K.L.'s Bog: A Diary of Artful Things

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Sat, Jan 1, 2022

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HAPPY NEW YEAR! MMXXII


THE NOT-SO-COZY BASS LINE THAT'S KICKING MY ASS:

My Music
THE ALBUM PROJECT ICON

K.L. on Bass
Song number 14 in progress
Seriously, mastering this "Cozy Cottage" bass line I've composed, to the point where I am ready to record it, is an elusive damned fox in the hen house!

A major problem is that now my left arm is starting to fatigue. It was my right hand that was wearing out to the point of a dull pain, but that has stabilized. But now that I have a significant part of the arrangment in place, there are a few spots during the song that are taxing the un-toned muscles in my left arm as I am fretting some repetitive movements and some of the walking bass line spots. Plus, there are still some sore fingers, but those are healing a bit and the callouses, which should have already been there, are starting to solidify and do their job.

I have still had to take frequent breaks, as the result of the fatigue and the dull little aches that develop, and, in a smaller manner, to not push the finger tips back into being too sore to successfully play the bass line, which moves along at a decent pace.

After a frustrating period where I kept forgetting the different lines for the section that repeats four times that I'd worked out, or where I had not yet completely worked out some spots, I now predominantly have the differences of each pass-through composed and committed to memory. Although as of yesterday/early this morning, I've flubbed where I've been at in the song or I blew the execution of said parts. Some of the blowing the execution is that fatigued arm or sore fingers, but mostly it's that I am not the practiced bass player I could be.

This week, however, certainly has been one where I am getting practice in. I have continued working in the bass line since last post, up into early this morning with the headphones on ‐‐ not disturbing my apartment neighbors thing again.

I like this bass line quite a lot, so I am going to keep wrestling with it until I am the one who's kicking ass.


Despite that I still have the bass line and all the MIDI horns to record for "Cozy Cottage," and all the mixing and mastering of several songs, and the album art work (save for the front cover), I still plan on the album being out before January is over, as close to the middle of the month as possible. This album has been delayed long enough.

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More work on the "Cozy Cottage" bass line, Thursday evening, but no recording session for it.
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And yet more work on the "Cozy Cottage" bass line, just after midnight this morning, bringing in the new year, and still no recording session for the part!

THE ALBUM'S NOT THE ONLY THING DELAYED:

KLStorer.com
K.L.'s Bog: A Diary of Artful Things
KL's Artist's Blog

Well, my plan had been to launch the new version of this blog on the new website today, but I don't have all the past pages recoded yet. In fact, I'm only about 40% done. I have 45 pages left to go, so even if I did a page a day, which would likely be the most I'd be able to do, it would be into February before I could move the blog over.

Frankly, I'm not going to be able to do a page a day. My focus has to be on getting the album ready for release this month, and as written above, there's a bit to finish off on that project.

I don't want part of the blog sitting in one server with one website while other portions are on the other server with the other site. So, for now, this blog is staying with The WriteGallery.

When it moves, as you can see from the image on the right, there will be a minor title change from K.L.'s Blog: a Diary of Artful Things to K.L.'s Artist's Blog.



Mon, Jan 3, 2022

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F I N A L L Y!   THE COZY BASS LINE IS LAID!:

My Music
THE ALBUM PROJECT ICON
AUDIO RECORDING - ENGINEERING ICON
K.L. on Bass
VIDEO PRODUCTION STUFF ICON
Song number 14 in progress

Sixty-four takes. Sixty-four takes over the course of two recording sessions to get the "Cozy Cottage" bass line successfully into the master mix. New Years Day it was 55 takes, clearly without a good take. Yesterday I did nine more takes to get to the good take.

Actually, the "good take" is really three, maybe four takes, I can't readily remember for sure. I never did play the line all the way through from start to end. I had to punch in and out with the Tascam RC-3F 3-pedal foot switch several times, each punch-in counting as a new take. But I needed to get the bass line finished so I can move on.

STAMINA: I don't have the stamina at the moment. I am talented enough to have composed this bass line but not practiced and skilled enough to play it all the way through without screwing up. But, again, I'm on a deadline so I had to do what it takes to get the damned thing recorded in a good take(s)!

The Director icon
I've shot no more DV footage of rehearsing the bass line, but I did shoot footage of recording the bass line. However, I only imported the footage that covers the good takes. I have more than enough footage of me on the bass.


K.L. on Keys
Now it's time for the MIDI horn chart on the Oxygen 61 Keyboard, using voices from Logic Pro X.

A sax solo is pretty much carved in stone, and I'm thinking that there will at least be a trumpet solo, but who knows, a second solo might be another "horn."

I've decided to not go with a "faux" guitar solo in this one. I've done that several times on the album and I don't really think this one needs a guitar solo sound.

