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Mixing and Production with Luke Moellman (Great Good Fine Ok)
Metadata
- title
- Mixing and Production with Luke Moellman (Great Good Fine Ok)
- description
- Luke Moellman from the duo Great Good Fine Ok (and more!) joins the pod to discuss mixing, live shows, production, songwriting, and digital art.
- status
- complete
- date
- 2022-02-28
- kind
- guest
- guestSlugs
- luke-moellman
- listenUrl
- https://podcasters.spotify.com/pod/show/lovemusicmore/episodes/Mixing-and-Production-with-Luke-Moellman-Great-Good-Fine-Ok-e1ev3go
- appleUrl
- https://podcasts.apple.com/us/podcast/mixing-and-production-with-luke-moellman-great-good-fine-ok/id1567355195?i=1000552443772&uo=4
- spotifyUrl
- https://open.spotify.com/episode/3XLFGj9HcI0UbLUQypzh33
- youtubeUrl
- https://www.youtube.com/watch?v=JY76mpyE_lk
- topicsDiscussed
- Mixing
- Music production
- Collaboration
- DAWs
- Singing and vocals
- Songwriting
- Evolving sound: from duo to full band
- Utilizing technology in live production
- Balancing tracks with backing vocals
- The importance of visual art in music presentation
- hostNote
- **Luke Moellman** is one half of **Great Good Fine Ok**, which started as a single song he and John made in 2013 — "this is cool, we should keep doing this": and grew into a project with real audience geography that surprised even them. He's also a producer, synth designer, graphic artist, and the person running Ableton Live while playing a live show. We start with the logistics question most bands eventually face: how much of the live show is humans, and how much is the computer? Moellman walks through how GGFO approaches that split, most of the parts covered by actual people, some handed to the backing track, and every song a little different in terms of what he can adjust in the session mid-show. That leads into DAW philosophy, the Logic-to-Ableton switch in 2018, and what "faster workflow for live performance" actually means in practice. We also get into synth design ("my goal is to find the sound and make it feel right for that part of the song, whether it takes minutes or days"), the relationship between mixing and production, and the extension of all of it into graphic design, which Moellman approaches with the same palette-first logic he uses in sound.
- selectedMoments
- label
- The origin of Great Good Fine Ok
- startSec
- 170
- note
- Luke discusses how he and John began their project with a single song and gained traction in the music blogosphere.
- label
- Choosing collaborators for live shows
- startSec
- 246
- note
- The conversation turns to how Luke carefully selects musicians to enhance their live performance.
- label
- The importance of clarity in mixing
- startSec
- 407
- note
- Luke emphasizes the need for vocal clarity amidst live instruments during shows.
- label
- DAW preferences and workflows
- startSec
- 645
- note
- Discussion about the transition from Logic to Ableton Live for performance.
- label
- Synth design techniques
- startSec
- 1205
- note
- Luke shares his approach to synth design and how it influences his production.
- label
- Balancing mixing and mastering
- startSec
- 1514
- note
- Insights into how mixing ties into the overall production process.
- label
- Graphic design as an extension of music
- startSec
- 2684
- note
- Luke talks about his passion for graphic design and how it parallels his musical work.
- excerptQuotes
- text
- When John and I started the project in 2013, we made one song together and we were like, this is cool, we should keep doing this and see what else happens.
- startSec
- 93
- reviewed
- true
- text
- Getting picked up by that one specific blog was really pivotal for us; it helped us connect with a larger community and start trending.
- startSec
- 166
- reviewed
- true
- text
- We've always had backing tracks in the live show, but we wanted it to be something where most of the parts were being covered by actual humans.
- startSec
- 243
- reviewed
- true
- text
- How do you decide what gets thrown to a musician or gets thrown into the backing track on the computer?
- startSec
- 331
- reviewed
- true
- text
- It’s all running out of Ableton, and every song is a little different in terms of what’s within the session that I can adjust.
- startSec
- 492
- reviewed
- true
- text
- I switched over to Ableton in 2018 from using Logic for probably 10 years, and it seems to have a faster workflow for live performance.
- startSec
- 644
- reviewed
- true
- text
- My goal is to find the sound and make it feel right for that part of the song, whether it takes minutes or days.
- startSec
- 1207
- reviewed
- true
- text
- One of the most interesting things about mixing is that it’s always different, and it's way more creative than I gave it credit for.
- startSec
- 1592
- reviewed
- true
- faq
- question
- What is Luke Moellman's approach to live music collaboration?
- answer
- Luke emphasizes the importance of finding the right musicians for live shows, aiming for a cohesive sound that enhances the audience's experience.
- question
- How does Luke Moellman integrate technology into his performances?
- answer
- He uses Ableton Live for both backing tracks and live production elements, carefully balancing the technological and human aspects of music performance.
- question
- What are some tips for mixing and production shared by Luke Moellman?
- answer
- Luke advises focusing on clarity, experimenting with sounds, and understanding how each element fits within the broader mix to create a cohesive sound.
- transcriptPublished
- false
- draft
- false
Content
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