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THE
DIGITAL AGE
In January of 2012, the David Crowder Band ended their 12-year run as one of the Christian music industry’s most successful groups. Former DCB guitarists Mark Waldrop and Jack Parker, drummer B-Wack, and bassist Mike D went on to start a new musical venture called The Digital Age. Their debut album, Evening : Morning, was released to rave reviews in 2013. Recently, Sweetwater’s Jeff Barnett caught up with Mark Waldrop.
Can you give us a little history and recap what has happened since the last David Crowder Band show? For those who don’t know what the David Crowder Band was, we started as a little worship team from University Baptist Church (UBC) in Waco, TX, a church that David Crowder founded with Chris Seay in the mid-’90s. We toured for about 12 years. Then in 2010, David transitioned from Waco to Atlanta, and the rest of us really wanted to stay in Waco and stay involved with UBC. So The Digital Age is essentially that. We’re still involved with UBC, and we’re still writing the same genre of music: upbeat, programming-heavy “fun worship,” as we call it. The Digital Age has been a band for a little over two years, which is crazy to say because it still seems so new. We released a live EP called Rehearsals in 2012. We were just rehearsing for church, tracked it, and released it as an EP. And in 2013, we put out a record called Evening : Morning and followed that with a fall tour.
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Evening : Morning doesn’t sound like just another DCB album, though. Can you describe the sound of The Digital Age? When you’re in a band and have an established sound and way of doing things, then you start a new band, you get to pick and choose what you liked about what you’ve been doing. But you also have a really natural moment to question what you want to do differently. With The Digital Age, we’re still writing songs for the same congregation. UBC is about 70% college students, so we tend to sound like what college kids are listening to. We keep a close pulse on that.
David led from an acoustic guitar, and he would be a hard person to replace. One of the very first things we all agreed on was that we shouldn’t attempt to replace him. I usually play an electric, so now I’m leading on electric, and that fundamentally changes the sound of things. We’re very programming-heavy, and we use a lot of synths onstage. We’re multitasking a lot more, too. As for what we sound like, that changes from one song to the next. All of us listen to different genres of music, so, “What do we want this to sound like?” is a conversation we have with every song. We don’t like to be the same on every song and on every album, so the sound of The Digital Age from album 1 to album 2 could be completely different. Walk me through your creative process in the studio. We all have our own mini Pro Tools studios at home, and we track these ideas as they come. Sometimes they’re full songs, sometimes just pieces. When we each have a handful of ideas, we all get together in our studio. All of these ideas start coming together, and we start to figure out how we are playing things as a band. We’ll either sit around the computer and start programming it out or head into the tracking room and start recording live parts. We all write, but we realize not all of us have the same strengths. I think one of our collective strengths is that we keep a really loose attachment to our ideas, and we see that they are all just pieces to a larger puzzle.
Building a Mix It’s bound to happen at some point: the mix disaster. Maybe your church’s regular The Digital Age’s latest album, sound person calls in sick at the last minute. Maybe new Evening : Morning,the is available now.volunteer sound person To fidoor, nd out more, to thedigitalagemusic.com! doesn’t know a volume slider from a sliding orgo a mixing board from a mixing You mentioned your studio in Waco. What made you decide to open a studio? Whatever circumstance, something has to be done to save the service. When David moved to Atlanta, we effectivelybowl. lost our recording and rehearsalthe space. We found this place in downtown Waco that was an old dirty boxing gym, and we built a studio in it. We spent three months renovating it. The boxing ring was Freelance live sound engineer Without decent sound, where our control room is now. It was designed by B-Wack, and it’s been really great for us. the congregation won’t be engaged or inspired by the music, the message completely We practice and rehearse there, and we alsoand have bands come in and we recordmay them. It’sbe an extension of our ministry.lost. It’s
Daniel Ellis
been great for us to be able to help new worship bands.
FOH engineer for The Digital Age
system may not be perfect — forewarning the team that Though creating the perfect sound mix for a service is a You still lead worship at UBC? be ideal will go a long way toward true art, a soundphase person no mixing experience Howeverything We’re still very involved at UBC. When we were in the construction on ourwith studio,little we tookora break from leading long have youmay beennot working with The and just went to church without leading worship for theachieve first time in a decade. Those three months were amazing; was easing can still good sonic clarity and deliver theitmessage Digital Age? the process for everyone. At least they will know something we took for granted, and we didn’t realize how important was. Now, we’re one of several bandstips at for Thewhat first tourtoI did with them was as the David expect! with pleasant anditeffective audio. Here worship are some UBC. Our goal is to play there around once saving a month, the depending our tour schedule.last-minute mix — whether Crowder Band, during the Remedy Club tour in 2007. day on with a quick, I was with DCB forit fiveon. years. Then, when they started Turn What gear do you use in your studio? you are working the sound booth yourself or have the help The4. Digital Age, I mixed their very first show and I did a volunteer. We are running Pro Tools HDX in our mainof control room. We use a lot of API preamps and the PreSonus ADL600. We theirTurn first tour, well. on as the speakers or the amplifiers last; this prevents loud use an LA2A compressor and a lot of gear that B-Wack made himself. Our main vocal mic is the Blue Bottle — so much thumps and pops from coming through the system. character and so easy to change sound. For1. guitars, we use a mix of Shure SM57, Sennheiser e906, and Royer R121 mics. What gear do you use with them onstage? Keep it simple. For bass, we use the Shure SM7B microphone. On drums, we mostly use the same Sennheiser Evolution series dynamic We use mostly Sennheiser mics, on just about Unfortunately, mix emergencies rarely 5. Reset the mixing board. mics that we use live. We use a Yamaha SubKick on kick drum, and a Sennheiser MD421 on snare. occur when you have everything. Mostly the Evolution series. One thing I loads of spare time to work on a solution — it don’tBegin think I’ve anybodyallelse do isvolume that we use a byseen pulling the sliders (faders) down to We’re really into soft synths. We use Native Instruments Komplete. We also use Native Instruments Maschine heavily for Sennheiser MD441 on B-Wack’s snare. It works great almost always happens minutes before the service is programming. We lean a lot on Spectrasonics’ Omnisphere for pads. We use Reason a lot for piano sounds and sequencing. zero. (Usually these are found at the bottom of each supposed to start. While your sound booth may have racks and gives us a fatter sound than other mics I’ve tried. We also have a lot of vintage synths. channel mixer.) the channel gain to a mid On vocals, Markon andthe Jack both use a Set TC-Helicon of processors and sophisticated audio equipment, now is position knob is found at the top of each VoiceLive Touch to(Usually add reverbthis and delay to their How do you translate an album like Evening something thatwith workseffects live? or to randomly not the: Morning time totoexperiment channel on the Next, voices before they ever get mixer.) to me. That’s cool; reset it makesall the equalization (tone) A lot of it is decisions made in production. We use a lot of loops live, but one of our rules is that we never put anything in start turning knobs. Focus on the bare minimum you my job easier. on the mixer to their center position, which is controls the loops that can be played live — no vocals or guitar parts. That makes it more challenging in a live setting. So when need to get the job done. Leave the special effects for we record, we have to be very intentional with things like guitar parts and not put anything on the record that we can’t essentially off.a Turn theX32. auxiliary At front of house, I run Behringer We use theor monitor sends off. Make another time. re-create live. orwell. solo buttons S16 sure digitalthat snake mute system, as That console isare disengaged. (Usually amazing. It’sbuttons so small and light — in I can set up it upposition.) by these are off the Set the master What software do you use onstage? 2. Use what’s already there. myself if I needfader to. Whento weabout started the tour, I was volume 50%. Ableton Live. On Mike D’s keyboard rig, he runs Live and Reason. He has a slew of Korg Nanokeys in addition to an M-Audio Hopefully, is already set up, theofcables and thinking, “There has got to be a reason this thing MIDI controller, and some of the keys are assigned to thingsyour such sound as mutes system and changing different values instead is so inexpensive, and I’m going to find out why.” triggering notes. We also run some vocals through Live forare effects. the snake run to the mixer, and the monitors are tuned I still6.don’t Begin testing eachI love sound source know why. It’s a great console. it. in to prevent feedback. Plug the mics into the mixer or snake The guysthrough the mains. use Sennheiser 300 series in-ear monitors, What kinds of technical challenges do you see worship leaders facing today? their usesee the same that “oldis loop standby” and they mix them themselves using Behringer’s For us, the coolest thing you can do is createinyour ownusual loops. Ipositions. think when a Try lot ofto people something heavy, Have the main vocalist speak or sing into his or her mic. andthink other usually usethey —don’t again, they think that it doesn’t fit into the way microphones they do music. Or they they gear can’t doyou the songs because havenow is X32-Q app for iPhone. That’s been amazing. It’s so Bring the volume slider until much easierup to not have to worry about doing FOHyou can hear the vocals in the time toYou experiment new the technical know-how to pull it off.not It’s possible to do it. can get a copywith of Ableton Livegear! and a MIDI controller main speakers. or monitor sends andthe monitors at the same time, Turn and weup don’tthe haveauxiliary to for next to nothing and make incredible sounds with it. It’s been really cool for us to travel around and see these theengineer. vocalist can hear himself or herself in the monitors. a monitor churches start to learn and incorporate the technical stuff into the church services. love itworship when churchesteam. haveuntil 3. Have a conversation withWethe As you verify that each mic or source works, pull its volume take one of our songs, create their own loops for it, and make it their own. Are there any unique challenges working with Explain to everyone that the regular sound person is not fader back down to zero. You can leave the aux (monitor) The Digital Age? You guys have had a veryavailable long relationship withhelp Sweetwater. Why is to that? and that is required have the service go sends turned so on that the singers Since they run all thoseup effects the stage, what I get can hear themselves. To Relationship says it all. Wewell. love that if wemeans have questions about gear, we to can turn call and ask. We drummers love that This guitarists need down, feedback, run the stage monitors too loud. is a prevent wet vocal. When we starteddon’t out, sometimes it was if there is something that piques your interest, we’ll get a phone call to tell us about it. The prices are control volume, on.IfExplain the monitor way too wet, and we didn’t really have enough clarity always competitive, andneed as far astocustomer service goes, it’sand alwayssogreat. anything isthat ever wrong, in the FOH mix in the vocals. So we had to work on it’s always taken care of quickly. We travel a lot. If something isn’t working, getting a replacement getting those reverb levels down and make sure that quickly and easily is really important. It’s great to be able to get things fixed or questions answered they trusted me to add more reverb at the console if without hassle. We really love the personalized nature of what Sweetwater does. You’re always great it was needed. about asking what we need the gear to do. Even with a band like us, it’s so good to have somebody showing us how the gear we use can help us be better at doing what we do. You and The Digital Age have been very loyal Sweetwater customers for years. Why is that? Because of the relationship. Because of you! Seriously, You can find out more about The Digital Age at thedigitalagemusic.com. it’s because of you. We don’t just call a 1-800 number and get some random guy; we get the same guy. And the candy. You send candy with everything we buy. I never share it.
Call us today at (800) 222–4700
Photos by: Bliss Katherine
RSS V-MIXING SYSTEM
The Basics of
Photo by Jon James and Troy Behrens
Worship Sound Pro 101 Guides
7. Have the worship team begin to play a song.
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Watch for red overload or “clip” lights on the mixer. If you see these, turn down the gain controls at the top of that source’s channel.
M-200i (with S-1608 Digital Snake)
More info on pg. 45
The Path to Great spikes in sound. Ask each worship team member what he or she needs to hear from the monitors — one at a time so that everyone doesn’t speak at once — and adjust the auxiliary sends accordingly.
8. Build the mix by bringing up the volume faders for the basics first.
Guitar Sound
Start with the bass drum and the bass guitar, turning them up to a comfortable level and balancing them against one another. You may need to adjust the level of the master volume fader to get the overall level to the right point.
13. Don’t try to overtune the mix, and don’t make it too loud.
Set things up so that they are clean and clear, and at a comfortable, conservative volume level. Then stop! Once you Now focus on the vocals. Set them to a comfortable level, get to the point where it sounds okay — this should happen balanced against the bass guitar and the bass drum. The lead fairly quickly — stop tweaking the knobs. It’s easy to lose vocalist needs to be the loudest, with the background or perspective and get lost in knob turning, even though the goal harmony vocalsAs filling in behind.services and events become worship more diverse and tied into today’s culture, has already been achieved.
9. Turn up the volume faders for the vocals.
it’s
theon music involved become 10. Turn upinevitable the volumethat faders the performances 14. Here’s a final tip. increasingly contemporary. other instruments. It’s just as common to see full-band setups on the platform as it is to see pianos,
When in doubt, focus on making the vocals, whether spoken One at a time, begin turning up the otherensembles. instruments. Start or sung, clearly audible. The congregation is there to hear the organs, and choir with the rest of the drums, then the guitars, the pianos, the message, which is contained in the words and lyrics. The music keyboards, and any other instruments. Adjust the volume as is inspiring and essential a great service, but — it plays just a if your setup can benefittofrom using a DI box especially One very attractive element of modern worship music needed. Balance each one against the vocals, the bass drum, supporting role in the grand scheme of things. Ensure that the balanced involves outboard effects and other gear (with performance is the guitar — a very portable, versatile and the bass guitar. This is a place where you can err on the vocals are heard, and in theaddition service will be a amplifier, success! or requires extremely inputs) to your instrument that also happens to be relatively affordable side of being conservative. The vocals are the main focus, long cable runs. Balancing the signal with a direct box (compared to that hulking pipe organ). Though worship and you want to ensure that they are clearly audible. Use the helps to keep the signal strong and helps to remove pesky performers have been using guitars as accompaniment for other instruments to fill around the vocals, without obscuring electronic interference. There are DI boxes available to suit decades, the last few years have seen a boom in guitars them. As you go, adjust the master volume fader to control the every budget. as standout instruments. But how do you effectively overall level. integrate the guitar into your gathering without turning the Natural Sound, Even Plugged In proceedings into a loud rock show? Read on.