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Working on the "Cozy Cottage" bass line, later in the day, Saturday.
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The first recording session for the "Cozy Cottage" bass line, later, Saturday ‐‐ the first 55 takes!
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More rehearsal, yesterday, before the second recording session for the "Cozy Cottage" bass line.
Adjusting some settings on the 24-Track recorder.
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Recording the "Cozy Cottage" bass line during yesterday's final session.
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Stamping the Tascam foot switch to punch in.
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The hash mark count of the "Cozy Cottage" bass line takes.



Sun, Jan 9, 2022

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A COZY HORN CHART, A VIOLIN STAND-IN, AND VIRTUALLY APPROXIMATE MIXING, MASTERING, ARTWORK, & SONG ORDER:

My Music
THE ALBUM PROJECT ICON
AUDIO RECORDING - ENGINEERING ICON
K.L. on Keys
Song number 14 in progress

Monday I started working on the "Cozy Cottage" MIDI horn chart on the Oxygen 61 Keyboard pulling the trumpet voice from the MIDI interface in Logic Pro X. Clearly, Monday was Trumpet Day. I worked out the trumpet part, making room for some improvisation during the solo section.

That night I did a recording session with eight takes, but none were good. I was going to drop back onto the seventh take, during the next session, and punch in to fix some errors, but later I decided to scrap that take and move on.

Tuesday night was my second recording session for the trumpet, and I got in two more takes, with the good take being #10. I also worked out and recorded the MIDI trombone part and got it in only two takes. I'd already navigated all the key changes during the trumpet work, plus there was no solo work for the trombine part, so it was easier to get this one down.

The horn chart quartet is filled out with two sax parts, both with solos. And alto and a tenor sax ‐‐ both, of course, again, MIDI. Wednesday evening I began work on the alto sax part, naturally, with the hope to get the keeper take recorded that evening. I did not get to the recording session for the alto sax until the next night.

The alto sax gets the second solo, that being after the bridge, and as I was working out the part Wednesday night, I kept forgetting to go into the alto sax solo after the bridge. I must have dropped back into the the regular rhythm section part for the alto sax several time, before I finally wrote myself an only partially successful note to set on the Oxygen 61 Keyboard to remind me about the solo. I still forgot several more times before I started going into a solo, to work it out.

I'm not sure what it was. Either I was lost in the groove of the alto sax, the trumpet and the trombone and forgot to move on, or my instincts were to keep the alto sax in that groove. If it was the second one, I am quite okay going against my instincts. In fact, going against what seems the musically natural thing to do, seems the way to go in this instance.

I finally conditioned myself to remember when the alto sax solo comes in, but I wasn't rehearsed enough Wednesday night to record. I laid the alto sax Thursday evening. I really had enough time to start working on that fourth MIDI horn before bed Thursday, but decided to hold off until the next night.

Friday, the horn chart quartette turned into a horn chart trio. The fourth horn was to be a tenor sax. I just didn't like the sound of that MIDI voice when played in the higher register of a tenor sax. It just didn't have any verisimilitude in the higher octave. I tried a few other MIDI horn voices but nothing was fitting. So I tried and went with the violin voice. I rehearsed it and recorded it that same night.

Last night I rerecorded the trumpet solo via the punch in/out pedal. In the original solo I left no breaks for the "trumpeter" to take a breath; I just played the solo straight from start to ending; that verisimilitude of a horn player is seriously compromised if it seems like the player has lungs and breath the size of an elephant's. Plus there were a few out-of-key notes that I was going to leave in as accidentals, but since I want to put "breath breaks" anyway, I might as well fix the flat/sharp notes.

VIDEO PRODUCTION STUFF ICON
Of course, I shot DV footage for most of the work described above, except the last two sessions, recording the MIDI violin and rerecording the MIDI trumpet solo, both I did later at and needed to wear the headphones so as not to have the audio coming out of monitor speakers to possibly piss off my apartment building neighbors ‐‐ "One man's apartment wall...." I have 31.5 hours of DV footage from the four DV cameras, including about four minutes shot on my iPhone. It amounts to 3.97 terabytes on my 5 Tb external drive.

I was a little surprised to see how much footage there is. It's the multi-cam shoot aspect. The footage covers just shy of eight hours of action but from four (and in one instance, five) camera angles. What I'm going to do with this footage, I am not sure. I can't conceive that even of I do a documentary about putting the instrumental together, it would be longer than, say, thirty minutes; ten to fifteen minutes would probably be much better. Since all but two of the actual good takes are in the footage, I could also make a music video, though I have no designs on this song being a single. There are official music videos for other than singles though, right?

NEXT icon
VIRTUAL APPROXIMATE SUBTERFUGE ICON
AUDIO RECORDING - ENGINEERING ICON
GRAPHICS ICON
Now that I've finished recording what is definitely the last thing to be recorded for the album, it's major mixing and mastering, not only for "Cozy Cottage," but also for most of the rest of the album. And there's the rest of the art work. As you can see, the album's front cover is designed. But the back cover needs designed. I also want a lyric booklet that will 99% likely have a little liner notes essay. Below is the probable finalized repertoire for the album. The song order is not absolutely written in stone, except that the album will absolutely open with "Identity" and close with "Into the Blue Dawn."

