A Prodigal Son

A Prodigal Son

Recorded in Chicago, 12/18 – 5/21.

Words and music by Eric Schuurman.
Produced by Eric Schuurman.
Executive Producer, Richard Schuurman.

In December 2018, my brother Richard set me up with a couple of beautiful guitars, and encouraged me to be musically creative again. I hadn’t played or recorded in over a decade. For whatever reasons, I didn’t think I’d be able to do it again. This project is the result of that intervention.

  • Days Are Few
  • East West
  • Obliteration
  • A Prodigal Son
  • Epilogue
  • Genbaboom
  • Airplane Dreams
  • Two Brothers
  • Tucson
  • Natural Light

Sketchbook – Music Exercises

Turkish saz zither – EXS24

Used chord trigger positions based on 36 interval octave charts routed into arpeggiator. Transposed output notes down an octave. Hammered string sound.[mp3j track=”www.ericschuurman.com/media/Hammered_Strings_EXS24.mp3″ title=”sketch 2-9-19 2″ autoplay=”n” vol=”75″ loop=”n”]

Iraqi sample output 5 slices
Manually sliced up Iraqi Sample Output 5 and exported as individual audio files.
Imported into EXS24 and mapped individual slices to individual keys.
Set up 3 chord triggers.
Ran thru arpeggiator and note repeater.
Processed with reverb and stereo spread.
[mp3j track=”www.ericschuurman.com/media/Iraqi_Samples_Output_5_Slices.mp3″ title=”sketch 2-9-19″ autoplay=”n” vol=”75″ loop=”n”]

36 interval octave MicroBassoonTone
Downloaded bassoon samples from the Philharmonia Orchestra website. They were MP3 files I converted into wav files using GarageBand and iTunes.
Used EXS24 to map 24 notes of a bassoon across 6 octaves in a microtonal instrument.
Each semitone had 3 intervals: the root note, pre-root note tuned down 33 cents, and the post-root note tuned up 33 cents.
Chained Chord trigger into arpeggiator into note repeater into Space Designer reverb.
[mp3j track=”www.ericschuurman.com/media/MicroBassoonTone.mp3″ title=”sketch 2-6-19″ autoplay=”n” vol=”75″ loop=”n”][mp3j track=”www.ericschuurman.com/media/MicroBassoonTone2.mp3″ title=”sketch 2-7-19″ autoplay=”n” vol=”75″ loop=”n”]

finger-picking sketch with drums
Used folder stack to group master arrangement regions and composition.
Created master track of finger-picked guitar audio regions.
Mapped the project tempo to this master track using beat mapping.
Created drummer track and had it follow the master track.
Fine tuned multi-output drum-kit.
Created drummer performance by tweaking soft/loud/simplex complex grid.
[mp3j track=”www.ericschuurman.com/media/1-6-19_2.mp3″ title=”sketch 1-6-19 2″ autoplay=”n” vol=”75″ loop=”n”]

finger-picking sketch
Droning, chiming over-tones of the Epiphone.
The amp selection is clean, so it’s almost pure guitar tone.
[mp3j track=”www.ericschuurman.com/media/1-4-19.mp3″ title=”sketch 1-4-19″ autoplay=”n” vol=”75″ loop=”n”]

chaining MIDI fx – chord trigger + arpeggiator + note repeater
Used folder stack to group master arrangement regions and composition.
Used alias regions to create composition in master arrangement track.
Used folder stack to group guitar sketches.
Set key signature, changed it for bridge, changed back after bridge.
Transposed bass track alias region down an octave using MIDI plug-in.
Set project end point.
Quantize master arrangement region notes.
Changed region colors.
Add arpeggio MIDI effect to synth channel.
Add chord trigger MIDI effect to synth channel before arpeggio.
Add stereo delay to synth channel.
[mp3j track=”www.ericschuurman.com/media/1-1-19.mp3″ title=”sketch 1-1-19″ autoplay=”n” vol=”75″ loop=”n”]

audio source vs. apple loop comparison

Audio source is warmer. Apple Loop is brighter. Is this normal?
[mp3j track=”www.ericschuurman.com/media/12-23-18-4.mp3″ title=”sketch 12-23-18″ autoplay=”n” vol=”75″ loop=”n”]

guitar song fragments

[mp3j track=”www.ericschuurman.com/media/12-22-18-1.mp3″ title=”sketch 1 12-22-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-22-18-2.mp3″ title=”sketch 2 12-22-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-22-18-3.mp3″ title=”sketch 3 12-22-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-22-18-4.mp3″ title=”sketch 4 12-22-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-22-18-5.mp3″ title=”sketch 5 12-22-18″ autoplay=”n” vol=”75″ loop=”n”]

guitar patterns, scales, exercises, etc.

[mp3j track=”www.ericschuurman.com/media/12-12-18_A.mp3″ title=”sketch 1 12-12-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-12-18_B.mp3″ title=”sketch 2 12-12-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-12-18_C.mp3″ title=”sketch 3 12-12-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-12-18_D.mp3″ title=”sketch 4 12-12-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-12-18_E.mp3″ title=”sketch 5 12-12-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-12-18_F.mp3″ title=”sketch 6 12-12-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-12-18_G.mp3″ title=”sketch 7 12-12-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-12-18_H.mp3″ title=”sketch 8 12-12-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-12-18_I.mp3″ title=”sketch 9 12-12-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-12-18_J.mp3″ title=”sketch 10 12-12-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-12-18_K.mp3″ title=”sketch 11 12-12-18″ autoplay=”n” vol=”75″ loop=”n”]

[mp3j track=”www.ericschuurman.com/media/12-12-18_L.mp3″ title=”sketch 12 12-12-18″ autoplay=”n” vol=”75″ loop=”n”]


Sketchbook – Logic Pro X Tutorials

Excellent resource:
MusicTechHelpGuy – Logic Pro X Video Tutorial Series

editing audio in the file editor (aka sample editor)

Logic Pro X – Video Tutorial 16 – Editing Audio in the File Editor (aka Sample Editor)

Editing Audio in the File Editor
Normalizing and Adjusting Gain
Destructive Fades
Reversing Playback and Adjusting the Anchor Point
Adding Silence and Trimming Audio
Repairing Damaged Audio
Remove Pops/Clicks from a Recording
Removing DC offset

Command 6 to open Audio File Editor,
Control B to bounce in place,

Edit samples in the Logic Pro X Audio File Editor

Creating Loop Points

automate wah and wham pedal position in pedalboard

Logic Pro X – Automate Wah and Wham Pedal Position in Pedalboard

chop up vocal loop and repurpose as EXS24 instrument

Logic Pro X – Chop Up Vocal Loop and Repurpose as EXS24 Instrument

turn a vocal sample into EXS24 instrument

Logic Pro X – Turn a Vocal Sample into EXS24 Instrument

understanding compression with logic’s compressor plug-in (10.1 update)

