Live Q&A with Luke Hendrickson 2018

hey there everyone at production online I hope you're doing well today it is Thursday and we are here with Luke Hendrickson Luke how are you today I'm great man thanks for having me honored to be with you guys today we're super excited to chat about your new broadcast template so what we've found is that you have spent what 12 15 years developing this template oh well yeah you know it's it's really a lifetime of developing the tools and the years there's no better time to be alive and the audio industry because quality is in a all-time high and price is at an all-time low so the amazing convergence of those two things so it's just I'm very thankful to be alive at this day and yeah it's it's been a year years in development developing the ear and the tools and so I feel like we've come up with something that is really compelling it yields an incredible product for a really low price you know it's software so it's upgradable it's portable very affordable you know I just feel like the power is is nearly endless it's really limited by user ingenuity user ideas and creativity so I'm excited to make this available to everybody we're losing it at Bethel for the last eight years so I'm a part of Bethel Church Bethel music and we stream our services live and you don't go back and remix it like everything you see on Bethel TV is truly live we try to get it right the first time and so you tune the vocal and sudden you get stuff dialed we're there with the with the artist while they're soundchecking while the band is sound checking sword sound guys so we're refining tui cues that can crunch and the tones of things so that when we go live it's right the first time we post it forever you don't have to spend a whole lot of more post work at all like we actually have zero post work we could really release something that it's compelling for the end-user but also it is a great tool to protect the emotional well-being of the artist you know you've seen it to where there's a bad stream that goes out there a bad mix that goes out there and the artist feels like they're not being taken care of they feel like they're being misrepresented their vocals are flat or something the the tones are really bad and they go back and they watch it and there's some embarrassment involved and they don't want to go back and it away put it all on the line again because it hurt last time and so our goal is really to protect the moment and protect the people on the stage trying to make sure that they are represented well in a way that would make future happy but also make all those happy that's incredible that is a great way to put it protect it in the moment yep we found that this is really going to be a great resource for churches and for ministries who are looking to put their best foot forward looking to step up their game and truly hone in on their on their sound and so we have some questions that have already come in and as people are logging on feel free everyone to send in your comments below and we'll be able to answer them right here with Luke so let's just jump right in right so we got a couple questions in during the week our first one here is how do you tune or EQ your studio room well it starts out with get a good quiet room that is treated well and you gotta have good speakers so before you mix you got to make sure you're in a quiet room if you're if you're looking for broadcast so a lot of people they will mix off the front of house console which is a really noisy area and you're trying to do a knock send off of your front of house console and you have no idea what it really sounds like because you're hearing the reflections from the PA in the room off the wall you're hearing the audience clapping right next to you that guy's shouting right behind you and it's so distracting you really don't know what you're mixing so it's critical that you find a quiet room this room I'm in right now is the broadcast room for Bethel Church it's off the side of the stage and it's got double walls everywhere so it's nice and quiet and then you can see the treatment behind me as well and there's different ways to treat it Owens Corning 703 pressed fiberglass Owens Corning 703 pressed fiberglass is a two inch and a four inch version that's a great way to start with tuning your room you want to make sure all the reflections are gone so when you clap in your room you hear reflections are bouncing going back and forth that's a bad sign so get yourself a nice quiet dead room that's treated well and then that's when you move on to speaker selection speaker selection should only be happening after those first two things with that and you know the most classic speaker out there is the Yamaha n s10 and that's something that has been industry standard for a long time so you can start out with something like that you would roughly spend $500 on that but Yamaha has some newer ones that are relatively affordable how are you gonna beat it PM you can try something like that if you want to go up a little higher scale you could do the proact 100 series I think it's the SM 100 those are maybe 2,500 bucks you need to get an amp with it we use that here in this video we use the innocence and barefoot micro made 45 and then 45s those are about 6 grams something like that but really the speaker