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Session 2 is today for the "Rich/K.L." joint project. We continue to work on our first choice of collaborations from "the olden' days." The question of the day is: will we do any recording today? I am impatient to get to that, so I have to be careful that I don't try to rush it. I think Rich may be more on the side of caution, so that's good. But what I think about is our likely schedule; we'll likely ony be meeting mostly every other Saturday, with some exceptions. That means every minute counts if we want to get anything out into the wild before 2030-ish.

As I've listen to the 1983 rehearsal recording ‐‐ over & over & over ‐‐ I have fervently confirmed my selfishly bias opinion that it's a really, very good song. I don't believe I'm being egomaniacal when I say that I think had this released in the early 80s it could have very easily hit the Billboard Top 40, maybe even the Top 10; and I sincerely believe it could have even hit #1. I'm not sure it has that kind of potential hit power today, but maybe it could put a dent in one of the other Billboard charts, "Adult Contemporary" or something. Of course, we'd have to have the ability to get it to a marketing place to even be noticed by the world at large, which takes a marketing budget and networking like we'd have if we were signed to a big label. That's really not a probability. In my mind it's still a candidate as a single, though. Millions may never hear of us or the song, but I have had people on the other side of the country and the world listen to some of my music, and that's something.

More woodshedding on that bass solo.

I've listen to the 1983 rehearsal recording ‐‐ over & over & over ‐‐ as I've worked on the bass line. Really it's been the work to refresh and get down the bass solo. I opened the WAV file in Quicktime, set it on "Loop," and listened to it repeatedly, attending closely to the bass work. Anyone hanging around might have been quite annoyed: "Jesus! Do you have to play that over and over and over and OVER!?"

I also redid that clip of just the bass solo section slowed down. The first one was too muddy because I pumped the bass end too much and cut too much high end, with the theory that I'd hear the bass better. That original was also slowed down to 50%, which turned out to be a little too much. I didn't change the EQ on the new version, and I only slowed it by 30%. It's much easier to follow. I had that on Loop in Quicktime all night Wednesday into yesterday. I also have the bass work I do under the guitar solo late in the song; that also was put into a clip, slowed down, and redone for better sound quality, and at -30% as opposed to -50%.

I'd spent some time on the bass work, especially the solo, for the last week or so. Yesterday it was a big focus, and I kind of have the bass solo down; I've figured out all the notes, but I'm not sure it's practiced up to a decent performance level. I guess I'll find out today.

Now, I head to Rich's for round 2. We have much of the day to play.

I arrive at 10:00. We should be off and running by 10:30-ish.

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THE WANT, WILL, AND HOPES OF THE PEOPLE:

SESSION 2:

Migrating the stems of the rehearsal demo recording from my 24-Track recorder to my laptop.

Session 2 of the Rich/K.L. joint effort is wrapped. Though not a surprise, I was disappointed that we didn't do any official recording yesterday. We did record but it was a demo for each of us to woodshed with.

Yeah, we have not arrived at the place where we're ready to lay tracks down for an official recording. I wrote yesterday that I kind of had the bass solo down. So, I have it kind of down, but still have work to do. That's one of the purposes for the demo that we did record yesterday. We recorded Rich's rhythm guitar and my bass line, but I dropped out during the bars where the bass solo goes, so I can work out that damn thing.

One thing I noticed when I listened to the raw recording of the bass was that the low notes had some distortion. I haven't dropped the two stems into Logic Pro X and done any processing, but perhaps when I do I can do some equalization on the low frequencies and fix this issue. I played this on my Viola bass and ran it through my Bass Ten Graphic EQ, then my Bass Chorus Pedal, and direct into the recorder. I got a bit of a hot signal on the bass in my headphones, but I thought it was just the signal in the phones because the meter didn't read hot on the recorder. There's a chance that the graphic EQ pedal is the culprit. I've noted this to examine when it's time to record in earnest.

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A BASS SOLO, LAUNDRY, THE ZOO, & AN ART MUSEUM:

On the hike on Saturday.

Working on the bass line, last night.

Saturday, before I mixed and mastered the little rehearsal demo Rich and I recorded on Friday, I took advantage of the sunny and relatively cooler day to take a hike at Sweet Arrow Reserve. I mention it here because while I was there, beyond replenishing my soul as a hike does for me, I also mentally worked on composing the bass line under the guitar solo late in our first joint-project song.