Logic Pro X – Understanding Compression with Logic’s Compressor Plug-in (10.1 Update)

mixing (part18): finishing the mix, final thoughts before mastering

Logic Pro X – #76 – Mixing (part18): Finishing the Mix, Final Thoughts Before Mastering

mixing (part15): stereo delay plug-in

Logic Pro X – #73 – Mixing (part15): Stereo Delay Plug-in

mixing (part12): aux sends for reverb

Logic Pro X – #70 – Mixing (part12): Aux Sends for Reverb

mixing (part7): vocal compression and eq

Logic Pro X – #65 – Mixing (part7): Vocal Compression and EQ

mixing (part6): compression for guitar and bass

Logic Pro X – #64 – Mixing (part6): Compression for Guitar and Bass

mixing (part5): compressor, expander, and enveloper on drums

Logic Pro X – #63 – Mixing (part5): Compressor, Expander, and Enveloper on Drums

mixing (part4): understanding compression, compressor plug-in

Logic Pro X – #62 – Mixing (part4): Understanding Compression, Compressor Plug-in

mixing (part3): eq’ing guitars and bass

Logic Pro X – #61 – Mixing (part3): EQ’ing Guitars and Bass

mixing (part2): understanding eq, channel eq plug-in, eq’ing drums

Logic Pro X – #60 – Mixing (part2): Understanding EQ, Channel EQ Plug-in, EQ’ing Drums

mixing (part1): getting started, vVolume, pan, dBFS, pan law

Logic Pro X – #59 – Mixing (part1): Getting Started, Volume, Pan, dBFS, Pan Law

drum probability sequencer (scripter)

Logic Pro X – Drum Probability Sequencer (SCRIPTER)

easy synth leads (chord trigger + arpeggiator + scripter)


remove plosives from vocal recordings

Logic Pro X – Remove Plosives from Vocal Recordings

Loudness Meter, understanding LUFS

Logic Pro X (10.2.3) – Loudness Meter, Understanding LUFS

using alternatives to save different versions of a mix

Logic Pro X – Using Alternatives to Save Different Versions of a Mix

mastering in Logic
How to master a song using ONLY Logic Plug-ins
What is mastering? And the goals of mastering
DC offset correction
Adding fades on the master fader
Checking mono compatibility
Metering with Multimeter, RMS vs. Peak Metering
Filtering out unnecessary bass with Linear Phase EQ
Boosting presence with the Exciter Plugin
Using the Multipresser plugin (multi-band compression)
Enhancing the stereo image with the stereo spread plugin
Adding volume with the Adaptive Limiter plugin
Bouncing and adding dither
Using the directional mixer to add stereo width
Logic Pro X – #77 – Mastering in Logic

mixing (part8): aux tracks, busses, submixes, submasters
Mixing a song from start to finish (part 8)
Creating sub-masters/Submixes
Understanding Busses
Understanding Auxillary Channel Strips/Aux Tracks
Adding Plugins to Submasters
Logic Pro X – #66 – Mixing (part8): Aux Tracks, Busses, Submixes, Submasters

mixing (part9): DeEsser plug-in, reducing sibilance
Mixing a song from start to finish (part 9)
What is sibilance?
Reducing sibilance with DeEsser plugin
Logic Pro X – #67 – Mixing (part9): DeEsser Plug-in, Reducing Sibilance

organize and categorize plug-ins with plug-in manager
organize plug-ins by category, plug-in manager window, 3rd party plug-ins, plug-in validation, reset and rescan selection, disable or turn off plug-ins, assign plug-in to category, remove plug-in from category, create new category, put plug-in in two different categories
Logic Pro X – Organize and Categorize Plug-Ins with Plug-In Manager

alchemy tutorial – part 9 – sampling, auto-map samples, looping, layering
multi-sampled instruments, import multiple samples on each source, loop, modulate, layering, import audio, sampler mode, pitch mapping, alchemy identifies pitch of imported samples, looping, cross-fade, continuous loop mode, loop range, seamless loop, loop fade, attack time, release, convolution reverb, arpeggiator, import drum sample, turn off key scale, re-trigger, modulate with sequencer, import sample set files in sampler mode with pitch mapping, edit window to see auto-mapping, turn on continuous loop mode, set loop range within waveform, go thru samples and set loop ranges, cross-fade, loop xfade, soften attack, pull attack time, add effects to everything, layering
Logic Pro X – Alchemy Tutorial – PART 9 – Sampling, Automap Samples, Looping, Layering

alchemy tutorial – part 8 – make sequenced drum grooves with drum samples
audio files can be loaded into sources, file clear to re-set to default settings, import audio, turn off key scale, make voice monophonic, re-trigger, arppegiator, mode up, sequencer pattern, turn off key scaling, go to global, go to voice, make monophonic, turn on re-trigger, turn on sequencer using mode up, in arppegiator change rate/octave/length/pattern/swing/note velocity/split/latch, right click on volume knob then add modulation/ahdsr envelope/new ahdsr, drag envelope with mouse to change settings, turn on low pass filter, scoop out low end with filter, add wave-based sound, increase number of voices, detune, lower by an octave, panning, add effects to voices, effects tab, add reverb to everything using main tab, add effect to single voice, effects send, turn on effects in effects bus, change delay settings, change phaser settings
Logic Pro X – Alchemy Tutorial – PART 8 – Make Sequenced Drum Grooves with Drum Samples

alchemy tutorial – part 2 – sources, oscillators, filters, master controls
advanced features, sources, oscillator controls, global filters, source filters, voice control, master controls, 4 layer-able sources, global view, lfo and sequencer modulation, ahdsr, effects tab, click on source letters to the left to view the full set of source controls, virtual analogue oscillators, va mode, wait knob, fm filter, key scale option, loop mode, filters can be in serial or parallel, filter menu, cutoff frequency, resonance, drive knob, compressor, effects send, noise generator, oscillator symmetry knob, sync knob, unison options, detune, meter going to red means clipping, master controls: volume/pan/coarse tuning/fine tuning, voice controls control number of voices that can be played at once, legato, pitch bend, glide
Logic Pro X – Alchemy Tutorial – PART 2 – Sources, Oscillators, Filters, Master Controls