11. It’s time for the equalizers.
Going Direct Up to this point, we haven’t touched the equalizers (tone controls) on theThe mixer. If you find thatsound the sound getting guitar is right up dynamic, natural of anisacoustic too bassy or boomy, “low” bass tone control to there use withthe the pianoorwhen it comes to accompanying solo reduce the bassartists frequencies a small amount instruments or ensembles with oneon instrument. Until relatively such as bass guitar, keyboards, and piano.your Vocalists, especially recently, though, playing acoustic live meant remaining male vocalists, stationary may also need theirof bass reduced a small in front a microphone and fighting feedback amount. To increase the sound clarity of a vocal or advent an instrument, from the system. The of onboard pickups add a small amount of treble high frequencies by using the them to freed acoustic or players from this fate, allowing tone controls on thatright mixer channel. Beor careful with the plug into an amp PA system and,tone in many cases, controls, as overuse canthe lead to feedback! control guitar’s volume and tone. One mostly unsung but very useful tool for amplifying an acoustic guitar is
12. Fine-tune the mix and the themonitors. DI, or direct box. In general
terms, purpose Adjust volume levels so that instruments andthe vocals are of a DI box is to the signal balanced, and adjust the bass and theconvert treble controls on coming from your instrument into a “balanced” signal channels as necessary to prevent boominess, harshness, or that’s compatible with the church’s sound system. Though many mixing boards allow you to plug straight in, using a DI on the platform means the signals coming from instruments and microphones are all consistent when they connect to the PA. Even if you’re an electric guitar or bass player, you >> BOSS
From left to right: BWack, Mike D, Mark Waldrop, and Jack Parker
MO-2
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Taking “direct” to an entirely new level, some acoustic guitar-centric pedals and even onboard preamps include very specialized EQ curves and effects that give your
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plugged-in guitar a more natural sound. Fishman’s Aura line actually includes stompboxes matched to specific body styles. Simply plug your favorite dreadnought or jumbo or >> PRESONUS $ and you00get a very classical into its corresponding pedal, 32.4.2AI goodStudioLive approximation of your guitar’s unplugged sound. Best More info on pg. 47 of all, this “microphone-like” tone doesn’t come with the baggage of feedback!
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Though EQ curves and pre-programmed algorithms can make a guitar sound great, today’s standalone modeling and effects units allow you to coax an incredible array of sounds out of your acoustic or electric instrument. The number of effects that can be applied is simply staggering, and, believe it or not, as modeling technology has gotten more advanced, it’s now easier to pack those effects into smaller and smaller effects units. One big advantage you
get from modeling effects (Line 6’s POD standalone units, for example) is the ability to get the sound of your favorite guitar amp while plugging straight into your church’s sound system. This means you get total control over your stage volume and tone — and you don’t have to lug that hefty amplifier on and off of the platform.
Big Tone from a Small Package Sometimes, however, there’s no substitute for the sound and response of an honest-to-goodness guitar amplifier. The trick is being able to coax peak performance out of your amp without shaking the walls of your church and drowning out your message. As recording guitarists and studio engineers can tell you, the secret to big tone, oddly enough, lies in using a small amp — especially if you rely on classic tube-powered units for that rich, sustaining tone. A small single-speaker combo amp is relatively easy to transport and move, and its controls give you immediate access to volume and tone adjustments. Using lower power levels, or wattage means you can “drive” the amplifier’s power section and speaker, getting the benefits of the amp’s dynamic response and full-sounding tone without blasting the congregation and overpowering the rest of your worship team. If you need more than just one great sound from your amp, consider a multichannel amplifier (usually equipped with separate controls for clean and distorted sounds, as well as tone controls and reverb adjustments) or even that most recent of amplification developments, the modeling amp.
How Many Amps Do You Need? Small modeling combo amps provide a two-fold solution for worship guitarists. The first is versatility. Packed with multiple amp sounds and effects, a modeling amp can literally take you from shimmering clean sounds to uplifting, sustaining lead tones in seconds (and a footswitch is often included, so you can make changes on the fly). Secondly, you don’t have to give up portability and low stage volume to get the most out of these amps; in fact, modeling amps are voiced to provide very consistent-sounding versions of the amplifiers they emulate, even at low volumes — try coaxing the same sustaining lead tones from a real 100-watt amp stack that you can get from a preset on your modeling combo! Plugging into a small modeling combo lets you call up pretty much any tone you need for a worship performance. And the very compact size and light weight of such a combo makes it a snap to get on and off of the platform quickly. And let’s not forget the bass player, as there are plenty of great-sounding, highly portable modeling combo bass amps available that can hold their own on any stage.
Amp or PA? Since the primary goal of amplifying an acoustic guitar is to retain as much of the guitar’s natural character as possible, it’s important that your acoustic amplifier provide a very clean, transparent sound. So why not simply run your instrument directly into the sound system? While that’s a perfectly fine solution for many worship leaders (especially solo performers or small acoustic ensembles), those playing acoustic guitar in full-band setups or on larger stages benefit from the control and focused sound they get from a dedicated acoustic combo amp. Many of these amps include extensive EQ controls for fine-tuning your tone, as well as onboard filters that hold feedback at bay. Amps with built-in effects let you add even more body and depth to your sound. Plus, they eliminate the need for a complicated signal chain running through outboard effects pedals. Though acoustic combo amps pack plenty of sonic punch from a small enclosure, larger rooms still require sound reinforcement from a PA system. That’s where your amp’s built-in direct output comes in.
Using Your Amp’s Direct Output Most dedicated acoustic guitar and bass amplifiers include balanced direct outputs, giving you the option of running your rig through your church’s PA system without sacrificing the control and sound you get onstage. Several electric guitar combos (especially modeling amps) with direct-out capability are also available — some even include speaker emulation, sending very realistic amp tones straight to the PA. Using your amp’s direct output doesn’t just let you “have your amp and play it too”; it also allows you to handle the sound level that reaches your gathering. You can enjoy getting the sound you want on the platform, while your church’s sound engineer can make a mix that’s ideal for the room. All these great sound tools help to make playing guitar or bass in the worship environment a more inspiring experience for you — and your listeners.
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101 Guides
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Features 8 Product Review by Bruce Adolph PRS SE Kestrel Bass
Twenty Years After… A Milestone Approaches. I don’t know why I wax philosophical on airplanes, but here I am again at 35,000 feet in the air flying back home from a business trip to Judy and our faithful little dog Winston… thinking about the fact that we are only two issues away from starting our 20th year of publishing Christian Musician magazine. When I started out I had an eight-page newsletter in my hands walking into the NAMM Show convention in Anaheim, CA with a vision of wanting to print a magazine that was something hip that Christian musicians could relate to, be encouraged by as believers and even improve their musicianship by reading. I have told this part of the story before so I will fast forward to the part where I walked out of that convention with four companies promising me advertising support for our first year of publishing… Yamaha, Ensoniq (remember them?), Takamine and Tascam. The magazine grew bit by bit. For the first year it was a quarterly, then as momentum built it became bimonthly. Then we kept adding pages as I found good teachers who love to share what they know (not all musicians like to share what they know). Several of our columnists have been with us over ten years and a few of them more then fifteen! I am still amazed to see what the Lord has done all these years. So many times I wonder, “Are we going to have enough ads? Will we get the stories we are after? Will our writers with their own busy lives turn in their articles on time? Will that piece of gear we are going to review arrive when we need it?” This cycle of deadlines and faith, persistence and trust has played out over a hundred times now. It has been amazing to watch. And even with three magazines in motion now (our sister pubs Worship Musician! and Collectible Guitar – Then & Now”) and a lot more of those same questions being asked (will this happen in time and will that show up?) I still thank the Lord for His goodness to me. I thank Him that I can work out of the home office and be close to Judy and Winston. I am grateful when a guitar company e-mails me and says that they have a new model guitar or bass coming out and do I want to review it. How cool is that? Here is this vertical niche market magazine (small in stature but with a vibrant group of readers) still standing after many large-scale magazines have folded over the years. It is something to think about. I tell our advertisers that we may be small but we are a Gideon’s Army – we have the right kind of reader (that is you!). I still get a thrill every time I walk into a Guitar Center retail store – whether in Tacoma, Nashville, Buffalo or wherever and there is Christian Musician on the magazine rack right next to all of those “big name” magazines. Wow, amazing!
10 Bassic Communication by Norm Stockton Sitting In 12 Guitar Workshop by John Standefer Leading Tones & Chords (Part 6) 14 Drumming Dynamics by David Owens Being Flexible 16 Vocal Coach’s Corner by Roger Beale A Voice House Celebration! 18 Show Us Your Groove by Rick Cua Stuff I Got Rid Of 24 Selective Hearing by Shawn McLaughlin Colony House Adrian Bourgeois The John Sferra Trio For the Fatherless Thousand Foot Krutch 28 Product Review by Michael Hodge Ivory II Piano 32 3 Places You Can Fulfill Your Calling by Tom Jackson
CONTENTS 38 Product Review by Eric Dahl Guitar & Case Storage Made Spouse Friendly with Guitarstorage.com 40 Industry Insight by Mike Smith How to Succeed 41 Guitar From A 2 Z by Roger Zimish Some Intervals and Fun Phrasings 42 Cleaning Up The Stage by Bryan Duncan 45 Product Review by Michael Hodge Xkey Mobile MIDI Keyboard 46 Coda by Alex MacDougall Aiming for Impact
Interviews
20 Whiteheart “Revitalizing a Powerhouse” by Shawn McLaughlin
35 The Power & Purpose of Music by Cory Knowland
30 Old Dogs... New Tracks! an Interview with Dogs of Peace 36 The Indie Mechanics by Bruce Adolph by Keith Mohr & Sue Ross-Mohr Time
God is faithful, He has given me a gift in allowing me to do something I love to do. I want to go on the record publically thanking Him and giving Him the credit for it! I am going to start thinking about different ways to celebrate His goodness in the magazine as this milestone of twenty years of publishing approaches. Thank you for being part of our Gideon’s army! Lord Bless Ya! Bruce & Judy
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 Director of Advertising: Steve Sattler, steve@creativesalesresource.com 626-836-3106 Published by the Adolph Agency Inc.
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PRODUCT REVIEW
PRS SE Kestrel 4 String Bass By Bruce Adolph
Longtime readers of Christian Musician (and Worship Musician magazine for that matter) know that I have an affinity for the SE product line from PRS. There are two countries where PRS’s are made… in the US and in Korea. The SE product line is designed in Maryland and built in Korea. But it is the way that they build them there and the attention to detail that I believe allows the SE guitars (and now basses) to stand out from the other Asian builders. In our sister publication Collectible Guitar – Then & Now I interviewed Paul Read Smith (May/June 2014) and I found Paul to be both an intelligent and dedicated guitar maker and an engaging personality. I feel qualified to review this new SE Kestrel bass (not as a great bass player) but as someone who has reviewed everything from PRS Private Stock acoustics and electrics (both $8,000 instruments) down to their SE Semi-Hollow electric guitar (IMHO the best overseas made guitar you can buy for under $1,000).
Frets play great as I would expect from an SE instrument and the binding work around the rosewood fretboard is skillfully done. The bridge I mentioned you can string either way is also made by Hipshot and it is rock solid. All of these elements let this SE Kestrel bass live up to the good reputation I have always proclaimed about these Korean made instruments. My wife Judy is half Korean/1/2 US made to so maybe that is yet another reason why I love these instruments so much. Don’t just take my word for it, go and lay down some bass lines of your own and see if you don’t agree. All SE products that are shipped in the USA are individually inspected and play tested at PRS’s Maryland facility before shipping to dealers. The SE Kestrel is offered in Black, Metallic Red, and Tri-Color Sunburst. For specifications, videos, and audio samples, visit http://www. prsguitars.com/sekestrel.