I'd already taken one part of that line from the '83 rehearsal recording, and during our session on Friday, I'd come up with something new for the first portion of the section. Hiking, and then yesterday, I worked out something mostly new for the last portion, loosely based on what I'd done in 1983, but I made it a little less busy to keep it out of the way of what, at this point, is slated to be a guitar solo; it may end up being another instrument, though guitar is a strong choice there.

Yesterday I created a rehearsal demo for myself that is only the guitar part, so I could rehearse the whole song on live bass without competing with the recorded bass, which is distorted, anyway. Having created the guitar only demo, I spent the afternoon and evening rehearsing what I already had down and honing the bass solo and bass line under the "guitar solo." Meanwhile, doing some task swapping, I took a break every now and then to take a load of laundry to, or fetch one from, the apartment complex laundry room.

I gained some good ground on both the bass solo and the section under the other solo, and I augmented the rest of bass line for the song just a little, by adding subtle adornments and variations. I'll have to rehearse the whole song more. I've gained ground, but I haven't quite arrived at the destination.

There may be some music worked on in the evenings, but during the day, today and tomorrow, I'm doing recreational vacation stuff. Today, I head to the Cincinnati Zoo for the day; tomorrow I'm going to the Dayton Art Institute. I haven't been to the Cincy Zoo for five years. It's been more than a decade since I've been to the DAI; and that was during a work conference where I barely browsed the collection.

Of course, the Dayton Art Institute isn't The Met, or the AIC, or The Getty, (though I haven't been to the latter), but DAI is still a damn nice art museum, and it's been too long since I've truly perused it's galleries.

Likewise, the Cincinnati Zoo and Botanical Gardens is a fine zoo. When I vacation in cities, I like to visit the zoos in them, if they have one. I certainly haven't been to a lot of zoos, and why I didn't drop into the Central Park Zoo when I was in the park several days in a row in 2019, I don't know, but of the zoos I've been to, I rate the Cincy Zoo one of the better ones.

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MOVEMENT ON THE FIRST HISEY/STORER SONG:

I'd love to write here that this past Saturday Rich and I laid some tracks for the first song for our joint project, but, as the icon above tells you, we did not. However, despite some pretty bad run-throughs early in the session, we did get good ones in later.

Though I'm not as 100% comfortable with it as I want to be, the bass line is mostly working for me now. I actually got through the bass solo a few times at pretty close to perfection ‐‐ probably not at the level where I would have felt it was a good take, but were I to have played it like that during a live performance, I would not have been unhappy. On the other hand, I'm not wholly satisfied with the last few notes of the alternate bass line under the probable guitar solo section, but that's a minor point that will get fixed sometime this week, maybe tonight, when I am definitely rehearsing.

We are doing another session this coming Saturday and I am far more hopeful that we'll officially start recording then. We may just lay Rich's rhythm guitar and my bass line, but I'm thinking that we're ready. The big issue, technically, is that I need to be sure that I can get a track of my bass on my 24-Track that's not distorted; when we recorded the rehearsal demo I had that problem. I'll trouble shoot it sometime this week before the Saturday session.

Rich and I have also had a discussion about some of the further instrumentation for the song. The song has what's more appropriately called soft-rock verses and the chorus, and the bridge to it, is more rock. Rich plans to add a second rhythm guitar part with harmonic chords that fill out the guitar chording during the verses.

Whether he's playing that second guitar during the chorus section, I don't know. But I do plan to add some bass chords for the bridge into the chorus and the chorus sections. The bass line, as you see from the pic and movie above, is played on the Epiphone Viola Bass, using the Bass Chorus Pedal for a portion of the song. During the chorus section I'll play the Epiphone Embassy Pro Bass with the Overdrive/Distortion pedal to enhance the rock vibe. It's not inconceivable, though we haven't formally talked about it, that we'll be bringing in another guitarist to add a third rhythm guitar part, as well as that "probable guitar solo."

