED:
Did the courtroom class for U.D. Law School
Saturday morning, playing a man who was either a grieving father &
husband or a calculated murderer. It went well. I await the check.
PINCH HITTING IN THE BOOTH:
Yesterday I was the relief sound tech
in the booth,
as our frequent sound tech, Sarah Saunders, is on a business trip, and the
official relief tech for the show, Adam Randolph, had to work for his employer.
It was pretty easy going. There are very few sound cues, a total of 17
commands for 11 sound files. Internally there are a few at the start of the
show, then the music out of Act 1, then the music into Act 2, then just a
few more cues at the very end.
I had plenty of time to do work on my laptop.
I might have even worked some on today's blog post ‐‐ just
Saturday evening, the facebook post by a theatre friend delivered
the awful news to me about the passing of Kip Moore. What a terrible
I only worked with Kip directly twice. Once on stage in the
Beavercreek Community Theatre
Next to Normal,
where unfortunately he had to drop out of the production to attend
to his mother's failing health. I also was the
for a FutureFest
2017 production that Kip directed,
by Desireé York. In both
instances Kip brought a stellar-mass of warm positivity into the
room whenever he was there. He was always pleasant and courteous.
He was soft-spoken but there was great strength in him, it emanated
from his presence.
And man I did love watching ‐‐ and hearing ‐‐
Kip on stage! What a voice, what a talent.
But more so, it was his lovely, gregarious, kind demeanor that was
the big magic of Kip. He and I were not close friends at all, I did
not know him well, yet, he would greet me as if we had been close
friends for years. I think he did that with everyone. He was sincerely
glad to see everyone he met, knew, or was only slightly acquainted
with. You just knew that big, beaming smile was nothing close to
disingenuous ‐‐ he really was happy to see you.
Kip was a very gentle, gracious, loving human being, and a great
testament to his impact on the world he inhabited is that I, someone
who didn't know him all that closely, am compelled to write some
words about his untimely passing.
My next goal was to get the individual tracks for the rest of the
medley ‐‐ which are all one recorded performance: "Memories
of the Times Before/Memories Endbit/The Death of the (reprise)"
‐‐ into a new mixing project in LPX. Then I wanted to at least
pair up the tracks that get sent to the same
audio buses, get each
of those tracks placed in their positions on the
stereo pan and
get the sound balanced within each bus grouping.
I imported the newly-rendered WAV files of each individual track into the
LPX mixing project I discovered an audio glitch. There were a couple notes
from the very intro of the vibraphone part that were on every audio track
when I had exported each track out of the original mixing project in
Final Cut Pro X.
*Remember that before I finally sat down to learn how to use Logic
Pro X, I was mixing and mastering in FCPX, which didn't yield as
good of results.
Those notes were split apart in FCPX for special treatment and were so thin
on the FCPX timeline that I missed them and thus didn't mute them when I was
importing other audio tracks, each which were supposed to be the only
sounds activated. Those feral notes were activated with all the other
audio tracks I rendered. I had to go open the old FCPX project and re-export
(i.e.: re-render) all the individual tracks, this time with those errant
vibraphone notes muted. Then I was able to import the new WAV files into the
new mixing project in LPX.
As I started to work on the damned mixes, I discovered
another £#¢|<||\|@ audio remnant that I'd missed! There
was a modder frickin' split-out bass
note that again was so thin on the FCPX timeline that I missed it. I had to
go back and re-render all the WAV files from FCPX and then import them into
the LPX mixing project one more @#$%&!!! time!
This time I was excruciatingly careful to check the audio before I rendered,
actually listening to the whole length of the first musical piece (the drums,
left track), before rendering. As you'll see in the next paragraph, I
should've been more vigilent....
The damned bass-note remnant in the Logic Pro mixing
project for "Memories, et al."
SHOULD HAVE BEEN MORE VIGILENT BECAUSE!: After I had
re-rendered all the WAV files for the parts, one more time, and imported
them into LPX mixing project, yet again, I realized that I had
left that vibraphone remnant in some of the tracks. It was on everything
that was re-rendered after I'd re-rendered the vibraphone track, and
thus I had not muted that little split-out section of notes ‐‐ I
missed them again because of the narrowness. The good news is that the tracks
with this remnant are all supposed to be silent at that point, anyway, nothing
is being performed, so I was able to just mute them all during that portion.
At least those errant vibraphone notes don't play with any other sounds
on any of the fresh tracks.
Wednesday night I finished up the rough mix, which was pretty close to the
finished product, at least in terms of stereo pan and volume balances. The
only filters I had placed on anything was reverb on the vocals and the
strings. But I'd EQ'd
nothing, nor done any other audio manipulation. However, I knew that though
there might not be a lot applied, I would have to do some EQ work to clean
up a bit of muddiness, to get a cleaner overall sound.
I also could hear some low and high hiss in some of the tracks, so I knew
I'd have to apply some
filters on some tracks, as well.
Last night I got to work on that finessing. I tweaked the volume balance on
the overall recording and well as adjusting some things on the stereo pan.
I also did the EQ work on some tracks, both to punch up some sound quality
and to help eliminate some the low end and/or high end hiss on some of the
tracks. Of course, I utilized the low-pass and high-pass filters, too, for
that same purpose. I did put Limiter
filters on several tracks just to cut the peaks off at -1 db, since some
tracks have a few spots that were peaking into the red.
It's doubtful this phase of the mixing is done yet, there's more volume
and pan tweaking to come, I am sure. There will likely also be some
placed on one or more tracks, though I am learning that usually not much is
necessary. I haven't placed any
linear phase EQ
on any of the bus tracks, but I noted last night that I might want to at
least slightly EQ the drums ‐‐ the linear phase EQ is recommended
for bus tracks as well as when doing EQ work on a stereo bounce in the
If all goes well, I could have a mastered version of "Medley: 1) The
Death of the....; 2) Memories of the Times Before; 3) Memory's Endbit; 4)The
Death of the.... (reprise)" before the weekend is over. I might even
have moved onto the next song on the slate, which is "Identity."
three more songs after "Identity." and we got an album mastered!
The OSX Finder folder for the Logic Pro X
with the new bounce for "The Death of the...."
at the top.
The sound files in the timeline for the FCPX
version of the mixing project for
"Memories, et al."
The newly rendered "Memories, et al"
sound files in the new LPX mixing project, before
the bus groupings were created.
Tuesday night, not long before I discover that damned
(expletive deleted) bass note remnant included in
all the newly re-rendered "Memories, et al" WAV
Last night as I further punched up the mix for
"Memories, et al."
Years after an angry breakup, two brothers, Victor and Walter Franz,
are reunited by the death of their father. As they sort through his
possessions in an old brownstone attic, the memories evoked by his
belongings stir up old hostilities. The Price is about family
dynamics, the price of furniture and the price of one's decisions.
It premiered on Broadway in 1968, and has had four revivals since.
The Price was nominated for two Tony Awards in 1968, including
HOW I SPENT LAST SATURDAY AFTERNOON, EVENING, & NIGHT:
This past Saturday the agenda was for me to do some
mixing and also,
I hoped, some
the medley for the album, maybe even get it done. Then the plan was to do
my 2021 taxes.
That was the agenda.
When I sat down to eat lunch, right before I would get to the music stuff,
I decided to watch the next episode in my queue of
Amy Sherman-Palladino'sThe Marvelous Mrs. Maisel.
Technically, it was a re-watch of Season 3:Episode 1, so I could have a fresh,
clean watch of the whole Season 3 in the near future.
I know not everyone subscribes to the
Amazon Prime streaming channel,
so may not be fully aware of The Marvelous Mrs. Maisel. It's a
well-done, light dramedy with great writing from Sherman-Palladino and her
husband, Daniel Palladino. The
stellar cast is led by Rachel Brosnahan
as stand-up comic, Midge Maisel and
as her manager, Susie Myerson. Among the others in this strong cast are the
incomparable Tony Shalhoub,
as well as Kevin Pollak,
whose portrayal of Lenny Bruce is compelling, and the late
Brian Tarantina as Jackie,
the MC at Midge's home club; Tarantina also played Bootsy on
Sherman-Palladino's Gilmore Girls.
I like TMMM quite a bit, hense the error in judgement to fire it up
for watching during lunch on Saturday.
The idea was that while eating I would "re-watch Season 3:Episode 1,
so I could have a fresh, clean watch of the whole Season 3 in the near future."
What happened was I watched the whole rest of the series up to the end of
Season 4, thus burning up the rest of my Saturday ‐‐ no mixing or
mastering, no taxes done.
I heard the song of the Siren of the Binge Forest and I could not resist!.
I can further hear her, somewhere off in that forest of new, original streaming
content, and of libraries full of seasons of shows from my youth and past
adulthood, as she warms up her voice for her aria about the first three
in anticipation of the arrival of the
which comes closer and closer on
Tuesday night, after I woke from a nap, and sat down to eat my
dinner before a mixing/mastering session, I contemplated turning the
TV on during my meal, then decided that was maybe a bad idea.
IDENTITY FOUNDATION GETTING LAID:
As far as I know, the
"Medley: 1) The Death of the...; 2) Memories of the Times Before; 3)
Memory's Endbit; 4) The Death of the... (reprise)" is finished. I have
moved on to "Identity," which is the album opener. "Medley..."
is slated to the penultimate spot in the album line up.
