Live Q&A with Luke Hendrickson

we're here we're online Luke hello Jacob hello how are you doing good it's a four o'clock here in the Pacific time zone in my studio working on some mixes today uh alright how are you doing doing good it's seven over here so we are we're winding down for the day but I thought I might pop online ask you a couple questions now we have some awesome people in the community who are really looking forward to kind of getting inside your brain understanding the mind of Luke Hendricks um so we're gonna let a couple more people puff on but do you got anything oh I look that's us oh hey it's working love it so we are live right now we got some people joining let's let's go ahead and do this if you're joining in right now you can go ahead and comment on the video and we can see your feed let us know where you're viewing in from we'd love to see where you guys are located and share a little bit about what you do kind of if you're in broadcast engineering if you're keyboard player if you're a bassist if you're a production manager and we'd love to hear kind of where you're from what you do and kind of how how you use production online because our biggest goal for this school is to be able to resource you guys with the right tools so just let us know where you're from what you guys do we'd love to hear it but yeah Luke let's let's kind of it just kind of jump right in what what I want to know is what does a day in the life of Luke Hendrickson look like good question good question so I work at Bethel Church and also work alongside with Ethel music and that's my primary job you could say but I don't really considered a job I consider it mostly play and on Sundays I'm the broadcast mix engineer for they're broadcast channel which is called Bethel TV and I mixed all the live worship and we do it live and we posted online it's it's not remixed it's posted live and those moments are sometimes thrown on social media as well so that's kind of the weekend job but then during the day throughout the week like Monday through Friday I'm mostly a mixing engineer tons of freelance stuff so people will send me po tools sessions and I'll mix it and send it back to that so that keeps me really busy and every now and then there's a Bethlem usek tour and i'll jump on those to play keyboard which is super fun but it's a little smaller percentage of for what i do i primarily just to production mix it that's awesome yeah that's really cool well I know that Bethel loves having you how long have you been with devil about seven years I was a part of a ministry before that in Kansas City called the International House of Prayer and moved out to reading about seven years ago to jump on to do exactly what I've just described and it's been a dream come true just been so so happy found my wife a year so after that got married a year after that she's been so so happy just when we're not working we like to hit the gym my wife and I it's it's fun for us and also in Redding California is where Ethel's at there's tons of outdoor activities to do or there's mountains and lakes and waterfalls and the coast is a few hours away redwood trees so if you like the outdoors it's a premium place to be I love getting outside that's great that's awesome well some of our some of our subscribers are already posting in questions so we are going to say hello to Steven hey Steven from Australia he's watching from Australia hey Steven yeah and Steven really wants to know who's drum samples are you using for kick and snare great question okay so that's a blend of samples and some of it is original samples that we've created and some of it is just random samples that you find online and to be honest there's there's no rhyme or reason behind it I might just find an 808 that I love from some random place and then I might find some other EDM crunchy pop snare I'll blend it in so if you look at I think I might have pulled open the trigger window in the broadcast audio tutorial you'll see probably five or six samples in there and there's it's always a blend I'm not using just one sample I'm always blending them until I find a tone that fits the song but in general once you find the tone you kind of leave it I'm not going back and tweaking it a whole lot now when I'm mixing records I'll almost always take the sample from the actual drum kit that they'll send me two files for and I'll just take one little snare hit and I'll make that a new sample so it's the real snare the actual snare drum that's that's being recorded but I try to find one that's the cleanest with the least amount of cymbal bleed let's hit real nice and I'll take that and put it into trigger and use that as my sample that goes through there and I might blend some other ones in there but they tries to that way it stays a little bit more authentic to the real drum tone yeah that way you can keep it consistent with the record or whatever project you're working on and I mean you've worked on a bunch of projects for for Bethel for I hop Casey for I mean just artists all across the globe really what's kind of one of your favorite projects you have anything that really sticks out as like man this was just such a fun project to work on it doesn't you it doesn't have to be something you've produced but even something you play keys on or that you mixed yeah we will not be shaken was Bethel music project and that was recorded on a mountaintop the Sun was setting you could overlook for 50 miles this entire valley with a lake in it and it was just so so beautiful so that was