VIRTUALLY APPROXIMATE SUBTERFUGE song list:

  1. Identity
  2. The Night Before the Night Before Christmas
  3. Icebergs
  4. Chilled October Morning
  5. Just One Shadow
  6. Cozy Cottage
  7. The Answer
  8. Burning Bridge
  9. Medley:
         i) The Death of the...
         ii) Memories of the Times Before
         iii) Memory's Endbit
         iv)The Death of the... (reprise)
  10. Into the Blue Dawn
And, as is my long-standing habit, here is a gallery of mostly variations on the same photo concept(s), within the current collection, and in comparison to a myriad of previous photos:
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Working on the "Cozy Cottage" MIDI trumpet part, Monday.
The "Cozy Cottage" MIDI horns project in Logic Pro X.
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Later Monday during the first recording session for the "Cozy Cottage" MIDI trumpet.
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Tuesday night, after the MIDI trumpet track was laid, work on the MIDI trombone part started.
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Later Tuesday, recording the trombone ‐‐ as seen from the lenses of three of the four DV camcorders.
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The MIDI sax icon in Logic Pro X.
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The note setting on the Oxygen 61.
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POV from camera D of me working out the alto sax part.
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Thursday evening, laying the "alto sax" track.
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Searching for a fourth MIDI voice to replace the tenor sax, and settling on the violin.
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Recording the violin, with the phones ‐‐ no DV footage shot for this recording session.
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Last night, rerecording the MIDI trumpet solo to get better verisimilitude.

AUDTION NOTICE POSTED FOR THE PRICE:

THE PRICE logo.

The specs for the auditions for The Price, by Arthur Miller are out now.

*See below, while the info is still current.

A couple important pieces of info, besides the dates of Feb 7 & 8, are that:

  1. Masks are required for everyone auditioning or otherwise.
  2. All cast and crew are required to be vaccinated for COVID-19.
Of course, I wear my annual Guild producer's hat, for this one.


Tue, Jan 11, 2022

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ON THE HOME STRETCH FOR VIRTUALLY APPROXIMATE SUBTERFUGE:

My Music THE ALBUM PROJECT ICON VIRTUAL APPROXIMATE SUBTERFUGE ICON

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A shot of my laptop screen with the Logic Pro X up during the original mastering of "Cozy Cottage."
AUDIO RECORDING - ENGINEERING ICON
In what cannot be a shock to anyone who knows me or has read very much of this blog, I thought I was finished mixing and mastering "Cozy Cottage" Sunday evening. That, of course, turned out to be a false-positive, as it were. I got into a little bout of slightly remastering the songs already mastered for this album project: "Just One Shadow," "The Night Before the Night Before Christmas," "Burning Bridge," and "The Answer." In doing that, I realized I needed to revisit "Cozy Cottage" to give it the same treatment as these others.

There were a couple issues that prompted the remastering, and in a few cases some slight remixing. One was that I wanted to normalize the volume across all the songs, to get a consistent volume level for the album. I also discovered a great trick to get an enhanced stereo spread and wanted to apply that to these songs. So the songs that have previously released as singles will have "[remastered]" following them on the album listing. The others won't need the designation since the previous mastered versions have not been released.

another thing I have determined is that I need to also go in and normalize the volume level within the span of some of the songs. I have a habit of starting out songs a lot quieter and then have them get louder as I build instrumentation. It lends itself to an imbalance from the ending of one song into the start of the next, one that doesn't sound good. Whether I have to go in and do that normalizing in the multi-channel mixes or can do it in the mastering phase remains to be seen.

I have that normalizing to do as well as finishing, at least, the mastering of "Cozy Cottage" then it's on to remixing and remastering the rest of the album: "Identity," "Icebergs," "Chilled October Morning," "Medley," and "Into the Blue Dawn." "Medley" will be first because the main song, "Memories of the Times Before" is a composition collaboration with my music partner of old, Rich Hisey, and I need to set up the song publishing administration for that one as a collaboration, and think I ought to have the finished master for Rich to hear, as soon as I can.

GRAPHICS ICON
And, yep, there is still a whole lot of album artwork, both the back cover and the booklet, to design and create.

Though the next item below lends itself well to both designs.

Meanwhile, I believe I have finalized the song order for the album ‐‐ though I know that beyond titles, this list has no musically dynamic meaning to anyone, except to the tiny number of people who have heard at least some form of all of the songs.

