Christian Musician Magazine - Jan/Feb 2014

Improving Musicianship | Inspiring Talent

SCOTT STAPP ROCK BOTTOM

Guitar Review

Product Reviews

Vashon Green Archtop Electric

Yamaha HS7 Studio Monitors Rocktron Patchmate Loop 8 Floor TC Electronic BG250-112 Combo Bass Amp Wampler Velvet Fuzz JAN/FEB 2014 Volume 19, Issue 1 01

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US $5.95 Can $6.95

Selective Hearing Rick Elias l Five Iron Frenzy l Stu G l Julie Lee l Waterdeep MAKING A GREAT SOUNDING RECORD by Matt Kees

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ARE YOU AN INFLUENCER? by Indie Mechanics

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Sweetwater-exclusive Interview with MIKESCHAIR

The hardworking group discusses their new album, their songwriting process, and their approach to choosing gear for recording and live sound.

Essential Guides for You and Your Volunteers Image courtesy of Matt Br Bronleewe

In-depth, down-to-earth articles help volunteers, pastors, and worship leaders understand the ins and outs of the latest in worship sound technology.

Producer

Matt Bronleewe

Giving Their All

There’s no better example of a hardworking band effectively sharing the modern musical message than MIKESCHAIR. This Nashville quintet has received multiple Dove Award nominations and tours incessantly. Plus, they’ve partnered with several nonprofit organizations to help those in need — both at home and abroad. Lead singer/ guitarist Mike Grayson, guitarist Kyle Schonewill, drummer Nate Onstott, bassist Seth Penn, and keyboardist Dustin Wise will be celebrating the release of MIKESCHAIR’s soon-to-be-released album, All or Nothing, with a tour that also features Plumb and Josh Wilson. We spoke to Mike about his calling, his commitment, and his approach to making music that makes a difference.

Tell us about your new record.

This was the first record where, from a writing standpoint, I actually had a theme in mind. The first song I wrote for the record was the title track. From that moment on, I knew that the theme was set before me, of this idea of literally abandoning everything and giving all to Jesus. Throughout the album, there are three or four titles that have the word “all” in them, with the last song on the record being kind of a remake of the old hymn, “I Surrender All.” The album kind of became a journey, starting with “All or Nothing.” This is the goal of the record: bringing people through the journey of what it might look like to get to that point of saying, “I’m done with the mediocre; I’m done with the gray. I’m just ready to go for it.”

Take us through your writing process.

Songwriting is a really organic thing for me. MIKESCHAIR has been around for almost 10 years, and this is our third national release. I’ve spent a lot of time traveling all over the country and figuring out what works and what doesn’t, what connects with people and what doesn’t. I feel like this record is more focused. I had a lot more to pull from. Sometimes it’s a quote from what my pastor said, or from when people come up after a show and share their stories. There’s a song on the new record called “Forever Faithful.” That song came directly from a story that was told to me after a show. For me, songwriting is definitely a platform not only to personally get things out, but I feel that some of my job as a writer is to view the world from an outside perspective and see what God is doing in other people’s lives.

A lot of people ask, how does a song start for you? Is it a melody? Is it a lyric? Is it a chorus? For me, it’s always different. The music usually comes first for me. I’ll have a melody I’m messing around with. From there, I’ll really dive into what I want to say. On this record in particular, I wanted to make sure there wasn’t a line in a song that didn’t make me feel something. I didn’t want fluff; I didn’t want to say what I thought people WANT to hear. I wanted it to be very genuine and true to what MIKESCHAIR is about. There was a lot more time spent on lyrics for this record and just making sure that everything that was said was worth saying.

How does your approach in the studio differ from your live approach?

The studio really is a different animal. Live, I tend to really focus on the emotion of the lyric — to the point where maybe in a studio setting it might not come across as well. Live singing and playing for me is more about connecting with the person in front of you, as opposed to the studio, where I’m always trying to be true to the song and the emotion. We’re also a radio band; a lot of our music is played on the radio. So that’s a factor in the studio. But, I don’t feel like we ever have to put limits on what we do because of that. We’re trying to create the best moments that relate live but also are communicated best in a recording situation.

Matt Bronleewe mentioned that the new album sounds bigger.

We’ve taken more of an organic approach on this album. The listener may have a harder time distinguishing between what a live drummer has done and what a programmer has added. MIKESCHAIR has a pretty large, epic sound, and things are kind of related in a movie sense for me, creating different scenes. Even when it comes to writing, it’s very visual to me. I can see what I want the song to express, and at the same time, I have ideas in my head for how I want it to sound in the end. There are lots of big gang vocals, going back to our first record. One of our first songs that we did on that album was “Let the Waters Rise.” That one had a really anthemic, epic vibe to it. We definitely carry that into the new record, but at the same time, there are more organic elements involved, as opposed to synths or very obvious programmed beats.

How did you approach your gear choices for the new album?

We use a lot of Fender gear. Our bass player uses a P Bass. Our lead guitar player, Kyle, plays an American Tele, and I use a Tele Deluxe live. On previous records, we had this vault of 20 or so guitars. With this album, we focused on three or four things rather than focus on 20 different things. A lot of it was gear that we use live.

Obviously, we’d supplement it with gear the studio had, but for the most part, it was all gear that we use on a day-in/day-out basis.

What do you use for monitoring and wireless gear live?

Onstage, I use Westone in-ears with dual drivers, and we have wireless Sennheiser instrument packs. I use a Sennheiser EW-135 for vocals. interested ested in making music.

Tell us about your biggest influences and how you got inter quar As far back as I can remember, I’ve always been drawn to music. My grandma grew up singing in a quartet.

My dad always loved music. When I was a little kid, I was always singing — to the point where my parents put first guitar guitar, I me in a boy’s choir. I remember desperately wanting to play an instrument. Ass soon as I got my first remember learning to play an “E” chord, and I learned that you could move it up the neck and that it sounded ted writing music as soon as I learned that one chord. I’ve never been one who good in different places. I started focused on being a virtuoso. I’ve always been more drawn to the songwriting aspect of what playing allows me to do. As far as early influences, Jars of Clay was a huge influence on me. I grew up listening to Christian music; Jars of Clay, Chris Tomlin, and Delirious? were huge influences.

Photos by: REID ROLLS PHOTOGRAPHY

What’s next for MIKESCHAIR? Definitely a lot of touring. With the release of any new record, we hit the road hard. Whenever we do a project, Ultimately that’ that’s why I do Christian music. it’s all about, “What can we do to get out and connect with people?” Ultimately, ts and what He’ss given us to communicate. The best We love getting out and sharing what God’s put in our hearts way to do that is by going on the road.

!

MIKESCHAIR’ss latest album, All or Nothing, is coming soon. mikeschair mikeschair.com !

To find out more, go to mikeschair.com!

The Nashville-based engineer and musician brings plenty to the producer’ss chair when he works with MIKESCHAIR in the studio.

Matt acts as a sounding board, helps to define arrangements, and challenges the band to do their best work. He tells us about what it’s like to work with the band, how he was an early proponent of Pro Tools recording software, and why he relies on Sweetwater to give him the scoop on new gear.

How does the production on the new album differ from past MIKESCHAIR projects? as, how do we take what One thing that Mike and I talked about was, ther? I think the new album has we’ve done before and move it further? trying to marr a bigger sound. There was kind of a notion of tr marry the ying to find digital universe with real players, trying find harmony between those two things.

Any thoughts about working with Mike?

One great thing about Mike is that he really does strive for the best.

He gets up early, stays up late, and works really hard. When he comes joy I always know he’ in and we work together, it’ss always such a joy. he’s going to pick up the ball and run with it, and push everybody to do their best. ools when you rrecor ecord, ecor d, corr You work primarily with Pro Tools record, correct?

T for a ver I’m a Pro Tools guy. I’ve been working in Pro Tools very,y, ver very long time; it’s like pen and paper for me. When I first first started, it was T with 2" tape. Then, I was one of the first guys to have a big Pro Tools rig in Nashville, back when a lot of people told me I was crazy and should be buying ADATs. Do you use the Eleven Rack in your projects?

I use it a ton. During a project a few years ago, I had to just blast out all the guitars in Eleven Rack. I didn’tt have the chance to go to another studio and replace anything. But I was immediately impressed. I love being able to play through all those presets on the tist presets that came with it when I Eleven Rack — definitely the artist got it from Sweetwater.

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What did you use for Mike’ Mike’s vocals?

W used a combination of things. Most of the vocals were recorded We on the U-47. I went through a VVintech intech X73 into a Distressor Distressor. The Distressor is great for that “modern” vocal sound.

Which plug-ins and virtual instruments have you gotten a lot out of?

I love the Native Instruments Komplete collection. We’ve W used the Alicia’s Keys piano quite a bit. I also use the Abbey Road drum kits and ‘80s kits. As far as vocals, I really like the Sound TToys plug-ins and some of the W Waves plug-ins.

What would you most love to add to your studio setup right now?

The U UA Apollo Quad interface is definitely one of the things I could see in my studio at one point. I love the U UAD plug-ins. Sweetwater is great about letting me know when something I’d be interested in comes out. This gear is my lifeblood, and being able to talk to people at Sweetwater and have a company like yours out there ser servicing the needs of people like me is huge.

Read the entire Q&A with Matt Bronleewe at

Sweetwater.com/worship

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101 Guides

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With valuable advice on live mixing, miking techniques, instruments, and more, our informative guides give you the tips and tricks you need to make your services sound better.

News and Articles

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“Once I used the Audix SCX25A, I started giving my other mics away."

Bob Kilpatrick - Christian Artist, Producer and Engineer

The Audix SCX25A large diaphragm condenser mic is perfect for live or studio.

The SCX25A delivers a pure, open-air sound with exceptional detail and realism.

With its patented internal suspensions system, wide cardioid polar pattern, frequency response of 20Hz - 20kHz and SPL levels up to 135dB, there’s virtually no live or studio miking challenge that the SCX25A can’t handle.

"As a Design Consultant for churches and performing arts centers throughout the USA, I have the freedom to recommend the best products available for my jobsites. The SCX25APS is my “go-to” grand piano mic pair; easy, foolproof and dependable for fantastic live or studio piano miking."

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"The Audix SCX25A is simply the best mic I’ve ever used. Nothing comes close to the clarity, sonic truth and lack of coloration of this microphone. I use it on vocals, guitar, piano, stings and drum overheads and I am always thrilled the results.”

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The Audix SCX25A is available as a single mic, matched pair or as a bundled piano miking kit. Try the Audix SCX25A for yourself and see why so many agree that it is a premium choice for any task.

Take Control You want flexibility. You want one touch to select any pedal combination. You want to combine pedals in front of your amp, as well as in the loop of your amp. You want to change channels on your amp and select pedals at the same time.

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Features You Can’t Always Control What People Do With Your Art Art is something totally unique. Whether it is a song, a watercolor painting, a short story, or something you designed in Photoshop on your computer… it is something you created.

What influenced you to make art can be obvious, or a bit murky. It can be a direct influence from scriptures, it can be one line from an old classic rock tune, it can be a smell that brings back a memory, or a photo from a book that causes you to think about something in a new light. It can be sobering or exhilarating to be a part of bringing that piece of art to fruition.

8 Guitar Review

by Bruce Adolph Vashon Green Archtop Electric 10 Bassic Communication

by Norm Stockton Modern Rock Bass Lines (Part 5) 12 Guitar Workshop

by John Standefer Leading Tones & Chords (Part 2) 14 Drumming Dynamics

by David Owens Remembering Richard Wilson

I had a strange encounter a few months back that made me think about how once your art leaves you and is used by/viewed by others… it can be out of your control what they do with it.

16 Vocal Coach’s Corner

by Roger Beale Stick it In Your Ear!