a really special project I think another one was I did a record in Israel last year flew out there in September and we spent 10 days and recorded a worship record in downtown old city Jerusalem we rented out an upper loft and set up a studio up there and spent 10 days tracking the record so that was that was definitely a highlight tons of work longer than 12 hour days for 10 days very very rewarding oh that's awesome I mean that just sounds super scenic like I mean a lot of fun to be able to be a part of those types of projects yeah that's so cool well while we're on the subject of you know going between different sessions different projects Dave herring has a question for us on how much of your session changes week to week with different musicians do you have different channels trips that you use or different for different vocalists or musicians yeah great question so with the Bethel TV Pro Tools show that we have our template that we have there are certain things that never change one that one of those things is compression so compression I have a rule with with me my interns the guys that work with me is that we don't ever touch compression and you never change the kick volume and you say why why is that what if you need to lower the kick well if you're if you're moving everything all the time every week you're gonna eventually morph into quieter or louder or quieter or louder because you're making these micro adjustments in over six months time you're gonna go in a completely different direction so we have these anchor points that are never gonna change so you have a real consistent tone for six months straight and so the kick volume will never change and the compression settings off everywhere will never change and if you need more compression you bump up the input game if you need less compression ability info game if your kick is too loud you push up everything else if you kick us you quiet you pull down everything else so that's the theory behind the compression and load leveling but the EQ stuff that's definitely going to be changing based on every musician and every singer I don't personally save presets for every singer and I don't know exactly why I don't I guess I guess you could I mean technically yeah you could say Brian Johnson preset and and it would be mostly right but the tricky part is if used two inches away the EQ is gonna change because of the proximity effect found if he's touching the microphone and so every time is moving the EQ is gonna be adjusted so it would probably be smart to create some kind of EQ that would be like the starter's point but I would never want to rely on those a hundred percent I would say okay this is gonna get me going that I'm gonna find too little bit definitely and I remember you once told me that you make at least gosh I think sixty changes every minute like it's almost like a change a second when you're mixing oh yeah yeah and everything's subtle so you never hear like these giant changes everything's like subtle change subtle change subtle change subtle chain and it's always moving with the music and I think some of the best sound engineers are also musicians they they know how to play an instrument they understand music and here's wise when you're mixing engineer you've got to be able to anticipate what's coming up so you know the course is coming up which means the guitars are going to be out front so you're gonna preemptively make your fader adjustments to where that course hits the way you want it to hit it and you're not always reacting but you're proactive so yeah you're thinking about this micro adjustments even before they need to be done and you're gonna make it quickly yeah definitely that's so cool well let's go to a gear question this will be a fun one Timmy Taylor that's a really cool name Timmy Taylor he's wondering if you could explain the process from getting your channels from the live board to your mixing computer excellent so protocols because I know there have been some times you actually just posted on Instagram a couple weeks ago when you guys are doing I think it was the heaven come conference or maybe it was open heavens but you guys did a whole new streaming set up from your laptop yeah I think oh that's a great question and it's changing so if we learned how we did it a year ago it'd be different you know so at Bethel we have a 3-way analog snake split and one of the splits go to the broadcast room which is this room that I'm sitting in now and it goes into it an analog console which is a mech recall 56 and then out of and that doesn't preamps and then out of the direct outs into db25 cables it goes into an app if you Symphony and we actually have two of those right now running 48 channels into there and out of the apogee symphonies digitally into Pro Tools HD through h2 native and so all the mixing is done a hundred percent in Pro Tools it's following that signal chain now the thing that Jacob was mentioning that you mentioned a second ago or doing some new stuff that is our broadcasts fly pack we called like and so anytime we have something on the road we have this thing that fits in a backpack 100% of it fits in a backpack and you can mix 64 channels Pro Tools HD and we wanted to make something that was super mobile really affordable and and consistent because our trouble in the past was we'd go mix that in an event but they're using a console that we're not familiar with or it operate cabling so you're coming up with all these new things every time and it's hectic and stressful and it doesn't sound good