Let’s see how this new SE bass lines up with Street Price $749.00 (this includes a very my love for their electrics. The SE Kestrel takes nice gig bag as usual from the SE product line). a traditional singlecoil bass platform and adds PRS’s fit, finish, and that attention to detail that I mentioned earlier, delivering a new take on a classic instrument. Body Type SE Kestrel Bass Starting with an Alder body, 22 fret maple/ walnut neck, and 34” scale length, the Kestrel feels like a bass that you are already used to. In a cool move of giving you tonal options, the modern bridge allows you the choice of strings through the bridge or the body. I like that. PRS describes the Kestrel (4B ‘S’) pickups as punchy and focused, giving players the ability to walk a low-mid focused blues line, articulate a high-mid focused fretless part (rich with harmonics), nail the scooped midrange and sweet top-end sound slappers favor, and wield a sharp blistering rock bassline. Pretty versatile! The bass has some weight to it as it is a neck through body design and it feels stable in your arms. It sports the open back Hipshot tuners (another classy touch) as well as the classic PRS bird inlays down the face of the fretboard. 8
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Left-/Right-handed
Right-handed
Number of Strings
4
Color
Tri-Color Sunburst
Body Material
Alder
Scale Length
34”
Number of Frets
22
Fingerboard Material
Rosewood
Fingerboard Inlay
Birds
Neck Material
Maple/Walnut, Neck Through
Bridge/Tailpiece
Hipshot Bridge
Tuners
Hipshot Tuners
Number of Pickups
2
Controls
2 x volume, 1 x tone
Sitting In I hope you found our recent Modern Rock Bass Be Ye Prepared series beneficial. Big thanks to Bruce and all at • Arrive on time (that means early!). Christian Musician for the feature on my new signature MTD bass last issue too! • Know the material in advance, if possible. Since we’re between series, it feels like a fantastic time to take a moment to revisit this topic from the past. The below was first published way back in 2000, but remains highly relevant today. I’ve updated it a bit - hope you find it helpful! SITTING IN
• Bring a pencil to scribble down notes on song
In each of those diverse situations, though, our objective is invariably the same: give the music a great feel, let the other musicians feel like they’ve been playing with us for years, and—ideally—let them feel so comfortable with our support that they scarcely give a thought to the fact that their usual bassist couldn’t make it! In other words, it is to lock in and groove. Perhaps my favorite aspect of being a freelance bassist is the wonderfully broad range of musical contexts in which I find myself playing. From a purely musical perspective, I think it’s awesome to go from playing in a modern worship setting on Sunday morning, to playing jazz fusion a few nights later, to subbing for a bassist in a heavy rock band a week later, to reading through hymns in a traditional service a few days after that.
• Have a great attitude! Be easygoing. Don’t stress out.
• Smile!
form or arrangement that come up during rehearsal • Be gracious and express genuine gratitude for the invitation to play. or soundcheck.
• Ensure that your gear is in good working order— with extra strings, 9V batteries, an AC power strip, etc. The Ministry of Groove
As bassists, we’re generally functioning as support musicians. Unlike our ivory-tickling and guitar-twanging colleagues, we usually don’t find ourselves leading our own bands or doing a great number of solo dates. Instead—and much to my preference, I might add—we often find ourselves being asked to sit in on a variety of different musical contexts.
Light and Salt
• Be complimentary when you like what you’re
hearing from the other musicians; it blesses them, but also confirms that you’re listening.
• In a word: Koinonia—don’t approach it as “just
• Make sure you’re locking with the drums— a gig.” playing cohesively and functioning as a rhythmic • In cases where pay or an honorarium is involved,
unit with them. This is probably the single most avoid being money oriented. If necessary, bring it important musical factor of all; this point cannot be up in a very easygoing manner on your way out the overemphasized. door or contact them the following day.
• Avoid “riffing out,” but rather play in a reserved manner, finding one or two places to inject subtle, tasteful, and musically appropriate fills.
Go for it!
If you’ve hesitated to take that step beyond your normal musical situation, I wholeheartedly encourage you to be open to what the Lord brings • Play with dynamics. along. You’ll be amazed at the musical growth that • Play a part: those of us noodlers out there know can be realized through this type of experience. who we are! Additionally, it’s a fantastic exercise of your faith • Employ diversity in note duration and look for to venture into that unexplored territory. Have a blast! spots to leave rests.
• Avoid playing unnecessarily busy lines; let the
part fit the song.
(Adapted from material in The Worship Bass Book from Hal Leonard Publishing)
• Avoid blowing out the venue with your amp Norm Stockton is a volume—even if it sounds good where you’re bassist/clinician/solo artist standing. It’s always preferable to be asked to turn based in Orange County, up rather than turn down! CA. Following his long tenure as bassist with The Homework Lincoln Brewster, Norm has • Read music: it opens up a whole world of other been focused on equipping opportunities. It requires nothing more than bassists around the world Even if you’re not a vocational musician, I urge repetition; practice truly makes perfect. I taught through his instructional you to pursue various playing situations as your myself to read after I’d been playing for over 12 site (www.ArtOfGroove. schedule permits. You’ll gain invaluable experience years; if I can do it, anybody can! com), as well as freelancing (including tour dates and get the exhilaration of s-t-r-e-t-c-h-i-n-g • Have a vocabulary in a number of different styles with Bobby Kimball, original lead singer of Toto, beyond your comfort zone! of music from which to freely draw. Develop the and Bill Champlin from Chicago). Look for his new Here are a few of the factors I’ve found to be ability to be a musical chameleon; make it sound book, The Worship Bass Book, published by Hal important in having a successful experience sitting and feel like your favorite style of music is that of Leonard. Also visit Norm at www.normstockton.com, Facebook, Twitter and Instagram. in. the current tune. 10
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Steve Sterlacci
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Leading Tones & Chords (Part 6) There never seems to be an end to how much you can learn about melodies, harmonies, leading tones and chord progressions. But, for now, we’ll put the study to rest in this 6th and final installment. We’ve looked at the harmonized scale (and the expanded 4 note version) to get some ideas about chord substitutions. We’ve also talked about a few common chord progressions. Let’s now go a little further down both trails. Thickening Harmonies In Common Progressions: We talked about the 1,4 5 chord progression as being the most used, followed by the 2, 5, 1 turnaround. Then there is the 1, 6, 4, 5 or the 1, 6, 2, 5. And, of course the 1, 2, 3, 4, 5 scalular progression. Using the 4-note harmonized scale drawing, figure out what the 4-note chords would be for each of these progressions in the key of C and play them on the guitar to hear what you have. The Relative Minor: Every major chord has a relative minor chord (I’ve mentioned this in past articles in more detail). Just count up 6 notes from the Major chord to find the relative minor (ex: CMaj = Amin). These pairs of chords can often be substituted for each other. My typical example is in “Amazing Grace”. Below is a typical way to play it followed by the addition of the relative minor. Play through this to hear the effect:
Dm7 G9 CM7 A7#9 Dm7/A Abdim C6/G C Dm7 G9 CM7 A7#9 Dm7/A Abdim C6/G E7sus4 Am7 F/G Em7 E7/G# Am7 Am/F# F/G G7b9 Dm7 G9 CM7 A7#9 Dm7/A Abdim C6/G C Truly understanding all that goes into making decisions about what chords to use is a lifetime quest. You learn a little more with every tune you tackle. And it takes a lot of experimentation. It’s nice to have a somewhat logical way of thinking to sort through the possibilities, but just taking wild chances and hoping for the best sometimes produces the coolest results. Gather the info ‘line upon line, precept upon precept’ and keep building. Never give up trying new combinations. Sometimes I feel like my 50+ years of playing guitar has been one giant quest in search of the lost chord. One must stay hungry and never lose hope of discovering something exceptionally beautiful just over the next rise...
C C F C C C G G
Am Em F Em Am Dm G G
John Standefer
C C F C C G C C
Em Am F Em Am G C C
www.johnstandefer.com
Now add some even richer substitutions: Am2 Em7 FM7 Em7 Am/F# D7/A Dm11 G9 Em7 C7b5 FM7 Em7 Am9 G7b9 F/C
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Here’s another song, “Change My Heart O God”
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C
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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!
Chris Tomlin and Collings Guitars
Chris Tomlin and his 1999 Collings OM 42 SB
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Being Flexible
A few months ago I found myself playing in a musical situation that I would have never imagined. I had to play on a mini percussion/ drum set that I take on the road with me behind Michael W. Smith. The circumstances that lead to this were unforeseen, and if you would have told me a week earlier that I would be doing this I would have never believed you. We were playing for the Franklin Graham Festival Of Hope in Tbilisi; the capital of the Republic Of Georgia in Eastern Europe. A few days before the event a fire broke out in the Sports Palace where it was to take place. This, as you can imagine, changed everything. We quickly realized that we would not be able to use the Sports Palace as we had initially planned. Our first priority became trying to acquire another facility to stage the event. After a day and a half of trying to find a decent-sized venue it became obvious there were none available. On top of this, our tech team could not get ahold of the equipment we rented for the event. Everything was in the arena when the fire broke out and although it was undamaged the “powers at be” would not let anyone in to retrieve it. You can imagine the scramble that ensued. The largest place that could be found to have the Festival Of Hope was a church on about an acre of land. After much effort the tech team managed to secure a PA system, a keyboard and amps. No drum set. But even if they had been
able to come up with a drum set, it was decided facilitate worship. I had to embrace my “new there was just simply not enough room for one. normal” and do everything I could to make the For years now I have taken a mini drum/ best of the situation as it was presented to me. percussion setup on the road with me that I use And it really turned out to be a special time in the morning devotions. It all fits in a carry-on of worship. Michael was amazing and the Holy suitcase and consists of a mini bass drum (13”x3”) Spirit showed up big time. that kind of sounds like an 808 electronic bass drum. This baby bass drum fits on a stand that is normally used to hold a cowbell to be played with your foot. I bring an old Camco bass drum pedal for that, and a tambourine for my left foot. I bring a “Laptop” snare drum by Rhythm Tech that I put in my lap. I use Vic Firth “Talawands” and brushes. The whole thing needs just one mic that I put on the beater side of the bass drum pointing up so it will pick up the “Laptop” and the assortment of shakers I bring along. It is very fun to play in a tight knit acoustic situation but very much lacking if you have to play hard or loud on it. I used it once for an “acoustic” Lincoln Brewster set and it failed miserably. So here we are, at an unexpected venue, with a minimalistic set up, and I find myself having to play on this compact kit with Michel W. Smith. If you have not heard Michael’s new recording you should check it out. It is fantastic, but the majority of the drum parts simply cannot be played on the little drum set I was using. In addition to all this, we hardly had much of a soundcheck and did not have a rehearsal so I was making decisions about what shaker to pick up and what brushes to use as we played the worship set. We ended up doing four events and by the fourth I was feeling a little better about the choices I was making but I was never comfortable. Does that matter? No. The most important thing is to help
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The point of all this is to say that we must always be flexible in any situation and do our utmost to keep a positive attitude. Our best attribute as drummers should be the ability to adapt to any musical situation. My motto of “be over prepared and then go with the flow” is great, but there was no way to prepare for this so I really had to go with the flow. The next week we found ourselves in Warsaw, Poland in the Pepsi Arena. We played another 45 minute set with Michael and it was wonderful. I could play on a full kit of drums and it was like I had envisioned it should be. More importantly it was another time of inspired worship. It is such a blessing to be given the opportunity to be involved in an event that has such eternal meaning. To see the gospel message cut through different cultures all over the world and to watch people come forward and give their lives to Jesus is something I will never get tired of. To read a short article about the event in Tbilisi go to this link from Decision Magazine. http://billygraham.org/story/double-theharvest-on-final-emotional-day-in-tbilisigeorgia/ Blessings, David David freelances in and around Los Angeles and is 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.
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A Voice House Celebration! This is the twentieth year that I have been teaching singers as a full-time vocal coach. I began my teaching studio, The Voice House, being obedient to God’s call. The Almighty has rewarded that obedience by allowing me to give approximately 20,000 voice lessons during this time. It has been a privilege to serve in this manner. Many times over the years I have been asked if I teach and work with anybody well-known. This brief article will address that question. It will also stand as my testimony of what God can do in one’s life if you are obedient and let Him work His purpose in your life. This will further stand as a celebration of these students’ hard work, desire, and persistence. They are the ones with the talent. I was allowed to assist them in developing it to a fuller potential. So to answer all those people that have asked me if I ever worked with somebody well-known, read on. Enjoy and celebrate with me. My students have achieved: • 10 Dove Awards and multiple nominations • 1 Grammy award and 2 nominations • Bill Gaither Homecoming video series – 4 performers • GMA Seminar in the Rockies – 3 Grand Prize winners • Downbeat Magazine – Jazz Student Music Award • National Anthem – MLB, NBA (including one playoff game) and NHL • Carnegie Hall Solo concert • Miss Georgia • Miss America – second runner - up • White House – 2 performers
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• National Association of Teachers of Singing – multiple winners • Houston, Santa Fe, Atlanta, and Orlando Opera Companies • Georgia High School Musical Theater Awards – 3 winners, 8 nominations • Young Arts Awards – 2 national winners • Miss Georgia Outstanding Teen (high school) – 2 winners • Interlochen Summer Music Camp – 2 audition winners • International Thespian Society – National President, International Arts Advocacy Liaison, and vocal award winners • Highlands (NC) Play House – musical theater cast members • Write About Jesus songwriting workshop – National winner • Babbie Mason Music Conference International – 2 Vocal award winners • Music Scholarships attained at 54 different institutions of higher learning • American Idol finalist I have been privileged to do the following: • Coached more than 30 Musical Theater roles • Contributed vocal production and assistance for over 50 albums • Been privileged to do rehabilitation work for a large ENT practice and a nationally known teaching hospital
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• Point University – Adjunct Professor (16 years) • Have been thrilled to watched 12 of my university students start their own successful voice studios after taking my Vocal Pedagogy class • Very proud to have assisted in the development of many music ministries • To have been greatly influenced by Dr. Scott Martin, Dr. Byron Cartwright, Robert Edwin, Dr. Oral Moses, and Dr. Thomas Cleveland I am looking forward to the next twenty years here at The Voice House. I am also very excited to see what more God can do. He is not done yet. And as Johann Sebastian Bach wrote on all of his musical manuscripts “Solo Deo Gloria”. 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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Stuff I Got Rid Of by Rick Cua
A while ago, at the NAMM show,mI was talking about an old Framus Star bass guitar I sold in the sixties for probably $100.00. Surely that same instrument would be worth way more today. I was with my good friend Tom Lane at the time and he used the expression, “stuff we got rid of”. We all have a list and as I began working on mine I discovered something way deeper.
surrounding them. I had stuff yet we were they most likely stick around for a lifetime like struggling to buy diapers and pay the rent. a bad smell that stops you in your tracks just Not good. when you almost forgot that foolish thing ever Although my becoming a man was gradual, happened. and certainly continues, I believe I turned a corner that day. I realized my circumstances pointed to a greater need. Not just for my family but for me. I was beginning to get outside of myself. I was making decisions based on the well being of others which I discovered actually led to my own well being. I would come to realize that the real personal sacrifice, which could lead to deep regret later in life, is neglecting responsibilities that hold a higher value than things I could certainly live without.