is kind of the last thing you think about it's the quiet room and the treated room is really one where you want the good things started that's great info that's really solid yeah so when we're talking about the studio at Bethel and the rig at Bethel how are you getting your channels into Pro Tools so we had a question here on how you get more than 32 channels in tubules yeah that's a great question so avid is a very sneaky company they're in to make a profit just like most companies are but these are very aggressive when they're trying to profit so they require special hardware to be partnered with their software in order to get over the 32 channel cap so you have ProTools vanilla or Pro Tools HD they call the HD version so they leave alikum space a minute now anyway if you get the HD software you get more than 32 channels but that's only if that software is coupled with their hardware and so you can get like like an HDX system which is a PCI card that which goes into your computer or using a laptop that doesn't have like a PCI slot you can get something like avid thunderbolts io it's a fundable HD device and it just puts its Thunderbolt to your computer and that provides you to digital ink like HDX ports that go into an interface so if you're not worried about 32 getting over 32 channels you can use any interface and Pro Tools vanilla which is like 600 bucks - I don't really know so it's a lot cheaper if you're trying to stay under 32 channels the price goes way up if you're trying to get over 32 channels so the particular setup we use at Bethel is it's an analogue snake split on the stage there's front-of-house monitors at broadcast so the broadcast live is an analogue split comes back to a a mech recall 56 analog console and we don't actually mix on the console we just use it for preamps so it goes into there and we come out of the direct outs into apogee symphonies at the g's symphonies and that is a AV converter so analog to digital converter and it has HDX like digital ink ports on there so it comes out of those eight digital ink ports into the Thunderbolt IO which is an avid Thunderbolt i/o device so analog into the console into the apogee symphonies into the avid Thunderbolt IO which eventually gets into Pro Tools HD so it's quite a few steps to go this route you can say Pro Tools vanilla and skip a lot of that comes right to like a parent or x32 USB and to Pro Tools vanilla and you're gonna save yourself a lot of money that you're going to be kept at 32 channels or you want more than 32 channels and still save money you could try and logic and that has an unlimited channel count and you can use any interface you want you're gonna be saving a lot of time it's like 200 bucks or something for that software Wow it's a piggyback off of that oncologist wrote and asking is it how important is it to run through an analog console for broadcast audio not at all so do you guys have any particular reason we do it just because that's what we have so a lot of times we will come what you call Maddy ma di out of a stage box we use digital all the time and so the all the analog statement that going to the stage box those pre those are pre-emptive split to front-of-house mongers and as well as to broadcast and I'll just take a Matty line just a digital line directly out of there up to another device that I have is this one broadcast mobile vehicles we have a little scribe yet but whether it's a digital console or an analog console I really don't care now what what the important thing is is that your tones onstage are incredible like that is the most important thing good basis who cares about the plugins who cares about the console who cares about any of that stuff are the players providing good that is the most important thing to shoot for so your drum your drummers by great drum set and make sure they know how to tune that thing your keyboardist are they creating really great rich tones for you you're not required as a sound guy to have to EQ and compress them to make them sound basic it's their job to make them sound and credible coming right out of their keyboards guitar players are they providing you world-class guitar time great amps great guitars great pedals your vocalists are they are they wound up artists singing on pitch is this is the stage that there aren't quiet or is there a bunch of noise that's making a vocal sound bad you have a ton of crowd mics that are positioned well that are good quality focused mics so all of those things are going to play 90 percent ish of creating quality tone what what kind of console I use it really doesn't matter you know you know that's going to make it very small a much smaller percentage of your time almost all of it comes from the stage itself are they providing killer time from the stage it's true I mean I think one of the best things about your template is the fact that it can be used in almost any scenario oh yeah you get like a penny console to it and as long as you're getting those channels in you can run it it'll work on a Neve console and SSO console or a cheap behringer x32 it doesn't matter yeah it's great and so Clayton's wondering he has a gain sharing system and cannot dial in separate canes for broadcasts so he's been using a channel infant knob for trim so do you have any advice on good gains for the meters