so with this fly pack that we got it ensures you have the exact same thing every single time so what it looks like is it's a Madi digital out from the stage box and the stage box we're currently using this digital and our front of house and monitor guys are doing like st7 or sth or something like that and you can take Matty directly off the console or you can it take Matty directly off the stage box and the outputs of those are coax but Matty can also be fiber and so we're right now I'm doing coax outs which is just a BNC connector and that can go up to 300 feet or so and fibre can go to like a half a mile or something like that it's a long distance so we take that cable just a single cable to anywhere in the building 300 feet away and it goes into a Antelope Orion HD antelope orion32 HD or HP 32 so it's a single Rackspace and it does 64 digital channels and 32 analog channels and so I just plugged in the one BNC cable into this little can burgle box that's six fiber and then converts it to and slight six coax me converts it to fiber anyway once you're in there it goes into Pro Tools HD into a laptop through a little box called I've done a lot of stuff out here a little box called avid Thunderbolt IO and with that you can take personals HDX cables in there and out of that into Thunderbolt which goes into your laptop so there's several conversions that are happening but believe me it all fits in a backpack as long as you have some kind of Madi feed and once you're on that laptop you can mix in the same environment that you would feel comfortable in a studio and you can mix it in years if you like or you can mix the speaker's it's just it's more versatile I mean that's that's a game changer technology that you can fit in a backpack just throw on fly wherever he needs it yeah we use it for four times I think ready so are having con conference in LA about a month and half ago or open heavens compensating reading which was like a few weeks ago Lakewood in Houston a few weeks ago and then in Chicago at Willow Creek just a few days ago we got home last night so it's and then also one more time at a charity raise a charity event for Iraq that we did wow that's so cool so when when you're mixing for broadcast you know you show up to one of these facilities you've gotten all your you got your fly pack set up and in your mixing what's kind of the top three things that you keep at the front of your mind when you're working on a mix top things three things I'm thinking about when working on a mix and this is live so I mean you don't have time to think you have to yeah like yes like I don't I'm not really a queueing live like during the soundcheck is what I'm doing the nitty-gritty of the mixing so soundcheck that is when you're mixing when you're live all you're doing is writing faders you're not really soloing anything you're not really cueing much unless it really needs it and so when you're live it Oh 99 percentages fader adjustments and those fader adjustments is going to be where's the vocoder vocals number one that's it vocals buried you're in trouble it's vocals on top you're exposing the vocal and they're gonna feel insecure so there's this a real tiny window or that vocal needs to sit number two is are the drums feeling good I think drums are the foundation to live every mix so vocal first drums second then I'll think about the candy stuff like is auto-tune on is it in the right key I'll never have it on unless I know what key it's in never putting a chromatic it's always got to be the major minor scale and then you know the rest of the candy sounds like delay and crowd crowd levels and things like that just to make sure it feels nice and wide but not to Washington yeah well yeah because there's definitely so much you could think about but that's that's good that you have those key things that you make sure you have at the top of the mix yeah which is really cool and since we're streaming to Facebook this is a great question from Corbin Corbin's wondering okay so Facebook sums everything down to Mono does Bethel ever deal with obviously this mono issue and what steps can you take to avoid it messing with your mix this is a great question because yes and we've had drama with this for seven years sang and I've been fighting fighting tooth and nail to preserve our standard if it's not the best we don't release it that is our motto you we do our best and if it's ever less than our best not less than the best but less than our best we don't release it and not everybody agrees with that you talk to video guys they don't care about your sound you talk to marketing guys they don't care about yourself you've got a stay true to who you are and don't compromise thus we don't broadcast on Facebook live any music now you'll see that Bethel on occasion we'll do that but it's because they're not listening to the rules and we immediately go back and we talk to people and we pull it down but we have a global standard when we've had that standard for seven years and I'm very passionate about this that but people challenge it all the time and it gets removed but our standard is who never broadcast in mono ever and so Facebook has yet to figure out how to broadcast live and stereo and I don't know why it's taking them so long I mean standard I know another thing with Facebook is their audio codec is garbage now I can't complain because it's a free service so I got it I got to be careful with how thankful I am because Facebook is doing everybody a huge service by doing all this for free but their audio codec