Case in point: I was driving to ship out something via FedEx one warm summer afternoon. I had the driver side window rolled down and was making a right hand turn. On the corner to my left was a guy in his 30’s wearing one of my “Love One Woman…

Many Basses” t-shirts. It looked well worn. Now, LOVE ONE WOMAN...

MANY BASSES I always like to see my t-shirt designs “in the wild” and I took quick notice of it. But what happened next caught me completely off guard.

18 Show Us Your Groove

by Rick Cua Time to Dance

The gentleman wasn’t acting like a gentleman at all. He was scratching his private parts quite noticeably as he stood on the corner waiting for the signal to change, and he was upset with someone on his cell phone. He yelled 5 words, and three of them were the same swear word. Now grammatically speaking, there is no way to make them a verb, noun, or adjective to make the sentence work.

I thought, “Bummer, I would rather buy that shirt back from that guy then have him represent my shirt that way”. But then it dawned on me… once your artwork leaves you, you really can’t be responsible for how people use it.

We need to pursue good art and we can’t shrink back from that goal no matter what people are doing with it, or even saying about it. In 2014, set the bar high and make sure you make good art for good art’s sake!

In His Grace Bruce & Judy

24 Making a Great Sounding Record... step one

by Matt Kees 26 Selective Hearing

by Shawn McLaughlin Rick Elias Five Iron Frenzy Stu G Julie Lee Waterdeep 30 Product Review

by Mitch Bohannon TC Electronic BG250-112 Combo Bass Amp

CONTENTS

32 Product Review

by Michael Hodge Yamaha HS7 Studio Monitors

32 Product Review

by Michael Hodge Rocktron Patchmate Loop 8 Floor 36 The Indie Mechanics

by Keith Mohr & Sue Ross-Mohr Are You an Influencer?

37 Product Review

by Michael Hodge Wampler Velvet Fuzz 38 Ask Joe

by Joe Riggio 41 Guitar From A 2 Z

by Roger Zimish Pentatonic Scale Exercises 42 Is It You or Him?

by Bryan Duncan 44 Announcing the Death of Musicianship

by Rich Kirkpatrick 46 Coda The Musician’s Doc

by Timothy Jameson, D.C., M.Div. My Hands Hurt!.

Interview

20 Scott Stapp :: Rock Bottom

by Steven Douglas Losey

4227 S. Meridian, Suite C PMB #275, Puyallup Washington 98373 Phone: 253.445.1973 Fax: 253.655.5001 Email: bruce@christianmusician.com Website: www.christianmusician.com Editor & President: Bruce Adolph VP/Office Manager: Judy Adolph, judy@christianmusician.com Customer Service: Brian Felix, brian@christianmusician.com Street Team: Mike Adolph, Jesse Hill & Winston Design & Layout: Matt Kees Copyediting: Kevin Wilber Advertising Sales: bruce@christianmusician.com Published by the Adolph Agency Inc.

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JAN/FEB 2014

7

GUITAR REVIEW

Vashon Green Archtop Electric

By Bruce Adolph

One way to find success is too see a need in a market and then go and fill that need. That is exactly what Bob Krinsky (a trial lawyer by day, musician and owner of a recording studio by night) did. As an electric archtop guitar player, he saw that there was a wide gap in the archtop marketplace… there were lots of entry level models that do not play as good as they look, and there were quite a few high end models that cost several thousand dollars and up.

of maple. The body depth is 2.52” (wider than a 335 style guitar) and the body width is 16”. The fretboard is made out of rosewood, and the guitar is equipped with a nut bone and two humbucker pick-ups. The machine heads are SG38’s. The control knobs are 2 Volume, 2 Tone, and 1 Toggle for pick-up selecting. As mentioned, the finish is a metal flake green.

The first night I played the Vashon Green I was downstairs in our living room, and Judy was cooking Why isn’t there something right smack in the dinner in the nearby kitchen. I didn’t even plug middle of those price points that not only looks the guitar in (the amp, after all, was way upstairs :) good, but that also plays good as well?

What I was impressed about was the volume I was “The guitar industry is dominated by a few 800 getting just out of the hollow body itself. pound gorillas,” Krinsky says. “You see Fender an Large body electrics like this tend to be a little Gibson buying up smaller companies and the bottom heavy as you balance the guitar in your result, in my opinion, is not a good one. That is why hands. The Bigsby system does add some weight I am doing this; for the love of the instrument.” to the guitars bout, but lately I have had a thing At a NAMM Show a few years back Bob met a for Bigsby’s and I am trying to learn how to use Korean guitar making company that wanted to them more tastefully. When I get the right touch start scaling back from mass production work to it just adds so much vibe to the music, and on this being able to spend more time on the guitars… big green beauty it just makes sense to sport the thus putting out a higher quality instrument. A Bigsby. friendship was born that day, and now the fruit if it has come forth in Vashon Guitars (based in Vashon Island, WA).

The Vashon Green’s playability impressed me.

Up and down the neck it just feels solid. No dead spots, no funny frets… solid. That is why the jazz Now, if you have read my guitar reviews over guys are digging this guitar so much (they play a the years, you know that I have a high regard lot more chords and notes than I do :) for some of the Korean made electric guitars. I plugged into my Living Tone custom tube amp The attention to detail in the trim, wood (OK, I know these amps sound great, so is this fair selections, paint, finish, and playability all need to the review? Yes it is, if the guitar can take the to be right on a guitar, and Bob has dialed in Living Tone to a great place to show off it’s own Vashon Guitars to those same metrics. capabilities). Chords blossomed and, just as I I went to their showroom in Tacoma, WA suspected, the natural resonance of the hollow and hand selected this Vashon Green body rang true through the amp. A full bass, archtop model. There were several good mids, and smooth highs (not too brittle) other models there that caught my eye; told me what I wanted to hear. Some of the other but this one, with the beautiful metal Vashon models come with Lollar pick-ups (another flake green paint and the Bigsby, won company from Vashon Island :) but these stock humbuckers sounded fine. I ran through a few of the battle. my normal riffs, and the pick-ups had attack when Semi-hollow electrics are seeing a I wanted with a pick, and played smoothly when I surge of interest from worship leaders just used my fingers. and Christian bands the last few years.

Vashon has already caught the attention of A crowning touch to the Vashon Green is when several jazz players from the East Coast. When you notice the extra styling it comes with… you fill a hole in the market place and it looks, from the artistic inlay on the headstock, to the plays, and sounds as good as this guitar at a price abalone block inlays up the fretboard (and don’t point that is hundreds of dollars less than what you forget about the vintage art deco looking control knobs)… this guitar simply looks “classic”. might expect… you have a winner!

And now the cherry on top… Street price is just Here are the guitars details… the body style is $995.00, and includes a nice hardshell case. an archtop cutaway and the top is made from solid maple. The neck, back, and sides are also made

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More info at www.vashonguitar.com

Modern Rock Bass Lines (Part 5) I hope this series has been helping you gain new approaches for your modern rock worship bass lines! I love how many of the different variations we’ve explored are relatively similar to each other, yet each lends its own unique flavor to this four-chord, 8thnote rock progression. As before, please review earlier installments in this series where we set the foundation and context for our study.

Additionally, please don’t forget that these examples intentionally involve multiple rhythmic, harmonic, and melodic variations for the purpose of illustrating the possibilities. In an actual musical situation, you’d likely pick just a couple of the ideas and apply them sparingly (particularly earlier in the tune). There’s generally more leeway for embellishments later in a song once everything has been well established.

So let’s look at some specifics:

an 8th-note, and (3) playing an inversion—that anticipated on the and of beat 4.

B under the E chord is the 2nd inversion, right? Bar 6 has us playing a G# under the E2—1st The high B carries through most of Bar 2, inversion, right?—then descending down excepting a bit of tension/resolution with through the 3rd, 2nd, root, and 7th. the whole-step drop on the and of beat 3 Bar 7 incorporates the 1st inversion of B and downbeat of beat 4. Although the A (B/D#), resolving to the root on the and of is a scale tone, it does introduce a nice bit beat 3 before anticipating the upcoming of momentary tension. Remember that the chord on the and of beat 4. upper register helps “sell” that 2nd inversion, by the way…with the deal being finalized by Finally, bar 8 anchors down the low C# nd rd our drop down to the lower B root note in before ascending up to the 2 and b3 .

Again, the note changes occurring on the bar 3! :^) upbeats help reinforce a nice feeling of Bar 3 is all about grooving low and strong forward momentum. The final 8th note in and reestablishing the foundation after our the bar is a slide up to the root of the next brief jaunt up the neck. The upcoming chord measure in this repeating progression. That A is anticipated by an 8th note at the end of the is the b6th relative to the C#m, which is a scale measure. tone. I like the tension it briefly introduces.

Bar 4 incorporates a subtle melodic phrase By the way, if any of you are unsure about (notice that all note changes are on the what notes constitute scale tones relative to upbeats—another rock bass idiom that helps the various chords here, please invest a bit of maintain drive) ascending through the root, time studying the modes—they’re not that 2nd, b3rd and 5th. difficult to learn and will really help equip you

Bar 1 resumes the low root note that is crucial to our support of the ensemble. Several now- Bar 5 takes us back to the upper register familiar rock idioms are employed on the and on the root of A. Make sure to slide up to of beat 4 with (1) a growly slide up to the that note—it definitely will give it the rock higher register on the same heavier string, (2) vibe. Once again, the next chord change is anticipating the upcoming chord in bar 2 by

Bassic Communication Modern Rock Bass Lines (Part 5)      A2

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© 2013 Stocktones Music

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for grooving. Both my Grooving for Heaven Vol. 2 DVD and Level 1 of the 60-lesson groove course at my instructional website (ArtOfGroove.com) cover them extensively.

Anyway, as I’ve encouraged you in the past while working on these exercises, please record yourself with a click and/or drum machine and ensure that everything is solid and grooving well.

Have a blast! :^) (Adapted from curriculum at ArtOfGroove.com)

Norm Stockton is a bassist/ clinician/solo artist based in Orange County, CA. Following his long tenure as bassist with Lincoln Brewster, Norm has been focused on equipping bassists around the world through his instructional site (www.ArtOfGroove.com), as well as freelancing (including tour dates with Bobby Kimball, former lead singer of TOTO). Also visit Norm at www.normstockton.com, Facebook, Twitter and Instagram.

The Worship Musician! series provides tools and resources for the modern worship community. These offerings share inspired tips and techniques used by some of the contemporary church’s most creative, gifted, and prolific musicians and technicians. Presented in a way that is straightforward and easy to understand, the Worship Musician! series will help maximize your creative, spiritual, and technical contribution to your church, home group, or music team.

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THE WORSHIP DRUM BOOK ConCepTs To empoWer exCellenCe

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Leading Tones & Chords (Part 2) In part 1 of this series, we looked at the way the G7 chord leads into the C chord. This is called a Five - One move (or V – I) in the Nashville numbering system. This is because the G note is the fifth degree of the C scale (C D E F G). This move from the Five chord to the One chord in any key is the most common chord progression there is.

[NOTE: Some of you have heard the term ‘dominant seventh’ used to describe a chord.

Here’s a little insight. The word dominant basically translates to the number Five. When music was first being written down and observed, the common language was Latin.

The scale degrees that we now number as 1, 2, 3, 4, 5, 6, 7 & 8 were named tonic (1), super-tonic (2), mediant (3), sub-dominant (4), dominant(5), and so forth. The Dominant note is simply the Five note of the scale. So G7 is the dominant 7th chord in the key of C.] Now then, let’s take a look at the next most

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common chord progression after the V – I progression. It’s the I – IV – V progression.

It turns out that these three chords are the only Major chords that fit within any key (more on this later). In C, for example, there are no sharps or flats in the key signature.