MY TWO-ACT REVISITED:

Of course, the predominance of what I've been doing is slashing things, i.e.: dumping my little darlings (my new, kinder, gentler term for killing little darlings). That means there's been slight revising of some things left over where things were cut, in order to keep those passages making complete sense. Usually that's meant changing a word or changing the tense, etc., of a word. Though in a few cases I have added a small amount of new material or a new word, not necessarily a synonym, either. And in at least one case I moved a passage to the opening. I want to get a more powerful opening to the play. I fixed it a little by moving that passage, but I think I'd like it stronger, still.

The big thing is this: my play is in a large manner a play of exposition, more so exposition from one characer to another, revelations that the characters get from each other. It's a lot of the foundation of the play. If it's done right it can be action. But making it action and not simply awkward exposition, or something annoying or boring, is a serious challenge. A lot of what I'm doing to "dump my darlings" is ask myself these questions:

does a characer need to know this information or this detail? or does the audience need to know? if the audience needs to know, is the exposition being done in a natural way that is a productive, logical part of the story?

There are more places than I'd like, I must confess, that could not get a "yes" to some or all these questions.

A WEEKEND OF GREAT THEATRE WORKS:

Every single one them was a damn good play.

The winner was Chagutok, by Vince Gatton. This was his second entry at FutureFest, having been a finalist a few years back. I kind of know Vince from the last time, after we realized in a conversation the first time that he, also being an actor, is a friend of Margarett Perry and has been directed by her many times; Margarett has directed me twice at the Human Race Theatre Company; coincidentally, she's directed him there once, too.

The other four plays were:

dess, by Dominic Finocchiaro ‐‐ another returning playwright and a previous winner. Beyond that, Dayton Theatre Guild will be producing Dominic's play, how it feels to fall from the sky, this coming 2026/2027 season. Pockets by Linda Ramsay-Detherage ‐‐ also another returning playwright and a previous winner Vichy, by Barry Slater At the Broken Place, by Paul Colemann

The adjudicators were:

Peter Filichia ‐‐ a longtime FF veteran Tatiana Godfrey ‐‐ FF newcomer Johnathan Hogue ‐‐ FF newcomer Helen Sneed ‐‐ the other longtime FF veteran Emily N. Wells ‐‐ returning to FF

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RICH HISEY & K.L.STORER HAVE ACTUALLY TAKEN A LARGER STEP!:

Rich in his Fender Strat guitar, during the recording session Saturday in his music studio.

Rich's music partner in that same session, on his Epiphone Viola bass.

A doppelgänger for Rich's music partner, adding a chorded bass line to the song, yesterday in my apartment on his/(my) Epiphone Embassy Pro.

I'm thrilled to report that this past Saturday Rich and I DID lay official tracks for the first song of our joint project. For technical reasons we used my newer Tascam 24-Track recorder as opposed to Rich's older model of the same recorder. Essentially, his machine needs legacy hardware, such as a much earlier USB cable for importing/exporting sound files. Plus, as illustrated below, it gives me a more convenient opportunity to add instrumentation and vocal work at home; it was possible the other way, but that involved said importing and exporting of sound files from one 24-track to the other ‐‐ possible, but a bit of a minor pain.

At Rich's, Saturday, we first recorded a click track, using the mixing board for Rich's Roland TD 516 electronic drums. Then we laid down Rich's main rhythm guitar on his Fender Stratocaster HSS and my bass line on my Epiphone Viola. We got Rich's on take 3, but I did another take on my bass.

However, even after that fourth take, I still wasn't satisfied with my performance, so I re-recorded the bass line at home yesterday. I got it in one take. There's actually a couple imperfections in the performance, one, a very minute error in the bass solo that no one else on the face of the planet would notice, the other is an erroneous deviation from the bass line I've composed, but it's not a musically technical error, I just played the wrong flourish at one point.

I also added two chorded rhythm bass parts yesterday, using my Epiphone Embassy Pro and, for both parts, my Boss Overdrive/Distortion pedal, with different settings for each part.

The first of the two, as I wrote in the last blog entry about this joint project, is to rock-up the chorus sections of the song a little bit. I also played a subtler chorded part during the verse-chords section that we're allotting for the probable guitar solo, but I had the pedal off and plucked the strings with my fingers rather than using the pick. That part took 9 takes to get a full take I was happy with. Some of the takes were not the whole song, just recording a particular section, but I usually count that as a new take unless it's a very, very small re-do, say a few seconds or so.

