Author Archives: Glenn Schoonmaker

Time

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Found this really useful formula for determining a song’s total time in the Songwriting Sourcebook by Rikky Rooksby (page 170):

  1. Determine the number of beats per minute (e.g. 96BPM).
  2. Determine the number of measures per minute by dividing the BPM by the number of beats per measure (e.g. 96/4 = 24 measures per minute).
  3. Then take the total number of bars in the song and divide it by the number of measures per minute. E.g. 104 measures/24 measures per minute = 4.5m for the total time of the song.

Thanks Rikky!

Mastering

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Audio mastering is a distinct discipline that I’m still getting acquainted with. While trying to wrap things up for the Equinox album I decided to see what I could do on my own and found this really helpful course on lynda.com: https://www.linkedin.com/learning/audio-mastering-techniques

Here are some of the key points that helped me with this project:

  • Mix and bounce to -10 dB, with plenty of dynamic range available. If this means removing compression/limiting on the master bus then do it.
  • Bring all mixes into a unique mastering session. Place all songs on their own tracks, each with it’s own EQ/Compression/Limiting.
  • Find the right compressor for each song tonally, using a low ratio, somewhere between 1.5:1 to 3:1. Set the threshold high enough so that the compressor kicks in, but not too hard.
  • Adjust the compressor’s attack and release settings so that drum transients are cutting through nicely.
  • Bring up the song’s level by boosting the compressor’s output gain until peaks get close to somewhere around -2 dB.
  • Apply the limiter (L2) so that the peaks are set to -2 dB with the threshold being just lightly triggered.
  • Try to shape the songs in terms of EQ and volume so that they sound “sonically related”. (Ended up cutting quite a bit ~60 Hz and below, due to bass build up.)

Note to future self: don’t use the master EQ to shape each track individually. Seemed like a time saver until I had to do revisions and had no idea what was done with songs mixed before the last bounce. Always use an inline EQ!

Enchantment

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“Enchantment” is the first song from the upcoming “Equinox” album. It is also the first symphonic piece that I’ve done in a long time.

Video footage taken while visiting Mt Tamalpais (Marin County, CA), Municipal Rose Garden (San Jose, CA) and the Pulgas Water Temple (Redwood City, CA).

Here’s the backstory…

I had been wanting to do an orchestral/symphonic piece for many years now. Fortunately some of the tools available nowadays makes it possible to create something that sounds pretty compelling in terms of authenticity. 

This song started as a simple chord progression with me humming the melody. Here’s the original sketch:

Once I had decided that I was going to work on this song idea for the concert, I made a full chart with lead melody and chord progressions:

While working on pre-production of the song I watched two very helpful video courses on Groove3:

“Creating Realistic MIDI Strings”

“Creating Epic Cinematic Compositions”

The latter being particularly useful as I ended up mirroring a lot of the approach outlined in the course. 

Here are some of my notes that I referenced while bringing the track up:

  • Follow the “Rules of Harmony” (this video by Rick Beato was particularly informative: https://www.youtube.com/watch?v=HuSKULck394)
  • Determine parts per section (e.g. Strings, Horns, Woodwinds, Percussion, misc.)
  • Create new alternate version in Logic per section (to free up CPU resources when using the virtual instruments)
  • Stack multiple virtual instruments per section w/ different articulations to create a fuller sound
  • Quantize, humanize then scale % of quantization applied
  • Use mod wheel to write expression automation
  • Bounce to align (if necessary) 


Is This Thing Live?

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I had been wanting to get more familiar with Ableton Live for quite a while and the 2019 Spring Concert was the perfect opportunity to do just that. While I love Logic Pro X for writing and production, I was intrigued by the idea of the scene based approach Live has for performance and wanted to see what I could do with it. 

Fortunately I found this excellent tutorial on Groove3: https://www.groove3.com/tutorials/Ableton-Live-10-Explained. It got me up to speed really quickly and before I knew it I was putting together the entire concert in Live.

I found Live to be a pretty straight forward (but deep) and well thought out application. It’s feels “fluid” in it’s workflow and very robust. I am looking forward to using it more in the future, particularly for coordinating music with visuals. Thanks Ableton!  