VIRTUALLY APPROXIMATE SUBTERFUGE slightly revised song list order:

  1. Identity
  2. The Night Before the Night Before Christmas [remastered]
  3. Icebergs
  4. Chilled October Morning
  5. Just One Shadow [remastered]
  6. The Answer
  7. Cozy Cottage
  8. Burning Bridge
  9. Medley:
         i) The Death of the...
         ii) Memories of the Times Before
         iii) Memory's Endbit
         iv)The Death of the... (reprise)
  10. Into the Blue Dawn



Fri, Jan 14, 2022

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THAT VIRTUALLY APPROXIMATE HOMESTRETCH HAS MORE YARDAGE* THAN I ANTICIPATED ‐‐ YET AGAIN:

*) I suppose "meterage" would be the right word for almost everyone outside the USA.
VIRTUAL APPROXIMATE SUBTERFUGE ICON THE ALBUM PROJECT ICON My Music

AUDIO RECORDING - ENGINEERING ICON
fb K.L.Storer's Artist's page post: "If I were signed to a label, I'd be in the doghouse, because I find the need to remix much of what has already been mixed and mastered for the album, thus delaying the release yet again!" I'm going to put on my pretend tech-geek hat for this one. It's not the "geek" part that's necessarily pretend, it's that I am far less of a tech head than many people believe me to be.

The mixing of "Cozy Cottage" may be done, but I will have to do another pass at mastering it, after I have finished both remixing and remastering all of "Just One Shadow," "The Answer," and "Burning Bridge," and I may have to remix "Cozy Cottage." I am leaving "The Night Before the Night Before Christmas" as it is currently mixed and mastered (or, actually remastered).

This all has to do with my work to normalize the volumes both of the entire collection, and, to better facilitate that first goal, also each song, within itself. Last blog post I wasn't sure whether I could normalize each song within itself at the mastering level or would have to go back in an normalize by adjusting volume differences in the mix. It came clear as I started the process that I needed to go back into the mixes.

Sweetwater has a good article on LUFS: "What Is LUFS, and Why Should I Care?"
To reiterate, the normalization issue is several-fold. It starts with the practicality of the volumes of the songs being comparable on the album; you want volume consistency on an album you're playing. What needs to be factored in there is a music industry volume standard called LUFS (Loudness Units relative to Full Scale). Every streaming platform has a standard LUFS level that everything they play is adjusted to. Typically it's -14 decibles, or thereabouts.

Of course, regardless of what LUFS I master the songs at, each platform would adjust the LUFS to their standard. Again, the idea, is that all music is at a relatively consistant volume level so the listeners can set the level they want and not be bothered adjusting when new music comes on, the same principle as for all the music on one album.

The LUFS number for a song is the average peak number for the duration of the song. There may be sections with a much lower or a much higher peak. Within this system of measurement is also the consideration of the LU range, derived from the loudness units (LUs), each unit essentially equivalent to a decible. That range is the distance at any given time during a song between the lowest volume and the peak volume. I.E.: if the peak is -10 and the lowest level is -17.5, the LU range at that point is 7.5. What I am discovering is that the smaller the overall range in a song, the more it will be normalized to other songs that have the same LUFS. In other words, the more there will be the perception of a relatively even volume level.

I've mentioned before how my songs have a tendency to build both instrumentation and, correlatively, volume as the song progresses. One of my songs can be considerably louder at the ending than it was at the beginning. That's not uncommon in general, but it is a habitual situation for my music. What that can do, if you've been following along with this verbal monstrosity I've written today, is cause a jarring difference between the ending of one of my songs and the beginning of the next, that, for two songs that have the same LUFS. There will be times when that is of no bad consequence, because it works artistically. A made-up example:

A rocker ends with a bang then the next song starts with a low breeze and windchimes delicately ringing, then a piano starts playing as if in the distance, the volume gradually getting louder over a period of maybe a half-minute, or more.
That contrast between the previous song's ending and this song's beginning would actually be quite interesting. But there are often times when one of my songs starts not with what is obviously a low level volume for effect, but just an overall volume where everything played is much lower than the ending of the previous song. Now it sounds like we're listening to two songs at very different volume levels, as if someone had turned the volume down on the device the songs are being played on. This is an effect to be avoided.

One of the ways to avoid that is to be sure the LU range between the lowest levels of the start a song and the peaks at the ending of that song are not too drastically far apart. This is exactly what my going back to remix then remaster the three songs mentioned at the start is all about. It's about getting the over LU range for each song closer together so when they are normalized to the same LUFS there will be a comparable volume level effect. The reason I am not doing "The Night Before the Night Before Christmas" is that there is a narrow LU range to that one and it is now the benchmark that I will compare all the others to when they are remixed and remastered. It's also what all the rest *(see below) will be measured against.

For the record, I am targeting -12 as the LUFS for the songs. It's 2 LUs above the usual streaming standard of -14, but I want the CDs to have a little bit more volume. The streamers will turn the music down and that's their prerogative. I'm not sure if Apple will turn down to -14 for the album downloads in iTunes, but I know they will for their streaming service. It seems to me I've bought albums from iTunes with drastically different volume levels from each other, however. So, I am thinking my -12 will stay in tact for the on-line purchases.