I finished mastering "Medley..." Tuesday evening and loaded the
23 individual tracks for "Identity" into
Logic Pro Wednesday night,
then began the mixing.
Before I got started with any mixing for "Identity," I had to
reload everything back into the mixing project. I had used the import
command for the first track, "Drums left," but I dragged and
dropped everything else in, including "Drums right." Then I found
that the left & right drum tracks were not synced. I tried manually
syncing them but even when visually they looked synced up, on playback they
were not. I concluded they were at slightly different speeds. I'm not
technically knowledgeable enough to know why this was, but in hopes of fixing
the situation, I deleted all the tracks, then used the import command to
bring them all back in. That put the two drums tracks into perfect stereo
My next move, which is standard, was to determine what tracks I knew I
would send to buses,
then do that. As of Wednesday night those were:
Drums left & Drums right to Bus 1 (Drums)
Back vocal 02 & Back vocal 03 to Bus 2 (Back vocals)
Horn 01 (Barri), Horn 02 (Trumpet), & Horn 03 (Cornet) to Bus
I may later decide to bunch the two chorded rhythm bass parts into a bus,
as well as some, or all, of the electric guitar rhythm work by my nephew,
David Bernard*, into another bus. It depends on how unique I want the effects
filters and manipulations (volume,
pan, etc.) on
those individual parts to be.
"Identity" is the one song on the album with a guest
musician, that being the afore-mentioned Mr. Bernard.
After making those three bus groupings, I listened to only the drums (Bus 1)
but just a slight amount, bumping some of the low end a little, and
a bit of the high range a little more, but still not significantly. That
night I also started in on the main bass line, but I called it a night
shortly after giving the track a solo listen, and went to bed contemplating
a few things, including applying a
and the likelihood that I'd do at least a little bit of EQ adjustment.
Last night, I finished at least the initial treatment on the mian bass
part, then moved onto the piano. After adding in the piano, one of the things
I did was balance the volumes of the bass line and the piano against the
drums. My tact for a while has been to keep the drums volume up in the mix
by lowering the volumes of the other instruments and any vocals. This prevents
a situation where I have to bumped the volume of the drums too high when I
get to the final touches on the mix. I probably will be pushing the volume
of the drums before I'm done, but if I keep it on top of volume balance
during the mixing process, by keeping everything else below it, that
inevitable increase will not be to the point that I am pushing the drums
volume into the red zone where that loudness distortion and volume clipping
Tonight the plan is to at least add the main chorded rhythm bass guitar
part, which I probably will not send to a bus with the other chorded bass
part. But, we will see. There's a chance I'll get to the synthesized bass
line, as well, tonight, especially since I don't have to be at the
rent-payer tomorrow morning.
Mastering "Medley: 1) The Death of the...; 2)
Memories of the Times Before; 3) Memory's Endbit; 4)
The Death of the... (reprise)."
Mastering "Medley: 1) The Death of the...; 2)
Memories of the Times Before; 3) Memory's Endbit; 4)
The Death of the... (reprise)."
Listening to the playback of the mastered
The virtual mixing board in Logic Pro, with all 23 tracks
and the, thus far, three buses.
The beginnings of mixing "Identity," Wednesday
The LPX channel EQ window for the "Identity" main
Mixing the "Identity" piano.
Note the empty dinner
plate in the background.
HEY! "BEFORE DEADLINE" IS "BEFORE DEADLINE":
Remember when I wrote this about my 2021 tax return?: "Of course, there
will be those who wait one more weekend....And those, too, who'll wait until
Monday, April 18....THAT
is not going be me....Seriously." Remember that?
Okay, so, part of that statement is still true. I won't be one of those
"who'll wait until Monday, April 18."
I am, however, one of those who has waited that one more weekend, as we
know from my confession above about binging The Marvelous Mrs. Maisel
most of the day last Saturday.
So, tomorrow will be that absolute Must-Do day for my '21 taxes.
MIDSUMMER NIGHT'S READING IS SOON UPON US:
The staged reading
is now just ten days away. I should be getting my revised script later today.
We will have two
next weekend, Saturday and Sunday, for the Monday performance. It's Monday
because that is the
Equity day off,
thus the Loft Stage will be empty. Currently the
HRTC production of
Incident at Our Lady of Perpetual Help, by
is underway on those boards, but Monday we are free and clear to use the
The mixing of
"Identity" continues, with quite a bit of it done over the
weekend. I might start
by Wednesday, maybe even tomorrow night.
Friday night I added the main chorded rhythm bass part right underneath
the piano in the mix, favoring the left side of the
Then, as I knew was a possibility, I did create another
bus group by putting
them together, specifically for simultaneous volume/gain manipulation.
Saturday morning I added all the 6-sting electric rhythm guitar parts
(from David Bernard) into another bus, and I added my second chorded rhythm
bass, which was there to fill in a section where there is no guitar work
About noon, I broke for a hike at
John Bryan State Park,
mostly because I wasn't happy with my blood pressure reading that morning,
and a nice rigorous hike always brings those numbers down. Then, in the
early evening I did my taxes, finally *(see below).
That night, I tweaked the whole rhythm section, adjusting volume balances,
etc. Then I added in the synthesized bass line, which has a couple little
solo spots in the song during the interludes between verses 1 & 2,
and verses 3 & 4.
Yesterday morning the lead and harmony vocals were added, grouped into
another bus, mostly for consistant reverb, by applying just one reverb filter
in the bus, for both. Then I took another noonish hike at John Bryan State
Park (if you think Saturday mornings BP readings were high), then headed off
in late afternoon/early evening for Easter dinner with my family. When I got
home, later in the evening, I tweaked both the lead and harmony vocals, both
volume balance between them and overall against the rest of the mix, plus
some adjustment to the reverb. I ended the mixing session by adding the
backing vocals for the chorus sections, again in their own bus with heavier
reverb than the lead and harmony vocals,
Tonight I'll add the "horn chart," a trio of three horn voices
Yamaha PSR-180 electronic keyboard.
The last thing to add in will be David's solo work on guitar, which if I
don't get to tonight, I should get to it tomorrow night.
Then, after what I'm sure will be some amount of tweaking of the mix, it'll
be mastering time, then, I hope before the weekend, I start mixing ‐‐
re-mixing, really ‐‐ the instrumental, "Icebergs,"
the one that covertly started this whole project, back in Autumn, 2019.
Most of the "Identity" rhythm tracks
(minus the electric guitar work) in the Logic Pro
Tracks window, on Friday night.
Saturday afternoon interlude at John Bryan State
Park after mixing in the "Identity"
electric rhythm guitars in the morning.
Saturday evening, tweaking the volume for particular
moments in the main bass line.
Yesterday afternoon interlude at John Bryan State
Park after mixing in the "Identity"
lead and harmony vocals.
Tweaking the "Identity" lead vocal,
The reverb window for the "Identity"
lead and harmony vocals bus.
ONE WEEK FROM TONIGHT
I now have the new version of the script for the
of Shuann Baker's screenplay adaptation of Shakespeare's A Midsummer
Night's Dream. Clearly, as well as mixing/mastering for my album, a lot
of my time this week goes to studying the script. Of course, we are reading,
so I don't have to be off-book,
yet I still need to be strongly familiar and comfortable with my parts before
which are this Saturday and Sunday.
The reading, is, of course, one week from tonight.
NOW I CAN BUY THAT MULTI-MILLION-DOLLAR HOUSE IN THE HAMPTONS!:
.....Or maybe not
Yep, did the fed and state tax forms Saturday, late afternoon.
Another year where I took the standard deduction because I did not have
income as an actor, so no business deductions.
I get money back, but it ain't like I won the MegaMillions lottery.
It's not a great surprise to me that I have not yet gotten to the
mixing (or rather,
the re-mixing) of the instrumental, "Icebergs," this week; nor
will I get to it tonight, and I doubt over the weekend, but who knows. You
five regulars may recall that this one was one of those originally mixed
(to use that second term loosely), in
Final Cut Pro X, before I
made myself learn how to use the appropriate software for both mixing and
mastering: Logic Pro X.
For "Identity": Monday night I added the "horn chart"
to the mix. Again, that's a trio of three horn voices played on my
Yamaha PSR-180 electronic keyboard,
which can be taken for virtually a toy synthesizer, and yet I have made
great use of it during the recording of this album, as well as have I made
some good use of my
Yamaha PSR-12 keyboard,
which is an even simpler instrument. With some strategic
using the LPX Linear Phase EQ
plug-in, and a smidgen of reverb, the horn chart works quite well in the
song. I must admit I tweaked the EQ a bit on Wednesday evening and enhanced
not only the whole mix but the sound of the horn section.
Tuesday night I added in guest artist David Bernard's 6-string electric
lead guitar solo work. There are several individual bits to it, guitar licks
that talk to each other, if you will, which lends well to some good
placements across the stereo pan,
though I corralled them to more of the center region, with nothing too far
left or too far right, and some elements dead center in the pan. Of course,
I sent all the elements to one
audio bus. By the way,
the lead break is a nice little piece of work from Mr. Bernard and it suits
the song perfectly.