and what will complement the template yeah so just to reiterate what's going on is it's kind of like what I described earlier there's a stage box in front of house monitors and broadcast are all sharing that stage box and there's one head amp that's pre amping all the audio and one guys usually in charge usually that's the monitor guy or the kind of how sky broadcast is usually the last guy that don't think about hopefully you have a good engineer to where those gains are set in an area in a way that it's not clipping it it's not invisible it's not too quiet otherwise you're going to be turning up hiss so hopefully you have good engineers and you all are talking together and you're all on the same page not have to fight each other that's that's a huge step but if the gains going into your session into your broadcast engine are not premium are not ideal there's two ways to get around that a lot of interfaces will have a digital trim inside of them we can do a digital trim inside of them like Apogee has something like that I think and local people things like that so that's option one option two is Pro Tools also has a digital trim so across the insert of every channel you can insert a plug-in called trim just what it sounds like I think it's called trim and you can go plus or minus how pretty much however much you want and compensate say I need six more DB on so and so you just trim it up there it's a digital chat so you know the ideal way is to do at the head amp but if they're not quite giving you exactly what you want and hopefully they're not clipping because you can't undo that then you provide digital check awesome awesome well let's dive a little bit deeper into the technical things what's kind of your go-to compressor for vocals I use a a a stacked method okay so the la-2a is going to be like your warmest roundest compressor patient you can smack it harden it doesn't break up it doesn't the score it's just a really nice smooth compressor but it's not super aggressive and so I will run that first into an la-2a and then after all and they've been to the 1176 and the 1176 is way more aggressive with punch here but if you push it too hard it starts to distort and so I'll put the la-2a in front of it so that if you push it really hard la-2a takes the brunt of all the work and it goes into the 11706 and you're only doing a tiny bit on there after that I'm going to a multiband compressor like a sea floor or a c6 or something like that so yeah there's you usually I'll usually staff a couple of them another method you would do like if you're mixing a record if you have the leisure of being able to hit rewind I might do something called parallel compression so I've run a vocal into several different compressors on different axes and then you can blend a perfect blend of say your api's will be 500 ELA to a your left six six and she's fine like that perfect color that you like wow that's really cool so we have another question come in right in line with that what's your go-to EQ for vocals oh the end the SSL channel strip is used on everything in the broadcast you'll notice that it sits across every single channel and I love it because it's not a visual EQ it's so it's so tempting to eat you with your eyes and not EQ with your ears my biggest growth curve is when I stopped using graphic EQ so like I visually cute not graphic but visually cute because it made me have to mix blind visually and it had it forced me to use my ears using a parametric EQ and that's what the ssl chimes ship is so any kind of parametric EQ doesn't really matter that I think is the way to go because just important you can turn your eyes off and really used to eat your ears that's a great way to put it yeah that's genius that's yeah you should all be doing that mixing yeah I'm making sure what we hear is what we hear yeah it sounds good it is good it doesn't matter what it looks like so we just had another question about what mastering plugins do you use when mixing broadcasts are you using mastering buoyance yeah it's it's in the template so you'll see several things you'll see obviously a form limiter which is the final final guy that's ensuring that you don't hit zero and it's getting in a nice loud level so they're not having to think that they're stereo to beyond its normal range there's a few other tools you can do there's like a pull technique you that's pretty awesome there's a there's a couple plugins by BBE corner called sonic suite and those are more like harmonic exciter x' you can do high end or low end excitement it just kind of adds some textures in there you can do some tape saturation and there's like a like a stereo spreader plug-in as well that you could use yeah it's a it's a blend of a few of the things cool just wrote in wondering so what's your approach on drum replacing replacement should we do it and what are the advantages and pitfalls absolutely you should totally do it I don't care if it's pure or not is auto-tuned pure is Melodyne pure it's not but people do it all the time ninety-nine point whatever percent of everything you hear on the radio everything you hear in iTunes is vocally tunes and the purist you say well it's not it's those drums aren't real what is real what is really David almost nothing is people are not looking for that people are looking for a fresh