Of course there's the remixing and mastering of the other past recordings for the album: "Icebergs," "Chilled October Morning," "Medley," and "Into the Blue Dawn." Last but not least, there's "Identity," which has yet to have its first passes at either mixing or mastering. With all of these, I'll be able to pay attention to the LUs and the basic normalization from the beginning of the process, and won't have to swing back through for remix nor remaster pass for any of them ‐‐at least not for THIS reason.

The end result of all of this is that the album release is once again delayed. It is not unlikely that we are now looking at a February release. I am not thrilled with this prospect, but I also want the better sonic results that are to come from this delay. As I said in an exchange on Instagram, early this morning: "Late is better than sounding crappy."

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Last night, (night 2), remixing the track volume levels for "Just One Shadow."



Martin Luther King Jr. Day

Oct-Dec, 2003
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Jan-Mar, 2022



Dr. Martin Luther King, Jr. As we walk, we must make the pledge that we shall always march ahead. We cannot turn back. There are those who are asking the devotees of civil rights, "When will you be satisfied?" We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality. We can never be satisfied, as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We cannot be satisfied as long as the Negro's basic mobility is from a smaller ghetto to a larger one. We can never be satisfied as long as our children are stripped of their selfhood and robbed of their dignity by signs stating "For Whites Only". We cannot be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream.

I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive.

Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair.

I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream.

I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident: that all men are created equal."

I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.

I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.

I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.

I have a dream today.

I have a dream that one day, down in Alabama, with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification; one day right there in Alabama, little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.

I have a dream today.

I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together.

This is our hope. This is the faith that I go back to the South with. With this faith we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.

This will be the day when all of God's children will be able to sing with a new meaning, "My country, 'tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrim's pride, from every mountainside, let freedom ring."

And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania!

Let freedom ring from the snowcapped Rockies of Colorado!

Let freedom ring from the curvaceous slopes of California!

But not only that; let freedom ring from Stone Mountain of Georgia!

Let freedom ring from Lookout Mountain of Tennessee!

Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let freedom ring.

And when this happens, when we allow freedom to ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God's children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, "Free at last! free at last! thank God Almighty, we are free at last!"

CLICK HERE FOR DR. KING'S SPEECH IN ITS ENTIRETY

click here for K.L.'s actor's résumé




Wed, Jan 19, 2022

Oct-Dec, 2003
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COVID-19 INFORMATION LINKS





COMING SOON - VIRTUALLY APPROXIMATE SUBTERFUGE, K.L.Storer - full-length album.
the two singles from the album

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Available from several different platforms:
  • iTunes & Apple Music
  • Amazon
  • Spotify
  • Pandora
  • Deezer
  • click here for the official music video

  • xxxx
    Available from the same platforms:
  • iTunes & Apple Music
  • Amazon
  • Spotify
  • Pandora
  • Deezer
  • click here for the official music video




  • VIRTUALLY APPROXIMATE HOME-STRETCH MARKER?:
    My Music THE ALBUM PROJECT ICON VIRTUAL APPROXIMATE SUBTERFUGE ICON

    trudge [truhj] noun: a laborious or tiring walk; a tramp.
    I don't know what marker I'm at on that home-stretch toward the album being finished and ready to put out. I know I am on the home-stretch, but I think the finish line is further down the track than I want! But, I trudge on.

    AUDIO RECORDING - ENGINEERING ICON
    The mixing and mastering is still underway. It started with remixing and remastering "The Night Before the Night Before Christmas," "Just One Shadow," and "The Answer," both to get some volume normalization and also to apply a new trick I learned to get a wider stereo spread.

    Now I'm working on the remix of "Burning Bridge." I started completely from scratch with it, as I did the other remixes. Last night, I worked on individual tracks. I added or adjusted the EQ filters for most of the tracks. For instance, there are three separate chorded bass parts, each acting as rhythm guitars in the song, and all having been recorded with fuzz distortion. One of those "rhythm guitars" is placed all the way left in the stereo pan, one is all the way right, the third is in the center. I have varied the ratio of bass and treble in the EQ in each of the three to help distinguish them, thus getting a better stereo separation between the left/right ones, and an over all better stereo-spread feel for the "rhythm guitars" in general. I also have put a compressor on each to help contain the volume fluctuations a little. And I added a Limiter on each.

    I've done most or all of that to most other individual tracks including the main bass line track, where I've punched the treble a bit to enhance that Geddy Lee/Chris Squire roundwound-metallic sound. I haven't done anything with the vocal yet, save for flatten the volume to then readjust it in the new mix, which I've done with everything. I probably will at least look at the EQ on the vocal track as well as the compression ‐‐ I'm pretty sure there's compression on the vocal, already.