alchemy tutorial – part 1 – getting started, simple controls, browser
download additional content menu selection, sample manipulation synthesizer, manipulate sounds from Alchemy’s library, 3 main views: browse/simple/advanced, quality control settings: draft/good/great/ultra, ultra mode brighter and fuller sounding, preview in draft mode, print to sound file to save CPU processing, keep on ultra unless playback errors, combination of traditional wave-based and sample synthesis, modulate synth pad, 8 zone vector pad, snapshots, zones, 2 main ways to control X/Y pad: key trigger or key switch/use mouse afterwards to write in changes, rate menu amount of time to get from one zone to another, in project settings/recording/overlapping recordings in the overlapping recordings section under MIDI no cycle should be set to overlap to overlap key switch settings onto existing performance, raise buffer size to get rid of pops, quantize to whole note, play in section changes, quantize key switches, wheel control, modulation wheel, control modulation settings with modulation wheel, modulation knobs can be customized for any types of modulation, control X/Y pads with mod wheel, envelope controls: attack/decay/sustain/release, control X/Y pad with automation, latch/read automation modes, author prefers manual control of zones as opposed to key switching
Logic Pro X – Alchemy Tutorial – PART 1 – Getting Started, Simple Controls, Browser

beat mapping (part 2) – live drums, guitar and bass
create tempo map to live drums and quantize bass and guitar to it, wrap grid around drums and use as a timing reference to apply flex time to other instruments, manually map beat map to drums, go to global tracks, hit g to pull up global tracks, right click and select show beat mapping, show beat mapping transients, analyze transients, on a track that does not have beat mapper transients under beat mapping select analyze transients, click in ruler and pull down to left or right to map beat to new location, beats from region, use new grid and tempo map to sync base and guitar to drums using flex time, turn on flex time, quantize to whole notes, switch to division mode to do manual edits, manually sync to grid, quantize transients to drum timing grid
Logic Pro X – Beat Mapping (part 2) – Live Drums, Guitar and Bass

beat mapping (part 1) – acoustic guitar and drummer plug-in
wrap tempo around source recording, vary tempo in tempo track every bar or every beat, match grid to recording, opposite of flex time, bpm counter, sense tempo, match project bpm to audio bpm, beat map markers, relocate ruler marker in beat grid, match song end tempo slowdown to audio, add drummer track to be mapped to audio tempo, snap to bars, command r to repeat region additions, in drummer screen click follow checkbox and select track to follow, turn off snap mode then extend drummer region end to allow last crash to ring, drummer track syncs to audio track’s groove and tempo without using flex time
Logic Pro X – Beat Mapping (part 1) – Acoustic Guitar and Drummer Plug-in

track stacks, folder stacks and summing stacks
using stack tracks, folder stacks vs. summing stacks, group a series of tracks as a unit, move clips around as a group, use as summing track, aux mix, create track stack, folder stack/summing stack, snap regions to absolute value, snap regions to relative value, select then option then drag region for duplicate, automate-able, separate fader controls volume of whole stack, turn off automation display, cannot add fx to track stacks, summing track a multi-purpose track stack that mixes its subtracts and can be saved as patch, summing stack creates a single full channel in mixer where ef can be added, track stacks all about arrangement and ease of moving clips around, allows arrangements to be condensed and managed at macro level rather than micro, author finds using aux tracks for sub-mixes preferable to summing tracks, tracks stacks improves on older folder function from Logic Pro version 9
Logic Pro X – Track Stacks, Folder Stacks and Summing Stacks

ES2 synthesizer (PART 2)
ES2 synthesizer overview (part 2), using the xy pad for modulation effects, using live automation with the ES2 (bugged in 10.0.7), using vector mode and the vector envelope, assigning continuous controllers, randomize ES2 settings, more control over modulation parameters over time, xy pad, xy pad doesn’t save motion unless written in with automation, hit a to pull up automation, latch automation mode, live automation modes: read/touch/latch/write allow you to write in automation in real-time by moving a controller around, press play (not record) and move controller around, 2 shapes of automation generated: x and y axis, click on arrow to open 2nd automation lane, display x or y axis, view axis at same time, draw in shape, after writing automation mode change back to read, every knob or fader in ES2 is automate-able, delete all automation on selected track, vector mode is a vector envelope, lfo’s repeat, envelopes don’t repeat, vector envelopes allows many stages that can be repeated and looped, can go backward and forward, rhythmic motion sequences, gated synths, assign 2 modulation targets to be affected over time, increase intensity settings, choose xy vector mode, initialize vector envelope to a loop, right click clear envelope, create stages in vector envelope, vector mode like xy pad step sequencer, select solo point to play thru sound, loop rate, oscillator mix triangle pad is automate-able, change vector mode to mix for triangle pad automation, continuous controller options, if you don’t know which MIDI continuous controller number you need use learn to detect it as you use it, randomization, and button, random intensity, select feature to randomize
Logic Pro X – Video Tutorial 49 – ES2 Synthesizer (PART 2)

ES2 synthesizer (PART 1)
ES2 synthesizer overview, oscillators and filters, synthesis modulation: lfo’s/envelopes/routers, ES2 synth patches much more complex than retro synth, modulation routers, hold option click target in modulation routers to turn off, sine level, vector mode, ES2 has 3 oscillators, polyphonic mode, unison, voices, analogue, oscillator tuning, ring modulation, digi-waves, right click on sine beneath oscillators to change digi-waves, oscillator balance triangle, fm carrier wave, fine tune oscillators, independent de-tuning of oscillators, global controls: polyphonic/monophonic/legato/voice count/unison, unison activates analogue knob for rich chorusing, master volume, extra sine wave, flanger/phaser/chorus effect, hard/soft distortion, xy fader has nothing to do with knobs around it, turn filter wheel on or off, ES2 has 2 filters, filters can be in series or parallel, blend, cutoff frequency, resonance control, filter types: low-pass/hi-pass/peak/band reject/band pass, filter 2 is dedicated low-pass filter, cutoff slopes: 12db/18 db/24 db/fat, 3 envelopes: 2 for modulation techniques/1 for volume, time envelope option, modulation routers take modulation sources (mod wheel, fader, lfo, envelope) and pair it with element of synthesizer, vibrato effect example, each router has target and source, lfo 1 cannot be synced to beat clock and is polyphonic, lfo 2 can be synced to beat clock and is monophonic, depth of modulation fader, tremolo affects volume, vibrato affects pitch, modulating filter cutoff, bi-directional square wave, layer a filter sweep, via parameter is a way to control depth of modulation with a control source, create range for modulation, bypass routers, ES2 has huge amount of modulation routers
Logic Pro X – Video Tutorial 48 – ES2 Synthesizer (PART 1)