There was the ‘64 Fender Bassman amp, the red and black Ampeg scroll top bass with the f-holes, the several early seventies Rickenbacker basses...the black one, the electric blue one, the blond one...all with that beautiful piping inlaid around the body. The Acoustic 360 bass amp...the 371...the Heil Talk Box...the Mutron...and on and on goes the We all have a moment, actually many, when list. In every case I had a good reason to sell the light goes on and the higher purpose of something and in every case I now look back our existence and responsibility becomes with regret, well, let’s just say light regret. illuminated enough that change happens. It It was the same with my motorcycles...the starts as a thought, moves into a decision and BSA 441 Victor, The Triumph Trophy, the ends with a deep satisfying exhale. 1940 Harley Knucklehead that my friend John There are some things we let go of forever Amos chopped for me over a year of anxious and some for a season. Either way when we anticipation; Springer front end 14 inches let God direct our decisions we are always over stock, raked an inch and a half, many richer for it. As it turns out, 40 years after I custom parts, skillfully airbrushed and sold sold my last motorcycle, with Diana’s strong for a fraction of what it would be worth today. and convincing encouragement, I got another Actually my investment in that bike back then one. This time, with my priorities in order, was probably $1,500. But you know, that there was no hesitation or regret. Harley sale was one of the best decisions I’ve made. When the timing is right some stuff you So, lets talk about old regrets... I have load of them. And, each one boldly came into get rid of actually makes you better. existence as the result of a bad decision. None On September 6, 1970 our first daughter, accidental, all deliberately made without Niki Marie, was born. Finally, that bike was restraint. God’s word tells us in Proverbs something I got rid of with no regret...actually 29:18 “Where there is no revelation, people with great joy. A decision made for my family. cast off restraint; but blessed is the one who A small personal sacrifice that set me on a heeds wisdom’s instruction”. new course. That was the beginning of a new thinking pattern that I am still working on There comes a point in most of our lives today... with God’s help, refining it year by where “wisdom’s instruction” gets our year. 1 Cor 13:11 says; “When I was a child, attention. It makes us stand up straight and I spoke as a child, I understood as a child, I listen. Stop what we are doing, what we are thought as a child; but when I became a thinking, and contemplate the consequences man, I put away childish things.” Things aren’t and the impact our actions will have on others necessarily childish in and of themselves and certainly on us. At best the repercussions but they can be based on the circumstances of our bad decisions will fade over time but
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Just so you know, I don’t live there; in that regretful place that keeps you focused on the missteps you’ve been forgiven for. In that dark depressing introspective hole that that keeps you down low, on the bottom. That place that arrests your progress and keeps you from realizing what the rest of life might look like and what your place in it is meant to be.
When you receive enough revelation from the lives of others and directly from God you need to take that gift and move forward. Philippians 3:12-14,“Not that I have already obtained all this, or have already arrived at my goal, but I press on to take hold of that for which Christ Jesus took hold of me. Brothers and sisters, I do not consider myself yet to have taken hold of it. But one thing I do: Forgetting what is behind and straining toward what is ahead, I press on toward the goal to win the prize for which God has called me heavenward in Christ Jesus”. So that sums it all up. Know that everything in your life has purpose, hang on to what’s good, get rid of what isn’t and look forward to the richness of what God has for you and for others through your example.
Not just a musical artist, Rick knows the business of music as well. Besides being a music publisher, artist manager and booking agent, he founded and ran his own record label, UCA Records, in the 1990s which led to a position for five and 1⁄2 years as Vice President, Creative/Copyright Development at EMI CMG in Nashville. There he managed a large songwriter roster and exponentially 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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WHITEHEART
Revitalizing A Powerhouse by Shawn McLaughlin
White Heart (later adjusted to Whiteheart) was a seminal band in the annals of Christian music history. There fifteen year career started in 1982 as several former members of the Gaither’s musical outfit broke off to form a band. While the core of Mark Gersmehl and Billy Smiley and, 1985 addition, Rick Florian stayed with the band through their 1997 swansong, Redemption, Whiteheart’s membership was a revolving door of remarkable musicians who, often, went on to make notable contributions in both the world of Christian and mainstream rock. Dann (Guitar) and David (Drums) Huff (1982-1985) went on to be in-demand session players and formed the band Giant in 1989. Bassist, Gary Lunn was in that original line-
up and he is currently a well regarded session player in the Nashville music scene. The next wave featured Tommy Sims (bass/songwriting) Gordon Kennedy (guitar) and Chris McHugh (drums), all three of whom left after the band’s 1989 masterpiece, Freedom, and have each made significant contributions in the studio, on stage and behind the production board with artists as wide ranging as Ricky Skaggs, Bruce Springsteen, Garth Brooks, Peter Frampton, Michael W. Smith, Keith Urban and Michael McDonald. Kennedy and Sims co-wrote “Save the World”, along with Wayne Kirkpatrick,, which, at one time (and for quite a while) was the most successful top 40 single in history. The next wave saw Anthony Sallee (bass), Brian Wooten (guitar) and Jon Knox (who doubled as Adam Again’s drummer), who have also made
indelible marks in the Christian recording world since their time with White Heart. After deciding enough was enough, in 1997, the remaining members agreed to put the band on “indefinite hold” and Gersmehl, Florian and Smiley were enabled to tend to their families and attempt projects that would not have been possible within the confines of White Heart. A couple of “one-off” reunions were attempted, successfully in 2006 and not so much in 2010. Then, around mid 2013, the internet began rumbling with rumors of a possible reunion of the Freedom era band (with Knox on drums in place of McHugh). Recently, I had the privilege of spending several hours communicating with Mark Gersmehl on his post WH activity, as well as the band’s impending fall tour and future plans. This is how the conversation transpired:
Mark Gersmehl
Rick Florian 20
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covery & story photos by Robert James
Whiteheart released the album Redemption (which I consider, along with Freedom, your best work) in 1997 and it was the band’s last. At that point, only you, Rick and Billy were in the band. Did you think, at that point, that this was the end for Whiteheart or did you foresee a circumstance where you might get together again in the future?
(released under the name Gersh) came out in 2002. Was that a purposeful “vacation” from music making or were there other projects going on behind the scenes. I know you welcomed a son to the family in that time.
launched an odyssey into a new stream of musical and lyrical ideas. Awakening was born during that hiatus after Whiteheart. That record was made with basically just three people, Richie Biggs, the monstrously talented Mark Hill and me. Brynn, my wife, added her I don’t know that I ever get a vacation from remarkable voice for BGV’s as did Jimmy Sloas music! There is almost always a song or the on one song. We had so much fun! seed of a song in my head. That may also fit Awakening was released 12 years ago. I appreciate your kind words about the definition of a lunatic! Sometime I wonder What projects have been keeping you Redemption. That record meant a lot to all if there is any difference between the two... busy between that time and the recent three of us. And not just us, the engineer on During that break in time I was writing for flurry of activity in the Whiteheart camp? that project, and quite truthfully, an unlisted other people and projects. But before then, Right after the release of Awakening, I had co-producer, was Richie Biggs. Richie had I was also influenced by Claire Parr (who a health issue arise with my inner ear that been on the road and in the studio with was our A&R head at Curb Records). Claire called into question if I would ever be able us for years. He has gone on to have is truly one of the most astonishingly gifted to work in music again. It is a long story, too countless credits on records for great artists and fascinating people I have ever met on long to recount now, but I will say this-I have like Switchfoot and The Civil Wars. I have this planet. During the writing process for the witnessed firsthand the power of prayer. vivid memories of being in the control room Inside record, she drew me aside and said, “I When I finally knew that I could work again, I with him late at night and thinking, I love this think you are writing some incredible songs started as a producer, an aspect of the musical experience, the art and the heart of it, but this now, but I don’t think they fit where the band production chain that I absolutely love. I’ve feels like the last Whiteheart record. is heading.” I agreed. I was always a person had the opportunity to work with a wide We had already played our last tour date at Great America in San Jose. No more dates were on the schedule by our choice. After the concert, Rick and I were the only ones left in the dressing room. I wanted to be sensitive to him because I literally had no idea what he was thinking or feeling in that moment. So I said, “Last show on the books. How does that make you feel?” He paused, and a contemplative look passed over his face. “I wonder if there is still college football on ESPN back at the hotel.” It was time. Rick always says he had eighteen reasons why he felt it was time to quit. He couldn’t tell you them all, but there were at least eighteen. I had less. But I was completely comfortable if Redemption was the postscript on Whiteheart’s career.
that would pull back songs that I had written if they didn’t seem right for the project. Claire then said, “Have you ever thought of doing a solo record? I think you absolutely should and I would love to do that with you.” Well, I absolutely had not thought of it! I was always a band guy, and for the most part, still am. Claire moved on from Curb and so did Whiteheart after we called it quits. But her words stayed with me. I started exploring ideas that were more singer/songwriter, a genre that has always been at the top of my list. What was fresh and creatively invigorating for me was placing the acoustic piano at the heart of the songs. I hardly touched one during the Whiteheart years. The lifeblood of rock bands, certainly ours, is electric guitar, Since that last show, it took awhile for which I love, especially with the great, and I do you to record again. I think Awakening mean great, lead guitarists we were blessed to have in the band. But playing acoustic piano
variety of musicians including a live record with Bent Tree Bible Fellowship, a great church in Dallas with a gifted worship team filled with some of the nicest people you would ever want to meet. I did a Christmas record with a guy named Ted Yoder, the 2010 National Hammer Dulcimer Champion. Ted is like a rocker on dulcimer so it was really fun to color an entirely different sonic canvas. I also wrote a Christmas musical, Awaiting Emmanuel, with former Whiteheart bassist John Thorn that is signed to Lifeway. It unfolds the story of how God birthed the dream of a Messiah in the heart of the nation of Israel. John and I had a wonderful musical and spiritual journey writing that music. But the largest part of my time has been spent with my beautiful and ever so creative wife Brynn. We formed a duo called soulbreather and have released two records. There is a big story behind the name,
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produced placed on a TV show. I just got a Facebook post from a Whiteheart fan who was at Ravinia in Chicago listening to Tommy Simms playing with Michael McDonald. Tommy also has played with Springsteen, Sheryl Crow, and many others. Chris McHugh is the bandleader for Keith Urban. So many talented people! I have been blessed by all of them. What made now the right time for a reunion/continuation of Whiteheart’s mission/ministry? Explain the circumstances that set the current tour in motion.
one that I love to tell, but there isn’t time here. Brynn was the keyboardist with her former band on Word Records, Rachel Rachel, but she plays acoustic guitar in soulbreather. It is so fun singing with her because she and I both love out of the ordinary harmonies and there is an astonishing amount of freedom in twopart harmony. We also travel the country not just playing concerts, but also leading worship seminars. We hang out with one church for what usually is an entire weekend. Not only do we teach but we also rehearse with their teams and play together with them on Sunday morning. We have developed lifelong friends from these seminars. It is pure joy and so much fun to watch people grow in their gifts.
are most difficult for me is in our house. I get too easily distracted doing things at home. It is no one’s fault but mine! I just need to shut the door to the studio and keep it shut! I love hanging out with them but I serve them best when I do my work. But there is also a huge upside of working at home. Living with Brynn and Trevor and our beagle Hammy expands my heart like virtually nothing else. The songs pour out of me because of the beauty and privilege of loving them and spending time with them. In as much as you are able to answer for others, what have your brothers in the Whiteheart family been up to during this hiatus?