is extremely compressed so you throw up a high quality mix that's not live and so which means it's gonna go up stereo but if you compare that to the uncompressed WAV file it's much lower quality so I cringe almost every time I see some of our content on Facebook yeah it's hard because it's how people are ingesting content and yeah you know I mean that having that standard is important yeah so I think people just have to really reconcile is is it worth it to have a mono audio signal because you can technically post to Facebook or I'm sorry post to youtube and then share that to things yes I mean there are so many other ways that you can get your content out there without having to compromise on the quality that's right which is good yeah we don't we've been trying to post a fake YouTube as much as possible their quality is very yeah so this is kind of a broad question so we're we're gonna take it you know and you look you can take it whatever direction you want to Abraham's just kind of asking what's the rundown of your broadcast rack like a great way to take this question why do you set up your broadcast rack the way that you do your broadcast set up and then simply the specs of your macbook so so we can talk about your template here I mean we can talk about a lot of things yeah so the MacBook Pro the that's mixing on is a the one I'm talking to you on its 2013 MacBook Pro 2.3 gigahertz II yeah 2.3 i7 16 gig ram and it's capable of mixing the biggest Pro Tools session you can imagine Audio is easy these days it's a video that's hard and so you can buy any random laptop that's a decent in the last couple years and in great shape regarding the gear I use I try to just keep everything as small as possible and I try not to make it too complicated so you notice the more things you have in the chain the more things that are potentially going to break and so with our rig at the church everything is one-to-one so channel 1 on stage is channel 1 of the console channel wanted Pro Tools you don't confuse it by miss mix mashing all the numbers that's one thing to keep it simple you're gonna talk about my template yeah why don't we talk about your template I mean that's something that I'm sure you get emails you know Facebook messages instant messages people knocking on your door randomly you know because they flew in trying to find your template this is yeah it's always evolving you know I think every every couple months I'll add something in there take something away you know you're always you never want to beasts you never want to say I've attained perfection and I'm never gonna try anymore so that's you just need to retire so there's always new things to learn you've new sounds to create and most of that happens in the studio 9 to 5 mixing on my side projects the broadcast rig the number one priority is stability like I love being creative but if it's at the cost of stability I won't touch it and so I'll be very calculated on if I make a change in my 10 but with my broadcast rig because it could either tax a CPU more or could have buggy plugins or yeah or make me have to work too hard in the template and it's going to slow me down and I've been in this queue score that's a live environment I've got to be fast it's got it yes and so the templates always changing I guess maybe one thing that you guys could look into start busting stuff so bless your drums do a normal drum buss and a crushed drum bus so you just squash the heck out of it but sort on it whatever I also like to do a band bus a vocal bus and everything else bus that way when your band hits hard and gets compressed it's not also compressing the vocals so they're independent of each other when you're squashing them you want to have that vocal be really supreme and and never touch it and then everything else just lets it like three that have some whip to it so you might consider doing that that's gonna add a lot of space as soon as you start squishing stuff you gotta be careful another thing is compress everything I compress every single channel but it's in varying degrees my vocal honestly I'm gonna I'm gonna compress it a lot 20 30 DB like that sounds crazy but what we do and it gives that more present vocal feeling where it's just like close to your face make your every single lyric the downside of doing that is there's a lot of cymbal bleed the more you compressible the more symbol you're gonna have a noisy stage with jars right next to you that's something about it be careful for other things you're gonna compress much less you know maybe just a couple DB or something like that but what this is gonna do is it's gonna allow you to glue your mix don't rely on master buss compression to glue your mix that should be just the tiniest amount most of your glue should happen individually on the channels so they're individually nice and full and they're leveled like this and they're not spiking and getting small ya know that's that's awesome which someone just asked could you sell your template because then you could probably retire that's the question question of the hour is you know or actually talk about releasing parts of the template like I think this will probably happen in the future where I might just release the the 8 or 10 drum channels and you can get those separately you could get the vocal chain separately you can get the mastering chain separately or maybe maybe get all them we'll see how it goes but that is something we're in the talk in the works with yeah that'd be that'd be super cool for people who are trying to you know