    "Cozy Cottage" gets treatment next, then I go back to remix and remaster all the other music previously recorded for the album, going all the way back to the very first thing, recorded before I knew I was making an album, the instrumental "Icebergs" (written for The Guild production of the play of the same name by Alena Smith).

    Music Business
    CD BABY DISC MANUFACTURING icon
    GRAPHICS ICON
    Copyright © Symbol icon
    A lot of other details need attended to, as well. Like I've written before, I need to finish the artwork, which means the back cover as well as the booklet. I also need to check with CD Baby to see what specs I need to follow for the booklet (and get a price estimate). Also, I have a whole slew of copyright registrations to file with the U.S. Copyright Office. I have to pay for those, too.


    WORKING ON SOUND:

    NORWEGIANS logo.

    Showing weekends
    Feb 4-20, 2022
    Tickets available...
    DTG Buy Your Tickets Now

    SOUND DESIGNING, NO, SOUND TECH ICON
    Show Cue Systems icon - http://www.showcuesystems.com/
    Though the sound design is from Director David Shough, Monday I went to The Guild to write the sound cue file program in Show Cue Systems for our next show, The Norwegians, because I am far more familier with the software than David is. In this case you could say that I am the construction foreman and David is the architect.

    I didn't have all the music or many of the SFX, so I put placeholder music or effects in at many of the cue spots. I had to do that because SCS will not allow you save a cue if a sound file isn't associated with it. I'll just go in and swap these dummy files out for the correct one's once they are provided.

    Beyond the placeholders, what I programmed Monday is the foundation. There will be a lot of tweaking and finessing of fade ins, fade outs, and sound levels, etc. There already are some cue changes that need to be dealt with when I go for pass number 2.
    xxxx
    xxxx
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    Monday, in the DTG booth, writing the SCS sound cue file program for The Norwegians.

    THE DAYTON THEATRE GUILD 2022/2023 THEATRICAL SEASON:

    Dayton Theatre Guild

    The Dayton Theatre Guild is pleased to announce our 2022/2023 theatrical season!

    THE LIFESPAN OF A FACT
    by Jeremy Kareken & David Murrell and Gordon Farrell

    Directed by Tim Rezash
    Showing weekends: Aug 26-Sep 11, 2022

    A fresh-out-of-Harvard fact checker for a prominent New York magazine is assigned to fact-check an essay about the suicide of a teenage boy. It is written by a talented and established writer, and publishing his piece can save the struggling magazine from collapse. The two b attle over facts versus truth, with the magazine's editor, who wants to run the story and who assigned the fact-checker to look it over, serving as referee.

    Audition dates: Mon & Tue, July 11 & 12, 2022 (2M, 1W)


    BROADWAY BOUND
    by Neil Simon

    Directed by Marjorie Strader
    Showing weekends: Nov 4-20, 2022

    Broadway Bound is one of Neil Simon's highly acclaimed autobiographical plays, and was a 1987 Pulitzer Prize finalist in Drama. Eugene and his older brother Stanley are trying to break into the world of show business as comedy writers, while dealing with the break-up of their parents. They write what they know, which is what is going on in their household, giving it all a comedic twist.

    Audition dates: Mon & Tue August 29 & 30, 2022 (4M, 2W)


    FOR THE LOYAL
    by Lee Blessing

    Directed by Doug Lloyd
    Showing weekends: Jan 13-29, 2023

    Toby and Mia are graduate students with a bright future ahead of them: a baby on the way and a college coaching job for Toby. But when Toby stumbles across a secret that threatens to derail their future, he and Mia must decide between honesty and loyalty, and whether doing something wrong is the only way to do what's right. Inspired by the Penn State sexual abuse scandal, For the Loyal is an emotional and thought-provoking play.

    Audition dates: Mon & Tue November 7 & 8, 2022 (4M, 1W)


    RELATIVITY
    by Mark St. Germain

    Directed by Debra Kent
    Showing weekends: Mar 17-Apr 2, 2023

    In 1902, Albert and Mileva Einstein had a daughter. After 1904, the child was never seen or spoken of again. It is now 1942, and a reporter has come to interview Einstein about his mysterious family history, only to discover far more secrets under the surface. As the reporter questions Einstein about his theory of relativity and personal past, she develops a new, more pressing query: To be a great man, does one first need to be a good man?

    Audition dates: Mon & Tue January 16 & 17, 2023 (1M, 2W)


    HEDDA GABLER
    by Ibsen adapted by Christopher Shinn

    Directed by David Shough
    Showing weekends: June 2-18, 2023

    This Broadway adaptation of Ibsen's timeless drama presents a sympathetic, yet striking and powerful Hedda in the classic tale of her struggle to find a means of escape from a loveless, ordinary existence. Returning from her honeymoon, Hedda finds herself already bored of her husband, and longing for the days when she was free to exercise her wild and independent whims. With the return of an old flame and a proposition from an amorous judge, she begins a dangerous game, amusing herself by manipulating and destroying everyone around her in an attempt to regain control of her life.