retro synth and the basics of synthesis
retro synth overview, understanding the basics of synthesis, oscillators, filters, lfo’s, envelopes, analog, oscillator sync, wavetables and fm, emulates classic sounds of analogue synths, wave sync-able, wavetable, fm, simple synth, synth fundamentals, oscillator waveforms: sign/triangle/square/sawtooth, sine has no overtones, triangle has a few overtones, square wave has every other overtone in harmonic series, sawtooth has all the harmonics in harmonic series, sawtooth is complex waveform, sawtooth is brighter, bitey-er, gritty-er, more complex, sine wave simplest, oscillator shape 1 and shape 2, blend between oscillators, pulse width modulation, noise generator, de-tune 2nd oscillator, tune 2nd oscillator octave higher, 100 cents in a semitone, cents can be used to de-tune for chorus effect, vibrato, settings, global controls, continuous controls, filter cutoff, aftertouch, velocity control, 3 controller options to: filter cutoff/wave-shape (pulse width)/lfo rate/vibrato rate, global controls, transpose, global tuning needs to factor in de-tuning between the 2 oscillators, bend (pitch), voices, legato, mono, legato nice for fast arpeggios, trills, polyphonic better for chords, voice de-tune adds further de-tuning for more chorus, double multiplies oscillators by 2, stereo spread spreads audio across wide stereo field, synthesis modulation parameters, filters, lo-pass, hi-pass, band pass, band reject, peak, cutoff frequency, resonance, cutoff, resonance is caused by feedback, key slider controls key tracking, key tracking is varying amount of a filter across keyboard, filter loo, filter envelope, lfo’s create repeating waves, filter sweep, sync to beat clock, 1 hertz means once a second, control depth of modulation, lfo shapes: square wave/triangle wave/sawtooth/reverse sawtooth/uni-directional square wave, amplitude envelope, velocity, use amplitude envelope to convert lead synth sound to pad sound, flanger, sine level, glide, set voices to legato, vibrato is pitch modulation, sync mode, master oscillator, slave oscillator, detune one or both oscillators, table mode, wavetable oscillator, many pre-set oscillator wavetables, fm mode, frequency modulation, fm synthesis, operators, modulator wave, carrier wave, sliders: fm/harmonic/inharmonic/shape/mix, sidebands are overtones
Tutorial 47 – Retro Synth and the Basics of Synthesis

sculpture synth overview
sculpture synthesizer overview, physical modeling synthesis, material pad, objects and string synthesis, modulation techniques, using the morph pad, vast, deep modulation, esoteric, sculpture simulates string sound, material pad, string display, 3 objects, delay, body eq, material: nylon/glass/wood/steel, inner loss, stiffness, media loss, resolution, tension mod, media loss controls dampening, resolution controls harmonics, tension modulation controls pitch drift in a string, hide, key scale, release, release, emulating dampening effect of a string, object 1 affects string using disturb types: impulse/strike/gravity strike/pick/bow/bow wide/noise/blow, bow/bow wide/noise/blow all sustain regardless of sustain setting, string display allows for placement of 2 pickups and the 3 objects across the virtual string, object 3 affects string with disturb types: disturb/disturb 2-sided/bouncing/bound/mass/damp, most object 3 settings require objects 1 or 2 to be active, object 2 has both impulse and disturb types: impulse/strike/gravity strike/pick/bow/bow wide/noise/blow/disturb/disturb 2-sided/bouncing/bound/mass/damp, gate: key on/always/key off, filter: hi pass/lo pass/peak/band pass/notch, key tracking, cutoff, resonance, velocity sensitivity, waveshaper, waveshaper can be glitchy – click on/off on hide mode if it gets stuck, waveshaper simulates tube or transistor overdrive: soft saturation/vari drive/tube-like distortion/scream, input scale, variation, delay, wet level, feedback very similar to real-world, body eq: lo mid hi and many other options, eq signatures, volume envelope, some object settings like bow over-ride envelope attack, use spread to create stereo spread effect across pickup or key, level limiter, use level limiter: both to prevent clipping in synth, voice count, keyboard modes, poly, mono, legato, 2 lfo’s can be assigned to anything, morph pad, lfo 1 has 2 targets, rate, sync, waveform, phase knob controls whether poly or mono, curve softens wave, jitter modulation is a random effect, input scale, lfo vibrato, velocity/note on randomizer, MIDI controller options, morph pad, morph pad allows you to change anything that has red dot or orange with red next to it, morph pad can be automated, morph pad movement can be programmed in an envelope or manually, record morph pad movement, see envelope mode to see manually drawn morph pad movement shape, sync morph pad movement to musical timing, evolving morphing modulation effect, envelope has 2 targets, typical envelope
Logic Pro X – Video Tutorial 58 – Sculpture Synth Overview

creating soundscape soundtrack music with Alchemy + EXS24
create ambient atmospheric synths using Alchemy and EXS24, soundscape, dark, spacey ambient background music, sculpt sound, clear patch build setting, import audio, plucked string sound, pizzicato, volume, size, density, rtime, rpan, number of taps, taps spacing, stereo offset, AHDSR, attack, hold, decay, sustain, release, Alchemy arpeggiator, rate, octave, length, pattern, swing, note velocity, split, latch, mode random, sync, trigger, maximum number of voices, delay designer, audio fx/delay/delay designer/stereo, delay designer setting: complex filtered/ease in 04, change grid, increase dry and wet in mix, space designer: audio fx/reverb/space designer/stereo, space designer setting: large spaces/warped spaces/03.6s seep space, adjust dry signal, ambient arpeggiated sound, exs24, load stock settings, channel eq, notch, pitch shift plug-in, tremolo plug-in, adjust sample rate, fade in with automation, turn on track automation
Logic Pro X – Creating Soundscape Soundtrack Music with Alchemy + EXS24

match loop tempo with BPM counter and flex time
conform loops to a session tempo using the BPM counter plug-in and flex time, use BPM counter to sense tempo of non-Apple loops and use flex time to adjust playback speed of multiple loops to conform to central tempo, turn click volume up in metronome by right clicking on metronome icon and selecting metronome settings and increasing volume, select BPM counter from channel strip menus: audio fx/metering/BPM counter/stereo, use drum loop as reference tempo, problems with loops with low transients improved with: audio fx/dynamics/enveloper/stereo, enveloper plug-in, increase attack time and amount, decrease release time, increase punch, enveloper used temporarily to capture BPM, may take a little tweaking to get BPM, turn on flex time, polyphonic mode, change tempo, find native tempo of loop then apply flex time while session has that same tempo then go to desired tempo, turn on complex mode
Logic Pro X – Match Loop Tempo with BPM Counter and Flex Time

MIDI piano roll editor, part 2

more piano roll editing, using scale quantize, view multiple MIDI regions by region colors, working with snap modes, understanding the grid, quantization strength, create harmony, duplicate data using option key, duplicate track, scale quantize option, colorize regions, snap modes, bar mode, beat mode, division mode, show custom view in transport to change division of the grid using custom view, smart mode snaps to grid but can be off grid, ticks and frames, ticks for musical, frames for SMPTE, snap regions to relative values, snap regions to absolute values, quantization strength, more human feel with quantization strength
Logic Pro X – Video Tutorial 28 – MIDI Piano Roll Editor, part 2