There was no mastering started Wednesday night. I spent the session tweaking
the mix, adjusting EQ on instruments and vocal work, adjusting volume balance,
and in a couple cases, moving some instruments, or particular sections of
those instrument's performances in the stereo pan. This was mostly about
getting a cleaner mix with more clarity for individual parts, and to get
closer to the feel for the song that is in my mind. I did not finish the
process Wednesday night. I went to bed knowing a few things specifically
that I needed to tweak and expecting I'd tweak things I hadn't identified
Unfortunately I have to report that I am yet to get to the mastering phase
for "Identity." Last night I did the tweaking I knew I needed
done, which included bumping the volume of the drums in the chorus section,
and doing the same for the lead and harmony vocal during the choruses. I
also adjusted the volume on the synthesized bass, throughout the song, both
up in some spots and down in others. I also decided to adjust the EQ on the
piano part, as well as the chorded bass part right under it, enhancing the
high end and subduing the low end for both; this gives them a bit more
clarity in the mix, which was the goal.
I think all that is left to do is to slightly push the volume on a trumpet
solo at the end of the song, then I'll be ready to master the thing. That
should happen tonight.
Listening to playback of the nearly-finished mix of
"Identity," Wednesday night and then last night.
REHEARSAL IS JUST INCHES AWAY:
We are in rehearsal
tomorrow and Sunday for the
of Shuann Baker's screenplay
adaptation of Midsummer Night's Dream.
Getting familiar with the script and both my characters has been my other
artistic venture of the week. Again, since it's a reading, no one needs to
but not going into rehearsal doing a
is a better plan than looking at the script for the first time in rehearsal.
mixing is finished
Friday night, I bumped that trumpet solo up in volume as I said I would,
did a slight
adjustment on the lead vocal, then moved on to the
I'm not quite finished. I didn't work on it yesterday, but will today before
my Midsummer rehearsal.
I spent some time yesterday afternoon, after attending the Board of
Directors meeting for
and after a nice lunch with several of my fellow board members. I first went
to Hills & Dales MetroPark
and walked with the script, but the wind was a little too pusht and it
got annoying, so I went back to The Guild and
did my private rehearsal there, to prep for that first cast rehearsal. This
evening is the second cast rehearsal, then tomorrow is
Here, by the way, is the ensemble cast in alphabetical order:
Marshal "Dancing Elk" Lucas
At The Guild, yesterday
afternoon, studying the script before rehearsal.
Last night, after I got home from rehearsal, I listened to the
WAV file of the mastered
version and I heard something that I feel the need to address. The drums,
which do need to be bumped in volume during the chorus, bump up too abruptly,
calling undue attention to that bump. I will have to go back and make that
volume increase much more gradual. I'll have to do that in the mix, then
remaster again after that. Also, I do find the vocal to have a bit of a
harsh tone that I might try to address while in the remixing process. But
I don't think I need to do anything else different in the mastering process;
I can apply the exact settings for
Linear Phase EQ
and volume, etc.
The second, and last, rehearsal
is under our belts.
A public reading for a new screen adaptation of William Shakespeare's
A Midsummer Night's Dream will take place on Monday, April
25th at 7 p.m. at
The Loft Theatre
in downtown Dayton. The reading is open to the public and free to
The adaptation is set in Appalachia during the 1800s, and uses
Appalachian dialect with the original Shakespearean verse.
"Shakespeare's words performed with this dialect are really beautiful,
as it turns out," says local filmmaker Shaunn Baker who adapted
the screenplay and is working to get the script produced as a feature
film. "It's a rougher sound, closer to the Old English the play
would have been performed in originally. A very different experience
from hearing the story in the more traditional ‘heightened' dialect
we typically associate with Shakespeare. My hope is that the roughness
of the Appalachian culture and accent will make this adaptation much
more accessible to contemporary audiences."
This project is generously supported (in part) through an Artist
Opportunity Grant funded by the Montgomery County Arts & Cultural
District and administered by Culture Works.
The reading is free to the public The Loft Theatre
126 North Main Street
Dayton, Ohio 45402
The cast, in alphabetical order:
Marshal "Dancing Elk" Lucas
Yesterday, during lunch at work,
actually, I did a quick and slight remix, then remaster of "Identity."
I bumped the drum volume in several spots and more specifically made that
drum volume increase into the choruses more gradual, as I said I would. I
also tweaked the EQ
on the vocal to ease that harshness to the tone that was bothering me. In
the remaster I adjusted the Exciter
settings to pull a bit of treble harshness out, too.
I decided that the master of "Cozy Cottage" could stand to be
far less trebly in overall tone so I went in and tweaked both the EQ and
Exciter settings for that one, too.
time to move on to "Icebergs!"
IT'S A MIDSUMMER NIGHT'S WRAP:
To be honest, this won't really be a
look at last night's public
The reading was a success and Shuann
was pleased with it. There was a small but quite responsive audience of
about a dozen or so people and they all clearly enjoyed the performances.
Again, I must say that the ensemble was top notch and most impressive.
Tuesday evening I did indeed move on to
and continued the process last night. I have the rhythm section mostly
mixed, though you can bet I'll be tweaking volume balances, and more, before
we get to the mastering
Both duet instruments have been added in: the organ solo line and the
"trombone" part, the latter via my
Yamaha PSR-180 keyboard.
The duet parts haven't been balanced much against each other or against the
rhythm section, yet, and no plug-ins, including
have been added to either; to be honest, I'm not sure either needs anything
to punch them up.
On the bass line, I added the Logic Proflanger effect plug-in,
using the plug-in on the computer since I never did repair my old analog
flanger foot pedal and have yet to purchase a new digital pedal. The bass
in the original mix, done in
Final Cut Pro X, (the mix
that was heard in the now-pulled music video and that was featured in the
for the DTG
production of Alena Smith's
is not flanged. As I was dropping it into the new mix, Tuesday night, it
struck me that a little flanging might enhance this bass line, and I think
it does. I've only applied a slight amount to it, and it works.
Last night I tried an experiment where I duplicated the bass line on another
track, minus the flanger effect, pushed that all the way left in the
stereo pan, with
the flanged version all the way right, so the flanging effect was only
there, but the bass was still ultimately in the middle of the mix. But, it
didn't work as well as I wanted, so I nixed the idea.
There are still some things to add: the two string parts, one, a voice
again from the Yamaha PSR-180, and one, a voice from the
Williams Legato III piano,
In the mix, again, one will be left, one right in the pan. There's also a
second bass line, playing the hook riff during the vamp at the end of the
song, underneath and to bolster the main bass line. Then, of course, there
will be quite a bit of tweaking of many aspects of the mix, I am sure.
But I won't get to any of that tonight, as I have tickets to see a play,
which I'll discuss in the next blog post. I would guess that I won't
get to the mastering of "Icebergs" until Saturday at the earliest.
Last night, mixing "Icebergs" in the infamous
‐‐ or, perhaps, not famous at all ‐‐
K.L.Storer Bedroom Home Mixing Suite Setup (i.e.: my laptop
and some external speakers at the computer desk in my bedroom).
The remixing and
"Icebergs" is complete ‐‐ with that old, familiar caveat
that I reserve the right to go back and adjust this or that later. I
finished it off late yesterday afternoon after a great hike at a new place
*(see entry a little further down) and a late lunch, **(see photo just below).
Later in the evening, yesterday, I started the remix of "Chilled
October Morning," and have it at about 90% complete. I mixed all the
instrumentation. All that is left is to work in the vocal track then do all
the tweaking, then move on to mastering the remastered version. I should
finish that one off this evening, and might even get started on the last
song, the remix/remaster of "Into the Blue Dawn." Then, believe
it or not, with the exception of a final
of the volume levels between all the songs, I am done engineering the album.
The next step is to finish off the artwork and some text for the album
booklet, deal with a couple legal issues, and then it may actually be time
for Virtually Approximate Subterfuge to release.
Mastering the instrumental "Icebergs" yesterday
afternoon in my bedroom editing suite.
A little late lunch outside before the sound engineering
for the day.
SCOPING OUT THE NEW THEATRE SEASON:
Thursday, I went to the Human Race Theatre Company
to scope out the 2022/2023 season, which was revealed at a special
presentation in the early evening. Mind you, I did not attend so much as a
potential audience member, (though I’m sure I will be such for more than one
show), as I did as an actor scoping out the season for roles that I might be
are coming in less than a month, and I will certainly be there!
There are a few shows I know I won’t be a candidate for. Grounded
is a one-person show (OPS)
that features a woman, I would assume in her 30s or 40s. A Soldier's Play
is a one-stop on a national tour, so is obviously already cast. Who’s
Holiday!, with Alex Sunderhaus
reprising her role from last Christmastime, is another OPS featuring a woman.
I have research on the other titles to do.
As for the other technically
in the area (i.e.: non-Equity
but still offering pay, even if only a stipend), I haven't looked at their
22/23 seasons yet, but who knows, I may see a title or two that catches my
A couple of the shows we have up next season at
have my attention. I also haven't looked closely at the seasons at the other
yet, but I hope to also see something, or some things, there piquing my
It's a pretty funny script executed well in this production. Kudos to the
playwright, the director, the cast, and the production team!