    Audition dates: (to be announced) (3M, 4W)

    *all audition dates are subject to change

    Stay tuned for ticket information including season ticket memberships.



    email address KL-at_klstorer-dot-com plus www.facebook.com/klstorersart; Instagram - KL_Storer; Twitter - @klstorer






    Dayton Theatre Guild
    last two
    AUDITION NOTICES
    FOR 2021/2022

    The Price

    Feb 7 & 8, 2022

    The Old Man and the Old Moon

    Mar 14 & 15, 2022


    *Graphics art by Wendi Michael     








    The Price

    by Arthur Miller
    The Price

    Audition Dates: Mon & Tue, Feb 7 & 8, 2022*, starting at 7:00 pm both nights.

    The Dayton Theatre Guild at the Caryl D. Philips TheatreScape
    430 Wayne Ave, Dayton OH, 45410
    937-278-5993    www.daytontheatreguild.org

    Directed by Debra Kent
    Produced by K.L.Storer

    Production Dates: Mar 25-Apr 10, 2022

    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 best play.

    Casting Requirements:

    • Auditions will consist of cold readings from the script.
    • A résumé and headshot are not required but are appreciated.
    • Please bring all scheduling conflicts between Feb 9 and Apr 10, 2022.
    • Masks are required for everyone auditioning or otherwise.

      All cast and crew are required to be vaccinated for COVID-19

    CHARACTER
          NOTES
    Victor Franz
          Nearly 50*, and the youngest of the two brothers, a policeman

    Esther Franz
          Victor's wife

    Gregory Solomon
          An antiques appraiser and buyer, somewhere close to 90*

    Walter Franz
          Oldest of the two brothers, mid-fifties or so*

    *It's much more important that an actor be able to PLAY an age rather than actually BE the age.

    The director is looking to cast two actors who can play brothers, one slightly older than the other, and both old enough to question the choices they've made in life.

    For more information contact:
    Producer K.L.Storer at kl.storer@daytontheatreguild.org






    The Old Man and the Old Moon:
    a Play With Music

    Book, Music, and Lyrics by Pigpen Theatre Co.
    The Old Man and the Old Moon

    Audition Dates: Mon & Tue, Mar 14 & 15, 2022*, starting at 7:00 pm both nights.

    The Dayton Theatre Guild at the Caryl D. Philips TheatreScape
    430 Wayne Ave, Dayton OH, 45410
    937-278-5993    www.daytontheatreguild.org

    Directed by Jeff Sams
    Produced by Debra Strauss

    Production Dates: May 27-June 12, 2022

    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. It reminds us of the magic of folktales that take place in a timeless land far, far away.

    Casting Requirements: To Be Announced

    *ALL AUDITION DATES ABOVE MAY BE SUBJECT TO CHANGE



    PROMOTIONS:

    COMING SOON - VIRTUALLY APPROXIMATE SUBTERFUGE, K.L.Storer - full-length album.



    BE OR NOT, a movie by K.L.Storer. Starring Natasha Randall and Craig Roberts. Director of photography, Fred Boomer



    Still for sale, 'STILL ME' on DVD, http://brookwoodfilms.com/buy.html
    As an actor I was privileged to have a small roll in this multi-award winning, very touching, most poignant short film. I was further privileged to accept the award, on behalf of Beth McElhenny, for Best Family Film at the 2008 Secret City Film Festival in Oakridge, Tennessee. The film has won awards far more than that one time. Click on the image to go to the official site and see the successes, thus far.



    AND NOW, TO PROMOTE SOME THEATRE....

    THE COMING ATTRACTIONS AT MY HOME THEATRE, THE DAYTON THEATRE GUILD

    Continuing the 2021/2022 Season:

    LIVE ON STAGE

    MASK REQUIREMENT STATEMENT 08-09-2021

    In order to help ensure the health and safety of all our audience members, cast & crew members, and volunteers, we are requiring masks to be worn inside our building at all times, except when actively consuming liquid or food.

    We further are closing ticket sales at 75 per performance to better accommodate the ability for audience members to distance themselves from others, not part of their group, while seated in the theatre.

    Please be safe,
    Dayton Theatre Guild Board of Directors

    NORWEGIANS by C. Denby Swanson at The Dayton Theatre Guild

    Directed by David Shough
    Produced by Christina Tomazinis & Rick Flynn

    A funny, bitter, sometimes odd comedy about two women, single in a cold Minnesota winter, who each hire a pair of really, really nice Norwegian gangsters to whack their respective ex-boyfriends. Then things get complicated.

    Showing weekends
    Feb 4-20, 2022

    Tickets:
    DTG Buy Your Tickets Now

    The Cast of The Norwegians

    CHARACTER
         
    ACTOR
    Olive
          Jenna De Gruy

    Betty
          Cydnie Hampton

    Gus
          Mike Beerbower

    Tor
          Adam Jones




    And following The Norwegians at the Guild

    THE PRICE by Arthur Miller at The Dayton Theatre Guild

    Directed by Debra Kent
    Produced by K.L.Storer

    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 best play.