MIDI piano roll editor, part 1
changing time signature with global tracks, piano roll edit tools, quantization and the quantization tool, note overlap correction and force legato, understanding velocity and the velocity tool, MIDI input filter, step input and disable note output, create and edit MIDI, matrix editor, change time signature, meter, show global tracks, signature, show/hide signature, double-click on MIDI region to open piano roll editor, click on MIDI region then command 4 to open piano roll editor in full window, click on green midi out icon to stop sound from playing any time region is touched, quantization, time quantize value, get rid of note overlap, fill gaps between notes, forced legato fills gaps, trim commands, pointer tool, pencil tool, eraser tool, finger tool, scissors tool, glue tool, mute tool, quantize tool, zoom tool, velocity tool, velocity slider, turn off aftertouch, polyphonic aftertouch, step input, create new MIDI region with right click, step input keyboard, red turn step input off icon, mass edit MIDI data, catch playhead button makes window follow playhead
Logic Pro X – video tutorial 27 – MIDI piano roll editor, part 1

chaining MIDI fx – chord trigger + arpeggiator + note repeater
MIDI fx plug-ins: chord trigger/arpeggiator/note repeater, add additional MIDI fx above or below each other, chaining MIDI fx, bass machine breakdown, bad order, make synth polyphonic/monophonic, arpeggiator, chord trigger, multi or single mode, learn mode, note repeater, MIDI delay, transpose by semitones, velocity ramp, audio fx, stereo delay, take something very simple and make it complex
Logic Pro X – Chaining MIDI FX – Chord Trigger + Arpeggiator + Note Repeater
[mp3j track=”www.ericschuurman.com/media/1-1-19.mp3″ title=”sketch 1-1-19″ autoplay=”n” vol=”75″ loop=”n”]

randomizer MIDI fx plug-in
using the randomizer MIDI fx plug-in, controlling a filter cutoff with the mod wheel in the ES2, randomizing velocity events, fixing velocity to maximum value (127), randomizing modulation wheel events, introduction to the step editor, randomize velocity and modulation wheel, depth of synth modulation, hammer lead synth, randomizing velocity, es2, constrict or expand the range of randomization, input range, randomization range, weight is how often are higher or lower values going to be triggered, output offset, step editor, edit MIDI continuous controllers: volume/pan/modulation/pitch bend/ch. pressure/poly pressure/ writing MIDI automation old school way, grid value, pencil tool, line tool, write modulation wheel message into MIDI region
Logic Pro X – Video Tutorial 42 – Randomizer MIDI FX Plug-in

note repeater MIDI fx plug-in
using the note repeater MIDI fx plug-in, adding and transposing MIDI note repeats, understanding semitones and octaves, creating a velocity ramp, MIDI delay, transpose, thru, repeats, transpose, semitones, velocity ramp, rate of delay, simple plugin to use
Logic Pro X – Video Tutorial 41 – Note Repeater MIDI FX Plug-in

modifier MIDI fx plug-in
using the modifier MIDI fx plug-in, convert control messages, re-assign continuous controllers, bypass a cc by setting scale to 0%, modify and convert one control value to another control value, utility
Logic Pro X – Video Tutorial 39 – Modifier MIDI FX Plug-in

chord trigger MIDI fx plug-in
using the chord trigger MIDI fx plug-in, single vs. multi mode, play chords with trigger notes, multi mode much more useful, clear, learn, transpose, set range for chord triggers in multi mode, clear all by holding option, save as preset
Logic Pro X – Video Tutorial 38 – Chord Trigger MIDI FX Plug-in

arpeggiator MIDI fx plug-in
using the arpeggiator MIDI fx plug-in, latch modes, adjusting the rate and note order, tabs: pattern/options/keyboard/controller, live vs. grid mode, pitch quantizing arpeggios to a particular key, assigning MIDI cc’s to arpeggiator controls, MIDI insert on channel strip, latch mode, latch modes: reset/transpose/gated transpose/add/add temporarily/through, delete last, clear, note order, rate, arpeggio direction, note order modes: ascending/descending/up and down/outside in/random/as played, silent capture, variation, octave range/inversions, beat clock, lock, live mode can be used for almost everything, quantize MIDI data, 2 types of presets:everything/pattern, note length, randomize, velocity range, swing, steps, staccato, legato, if arpeggio velocity is not working make sure synth is set up for it, swing, cycle length, grid, as played, scale, input snap, key, scale, quantize, keyboard split, remote, MIDI continuous controllers, learn, map MIDI continuous controller to any of the knobs in the options tab
Logic Pro X – Video Tutorial 37 – Arpeggiator MIDI FX Plug-in

more flex pitch, convert audio to MIDI
separate and merge notes, adjust pitch drift, adjust gain, convert audio to MIDI with flex pitch, double-click on region to open track editor, hit e on keyboard to open editor, if flex pitch inspector isn’t showing go to view menu and select show local inspector, pitch correction, separate 1 note to 2 using scissors tool, carefull to use the track area tools (left click/command-click) not arrange area tools, use glue tool to merge notes, 6 hot spots: pitch drift in/fine pitch/pitch drift out/formant shift/vibrato/gain, convert audio data to midi data works better with instrumental material than vocals, create MIDI track from flex pitch data works with monophonic sounds
Logic Pro X – Video Tutorial 24 – More Flex Pitch, Convert Audio to MIDI

flex pitch and vocal tuning
using flex pitch, altering instrument melodies, tuning vocals, create artificial vocal harmonies, flex pitch adjusts tuning and pitch, flex pitch track editor, time quantize, quantize pitch using scale quantize, pitch correction, flatten vibrato in vocal track, artificial vocal harmony process, 6 hot spots: pitch drift in/fine pitch/pitch drift out/formant shift/vibrato/gain, formant shift controls overtones in human voice, lower formants means lower overtones, more formats means more overtones, author prefers meladyne because more stable and accurate for pitch correction than flex pitch, work in small chunks in flex pitch not entire track, clear clean toned vocals work better in flex pitch than rough and raspy vocals
Logic Pro X – Video Tutorial 23 – Flex Pitch and Vocal Tuning

varispeed, toggle on/off Logic’s advanced tools, using varispeed, tempo changes with varispeed, pitch changes with varispeed, varispeed from tape world, change display to custom view, turn varispeed on in transport control, toggle on/off varispeed, speed only option in transport changes playback speed of song without affecting pitch, varispeed (speed and pitch) option affects both tempo and pitch of project, detune (semitones.cents) option shows how many semitones the adjustment is, tuning reference (Hz) option shifts song up or down in Hz, varispeed and midi option essentially the same results as varispeed (speed and pitch) option, author slammed varispeed and midi option
Logic Pro X – Video Tutorial 22 – Varispeed