Logical

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I’ve been a Logic Pro X user for a few years now. Previously, I was a sworn Pro Tools devotee for years (in large part due to the amazing time I had working at Digidesign in the late 90’s). While the earlier versions of Logic felt anything but logical to me, I have really come to love the latest versions of Logic Pro X. I feel it’s a fantastic app for writing and production.

I love the layout, signal flow/routing, EQs, compressors, virtual instruments (especially Drummer), arrangement tracks, comp tracks, extensive MIDI and audio editing tools, Flex editing and (for the most part) Smart Tempo.

Now, I still have a few pet peeve’s here and there. One being that Smart Tempo doesn’t always do what you think it should with odd time signatures. Try to get the session time signature of 6/8 onto newly recorded tracks… Smart Tempo defaults to 4/4 and converting & getting everything to sync up can be a chore. Aside from that, most issues I’ve had were easily solved with a quick Google search.

I recently realized how much I enjoy working with Logic Pro X as I was preparing for the 2019 Spring Equinox Concert and album. Thanks Apple!

Omnipotent

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Absolutely love the sounds I can get out of Spectrasonics’ Omnisphere. Fat synth basses, warm pads, beautiful textures, fantastic rhythms from it’s arpeggiator, extensive synthesis editing and signal processing. With over 14,000 built-in sounds, audio import/processing, 500+ synth oscillator waveforms, wavetable synthesis, granular synthesis, 57 effect processors, FM/Ring modulation, 34 filter algorithms, performance mode (stacked or layering), 20 oscillators and 8 LFOs per patch, 12 envelopes and substantial HW synth integration it really does feel pretty limitless.

That being said, Omnisphere seems like a bit of a memory hog. It crashed a number of times when using it within Logic Pro X (crash logs submitted). It’s a bummer when it happens but to be fair it appears to be due to switching between Logic files that have a lot of other plug-ins instantiated as well.

I found a really useful course on Lynda.com that helped me get up to speed using it just in time for the Spring Equinox concert and album: Learning Omnisphere 2.

If you want to add an amazing sounding software synth to your set up then this is it!

Battery

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I’ve owned Native Instruments’ Battery for a few years now and hadn’t done much with it until recently. Partially because it was bundled with NI Komplete and I wasn’t really sure how it worked. But also due to the preconception I had that it was mainly for electronic/dance music and wouldn’t suit what I was trying to do. Then I stumbled onto this course on Lynda.com: Learning Battery 4 and it made perfect sense to me. I began to think about how I could use it on my songs.

It’s a fantastic plug-in that allows you create custom kits either using your own samples or from a large built-in library of instruments. It also has extensive editing, routing and processing options.

I ended up using Battery on a couple of the tracks for the Equinox Album – “Dew Drop” and “Frost”. One thing I loved doing was taking Drum MIDI files from Superior Drummer and pumping them into one of the kit presets in Battery like “Telefon Tel Aviv Kit”. This gave a humanistic style of playing to a drum machine sounding kit. Really great!

Superiority Complex

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I’ve had Superior Drummer for about 10 months now and I have to say it’s quite an impressive piece of software. Actually, it feels like the type of virtual instrument/drum library that I imagined having way back in 1999. That being said, it’s a deep and powerful program that can be intimidating at first, making it hard to feel comfortable with.

While I used it on a few projects (“On and On”, “Lost Thoughts”, “Nets”) it wasn’t until the the Spring Equinox Album that I really got to know it well. This is in large part due to a fantastic tutorial on Groove 3 that Luke Oswald put together: “Superior Drummer 3 Explained”.

The course is very thorough, clear and well produced. It not only helped me to understand the ins & outs of the software but to also appreciate how superior it truly is when compared to other virtual instruments I’ve worked with in the past.

It has fantastically recorded samples of a wide variety of kits with close/overhead/room/ambient/bleed/surround mic options. Extensive editing power for custom tailored sound design, getting instruments just the way you want them. A great groove library with excellent search and “Tap 2 Find” functionality (which I love) with a powerful grid editor. It’s fully extensible for additional sample and/or drum MIDI libraries. Has a built in mixer with extensive routing options, great sounding effects and excellent sounding presets (personal favorite is “Ludwig Classic Default”). All this makes it super easy to bring up a great sounding drum track rather quickly.