awesome tone that represents the artist in a way that the artist intended them to be heard yeah and so it's just one extra tool to have in your toolbox it's not something you heavily rely on but it's something that you should have in your toolbox no matter who you are what kind of you want to use it's usually used as a supplement it's not a complete replacement so like I'll use the bottom snare and leave that on all the time it preserves the integrity of the sorry the personality of that snare done the top snare is something I would go back and forth on they're doing rush at work or sidestick and I'll leave the top snare completely natural but if they start crunching on on heavy heavy crashes and heavy cymbals the cymbal bleed is going to be a big problem so you go to replacement for those sections it's this is not a Senate and forget it type of scenario there's this thing you're constantly changing throughout the song so they're big you do a setting change when they're small you do another study change so you're very active in this mix it's not something you just sit there and wait for the session to be over so the the the drum placement argument is why don't you just get a great sounding drum well we do do that we have some of the best sounding drums in the world I think he's like a 8 by 14 snare with a Remo power stroke for head the extra wide strain on the bottom if this thing sounds it sounds huge sounds like a gunshots going off but how are you going to get around rumbly when you smack it smack the snip the snare you could gate it and that's right it is it is removing the cymbals between the hits but when you're hitting it the gate opens up and when it opens up you're not just hearing the pure snare tone you're hearing whatever else is happening around it and if they're smashing the crashes that means you get a really bright harsh sounding cymbal coming into that snare channel so the way you eat seed your snare is no longer like the original snare town it's actually being influenced by those bright cymbals so a scenario placement you can make sure that you preserve the original integrity of your tone so what if you say well I don't want to use somebody else's sound I want my sound well you can easily do that here's how you do it before your session you have the drummer hit a few different velocities on that snare drum soft medium hard you chop those up into individual samples and you drop that into thermal placement into a steam site trigger and what that allows you to do is preserve the exact same integrity of their snare tone it's not somebody else's there it's your snare without jumbly without Simba bleed so when they hit it full volume and crashes is the exact same snare same microphones same everything Wow out without simply so that is that's the Holy Grail that's that's the that's the dream and you can do it live you don't have it thrown yeah you don't have to hit rewind you can do it live I think that's one key we need to probably make note of is anytime I've watched you mix is you are making I think an adjustment every second I mean you're always moving you're super active and that's probably a myth we need to debunk is the fact that it broadcast isn't set it and forget it active yeah that's it as busy as the guitar player is or the drummer is you as a mix engineer are doing the same thing every second there's something happening on stage that is surprising you or inspiring you surprising you or inspiring you and so you're reacting and sometimes you're actually proactive you're not just reactive you're proactive and if you know the song well if you know the artist well you can anticipate what's going to happen before it happens and get that fader get the delay get the drone to get the guitar solo whatever it is in its spot so that when they engage it's ready to go that's awesome yeah well we have time for two more questions and then were going to move into a couple broader questions Franco wondering too many of your plugins cause latency and how do you get around it yeah almost every plugin causes latency there's only a few that cause done in my Pro Tools template I tell you exactly how to do it there's two ways in Pro Tools for it you can put on a delay compensation plug-in it's called time adjuster and you will manually dial it in to where each plug-in is perfectly in time or you can use Pro Tools has a latency lock mode where you press a special key at the bottom of each channel and it turns the late see the color blue what that means it locks it in and so that when you get input or not input the latency stays locks so that all of your stuff is compensated actively wow that's awesome let's do this is a great question what is an economical way to get channels from the board's broadcaster Dante so this current setup that Andy is using it's sent through an oxbow fader and so what's kind of a more economical way to get that signal to broadcast yeah John today is probably the most affordable option out there so all while we're talking that's good Dante is part the most affordable way transport method or protocol to get audio into your laptop or your computer because it uses an Ethernet port almost any computer has access to an Ethernet port rather to an adapter or natively built in and once you get into there you use the Dante driver that makes your Ethernet