tempo changes with flex time
create tempo changes with flex time, make audio conform to tempo changes, explanation of time bases (samples versus ticks), using the global tempo track, using the tempo list, MIDI and Apple loops conform to tempo change natively, change timebase to ticks, relative timebase, flex time automatic, turn on complex option when using flex time polyphonic, digital artifacts occur when bpm is increased by at least 10 to 20 bpm, change tempo across time, show global tracks, tempo track, accelerando speeds up, ritardando slows down, list editor, tempo list
Logic Pro X – Video Tutorial 21 – Tempo Changes with Flex Time

flex time part 3 – speed and tempophone
speed mode, tempophone mode, adjusting the sensitivity of transient markers, create speed and tempo phone effects with loops, enable flex time, create single or 3 flex markers, slicing, snap mode, rhythmic mode does not affect pitch of recording when tempo changes, speed mode is like varispeed effect, compressed waveform region increases playback speed, stretched waveform region decreases playback speed, tempophone produces mechanical sound that has a lot of digital artifacts, kind of affects pitch, tempophone uses granular synthesis, file editor, increase or decrease sensitivity of analysis in transient editing mode, speed and tempophone effects, click within region and stretch or compress
Logic Pro X – Video Tutorial 20 – Flex Time Part 3 – Speed and Tempophone
Logic Pro X User Manual

flex time part 2 – rhythmic and slicing
rhythmic mode and slicing mode good for drums and percussion, phase issues with groups and multi-track drums, chop up a loop or song with flex time, edit group, editing and phase-locked audio, transient markers, phase issues in rhythmic mode with multiple tracks, working in rhythmic mode with single track no issue, quantize multiple tracks simultaneously, slicing mode best for drums and percussion with gaps between events, trick with drum loops and flex time, slice at transient markers
Logic Pro X – Video Tutorial 19 – Flex Time Part 2 – Rhythmic and Slicing

flex time part 1 – polyphonic and monophonic
using flex time, flex modes, polyphonic mode, monophonic mode, editing transient and flex markers, quantizing audio with flex time, turn on flex, show/hide flex, time compression/expansion, quantize transients, fix timing, snap mode, delete flex markers, complex option in polyphonic flex mode for audio improvement, create new flex marker, transient editing mode, transient marker, render to audio file
Logic Pro X – Video Tutorial 18 – Flex Time Part 1 – Polyphonic and Monophonic

Ultrabeat (part 3) step mode and multi-output
using step mode, mixing Ultrabeat in multi-output mode, aux tracks, step sequencer, step sequencer control of Ultrabeat synthesis parameters, multi output mode, Ultrabeat aux tracks, groups, adding effects to Ultrabeat aux tracks
Logic Pro X – Video Tutorial 53 – Ultrabeat (PART 3) Step Mode and Multi-Output

Ultrabeat (part 2) drum synthesis
understanding the synthesis of Ultrabeat, filter and distortion units, layering noise with a sample/phase/fm/side chain and modeling oscillators, importing sounds from other kits, oscillator 2 pitch control, filters: lp/low-pass, hp/hi-pass, bp/band-pass, br/band-reject, 12 db slope, 24 db slope, cutoff frequency, resonance, tonal change by velocity, distortion, oscillator 1 layer, phase oscillator, envelope 4, fm synthesis, noise generator, dirt, 2 band eq, modeling oscillator recreates real-life timbres, side change loop slices and controls sections of a loop, import kit, drum banks nothing but snares (or kick, or toms, or whatever) ‘Puff’ explanation at 20:00.
Logic Pro X – Video Tutorial 52 – Ultrabeat (PART 2) Drum Synthesis

Ultrabeat (part 1) sequencing and sampling
using the step-sequencer to build drum patterns, dragging patterns to the arrange window, drag and drop samples kit, 1-shots and envelopes, hi-hat groups / monophonic groups, easy to use, multi-output, built-in sequencer, blue volume bars, mute, solo, pan, synthesizer, step sequencer, full view, pattern menu, sq, start pattern using ultrabeat play button, copy/paste/clear pattern, create pattern on-the-fly, add every downbeat, add every upbeat, quick swipe to add or remove events, copy and modify pattern, adjust velocity, note gate affects length, sequence drag and drop, drag to arrange window, ultra beat sequencer on/off, repeat regions, trigger patterns live, swing, pattern resolution, drag and drop samples kit, blank kit, free samples at sample swap.org, 1-shot, extend sample length of sound using envelope 4 for full tail, set max and min velocity on waveform location, exclusive group/hi-hat group/choke group, open closed hi-hat
Logic Pro X – Video Tutorial 51 – Ultrabeat (PART 1) Sequencing and Sampling

EXS24 tutorial (part 3) alternating samples and velocity layers
alternating samples and velocity layers, sampling acoustic drums, round robin (alternating samples) technique, velocity layers technique, hyper-realistic drums, alternating samples of same instrument, groups, round robin format convoluted process in Logic Pro X, velocity layers, different velocities triggers different samples, zone group re-naming glitch, sample velocity range, de-tuned, velocity sensitivity using samples
Logic Pro X – Video Tutorial 56 – EXS24 Tutorial (PART 3) Alternating Samples and Velocity Layers

EXS24 tutorial (part 2) drum sampling, groups, multi-output
drum sampling, using groups to organize samples, mixing drums in multi-output mode, audio file naming for EXS24, 1-shot, manual sound assignments to keys, gm drum kit format see MIDI.org, edit mode, root key, un-check pitch checkbox ignores root key and keeps original pitch of file, aux outputs, zone group, groups, aux tracks, panning within a group
Logic Pro X – Video Tutorial 55 – EXS24 Tutorial (PART 2) Drum Sampling, Groups, Multi-Output

EXS24 sampler tutorial (part 1) sample management and auto-map, applying synthesis
sample file management, in EXS24b preferences: read root key from file: filename/file for better auto-mapping, load multiple samples, extrapolate pitch, building and naming EXS24 instrument, if files are musically named by note/octave/sharp use auto-map by reading root key from audio file, if files are named numerically use contiguous zones for auto-mapping, 1-shot option for drums typically, legato, glide, vibrato, syncronize EXS24 to hertz or beat clock, lfo, filter sweep, filter cutoff
Logic Pro X – Video Tutorial 54 – EXS24 Sampler Tutorial (PART 1) Sample Management and Automap

create your own Apple loops
Apple loops, creating Apple loops, editing loops with marquee tool, using snap mode: bar, adding regions to the loop library, adding loop search parameters, Apple loop trim glitch error in Logic Pro X 10.0.3, snap mode, left click tool, command click tool, loop browser, adding to loop library, index loop into loop library, import tempo
Logic Pro X – Video Tutorial 08 – Create Your Own Apple Loops
Apple Loops Utility: Create Apple loops from audio files

