Echos & Edges: Revisiting a Song Collection from 2016

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At the start of 2025, I decided to revisit a set of songs I originally wrote in March 2016. Back then, the writing process was unexpectedly fast and cohesive—about nine songs came together in a single week, including melodies, chord progressions, lyrics, and charts. This was a stark contrast to my earlier experiences, where writing music felt difficult and slow, often yielding only a few scattered ideas over the course of a year.

The turning point came from a simple question my wife asked: “Why can’t you make an album in a week?” At first I looked at her with an expression of “you don’t know what you are asking…” but stopped and really considered “why can’t I”? I decided to act as if writing music was easy. That mindset shift resulted in a burst of creativity, and it’s a technique I’ve continued to use on subsequent projects, including Music Sketches, Realworld Beatcamp, Equinox, my Berklee degree, the Chigiana Film Scoring Intensive, and more.

Songwriting Process

I made early handwritten charts and lyric sheets for each song, which proved essential—without them, these songs likely wouldn’t have been recorded. While I didn’t document the process step-by-step, I know that once ideas started flowing, they came quickly. My daily studies of scales, chord scales, and resources like the Songwriting Sourcebook often sparked chord progressions and melodies. For lyrics, I relied on timed free-writing sessions followed by focused work on the song’s theme.

At the end of 2024, my wife and I committed to making 2025 a year of personal projects, which prompted me to finally bring these songs to life.

Arranging and Notation

For lead sheets, I used Dorico (which I absolutely love to work with). Its logical workflow made the process efficient and clear, particularly when working with lyrics. When I encountered challenging syncopated rhythms, I turned to targeted ear training with Ear Master, which has improved my overall musicianship.

Lead – Don’t Say GoodbyeDownload

Rehearsal Approach

Early on, I practiced songs in a freeform way and only used proper recording setups on the day of tracking, which was stressful and rarely yielded satisfactory results. I changed my approach to rehearse with a microphone, audio processing, and a click or drum track from the start of each week. Recording rehearsals and focusing on looping tricky sections helped clarify arrangements and improved the feel of each song.

Recording Workflow

Before recording, I made sure to define the essentials for each song: key, meter, tempo, and rhythms. I found an effective microphone position for recording guitar and vocals simultaneously—placing a condenser mic at shoulder height, with the back pointed toward the right corner of the room.

I used templates in both Luna and Logic, which sped up the technical side of recording. This was my first project entirely at a 96kHz sample rate, which struck a good balance between clarity and manageable file sizes. I also used Logic’s chord track feature and recorded the click to an audio track, automating its volume to minimize headphone bleed during softer passages.

While I enjoyed recording in Luna, I returned to Logic for its strength in working with MIDI in case I ever wanted to add any additional instruments. The songs are ready for further development if I choose to revisit them.

Mixing and Mastering

All songs were mixed in a single Luna session using consistent signal routing and templates. I relied on plug-ins like UA Voxbox for de-essing and Brainworx SSL 9000J for clarity on both vocals and guitar. Parallel compression, distortion, and reverb (using Capitol Chambers) added depth, while UA’s Studio D provided stereo width. The mix bus chain included SSL G Bus Compressor, Fairchild 670, ATR-102, and an 1176 used as a limiter.

Final mastering was done in Logic, with level matching and Ozone for polish.

Cafe Show & Tell (CST)

My wife and I created a weekly “Cafe Show & Tell” to share the progress we were making on our respective projects. These regular deadlines provided accountability and helped us stay on track. For my project, in addition to rehearsing and recording a new song, I performed two songs each week—one that was recorded and one for the following week.

Performing for someone else, even a close partner, felt very different from solo practice and highlighted the importance of preparation. Small details, like avoiding shirts with sleeve buttons (which can create unwanted noise), became apparent. Warming up 30 minutes before performing, closing my mouth when not singing, and pushing through mistakes were all practical lessons learned.

We also had weekly review meetings every Sunday night to help us reflect on progress and plan next steps, that made a significant difference in maintaining momentum.

This project has reinforced the value of mindset, preparation, and incremental progress in creative work. Revisiting these songs has been both a technical and personal journey, and the process itself has become as meaningful as the finished recordings.

The album is now available on all streaming platforms (such as Spotify), but you can also listen to it here on Bandcamp.

Revisiting Colossus—Building a Full Orchestral Score and Template

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This past spring, I dove into the Spitfire Audio Colossus Re-Scoring Competition with an approach that started simple: a piano reduction in Dorico, then a MIDI export to Logic Pro, where I fleshed out the arrangement using Spitfire’s Contemporary Drama Toolkit, Abbey Road One, Ólafur Arnalds Cells, and Omnisphere 2. For a full breakdown of that process, see my post here.