The spelling of the C, F and G chords are as follows: CEG, FAC and GBD (the 1st, 3rd and 5th notes of the scales for each chord). If you start on any other notes of the C scale other than C, F or G you’ll end up having to sharp some notes to make the chords Major (ex: D Major = D, F# A). So now grab a guitar, strum the C, F and G and chords and listen to the sound of a standard I – IV – V progression. It’s not too terribly colorful, is it? But it is sensible and ‘correct’ sounding, and about a million songs have been written using these three chords (Dial your search engine to ‘3 chord songs’ or some similar phrase to see examples).

So... now let’s do what we did in part 1 of

CHRISTIANMUSICIAN.COM

this series and add some extra color tones to these chords, as well as developing good chord ‘voicings’ with ‘leading tones’. Try these new substitute chords out and apply them to some 3 chord songs you know. Examine the notes in the chords too and see where the half step resolutions lie like we did last time. You might also begin looking for ‘common tones’: notes that remain the same when one chord moves to another. We’ll continue adding to the list of progressions next time. There are loads of cool options out there and we’re just getting started! - JS Check out John’s 5-DVD set ‘Praise Guitar Lessons’ at the ‘store’ page at www.johnstandefer.com. You get 52 video lessons similar to these CM articles, but you can see and hear the lessons! Includes charts.

Also consider private lessons with John via Skype!

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Remembering Richard Wilson Once in a while I go back and practice old lesson plans from my days taking drum lessons from Richard Wilson. I am always amazed at some of the exercises he created for me.

Richard had the ability to push me to places I couldn’t imagine.

Finding a teacher that opens you up to new ideas, encourages you, and helps guide you to new musical frontiers is the best way to improve quickly. Richard did all of that for me. I think it is safe to say I would not be a professional drummer if it were not for his guidance. He changed the way I played and the way I thought musically.

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I hope you enjoy this small sample of the hundreds of exercises he created for me.

Richard passed away years back, but what he David freelances in and around Los Angeles and is taught me will always remain a part of me.

currently playing for Franklin Graham events worldwide.

He has played with Fernando Ortega, Sara Groves, Bebo Norman, Tommy Walker, Lincoln Brewster, Thomas Dolby, The Righteous Brothers and Peter White as well as spending 2 plus years playing The Lion King at the Pantages Theatre in Hollywood. He is also an adjunct professor at Biola and Hope International Universities. His home church is Plymouth Congregational in Whittier, CA. Feel free to contact him at DavidOwensDrums.com.

On the last exercise you should learn the hands before you add the feet. The independence involved in that exercise is a little tricky. Start slowly and gradually bump the tempo up on your metronome. And tap both your feet with the metronome for all these exercises. Practice hard and enjoy the challenge.

Blessings, David

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Stick It In Your Ear! Recently a student came to her lesson complaining about the monitor mix at her very large suburban church. She could not hear herself when singing on the praise team. She was concerned that this was a disaster waiting to happen. There had even been a meeting with the praise team members between services to discuss out of tune singing. I quickly informed her that the disaster had already occurred. I then asked the student if she couldn’t ask the sound engineer to raise the volume of her voice in the monitor. Guess what! She was sharing the monitor with two other singers, one of which was a very demanding, strong-willed person who liked her voice way up in the monitor mix, thereby drowning out the other two voices. My student had a major problem.

Shortly after hearing this story, another student complained about her latest concert in regards to the monitor mix. She arrived at the concert location in plenty of time for her sound check. Everything was going well.

The sound engineer and the singer were both very happy. All was well until her first song started. Nothing was the same as the sound check. Does this sound familiar to you?

There was a female church member who was going to sing a couple of songs before my student’s concert. The church member used a completely different mix in the monitors.

That was the mix that greeted the student. My student had a major problem.

These two incidents could have been avoided if the singers had purchased and utilized a custom ear monitor system. Why would a singer want to use an ear monitor system, you ask. Very simply stated an ear monitor system: 1. Protects your hearing 2. Reduces vocal fatigue 3. Eliminates feedback problems 4. Allows for a totally individual mix

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As you can see, ear monitors are a big deal sound quality makes singing easier, which will that can be a great help to singers. Let us now result in a more effective musical presentation. examine these four claims.

One of the most frustrating questions that All musicians share a common problem: their I run into when singing the praises of ear hearing is at risk. Don’t think you are in the monitors is “What if the sound engineer clear if you avoid rock bands. The sound of a raises the volume so much my ears explode?” piccolo has been measured at levels up to 112 The chances are slim that this would decibels. This is the equivalent to being 30 happen. But if you are concerned, consider feet away from a jackhammer. High volume using a compressor or a limiter. Some ear can, overtime, result in hearing loss or tinnitus monitor systems have a built-in limiter. The (ringing in the ears). Custom ear monitors most important thing you can do to avoid drastically lower the volume of sound on the overloading the volume is to develop a trust stage, thereby protecting your hearing. As a relationship with your sound engineer. Please result you do not have to sing as hard. keep him happy. He can make you sound real Custom ear monitors reduce vocal fatigue. good!

With less volume on stage, there is absolutely no need to over sing. It is easier on your voice because you have no problem hearing yourself. You will not have the urge to try to sing over the trap set, guitar amps, or a miked grand piano. With ear monitors, there is simply no need to attempt to out sing the wattage of your amplifiers.

By utilizing ear monitors, your feedback problems are virtually eliminated. One sound engineer told me that by using them you could avert approximately 98% of feedback problems. Does the phrase “all but gone” apply here? You bet!

In addition, using ear monitors allow for a totally individual mix and superb sound quality. Because the monitor is in your ear, the mix will be adjusted just for you. If you like it loud, it is loud. If you like more highs than lows, it’s your call. The mix will be custom ordered by you. Aren’t you special?! The quality of the sound will be obviously better than any floor monitor because the sound will be run at a lower volume and the sound source will be closer to the eardrum. One well-known recording artist had this to say in regards to his high quality in ear monitor, “They are better than any studio headphones I’ve ever heard.” It is very apparent that better

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I would like to thank Ultimate Ears, Inc. and their staff for their help and assistance in gathering information for this article. If you would like more information regarding ear monitor systems, check out their web page at www.ultimateears.com.

Now go sing well!

Roger Beale has been writing the Vocal Coach’s Corner for fifteen years. He is one of the nation’s foremost vocal coaches.

He presently works with professional singers in all areas of musical performance. His teaching and coaching facility, The Voice House, is involved in the management and care of the professional voice. Many of his students have won prestigious vocal competitions and scholarships.

In addition, he has worked with Grammy and Dove award winners and nominees. He also offers vocal clinics and seminars, as well as assistance in recording sessions. Roger is an adjunct professor in the Fine Arts department at Point University (formerly Atlanta Christian College), website: www.point. edu. Roger can be contacted at: The Voice House, 1029 Peachtree Parkway, Suite 276, Peachtree City, GA 30269, (404) 822-5097, e-mail: voicehouse@ mindspring.com.

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Time to Dance

by Rick Cua

Figuring out how to live with old regrets is something most of us have had to do. Some regrets are easy to leave behind. but some hang on like a foul smell that gets in your nose hairs and follows you around. Sure, God can deliver us from that sadness, but many times the memory of our bad judgment goes into the back of a filing cabinet only to worm it’s way forward at reminiscent times as a reminder of our misguided past. I’ll bet not one of us can say we never did, didn’t do, say, or didn’t say something that we wished we handled differently . . .that’s just the way life is.

Not long ago I was at a wedding reception that had a great dance band. The energy in the room was electric, and everyone was celebrating the new couple by joining in on the dance floor. There were lots of smiles, laughter, and general good vibes all around.

What really caught my eye was a table of 4 or 5 musicians attending the wedding who were just sitting there while their wives were out on the wooden floor basically dancing with each other. Sure, the girls were having fun, but I knew they would have loved it if their men were out there with them.

As a musician I remember how much easier it was to make the music rather than acquiesce to being just a regular guy enjoying it. We loved being musicians, loved being in our tribe; but for some strange reason some of us were afraid, too self-conscious, or too embarrassed to just have fun. Believe it or not, a lot of musicians have a bit of an introverted personality that really shows up when we are NOT on stage. It wouldn’t seem that way, but many times it’s true.

and even easier to just stay that way, especially if you aren’t seeking first God’s Kingdom and His righteousness. Matthew 6:33 says, “But seek first His kingdom and His righteousness, and all these things will be added to you.” So what are “these things”?

fun. That could have been me and my band mates decades ago. Happy to be musicians, and mostly getting that right, but leaving some of the rest of life on the table to be figured out at a later date.

accolades they got from it become their identity. In some ways we thought we were exempt from normal living, but when the time came to figure out regular life our perceived exemption became our snag. In a sense, some of us were stunted, handicapped, and struggling just to be contenders in “normal” life. Again . . .we felt fearless in our world, but fearful in everyone else’s.

Well, I must have made a big impression on them because they did . . . absolutely nothing!

Probably thought I was nuts . . .just an older guy with something to say. Yet, I hold on to the biblical fact that when you speak a truth based directly or even loosely on God’s word or a Godly principle, it doesn’t return void.

Getting more comfortable in my own We can start with material things such as food skin with every passing year I confidently and clothing, but good sense and a desire to approached their table and sat down. After grow must be on the list somewhere! some small talk and introductions I went In my world, as long as I had my bass guitar there; “Guys...don’t do what I did when I was strapped on I was fearless. If I had to put it your age. No matter how hard it may seem, down and just speak or interact with non- get up and shock the heck out of your wives. creative types, I was a fish out of water. It Just go out there and dance. All you have scared me to death. While most young men to do is smile and move, nothing fancy or were figuring out how to navigate social complicated. You all have rhythm, so go and situations, many musicians hid behind their make your wives happy now so you won’t instruments and let their talent and the have to make up for lost time later.”

But finally, what years of living, a believing spouse, and a faithful God can do...it’s inevitable...we wake up! Somehow and some way the things that are important in life will trump all the other less important and even dysfunctional stuff. Every under-thought-out career driven desire, those things that made it Not just a musical artist, Rick easy for us to postpone growing up, even that knows the business of music false sense of being better off in our creative as well. Besides being a music world all fade. Responsibility that seemed publisher, artist manager and like an undesirable option becomes the brass booking agent, he founded ring. We get to a point where we desperately and ran his own record label, need it! It’s the stability that helps keep us on UCA Records, in the 1990s God’s course and even legitimizes some of the which led to a position for things in our life that took us off course in the five and 1⁄2 years as Vice first place. The sweet spot of God’s will and President, Creative/Copyright purpose for our lives draws us in like a tractor Development at EMI CMG in Nashville. There he managed a large songwriter roster and exponentially beam pulling us to a brave new world.

This isn’t just a musician thing; this social syndrome of arrested development can hit anyone. It’s especially present when you work your gift like a madman, leaving little time or interest for the rest of life. When your priorities aren’t right anything can happen. It takes a good inward look to see where you are in life and then the fortitude to persevere So, that brings us back to the wedding with through a revamping that will change the table of musicians probably talking about everything. It’s easy to briefly live deceived gear and gigs while their wives were having

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Is life in front of you with everyone in it and you are stuck sitting at the table on the edge of all the action? If it is, and you are . . .put on your dancing shoes and jump in. No looking back . . .it’s good for you, blesses God, and it’s great for those you love. It’s time to dance and you’re the dancer . . .own it, do it, love it!

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grew revenue through film and TV licensing, song promotion and print music development. He is currently on staff as the minister of Pastoral Care and Visitation at Grace Chapel in Franklin, TN.

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SCOTT STAPP ROCK BOTTOM

by Steven Douglas Losey

A human body free falling from forty feet reaches approximately 44mph before face meets concrete. That was Scott Stapp. Just prior to that event, Stapp was partying in 2006 in a Miami hotel room. Drinking and drugs had induced a paranoia that caused him to think someone was trying to get him, which was a big reason why he jumped off of his hotel balcony. The result was a cracked skull, broken hip, and broken nose. As he lay there in a pool of his own blood, it was the moment when he realized that this was rock bottom.