even even just use it as something to model your template after yeah that way you can kind of try things out on your own see what works in yours see what works in theirs that's really cool our friend AJ is this was a great question what do you do if you need to take a vacation do you have a team of people that can get the same results as you do if so how do you train them to do that great question so I have an internship and every six months rotate new interns and they are supposed to learn my workflow and one of the first projects I give them is to I delete every single thing from my template but save the wav files and they are supposed to rebuild it from scratch so it forces them to learn every single thing that the routing of it all the plugins the effects and that's a difficult task when it takes a lot of time but it's a very great it's a great it's a great way to learn the the flow of everything if you didn't actually do it you may not know it I'm a hands-on learner I've got to do it to learn it and so every six months a new interns rotate out I try to do two or three at a time so for seven years I think we have I've had maybe like 15 or 20 in charge or something like that I came to be and sometimes you find good ones that want to hang around number number one and number two are good at what they do good at mixing and so at this point we found several guys that are really good at it and if I listed them by name one of them this mateus main heart he's great David Peyton it's also really great and lion Huntington those three guys if I'm out of town I will call on them the taste is the guy that I'll pull on first and if he's not available now pull on guys but they're all capable they they've done it for a long time already and so when I jump out of town they just jump on that same template everything's ready to go and they'll just do some minor EQ changes and fader adjustments that's awesome that's so cool Emmanuel is wondering if you could explain your mastering chain yeah so I like to do some analog stuff so fictional analog stuff so I'm not actually running analogue and here's why for consistency soon as you start getting real analog stuff and then you travel what you can do you're gonna take all that in life stuff with you know so it's important that I have a workflow that is both sounds sounds great and highly mobile because we're gone all the time and so find the plugins that give you the analog warmth and so there's a ton of them out there you eds some great stuff waves have some great stuff Steven slate as great stuff but I look into some tape saturate errs I look into some preamp type simulators slate has some great stuff we've just mentioned a few there also look at some EQ type things so there's a pull tech EQ that's really great for getting that high-end shimmer BBE makes two great products that I love the sonic Maximizer and a harmonic Maximizer and you can throttle how much harmonics it's creating so it makes it sound brighter but it's not just an EQ is actually creating harmonics there's another one Oxford inflator which is a great one waves has one called air stereo width and you can just dial that up to one hundred ten hundred twenty percent and it makes your music go from this wide it's about this wide it's real nice and then finally just a touch of hard limiting just a tiny tiny bit apart limiting and that could be with any hard linear but l2 or l3 or something like that could do a good job no yeah that's cool so Phil is wondering when you're using a doll such as ProTools how do you deal with having limited to external theaters to change things on the fly yeah good question so I'm use this little guy and this is an 8 channel mixer USB has a tiny little USB connector there bus-powered and stitching your backpack in our fly pack and I'll assign the vocals and the delay see these guys and I have one hand on that say my left hand on that and then my right hands on the mouse so I can be adjusting two things at once I can't think about much more than that no brain my brain thinks about two things at once and then it's kind of tapped out so between vocal adjustments and delay which is something that you're constantly touching you've never done you're never letting that go and whatever you're doing at the mouse which could be guitar automating guitars it could be switching between the live snare and the scenario placement or a blend of the two between those two I feel real comfortable and never feel crippled yeah a lack of faders yeah definitely because it can sometimes be hard going from you know an analog environment of so used to touching every single fader that you use yeah so bringing that kind of analog touch back just for a couple of the faders that you choose in MIDI map you know helps keep it tactile yeah which is so Corbin's wondering what's the output DB range for internet broadcasts so what are you kind of outputting in terms of decibels and I've actually always wondered this and have never asked you I mean this is a great question that like what's the standard and if there isn't a standard is there do you remember what you guys use Wow so there really isn't a standard in Pro Tools my standard is getting as close to zero without about clipping and so I actually put my hard limiter at 0.3 0.3 is my ceiling and here's why when you compress an inch away file to an mp3 that ceiling which you put it in 0.1 that's sealing when you go to an mp3 is no longer firm it's now flexible and it might go above that I might actually touch zero on my peak when you do an mp3 