RIGHT IN MY BACK YARD!:
This kind of thing has happened to me before. On a regular basis, I drive
by something that is not far from my home, barely taking notice of it. Then
finally I explore it, only to find it is something well worth the time it
takes to visit.
I did it with
Oakes Quarry Park,
which is not finished figuring into this. I drove by the entrance
for a few years before finally investigating to discover it's a very nice
little close-by respite. Enter,
the entrance, which I have been driving by for a couple years. I paid little
attention. I saw a little parking lot and somehow made the assumption it
was a lot for the house next to it, a house that I concluded was a small
winery. Don't ask me why I deduced that. Finally, a few weeks back I noticed
the sign that had the word
which I know means land that is, or is similar to, marshland. Also, I
finally noticed, right behind the parking lot, a wetlands boardwalk.
It ultimately took me a couple weeks to check it out, but yesterday, as I
was contemplating where to go take a hiking break before I got to the mixing
and mastering discussed above, this park came to mind as something close by,
and that would be new to me.
I expected that it would be a brief walk on the wetland boardwalk. What I
found is that there's actually a nice, reasonably expansive hiking trail.
I got a good forty minutes to an hour hike in, and could have spent longer
there. I also discovered that the Pearl's Fen park butts right up against
the Oakes Quarry Park *(see me looking into Oakes Quarry in the photo just
below). One can actually cross between the two, which I briefly did yesterday.
FINISHING A "CHILLED OCTOBER MORNING" ON A COOL MAY NIGHT:
"Chilled October Morning" is
I finished it last night. The only piece of music left is "Into the
Blue Dawn." Then I do the final volume
for the album repertoire as a whole, and engineering will be done.
Then, as I've written before, I have to finish the album's booklette, which
means a certain amount of graphics work and most importantly the liner notes
essay I intend to write.
There's also a publishing and copyright issue that needs to be attended to
but all in all, the release is actually close by!
Mixing and mastering "Chilled October Morning,"
NUMBER TWELVE AT THE END OF THE MONTH; IT
On May 31, in Knoxville, Tennessee, I will attend a Paul McCartney concert
for the twelfth time. Technically, it'll be for the eleventh time, because
the first time, May 27, 1976, it was Wings on the
Wings Over America Tour
at the now-defunct Riverfront Coliseum in Cincinnati. But, come on. No
offense to Denny Laine,
but he was not who I was there to see, nor were the other bands members who
weren't the main bass player and primary lead vocalist.
As you can see from the image on the left, and the schematic of the arena,
below, I have a pretty decent seat. We're not going to discuss how much I
paid for that seat ‐‐ Floor section A, Row 8, Seat 3. Let's just
say, as I posted recently on facebook,
concerning this ticket: I have a leg and two arms for sale, if you know
anyone who's looking.
Last time I saw Paul, June 1, 2019, almost exactly three years before the
upcoming show, I had a VIP Hot Sound ticket that gave me a lot of perks,
the best being that I got to attend the sound check. That was a total of
$1600. I paid more for this ticket, and besides the good seat on the
floor, there is none of those other perks, including sound check. I can't
imagine what the VIP tickets on this tour are going for.
I held off buying a ticket for this show, with the Knoxville show being the
closest to where I live in south-west Ohio. The tickets for this tour are
on that newer flex-pricing system, where the ticket prices fluctuate based
on demand. I was hoping to abate the sticker shock by waiting to see if the
fluctuation fluctuated down to numbers that weren't so painful, but the
better seats were gradually disappearing, and I have a rule now about my
attendance at live concerts, well, live performances of any kind:
If I can't make out facial features on the stage without the
assistance of a jumbotron screen, I am not going.
So, I patiently, then impatiently, waited for prices to flex down, and though
there was occasional downward movement on some prices, it was mixed, it was
minimal movement, and the "facial features" seats did not seem to
be flexing at all. But I didn't completely give up hope.
I even planned my spring
to accomodate the off-chance that I could make the concert, that at some
point, perhaps close to the date, the cost of what I consider an acceptable
ticket would be at an acceptable amount. I've booked myself into a cabin in
for the weekend before the concert, followed by two nights in a hotel, in
Knoxville, 400 miles south of the cabin, on the night before and the night
of the concert, on that chance that eventually I would see numbers that would
work for me.
Yet, I have been mentally preparing myself for a
in the Knoxville area that might not include an evening at the
One thing I did was buy a ticket for
(aka: the Knoxville Zoo), which I could get to, concert or no concert, and
have plans to research what else there is to do in Knoxville, even despite
that now I have something to do on the eve of May 31. I'm sure they have an
art museum and may have other sights worth my time. But the plan was to fill
out the two days there even if I did not have a Macca ticket.
Beyond the two days in Knoxville, I've reserved four nights at a campsite at
Norris Dam State Park,
not far from Knoxville, for after I check out of the hotel. My big research
there is bear safety, and I ain't kiddin'! The park is square in black
bear territory and I am camping ‐‐ and hiking ‐‐
alone, so I need to be as knowledgable and diligent as can be. I am not
looking to be on the receiving end of a bear mauling.
Yes, I planned a decent
down there even without the Paul McCartney Got Back Tour as part of it. But
how bummed would I have been if I was right there and not seeing the show?
It's likely I'd have been quite bummed. Thus, I spent what I cannot argue
against being maybe too much money on the ticket.
Why would I pay so much this time, more for a non-VIP ticket than I paid
for the 2019 VIP ticket, when what I'd paid for reasonably decent seats
for the last several tours before that were in the neighborhood of 12.5% of
what I paid for this new ticket? Why do that?
On June 18, Paul turns eighty years old, and it's not a secret that he's
lost a lot of the range and control of his singing voice. The last several
tours his voice has been gradually deteriorating. It is not anywhere outside
the realm of possibility that this will be his last tour.
People have been saying it since he started touring again in 1989. I've heard
it numerous times over the years while waiting in a merchandizing line at a
He's gettin' up there, man! This is probably his last tour. No
way he's doing this much longer, no way! He's just gettin' too old
to take the rigors of the road.
Paul has shown no signs that he doesn't have the stamina for the road. He
certainly showed no such signs in June of 2019. He was still doing a
three-hour show with no visible fatigue at the end of the night, and is doing
three-hours a night on this new tour, as well.
In Indianapolis, in 2013, the woman sitting beside me was in her mid to late
sixties. After the first encore was done, well over two-and-a-half
hours after the show began, and the lights on the stage were dim but not
going completely out, and the arena house lights were not coming up, she
said to me, "He's not coming back out, is he?"
Knowing the set list, I said to her, "Yeah, we still got about another
ten, fifteen minutes or so of music left."
The woman was flabbergasted. "My lord!" she said, "He's older
than I am! It's almost 11:00! How in the world can he do such a long show?"
I jokingly attributed his vigor to his vegetarianism, but that truly is a
thought that may not be too far-fetched.
His physical vitality as a man about to become an octogenarian is, I do not
believe, the issue. It's his vocal abilities. His singing voice is seriously
ebbing. Now, don't misunderstand me. I know I will enjoy the show immensely.
Paul's stage presence and showmanship is mesmerizing; and his musicianship
is superlative. He'll put on a great show and will compensate well for his
waning vocal capabilities. But his vocal health is in unmistakable jeopardy
and that is why I believe that this time, "This is probably his last
tour. No way he's doing this much longer, no way!" has better odds
of being genuinely prophetic. Plus, not to get morbid, but Sir Paul does
suffer from mortality just like the rest of us.
Even though I've seen him live eleven times already, and some of them have
been such stellar nights that they are virtually unrivaled, even though I
find the prices for the tickets to be obscene and only comfortably
available for the upper-upper middle class and above, I simply was not willing
to gamble that I would have someday known that this was Paul's last tour
and I couldn't say I was there.
I, by-the-way, will be more than happy to be wrong about this, as so many
have been for the last thirty-three years. Yeah, they started saying it when
he was only forty-seven years old. Hell, some people said it '76, when
Wings toured the world and he was only thirty-four. Times sure have changed:
all the 60's icons still on the road today. In the 70s it was the absurdity
of rock stars over thirty, daring to still tour and put out material. Yet,
Paul and many of his contemporaries are today accounting for a heavy
percentage of annual tour grosses.
There were those, back in the 70s who were predicting that Paul would
wind up as some sort of cheesy Vegas act or something equivalent to that.
Yeah: they were wrong. And I'm going to see a living legend, my favorite
recording artist, and one of my greatest artistic influences at least one
The last time I worked out in the gym, resistance training or cardio, was
March of 2020, when the pandemic was first rearing its ugly head. Then the
where I work essentially shut down, along with the rec center, where I have
my gym membership. I was one of the "essential workers" and came
into the office a couple times a week for the duration of the shutdown, but
the gym remained dark until after the campus began its gradual opening back
up. I can't remember exactly, but I think the gym opened back up for limited
hours and reduced capacity, with attendance by reservations, a little over
a year ago, give or take a few months.
What I do know is that when the gym did open back up, I was not ready to
risk going. I'm in my sixties, albeit the earlier half; I have heart disease
and hypertension; I'm not precisely immunocompromised but I am certainly
in the population of those more vulnerable to serious COVID-19 infection.