As the lead singer of Creed, a band that has sold 18 million records worldwide, Stapp lived the rock n’ roll lifestyle: doing drugs, getting drunk, and making adult tapes, until one day he realized he wasn’t in control anymore, God was. The result is his latest opus Proof of Life: an intensely personal record for Scott Stapp, filled with hope and a testimony to who he was, not who he is.

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Steven: It’s well known that your father abused you; I know because of this experience the face of God must have seemed horrible to you. Can you tell us about that?

Scott: It looked very punishing to me; it was constantly waiting for a mistake in order to send me to hell. It was a very, very punishing God. It was like having an alcoholic father and an alcoholic God. I would feel this loving God, one who cares about me, and at the snap of a finger that same loving God would punish me and throw me to eternal damnation.

grass looking up to heaven just sharing these feelings and talking with God just like He was right there with me. The more I would be in God’s Word and the older I got, I started to realize that my father’s interpretation of the bible wasn’t what I was hearing and not how I was interpreting it. I started to rebel against my father’s brand of religion and my father’s brand of Christianity. The only problem was that I took that rebellion to the extreme. It was a case of ‘since he’s so wrong’ I’ve got to try everything that this world has to offer, because unless I try it how will I know.

But you don’t have to drink the ocean to know How did you have exposure to any secular that it’s salty, do you? music at that point?

The things that I find the devil does, is I was always drawn to rock and roll music and that he doesn’t bite ya the first time, and the electric guitar. I would sneak off to friend’s sometimes he doesn’t bite you the hundredth houses and we would listen to stuff. I snuck time. But one day, when that little door has in albums too. I wasn’t even allowed listen to been opened, it will eventually bite you. the Christian rock albums of that era. When I For me it took years and years before some was about twelve years old I tried to sneak in of those choices and the sin I was living a Stryper album, and because it had electric bit me, and it bit for my life. That’s why I guitars and didn’t sound like traditional have such a powerful understanding of the hymns it was ‘of the devil’; there was a bitter scripture ‘the wages of sin is death,’ because consequence for that. It really tore me up it may not be instantaneous. A person who with this pull towards a type of music that I dabbles may not have a problem until ten naturally didn’t feel any problem with. The years later, simply because they looked at God who was presented to me through my Sports Illustrated swimsuit issue early on at father in my home created a huge conflict with the bookstand shelf. The devil is patient, and that. The very music that I felt compelled me he wants to kill us, especially those of us that was ‘of the devil’ so that put huge confusion have a heart that wants to love God and make in my mind. a difference in this world for Christ. He’ll get The ‘church lady’ was really popular during in those little tiny crevices, and before you know it . . . BOOM, a nuclear explosion and that time but it wasn’t funny for you? a huge problem. That’s how it worked with It wasn’t funny. I got beat in the name of the me. There were years and years that I drank Lord when my father would catch me or my and recreationally used drugs, like many friends listening to music in my home, or he Americans do, and it wasn’t a problem in my had discovered I was listening somewhere life; but it evolved and evolved and evolved, else. In the name of God, he’d beat me. and suddenly the game was over.

the beginning of God saying to me, “You’re not in control of your life, I am.” Even in the midst of that drunken craziness, my life couldn’t even end with me in control. That’s when I begin to realize I wasn’t in control of anything. I was laid down for eleven months and I couldn’t escape the Word of God that was inside of me and quieted for so long.

That still small voice that I had numbed and quieted for so long when I was all caught up in the world and what it had to offer. I couldn’t run anymore, so the process began.

How did you write “Proof of Life?”

Sometimes it starts with free styling, I’ll just pick up an acoustic guitar and strum or pick something, closing my eyes and expressing something that comes from my soul and what I’m feeling. Other times, it involves writing poetry first, or just writing my thoughts down.

I tend to have a poetic style of expressing my thoughts. I’m expressing my best when it’s free flowing. I try not to think too much, but to approach it naturally without over thinking it. I go with where the music takes me and with what feels right at the moment. After I write the words, sometimes it will come out as the complete body of a song already done; other times there’s a lot of stuff I’ll edit out, but there will be a song inside that expression; sometimes, I’ll have words that I’ll really feel and just know because they’ll already have a feel and a rhythm to them so I’ll put them to music. I love to create in the moment, I feel I can really get outside of my own mind and just come from the soul and the spirit.

When you’re writing like that do you tend to come up with more choruses, or verses?

There’s no real set pattern. There have been times I started to sing when it’s purely a chorus, and other times it’s a verse; there’s no real set How does a cat get through that?

Was ‘game over’ when you fell off that pattern. There are probably a thousand songs I’ve written that are better then anything I’ve balcony? done and I’ve forgotten them. Thank God I guess you just get into survival mode. I spent hours and hours and hours as a kid I was deep, deep, deep, in alcoholism and for recording devices! Now I try not to do alone, playing in the woods, or lying in the drug addiction at that point in time. That was anything unless there’s tape rolling.

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After years of recording what was the biggest I love about them: they all have their own lesson you learned from this stint in the studio? personalities. You can’t go wrong with Taylor’s because of the clarity and staying in tune and The whole theme for this record for me, the precision. sonically, lyrically, and musically, was simplified because you can always build, you can always What’s a song on Proof of Life that will change make something more complex. Lyrically, people’s lives?

I intentionally tried not to use allegory “What Would Love Do” . . . after I shared it and analogy and all these fanciful visual, with my wife and friends I found I couldn’t descriptive terms. I really just wanted to be escape it. Maybe I would be short tempered clear and straight to the point and express in a situation and my wife would say, “What what I was feeling in the simplest form. would love do honey?” I began going through What drove those feelings?

Sometimes as songwriters we can hide behind our clever analogies and fancy words.

With this record there was to be no more hiding, I felt like I’d been in captivity for so long, this was my Proof of Life and there was no more hiding in any aspect.

The record definitely has a vibe to it?

Vibe was very important to me. It wasn’t about my chops, or how intricate and meticulous a part was; the whole theme was just to scale down and simplify.

Do you play any guitar on the record?

I play some, I write with acoustic guitar and piano, and I played some of the rhythm parts on the record.

What’s your guitar of choice?

I have my Gibson and my 12-string Taylor. I play the Gibson JSN. I love Gibson electrics, and Les Paul Customs too. I find Gibson acoustics are a lot like Les Paul’s, they all have their own sound, their own soul, their own vibe, its just a matter of finding the one that is connected to you at that time. That’s what 22

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change in a person’s life if they really latch on to it.

Can you describe something musical on Proof of Life that blew your mind?

Well, guitarists Tim Pierce and Phil X are shredders, but when I turned them loose on the record they both completely played for the song. When I gave them the opportunity to play what they wanted you could see how brilliant they are as musicians. They had all that chops ability, but they laid back in order this process of trying to change certain to be musical and make the song better and reactions and emotions during a period in my that was really inspiring to me. To hear that life where I was learning to control this temper kind of approach really taught me a lot. that I developed, a lot from being abused as One last question, you’ve been exposed to a child. I didn’t want to be that way anymore, many things in the music industry where you and God had been working with me on it. had guys like Dio whose logo upside down says What worked best to conquer it?

‘devil.’ Also, bands like Slayer that tour with their Whenever I would feel these certain feelings, stack of Marshall’s hung upside down in the instantly I would do the counterintuitive shape of a cross . . . is this stuff real? thing, the antithesis, instead of reacting in Personally, I think a lot of these guys are doing anger and hate. I would even grit my teeth that for impact, to try to get a response. They and say the opposite of what normally would are intentionally playing to a demographic come out of my mouth, even if I wasn’t feeling that’s into rebellion and have turned against it. What happened was that it started going God. I don’t think they’re Satan worshippers, deeper, and it started to be a process that I’ll but I also don’t think they really know what continually use for the rest of my life in every their doing. It’s an image, to be dark and evil. situation. If I can remember to stop in every But I also know that you don’t play around situation and ask, “What would love do?” then with the appearances of evil. As a Christian, it changes everything I do moving forward. those things would bother me in my spirit, they wouldn’t sit well with me and my spirit: How successful have you been at it? the glorification of evil, the glorification and I’m not perfect brother; probably seven lifting up of demonic and devilish type things. times out of ten I don’t do what love would As a Christian I don’t want to raise awareness do, but I’m trying and God continues to help to that because I’m here to defeat it. me grow with that. I really think it’s a theme that can make an impact and encourage a Visit Scott at www.scottstapp.com

CHRISTIANMUSICIAN.COM

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MAKING A GREAT SOUNDING RECORD. step one

by Matt Kees

One thing I get to do as the Director of the Christian Musician Summit, and as a music producer, is listen to a LOT of music submitted by aspiring writers/artists. It’s pretty cool to hear creative people expressing themselves through the vehicle of music. Some of these demos are professionally recorded, but most of them are not. A vast majority of the demos submitted to our Songwriter Boot Camp events are homemade recordings.

Sadly, a lot of the songs submitted to us are Step One. Capturing Clean and just difficult to listen to... primarily because Complete Performances they were not recorded well. A song may be great, but it can be challenging to listen to The first step to making a great sounding a diamond in the rough when that rough is record is to capture tracks that have been recorded cleanly and completely. I like just... oh, so rough ;) to think of recording tracks as capturing Now, I know that not everyone can afford performances. So, why is it important to to hire a producer or go to a studio to track capture performances that are clean and a demo, thus, this new series: “Making a complete? What does that even mean?

Great Sounding Record.” My goal is to help home studio producers/artists using Digital First of all, it’s crucial that each instrument Audio Workstations create great sounding and vocal be performed well. Not just the right notes, but also a convincing, dynamic, recordings. and emotional performance. You might So, that said, the REAL “step one” is start with think that emotions are easier to display in a a great song... I’m assuming that we’ve already vocal track, but dynamic performances with got that. Cool? Cool. instruments are possible and critical as well.

Use dynamics and tone to express emotion with any instrument. It should go without stating that the emotion of the performance needs to reflect the emotion of the song lyric. For example, I would not use a punchy, distorted bass sound performed with a pick on a tender, piano-driven ballad. Nor would I use a stand-up double bass to track the bass line for a metal tune. Allow your instrument to share the same story that your lyrics are telling.

Now, by ‘clean’, I do not necessarily mean without distortion, but that’s also exactly what I mean. If your sound source is a distorted guitar, electric piano, bass, etc, by all means, capture a distorted signal…

BUT do not distort your incoming signal.

Your sound source should provide a signal that is well above your noise floor, so as to avoid additional noise while mixing. Noises to worry about include ambient room noise, electronic buzz/hiss, etc. On the flip side, your sound source should also be below the level of ‘clipping’, or ‘digital overs’. The little red indicator should not show in your DAWs input meter. To make sure neither of those scenarios occur, simply test your incoming sound source at its quietest point and loudest 24

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point before recording it.

By “complete”, I mean capturing a source to its full potential. This may require some tools that you might want to consider investing in: microphones, mic-preamps, direct boxes, cables, etc. It is true with the above listed items that you get what you pay for. There are so many great mics out on the market; I recommend that you consider investing in a large-diaphragm condenser microphone.

These will make your vocal performances sparkle. They are also great for acoustic guitars, drum overheads, percussion, and even guitar amps. Plan on spending $500+ for a good entry-level mic.

Many DAW recording interfaces have decent pre-amps, but you might consider a stand alone pre-amp to help give your incoming signal some additional color, character, and ‘drive’. For folks like us who may not be using a console when we record, having a pre-amp that has some ‘strip channel’ attributes can greatly increase the quality of our captured performances. Strip channels often include gain/drive trim, high pass filter, EQ, and compression. This kind of pre-amp just gives us a little more control over manipulating our signal source before it’s printed to tape or encoded as a digital audio file. That said, be careful to not manipulate the incoming source TOO much. I really like to make sure that I capture the most transparent and original copy of the sound source as possible… and to be honest, when you do that with each instrument/vocal that you record, that is the first step in creating a great sounding record.