The second Rhythm bass doesn't show up until the last minute or so of the song and is also ran through my DigiTech Bass Whammy Pitch Shift Bass Pedal, bumped up an octave. I plucked that part with my fingers, too, but it's not a subtle performance and the overdrive/distortion is much heavier than for the other bass rhythm part. That was one take, but seriously, it was a very easy part and only lasts eight measures.

Our next session at Rich's is scheduled for Aug 15, and the goal is to at least record his drum part for the song, using his Roland TD 516 drum kit. The thing is, Rich has never played drums on this song. Back in the SeazonWind days, last century, he was on rhythm guitar and another member of the band, Ron Dunn, was on the kit. Rich has to compose a drum part. Today I'll be mixing a rhythm track demo with all instruments thus-far recorded as well as the click track, which will be mixed prominently up front. I'll send that demo to Rich so he can work on his drum part before the 15th.

Also, if we're lucky, there'll be at least one vocal track added during that Aug 15 session, that being Rich's backing vocal. In the meantime, since that session is just shy of two weeks away, I plan to record my lead vocal and my backing vocals at home before then, most assuredly this week, and probably some of them, if not all, tonight.

I'm sure we'll discuss further arrangement ideas for the song. I want to discuss bringing in the guest guitarist and what style of solo work we want from that musician. And who knows? we might start work on the next song. We had a brief discussion at the end of the session Saturday about what we'd do next. I'd proposed we do the first song for his solo project but he thought we should do the other top choice for our joint project. We can start work on that and come back to the first song when additions are ready, we don't have to completely wrap one song before working on another.

MAYBE K.L. COULD TAKE SOME STEPS AGAIN ON HIS OWN SOLO JOURNEY:

Since I'm on the subject of solo projects, I haven't worked on my new album for over a month, so I plan to go back and give the vocal parts for the R&B song another shot. That, too will likely be this week. Let us hope that I can finally give the song the lead vocal it deserves....

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It's probably time to start working on another piece for the album lineup. Whether that's pulling up one of my compositions from oh-so-long-ago or working on something new, is up for grabs. But it's time to be proactive about new material for the list.

DESPERATELY SEEKING FREDDY MERCURY'S VOICE ‐‐ (HA!):

AND LET'S WALK BACK TO THE PAST FOR ANOTHER STEP FORWARD:

It's also time to get back to mixing and mastering this album from the 1980s. I worked on the first song for one session during my Artist's Retreat ‐ Staycation July 2026, but I have been neglecting this, too.

I still have reasonable hope for a 2026 release date for this work which has been patiently waiting for four decades. That only can happen if it's mixed and mastered; and it's a double album, with only the first track having received any mixing, and no mastering has been done.

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TWEAKS AND FEET FORWARD:

Over last weekend I played the rhythm-track demo I'd mixed of the Rich/K.L. song we're currently in the midst of recording, for me to both rehearse my as-of-then, yet-to-be-recorded vocals and to further scrutinize the stereo mix, as is, looking down the road to the final mix. That mix had bad balance between my three bass parts and Rich's rhythm guitar. His guitar was getting a bit buried and it needs to be more prominent. So I remixed and remastered it, again rendering versions both with and without the click track and emailed new MP3s to Rich. I'm still not sure about the mix, or that the chorded rhythm part works as well as I (we) want.

Our next session is today, later this morning, and the plan/(hope) is that we at the very least get the drums laid down. Last night, I recorded my vocals for the song, at home. You can read a little bit of detail in the next entry here. We may lay Rich's vocal today, too, maybe, if there's time and he's ready. There's a chance I'll give the chorded rhythm bass part another go today, with a different approach I've been thinking about.

A "YES," A "NO," A "GYMNASTIC" OUTLINE:

I also can't help suspecting, as I have many times in the past, that there could be a psychological aspect to me developing a sore throat just when it's time to seriously sing, at least a harsher sore throat than the chronic situation I've been in the last few years. It seems to have often historically happen when I'm cast in musicals; although there's frequently the factor when I'm in musicals that I'm singing more in the short term than I do regularly in the general time period, meaning, I'm working out my voice and throat much more-so than usual, which could fatigue and irritate my throat and vocal chords.