    Showing weekends
    Mar 25-Apr 10, 2022

    Tickets:
    DTG Buy Your Tickets Now

    Audition Dates: Mon & Tue, Feb 7 & 8, 2021, starting at 7:00 pm both nights.

    Casting Requirements:

    • Auditions will consist of cold readings from the script.
    • A résumé and headshot are not required but are appreciated.
    • Please bring all scheduling conflicts between Feb 9 and Apr 10, 2022.
    • Masks are required for everyone auditioning or otherwise.

      All cast and crew are required to be vaccinated for COVID-19

    CHARACTER
          NOTES
    Victor Franz
          Nearly 50*, and the youngest of the two brothers, a policeman

    Esther Franz
          Victor's wife

    Gregory Solomon
          An antiques appraiser and buyer, somewhere close to 90*

    Walter Franz
          Oldest of the two brothers, mid-fifties or so*

    *It's much more important that an actor be able to PLAY an age rather than actually BE the age.

    The director is looking to cast two actors who can play brothers, one slightly older than the other, and both old enough to question the choices they've made in life.

    For more information contact:
    Producer K.L.Storer at kl.storer@daytontheatreguild.org




    Dayton Theatre Guild
    <

    THE LAST SHOW OF THE 2021/2022 SEASON

    With our on-line production of The Roommate this summer, the long intermission was over. With Morning's at Seven, we opened our doors back up and invited you all back to our mainstage!

    We have been fortunate to have your loyal patronage for all these years, and we have been impatient to get back to the business of "Giving You Good Theatre, Done Well!"

    We are most happy to announce the rest of our 2021/2022 season:

    LIVE ON STAGE

    The Old Man and the Old Moon

    The Old Man and the Old Moon:
    a Play With Music

    Book, Music, and Lyrics by Pigpen Theatre Co.

    Production dates: May 27-June 12, 2022
    Auditions: to be announced

    Directed by Jeff Sams
    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. It reminds us of the magic of folktales that take place in a timeless land far, far away.

    = = = = = = = =

    First Weekend: Friday 8pm, Saturday 8pm, Sunday 3pm
    Second & Third Weekend: Friday 8pm, Saturday 5pm, Sunday 3pm

    *Children under seven will not be admitted

    - - -

    TICKETS, INCLUDING SEASON TICKETS, ON SALE NOW:
    DTG Buy Your Tickets Now

    Adult: $20
    Senior (60 or older): $18
    Student: $13
    Special pricing for groups of 10 or more, call the Box Office at 937-278-5993 for pricing
    - http://www.daytontheatreguild.org/ click on "Tickets" link
    - or call 937-278-5993
    - or at the box office day of the show

    * All individual tickets purchased in advance via our on-line ticket system or by telephone will also include a $1 convenience fee.

    www.daytontheatreguild.org




    And, if you live close by or will be visiting soon, check out these other theatres in the greater Dayton Ohio area:

  • Beavercreek Community Theatre
  • The Black Box Improv Theatre ‐‐ Dayton
  • Brookville Community Theatre
  • Caesar's Ford Theatre, Inc ‐‐ Xenia
  • Cedarville University ‐‐ Cedarville
  • Clark State Community College Theatre Program ‐‐ Springfield
  • Dare 2 Defy Productions ‐‐ Dayton
  • Dayton Live ‐‐ Dayton
  • Dayton Playhouse
  • Encore Theater Company ‐‐ Dayton
  • Epiphany Players Drama Ministry ‐‐ Dayton
  • Human Race Theatre Company ‐‐ Dayton
  • Lebanon Theatre Company ‐‐ Lebanon
  • La Comedia Dinner Theatre ‐‐ Springboro
  • The Magnolia Theatre Company ‐‐ Dayton
  • The Nerve ‐‐ Dayton
  • Sinclair Community College Theatre ‐‐ Dayton
  • Springboro Community Theatre
  • Springfield Civic Theatre
  • Tipp City Players Community Theatre
  • Town Hall Theatre ‐‐ Centerville
  • Troy Civic Theatre ‐‐ Troy
  • Undercroft Players ‐‐ Dayton
  • University of Dayton *U.D. link is here, but it seems difficult to find the season at the site
  • Wright State University ‐‐ Beavercreek
  • X*ACT: Xenia Area Community Theater
  • Yellow Springs Center Stage ‐‐ Yellow Springs
  • Young at Heart Players ‐‐ Dayton
  • tHe Zoot Theatre Company ‐‐ Dayton
  • KNOW OF A LOCAL THEATRE COMPANY THAT SHOULD
    BE ADDED? LET ME KNOW AT "kl at klstorer dot com"

    That is, one within a 60 minute
    drive from the Dayton, Ohio area




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