Everything after that is icing on the cake.

Matt Kees is the Director of the Christian Musician Summit conferences and Owner/ Producer at SmithBuilt Studio in Frederickson, WA. www.mattkees.com

selective hearing

by Shawn McLaughlin

Job Rick Elias Self-released www.rickelias.com Last year I wrote a review of an album by a fairly unknown artist who wrote me back and thanked me for helping them to be “seen”. That got me to thinking that all of us, in our most private moments, really just long to be recognized for what we are.

I have always gravitated to artists who write with such vulnerability that it speaks truth into my own circumstance and allows me to feel as though I am being “seen”. Rick Elias is one of those artists. Although his output has been spotty in the 20+ years he’s been recording in the Christian industry, releasing just 3 albums under his own name prior to his new record, Job, Elias is a musician who is incredibly in tune with how struggles, disappointment, and sorrow fit into the story of God’s grace and redemption. I won’t go into Elias’ own testimony, but suffice it to say it can be described as “harrowing”. Coincidentally, the making of Job was not without its share of trials for the artist as, among other things, he was stricken with a hand condition that rendered him unable to play the guitar for about a year. So, the album title is not just strictly a telling of the story of the oldtestament character, but a cogent theological exploration of the purpose of pain in the daily life of the believer. The record’s first track, “Do Ya” is a laconic rocker with a wonderful melodic core that slowly adds layers from the beginning strums of guitar into a deceptively hook filled chorus that is melancholy enough not to obscure the weighty lyrics:

cut follows, as edgy slide guitar and ferocious power chords mate to propel the anger fueled lyrics that seem to cast Job’s trials in Engine of a Million Plots the light of a betrayal rather than a focused plan of personal redemption, because that is Five Iron Frenzy ultimately what most of us initially feel when Independent going through the emotional blender of Another act who hasn’t recorded in a long a trial. The task of admitting it is often what while, Five Iron Frenzy called it quits 10 years ultimately frees us to begin the process of ago only to re-band in healing.

2011. They mounted Naked I came from my mother’s womb And naked I will return My serpent skins shed in the tomb And a lover’s heart that still burns

one of the most successful kick-starter campaigns of all time, raising over $200,000 for what became Engine of a Million Plots. For those expecting the off-beat silliness and bouncy punk-ska of the band’s nascent days, the new record will come as a bit of a shock.

Mostly working in a “rock with horns” format, the band has also matured as songwriters, interspersing one or two moments of levity (especially “Battle Dancing Unicorns(With Glitter”)) with clever, yet thoughtful fare like “Against a Sea of Troubles”, “To Start a Fire”, “So Far”, and “Into Your Veins”, in which lyricist Reese Roper takes on the persona of a drug dealer: “I am trafficking bliss; I sell wholesale with a kiss. I am a dealer of words. I’ll suck the buzz from your scene and sell it right back to you before I get away clean.”

“When It All Comes Down”, and “A Kind of Brilliance” turn the focus inward as Elias explores how we sometimes create our own problems, both in our own heart and in our relationships. The former features Elias’ own backwards guitar experiments that give the arrangement an added sophistication. “When We Built This House” is a melancholy, realistic look at the anatomy of a marriage with all the attendant joys and sorrows inherent in a lifelong commitment. “Help Thou My Unbelief” is a re-working of a song from the Ragamuffin Prayers album Elias helped write and produce in 1998. Thankfully, it represents the natural process of recognizing God’s grace, mercy, and provision in the midst of life’s challenges.

Finally, the album closes with an acoustic reimagining of the title track called, “Job Naked” The song is a highlight of Engine of a Million which echoes the questions of the original, Plots and certainly signals a more introspective but adds a few grace notes: side of the band. Musically, the large budget is in evidence throughout, as this record sounds After all their manipulations absolutely terrific. Some may lament the Yeah, all those clever moves more “streamlined” sonic palette, especially Comes a single act of mercy the somewhat homogenous guitar tones, but As a child in a young mother’s womb the band obviously can’t stay stagnant for ten Ultimately this record succeeds because it is years, and the added maturity of the project made for those of us who hurt, who doubt, is a welcome advancement for the former who make mistakes, hurt our loved ones, then court jesters of the Christian music world. ask forgiveness for our atrocities. It recognizes Do ya feel like an angel the frailty of all who call themselves followers Or a pawn in a fable? of Christ and tells us that we are not alone in Son of Jōb our suffering, and, better yet, that there is one Son of betrayal who will help us to figure out exactly what There are no strangers at this table happens next. Elias records infrequently. The This is the guy who wrote/co-wrote 5 songs brilliance and compassion of Job reminds us for the motion picture “That Thing You Do”, why that is such a tragedy. and his ear for pleasing, 60’s influenced hooks has not diminished an iota. The title 26

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Of Burdens, Birds, and Stars Stu G Independent www.stugworld.com “Of Burdens, Birds, And Stars is a collection of 6 songs written between 2009 and 2013. Kind of journals and stories of the time of transition between my former band Delirious? ending and a new collaborative and journey into diversity now. The space in between has been one of hope, ache, and struggle. Wrestling with questions like “is my best work behind me?” and “what am I going to do now?” I have had the privilege of making a lot of music and helping others be who they are and find their voice. Along the way, these songs have appeared, and it feels like it’s time to share them and let my voice be heard. It’s time to be true to my story and share this music that wouldn’t be heard unless I release it. One thing I know to be true, I’m not done with the guitar or writing songs yet.

I’m so grateful for what I’ve been a part of, but I know “there’s more where that came from.”

My hope is that these songs from my journey

can help you with yours. for that bands musical identity with stellar Or at the very least, that melodies, lovely musical accents, and some you might like them” :) wonderfully lyrical guitar playing. There is nary These words come a congregational worship song to be found from Stu G (Garrard) on the disc as personal matters are essayed himself, and the guitarist with honesty and realistic expectation, yet, acquits himself quite well on his debut, 6 song always with the acknowledgement of God’s EP, Of Burdens, Birds, and Stars. The musical enveloping presence (check out the lovely variety on the project is impressive, whether “King of the Stars”). Of Burdens, Birds, and it be the poppy, opening cut, “Long Way Stars is a short, yet beautiful record that many Down”, the following drum and bass inspired should find both comforting and familiar in its “Don’t Really Know Me”, the building, dynamic subject matter. richness of “Carry My Burdens”, or the elegiac acoustic ballad that ends the album, “Little Bird”, which is kind of an empty nest lament written for Garrard’s youngest daughter as she traveled for a year. As he mentions, this is an album inspired by a time of transition and the musical settings are both familiar and diverse, echoing the nature of change, as it is something we all go through but process through differing filters. Garrard distances himself admirably from his former band, even as he shows how much he was responsible

Till and Mule Julie Lee Independent www.julielee.org Julie Lee is a singer songwriter who has already released 9 albums of rootsy, rural American music over the course of a decade

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and a half. Most noted for her 2004 album Stillhouse Road, Lee has worked with some influential artists as a songwriter or guest artist, counting Alison Krauss, Vince Gill, Ron Block, and Sarah Masen amongst her collaborators. Originally favoring a folk and bluegrass heavy blend, her new long-player, Till and Mule, while retaining her love of roots based musical forms, slightly recasts Lee as a jazz chanteuse. “Painfully Clear” is an excellent example of confessional song-craft as Lee merges gentle guitar arpeggios with a lyric

that vulnerably reveals aspects of brokenness.

“A Thing of Beauty” and “Cold, North, Wind” contain small jazz accents that add subtle intrigue to what could have been standard issue folk fare. The former paraphrases the Keats poem, “Endymion”. Thankfully, Lee transcends the current field of female singer/ songwriters by honestly incorporating her many influences into a fairly singular voice.

Musical voyagers who seek work that reeks of heart and truthfulness will find a lot to like on Till and Mule.

SHUBB CAPOS

After

40

years

Moment Waterdeep Independent www.waterdeep.com Moment is yet another chapter in the long, rewarding career of Don and Lori Chaffer; two true artists who have never allowed current trends or marketing strategies adversely affect their musical identity. Moment is a stunningly lovely, under-stated record that clearly establishes the duo as one of the most musically audacious entities in popular music. With layer upon layer of harmonies and adroitly placed instrumental grace notes, the album unfurls at a leisurely pace, but still catches the listener with its ingenuity.

The title cut speaks to the human tendency to power through life without stopping to appreciate the smaller miracles that grace our more mundane moments. Indeed, the whole album tills this fertile soil. Highlights are the ersatz doo-wop of Lori’s “All Of Us”, the forward movement and hooky immediacy of Don’s “Humming Along” and “On and On”, and the almost fugue like vocal interplay of “Not Looking Good”. For me, personally, the testament to the genius of a group is the ability to take a Phil Collins song and actually make it listenable. Waterdeep does that with an incredibly intricate and haunting version of Collin’s ubiquitous, “In the Air Tonight”, which just kicks all kinds of kiester thanks to Don’s slowly building arrangement (it starts with a solo acoustic guitar figure and Don’s voice) and the generously layered harmonies that come to glorious crescendo with the addition of a drum kit in the song’s well known climactic moment. Just a beautiful album from front to back, Moment easily makes my top 5 for 2013.

Please do yourself a favor and check it out.

still the best! info@shubb.com • www.shubb.com 707-843-4068

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Shawn McLaughlin is a hard-working, dedicated, tireless worshipper of Christ.

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PRODUCT REVIEW

TC Electronic BG250-112 Combo Bass Amp

By Mitch Bohannon

I have been a fan of TC Electronic products for many years. When I saw the release of the BG250 bass amp combos coming up, I reached out to them and requested one for review. I love to review new products…I’m always prompted to look for things that are helpful to the worship team(s) at our church. In this case, I was watching some of our musicians lugging the church’s bass rig back and forth week after week between the student platform and the sanctuary. I knew we needed a second bass amp, and that’s when this one caught my eye.

TC Electronic sent me the BG250-112 model. I pulled it out of the box and set it up adjacent to our current rig. The first thing I noticed is simply how lightweight it is… only 35 pounds! (With this there would be no “lugging”… just carry it to where it needs to be!) There was really no learning curve, just plug and play. With 250 Watts, there is plenty of power for the bass player to get a great feel from the amp during worship. The

balanced XLR output avoids the need for a don’t know about you, but my electric guitar mic or direct box and feeds the FOH well. players have a plethora of effect pedals and With our current setup, my bass player was options. How many of your worship bass using a tuner pedal between his bass and the players run through an effects board? In all amp. I have to say, there were a few Sunday’s the years of leading bands at church, I have that we had either a cable issue or battery only had one. Nevertheless, effects on a issue with that pedal. Also, he could only tune bass can be an incredible enhancement in when muting his signal… With the onboard worship! With this amp and a smartphone, tuner on this BG250, tuning is continually your bass player will have countless options! visible and can tune a 4, 5, or 6-string bass! Two effect options are available onboard and It’s very convenient to be able to micro-tune can be switched with the optional “Switch-3” without having to kill the signal. A mute foot control. It’s as simple as downloading button is located beside the tuner, which is a free app that will “beam” a new effect through the bass pickup into the selected helpful for big tuning changes.

TonePrint channel and in an instant, the effect In so many ways, this amp is “ahead of the is changed. This is another great use for the pack.” I’m quite impressed with the Intelligent mute switch if the change is going to be done EQ. The bass, during worship because there is about a four middle, and treble second “computer transfer” sound during controls are tuned the transfer. From the app, you can choose to either boost specifically the BG250, which will be all bassor cut specific appropriate effects… BassDrive, Chorus, f r e q u e n c i e s Flanger, Octaver, SpectraComp, and Vibrato. that are specific “sweet spots” for We’ve only had this amp on platform for bass guitar. This one service and it really sounded fantastic. takes a lot of the I’m anxious to have my bass player take this guesswork out. amp home and get familiar with the effects The onboard EQ options. With it being as lightweight as it is, can be bypassed packing it home is no big deal! I could go on for the FOH with about the TonePrint, but it would be easier a Pre/Post selector to go to tcelectronic.com and watch some of button next to the their videos.