I got my vaccinations as soon as I could, and since, have had both boosters,
and will get further boosters if the medical experts say I should. But the
gym has still seemed a dicey proposition to me.
This week, I finally felt secure enough about it to venture back into
the gym. I was there Monday afternoon, and it was almost empty, which was
actually comforting. The ability to social distance not a problem. Since
I'd done my hike at the newly discovered
the day before, I opted to work with weights. As the screen shot of my
post suggests, I was not working with lots of weight. In fact, even with the
easing-in weight that I used, the soreness did come and has lasted
a couple days. Nevertheless, gym visits are going to be back in as part of
my routine. I missed yesterday but plan on going after
today. Though I'll probably opt out on any days the gym is packed.
Though I feel safe asserting that the
the album is at a 99.9999% probability of being finished, still, the finish
line is, indeed, nearing, but the sprint has been set back a few yards.
There has been some
of some material that had been marked as finished. There were just a few
little things I noted that I determined could and should be addressed.
First, however, I got to the last song to be dealt with. The remixing in
Logic Pro X of "Into the
Blue Dawn," one of those previously mixed/mastered in
Final Cut Pro X and the
"last" song to mix and master properly for the album, began
Thursday, the 5th. That day, I had a
as sound designer
for The Old Man and the Old Moon.
I was early, so while I waited for the meeting, I started the process for
the song by loading all the instrument and vocal tracks into the new mixing
project in LPX.
From that evening until this past Tuesday night, I worked on the mix, off-and-on.
This past Sunday evening, I thought I had the final mix and even
rendered the WAV file to
later import into the Logic Pro mastering project. But as I lay in bed that
night I decided to tweak just one little thing.
In the individual, original audio tracks for several of the instruments
for "Into the Blue Dawn," there is a bit of atmospheric noise,
high-end hiss and/or low-end hum. An
filter helps greatly in eliminating this noise, but sometimes you also have
to employ the use of either a
or both. A high-pass filter lets you cut low frequency sounds while the
low-pass filter does the opposite. But one of the problems you can run into
is that while eliminating the unwanted noise, you can kill frequencies that
also carry some of the sound of the instrument, vocal, or other sound that
you intend to use, thus the dynamics of the sound of the instrument (et al)
is dulled or otherwise compromised.
My EQ work on the tracks didn't compromise anything much, at least no more
than minimally, but the high-pass, low-pass filters did have an effect at
the very end of the song. The song ends with a long sustain of the last
chord played by some instruments or the last note played by the others.
As that sustain dies out the atmospheric noise becomes dominant. So, I
used those two filters to kill that noise. But that long sustained ending
chord, which I want, was filtered into something very thin and also it dies
sooner than I want. Unfiltered it's a good thirty-plus seconds. Filtered it's
I figured out a way to keep that long sustain both longer and more robust.
I cut back on the low-pass, high-pass filters and have added some
at the end of the song that, as well as virtually masking the hiss noise,
also utilizes it as collaboration in another way. That SFX also adds a touch
of irony to the song and that greatly appeals to me.
Of course, the story's not over. After I went to bed this last Monday night,
I decided that some of the SFX should have reverb applied. So, the next day,
first during lunch at rent-payer,
sitting at a table outside under the library overhang, I added that reverb.
Later that evening, I adjusted the volume level of that stuff with reverb
as well as the volume level of the instruments that hold that ending sustain
‐‐ I bumped the levels up a little to make the decaying sustain
more effective. It really looked as if the audio work on the album might be
finished. After those mixing tweaks on "Into the Blue Dawn," I was
able to master it the same night, too.
The next day at the rent-payer, I listened to the rendered masters of all
the songs on my head phones, in the order they will appear on the album,
while working at my desk. My goal was to both get a sense of what volume
was needed between the tracks, and also to scrutinize the feel of the song
list, to determine if the order was good or if I might want to shift anything
around in the play list. That day, I liked the dynamic of the song order,
but as some time passed, I was bugged just a little by one spot, where I
ended up flipping two of the songs. Now the four up-beat rockers are evenly
paced throughout the album repertoire, and I also split two almost straight
jazz pieces from sitting next to each other.
Listening on my headphones alerted me to a few problems with a few
recordings. "Just One Shadow," for instance, had far too much
low frequency in the headphones. I do know that my headphones are heavier
on bassy sound, as is often the case with headphones. It's one of the
reasons it is recommended that you don't use headphones to either mix or
master recordings, unless you have a set of really good, flat EQ headphones,
which I do not. They cost a lot. I am however planing on buying some at
some point. What I do know is that I listen to a lot of professionally-produced
commercially-released music through those headphones, and they do not have
the heavy low-end that "Just One Shadow" was giving me. So, in
this case, listening to the master recording through the headphones was a
fortunate thing. I needed to kill some low end in the master. I didn't go
back to the mixing project to remix anything, but I did pull a lot of the
low end (bass) from the
Linear Phase EQ
in the mastering project. The bigger point is that headphone listening is
an environment that needs to be attended to because people listen to music
with headphones or earbuds a lot, so that practice cannot be ignored when
mixing and mastering.
Another thing I noticed was that the drum kit in most of what, at the
time, was the medley *(see below) needed to come down in volume, too,
that being for: "Memories of the Times Before," "Memory's
Endbit*," & "The Death of the... (reprise)*," all the
music that was recorded together. That did need me to go back into
the mixing project to deal with. And while I was there I changed a few other
things in the mix. I moved the main bass line in the
from full right in the pan to about halfway to the right. For some sounds,
especially those in lower frequencies, the dynamics and quality of them is
tamped down if they are too far left or right in the pan. Moving it as I did
revived some robustness in the sound of the bass line. I also slightly lowered
the volume on the ensemble solos by the horn voices during "The Death
of the... (reprise)," as they were sounding a little hot in the mix.
Parts of the bass line in "The Answer" sound a little hot through
the headphones, too. Actually, I'd noticed it through speakers, as well,
and had decided to live with it, but I changed my mind. I dealt with it
by dropping the volume of everything in the mix so that the bass could
stay at the same level relative to everything but not be hot. I also
tweaked the EQ on the bass, and again, moved it just a little bit less to
the right in the pan.
For those who have heard the full-length version of "Icebergs,"
back when the YouTube video was still
published, you may remember that there is a repeating counter melody going
on between two separate string parts during the extended ending of the song.
I found those strings to be getting a little hot toward the very end of the
song, the last minute or two. In the mix I had gradually increased their
volumes so they would take prominence. I remixed "Icebergs" to
reduce, but not eliminate those increases. I also tweaked the master to
have a gradual slight reduction in the overall volume in that whole ending
sequence. The two actions together address that hot-strings issues. I also
tweaked the EQ and the settings of the
plug-in in the master project.
The tweaks on "Icebergs" were done after I had begun the volume
normalization process for the overall album. I had forgotten that I'd noted
that hot-strings issue when I was earlier listening on the headphones. So,
when it came up as the third piece to normalize, I did the tweaks first.
I started the whole normalization process this last Thursday, working on it
both before and after I attended a
of The Old Man and the Old Moon
at The Guild.
It continued through this Saturday morning, when I thought I finalized
it with a small adjustment to one track, then continued on until Sunday
afternoon. Again, I'd put the the-mastering-is-done probability at
99.9999%, with that allowance for room for me to go back in a change something
up until it's too late. I have been making more passes and finding things
to work on, mostly at the moment it seems to be volume normalization.
On the subject of changing things: I had started the artwork for the booklet,
getting pretty far, having designed all the pages with lyrics for all the
songs, but I decided here in the last couple days that I want to go with
another design idea, so what I've done thus far is scrapped. The album cover,
which has been out there for months is still a go as it is, but I want to do
something different for the innards than what I had started. The fact that
I altered the order of the line-up would have dictated I go back in to redo
at least one page, anyway.
Another change I have decided on is to meld all the separate parts of
"Medley" into just being "Memories of the Times Before"
with several diffrent movements. "The Death of the...,"
"Memories Endbit," and "The Death of the... (reprise)"
have all fallen to the waste-side as titles and separate compositions; they
are now instrumental movements/themes for "Memories of the Times
Before" as a whole. Again, this would also prompt a need to alter the
graphics for the page that listed the medley.
Today, I have some confidence that the mastering is finished, yet I still
allow room for me to decide something should be tweaked. But regardless of
these fixes I keep finding to attend to, I see the wrap coming soon and a
finish line coming close. It may be safe to predict a June release.
Late afternoon, last Thursday, at the Dayton Theatre Guild,
starting the work in Logic Pro X to remix and remaster
"Into the Blue Dawn," while I waited to attend
a production meeting.
Lunchtime, this past Tuesday, at the rent-payer, adding
reverb, in Logic Pro X, to the SFX at the end of "Into
the Blue Dawn."
The mastering project in Logic Pro X for "Into the Blue
Dawn." It would have been so sweet to say that with this,
the mixing and mastering of the Virtually Approximate
Subterfuge album was finished. But, alas, it was not
quite yet so.