How has the tension of balancing family Wow. This is a wide open question because and career demands changed the process we have had so many wonderful talented of music making for you? people in Whiteheart. All of us continue Dramatically! For me, simply, family is first. to do things in music but many also have Leaving your loved ones is always difficult, other careers as well. I’ll give you just a few. but I believe it is far harder for the people Rick continues to sing sessions and worship who stay home. That said, I still have some at his church but also has done an amazing letters from a very young Trevor that he job as a real estate agent. He truly sees his wrote when he was lonely for me when I was work as a mission to find the right home producing records in other cities. They still for a family where people are comfortable tear me up. One of the great things about and their kids can grow up in a beautiful being in soulbreather is that Brynn and Trevor and safe environment. Gordon produced a and I are able to travel as a family. Trevor had remarkable record for the great Ricky Skaggs been in something like 28 states by the time that stretched Ricky’s musical frontiers and he was eight. He is a better road dog than is jaw-dropping in its lyrical content. He Brynn or me! We would always try to make continues to write for many people and has his trip less mundane by visiting museums written ballet music with Peter Frampton and hitting the beach or the mountains or that the Cincinnati Ballet has recorded and going to sports arenas. As redundant and performed. Anthony Sallee has played with ridiculous as it sounds, I firmly believe there Michael W. Smith and Matthew West and still is no experience like experience. Running does sessions. Billy Smiley has produced a sand through your fingers from a beach in long list of independent artists. Brian Wooten South Carolina is far different then gather plays with Trace Adkins. Jon Knox lives in LA shiny stones in The Rockies of Colorado. But and plays all over the West with a number of where the delicate dance of family and career artists. He recently had a track he wrote and 22
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I was completely comfortable with WH being over. he thought never occurred to me to play again anywhere, anytime. Then I got a phone call from Rick one night. He said, “Do you remember that guy, Dave Shenk, from Easterfest in Australia?” I did remember him. Dave had been kindly inquiring for the last eight years if we could come to Australia for his festival (which is always on Easter weekend). Rick said, “Well I think I want to do it this year.” I was stunned. Even more than me, I was certain that Rick was done with Whiteheart. He is also the least likely guy in the band to seek out a concert. This caught my attention. I wondered if the Spirit wasn’t tapping us all on the shoulder for a deeper purpose. So we did what seems on the surface to be truly ludicrous. Rick arranged two weekend rehearsals. We flew in Jon Knox from LA and were astonishingly blessed to have Scott Bernard, the lead guitarist from Kenny Loggin’s band join us. And yes, we flew halfway around the world for one date. The festival was wonderful, the people utterly great. We were so honored that Dave Shenk asked us to come. Once again, it felt to me like it did throughout our career in WH; we received far more then we gave. But we were grateful the Lord put this opportunity on our hearts. When we arrived back in the US, we had a flood of emails and Facebook posts saying it wasn’t fair that people Down Under got to see the band but no one in the northern hemisphere could. So we started exploring the situation further. Through a great friend of the band, Dennis Fioravanti, we received information on an entirely new, cyber age way to book concerts. It is a lot of work, but it renews the relationships we have had with the people who have been our fans and friends for years and reaches out to new people. So, there may be a chance that WH is coming to a city near you. Continued on page 26.
selective hearing by Shawn McLaughlin
When I Was Younger Colony House Descendant Records Colony House is a trio from the Nashville/ Franklin TN area, featuring two progeny of Christian music stalwart, Steven Curtis Chapman. The band’s first full length effort, When I Was Younger, is a fourteen-song stunner of an LP, featuring tracks like “Waiting For My Time To Come” and “Learning How To Love” which are older songs released on a previous EP but they seamlessly fit into the tapestry of the rest of the album. The first track, “Silhouettes,” a fine choice for the first single, is a rhythmically retro dream of a pop song. In the lyrically clever “Second Guessing Games,” Caleb Chapman sings “If only I could go where I wanna go/To get where I need to be/Do what I gotta do/Say what I need to say/Fight for the things I love/Let go of the things I don’t/But let’s stop playing second guessing games.” “Keep On Keeping On” is an up-tempo anthem of encouragement, leading into the fingersnapping, breezy, “Waiting For My Time To Come,” featuring infectious “woo woos” and “ah ahhs” that sound far less calculated than those touches do in most current Christian pop. The band goes from head-bobbing to head-banging with the ‘Led Zep-meetsBlack Keys’ stomp of “2:20,” named for its length. Musically, the album offers a variety of stylistically unique tracks and you can definitely hear the influence of bands like The Killers, Neon Trees, The Fray and Coldplay but there is a common thread throughout that distinguishes the Colony House sound; poetic lyrics and well-crafted arrangements, Caleb Chapman’s strong vocals and particularly affecting falsetto, Will Chapman’s formidable chops at the drum kit, and Scott Mills’ solid harmony singing and stinging guitar work. With a release that is not necessarily focused in either the mainstream or Christian markets, When I Was Younger, while not particularly overt in it’s Christian message, is still rich with strong spiritual themes that make it pretty obvious where these boys are coming from. This is a very fine first effort from this talented group of youngsters. Pop/Art Adrian Bourgeois Independent Last month saw the return after 20 years of mainstream and Christian pop
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veteran, Brent Bourgeois to the recording arena with his wonderful Don’t Look Back project. In this issue, we find that the apple REALLY doesn’t fall far from the tree as son, Adrian, releases his 2nd album (after an audacious self titled debut in 2008), Pop/Art, a wonderful exploration through the history of pop music through the eyes of a thoroughly gifted song writer/ multi-instrumentalist. Bourgeois obviously had easy access to dad’s record collection as he exhibits two of the same chief influences (Todd Rundgren and The Beatles) that have long informed his father’s music. Adrian’s first disc was a travelogue through 60’s and 70’s pop radio and the songs sometimes betrayed, too clearly, those that inspired them. On Pop/ Art, Bourgeois manages to give his songs a refreshing currency, while never losing his feel for pop classicism. Indeed, three songs into the first of this double disc collection, we find “Everybody Knows It Was Me” a lovely 70’s pop pastiche that amply recalls both Rundgren’s “I Saw the Light” and The Fab Four’s “You Won’t See Me”, without sounding too much like either song. Another nod to both these artists is this record’s sprawling musical diversity and the fact that it is a double album, very much indebted to Something/Anything by Rundgren (both artists played most of the instruments on their projects, respectively) and The White Album by the Beatles, two absolute classics of the medium. From this point, the album veers into folk singer mode with “Pictures of Incense” and “Jonah.” “Waterfalls” slide guitar goodness and the sharp lyrics on “Hanging Day” stand out. The Phil Spector wall of sound approach works well on “Aquarium” and the yearning ballad “Don’t Look Away” is another winner. And although not every melody sticks with you, so many pop styles are explored its hard to find an outright flop here. More gems include “Shot In The Dark” which is a memorable duet with Paige Lewis. “Sunflower” is another epic love story in pop form. He explores a roots rock sound with “The Howling Wind” and bouncy electronica on “Better” and “Parachutes,” but Adrian really shines with the orchestral ballads throughout. There is a lot of music here, so give yourself time to drink it all in. Pop/Art is highly recommended and immediately moves to the front of the line on my year end “Best Of” list. The record is available on Bandcamp and Adrian’s web site.
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Infinity Unleashed The John Sferra Trio Strobie Records www.philkeaggy.com Infinity Unleashed is the third in a series of instrumental projects released by a trio featuring legendary guitarist, Phil Keaggy, his former Glassharp bandmate, John Sferra and keyboard virtuoso, Jack Giering. The first two releases highlighted the talents of Keaggy and Giering while the third release shines a spotlight on the talents of Sferra. When speaking of the daunting musicianship of these 3 gentlemen, the word “Unleashed” may be an understatement! Guitars roar, keyboard fills add color and shape and the drums absolutely thunder as these three masters lead us on a roller-coaster ride of jazz/blues/funk/soul music with a little bit of pop sweetener thrown in to help the funky medicine go down smoothly. Infinity Unleashed features cameos by session legend, Mark Douthit on saxophone and bass player, Dan Pecchio (to complete the Glass Harp connection) on various tracks but the core trio is the story here, as “infinity” best describes the length of time fans will want this group of musicians to continue making music this good. For the Fatherless For the Fatherless Independent www.forthefatherlessmusic.com For the Fatherless is a husband/ wife duo, Brian and Christa Yakaboski, currently living in Buffalo, New York. Both are former vocal studies majors at Belmont University in Nashville, which is where they met and married. Forged together by a bond that informs their music and ministry to this day, the couple both were raised, essentially without fathers, as Brian’s abandoned his family at an early age and Christa’s died of a brain tumor when she was just seven. Despite being showed love by other members of their respective families (a wonderful step-father, in Brian’s case) they both felt a lingering sense of emptiness in their hearts, an emptiness that pervaded their lives, even as they separately, discovered a shared passion for singing and songwriting, After meeting at Belmont and realizing the special bond between them, the couple continued to share their stories
and their music with one another over the coming years through their dating relationship and engagement, until one day in 2012 Brian showed up on Christa’s doorstep with an idea. “We knew we wanted to get married and knew the difficulty of just one of us being out on the road, so we were trying to figure out how we could do something together,” says Christa. “Brian just came to my house one day and said, ‘what if we started a ministry called For the Fatherless?” With a renewed sense of mission, it’s their burden through their new, self-titled record to elucidate the tragic issue of children without earthly fathers and to a greater extent, the impoverishment of those without a heavenly father. Naturally, the theme of God’s fatherhood is at the fulcrum of a cluster of songs on For the Fatherless. If there’s a song that is a facsimile of the duo’s mission it has to be the tender ballad “Unfailing Father”. Draped with gorgeous sounding strings over a piano driven melody, “Unfailing Father” gives definition to the Fatherhood of God. Borrowing liberally from the songbook of Keith Getty is the Celtic influenced “Child of the King”. Though a little on the more introspective side is the slow and pensive “Welcome Us Home”, a modern reworking of the parable of the prodigal son. The focus is not just on God’s fatherhood, but there are also songs that address how God’s paternity changes us. “Not of the Night”, a vibrant propulsive pop number, is such an entry, while the lilting “Good Things” celebrates our new found adoption in Christ. Being worship leaders at their home church, “The Time for Singing Has Come” and the Hebrews 12:28 based “My Anchor True” both are worship anthems created for the service of the church’s praise. While the project, at times, suffers from derivative lyrics, the intense, conceptual focus and the Yakaboski’s determination to bring a living hope to a hurting group of people, more than makes up for that small caveat.
complete with complex spiritual themes and an outright love for Jesus, it has rarely been as outspokenly displayed as it is here. While each album would feature a song in the vein of “Lift It”, Oxygen:Inhale is more direct than anything the band has produced. In fact, tracks like “Untraveled Room,” “In My Room,” and “Oxygen” are some of the most spiritually overt tracks the band has ever produced. While many might expect many listeners to have a colder reception to this album at first (especially those won over by The End is Where We Begin), spending a little time with it will allow the themes of self-abandonment and surrender to speak in powerful ways. Canadian rockers Thousand Foot Krutch follow one of the greatest albums of their career with a more
Shawn McLaughlin is a hard-working, dedicated, tireless worshipper of Christ.
SHUBB CAPOS
Oxygen:Inhale Thousand Foot Krutch Oxygen:Inhale is a much more stripped back album than what TFK has ever produced. Intentionally eliminating many production elements so that the album feels like it is just the instruments, the vocals, and you, forces the ear to hone in on the amazing talent the band has to display. Stylistically the album also moves nicely between TFK’s more rap-rock and rawk styles, but also adds in a healthy dose of Americana rock and even a little country twang. While the band has always included a healthy thread of faith through their albums,
somber and devoted set of tracks that strip back all the hype and production and dare to be incredibly exposed and vulnerable. With a more Americana, classic rock, or even a more “raw” rock vibe, Oxygen:Inhale brings ten tracks that are unafraid to explore both brokenness before God and utter dependence on Him. O:I may not be as immediately accepted as 2012′s The End is Where We Begin, however, I argue that there are possibly even deeper waters to be found here.
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What are your future plans regarding recording? Quite frankly, recording with WH is something that intrigues me. For one, I am so humbled and thankful to have played with the remarkable musicians that have been a part of WH throughout its history. It is an honor to step on a stage with such talented people. As a writer it is a thrill to dream your way through a song knowing that gifted people are waiting on the other side of a drum or an amp or a mic to bring it to life. I really enjoyed playing our past WH songs in Australia. But for me, faith, art, and life are inextricably intertwined. The Bible says in Second Corinthians that ,”Now the Lord is the Spirit, and where the Spirit of the Lord is, there is freedom. And we all, with unveiled face, are being changed into His likeness, from one degree of glory to another.” That passage says to me, as a songwriter who loves Jesus, that I must have a holy restlessness to search even deeper into the heart of God. That means new songs, new records, new life. That said, I have never felt that being a musician or songwriter is one bit more special than anything else that anyone of God’s children do on this planet. We all are meant to live, learn, and love on this earth for His glory. Everyone one of us can create something beautiful for God and His people. I realize that this is a very roundabout answer to a simple question! Yes, we want to record. Bring on the new! Picking up that “Whiteheart instrument” with Rick’s incredible vocal gift is really exciting. It is a unique sonic and spiritual palette, very different from the colors Brynn and I choose in soulbreather. We have already written some new WH songs. It has been really fun! What is the current line-up for the touring version of Whiteheart? Would the line-up remain the same if you began a studio project? The lineup has not been fully settled. So many talented people have been part of this band. Many of them are working musically in studios and on the road around the world so it is never easy to get together. That said, there are some extremely intriguing possibilities for the road and the studio. 26
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better example of how artists can interweave their creative gifts with their heart for ministry. That is the gold standard in my mind. Yes, I love music. Yes we all want to write, sing, and play to the best of our abilities. But finally, all that music needs to point people to Someone far greater than ourselves. In the end, that is the very best thing any of us can do.