XLR output. This The TC Electronic BG250-112 has an MSRP would be helpful of $525 with a street price of about $350. if you want to Other options in the BG250 family are give the complete the 115 (1x15) and the 208 (2x8) speaker house EQ to the configurations… all 250W. sound tech.

In Him, I guess I’ve saved my favorite feature for last… the onboard TonePrint effects. I

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Mitch Bohannon mitch@kysermusical.com mitch@bos-capos.com www.bos-capos.com ( o )==#

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PRODUCT REVIEWS

Next, the HS7 has separate amps for the woofer and tweeter, built to match the components. The low frequency amp is 60W and the Tweeter amp is 35W. Both the Studio Monitors are one of the most 6.5” woofer and important pieces of any studio. This 1” dome tweeter month I’m reviewing the newest monitor have also been in the Yamaha HS series, the HS7. This is redesigned to a second-generation model and employs improve accuracy many of the original design concepts as well.

Note: found in the renowned predecessor the the original NS10 NS10M. There’s a great story here, so a had a frequency response from 60Hz to 20kHz. little history is in order.

The HS7 specs claim a response from 43Hz to The infamous NS10’s were designed by Mr. a “smooth distortion free high end” at 30kHz. I Akira Nakamura at Yamaha Japan, and launched want to try recording my dog whistle for a test! in 1978. Mysteriously, they were discontinued in Both NS10 and HS7 models have their crossover 2001. (I recently discovered that unfortunately, the points set at 2kHz. This surely contributes to the white cone material was no longer available in the similarities in how they sound. quantities needed to continue production. Yamaha Out of the box: wisely chose to discontinue the line rather than change the cone material.) Originally designed I noticed that these were much heavier and for home stereo use, NS10’s became popular in slightly larger than my trusty old NS10’s. They recording studios largely because of a legendary weigh in at 18lbs each. NS10’s are about 13 lbs engineer, Bob Clearmountain. He started using each. Included is an owner’s manual and AC power them as near field monitors to mix rock albums by cord. A nice feature is the power on delay, which the likes of Bryan Adams, Bon Jovi, Rolling Stones, prevents that potentially dangerous popping and many more. He could carry them to any sound. I also like the small power-on indicator light studio for a consistent near field reference, and on the bottom; nice touch. is first credited with putting tissue paper over the For the review I was running a Pro Tools 10 tweeters. (For an great in depth history on tissue session on a new Mac Book Pro into an UAD & NS10’s check out this link) http://www.bobhodas.

Apollo interface.

There was plenty of headroom com/examining-the-yamaha-ns-10m.php without distortion, for my taste. The stereo field NS10’s are still found in virtually every was well defined, and when I cranked these guys professional recording studio. I have a favorite up the balance stayed pretty consistent. The top pair bought when I was a teenager, and have been end got a little brittle to my ears. I never monitor curious about this new design for better or worse. that loud, except for a few minutes to make a Fast forward to present day. Yamaha just released client happy, and if you stand back a few feet it’s a new addition to their HS series of reference monitors, the HS7. These second generation HS series models come with several improvements:

Yamaha HS7

By Michael Hodge

not noticeable. The midrange actually has a very familiar NS10 sound, with a slight bump, and as promised the high end is definitely more open and yes, somewhat smoother than what I’m used to. It’s nice not to have to buy a power amp, and the HS7’s are much louder and bigger sounding.

The kick was well defined and punchy for this size monitor. The bass roll off did tighten the bass up and I’m glad they thought to include it. With the additional new HS8S Sub, I’m sure you’ll have all the good vibrations you could ever need! I also like the Hi Trim Control. If you are spending a day editing drums, horns, or Crunchy guitars, it can save your ears. I guess I’d say the 2 DB hi cut made these monitors sound really smooth and warm!

Conclusion: There are a lot of monitor choices out there. To prepare for this review, I spent an afternoon at a local Guitar Center to listen to all the monitors they had set up. The salesman joined me for a couple of hours. They didn’t have the HS7’s out, but we had a great time. I’d never actually done that before, and highly recommend it. I was surprised to discover that most monitors in the under $1,000 for a pair were so disappointing. As with most things you get what you pay for.

I found lots of harshness, distortion, phase issues at the crossover point, and huge differences in bass response. For most programming and beat making they would all probably work to get the job done.

I didn’t find any that I’d trust for a mix.

For my money, the HS7’s are way ahead in the bang for buck range. I think Yamaha has an edge since they have been making speakers and amplifiers for such a long time. I did a mix on the HS7’s and my client and I are both very happy. I enjoyed them and there is a familiarity to them if you are a NS10 fan. In the “under $1K” price range, to me, they are a great choice. The HS7’s list for $399.00 a piece, and street price is $299.00 each.

For more information go to: http://usa.yamaha.com

Rocktron Patchmate Loop 8 Floor

First, the cabinet has been re-designed to eliminate unwanted Low Resonance and give increased accuracy in the sound field. It’s made of very dense MDF and employs a new three-waymitered-joint technique apparently borrowed from the Piano division. They claim that it helps reduce resonance and makes the cabinet more durable. The finish has a smooth, almost rubbery feel. Differing from the NS10, the HS7 has a rear speaker port engineered to reduce noise up to 6db. Hmmm Interesting…

On the back of the cabinet along with the port are 2 inputs, one XLR and one 1/4” TRS. There is a level (volume) control as well with a detent in the middle. Below that is a high trim switch, plus or minus 2 dB, and a Room Control switch to compensate for bass build up when the speakers are near a wall. This allows for a minus 2, or 4 dB dip under 500Hz.

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By Michael Hodge

As our Pedal Boards keep growing, there is a need to keep everything organized and our signal paths as pure as possible. Buffers, Quality Power supplies and features like True Bypass all contribute. (There are of course pros and cons about True Bypass vs Buffered pedals). The Rocktron Patchmate Loop 8 is all about making your pedal board the best that it can be. By putting your pedals in loops your signal bypasses unused pedals in the chain keeping

CHRISTIANMUSICIAN.COM

the signal clean, and allows preset combinations as well as midi control for those new multi function digital pedals.

At first look I was reminded of the Custom Audio Electronics Bob Bradshaw Rig in my studio rack. It is still the king of custom controllers and comes with a hefty price tag that you would expect. Bob has actually worked with Rocktron on several of their

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Rocktron Patchmate cont.

it has to see the direct guitar signal to be happy.

Out of that loop I hit an EGO compressor and then product designs. a KLON which both usually stay on, followed by a The Patchmate does some of the same type of WAH and Volume Pedal. Starting with the second things all on the pedal board and is a flexible, less loop I added the crunch and distortion pedals followed by Modulation, Delays, and finally a expensive alternative.

Reverb pedal. If you have more pedals then loops, LOOPS you will have to make some tough decisions. I got The Patchmate Loop 8 can be configured with spoiled with my Bradshaw rig, which has 16 Loops and 2 mixers. You could however do something eight mono or four stereo loops. similar by adding a second Patchmate, or use the You can also add a second Patchmate if you Rackmount versions with a midi switcher on the have a more complicated setup. The unit can also pedal board. control MIDI and amp channel switching if you like.

PRESETS Patchmate is expandable and can be controlled by one of the other Rocktron MIDI controllers or even Using presets can be powerful especially since a laptop. there are eight to a bank.

INTEGRATION Pressing the Store/Preset switch turns on preset mode where 8 presets can be saved. These presets Adding the Patchmate to your pedal board takes a little planning. For starters you will need are combinations of pedals turning on and off all to get some extra patch cables. It will take 9 extra at the same time. This is very useful and will allow short cables to run from the loop ins and outs for instant patch changes that would normally take on the unit, and 16 more send and return cables several steps to turn on and off individual pedals. for your pedals. I suggest you use custom ones Presets can also recall MIDI patch changes as well, to keep things neat and organized. After laying saving you the pain of scrolling through numerous out your pedals on your board where you want presets to get to your favorites. In addition them, setting up and wiring the Patchmate is pretty Patchmate has MIDI IN so it can be controlled by straightforward. There are two inputs on the side external MIDI devices as well. of the unit. One of them is buffered which is the CONCLUSION one I used. This signal shows up at two outputs Rocktron has a history of making unique back of the unit ready to run into the first loop via products that are fantastic for guitar players who a short patch cable. I sent the other to my tuner. I are controlling MIDI and audio. The Patchmate is put my Monsterpiece pedal in the first loop since

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flexible, well built and thought out. It’s nice to be able to turn on and off multiple pedal combinations with one switch. On my wish list would be a way to configure it with four mono and two stereo loops.

Alternatively one could hook two Patchmates together with eight mono on one and four more on the other. I’d love to see an additional Tap tempo switch, which would however take up more space, and also for the loops themselves to be “Normaled” into each other with the in and out jacks as secondary options.

The Patchmate also comes in a rack version, and Rocktron has a number of products that can be combined with each other. If you are serious about your pedal board, or are thinking of touring, the Patchmate is a great investment and will make your world organized and professional.

PRICE The Patchmate currently lists for $499.00. I think it’s worth the price, with all the features, and is comparable to other switchers that do less. For more information go to http://www.rocktron.com/ patchmate-loop-8-floor.html

Michael Hodge is the music director and guitarist for Lakewood Church in Houston, TX

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ARE YOU AN INFLUENCER?

by Keith Mohr & Sue Ross-Mohr 2. James 5:13 Is your music influencing the world? Music has always been an influential tool throughout history.

It has the means to move groups of individuals into action. There is power attached to music with lyrics; songs have started wars, induced love and hate, given platforms to strong messages, lulled babies to sleep, woke nations up, and literally made unknowns into well-knowns. With such a powerful tool at your fingertips, how is your music as a Christian songwriter/musician influencing the world?

“Is anyone among you suffering? Let him pray. Is anyone cheerful? Let him sing praise.”

Joy, what a concept in a world that seems to suffer ‘out loud’ so much and so often. Our social networks are filled to overflowing with opinions galore. Through words and music and videos and Vines and truncated comments…we are inundated with what is wrong with us, and our world. Imagine using your social networks to ‘just sing praise.’ To bring joy through singing out loud about a God Many researchers and historians state that mu- who sent his only son, to be beaten into critical husic may have been in existence for at least 50,000 man condition, to die so that we may live. To sing years. The first music may have been invented in praise about that! What a concept!

Africa, then evolved to become a staple in human 3. 1 Samuel 16:23 life. We believe that music started much earlier than that. The hum of a mother to her baby to “And whenever the harmful spirit from God was quiet his fears. The beat of a heart that plays dif- upon Saul, David took the lyre and played it with ferent tunes when one is happy, scared or sad. The his hand. So Saul was refreshed and was well, and harmony of raindrops as they fall from the sky onto the harmful spirit departed from him.” Bad boys, the ground below. bad boys, whatcha gonna do, whatcha gonna do With the dawn of the Internet, the mode of get- when they come for you?” This says it all. Bad boys ting music into the hands of large numbers of come, we sing, bad boys go. Nuff said :) people changed drastically overnight. Instead of 4. Psalm 40:3 just reaching a live audience through performances and radio, musicians were now able to reach “He put a new song in my mouth, a song of praise around the world and across the oceans and time to our God. Many will see and fear, and put their zones to share their art. A person who had never trust in the Lord.” This scripture assures us that even performed in public suddenly found them- many will hear our voices putting our God first. selves with the opportunity to video themselves Their lack of trust will disintegrate and they will and reach millions of people in 2.3 seconds with begin to trust our God. In our current state of their music. Just thinking about this blows our distress, living in a world where trust is not a word mind. Power. That is what is in the hands of the easily stated, your music could turn that around. artist. They have the ability to change minds and It may not be immediate, it may simmer in hearts, hearts; to influence many with the stroke of a pen like a hearty soup permeating in the mix. It will and the strum of a note. The access that you have get stronger and hearts will begin to be opened as they listen more. The Holy Spirit works through to technology expands your influence infinitely. the vessel of music. We have seen this happen in Then there is the length that your influence will so many closed, slammed shut hearts. It is mesmerhave. As technology changes by the mili-byte, not izing and brings tears to our eyes when we see the only do you influence for just the moment your power of music open a heart and see the shackles song is written and distributed, it is then stored and of mis-trust just fall on the ground. archived in web vaults for (who knows how long 5. Job 30:31 this will be) the life of the Internet.