After the competition, I decided to take things further by creating a full orchestral score in Dorico and building a new Logic Pro template based on Spitfire’s BBC SO and Abbey Road Orchestra. My goal was not only to improve the sound, but also to test a workflow I could use for future orchestral projects.

The Good: Dorico’s Notation Power

Writing the expanded score in Dorico was a pleasure—everything felt intuitive and efficient, especially compared to Finale. But when it came time to export MIDI for Logic, I hit a few snags.

The Not-So-Good: MIDI Export Challenges

Depending on the expression map you are using, Dorico exports a lot of extra MIDI data, and there’s no way to turn it off. The expression and modulation information didn’t translate well to Logic, so I ended up deleting everything but the notes and velocities and redoing all the expressive details by hand. The BBC SO expression maps from Dorico’s website didn’t help much either.

I get that Dorico can’t know how I want velocities mapped to my sample libraries, but it still made the process more tedious than I’d hoped.

Mixing & Template Insights

Spitfire’s plugins have multiple volume controls, which can get confusing. I found that using Logic’s mixer for overall volume, and plugin controls for expression/modulation, made things much easier. Other key takeaways:

  • Logic’s velocity values didn’t always match Dorico’s (fff = 100 instead of 120–127).
  • Short articulations need careful velocity/expression; long ones depend on modulation.
  • Map divided parts (like Flute 1 & 2) across solo instrument/leader and section instruments.
  • Quantizing and humanizing MIDI in Logic helped restore a natural performance.

Mixing Approach

For this version, I used the AMEK 9099 on group buses (details here), and my usual mix bus chain: SSL G Bus Compressor, Fairchild 670, and ATR-102.

Downloads & Links

  • My updated 2025 Orchestral Template for Logic Pro:
Orchestral Template 2025.logicxDownload
  • This is the final audio master of the piece:
  • You can view and download the Full Score here:
Schoonmaker Spitfire Colossus Trailer – Full ScoreDownload
  • This is the final version of the video:

Conclusion

Upgrading my competition entry was a valuable learning experience. Dorico is a fantastic notation tool, but exporting to Logic for detailed mockups still takes some manual work. The payoff: a more expressive, nuanced orchestral sound—plus a workflow I’ll use again.

Spitfire Rescoring Competition: Lessons Learned

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After participating in the Spitfire Rescoring Competition, I wanted to share some reflections and takeaways from the experience. This blog post serves as a recap of the process and lessons learned, which I hope will be helpful for future projects.

Rediscovering the Joy of Scoring to Picture

It had been a while since I worked on a score-to-picture project, and diving back into this intense focus reminded me why I love this type of work. Seeing ideas evolve from simple voice memo recordings into fully realized compositions synced to picture was incredibly rewarding.

Planning: The Key to Success

With only 12 days to complete the submission, planning was crucial. I started by creating a tentative schedule outlining what needed to be done and when. This roadmap kept me on track and ensured that I could manage my time effectively.

Getting Back into Film Scoring Mode

To refresh my approach, I watched several helpful videos from Spitfire Audio that provided insights into composing for film. These resources were invaluable in getting my mindset aligned with the task at hand.

Here are the videos that I found super useful for this project:

You can find even more super helpful tutorials for composing on Spitfire Audio’s page:
https://www.spitfireaudio.com/professional-guide-to-composing

Spotting and Abstraction

Spotting key moments in the video was an essential step. I locked scene markers in my Logic file and began abstracting the piece—imagining its final form from a high-level perspective. This process helped me generate motifs and define the sound palette, which included Spitfire libraries like Abbey Road One, Contemporary Drama Toolkit, Olafur Arnalds’ Cells, and Omnisphere.

Here’s my spotting session:

Here are my notes for the abstraction, spotting session, and libraries I used for this project:

Spitfire Colossus trailer AbstrationDownload

Sketching and Notation Workflow

Using guitar sketches recorded into Voice Memos, I developed ideas for the score. Once I had a complete concept, I notated everything in Dorico using two grand staves before exporting MIDI to Logic for further refinement. This workflow allowed me to combine notation with sound design seamlessly.

Spitfire Colossus Trailer – 2 Grand StavesDownload

Adapting Plans Under Pressure

As time grew tight, I created two plans: “Plan A” (ideal) and “Plan B” (minimum requirements). Ultimately, I followed a hybrid approach between the two, which gave me confidence that I could complete the project regardless of constraints.