Even though I don’t see myself using Superior Drummer on everything I do I’m really glad to have it available to me.

Thanks Luke Oswald, Toontrack and Groove3!

Parallel Processing

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In the past, I was pretty much an “all or nothing” type of person when it came to studying, writing, recording or performing. Meaning, I would exclusively focus on one area, say studying, for an extended period of time, at the expense of the other areas that are important to me. The great thing about that is you get really focused on a particular subject. The bad thing is all forward motion in any other areas stops completely.

For a long while, I had been wanting to divide my time between study and production. Ideally studying early on in the day with some sort of production later.

So one of my main goals for the first quarter of this year was to do exactly that. Once I got a workable schedule in place, I loved it. It was tremendously rewarding to see progress being made in so many different areas that interest me.

I think the key to allowing all of that to happen was to limit how much time I gave any one area of focus. That made space for everything else.

For my studies I continued with my 5 minutes per subject approach for a variety of subjects: ear training, guitar studies (music reading and chords/rhythm parts), bass, keyboards (scales and chords), songwriting/chord progressions, notation and vocal exercises.

Along with that I started incorporating online studies with courses on Lynda.com (Photoshop, Omnisphere, Battery, Performing with Ableton Live) and Groove3.com (Superior Drummer, Ableton Live 10 Explained, Creating Realistic MIDI Strings, Creating Epic Cinematic Compositions). These were super helpful in preparing for the album and concert.

I also began alternating days of focus. One day of new material, with the next being review of what I had already done. This kept everything very manageable and enjoyable. So much so that I looked forward to studying every day.

For songwriting/production I would do something similar by only allowing 30 minutes per song per day. This helped keep the songs new and interesting throughout the process. It also helped get me “unstuck” when I felt blocked. As soon as the timer went off I would move on to the next song and get positive momentum going again. By the time I came back to the song I was having an issue with I was in a different space and usually found a solution within minutes.

Take Away(s)

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There were a number of things that I took away from the 2019 Spring Concert, but perhaps the biggest thing I learned was the importance of rehearsing with the full system set up for more than one day. I think the ideal amount of time would have been about a week.

I did rehearse every day over the last month and a half, but always sitting down, without microphones/PA and playing at lower volume levels. Also, it wasn’t until the day before the concert that I had Ableton Live completely configured (audio files, MIDI mappings, sound patches, virtual instruments, etc). Up until then I was practicing with Logic Pro X – the app that I did all the production in.

Other things that I learned:

  • Really need to use chains in Live to switch between virtual instruments as selecting the desired track via MIDI mapping for MIDI controller focus wasn’t always reliable.
  • Use audio stems instead of “minus 1” tracks next time. Would be nice to have more isolation of tracks in the future (particularly synth basses and drums).
  • Should coordinate visuals better. This time was more like a proof of concept. Going forward I’d like to have them tailored to each song in Final Cut Pro and then triggered in Live, which could take a considerable amount of time to do. Need to allot for that. Perhaps 2 weeks or more?
  • Would be great to have extra time with everything set up to get extra footage for song videos (e.g. multiple passes of each song during the rehearsals, close ups of the gear/lighting, abstract images, etc.)
  • Clip for one of mics I planned on using was missing. Ended up using a condenser mic with a mic pre, which sounded totally different.
  • Both mic stands kept drifting downward when positioned over the keyboard. Need to repair or replace them.
  • Performing with mic stand positions (especially when singing while playing keyboards) was awkward at times.
  • Disable notifications on my laptop!

Most importantly, having the extra time to rehearse will make it easier for me to get into the flow of the music.

Things that worked:

  • Practicing the songs regularly was a win for being prepared musically.
  • Using Ableton Live worked pretty much the way that I hoped it would.
  • The equipment set up and layout of the room was really good.
  • The contour of the concert provided a nice variety of styles.
  • Visuals added a lot of depth and dimension to the feeling of the space.
  • Using Guitar Rig for performance worked really well for maintaining balance of volume between instruments (vs using an external guitar amp).

Here’s a beautiful painting of the layout of the room that my wife made. I think it’s fantastic!