zoom controls, zoom shortcuts, waveform zoom
using the zoom tool, zoom to fit window, waveform zoom, individual track zoom, zoom shortcuts, control/option for zoom tool, option/mouse wheel for vertical zoom, option/command scroll up or down for horizontal zoom, option/command scroll left or right for vertical zoom, z toggles fit in window, selected region then z toggles zoom to region, zoom tools menu, adjust individual track zoom, zoom default height
Logic Pro X – Video Tutorial 09 – Zoom Controls, Zoom Shortcuts, Waveform Zoom

import audio files, export audio files
import audio files, export audio files, export all tracks to stems, sample rate, bit depth, convert file, change project, playback speed issues, export track, export region, scissors tool, bypass effect plugins, include audio tail, include volume/pan automation, overload protection, all tracks as audio files, bip, bounce in place
Logic Pro X – Video Tutorial 07 – Import Audio, Export Audio, Export All Tracks

cycle record, loop record, duplicate tracks
audio recording techniques in Logic X, using cycle record (loop recording), duplicating tracks, combining takes with quick swipe comping, take folders
Logic Pro X – Video Tutorial 06 – Cycle Record (Loop Record), Duplicate Tracks

quick punch, punching in vocals
audio recording techniques in Logic X, using quick punch-in, punching in vocals, take folders, quick swipe comping, flatten and merge
Logic Pro X – Video Tutorial 05 – Quick Punch, Punching In Vocals

transport, colorize regions, cycle mode
functional & navigational aspects of Logic X, transport controls and key commands, colorize regions, using cycle mode, set key commands to default setting, US key command keyset, play from selection button, arrange window, inspector, toolbar, cycle mode, auto set locators
Logic Pro X – Video Tutorial 02 – Transport, Colorize Regions, Cycle Mode

autopunch, quick swipe comping, low latency mode, control bar
audio recording techniques in Logic X, low latency mode, adding icons to the control bar, using auto-punch, intro to take folders and comping, using quick swipe comping, flatten and merge, i/o buffer size, monitoring volume versus gain on audio interface
Logic Pro X – Video Tutorial 04 – Autopunch, Quick Swipe Comping, Low Latency Mode, Control Bar

sample rate, bit depth, i/o buffer, setting up for recording
setting up for recording, adding a guitar or bass track, understanding sample rate, understanding bit depth, understanding i/o buffer, changing the recording file type
Logic Pro X – Video Tutorial 03 – Sample Rate, Bit Depth, I/O Buffer, Setting up for Recording

getting Started in Logic 10.3
downloading and installing sound library, setting up audio interface, turning on advanced tools, understanding layout and navigation, transport, zoom controls, workspace, building basic instrumental arrangement, using loop, drummer, and software instrument, bouncing, i/o buffer size, latency, control key commands, extending loops, quantize, convert loop to real copies, repeat sections, organize project as package or folder
LOGIC PRO X 101 – #01 Getting Started in Logic 10.3

getting started in Logic X

Logic project folder, create a track, quantize, Apple loops, loop browser, select a track and create a track of same type, legacy Logic, MIDI effects, arpeggiator, horizontal and vertical zoom, bounce, bounce range, bounce dialogue
Logic Pro X – Video Tutorial 01 – Getting Starting in Logic X

drummer and drum machine

[mp3j track=”www.ericschuurman.com/media/12-9-18.mp3″ title=”sketch 12-8-18″ autoplay=”n” vol=”75″ loop=”n”]

manchester ian drummer, seismic ronnie drum machine, multi-output tracks, drum verb bus, drummer drives traditional drum-kit and drum machine instrument, drummer kit customization, drummer pattern programming, fills, pattern dynamics, mixer aux tracks, track groups, project templates, screen-sets.
Logic Pro X – Video Tutorial 45 – Drummer Plug-in (PART 1)
Logic Pro X – Video Tutorial 46 – Drummer Plug-in (PART 2)

synth and guitar loop

[mp3j track=”www.ericschuurman.com/media/12-8-18.mp3″ title=”sketch 12-8-18″ autoplay=”n” vol=”75″ loop=”n”]

quantization on a rough midi pattern, guitar track using clean marshall sound (studio re-issue), guitar loop recorded as loop recording.


Europe Acoustic by Eric Schuurman

The band, 1984.

By spring of ’84 I needed to reinvent myself. I decided to take a break from St. Vitus Dance and see Europe. I wrote a batch of songs, playing them on guitar and harmonica. I recorded them and made copies to sell while busking on my trip that summer. The Europe visit was a very conscious effort to change direction. These songs are the fruit of that reinvention.

Recorded in Lake Geneva, WI in spring 1984.
Words, guitar and harmonica by Eric Schuurman.

  • American Seance
  • Exhilarated
  • Goodnight Godspeed
  • If You Were Mine
  • Little Miss Mystery Kiss
  • Season of Danger
  • Recklessly Yours


John Halka and St. Vitus Dance

St. Vitus Dance
St. Vitus Dance

When I first met John, we were both 13, living in north Barrington. We shared the same school bus stop in our wooded neighborhood, Timberlake. Our birthdays were a month apart, but he was a grade higher than me.

He had a Pioneer stereo, blacklight posters, and Pong on his basement tv. There was also a decorative mandolin hung by his parents on the hallway wall by his bedroom. We took it down, started experimenting, and the music began.

Early in high school, both of us picked up guitars and started lessons. We shared chords, compared finger exercises, bounced ideas off each other and jammed. We listened to Dylan for the poetry, blues and early rock and roll for the chops we wanted to lift, and punk for inspiration and a guiding ethos. We couldn’t wait to get out of high school, rent a space, and start rehearsing our band.

In the fall of 1978, we rented a house in McHenry, IL near the Fox River. We built a little studio in the basement with sound insulation, placed ads in the Illinois Entertainer for side players, and started bangin’ away, me playing guitar and keyboards, John playing bass. I worked in a shop in Wauconda welding pipe heaters and snow melters. John worked in a cement factory in Crystal Lake. Nights were loud, loose and raucous doing auditions, rehearsing new songs, and jamming. We called our band St. Vitus Dance.

In the summer of 1980, we moved our rehearsal space to a palette factory south down the Fox River to West Dundee.  We were kicked out and re-located to a basement floor space in a small office building in Barrington, near the train station.

We continued with auditions and rehearsals, and soon started playing parties and dives. We did a mix of covers and originals in a raw, loud, rock and roll, blues style. Our technique continued to tighten, and we were bringing in better side players. We also were playing in larger, better known bars.

By the summer of 1983, we were developing musically. We performed acoustically in Milwaukee, Madison, and Minneapolis. We had purchased a multi-track tape deck, and begun experimenting with over-dubbing. John’s bass playing was rock-solid and unadorned. He had a baritone voice reminiscent of Jim Morrison. He looked great with his brown P-bass, dark beard and olive green ’60s Mustang.

The lifestyle was developing as well. We were constantly around alcohol and drugs in a time when they were tolerated, if not celebrated. We indulged to the point where it became clear to me that a recalibration of attitude towards them was necessary. It took John much longer to reach that conclusion. In part, they contributed to the deterioration of our friendship and the end of our collaboration.