Mixing and Mastering

Mixing involved setting automation levels, EQ adjustments, and mix bus processing using tools like SSL G Bus Compressor and Logic Limiter. For mastering, I used Ozone with custom presets to finalize the track before syncing it with the video.

Finalizing the Project

After completing the final version, I decided to sleep on it to give my ears a rest. Revisiting it the next day confirmed that it was ready for submission.

Takeaways: What Worked Well

  • Rediscovering scoring: It was fun and fulfilling to work on this type of project again.
  • Pre-production: Abstraction, spotting, sound palette definition, and motif generation were invaluable. Remember to always start with a meter of 1/4 when determining BPM and hitting sync points.
  • Planning: Creating Plan A/B ensured progress under pressure.
  • Workflow: Combining Dorico notation with Logic sound design worked smoothly.
  • Resources: Spitfire videos provided excellent guidance. Perplexity was super helpful in the myriad of questions that came up with this project.
  • Libraries: Abbey Road One and Contemporary Drama Toolkit proved highly effective. Creating articulations in Logic was a big win!
  • Mixing/mastering: My usual mix bus recipe worked well.

Areas for Improvement

  • Centralized notes: Too many disparate places for notes created confusion.
  • Technical issues: Syncing to picture had stumbling blocks.
  • Spreadsheet usage: A planning spreadsheet could have clarified things further.
  • Version naming: Better naming conventions for alternate versions in Logic are needed.
  • Templates: Updated templates for Dorico and Logic would streamline future projects.

This competition reminded me how rewarding it is to create music that enhances visual storytelling. The process reinforced valuable lessons about planning, workflow, and creativity that I’ll carry forward into future endeavors.

Here’s the final version that I submitted to the competition:

Dialing in the Perfect Electric Guitar EQ

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When it comes to mixing electric guitars, EQ is one of the most powerful tools at your disposal. Recently, I watched an excellent video by Sara Carter on this very topic. While some of the principles—like cutting lows, taming highs, and boosting mids—are familiar territory, Sara’s approach offered a refreshingly quick and effective way to get guitars sitting perfectly in a mix.

Key EQ Techniques for Electric Guitar

Here’s a simple starting point for shaping your guitar tone using any channel strip:

  • High-Pass Filter: Roll off frequencies below 100Hz to remove unnecessary low-end rumble.
  • Cut at 250Hz: Scoop out some of the muddiness often found in this range.
  • Boost at 1.4kHz or 2.8kHz: These frequencies help bring clarity and presence to the guitar.

These adjustments can help carve out space for the guitar between other instruments like bass, drums, and vocals.

Experimenting with Channel Strips

I tested this method with several plugins, including:

  • UA SSL 4000 E
  • BX SSL 4000 E
  • BX 4000 G
  • BX 9000 J
  • BX Amek 9099
  • BX Console N
  • UA Neve 1073
  • UA API Vision
  • UA Helios 69

For the track I was working on, the UA SSL 4K, BX Amek 9099, and Helios stood out as favorites. Each brought its own character to the mix: the SSL added punch, the Amek offered smoothness, and the Helios delivered warmth.

Why This Works

These EQ moves are not rigid rules but excellent starting points. They allow you to quickly shape your guitar tone so it complements other elements in your mix. By cutting unnecessary lows and taming problematic mids, you create space for clarity. Boosting key midrange frequencies ensures the guitar cuts through without being harsh.

Console Channel Strip Shootout: A Simple Trick to Hear the Difference

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Years ago I wanted to compare console channel strip emulations on the same audio material but never came up with a good way to do it. The following video outlined an excellent approach that helped me to immediately hear the differences immediately after some simple set up.

The Setup: A Quick and Easy Comparison Method

Here’s a step-by-step guide to help you hear the differences between channel strip plugins:

  1. Instantiate: Place the same console channel strip emulation across all your instrument group buses (e.g., Drum bus, Bass bus, Guitar bus, Keyboard bus, Vocal bus, etc.).
  2. Group Control: Set up a group that controls the inserts for all these channels, allowing you to enable/disable the plugin simultaneously.
  3. Drive the Input: Increase the input gain to +8dB. This will help you to hear the harmonic saturation of the plugin.
  4. Compensate Volume: Reduce the volume fader by -8dB to avoid clipping.
  5. Enable All Sections: Activate all sections of the channel strip (filters, compressor, expander/gate, EQ, etc.).
  6. Add a Gentle EQ Curve:
    • Boost 2dB @ 10kHz to enhance the high frequencies.
    • Boost 2dB @ 100Hz to enhance the low frequencies.
  7. Real-time Comparison: Playback your track, enabling/disabling the plugin in real-time to hear the differences.
  8. Alternate Emulations: Switch between different console emulations to compare their impact.