THE MAN, THE MOON, THE SOUND:
This past Thursday evening I attended a
full run rehearsal
of The Old Man and the Old Moon,
as sound designer
to get a feel for the sound needs. Fortunately I had a spread sheet of the
sound needs, which was put together by the production's
Heather Atkinson. SO I have general idea of the needs and now I get into
gathering and building sounds; because there is no doubt I have to build a
few sound effects.
I'll be back for at least one more rehearsal this week to watch and take
more notes and consult with Director Jeff Sams.
Saturday night I, along with a large host of the Dayton theatre community and
beyond, was at the fairwell gala for
who is retiring as the executive director of the
Human Race Theatre Company.
I had done about a half-dozen
for The Race before I got on that stage. I did two or three of them for
then artistic director, the late
a few with her and Kevin, and after Marsha's passing, with Kevin and several
others at different auditions. In late summer, 2011, I got a call
at work from Kevin. He said he and Scott
were talking about me and asked if I could sing. Of course, I said yes. He
then said there was a role for me in Carolyn, or Change and asked me
to come in to sing for Scott, who was directing. If Scott liked my singing
I was in. He said, "We've always liked your auditions and haven't been
able to place you, so this could finally get you on the Loft stage."
I went, I sang, Scott liked it, and on October 10, 2011, I went to my first
professional theatre rehearsal. Now, I had gotten a few
before that, mostly decisions that Kevin had made, though the directors
for the shows did not find me their first choice after the callbacks.
And Kevin cast me in Gingerbread Children, which was a good experience
for several reasons including that I met and worked with director
Margarett Perry and I met and
spoke the words of the late Michael Slade. Doing that reading put me on
Margarett's radar and gave her more of a knowledge of my abilities beyond
the audition I'd do for her for Banned from Baseball and a role that
she would cast me in..
Now let's go back to one of those auditions before I was ever cast at HRTC.
I am pretty sure I've shared this story in a past blog entry, but still,
one year, I auditioned for Kevin and Marsha, and during my first of two
I went up,
and the text was notcoming back to me. Kevin allowed me to step out,
take some time, regroup myself, then come back in a have a do-over. That
doesn't happen terribly often ina professional setting. As Marsha said, later,
when I had her for an acting class, "If it had been New York or Chicago,
that would not have happened, but here, we felt we could do it." I
will always remember that kindness from Kevin and Marsha.
So I am one of many people who are indebted to Kevin.
Cocktails before the dinner at Kevin's Farewell Celebration.
NO BEARS LIVIN' IN THEM THERE WOODS:
In preparation for my upcoming
at the end of the month, I recently called
Norris Dam State Park
to talk bear safety, mostly to enquire about protecting my food stores.
The staff person I spoke to said that the park has no resident bears and
she hasn't heard of a sighting of a bear passing through in several years.
She said the big concern for food protection will be the raccoons, but,
living in southern Ohio, that's already something I know about.
I must admit though, concerning this no-bears-in-the-park news, it's weird
how, as relieved as I am about virtually no chance of my having a bear
encounter while I'm down there, hiking alone ‐‐ because, let's be
honest, that was obviously the bigger concern than a food raid by a
bear ‐‐ still, I am also a little bit disappointed that there's
hardly any chance of my spotting a bear from afar.
By the way, in my research on bear safety one of things I discovered is that
you are required to stay at least fifty yards from a black bear. Let me assure
you, that is not a requirment that I would have any problem adhering to if
the occasion were to arise.
*As I've stated before, in defense of these sort of entries that
don't seem to be related to "Things Artistic": First
off, everything that happens in the life of a person who's attempting
artistic endeavors is relevant to said endeavors. And, second,
who's blog is this?
The Human Race Theatre Company'sgeneral auditions
for the 2022/2023 season was open to both in-person auditions and
I was looking forward to doing an in-person audition, but it became obvious
that when the in-persons were, this past weekend, it was going to be really
difficult to work in an appointment, more so, to have myself properly
prepared to bring off a good audition. So, I elected to again submit a
video, as I did in 2020.
My audition program was two contrasting
One I've used several times in the past, at HRTC as well as other places.
That was the light. comedic one. My dramatic one was new to me. One reason
I did the one I've used before is because it's a good one for me and one
of the auditors is new, Emily Wells, the new artistic director at The Race.
Tara Lail, Creative Producer, has heard it before, I think at least
twice, but, I was more interested in Emily hearing/seeing it.
My DV movie audition is not the slickest, most professional video to be
submitted there, I am sure, but, there's good lighting and good audio and
that is the game. I also did the whole program ‐‐ both monologues
‐‐ in the same take, rather than having a cut, because that's how
it would have happened had I been there in person. We won't discuss wether
or not there was more than one take.
Reading a script, on the front patio at my apartment,
looking for a new audition monologue.
Still on the patio, making my signature flashcards
to memorize the new audition monologue I'd chosen.
My schedule has been so weird and tight recently that I barely began to
work on sound design
for the show until this past Saturday, you know, the day before
which is when the sound design needs to be finished and ready to test? It
isn't the first time I've been in this predicament so I didn't
feel any stress, though I will say that my blood pressure was a little
higher than normal on both Saturday and Sunday, pushed just slightly into
the elevated level.
The tradition of my bringing my sleeping bag and other over-night stuff was
in force. I was literally at
for about 32 hours, from our monthly board of directors' meeting on
Saturday morning, until I finished making adjustments to the sound design
in the Show Cue Systems (SCS)
software after the virgin, full-run
After lunch with fellow board members, the rest of my Saturday was about
the sound design, gathering and
sound, then programing the show into SCS.
was scheduled for 10:00 Sunday morning, so the sound had to be up-and-running
by then. I finished the programming at just before 2:00 a.m. then unfurled
my sleeping bag and called it a night on a couch in the
This, of course, is the reason I did not make an in-person appointment for
the 22/23 HRTC general auditions which were held this past weekend. Looking
at my schedule coming into this last weekend, I knew the weekend was going
to be about sound designing and that it was better if I took the pressure
of the generals out of the weekend equation, so I shot the video audition,
instead, during last week.
There were, of course, adjustments to be made after Sunday's tech run. I
needed to push the volume on some sound cues after hearing them competing
against the music score, which I didn't hear in the mix until Sunday. I
actually had to increase the volume a several sound files by processing
them in Logic Pro X to get
a volume through the sound system that works. And I have to curate another
sound for a particular SFX,
because what is in place just doesn't sound right in the theatre space.
Last Saturday afternoon, building a sound effect.
Dinner break, later Saturday.
Saturday evening, programing the cues.
My personal laptop, pulling DV movie footage from
one of my HD camcorders, into the movie project
for the Old Man... trailer, in Final Cut
Pro, at the rent-payer, while I attend to
I shot the promotional trailer
during Monday's rehearsal, then essentially missed rehearsal last night to
edit the DV movie.
I was at the rehearsal, but I was mostly off in the greenroom editing.
The TV monitor was on, and I did check on particular moments, but, overall,
my focus was on editing the DV movie. Usually, I'll take a
day from the
rent-payer, the day after
I've shot the promo, to edit during the day, but since I am on
for a week, starting Friday, I really couldn't skip a workday yesterday.
Plus, my budget of
leave days is pretty tight this summer and I didn't want to burn another
day, or partial day.
However, I did bring three of the four cameras to work on Tuesday, and
transferred the footage from the cameras to the
Final Cut Pro X project
while I was doing my work work. I grabbed the footage from the
fourth camera Monday night at the theatre, as that camera is used as the
monitor camera for the lobby and greenroom TVs during a DTG show run, and
I wanted to leave that camera in place ‐‐ and yes, I did shoot
that footage from the "monitor camera" perspective..
It was my standard
but I did not do any hand-held camera work for this one. Usually, I have
three cameras on tripods and I carry the fourth one, so I can move with it,
in and out, truck
left or right, or pedestal
up and down with the hand-held unit. However, I did not want to have my
focus be shooting footage Monday night; I needed to concentrate on the
sound design needs, especially since I was lossing one night of attendance
at a tech rehearsal,
and most especially since I will not be on scene
nor any of Opening Weekend, or the second weekend, for that matter. For
this show it's only four tech rehearsals for me to tweak the sound work.
Once Final Dress is wrapped, that's is. That is my last night to make
adjustments. Plus I won't be readily available over the first weekend if
a sound problem arrises, because I'll be in
Hocking Hills this coming
weekend, and cell service will often be spotty. So, I needed to just set
up the cameras on tripods, hit "record" then go attend to sound.
I didn't use dialogue from the script in this trailer, anyway, it's all
footage over show-appropriate music, so all we needed was a nice
series of shots
with interesting, compelling movement; as this is the promotional trailer,
I didn't have a need to edit together a coherent
which would have told a story; the promo DV movie's mission is to pique
interest, not reveal the plot.
By the way, I did not finish editing the video last night. That will happen
today, probably at lunchtime at the ol' rent-payer. The trailer for will
likely be up at the
DTG YouTube channel,
as well as posted on our
DTG facebook page,
and at the website, later
THEN THERE IS THAT 0.0001% INPROBABILITY PART OF THE EQUATION:
"100% Definite" − "99.9999% Probable" =
"0.0001% Maybe Not So Much"
Yeah, I am frustrated! The screenshot above of the recent post on my
K.L.Storer's Artist's Page
on facebook, pretty much lays out the cause of my frustration. As I
listened to what was labelled as the "finished masters" of all
the songs, I became less and less happy with the overall quality and dynamics
of the recordings. A lot of the work, especially listening on headphones
sounds too muddy and occasionally too hot.