Would Kennedy have been involved had he not renewed his interest in Dogs of As we are a musician based magazine, our readers would probably be interested Peace? Might he be anyway? in the gear you are using on the tour. Gordon is quite simply Gordon. He is an What Keyboards/Mics/amps etc. are you incredibly gifted writer and player. What favoring these days? makes him so unique is the way those two gifts influence each other. He is a guitarist I use almost exclusively software instruments who plays like a writer who writes things these days. I have always been a knob only a great player could. Dogs of Peace twister. I still have my original Minimoog, Arp is a fantastic project which casts him in the Odyssey, and Prophet 5, as well as a Super role as lead singer and front man. When we Jupiter and a Wavestation. Man, do I love were talking earlier, I mentioned how picking the Wavestation! It required a lot of work up “the Whiteheart instrument” is different but almost always yielded a fantastic result. from the sonic canvas Brynn and I choose for All of those instruments could shape and soulbreather. Dogs of Peace is another one reshape a canvas with just a subtle twist of a of Gordon’s instruments. It is something he knob or push of a fader. I have hardly ever feels compelled to do, all that to say, when recorded a stock sound. The song dictates the he enters the Whiteheart song arena… great choices as well as the great playing of other band members. I love all the Spectrasonics things happen. instruments, especially Omnisphere. They are One of the strong suits of Whiteheart so deep and expressive. I control them with a was the seamless intertwining of Novation 61SL MkII as well as with a Roland entertainment (and solid artistry) with a Handsonic. Often I will hear a scrap of a sound strong ministry focus. I assume this will or a hint of a color in a patch and then spend still be evident in current and future live the next two hours hunting. Sometimes it shows? ends up sounding worse than when I started! For me personally, music was never the Usually the sound will end up radically reason I was a part of Whiteheart. I was different than the source tone. I also use Ivory raised in a wonderful Christian family. We and a host of Logic instruments as well as a few never had very much money but we didn’t drum programs. The one hardware synth I still really even talk about it. Our dinner table keep on deck is the Roland JP 8000. It harkens was laden with exquisite food because my back to all those great analogue synths in mom was a great cook. But our dinner table the way the knobs and faders respond and was also a feast of ideas. We talked about how the warmth and width of the oscillators everything; faith, sports, politics, books, occupy a canvas. paintings, history, philosophy, you name it. When Whiteheart’s time in the public My parents always taught us that everyone on eye is over, what message do you most this planet has a gift and the great privilege wish to be conveyed by your body of we all have is sharing that gift with the world work? so it can become a better place. Those discussions greatly influence me. The early I will simply quote a line from Fly Eagle members of Whiteheart had the honor of Fly. “There is hope that won’t pass away. It’s playing for Bill and Gloria Gaither. There is no the power of an empty grave.”
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PRODUCT REVIEW
Ivory II Piano By Michael Hodge
It’s a little bit of hassle, and like airport TSA, of eight different Pads to layer with the piano samples. They include things like the Jupitor you get used to it. My biggest beef with ILOK is the size. I wish 8, Juneau, and Arp String Ensemble pads. They there was a micro version that would allow me are there if you need them or can be used separately. to leave it in my laptop. One day! Fear of losing an ILOK is huge if you travel, even with the protection plan. BTW please do get the Zero Downtime Protection if you travel with your ILOK. If you wait till you lose it you’re out of luck, and will spend many hours contacting your software manufacturers begging for help. I had a scare this last summer when I left mine in another State.
IN USE:
The GUI for IVORY is super user friendly. It takes no time at all to get your piano sounding just the way you want it. I ran some midi parts from a project I worked on and was super impressed at how much of a difference Ivory made. The other thing I love is being able to pull up the synth at mix down and
AMAZING PIANOS: There are four IVORY II Piano products available from Synthogy: Grand Pianos, Italian Grands, Upright Pianos and the American Concert D.
If you love the sound and feel of a great acoustic piano, you know there is nothing like the real thing. Still, as technology continues to move forward there are some great virtual ones on the market, and in the hands of a pro, the results can be stunning. Ivory II has been around for a minute, and received rave reviews so I was looking forward to seeing and hearing what all the buzz was about. My father was a concert pianist, and I grew up listening to all the great classics on a 9 foot grand. I don’t consider myself a “piano” player, though I studied enough to pass proficiency for my music degree. I’m mainly a programmer who uses a DAW to cheat when I can’t play what I hear in real time. OUT OF THE BOX: For my review I received a box of about 8 DVD’s of files to load the Grand Pianos package on my computer. It took several hours. In the future I maybe Synthogy could look at the possibility of a Thumb Drive delivery. The good news is that big sample files mean high quality and are almost always worth the wait. The IVORY II Pianos can also be installed separately. Installing all three requires 77 GB of space. In my experience, everything loaded slowly and happily onto my external drive.
Change the Lid position, the Ambience and Timber to fit the track. Though I’m all for committing to Audio early on, having the option change pianos etc at mix is amazing. My favorite Piano of the three was the Bösendorfer 290 For the review I have the Grand Pianos Imperial Grand. software, which is the flagship package, The Steinway and Yamaha were also amazing, including three different sampled pianos. They but this one reminded me of my dad’s favorite are the Bösendorfer 290 Imperial Grand, the piano. Tracking with a pro player was awesome. Steinway D Concert Grand and the Yamaha C7 The player was so happy with it as well and I Grand. The Synthogy folks have over twenty- saved a bundle not going to an expensive room. five years of sampling experience, and these At Lakewood Church we have a Yamaha C6XSH pianos were meticulously recorded in some of Silent Piano (7’ grand piano with MIDI controller capabilities. Because of the drums being sis feet the best concert halls around. IVORY II has a proprietary technology that away it can’t be miked. adds to the feel and realness of the pianos called We are using IVORY II and everyone is continually commenting on how great it sounds. Harmonic Resonance Modeling. This is where the actual Physics of the string The Yamaha Samples are dead on, and William vibrations are modeled so that the actual Garcia our main keys player loves the IVORY harmonics of the individual note resonate, 1951 American Concert D that we run via MIDI making a rich emulation of the real thing. Only into Logic PRO X. Ivory II Pianos have this feature. Parameters like Sustain Resonance, Sympathetic String Resonance and Pedal Noise, are all easily adjustable on the Program page of the synth. There are up to 18 discrete velocity layers available for each note. This makes for the smoothest possible note transitions and velocities. You also find user controls for Timbre, Stereo Width and Perspective, (player or audience), Velocity Response, Mechanical Key Noise, Lid Position, Timbre Shifting, and Parametric EQ. IVORY II has some new features including: Half Pedaling, Lid Positions, and Pedal Noise. It’s a very deep synth.
IVORY II supports OSX 10.4 and above on FX: Intel and PPC, and Win 32/64-bit XP, VISTA, Beside the IVORY II engine there are DSP and 7. The supported plug-in formats are AAX, effects on the Effects page. They are EQ, Chorus, AU, RTAS, VST 2.0, and the Ivory Standalone and Ambience. They all have the usual parameter knobs. The Ambience FX includes stunning program. reverb algorithms ranging from Concert halls to THE DREADED ILOK: Jazz clubs. Synthogy requires an ILOK for copyright SYNTH LAYERS: protection. As an added bonus there’s an assortment
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CONCLUSION:
Ivory II is at the top of the food chain. This second-generation virtual piano from Synthogy, and has raised the bar to an amazing level. It’s one impressive piece of software that I would consider a must have if you are a piano player. Also impressive to me are the sampled Synth Pads. Layering the pads with Piano is not so popular at this musical moment, but I love to use them as a separate instrument. Be sure and check them out. They are wonderful. The street price for the IVORY II Grand Pianos is $320.00 and for the American Concert D is only $189.00 An ILOK2 runs about $39.95. For more information visit: http://synthogy.com.
Michael Hodge is a Producer, Writer, and Staff Musician at Lakewood Church in Houston Texas.
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OLD DOGS... NEW TRACKS! an Interview with Dogs by Bruce Adolph
of Peace
Not willing to just roll over and play dead, Dogs of Peace are back after almost a 20 year hiatus. The public kept asking for these polished session players to go and fetch some more good tunes for us and here they are finallylaying them down at our feet. A lot has changed in the music industry itself since those days… we sit down with one of the founding members and old friend Gordon Kennedy to give Dogs of Peace a chance to speak (pun intended)… CM: Tell us how the start of Dogs of Peace happened back in the day?… what was the purpose behind the project? GK: Back in the day, around 1995-1996, PFR, a really great group on the Sparrow label, called it quits. Jimmie Lee Sloas had produced their records, and I had managed to write a handful of songs for them as well as sneak a guitar part or two on some tracks. Peter York, from the label, wanted Jimmie Lee to find another group to fill the vacancy around that time and at some point, asked me to be a part of the search party. Then suddenly, Peter asked Jimmie Lee “hey why don’t you and Gordon just do a record for us?” I had a history there with WhiteHeart being part of Sparrow and we said “sure!” The record came out to gripes from CCM magazine about our sounding “too much like the Beatles, Pink Floyd, James Gang, and Eagles.” Okay.
CM: That is both funny and sad… Walk us through the rebirth process… and also tell us what your hopes are for the project this time around?
CM: Wait a minute, was there anything wrong with sounding like those classic influential bands? You can’t just let that one go by and not comment a little deeper here… GK: DC Talk was the new thing and I guess we didn’t have a good enough lead talker? 30
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Gordon Kennedy
GK: A few years or so ago, I was sitting on the front row getting ready to hear Geoff Emerick, engineer of Beatles records, speak. I looked a few seats to my right and there sat Jeff Balding, engineer of many great records including WhiteHeart’s “Freedom” and also “Speak” by Dogs Of Peace. He said, “When are we doing another Dogs record?” (I can’t tell you the number of times I have been asked that over the years.) I said “I’m ready.” We have been working on heel for a couple of years now. I am thrilled with it. I have heard many a debate these recent days about what worship music is. I think that maybe when you spend two years, writing, recording, rewriting, re-recording, never knowing if you will place it with a label, have a marketing plan, have someone distribute it, heck...ever even hear it...but you are compelled to do it
John Hammond & Gordon even if only to lay it at the alter and hope Papa label could be helpful to your music at this is pleased...maybe that’s worship music. point in time? CM: Well said Gordon. Things have changed so much in the music industry (both mainstream and Christian labels) since the last Dogs of Peace record. What do you see as the positives and the negatives of being an indie artist these days and how do you balance that out with the current hope that maybe a major record
GK: We are still unsure about the vehicle that will make this available to people. Honestly I feel like a group building an ark and believing that at some point, it will rain. I trust that the same God who put this on our hearts to do will put it on someone else’s heart to take the next step. We stay in our wheelhouse; we do our part. This is simply our part. CM: When you say “we” run down the make up of who Dogs of Peace is and if you have any “walk-ons” by session player friends as well… GK: The current lineup consists of Jimmie Lee Sloas (bass), Blair Masters (keys), John Hammond (drums), and myself on guitar. Jeff Balding is mixing...the same boys who were involved the first time around. There is one song on the new record which features Joel Hanson and Ric Florian doing some lead vocals.
Jimmie Lee Sloas
CM: I know you are
cover art of heel by Nate Mather
blessed with some remarkable instruments to use as tools for making your music… what did you primarily use guitar and amp wise for the new Dogs of Peace record? GK: 1). For this new record, it’s been my father’s 1961 Gibson ES-335 (the Pretty Woman guitar), the 1959 Gibson Les Paul Standard (the one formerly owned by John Sebastian and feature on all of the great records but The Lovin’ Spoonful), a 1959 Strat and 1961 Telecaster. This were the main food groups. A new Gibson ES-330 was used on one song. The acoustics were a 1965 Gibson J-45 for most everything and a new Martin 518 Terz and a Lowden 12-string on a couple of songs. Amps were my two old Marshalls, a 1964 JTM-45, a 1968 50watt top, my 1992 Matchless HC-30, and a 1960 Tweed Deluxe as well as my Vox Brian May Special - the VBM1 amp. CM: Wow, that is a killer line up of gear! Since you are not quite sure yet how this record will bubble up to the surface. Where can our readers go to stay in touch with you regarding it? FaceBook page? Website? Move into your neighborhood and ask your neighbors? GK: I know John Hammond has established a Facebook page for Dogs Of Peace. Be sure to go there and ‘like’ us.
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3 Places You Can Fulfill Your Calling
by Tom Jackson
Psalm 139:14 – I praise you because I am fearfully and wonderfully made; your works are wonderful, I know that full well. Taking risks can be scary. In all the years I’ve worked with musicians and singers, I can’t recall one who didn’t have an invisible wall of fear – something they were afraid of or uncomfortable to try. But if you want to be the unique person God made you, using the special gifts and abilities you were given by him, pouring your personality into whatever you do – you need to have the courage to take risks! You can’t just play it safe. If I do my job correctly in the rehearsal room, and if there is freedom to explore ideas, then artist development happens, and the artist I’m working with is eventually confronted with their wall of fear. But let me be very clear about this: to grow as an artist and fulfill your calling, you need to take chances! I have my own walls. I struggle with trying new things at times. Often I recognize it, not because I’m the sharpest tool in the shed (as they say in the South), but because I’ve been fortunate enough to see it and recognize it in countless rehearsal rooms over the years. You and me, we need the courage to take chances. Here are 3 places with your live show that you, as a Christian musician, can take risks and follow the calling God has placed on your life:
Marshall stack, crank it as loud as it could get, and start shredding? I doubt it. No, you probably sat down and, like me, pulled out a Mel Bay book and started figuring out how to put your fingers in the right place. If it was about being comfortable playing the guitar, you wouldn’t have even started playing. But it was new. You had to develop muscle memory, strength, and agility until it became natural.