card look like a sound card and so that your DAW pretty much any dog can see it as a sound card now if you use something like logic you can use one input device like Dante and have a completely separate output interface they don't have to be the same interface it can be two separate ones so the input could be Dante and the output could be whatever interface you want if you have an app to do something if you have a parent or something you go out of that so your local speakers could be coming out of your local outputs that would probably be the most the cheapest way to do it comes great if you're if you're wanting to spend a little more money you begin an interface that has Dante built-in and a bunch of local local ins and outs avid make something that you can try other companies RedNet focused right they have a ton of Dante products out there cool well this is actually a quick one what faders are assigned to your Nano control and can you change the tempo in between songs are just the delay plug-in BPM yeah so I have all my delays slave to the dog tempo so as the band is playing I will go into the global tempo and I'll just tap in the tempo of the song and so all my delays with slave to that command the Nano control is this guy here and it's super cheap at 60 bucks and it does a great job at software control and I put those dedicated on vocals and delay everything else has done the best so focus of the leg is awesome great well we have a couple questions about kind of team dynamics and how you as an engineer work with the team at Bethel or how an engineer can actually work with their worship team so this first one here is how did Bethel balance the growing desire and expectation for high production value and broadcast sound quality with having volunteers like when do you get to the point as a church that you switch from volunteers to professional or qualified sound Tex it's a pretty pretty broad yeah it starts at the top you know like if you're if you're trying to steer a ship and the boss doesn't want to go that way you're gonna be fighting a losing battle the boss is always going to be the person steering the ship and so at Bethel we are privileged and spoiled by having senior leadership that has a very high priority for worship worship is a cornerstone of what happens at Bethel and so if they finalize it that means they put time or energy and money behind that because it's a priority and so it's all about priorities it's all about priorities what is important to you personally what is important to your pastor was important to your ministry and hopefully everybody's on the same page that's not always the case but it just happens to be the case here and so monies is prioritized and allocated to production here is they really care about it they care that there's space available to create their space available to try new things and their space available to make mistakes you know this is a you're on the edge out here all the time trying new things that's never been done before and so is it a safe culture to make mistakes and it is so you know lot of progressive ideas happening in it and it's wonderful because you accidentally find something so nuggets some old time yeah that's great that's a trap I mean that got that question good so Abraham is wondering how do you approach talking to your musicians about getting their tones to complement the other musicians and maybe even compliment the mix because I know you guys do spend some time giving feedback to each other in the studio yeah after every session they come back to this room this room is the broadcast room and it's agree with both when the band is done the audio source goes to another room so that this live this is only live when the band is playing so when they come back here I ain't stop I go back in Pro Tools and I instantly play what they played five seconds before or five minutes before and we start selling out tones you know like hey how's are the drums feeling hey I notice your your subdivisions are a little too swing they're swung too much of the songs hot swung so let's straighten those out or the vocalist they'll come back here and said god gosh I didn't realize it but I was straining too much and that song I think we need to take it down a half step that happens all the time and it's not that me I'm the bad guy coming in here I'm actually just as much on their team as they are on mine we really see ourselves as one team and so you use the sandwich method you know like everybody's offering advice to everybody it's a it's a very much a two-way street and the sandwich method of give some encouragement what they're doing well give some ideas and what you could change and then finish it off with a lovely grill so it's a it's a team effort for sure but everybody is there tries to stay very humble and open to two ways to get better because we all we all have something to learn I still have stuff to learn that hopefully would never stop learning yeah it's a very encouraging culture you got to create that so that you can continue to build each other up that's right and let me just tag on to that a lot of our sound guys are also musicians musicians have a hard time respecting a sound guy that's only a sound guy because they they can't talk the same language you're like hey you jump in my shoes and then I'll