Bonus Tip: When working with Plugin Alliance emulations, be sure to try the “Random Channel” function for all instances to add subtle variation.

Why This Works

By applying this setup, you’re creating a controlled environment to evaluate how each channel strip plugin affects your overall sound. Driving the input gain and applying a gentle EQ curve will help you accentuate the unique characteristics of each emulation, making it easier to identify its sonic signature.

Finding the Right Emulation

Try this approach with any new mix to discover which emulation, if any, enhances the overall sound in terms of EQ or stereo imaging.

Experiment with different console emulations, such as:

  • SSL 4KE
  • Waves EV2
  • Waves Kramer HLS
  • UAD
  • Plugin Alliance

Conclusion

Channel strip plugins are powerful tools for shaping your sound and achieving professional mixes. By using the simple method outlined above, you can quickly and easily hear the differences between console emulations and make informed decisions that elevate your music.

Colossal Re-Score

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As a composer, I recently had the exciting opportunity to participate in the Spitfire Audio Colossus Re-Scoring Competition. This challenge allowed me to flex my creative muscles and dive deep into the world of dystopian soundscapes. In this blog post, I’ll take you through my process of creating an original musical score that evokes tension, unease, and drama.

Conceptualization

My goal was to create a score that would complement dystopian imagery, building a journey from quiet suspense to dramatic intensity. I wanted to capture the essence of a blockbuster production while maintaining a unique and engaging sound.

Tools of the Trade

To bring my vision to life, I carefully selected a variety of high-quality sound libraries and software:

  1. Spitfire Audio’s Contemporary Drama Toolkit
  2. Abbey Road One (various orchestral sections)
  3. Olafur Arnalds Cells
  4. Spectrasonics’ Omnisphere 2

These libraries provided a rich palette of sounds, from orchestral elements to modern synth textures.

Production Process

My workflow centered around Logic Pro as my primary Digital Audio Workstation, with notation work done in Steinberg’s Dorico. This combination allowed for both detailed audio production and professional notation capabilities.

To enhance the audio and achieve a polished, professional sound, I employed several signal processing tools:

  • Universal Audio’s SSL G Bus Compressor
  • Fairchild 670 Compressor
  • Ampex ATR-102 Master Tape
  • Logic’s built-in Limiter, Distortion, and EQ
  • Izotope’s Ozone 9 for final mastering

Reflections

This project was a great experience as it challenged me to blend diverse elements seamlessly and push the boundaries of my creativity. The process of crafting a score that can stand alongside blockbuster productions was both daunting and exhilarating.

I’ll be doing a more behind-the-scenes look at my composing process in another post, where I’ll focus on what worked, what could have gone better, and what I want to remember moving forward.

Thanks to Spitfire Audio for providing the opportunity to be part of this.

Dorico

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Towards the end of last year I decided to try out a demo version of Steinberg’s Dorico Notation Software, as I had heard great things about it from some of my friends at Chigiana. I loved it so much that I bought a full version once the demo expired. How I wish that I had been able to use it while I was in Berklee’s program. It’s so much more enjoyable to work with than Finale, on so many levels. 

While I found some great tutorials on YouTube and Groove3, it wasn’t the same as doing a real project, from start to finish. For this I chose to create a project that would combine a few things I had been wanting to do for a while. 

First, notate a full orchestral score in Dorico, while using Note Performer (which I hadn’t really used yet). Secondly, analyze and recreate some of the scores in composer Ryan Lynch’s “10 ESSENTIAL Orchestral Scores You Need To Study” list. For this project I chose to focus on Mozart’s Symphony No 40 in G minor.  

Based on the original score found on IMSLP, here is the version that I created (first five minutes of the piece):

Mozarts-Symphony-No.-40-in-G-minor-FULL-SCOREDownload

And here is the audio via Note Performer (and some processing in Logic using UAD’s Studer A800, SSL G Bus Compressor, Fairchild 770, and Ozone 9): 

Below is the analysis that I put together, based on Ryan Lynch’s template:

Overall, I really enjoyed this project as it helped me to get more familiar with Dorico while giving me an even deeper appreciation of just how great Mozart’s music is. Just amazing!

Chigiana Film Scoring Intensive

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Right after I finished things up with Berklee’s Music Composition for Film, TV, and Video Games program, I had the great fortune of being part of the 2023 Academia Musicale Chigiana Film Scoring Intensive program in Siena, Italy. Everything about it was truly fantastic. 