Currently, I am frequently doing the straw phonation exercises, a little lighter when the throat has been sorer, but still doing them. So my vocal ability isn't what I guess can be called, "cold." And I did finally attack most vocals on the agenda.

Last night, at home, recording the lead vocal for Hisey/Storer song #1.

Last night I recorded my vocals for the first Hisey/Storer song. Again I came to painful terms with the fact that I had much better vocal capability at twenty than I do now. Some of the high notes, that were a breeze four decades ago, were a struggle last night. And I did not finally achieve them with the smooth strength of my youth. I won't list the litany of reasons from this time in my life again.

I recorded the lead vocal; that took ten takes, specifically because of the challenge of parts of the chorus section. I also recorded two other parts: my backing vocal, taking over for our old bandmate back in the day, the late Ronny Lingus. I also laid a track of an ad-lib type vocal toward the end of the song. Both those vocal were each done in one take. The irony of my backing vocal is that it's actually higher than the troublesome notes in the chorus, but I'm singing the backing vocal in falsetto, making the notes easy ‐‐ I don't want to sing any of the chorus in falsetto for the lead vocal because it dilutes the impact.

I ran out of time to finally give the R&B song for my solo project another try. I'd doubt the "no recording" to the right would not still be there; or if it was gone, I still be reporting that none of the takes were satisfactory. If I had trouble with the chorus of the Hisey/Storer song, it's a sure thing I'd have more trouble with this one.

As I wrote above, the straw phonation work has been going on. It's pretty much every weekday on my morning drive to work as well as on other drives other times during any day of the week, and at times when I'm not even in my car. I actually got an email from someone that I don't know, Jane, who visited the site and read my blog ‐‐ I know! ‐‐ who asked for details on my straw phonation routine. I suspect Jane had used "straw phonation" as a search term and my blog page was one of the search results. I gave her a detailed response. Then it occurred to me that I could put that information here for any of you five regulars (and other visitors). So here is what I'm currently doing in my straw phonation exercises:

First scale	Ascending four-beat notes from low in my range to the highest note I can achieve, each note a step or two higher than the previous one.
Second scale * when not done in straw phonation, I sing "Ha Ha's" with an emphasis on the H consonant, opening the back of my throat as much as I can	Quick quarter-note up-and down scales of root-chord triads (root note, 3rd note, & 5th note), starting at a low chord then moving up one step until the I sing the highest 5th note I can. Examples (These all below middle C): A-C♯-E-C♯-A*, B* / B-D♯-F♯-D♯-F♯-B*, C*/ C-E-G-E-C*, D*....... *: the last two notes of each scale being half-notes
Third scale * when not done in straw phonation, I sing "Ya Ya's" with an emphasis on the Y consonant, again opening the back of my throat as much as I can	Slower descending scale, starting at highest note I can achieve, with seven notes, the first moving down as follows: 1st note / down 1 step / down 1/2 step / down 1 step / down 1 step / down 1/2 step / up a fifth step *(also the 1st note for the next descension) ‐‐ I continue until I've hit the lowest note I can achieve, regardless of where it is in the scale. Examples (starting in the octave above the middle C): F, D♯, D, C, A♯ ( or B♭), A-E/ E, D, C♯, B, A, G♯-D♯...... As you can see, each scale is one-half step key down from the previous
Vocal sirens	The British website, Vocalist, describes vocal sirens, on its page dedicated to the exercise, this way: ...At its core, the vocal siren exercise involves singing a smooth, continuous glissando from your lowest note to your highest, then back down again. It's akin to a vocal rollercoaster that covers all the peaks and valleys of your voice, effectively warming up the vocal cords, enhancing range, and improving your sense of pitch.... I start at my lowest possible note and go up, not necessarily as high as I can, but certainly a bit more than and octave, then back down. Then I start a few steps up for tme bottom and repeat a least three times. Then I start as high as I can and swoop down then back up, several times, starting a few steps down. I also try to make the transition into and out of falsetto smooth and unnoticeable; if I fail that transition, I do that siren again until I've succeeded.
"That Would Be Something"	I vocalize the verse melody to this Paul McCartney song. I start in a low key the repeat multiple time, moving up a step, or several steps, each time, until I hit my highest note. Listen to the song to hear the verse melody I use: "That Would Be Something"
"Ram On"	Another McCartney song I do the same thing with the verse melody as with "That Would Be Something." "Ram On"
"A Lighter Shade of Pale"	Here, rather than the vocal melody, I do the melody of that classic organ part that is at the beginning of the song, as well as elsewhere in the recording. The melody covers such a broad range of scale and offers a great opportunity to practice many nuances of vocal control. "A Lighter Shade of Pale"
Extra scale exercises	I often do these straw phonations in my car. Very frequently it's in my morning drive to the rent-payer , and the time works out well. I am usually done with "A Lighter Shade of Pale" just about the time I'm pulling off the freeway close to the university. But I do do the exercises at other times on occasion. If I have more time on a drive, I'll add things, with or without employing straw phonation. One other exercise I have been doing lately is is a short series of arpeggios, usually three notes, at the top of my range, for a few purposes: To gain more support for notes in my upper range To strengthen my ability to stay on pitch ‐‐ and to successfully hit pitch without fishing To possibly gain a higher ceiling to the top of my range I also do all the exercises above without use of the straw. Where I do the "Ha's" and the "Ya's" explained above for the second and third exercises above. I also do both those exercise scales singing the alphabet, exaggerating my enunciation to get my lips and tongue warmed up. And I do the two McCartney songs sining the lyrics. "A Lighter Shade of Pale" I might sing with la-la's, ah's, or oohs, or some mixture. More so, I do many of these before I go on stage to act in straight plays, especially the alphabet scales. Of course, if I do a musical or other theatre production where I'd be singing, a predominance would come into play, if not all. Unfortunately my appearances on stage haven't happened as often as I'd really prefer and may just take a downward turn to more infrequency, due in some respect to my revived commitment to music, as well other less joyful reasons. Just to demonstrate my underwhelming knowledge of music theory, I have no doubt that there is a specific name for every scale I have described above, but I have no clue what any of those names are.