So back to our original question: With all the “My lyre is turned to mourning, and my pipe to above considered, it is fair to say that, intrinsically, the voice of those who weep.” There are times in you ARE an influencer if you share your music, in our lives when mourning is necessary. Music helps with this process. To help those who are in that any capacity, with the public at large. time in their life to weep and not keep it all inside.

What responsibility do you hold with this pow- To cry tears that heal. To join with others in their er as a Christian singer/songwriter/musician? As sorrow. Music will take them there and keep their always, we look to the Book to bring clarity to soul turned to the Lord, no matter how long they our questions. Here are nine (9) references that need to be there. It has been said that when we jumped out at us. cry in sorrow, that we can taste the salt of God’s tears as his mix along with ours.

1. Psalm 95:1 “Oh come, let us sing to the Lord; let us make a 6. Psalm 4:1 joyful noise to the rock of our salvation!” There’s “To the choirmaster: with stringed instruments. A that joyful noise. With so much noise and chat- Psalm of David. Answer me when I call, O God of ter in the world today, we need to make sure that my righteousness! You have given me relief when our gifts of music rise above the clatter and make I was in distress. Be gracious to me and hear my a commotion about Jesus Christ, the rock of our prayer!” When we need God to hear us, somesalvation. It will be a seed planted in a world that times words alone are just not enough. A plea with is fertile to grow just about anything. Your music, music gives us strength. A prayer with notes and when planted, will give them a choice when harvest harmony assists us when we are calling out. Mucomes. Some will hear. sic brings clarity to our requests…putting all else

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away in our thoughts, leaving the song and the lyrics to call to our Lord in a fashion that is powerful and fulfilling. Many have exclaimed that they ‘get their answer’ through this mode of prayer.

7. Mark 14:26 ESV “And when they had sung a hymn, they went out to the Mount of Olives.” Music prepares us in advance for the things that we need to do. The hardships, and the good-ships. It provides peace and calm so that we can labor. Your music can help someone as they prepare for a new job, the birth of a baby, the challenge of a physical healing, and so much more.

8. 2 Chronicles 20:22 “And when they began to sing and praise, the Lord set an ambush against the men of Ammon, Moab, and Mount Seir, who had come against Judah, so that they were routed.” Music calms the savage beast and re-routes the enemy. POWER. This is a proven fact. This world has a myriad of ‘savage beasts’ that need to be calmed, from every corner wide and far, from both within and without.

9. Psalm 117:1 “Praise the Lord, all nations! Extol him, all peoples!” Imagine what a game-changer this would be: if your music was sung by all the nations; praising the Lord, extoling the Lord, putting the Lord first in all things, and unashamedly singing His name loud, clear, and everywhere.

These are just a few avenues in which your music can be influential. You can be a world-changer by taking on this responsibility as part of your plan.

There are many things to choose from these days.

Just the slight touch of a finger can put people in touch with a plethora of decisions to make. As an INFLUENCER, it is imperative to know that your music influences the lives of many, and essential to know how to make sure that yours is heard above the rest. (That’s another article, coming soon:) In the meantime, if there are ways that you have seen that your music has influenced our current world at large, send us an email at mohrcreativegroup@ gmail.com Continue to write/sing/play and influence!

Keith and Sue Mohr MOHR CREATIVE GROUP www.mohrcreativegroup.com Keith Mohr and Sue Ross-Mohr of “The Mohr Creative Group” have years of experience serving independent Christian artists, musicians and songwriters. Keith founded www.indieheaven.com in 2002, the leading portal for Christian independent music. Sue Ross-Mohr founded www.theinnervizion. com in 2003, a creative promotions /marketing/ consulting service to individuals and companies worldwide. Also check out www.indiemechanics.com for more helpful info!

PRODUCT REVIEW Wampler Velvet Fuzz Review

By Michael Hodge

Brian Wampler has been making a lot of great distortion pedals for a while now. As far as distortion pedals go, there are a number of different types; including Boosts, Overdrives, Distortions, and last of all, vintage Fuzz.

The Velvet Fuzz is one of Wampler’s newest and, in my opinion, coolest creations to date. Based on a classic Fuzz design, they have added some modern mojo that gives it a nice twist.

Out of the Box: This hand-built pedal feels USA solid. The single space 2.5” X 4.5” metal case is gloss black with silver and white lettering except for the word “Velvet”, which is in red. On top are three knobs: VOLUME, FUZZ, and BRIGHTNESS. There’s a two-position mini-switch for Big or Tight mode, a footswitch (probably Switchcraft), and a red LED on/off indicator light.

Specs: The Velvet Fuzz is True Bypass and has two independent clipping circuits, a pure fuzz, and a fuzzy distortion. It is built with specially selected old school transistors, as well as high-grade film capacitors and resistors. The pedal has a normal 9v Boss type adaptor and draws about 23mA, which is easy on your power supply.

In Use: I was excited to try the Velvet Fuzz out and compare it to my vintage pedals. In my experience vintage transistor pedals work best when they are first in your pedal chain, or as close to that as you can get. This way you can take advantage of the tone changes as you back off the volume on your guitar. You can also do this with a volume pedal in front, so try both and see which works best for you.

the Big mode it can nail that Foxy Lady tone for days. I love the ability to get a real ratty tone and use it as a double when tracking rhythm guitars. By cranking the FUZZ in this mode to four ‘o’clock, it’s pure craziness. In the Tight mode it’s somewhat a Three Knob Circus: As with most Fuzz pedals, different animal. I found it to have less low end and a great singing sustain. If you are an Eric Johnson this one is simple. The three knobs are very fan, this position can surely take you there. interactive, so Fuzz and Brightness will also affect the Volume output. It’s worth spending some time trying all the possibilities, as you need to get to Conclusion: know this pedal to get all you can from it. With the I’m an avid pedal collector. They are both the Mini-switch in BIG mode, the pedal gets that classic big muff-like tone, yet it has an amazing balance tools, and the “toys” of the trade. Some fuzz pedals are all about nasty, ratty, “something’s going to and complexity. blow up any second” tone, and are cool for those The pedal cleans up better than my vintage ones certain moments. I eventually put them in a drawer when you back off the volume, and somehow at my studio for special occasions. The Velvet Fuzz, retains the beautiful tone of the guitar. This might however, is a very useable pedal that can live on have to do with some kind of input impedance my pedal board and come in handy on a regular issue that the older ones have, but that’s just a basis since it’s so flexible. It’s also small, which is guess. It has a lot of depth that you just can’t nice. Honestly, it’s my favorite Fuzz to date. get with a typical distortion pedal. It gets a nice To be fair, do make sure you pay attention to compressed vibe as you turn up the Fuzz, and in

where it is on your board. If you put it after a bunch of distortion pedals you might miss the whole point of this pedal. I encourage you to try it straight into the amp and get to know it a little bit.

The Velvet Fuzz is pretty happy with most guitar types, though my favorite for sure is a Strat.

Something about this guy and a Strat with single coils is a thing of beauty.

FYI: All Wampler pedals come with a 5-year transferable warranty. They also offer a one week 100% full refund when ordered from the Wampler website if you’re not completely satisfied. That is some serious self-confidence. Make sure you register your pedal.

The Velvet Fuzz lists for $199.97 and can be found at your local music store or direct from the Wampler website.

For more information and videos go to: http:// www.wamplerpedals.com/overdrive-distortion/ velvet.html

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Ask Joe

by Joe Riggio

Q A

I have a buzzing fret. How do I tell if I need a fret crowned? What does the procedure do to make it stop buzzing? What is the average price of that?

Ahh, fret buzz: that annoying little sound that accompanies your otherwise great sounding guitar. I would like to start by stating that some fret buzz is normal. “What?” you say? Yep, the very nature of a guitar and similar stringed instruments is to have a certain amount of fret buzz present, even when the instrument is in perfect playing condition, depending on the playing technique of the player, as well as the desired action. The truth is, there are many causes of fret buzz, including: frethand or strum-hand technique, overly-worn frets, excessively low action, unlevel frets, a truss rod that is adjusted too tightly, and just about any mismatched combination of these problems.

you determine if a re-crown is in order. A fret that is in perfectly new condition will have a round top, or “crown”, that allows the string that is resting on it to come into contact at a single point, rather than along a flat or “worn” surface. The latter will not only likely cause unwanted fret buzz, but will also throw off proper intonation by shifting the point of contact from the center of a crowned fret off to one side or another. The combination of a few worn frets can severely throw off the over-all intonation. For this reason, it’s very important that all of the frets be leveled and re-crowned at the same time when excessive fret wear is present.

This procedure should really be done by a professional, as you can do more damage than good if you don’t know what you’re doing. The basic premise is to file all of the frets down to the lowest point of wear until the wear is no longer visible. A concave file forms a new round top, or crown, until the flat surfaces are round again. Then the frets are sanded and polished back to a shiny sheen, ready to be played again, in tune!

Before considering whether or not your frets need re-crowning, it’s important to know that A reputable and skilled repairman will charge all else from the list above is in order. Starting somewhere in the neighborhood of $100 for with a professionally set-up guitar will help this job. It is also a good time to have your instrument set-up and adjusted to the new fret height. In my shop I offer a discounted package that includes both.

a worn fret

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Joe Riggio is a professional guitar repairman/technician and recording engineer, based in Tacoma, WA. He owns and operates “Service Guitar Repair” and “House Of Sound Recording Studio” He has a deep love and knowledge of vintage guitars, as well as modern and loves to share his passion with others. He can be contacted at ServiceGuitarRepair@gmail.com website: www.ServiceGuitarRepair.com

CHRISTIANMUSICIAN.COM

Improving Musicianship | Inspiring Talent

Dave Kelly

MATT REDMAN on songwriting and God’s grace

Product Review

The Resilient Musician

Product Reviews Elliott Guitars Custom Tone Master

Tanglewood TW40-O-AN Acoustic Guitar

Selective Hearing

Product Reviews

Stryper l Scott Stapp l Aaron Sprinkle l Andrew Greer l Jason Gray l Coastal Rise Bread of Stone l Son of Laughter

PreSonus ADL 700 & Monitor Station

Record Reviews

New Life Worship l Matt Redman l One Thing Live l Martin Smith Keith and Kristyn Getty

NOV/DEC 2013 Volume 11, Issue 6 11

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“10 Characteristics of a Great Mix” by Bill Gibson

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Songchart “Your Grace Finds Me”

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Favor: God’s Gift, Our Blessing by Rick Cua

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Pentatonic Scale Exercises Last issue we looked at the foundations of the pentatonic scale; now, let’s move forward to develop our skill in playing the scale freely and musically. The object here is not to play fast, you can focus on playing faster later, first learn how to play slow and clean.

Exp #1 is a series of a three note ascending pattern. It may help to count 1 2 3, 1 2 3 at first when learning this exercise. Work on continuing the pattern over two octaves.

Exp #2 is a four note ascending pattern.

Again it may help to count this 1 2 3 4 etc.