Each person associated with the program was of the highest caliber, super talented, and crazy smart, going above and beyond to make this a world-class experience for all involved. The amazing faculty was made up of USC and Berklee instructors, supported by a team of industry professionals. The people in my cohort were incredibly talented, humble, kind, and generous. I feel extremely fortunate to be associated with this group of amazing people. And the location, Siena, is a beautiful and enchanting hilltop medieval village straight out of a dream. Can’t imagine a better place for this type of experience.

The program itself was divided into two primary segments. The first part was focused on creating a score to picture to be recorded by a string quintet at a studio in Rome and the second being a score to picture to be performed by a 42-piece orchestra recorded in a concert hall in Florence, with instruction on film music composition & analysis, orchestration, masterclasses, critiques, music technology, MIDI mockups, editing, sound design, sync licensing, and score & parts preparation throughout.

The program lived up to its name, as it was truly intensive. Most days I was getting up ~3 am and working throughout the day and then passing out when I got back to my apartment around 9 pm. I think out of the 20 days I was there I had one full day off. The rest of the time I was either in classes or working on my pieces. Seeing everyone work with such intensity, focus, and commitment, creating the amazing music that they made, was truly inspiring.

Thank you to all involved in making this a once-in-a-lifetime experience. Ciao, my friends!

Here is the piece I wrote for the string quintet. Special thanks go out to the amazing musicians that played on the recording:

Violino 1 – Antonio Pellegrino
Violino 2 – Nataliya Nykolayshyn
Viola – Bruno Pucci
Violoncello – Luca Pincini
Contrabasso – Massimo Ceccarelli

Glenn-Schoonmaker-The-Hotel-Budapest-Score-Concert-ScoreDownload

Here is the piece that I wrote for the orchestra:

Glenn-Schoonmaker-Time-Stops-Big-Fish-Concert-ScoreDownload

Here are some photo highlights.

Berklee Online – Post Graduation Thoughts

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I’ve been putting this off, writing about my overall experience with Berklee Online, for a couple of reasons. First, I spent the last month in Italy doing this amazing program, the Chigiana Film Scoring Intensive Program. Secondly, I think I was making it bigger in my mind than it needed to be.

To get straight to the point, I feel that Berklee Online’s “Music Composition for Film, TV, and Games” degree program is excellent. Was it perfect in every regard? No, nothing is. Was it what I needed when I needed it? Absolutely.

When I started looking into getting a degree in music back in 2019 I wasn’t even considering online education. I wanted a “legitimate” music education. I did a bit of research to see what the top schools were and USC’s Film Scoring program was at the top of that list.

I reached out to USC’s Thornton School of Music’s admissions department, asking about the process of getting into their Masters in Screen Scoring program, and they recommended Berklee Online as an undergraduate program. I was surprised, as I didn’t think an online program would be a viable option, and asked for clarification. They assured me that they had admitted a number of highly qualified students into their program that had come from Berklee’s online program. With that, I looked into Berklee Online and applied. Within a few weeks, I got the news that I was accepted into their film scoring degree program and would be starting in the Fall of 2019.

The “Pros”: great program, with excellent content, world-class musicians as course authors/instructors all without having to relocate to Boston. Berklee came to me. Also, with Covid, I would have had to do online studies anyways so it worked out great.

The “Cons”: while convenient the online program can never achieve the same experience of being in-person, getting immediate feedback, learning, and collaborating with others in real-time. This became super apparent during the Chigiana Film Scoring Intensive. So much more immediate, in-depth, and fun.

40 classes and 3.5 years later I now have a bachelor’s degree in Music Composition for Film, TV, and Games. As for what is next, I’m not exactly sure right now. Between Berklee Online and Chigiana’s Film Scoring Intensive, I’ve been at it full-time for quite a while and could use some downtime.

Thank you, Berklee for giving me what I needed, when I needed it. I feel very fortunate to have had the opportunity to learn from some amazing people and become an alum of your prestigious and excellent school.

Berklee Online – Term 13

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Well, it’s kinda hard to believe, but this was my final term with Berklee. All in all, it was a good term, but I am happy to be at the end of the program. The course materials were really good and the instructors did a great job.

The classes that I took this time around were “Introduction to Digital Cinematography”, “Music Cognition”, “Music Composition for Film, TV, and Games Capstone“, and “Rock History”.

As with previous terms, I will go into detail on each class in separate posts. I’ll also do a wrap-up/reflection post of my entire experience with the program afterward.

Thanks for everything, Berklee.