I'm going back, to the
mixing level for
all the songs. I'm going to lower the volume of each individual track and
I'm also going to pull a bit of the low-end frequencies down, at the track
level. I don't really think I need to adjust any of the placements in the
but, you never know. I will be doing these adjustments in the existing
mixing projects in Logic Pro X.
everything from scratch, creating new mastering projects in LPX.
The false finish of the mastering was over a week ago. I have not dealt
with the album project since I made the decision to redo it all. First, I've
had auditions and sound design things to attend to; second, I needed to step
away for a little while. I may start working on remixing/remastering while
I'm on my upcoming
which starts Friday, though I have no delusion that much will get done.
Still, it's not impossible that the album could be released before the end
of June, but July seems a better bet.
After Sheryl, next on the agenda is the 2022 annual installment of the
new play festival, July 15-17. This is the first in-person production since
August 18 is the first of two more stand-ups. I've loved all
Mulaney's stand-up specials
that I've seen, and I think I've seen them all. You can see from the image
on the right that I'm in the second row for the added 10 p.m. show.
Technically, this one's in autumn, but it's close enough to call it part of
the summer festivities. I'm seeing
Lewis Black live for the second
time. My seat's not quite as close for Lewis as for John, but, still, ninth
row isn't bad, at all.
Of course, the big thing, for all these events, Paul McCartney
through Lewis Black, and my other
stuff, will be to be
There's an incredibly strong chance I'll be wearing my N95 mask, especially
My truck, loaded with firewood for at least SOME of
the trip. There's probably still room for other stuff in
Soon as I post this, I'll start packing to head out on
2022. I am, of course, running late, but, so what?
Last night I bought forty pieces of firewood from a local farmer for
twenty bucks. You can see them loaded into the trunk of my car on the
right. It's rained lately and much of the wood is a little damp, but I
figure being in the trunk with heat build up will dry it out. There's also
the concern that when I get to my cabin in
it'll rain all or part of the weekend, interfering with my evening campfire
plans, but, we'll see. There's a chance of rain all damned weekend, but,
There's some chance of rain in the forecast for my Tennessee leg of the
trip, too, which causes me concern for my visit to
as well, and more importantly, my four-night stay camping at
Norris Dam State Park.
But at least it looks like it'll be sunny when I set up camp. I also know
my tent handles rain well, so as long as it's pitched already, the possible
"PM thunderstorm" on Thursday, June 2, won't be too much of a
problem.....well, except that Id rather it didn't rain on my camping trip.
Well, enough of this. Time to pack and hit the road.
Last night's Final Dress
indicates that those who venture to The Guild
to see this show will not be sorry. It's really a very charming show,
executed quite well by cast, band, crew, and designers (even that
If you live close enough or will be in the area on any weekend between this
one and the weekend ending on June 12, you should come see this.
Directed by Jeff Sams
Music Direction by Lorri Topping
Produced by Debra Strauss
The Old Man tends to The Old Moon, refilling the light that spills
out every night. When his wife unexpectedly leaves home, The Old Man
abandons his post to find her and plunges the world into darkness.
His eventful journey across land, air, and sea reminds them -- and
us -- of the unwavering power of love. This is basic storytelling at
its best and a lesson about the inevitability of change, reminding
us of the magic of folktales that take place in a timeless land far,
The Cast of The Old Man and the Old Moon
The Old Man
The Old Woman and others
Cookie and others
Callahan and others
Llewellyn and others
Mabelu and others
Jeff Blair: Percussion
Nancy Perrin: Piano
Abby Williams: Guitar/Bass
David Wells: Banjo
Chuck Larkowski: Accordion/Piano
Brad Bishop: Guitar
The promotional trailer for The Old Man and the Old Moon
Now that I am "back to the grind," I'll get to remixing and
remastering, most likely tonight.
SOUND TECHING & ENGINEERING:
As you may know, from here, or elsewhere (if you're from the Dayton area),
is hosting Pennsylvanian performer Oni Lasana'sone-person showDoin' Dunbar as 'Lias' Mother, on Sunday evening, June 26.
Ms. Lasana already has her
plot. I will create a sound cue program in
Show Cue Systems based on her
design and using her sound files. Then I will
be the sound tech
for the performance.
REALLY....IT WON'T BE LONG:
All I gotta do is some photo processing, and then some prose writing about
my Spring Vacation
2022, then, there'll be at least one accounting of the week, in general,
as well as a special accounting of
at Thompson-Boling Area
on May 31.
*(Okay, well, I have a bit of photo processing to do).
Just shy of three weeks ago, I attended my twelfth
Paul McCartney concert.
I've seen him at least once on virtually every U.S. tour he's done.
I paid a hefty price for the ticket, some would say too much, but
I am one of those fanatical devotees to "Macca," as his
rather large fanbase often calls him. His legendary command of
musical melody and his ability to pick up any instrument and make
great music is astounding. Paul is absolutely my biggest artistic
influence. Not just musically, but his whole attitude and approach
to creativity. He sees the simplicity and because of that he so often
creates something deceptively complex. Those who deny or don't
recognize his profound influence on pop and rock music are missing
it. His influence is so prevalent that many younger artists don't
know his influence has filtered to them through their heros, artists
who were influenced by him. Many have no clue of the breadth of his
creative range. Yes, he’s failed a lot, but that is only because of
the prolificness of his ventures, and his guts to take risks. And
when he doesn't fail, it is always brilliant. In fact, one can see
brilliance even in many of his failures, if they look. The man truly
deserves the label “Genius.”
Today, Paul McCartney celebrates his eightieth birthday, having just
finished another concert tour, an almost three-hour show where he
was still going strong after the last song of the encore. He's
eighty years old and he is not finished.
Happy Birthday Paul ‐‐ and thanks for all the many
lessons you've given me by example about being a songwriter, a bass
player, and an artist in general.
I didn't get to the
as soon as I planned to, but I did start work on the opening song,
"Identity," last night. I've only begun to tweak the mix, not doing
a lot of altering. For instance, I don't plan to change anything in the
stereo pan for
any song, though I always reserve the right to change my mind if it seems
Thus far, for "Identity," I've done an over-all volume tweak,
bringing everything down in their channels then upping the master,
stereo-out volume. The goal there is to keep any track (instrument/vocal)
from ending up too hot (distorted) in the final mix. I've adjusted the
for a few instruments, especially taming the low-end frequencies. I started
with the drums, taking out some low-end and slightly enhancing some higher
frequencies in the EQ. I did some adjustments and tweaks to the bass guitar
volume, such as bringing up the volume slightly on bass fills, and again,
I took down the low end frequencies just slightly. I did the same EQ
adjustments for the piano and the chorded bass that sits under and boosts
the piano. Unfortunately, I have to forgo work on the project tonight as
I have a commitment that I have to attend to.
To recap the overall action being taken on the music: the Virtually
Approximate Subterfuge album was originally hoped to release about August
of 2021. That did not happen. I was not done recording when August rolled
around. Then I set my eyes on pre-Christmas, say the first or second week
of December. Again, nope. Next it was before the end of this Spring that
we've just left. That goal was almost achieved but then, as some will know,
I was unhappy with the master recordings of the album, and I chose to step
away, take a little break from the project for a few weeks. Now, of course,
I have returned to it.
I'm not sure how fast the progress will be, thus, I'd guess it's likely my
2022 *(see below) will absolutely be about moving the album
project toward completion and release. Whether that will entail finishing
up the remastering before moving on to the rest of the work to get it to
release, or it just means dealing with that post remastering stuff, remains
to be seen. I suspect remastering won't be done before I hit the
and I am not allowing myself to stress about that.
But, really, August, 2022 needs to be a HARD deadline for
The stereo frequencies volume analyzer window for the whole
"Identity" mix, and the bass guitar channel EQ
A Gary Katz
wannabe, listening to playback of the mix after the thus-far
tweaks have been made.
CAN I DO 2022/2023 AS AN ACTOR, PLEASE?:
I'm gearing up for the coming theatre season in a couple ways. For one thing,
I've already identified two, maybe three, shows I want to audition for, these
being at homebase:
The Dayton Theatre Guild.
I also have just sat for new headshots,
taken by photographer, fellow actor, and fellow DTG
boardmember, Rick Flynn, through his Rick Flynn Photography.
I haven't taken a close look at the seasons at the other local
but that is on the agenda. Of course, in May, I submitted my
for the Human Race Theatre Company'sgenerals
for the new season, but as I have not been notified of any
it doesn't seem that I will be appearing on the
in the 22/23 season, at least not in a mainstage production. I did
express interest in their occasional Monday night
so that might still be a possibility. But, if I haven't yet been notified
of a callback for one of the season's main productions by now, I don't see
that it will happen.
I also have run across a few
for short films
or indyfeature films,
but thus far there's been one obstacle or another: I don't meet
the shoot is a scheduling problem or is located too far away. I am, however,
open to doing some screen work; it's been seven years. The last movie I was
in was The Tooth Man Cometh,
which was shot in the summer of 2015, before my heart attack.