By early 1984, a toxic competitiveness had crept into our musical efforts. Feeling the need for self-reinvention, I decided to take a break from our band. The idea was that I would go off and knock around Europe a bit with my acoustic, come back and we’d resume. Then we’d find a way to re-locate the band into The City, Chicago.

That summer, before I left, I’d met Stan Borys. When I returned, I focused on working with him. I found an apartment in Chicago with Vince Salerno, a sax player John and I worked with. I set up my tape deck and added a sequencer, synthesizers and drum boxes. I enjoyed not having to share the musical helm. I did not bring John and the band into The City with me. We would never count off a song again in the same band.


In the spring of 2005, I got a call out of the blue from John. I couldn’t remember the last time we’d spoke. We discussed getting together for a beer after I returned from a family trip. When I called him, his phone was disconnected. The next winter, I heard from his brother Doug that John was locked up. By spring of 2006, a year after he reached out to me, I was able to make contact with John, writing, then visiting him at Walworth County jail in Wisconsin.

John had a serious substance problem. An acquaintance forged a prescription and John got caught trying to get it filled. Only John was fined and paroled. There was no mention of his acquaintance’s involvement by John. Later, his parole officer found out that his employer wasn’t informed about his criminal record. He was let go when his employer was told, and went on the run, having run afoul of his terms for parole. Freaked out about doing time, he lived in a stolen van, sleeping at night in empty parking lots, scrounging food where he could. He broke into a house near Lake Geneva, WI and stole a gun with the intention of killing himself. Fortunately, he was caught and couldn’t do it. Unfortunately, he had time to do.

We re-connected after he got out in May of 2008, and re-established our friendship. He worked for me as a photographer, and helped with sales calls for my business until the Great Recession did in my company. We talked about collaborating again after things settled down with the economy, but it never happened. John died of a heart attack on August 1, 2012.

Our last collaboration was ‘Johnny Thirteen’. When John was in jail, he read a poem to me over the phone, which I recorded. It was excerpted and used in the song.

John’s jail poem:

John Halka was a gifted musician. He struggled with his demons, but he was a good person. We resonated on the same frequency. He was my dearest, best friend, and I miss him very much.

St. Vitus Dance

Rehearsal tapes, performance board mixes, multi-track recordings.
(These 11 songs are not yet available commercially.)

  • On the Road Again
  • What's Buggin' You?
  • Respectable
  • Crawlin' King Snake
  • Lights Out
  • Tiny Montgomery
  • Wild Child
  • Angela
  • Matchbox
  • Recklessly Yours
  • Mother's Kitchen


Old Town by Eric Schuurman

Old Town
Old Town

Recorded at Wieland Center in Old Town in 1991.

Produced by Eric Schuurman.
All words and music by Eric Schuurman.

Eric Schuurman – Vocals, Guitar, Piano, Organ, Synths, Programmed Drums, Harmonica on ‘Homeward’
Vince Salerno – Tenor Sax, Baritone Sax, Harmonica
Dave Schuurman – Prayer on ‘Apology’

  • In My Hour
  • Vineyard Homicide
  • Winterline
  • Resurrection
  • Too Many Pieces
  • Take Care of Love
  • Apology
  • Homeward


Autumn ’85 by Strange Romance

Autumn ’85

Recorded in Lincoln Park in 1985.

Produced by Eric Schuurman.
All words and music by Eric Schuurman.

Eric Schuurman – Vocals, Guitar, Piano, Organ, Synths, Programmed Drums
Vince Salerno – Tenor Sax, Baritone Sax, Harmonica

  • Time Falls, Run '85
  • World Away
  • Follow the Moon
  • Snack
  • Blessed
  • Autumn '85


Charms by Strange Romance


Recorded in Lincoln Park in 1987 for Risque Records.
Executive Producer, Jeff Svoboda

Produced by Eric Schuurman.
All words and music by Eric Schuurman,
except ‘Waiting in the Rain’, words and music by Schuurman/Borys/Salerno/Garret.

Eric Schuurman – Vocals, Guitar, Piano, Organ, Synths, Programmed Drums
Stan Borys – Vocals on ‘Waiting in the Rain’
Vince Salerno – Tenor Sax, Baritone Sax, Harmonica
Michael Garrett – Guitar
Jeff Svoboda – Additional Digital Percussion

  • Greenwich Mean Time
  • Strange
  • Dressed in Black
  • Airplane Dreams
  • The Hand in My Head
  • Waiting in the Rain by Stan Borys
  • Liturgy
  • Marionettes
  • Heaven is Far Away
  • Klepsydra
  • Time Falls, Run '87


Spice Factory Demos by Tom Waicunas

Tom Waicunas
Tom Waicunas

Recorded at the Spice Factory in Chicago in 1993.
The project was never completed.

Produced/Engineered by Eric Schuurman.

Words and music, Vocals, Guitar and Harmonica by Tom Waicunas.
Guitar, Piano, Synths and Backing Vocals by Eric Schuurman on ‘Maybe It’s the Way’.

  • Maybe It's the Way by Tom Waicunas
  • Sense of Humor by Tom Waicunas
  • Midnight Shuffle by Tom Waicunas
  • What You Gonna Do Now? by Tom Waicunas
  • Techno Blues by Tom Waicunas
  • My Phone Got Disconnected by Tom Waicunas


Soul Roots by BB Bugaloo

BB Bugaloo
BB Bugaloo

Recorded in Chicago in 1992.
Produced by Eric Schuurman.

‘Love Dangerously’ words and music by Eric Schuurman,
‘Mr. Pitiful’ words and music by Otis Redding and Steve Cropper,
‘Brand New Cadillac’ words and music by Vince Taylor,
‘Fa Fa Fa Fa Fa Sad Song’ words and music by Otis Redding and Steve Cropper.

BB Bugaloo – Vocals
Eric Schuurman – Guitar on ‘Love Dangerously’ and ‘Brand New Cadillac’
Vince Salerno – Tenor Sax on ‘Love Dangerously’, ‘Mr. Pitiful’, and ‘Fa Fa Fa Fa Fa Sad Song’
Paul Coscino – Piano and Organ
Willie Greeson – Guitar on ‘Mr. Pitiful’ and ‘Fa Fa Fa Fa Fa Sad Song’
John Bowes – Tenor Sax on ‘Brand New Cadillac’
Jeannie Tanner – Trumpet
Greg Baroni – Bass
Brian McDermott – Drums

  • Love Dangerously by BB Bugaloo
  • Mr. Pitiful by BB Bugaloo
  • Brand New Cadillac by BB Bugaloo
  • Fa Fa Fa Fa Fa Sad Song by BB Bugaloo
  • Love Dangerously Demo by Eric Schuurman