Immediately I experienced a feeling of apprehension and fear: “what if it doesn’t work?” Not everyone in the band had great rhythm… could we pull off a cool rhythmic thing like this? So I had a choice to make: bring the idea to rehearsal, or scrap it and have them play it as recorded. After Your musical, verbal, and visual ideas need to be all, it was a #1 song. developed in rehearsal… then live onstage, your instincts need to be followed. I chose to take the chance.
By the way, if you follow your instincts and try something new in rehearsal and it doesn’t work, So the band and I started our marathon week of don’t put it in your show. And if you try something rehearsals working on this #1 song. Most everyone new onstage and it doesn’t work, the next day the loved my idea and was willing to give it a shot. But sun will still come up! one very vocal guy voiced my fears. “Dude, it’s a There is no question some people will criticize number one song… why mess with it?” He pulled me aside and said, “Some of these guys have no you. There is absolutely no doubt about it. If you play music and perform onstage, someone is rhythm. It’ll never work!” going to critique your style, how you look, your Because I’d seen the end result in my mind’s eye, presentation, what you say, how you stand, and I didn’t listen to this guy and my fear. I told him so on. You might as well get criticized for taking “let’s give it a shot… besides, your contribution is chances than for doing nothing and playing it safe! needed to make it work!” (He actually had great Ephesians 2:10 – For we are God’s handiwork, rhythm.) created in Christ Jesus to do good works, which God We spent that entire first day working on the prepared in advance for us to do. idea, adjusting the complexity of the drum break to fit the players – some had simple parts, some People who are unwilling to take risks will have more complicated – and it worked magnificently! a hard time developing the uniqueness that Afterward, the dissenter came up and said, separates them from other artists. Some musicians “Dude, I thought you were crazy” (this was the develop this uniqueness through their songwriting, first time we’d worked together) “but I’m glad you their appearance, or their voice. persisted… this will be the highlight of the show!” But taking risks, in planning, in rehearsal, and on 2. In the rehearsal room.
And it was. 3. On the platform.
Suppose you’re in the middle of your favorite song and you hear ideas flowing in your mind as One time I was developing an artist’s #1 radio you’re singing. Do you listen to that voice that song. I’d been listening to it multiple ways and says things like, “Pull the mic out of the stand” or places to get ideas: in the office, before bed, on “Step away from the mic stand?” Do you have the vacation, through headphones, on my stereo, using courage to take a risk? Or do you continue to do it different EQ’s to hear different parts pop out. I got the way you’ve always done it? an idea to develop a rhythmic part. There’s a prevalent myth that holds many artists back. The myth is that if you’re uncomfortable As I began to hear the rhythms in my head, I trying something, then you shouldn’t do it because started getting excited about working with the it’s not “natural. ” Let me ask you this – if you are a band, developing the idea. I could see in my mind’s eye the standing ovation they’d get at the end of guitar player, when you first picked up your guitar to learn how to play it, did you buy a Les Paul, a the song.
the platform, is key to developing your uniqueness onstage!
1. In your planning.
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Tom Jackson, world renowned Live Music Producer, author of the book Tom Jackson’s Live Music Method and the All Roads Lead to the Stage DVD series, is a master at transforming an artist’s live show into a life-changing experience for the audience! Tom has worked with 100’s of artists in every genre, including major artists like Taylor Swift, Francesca Battistelli, Jars of Clay, The Band Perry, and more. He also shares his expertise as a highly demanded speaker at colleges, conferences & events worldwide.
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The Power and Purpose of Music
by Cory Knowland
I don’t know about you, but I’m inclined to say “thank you” a lot these days. I’m motivated to say that my God is amazing. I feel the need to shout his name and His fame into every life and situation I am privileged to experience. I am deeply persuaded to give God worth in my life…to worship Him with all I have and with all I can do. And one way I do this is with music...
music, He has designed us so wonderfully as to be physically touched, renewed, restored, healed, even calmed and encouraged by the same experience. I wonder at times what the sacrifice of praise really is. This exercise of worship seems to be holistically beneficially for everyone involved. And the Lord has chosen a few of us to be guides, and to lead and deliver this amazing interaction between As I was musing on thoughts for this article, us, Him and each other. As worship pastorI kept coming back to the power of music, leaders, musicians and singers, this should the purpose of music and our responsibility humble us deeply. as purveyors of music, especially in the Our response to the understanding of the church. I didn’t want to get too spiritual, greatness, mercy, grace and love of God must but rather attempt to touch on some more move us to worship. Understanding that there practical aspects of music and our worship is nothing we can do to make God love us gatherings. It’s a fairly well documented bit more, and there is nothing we can do to make of science that listening to, and performing Him love us any less, is to begin to understand music increases endorphin release, which can a love that does not evolve from our efforts, lead to a strong sense of well being. Singing, our world, our families or our culture. The listening to music, playing instruments, greatest story ever told; the greatest life moving and dancing, clapping our hands, are ever lived; the most amazing miracle ever all extremely beneficial to us physically and recorded-salvation through Christ’s sacrifice, mentally. The name “Endorphin” comes from has put you and me in the starring role. God endogenous (meaning within) and morphine wrote the story, provided the special effects, (morphine being a pain killer). Endorphins sent the executive producer Jesus Christ to essentially are our body’s own painkillers and make sure the production was finished. Then can also increase pain tolerance and reduce He asked us to star in the story of our very discomfort for the listener and the performer. eternity. It’s an amazing and true love story. It’s Music is used in various kinds of therapies, an ever-evolving love story. And it features us including introducing violent and emotionally being unconditionally loved by Him who has disturbed individuals to a sense of calm, using created even beyond our most sophisticated music. science and philosophy. Music is critical culturally to how we advertise and purchase things. Movies and television use music to create the desired mood or shock to what we are seeing. The experience becomes holistic, touching us physically (endorphins), spiritually, and emotionally. Music has been very effective in triggering emotions to the listener-viewer, even in a corny reality show or a TV commercial. Music is very powerful and interwoven into humanity, even in the most remote of civilizations. Do you think God knew this about us? Do you think there might be some real intentionality by God in the way our brains are wired and how they function? So, as we offer worship to our Creator using
Psalm 33:3 Sing to him a new song; play skillfully, and shout for joy. (italics added) I have challenged myself and my teams for years to take the time needed to be as prepared spiritually and musically for the ministry we have been entrusted. To seek to be excellent as what ever level or ability we currently possess as musicians and singers. Then, offer our personal very best to our most excellent God. Author and professor Dr. Harold M. Best, Dean Emeritus at Wheaton College Conservatory of Music, once stated “Excellence is a process of becoming better than we once were.” That process never ends. Wherever we are right now in our walk with God, in our spirituality, in our musicality, 10, 5, or 1 talent deep (Matthew 25:14-30), excellence is becoming better then we are right now. It’s future impacting. It’s proactive. It requires a plan. That thought excites me. As excellence in all the areas of my life slowly becomes a reality day to day, my life will become richer, my walk with God more pronounced and intimate, and my potential influence for the Kingdom of God increases. Excellence is good news. Excellence is a heart condition that has measurable external markers. And it’s good spiritual business.
So, go with joy of the Lord to your “woodsheds”, and pour yourself into your God given gift as you practice and prepare. And then pour out yourself as an offering With all this on the table, I come to my brief in service, presenting the very best gift you and important point. With everything we are possibly can...because Jesus is worthy of it all! coming to know about God, about creation, us and eternity, and about our worship to Him, how should we as musicians approach our Cory Knowland is craft? With excellence. As we fully embrace the Worship Pastor/ our worship musician calling, I would contend Creative Arts Directhat seeking to offer as much a perfect offering tor at West Salem Foursquare Church to the Lord with our God lent abilities would in Salem, Oregon, a be a no brainer. Taking the time to prepare clinician and board personally, and as worship teams corporately member with Worto offer our very best, excellent gift of worship ship Northwest, and and praise to the One who created it all in the an independent studio producer/engineer. He lives in Salem, Oregon with his amazing wife Catherina. first place, is our most reasonable response. www.coryknowland.com
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Time
by Keith Mohr & Sue Ross-Mohr
Time. We all have the same amount of it. What we do with it differs from person to person. There are those individuals who are very organized. Their day is planned out, their goals achieved, and as they turn out the lights, they enter dreamland with a clean slate ready to do it all again in the morning. Then there are those who are always ‘busy,’ their desk filled to the brim with notes they can’t find, and drama ensuing at every turn. They work late into the night, and rarely feel like they have accomplished everything on their list. They fall exhausted into fitful sleep, still slaving away in slumberland. Unfortunately, the ‘creative’ relates to the latter. As a creative, you may find yourself on an unending wheel of frustration. Never having enough seconds, minutes and hours. Day after day looks the same and the song or project that started so majestically in your mind suffers a slow death due to the fact that you just can’t find the time to finish. As a Christian artist, being a better steward of your time fits into the plan. We have spoken with so many artists who want to be better stewards of their time. They feel if they could just find that magic spot, their songwriting efforts would duplicate, even triplicate. Some believe they need a manager to help them succeed, when what they actually need is “time management.” Just as in every other aspect of art, you need to be creative with your time.
In a world dominated by time stealers, the need for organizing the use of our time is essential. Mastering this usage with creative efforts like the scenario listed above can make all the difference in the outcome. during the songwriting process. So, instead of getting a sitter, we came up with a way that would include their children. They contacted a local newspaper and were able to purchase a large roll of print paper. Armed with crayons and markers, they laid a large sheet from the roll onto the floor, approximately 6 foot by 6 foot and settled the children right dab in the middle and explained to them that once a day, the entire family was going to have “Song Time.” Mom and dad were going to create a song, the children were going to create a picture from the music they heard. The only rule was that no one could talk out loud unless they were involved in writing the song. They made a deal that they would only write for 45 minutes, set a timer and begin. What came out of that decision was amazing. Their girls loved the new game and looked forward to it every day. An entire album was created from their time together. The children drew so many colorful pictures that they decided their art would be included in the album and some of the merchandise. One drawing became the cover art. Other creations became notecards, with scripture written on them. The songwriters shared the story with their audience of how the album was created and then sold the notecards (6 in a package) as part of their merchandise. All of this came from the desire to get creative with their time.
We recently worked with one young couple that had two children under the age of 9. They “There’s a word for a writer who never gives wrote together as a team, but were concerned up: published.” Joe Konrath about taking time away from their children
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These days, time is a more valuable commodity than money. After all, anyone can earn more money if they are assertive, but no matter how hard we all try, we cannot add time to the clock. Think about this as you plan your day. Make each day count. Be consistent with your routine and stick to it for a while. Make changes when you sense you are spinning your wheels. Be open to trying new things, but value your time most of all. Let us know about your time management, we’re interested in hearing from you! Go to: www.mohrcreativegroup.com and contact us via our contact form. If you let us know you read this article, we’ll be glad to give you a bit of our time. Creatively His, 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!
you could wait
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PRODUCT REVIEW
Guitar & Case Storage Made Spouse Friendly with Guitarstorage.com By Eric Dahl
My only request for any home that I live in is that I have a separate guitar room that I can humidify and parking space in the garage for my Harley. My better half always does a great job of scouting out a room for my musical passion (addiction) but somehow I always end up asking, “Where do the cases go?” Many of you can relate to my predicament as every instrument that you own is also accompanied with a hard shell case or gig bag – so where do you put them? My previous storage methods have included: under the beds, at a friend’s house, at my Moms house, closets (top and bottom), attics, garages, at my Mother-in-law’s house, car trunks and basements. I have a friend that actually used his hard shell guitar cases as coffee tables and end tables in his living room (for the record he was single then). As most of you know, our spouses are usually not pleased with our distribution of what they consider “unsightly” cases either, but the cost of quality cases and gig bags keep rising also! Guitarstorage.com took a new approach to an age old problem, by designing case and guitar holders that are actually visually appealing furniture, easy to assemble and won’t break the
bank! Even their slogan made me feel at home “Storage Solutions for Guitarists and Collectors” – luckily I fit into both of these categories. There current product line consists of the Carousel Multi-Guitar Stand, Guitar Case Storage Racks, Multiple Guitar Stands, Wall Mounted Guitar, Ukulele and Mandolin Hangers and the Twenty Guitar Racks. I spoke with the owners of Guitarstorage. com to acquire a better understanding of their products and how they have gone over with collectors, studios, music stores and churches! Just think how nice your platform at church would look with this type of organization and good looks! And their biggest selling point is that spouses actually like the appearance of their storage systems and have sent them glowing reviews by mail and e-mail. The two products that I received for this review were the Carousel Multi-Guitar Stand and a Guitar Case Storage Rack. When the shipping boxes arrived I didn’t believe that anything that looked as cool and functional on their website could come out of these containers. To my surprise everything I needed to setup both pieces was included in the boxes all the way down to hex wrenches so I didn’t even need my tool box or cordless screw driver! I didn’t time myself, but assembly was easy and fast and all of the individual pieces had plenty of padding so none of the wood finish was scratched or scuffed up.
example I assembled only took up 3 feet of room and handles six guitars (3 face forward and 3 sideways). Each instrument is secured in place with a metal retainer at the neck position so they can’t flip out on the floor either, while being spun. They also offer an “Expansion Tier” that attaches to the top of the carousel allowing you to display a total of twelve acoustic or electric guitars. Guitar Storage products are American Made in Elkspark, PA and they really like to hear from their customers and post photos of how they have put their storage devices to use. I was thrilled with both pieces after assembly, but more importantly my wife really loved how good they looked on our hardwood floors and that they made my music space seem less cluttered!