compression so I take it down just even slightly less so that if I do compress it to AAC or mp3 or something like that that ceiling which is no longer firm now has a tiny bit of breathing room that it can just bump up there without peeking so that's number one how you actually throw it onto YouTube or onto broadcast there is no standard some are get it as loud as you can and then others it's like minus 12 minus 16 so it's the Internet the internet doesn't have a standard now if you're on television I think it's 12 or 16 or something like that maybe even negative 18 is the standard for television but when you're online there is no standard so that's it that's great that is good information so not only are you a broadcast engineer but you also are a keyboardist the session musician you're a touring musician but how long have you played piano for I started playing piano when I was like my babysitter my babysitter taught me a few things and I was like six or eight years old my dad taught me a few things I officially started taking lessons when I was 10 prior to that I actually played drums drums is my first instrument really but yeah but yeah my personality is more of a chill one so I felt awkward on drums because I was the loudest guy in the room it didn't fit too well so after about a year to do I switched to piano because I felt like I could it just matched who I was personality was so I immediately loved it took off with it and did private piano lessons classical and jazz stuff like seven years from like 10 to 17 and then did production stuff after that and teaching piano after that ya know that's great and so when when you're playing keys Corbin's wondering do you use a reason primarily or you what is that kind of your engine um so Ableton is kind of the host that everything sits around so you have like the house that everything sits in and then layered on top of that is propeller has reason it's an amazing tone factory for any kind of tone it's like the most broad wide thing you can do and then also layered in there is omnisphere by spectrasonics also later in there is ivory and key escapes ivory is made by cynthia and he escapes is also spectrasonics and then there's I think an organ thing that I use right now so there's a bunch of stuff there I mean it's just all blended together yeah and they all live inside of Ableton so Ableton's the host okay and so we actually just finished a class for this exact thing for your keyboard rig so do you want to kind of give everyone a little sneak peek like a couple of the things that you covered in there because I'm pretty sure it was a six-part series yeah it's talking about your setup all the way from Ableton to when you're playing alive yeah so I talked about this guy in depth of where everything is routed what buttons go where what faders go where how I route all my effects my delays reverbs how I setup stems stems a big question that keyboardist asked all the time so you can see in my session on this Ableton videos how I lay them out I break it up first chorus bridge inspire them whenever you want spontaneously it's at Bethel we're very spontaneous we have great arrangements but our worship leaders are constantly making changes on the fly so we've got to be ready for it even with their stems I also break down like how to play a few of the songs and so how the the tones are built for the songs how I fade things in and pay things out yeah so it's it's really in depth its I feel like it's as wide as I could go it talked about the interface that I use keyboards that I use stuff like that you know that it's really helpful because I the best part which I think two of the classes are now available two of the videos and then there's four more that are gonna be released over the next couple of weeks and just there's such a wealth of knowledge of what you've experienced because I mean yeah you've been playing piano for forever but you've been playing like keyboard live like building that rig for four years now yeah so in its like my Pro Tools broadcast template it's always changing yeah I'm changing but you always got to be remember like is it at the expense of stability so I can't be taxing it too much and in the deck at the expense of convenience so if it's too complicated or too hard I can't do that either so make it beautiful make it tons of flexibility but you can't make it unstable and you can't make it too complicated you know well in with stability have you had your rig ever crash on you like do you have any like horror stories left yeah I have one where we're in Miami outcry I don't have five thousand people out there or something like that and it's an outdoor event and it's like a hundred degrees and my laptop overheats and and when that happens on a MacBook Pro the CPU goes from like 25-30 percent it said like 99% the mouse is like jittery just moving it across the screen and so he was at the end of a song I'm getting ready to start the next one which had a piano intro and the more sweeter looked at me like okay let's go and I'm like no no no no to kind of do acoustic okay no problem so they actually started acoustic and the audience had no idea what's happening and they just did an acoustic version with guitars and stuff so recovery was great there yeah it was actually there's a the audience had no idea but the monitor guy knew it was going on so he actually had an idea to go get a bag of ice from backstage and he put it under my laptop and within 30 seconds my laptop is 100% boom started right again no no issue I think I miss maybe half of that