So let's see if I can get cast more than just frickin' occasionally this
Meanwhile, here are a few of the headshots from the session with Rick:
I'm taking more
time during the Fourth of July week, but this time, for several reasons,
I am not heading out of town, even to spend time over in that haven of
So, I have a
coming up: "Summer
I do have a couple events happening during this
at the Fraze Pavilion
on July 5, and
at The Rose Music Center
on July 8. These were initially why I requested the week off. It's a strong
bet that I will hike at some local parks more than once during my
nine days off. I may also try to fit a couple nights at a campsite somewhere
When I first scheduled the time off I considered spending the first or the
last weekend at
but even before the budget for my Spring
2022 blew up ‐‐ mostly due to the price of my
ticket ‐‐ it was going to be cost-prohibitive even with the
pre-Paul budget for Spring. A couple nights
at a cabin in Hocking Hills was on the table, too. But now, a trip off
somewhere would be a little too much for my wounded finances. Then there is
an even better reason.
Like I wrote above, getting the Virtually Approximate Subterfuge album
to the finishline will be the big focus of Summer
2022. And again, as stated in the entry dedicated to this subject, August,
2022 needs to be the HARD deadline. Plus, back to the
"wounded finances," there are some fees involved with releasing
the album, processing and distribution fees for the electronic release,
manufactuting costs for the physical CDs, etc. The less I spend on the
I'd also like to finish coding all of the blog html pages for their new
home at klstorer.com
so that I can shut down this site where the blog resides right now, ASAP. I
need to stop paying for this server space.
If you are one of those rare species of surfer who is returning to
this blog you'll notice a reasonably different look and a different
web address. And likely you came here based on a link I posted on
my facebook artist's page.
The blog now is at my artist's web site,
klstorer.com. Since it's
inception in early 2004, with retroactive entries dating back into
late 2003, it's been hosted at my literary website, The WriteGallery
Creative Writing Web Site. Honestly, for almost the last two
decades, that web site has only served as the host for the blog.
With the exception of a few of my poems, that I snuck in under the
radar, there has been no literary updates at The WriteGallery since
I knew when I began klstorer.com that I was going to close down
The WriteGallery. That time has come. I had some of my fiction,
poetry, and essays there, including one on-line chapbook of
fiction and poetry, and all that work will end up here. I regret
pulling down all the work by the hundreds of other writers, but
I did not want to migrate all that to the new site, which has a
different focus and mission; plus, I'd have to get clearance from
the authors and in many cases that would be difficult if not
impossible. Although there are a few short stories that I've
thought about adapting to
for short films;
one in particular that is perfect for the format. If I can
contact and work out a deal with the writers, perhaps I'll still
have a relationship to some of that work.
About half the blog pages still have the old look because I wanted
to close the old site down before I could completely udate every
blog page. "Work In Progress," you know.
A BRIEF RECESS, A "PLANCK TIME," IF YOU WILL:
After last Wednesday night's session of
"Identity," I have not returned to the project. Honestly,
I've been dealing with HTML code and recoding to shut down the
old site and get HTML docs at least a minimal of ready to be at
this new site.
I have a sound gig later today, *(see the Dunbar performance wrote
of below), but I may try to do at least a little more work on the
remixing of "Identity" when I've posted this blog entry.
Wearing a mask while visiting our theatre is recommended to help
ensure the health and safety of all our audience members, cast &
crew members, and volunteers.
Please be safe,
Dayton Theatre Guild Board of Directors
WHERE'S SCHRÖDINGER'S CAT WHEN YOU NEED IT?:
Yeah, the bag's open, the cat is out and off somewhere licking up
a bowl of milk or whatever, at least that's the situation if you are
in the Greater Dayton Ohio area, and especially of you're part of
the theatre community here.
So, I was at my campsite on the side of a Smokey mountain, where I
had much better cell reception than I would have guessed I would.
There was a voicemail from DTG President Carol Finley and she
asked me to call her back as soon as I could. Now, there was a DTG
project going on at the time that I was working on and some action
needed to be taken. I had told someone else involved in it that I
would take particular action when I returned from my
the following Monday. Since I had made that pronouncement I'd had
two further emails on the subject. So, when I got the voicemail my
first response was,"Oh, jeez, I'm on
But Carol wasn't calling me in her capacity at The Guild; she was
calling me as a board member of the Daytonys/DTHOF. When I called
her back, she said, "It's my privilege to inform you that you're
being inducted into the Dayton Theatre Hall of Fame."
Um . . .
That's not what I said, but it is the first thing that came up in
my head. What I said was, "Wow. That's weird."
Just between you and me ‐‐ since I am pretty sure almost
no one reads this blog ‐‐ a little while later, I wept to
myself, because, you know, I felt a little overwhelmed and quite
touched. For god's sake, they're inducting ME? into the hall
Well, so, on July 31, I will stand on a podium and try not to be
too engulfed in imposter syndrome.
RESPITE ON THE PATIO:
Friday I got to work remotely for most of the day. There was some
maintenance being done in my apartment and I wished to be there
for it, so I arranged with my boss at the
rent-payer to go
home after I dealt with some things I had to be in the office to
And, of course, I had to get some of the traditional selfies of my
Lunch on the patio before work on the
Then, work-at-home working.
As the sun moved into the western sky I
retreated inside to finish the work tasks.
SATURDAY IN THE PARK:
While we wait for me to get a writeup about the
2022 finished, which will absolutely have some hiking photos,
in Hocking Hills
and at Norris Dam State Park,
here are some from yesterday. I did a hike at
first one there in quite a while.
Late morning/early afternoon Sunday, then last night, I worked more
on the remix
of the album's opening cut, "Identity."
Sunday I did some adjustment to the synth bass pan in the musical
interludes between verses. As well as I did some
adjustments for some tracks, again tempering the low end. I also
did more volume adjustments, especially bring the rhythm guitars up,
those mostly be performed by my nephew, David Bernard.
Last evening, I did more EQ and volume adjustments, this time to
the lead vocal and the main backing vocal, those two being tethered
together in a bus.
Again, I did EQ and volume adjustments to the secondary backing
vocals, also tethered together in another bus.
Of course, all this EQ tweaking has been to greatly reduce the
emphasis on the low-end frequencies, which takes an unwanted
boomy-ness out of the recordings. This will be a feature that
will run through the entire re mixing and
One of the things I recently discovered on this music producer,
mixing/mastering learning curve is that sometimes it's wise to
pull down the overall EQ for a part, such as the lead vocal, as
seen below. In the case of the vocal it gave me the natural
quality I've bee striving to get with this one the whole time. This
EQ trick is likely to be a normal part of my arsenal from now on.
As for continuing on with "Identity," I still have the
horn section and David's lead guitar work to tweak, then I move on
to remastering the track. I will be redoing all the songs in
The Night Before the Night Before Christmas [remastered]*
Chilled October Morning
Just One Shadow [remastered]*
Memories of the Times Before
Into the Blue Dawn
*) Yes, it is technically true that everything is being
remastered, but "The Night Before the Night Before Christmas"
and "Just One Shadow" both have mastered versions already
released as singles and the "[remastered]" label on the
album versions will distinguish between the two versions. In fact,
at least CD Baby and
if not other entities, require remastered releases to have that
designated label so that a different item number can be assigned.
The EQ window for the "Identity" lead
vocal, showing the overall pulldown of the EQ
DUNBAR AT THE GUILD:
Oni Lasana's performance Sunday went
quite well. Unfortunately there were only about two dozen people
in attendance, but that small audience was responsive and enjoyed
the show. There was some audience participation and all those called
upon were good sports about it. Ms. Lasana has put together a nice
program and she performs it well, doing great justice to Dunbar's
With the exception of Dunbar's well-known poem,
Lasana's show is made of Dunbar's work written and spoken in the
southern black dialect of the nineteenth century. She closes her
show with "Sympathy" in fun manner that involves more
As for running the sound cues, there was a bit of an on-the-fly
aspect to it, but I managed. Our afternoon
was a rather informal, hybrid
and during the show some of Ms. Lasana's line cues were altered from
the script, so I had to be vigilent. But, it all worked out fine.
I finished the remix
of "Identity" Tuesday evening, by once again tweaking
and volumes, this time for the horns and then my nephew, David
Bernard's, lead guitar solo. When it was done, listening through the
headphones I still got a little boomy-ness but figured I could address
that during the remastering.
Last night I all but finished the remaster. More EQ adjustments,
as well as adding in two gain filters, one for the overall mix and
one for the sounds placed at left and right of the
‐‐ just a slight push on that one to give a small boost
to the stereo dynamics of the mix and adding just a sliver more
stereo separation. I also, of course, applied the
filter, to gingerly brighten the mix.
This morning I listened to the mix in my headphones and there is
not that unwanted boomy-ness; the mix has good clarity and
brightness to it through the phones; plus, I am hearing all the
instruments in the stereo mix well; nothing is buried. Before I
render the final mixed-master, I am going to try to up the
LUFS (Loudness Units relative to Full Scale),
just a bit. Right now that overall number is sitting at about -14.
I am going to try to get to -10, if doing so doesn't give the song
any volume distortion ("hot sound").