listen to you but you've never been in my shoes so why should I listen to you here most of our sound guys are also musicians and they play weekly or monthly or the producing records so the respect level is really high the musician looks and the singers are like you know what you have been on the stage a week ago and you know exactly what I just went through five minutes ago so thus I have more respect to to listen to what you're talking about hmm that's really good yeah awesome well we have I think one more question and then we should be able to wrap this up we wanted to talk just a little bit briefly as briefly as we can about your you mentioned it earlier but the mobile broadcaster rig that you have for Bethel music yes this is new you guys just got this about a year ago maybe yep that's right that's right and so this is a backpack basically that you can throw on your back jump on an airplane and and take what you've developed and in the incredible broadcast sound and take it anywhere yep that's right so we travel all the time there's on location recordings and broadcasts happening all the time and we like to ensure that we don't just take a great band and singers but we also take a good production team so it's a good monitor guy I could find a nice guy a good podcast guy so that when we're on the road that still feels like we're at home so you're in Chicago but it still feels I call if you have familiarity from the air times one example would be like we went to Houston to play Lakewood they had a hurricane relief concert there which is such a beautiful thing a lot of people just came to volunteer their time and try to raise money to give relief to the victims of that hurricane and so I came with the broadcast rig all fits in a backpack and literally within 10 minutes I went from in a backpack to live and ready to make molded class audio in ten minutes it's amazing so it's so fast it comes in through you can bring it into Dante or through Madi and it goes in through antelope or lion 32 HD to the abbot unbolt device with tools HD you can mix on in years if you want to or you could use some speakers that you locally find there at whatever you're at so you know we we try to have a solid rig back home but also have a really quality rig so that when were on the road it still feels like oh yeah wow that's incredible yeah well Luke is there anything else you wanted to cover and want us to talk about hmm I mean it's up to you we've covered a bunch of stuff yeah man let's see here I will say this one of the main benefits of mixing a doll like this is being able to hit rewind so getting feedback immediately to your bands huge but the second benefit of thinking any DAW is we're recording everything we archive everything we never delete anything so that six months later after a live event you say you know what there's something special to that event I want to pull on that content and produce something from it well you have all the multitrack audio saved and so you can create records even create albums from your live streams and that's not your original intent but you have it so you might as well use it it's always there and then a third a third benefit of just doing broadcast in general is that this is a tremendous tool for the teams to learn so I know me as a band member thank you by the time I'll play something in it it might feel a certain way on the stage but when you go back to listen to it it doesn't always translate how you thought it should have yeah as a singer as somebody on stage like you're feeling a lot of emotion on stage you're feeling something different sonically than maybe what the end users and it may not be represented with what you think it is so jumping online and checking out the broadcast afterwards it's quite educational you will jump on there and you're going to hear things you didn't realize what happening good things and bad things and so for our people I think it's been a tremendous learning opportunity for our team every dope musicians and singers and our engineers to go back and listen to what happens what would happen you eat the meat you spit out the bones you celebrate what happens and you say all right we're gonna we're gonna grow through the things that you're not so awesome yeah so you get to really build I think week after week and learn something to do everything some ongoing learning experience it's awesome yep anything that you've learned recently like any just cool stuff that you've you've learned in the past couple months any tricks any anything special random it can be anything it can be on keys it can be hmm and you gotta think you're you're mixing probably more than any of us ever you're mixing all the time there are always new approaches to everything sometimes I will mix a record or something and intentionally say I'm not going to use my I'm not going to utilize my habits it's very easy to fall into those ruts and fall into and do something that's easy because you've done it a few times and so every now and then I'll say just for the sake of learning I'm not going to use X Y & Z and then do a totally different and so you know I'll do that with maybe my reverb selection okay I've always used abusive sweet but I'm just gonna try something new okay you know what I never use harmonic saturation or distortion much so I'm gonna this