song that's a tip for all of us to remember for the rest of our lives yeah when you're outside and it's hot get a bag of ice now it's going to have condensation on there so it's nice to put a little towel or something that's mean the ice in your laptop and it will keep it nice and chilled yeah that's the keyboard hack right there yeah that's that's awesome that's so cool well cool we're about to wrap up but there's just one or two more questions I wanted us to fit on before we kind of wrap to this thing out abraham was wondering and this is an awesome question did you go to school for music or production like how we range like what's what's kind of your philosophy on training and learning yeah I was very fortunate with two things one is Drive I have a tremendous drive to learn this stuff and so when I'm not getting paid I'm still researching I mean youtubing googling stuff constantly the second thing is I was blessed to be around smart people in these areas and so just through observation through rubbing shoulders with people who are better than you you learn a lot and so in the House of Prayer I learned a ton out there there's hundreds of musicians and singers and it's always developing things and once I had a studio with my brothers that we managed for about ten years in my parents basement and that was just like you learn you learned just by repetition and I would say the first five or ten years of what I did in my lifetime I wouldn't really want to show people because it didn't actually sound that good hmm after hundreds and hundreds of songs and literally hundreds of records eventually you start to figure out not what to do but what not to do yeah which steers he went to what to do because I've already tried all these other areas that are wrong and so yeah I didn't go to officially go to school proof for these topics but he's had a tremendous Drive for ya and you're always learning I mean that's the key yep always learning always moving always growing and hey that's that's why we started this school that's that's why this school is here it's so that we can stay growing that we can really not just sit there and in what we think is the best way to do things but that we can learn from each other but I kinda have a fun question to kind of finish up our interview if you were stranded on an island with only one piece of gear what would that piece of gear be it's a weird question but it's like do you have a weird affection like a strange affection for something that's like this is my baby like I love this I mean it can be your laptop if you want Internet I mean but like is there something any that yeah when you think of music you think like oh microphone or a guitar or a keyboard but none of those work without powering cabling and amplifiers and stuff like that so if I'm on an island that has power I think I bring the laptop because the laptop has got Ableton and reason and all that stuff I could do anything we're talking about music right now yeah we're talking about creating music yeah if there's no power on the island oh I tried you got how to make some solar panels yeah it's their gear is their gear that you can bring that doesn't have power yeah so I probably just bring an acoustic guitar Manus I actually play acoustic guitar - and that's yeah that but although I think the weather would quite beat up the would heat up go bad well I mean I've seen temperature changes all the temperature changes right yeah oh gosh that's a tough one it is a tough one I don't I really don't know what if you would want to bring a piece of gear to an island that you were stranded on like but hey why not I think it's already a good start I like it I like it you can still create you can still write that's great well Luke this was super fun thank you so much for joining us it was a pleasure you got any closing remarks anything you wanted to kind of share with us before we wrapped up well it's it's my honor to be your audience everybody and thank you for your time thank you for your questions I love to see passion fulfilled dreams fulfilled and so I love to be serviced and be an opportunity for you to grow in those passions that see those passions realize just stay faithful faithfulness is probably the biggest key to everything everything so stick with it don't give up give yourself a five or ten year goal rather than a five or ten day goal make make any a very very long term vision and stick with it I think that's gonna be probably the biggest key to success Wow well that's great we'll Luke you're an incredible resource to the community and your classes are killer so we were super excited to have the rest of your keyboard rig overview class on the school on the platform so that we can all kind of work through it and your broadcast audio class is awesome as well so thank you for providing those resource for us those reasons for us they really do enhance the way that we we work the way that we create from wherever we are so well guys thank you for joining us all our viewers and members if you have any questions about the class that's being released you can leave them in the comments and I'll get back with you later on this evening but that's all we got that's that's our interview for the night Luke thanks again and I'm looking forward to hopefully another one of these in the future that's good see you later everybody awesome see you guys

Channel: Production Online

Views: 2,451

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: cnQiPTn7N-k

Length: 43min 59sec (2639 seconds)

Published: Sat Oct 05 2019