THE MOVEMENT YOU NEED IS IN THE BUS:

I returned to mixing the first song on the Heart Walks album. It was some involved and rather tedious work of moving things back and forth on the stereo pan, mostly during the long ending of the song.

I didn't finish in the first session, which was exclusively pan mixing of the track with the drum kit, because doing the stereo pan programming in Logic Pro X isn't done in real time, especially if you're being exacting about when the movements happen and where on the pan you want the edges of your span of movement to be.

In that first session I wasn't getting the results, the moviement, that I should have been. I was not getting the audio to move as for to the right on the stereo pan spectrum as it should have been going. It made no sense! When it was getting late and I stopped for the night, I realized the issue. I was working with the primary track; for reasons I won't go into, I'd sent that track to an audio bus, which was where the master control for the track's pan placement is. During that first attempt at manipulating the pan placement of this instrumentation, the bus placement was fixed all the way through the song on its original spot, what I'd estimate is about 30° to the left of center on the pan curve. That fixed master placement was preventing the sound from going much further right than center of the mix, regardless of how far I tried to send the placement to the right on the pan. So, Session 2 started with me putting the whole primary track back at dead-center and programming all desired pan movement with the bus. That worked.

During the second session I also mixed the pan for the track with the vocal and adjusted a lot of volume and gain levels. The mixing of first song is not completely done yet but it's close. I might just be reporting the mastering of Heart Walk's opening song sometime in the near future, maybe after tomorrow (see next).

SUNDAY "TO DO" LIST:

Unless something comes out of the session today with Rich that demands my attention tomorrow, I think there are a few things I want to dedicate as much of the day to as I can.

First off, I want to finish the mixing for the first Heart Walks song and master that damned thing. Maybe I'll even get started on Hearts Walks song #2.

That ambient music album simply needs to be slightly remastered. That should take less than an hour. I could have wiped this off my plate months ago. So......tomorrow. And perhaps it can be released in the relatively near future ‐‐ whatever that means.

Lately the godess muse of songwriting has been quietly whispering in my ear: "You have a lot of great song ideas started for your new album, Love; don't you think it's time to flesh one or two out? It's a lower priority than the mixing/mastering for the other projects, but it's on the list for tomorrow.....

Click here for the music video for "White Landscapes ‐ long version"
For more information on all my music releases, please visit my music page: K.L.Storer's Music

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