time around see how much I can crunch things and just try to create a brand new time it's fun because you if I'm not mistaken you mix the most recent notes album for I did always that was a completely different sounds then were used to from you yeah very good so in my opinion it just sounded like I was sitting in Bethel's auditorium which is completely different yeah that's right so that one it's about the music moments I mix it and released almost six months ago or something it was a complete live album we didn't over doubt anything like it was Lizzie wig what you see is what you get and you know there are mistakes of course I would copy and paste over mistakes but I'm not going in there retracting guitars or something like that but yeah the goal was to make a live record truly live which is not very frequent these days anymore a lot of live records are no longer live and so it's a fun challenge like how good can you make it and still preserve its live integrity yeah so that that was a fun one I will say I mixed it at a certain level and it went to the senior execs that they heard everything I said awesome sounds great just turn the turn the audience mics for DB louder and across the whole wreck Wow it's roughly I mean I was like a generalization but yeah so the crowd mics are very hot very hot so you'll hear it's it sounds like standing boy I still think it just brings such a fun intrigue it's it's always cool to see different types of albums and how they serve completely different they mark seasons they serve different purposes in people's lives yep and it's over here that that was a what you see is what you get yep produce that's awesome well we'll close with this question from Franco what do you enjoy more live on stage behind the keys or broadcast mixing oh definitely broadcast definitely broadcast a hundred percent so being on stage is very stressful especially in our environment because we live in a culture of songwriters and new songs are being written it seems like almost weekly and most of these songs don't have arrangements or they do have an arrangement that was demoed out by some guy in his bedroom a week ago and these new songs being presented to the team Sunday morning an hour before you go live and it's a brand new song that nobody's ever heard you're going live an hour and you've got it not just long a song but also they get captivating intrigue and so like from the stress level that is just that's time I so in broadcast world it's not so much that way there can be a brand new song I've never heard before that you could still make it sound awesome it's so you know depending there's not like some massive thing like maybe a lead vocalist or switching back and forth my first course is that that can be kind of tricky so like as far as the stress level goes broadcast I will take any day and I I generally do see challenge though with it as well because there's a lot more lot of growth and both opportunities yeah there supposing constant both but I would definitely say it's broadcast or it doesn't see mixing if general this is where it's way the J is out that's great well Luke this has been a pleasure thanks so much for taking time to answer all these questions and kind of dive into some of these topics my pleasure thanks for having me yeah and we're stoked to have your broadcasts on plate live to everyone the coolest part about it is it's not just for Pro Tools you modded it for logic as well so it's yet it's also on Logic Pro X template that's right all the same settings reported all the way over the logic and you include what it's about 30 45 seconds of multi-tracks for be able to try out yep there's a short clip of real audio from Bethel Church live servers all in there so that you can test drive the template to see what it's supposed to feel like including drum samples too and if you don't like those then you can make your own and have your real snare like we talked about earlier so it's a it's a win-win situation it really is a win-win we're so thankful for the resources that you've brought to the church community into all of the production team members who are serving across the globe so thank you for your work for everyone tuning in thank you for joining if you haven't seen Luke's series broadcast audio on production online check it out it's a wonderful tool and resource for those of you who are wanting to jump into broadcast for your church and for your your live streams but you don't really know how to start inside at the aw and so Luke's gonna cover everything from what does to use to what kind of some entry-level gear and if you're already doing it and you want to take it a little bit step further you can get Luke's templates on production online.com so Luke I will chat with you later and I'm good I'm sure we will get to do this against him I look forward to it awesome thanks all right see it

Channel: Production Online

Views: 2,233

Rating: 5 out of 5

Keywords: Lighting, Music Production, Studio Engineer, Music Director, Ableton Live, Music Studio, Production Online, Lighting Gear, Pro Tools, Studio Gear, Studio, Engineer, Logic Pro, Lighting Studio, MainStage, Producer, Music Producer, Lighting Director, Music Gear, Music Engineer, Studio Workflow, production

Id: PCmivMnigcM

Length: 40min 26sec (2426 seconds)

Published: Sun Oct 06 2019