Work on continuing this pattern over two octaves.

Exp #3 is a combination of fourths and thirds. Continue this over two octaves as well.

Exp #4 is running intervals from the root ascending up the scale.

Coda: There are times we have to remind ourselves that we are playing music, not just scales. Use these tools to control your guitar playing in soloing, melody, and improvisation.

Music is an art that we continue to create for our creator. God Bless.

Note: last issue Exp 4 should read “over a Cm bar chord” Roger Zimish is a freelance guitarist/indie artist and clinician based in Hendersonville Tn. Contact Roger: Email rogerzimish@yahoo.com, like Roger Zimish Guitarist on facebook.

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Is It You or Him?

by Bryan Duncan Do I love “YOU” or do I love “HIM?” And when does “Him” become “you?” If I’m worshipping “Him” wouldn’t I say “You” to Him? I know for sure I’m singing to Him about you! But you may not know that unless I refer you to Him.

maybe nobody’s listening. In the evangelistic circles I’ve swirled in, we’ve had a tendency to believe that it is our job to “make” people believe. Well that explains the high burnout factor in ministry work. “No one comes to the Father except he be drawn by the Holy Spirit,” This is the ongoing struggle in Christian I read after several years in Christian music. writer’s world since before the dawn of And all this time I thought I was convincing “You Light Up My Life”. Churches are mostly people. suspicious if your song sounds too much like A friend told me once “anything you can talk God could be your girlfriend. God forbid that people into is something the devil can talk ‘em you might see love for Him IN your love for out of.” others. Or speak to God directly even as you If you are sharing to anyone about a are in front of them. “But why not just say ‘he relationship with God, that would include lights up my life’ if that is the true intention?” You and Him. The trouble is, there’s a third someone asked me in a discussion. Well first person in the room tryin’ to figure out who of all God is with me all the time; I don’t talk you are talking to. I always smile when I recall as if He’s not standing here at the moment. the comment, “If you talk to God people say “Maybe it’s giving your listener the chance to you’re religious; if He talks to you people make a decision for themselves” I suggested. think you’re crazy!”

If you haven’t checked the fine print in the definitions of “Proclamation” vs “Declaration” you should be seriously confused at this point. So, are we singing to the choir or the congregation? I’d like to think both! But then,

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Here’s where your own ethics must stand alone. The temptation to use “God talk” to appease those who are concerned about the legalities of the declaration will, in the end, stifle your God given talents to create from a place of pure Joy. But consider too that to “streamline” your lyrics to be intentionally vague so as to appeal to a wider audience sounds a little suspect as well. What are your intentions? In the end I think I need more than one way to be trustworthy. Anyone can say anything in dramatic fashion. Certainly the actor can play Jesus if he has the script. And a writer can create a fictional story based on non-fiction.

The truth for me is that I mostly see God’s love for me in my relationships with His people. And my relationships with people surely point out my need for a relationship with God to survive it. Most of us need a demonstration of how a relationship with God works. Singing words to God in front of others is the way I do that.

I lost an evangelistic opportunity with a huge church denomination once. “WE want YOU to talk to THEM about HIM” was the concise evangelists comment to me over the phone.

“We both have the same desire,” I said to him. “I guess it’s a matter of delivery”. Neither The real conundrum is that my proclamations is wrong, but one is a of love often fit more than one dynamic. I declaration and one is a feel my love for God most when I am loving proclamation. those around me. So does that make the I tend to speak directly song illegitimate for church? Depends on the to God and You, using agenda I guess. Not everyone is at the same the term “You”. It mile marker on the journey. I sing faithfully removes a distance is from the place I’m in. Maybe it’s simply my the only way I can put own life’s diary. But who hasn’t been tempted it. It’s not something to read someone else’s?

I’ve taken lightly either.

You pay a price for your convictions. What you say in every word will define to someone where they place you in their own files of integrity. Jesus too, managed to irritate the irreligious and inflame the icons of faith at the same time. They both wanted to hear something different. And the current surrounding may create a different story for your song than

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was intended. “He touched me” doesn’t go over quite as planned if you’re singing it in bar.

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“You can feel the ‘self-edits” in your writing,” a publisher said to me once. “You are afraid to just say what you feel,” he adds. “Stop trying to protect yourself. You are killing the passion”. So . . . is it just ME, or do You and Him have a familiar connection in songs regardless of how it sings?

Bryan Duncan/ Singer / Songwriter/ author / Publisher. Radio Show host for RadioRehab.com Inducted into the Christian music Hall of Fame in 2007.

40 years, 22 albums, Dove and Grammy awarded. www.bryanduncan.com

MusiciansThreads.com Come See us at NAMM Booth #2009

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ANNOUNCING THE DEATH OF MUSICIANSHIP

by Rich Kirkpatrick

Recently, a monumental event in the history of church music happened with no fanfare.

Musicianship in the local church simply died and no one cared to throw a wake, write an obituary, or shed a single tear. Each year it seems that those leading worship have less and less musical training. Yes, I know worship is an expression of the heart. So is preaching. Why would we want preachers who were ill prepared and untrained in speaking? We wouldn’t. A well-honed speech does not make a sermon. A well-performed musical set does not equal worship. So, where does musicality fit in today’s new world of church music?

The death of musicianship is not really an ethical discussion—its one of pragmatics. We look to do what we think works. Today we see worship leadership training schools and masters-level education on the subject. There is a professionalism about the idea of leading worship in church like never before. And yet, with all of this, worship and music leaders would rather download a music chart that a takes only minutes for a competent musician to create.

What is a measure or bar of music anyway?

Does that really matter?

The technology for creating and performing music these days is amazing. Legitimately, music has always worked hand-in-hand with the latest discoveries. This digital age is an astounding time to be a musician. However, at times our digital mindset forgets what a pentatonic scale is. Imagine making your own loops for your Abelton Live setup instead of buying someone else’s. What if you could re-arrange a song in a key that fits a female voice, or morphs an alternate groove under it? Churches buy thousands of dollars of media and audio gear only to play content downloaded from the Internet on it.

schooled in music. Being a “street musician” who plays by ear is desirable in our church music world. The death of musicianship is to wither away both the skill of the ear as well as the structured training. Why? We favor playingmusic-by-numbers like a cheap painting is created. Push a button. Green is number four. It works.

If we want to resurrect musicianship we need to simply begin to value it. If we don’t pay our church musicians, let’s invest in musical training.

Bring in a vocal coach for your singers. Put on a guitar workshop for your players. Expect more musicianship, and you will likely get it!

It is one thing to recreate a musical vibe or Remember, a great speaker doesn’t equal a experience, or reverse engineer the coolest tune great sermon. But, we all appreciate it when a from the mega church conference you attended. good sermon is well spoken. Play well!

It is another to use the skills of musicianship to make it your own and to actually lead people. Rich Kirkpatrick, family man We learn from the successful, but at the end and worship leader, writes at of the day how we serve our own local church rkblog.com about creativity matters much more than how we are seen by our and leadership to worship ministry peers on Instagram. Our envy at times leaders, pastors, and creatives. gets in the way of hard work.

Rich released an EP titled Obviously, musicianship is not just about being “Drink The Divine”, resides in Temecula, California.

Barry Graul (MercyMe)

“I swap out pedals frequently and Pedaltrain makes it very easy to do.

Whether traveling or in a studio, they are versatile and very durable.

A great pedalboard.“

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V2 - 1/2014

CODA A common complaint among guitarists, both young and old, is menacing hand and joint pains. The diagnosis of the actual cause of these aches and pains is complex. Here’s the short list of common causes of hand pains: 1. Nutritional deficiencies 2. Misalignment of the joints in the hand 3. Problems stemming from nerve irritation – anywhere from the neck down to the hands. The spine is a common culprit.

4. Arthritic disorders (in both young and older patients) 5. Reactions to common medications (especially cholesterol lowering drugs) 6. Overuse injuries and bad technique while playing the guitar 7. Poor posture, compressing sensitive nerve fibers to the hands 8. Chemical dependencies that weaken overall health 9. Previous whiplash injuries 10. Concurrent problems

shoulder

and

elbow

11. Spinal joint misalignments creating nervous system stress to the hands.

12. Emotional disorders that physically as hand pain.

express

And yes, there are more possibilities, But let’s talk about the most common causes in guitarists. Those would be overuse syndromes, postural strain, nutritional deficiencies, and spinal and upper extremity joint misalignments.

Overuse Syndromes As a guitarist and worship pastor, I understand the desire to pick up a guitar and play – sometimes for hours on end. It’s a joy and passion for many, but can be harmful if you don’t give your body a chance to rest.

Musicians are athletes. You use hundreds of muscles in tremendous coordination to play the guitar accurately. Your body needs adequate rest and nutrition to keep those 46

JAN/FEB 2014

THE MUSICIAN’S DOC “My Hands Hurt!”

by Timothy Jameson, D.C., M.Div.

muscles working properly and those tendons gliding well. Here’s a general rule. While practicing, give yourself a chance to stretch and release tensions in your hands, arms, neck, and back every half hour. (Specific stretches can be found in my book, Reach For the Top) When performing live, prepare in advance of going on stage with hand stretching, forearm and arm stretching, and back stretching. Do the same afterwards. And make sure to drink lots of water. (about half your body weight in ounces per day). Your muscles are 75% water.

Dehydration is the biggest cause of muscular pain, contracture, and tears.

with autoimmune disorders, and nutrition is discussed accordingly.

Spinal and joint misalignments

I find spinal misalignments in almost every musician suffering from hand pain. The area most prone to create the hand pain is the lower neck and upper back region of the spine. Nerves that travel from these areas control muscular activity, blood flow, and detect feeling from your hands, including pain signals. ANY irritation of these nerves will create malfunction, irritation, and the potential for hand pain. On top of that, misalignments in the wrist, elbow and Postural strain shoulder also have the capability to weaken Your postural wellness is a HUGE factor in the hands. the health of your hands. The explanation is So what’s a musician to do? First, try the too long to explain here, but just remember obvious: begin stretching regularly for the that poor posture irritates the spine and hands, drink lots of water every day, and nervous system and actually can impact begin taking essential fatty acids and a heart and lung function. Be careful of how multivitamin/mineral complex. Watch your you hold your body while practicing and diet as well, and ramp up the fruits and performing. Look at yourself in a mirror veggies. If the hands continue to hurt, seek and see if you’re standing or sitting straight. a consultation and exam with a chiropractor Common problems are forward hunching, to help diagnose the underlying cause. (Visit especially with heavier guitars, shoulders my site, www.musicianshealth.com for a list being imbalanced, and forward head posture of chiropractors who work with performing (your head in front of your body). artists).

Nutritional Deficiencies

I have come to the conclusion after 25 years as a chiropractor that a majority of the American population is nutritionally deficient. We lack the proper intake of minerals, vitamins, phytonutrients, essential fatty acids, and water to keep us functioning at optimal health. An important part of every evaluation I perform on my musician patients is a dietary assessment and overall systems assessment. Almost every patient I work with is placed on a nutritional supplementation program. I find that lack of the essential fatty acids is a common cause of joint pains. A great combination to improve this is coldwater fish oils and flaxseed oils. Sometimes a general joint/bone complex is needed to improve Vitamin D levels and Calcium levels. Sometimes joint pains are associated

CHRISTIANMUSICIAN.COM

Best wishes for a wellness-oriented ministry for the Lord!

Dr. Tim Jameson’s purpose is healing through music and through his hands. He is in his 25th year as a chiropractor, and is in his eighth year leading worship at Christ’s Community Church in Hayward, CA. He is the author of two books, Repetitive Strain Injuries, and Reach For the Top: The Musician’s Guide to Health, Wealth, and Success. His chiropractic office is located in Castro Valley, CA. You can find him at www.jamesonchiro.com and musicianshealth.com. email: drtimjameson@gmail.com.

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