The Guitar Case Storage rack was done first as soon as I finished I started testing it with different size and shaped cases and gig bags and all of them fit easily. Plus the moveable dowel rods allow you to separate the cases by size so they don’t bump into each other and are If you have more than a few instruments and easy to remove from the rack as well! need to store them and their cases it’s worth The Carousel Multi-Guitar Stand took a taking a closer look at Guitarstorage.com and little more assembly time but only because their spouse approved storage units. The it had more pieces to better protect the six Carousel Multi-Guitar Stand as reviewed sells instruments it would soon be cradling. The for $599 plus shipping and the Guitar Case coolest part of this piece is that it spins like a Storage Rack goes for $399 plus shipping. Lazy Susan so you can grab the instrument of your choice easily and it has a locking dowel Eric Dahl resides in Nashville rod so you can keep it from moving as well. TN with his wife and daughter. He is the author of “B.B. King’s The finish is nitrocellulose so it won’t react to Lucille and the Loves Before the finish of your instruments and the wool Her” and he does a weekly TV felt is secured at the neck pockets and base gear review show called the of the guitar so they won’t get damaged. The FOX 17 Rock and Review.
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“fixing our eyes on Jesus . . .�
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Industry Insight
How to Succeed by Artist Manager, Mike Smith I’ve worked in the music industry for over 30 years. Throughout my career I have survived by learning how to work smart. Notice I did not say that I am smart. Honestly, I’m not. But, in a systematic way, I’ve learned how to work smart.
One such book was written by Dale Carnegie titled “How to Win Friends and Influence People”. In my opinion, it is the seminal book on human relations. It is the grandfather of all people-skills books that was first published in 1937 and has sold over 15 million copies to date. I have read this book at the beginning of each year for the past 20 years. Why? Because, other than all the technical stuff everyone should know about the music business, people-skills is just as important in my opinion.
I attribute most of my success to a concept of constant and never ending improvement. This is a process that continually educates me in every area of my life. I believe that success can be studied and learned. I believe that all success leaves clues. It takes effort and discipline to constantly grow and learn but Don’t get me wrong. I am all for my artists creating remarkable products like great songs the pay off can me enormous. Let me give you a few things I regularly and production. I insist that every artist I practice to stay effective at what I do. To stay work with assembles a professional team current on the music industry I read a lot of of producers, writers, musicians, live event trade magazines like the one you are reading technicians, business managers, coaches and right now. I subscribe to numerous music creative marketing experts. I also understand industry blogs from people I respect. I attend the importance of developing a great live conferences and seminars that are relevant to show. But all of this creative work can be the entertainment business. I pick the brains sabotaged by people who do not understand of successful people in the industry whenever how to deal with people effectively. I get the chance. And I read lots and lots of books. Many of these books are technical industry and marketing books, but many more are books that enrich my life and give me the interpersonal skills needed to be an effective leader and negotiator.
It’s not enough to grow professionally. We also need to learn how to influence others well. Personal development is essential for managers and artists alike. Actually it’s important for everyone. In today’s world it is imperative that we know how to win friends and influence people. If you think that you
indie artists... consider using a producer MATTKEES.COM
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(Ringo Starr and his All Starr Band, David Lee Roth, Joe Satriani, Toto, James Taylor, Ray Charles, Brian Setzer Orchestra, Steve Lukather, Don Henly, Santana, Spinal Tap, Andy Summers...)
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only need to record and perform well on stage to achieve success you’ve got a lot of disappointment headed your way. Audiences and the industry today demand more than just music and performance. They want to know your heart - especially in Christian music ministry. If you don’t know how to win them over by how well you present your personal self you’ll likely lose them. And what about the industry side of the business? Those professional people with whom we all have to deal. They are certainly looking for remarkable performances but they are also human beings who are impacted by personal interaction with artists and managers. Great personal relationship building ability is essential for maximizing the potential for success. Remember the old adage, “you only get one chance to make a good first impression”? I think it should say, “you only get one chance to make a good presentation”. With every personal interaction we have we are building our reputation. Our reputation continues to work when we are not present. People with bad reputations don’t seem to last long in the music business. They are not welcome and they are not trusted. I’d rather have a good reputation. People will always trust you if you do. One of the most important lessons I learned early on in my career was how high the bar is set at the professional level. Most artists I know focus on creative elements and few even think about their personal development. Maybe that’s the clue to success you’ve been looking for. Maybe if you learned how to win more friends and influence more people your career would move to another level. It did for me. Mike Smith is a renowned artist manager who has spent over 30 years representing artist like Salvador, Jacki Valasquez, Denver and the Mile High Orchestra, Go Fish, Brad Stine and Chonda Pierce to name a few. When it comes to artist development, he is know as an outside the box thinker who has worked in all aspects of the entertainment industry.
Some Intervals and Fun Phrasings Last time we got together here we were going over descending patterns in three’s, four’s, and five’s, now let’s turn it around and work on ascending patterns moving up the scale. By using variations of ascending and descending patterns you can come up with some interesting and fun phrasings for your soloing while improving and expanding your technique. The more you work on and practice something like this on your guitar the sooner it will become second nature in your playing. Exp. #1 This is an ascending Bm Pentatonic in 3rds. You can hear players like Billy Gibbons from ZZ Top, Will McFarlane from Blues Counsel and Joe Bonamassa use patterns like this. Not only is this pattern a great exercise it
will add to your lick library too.
down increase your tempo and repeat.
Exp. #2 Starts with 2 pickup notes then descends in 2’s down the Bm pentatonic. A similar riff can be heard in the middle of Neal Coda: Turn your practice into a time of Worship. First Corinthians 10:31 says, “So Schon’s solo in the song Lights by Journey. whether you eat or drink, or whatever you do, Exp. #3 This is an A Dorian scale pattern do all to the glory of God”. The more we learn in intervals of 3rd’s don’t start too fast with and improve the gifts that God has given us this one, make sure you have it down then the deeper our Worship becomes. increase your tempo and repeat. Be sure to play this one in other positions on the neck. Exp. #4 This is the A Dorian in 4th’s that sounds cool, again don’t start this one too fast, try a variety of fingerings, you can use a one finger bar to fret the higher notes on the B and E strings as you move up and back down the pattern. Once you have your fingering
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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Cleaning Up The Stage by Bryan Duncan
I suffered through a pretty good band a few weeks ago. Great musicians. But there were these little quirks that made the presentation insufferable. For one, the singer had a nervous insecurity. He felt the need to shout “hallelujah” between comments consistently upon speaking between every song. It came off more like “turrets” than a true onset of the Holy Ghost from my perspective. My focus became so distracted as to not remember much else about the songs or the comments. So I thought maybe I ought to go back and review a few basic things about presenting music to an audience. Because even after years of doing concerts, I too, take little things for granted. It is not hard to get sloppy. There are very few listeners who will tell you what they found annoying. So we should check our routines from time to time, like any serious player would. Apologies are among the first annoyances that come to mind. Our insecurities come out from the moment we hit the stage. We are hyper aware of our fatigue or our voice not being in the best shape. But that kind of “self-focus” must be left in the wings. To be prepared is to be confident enough to set our self awareness aside in order to deliver what we want to give to others. An apology can look like humility, but it is basically asking the audience to give you something before you’ve given them anything. Try to remember that directions to the gig should include how to get on the stage effectively. Show a determination to consider your listeners.
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on stage, or anywhere else for that matter. Don’t over correct on this conversational dialog with a crowd. You can also develop “lounge disease”. Lounge singers are so used to people not paying attention that making eye contact is a waste of time. You don’t want a glazed over stare at the back of the auditorium either. That gives the impression you are just waiting for this whole show to be over. Even if you have to invent someone in an empty chair to sing to, make eye contact in a few directions. Singing to someone specifically keeps those lyrics you’ve sung a hundred times from coming out like stale crackers.
Once on stage, there is often a temptation to comment on the “turn out”. No matter what size of a crowd you are playing for, don’t discount them by speaking to the people who are not there. It makes the people who are, feel like maybe they made a bad choice for coming. This is not the time for determining the reason for empty seats. Besides concerts are more fun when the house lights are Finally, there’s one annoyance that is almost down. invisible to the audience. The negative impact is Granted, in some cases you may be forced to simply a subconscious impression about your overall acknowledge an inconvenience or a distraction but performance. It seems to be the last thing on our list keep it short and add a little humor. No one wants of rehearsals. It’s the transitions from one song to the to watch you get annoyed. Here’s where you have to next. Often, the most ignored part of a presentation, determine to focus on what the audience is receiving it can be the subtle difference between being considered good or exceptional. The creativity even at your own expense. is endless in this gap between songs. There are In extreme cases you might have to accept that this opportunities to highlight different instruments, is going to be a golden opportunity to demonstrate key changes, tempos and especially powerful words a Godly response to adversity. I’m sure it’s not what to add cohesion to the songs. Remember you are you had in mind for the evening but then again offering a gift to your new friends. Don’t forget the this is you focusing on you rather than the crowd. ribbon. And insulting the sound engineer or the sound company’s equipment is not what the audience has So let’s go out with a mindset “moment” before we set foot on stage. Bring a gift to give rather than a in mind to receive either. display of something you own. Believe me there’s a Stay focused on the audience. Keeping the people difference. See real people. There is an art to talking focused on creativity rather than technical difficulty to an audience like they are one close friend. It’s why might take even more creativity. I like meeting people before the concert as well. There is no need to tell the audience what they Then I’m aware of individuals. can clearly understand. Yes, we can all see that What an audience remembers most is how you something is not working. Better to redirect both made them feel. Find ways to be complimentary your attention and theirs by what I call a “change of to them. Your humility is best served as you plays at the line of scrimmage”. Always acknowledge others. Say something good about be prepared for a “Hail Mary” pass. where you are. Make introducing band members Every presenter from a stage should inspiring. Sometimes even acknowledging the hard have a back pocket compilation of work from the Sound man and the equipment techs, emergency alternates to present in especially when everything is not going well, will turn just such a situation because you a bad situation into a compelling demonstration of know it’s not the last time you will what your faith in Jesus produces. have the opportunity to play at the Smiling and laughter are contagious. But sometimes Fiasco. that will require a serious choice. The need for relief Then there is the artist who talks from everyone’s daily grind is bigger than your set more than they sing. I’ve watched list. It is a rarely acknowledged sacrifice to offer opening bands, given three songs, kindness in the face of irritations. And the strength turn it into a forty minute presentation do to that is absolutely supernatural. We have with an amalgam of all of the above the most wonderful position in this world to add annoyances. Do not make your sweetness to an often times bitter cup. Glorifying audience your therapist! And if you God is seen best in our attention to details. It is much have to explain every song you’ve the same way as he glorifies himself. written, I would say your songs aren’t written very well. Pick a song or two Bryan Duncan/ Singer / that might have an interesting side Songwriter/ author / note to it or a story that would be of Publisher. Radio Show host interest. But map it out before you for RadioRehab.com wander around an idea on stage. I Inducted into the Christian even suggest timing how long it takes you to say something specific. You music Hall of Fame in 2007. will see how easy it is for speaking to 40 years, 22 albums, Dove eclipse the length of three songs. Brief and Grammy awarded. comments are always more powerful www.bryanduncan.com
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PRODUCT REVIEW
Xkey Mobile MIDI Keyboard By Michael Hodge
For DJ’s and fans of Laptop recording and programing, Xkey is a portable lightweight USB MIDI Keyboard with some great features. It’s the latest offering from CME, A leading Chinese manufacturer with headquarters in Singapore. OUT OF THE BOX: This product looks just like an Apple product. The box is white, slim and lightweight. At 15 ¼ inches wide it is roughly the same size as my thin wireless Mac keyboard. In fact the Xkey weighs in at only 1.3lbs, that s less than my IPad. Holding everything together is a very thin frame (1/2 deep) made of brushed Aluminum with a black plastic base. It has the same finish as a Mac book, and rumored to be manufactured at one of the same factories. A cool bright orange one-meter micro to standard USB cable is also supplied. There is a small red LED power indicator on the back. The Keyboard has 25 full size plastic Chiclet” keys. The Black keys are slightly raised and smaller probably due to manufacturing issues. On the left side are six rubbery buttons. Two are for Octave up and down, one for Modulation, two more for Pitch Bend and one for Sustain. The buttons are pressure sensitive, which is a nice touch. No pun intended! IN USE: The Xkey is plug and play. The first thing I did was to download the Xkey application off the CME site for my Mac and IPad. It told me there was a firmware upgrade available so I did that. I tested it with a Mac book Pro and ProTools as well as Logic ProX and other misc programs, and they all saw it right away. I didn’t have a chance to test it with a Win machine, but I have no doubt it works just fine as plug and play. The keys do make a physical sound like a click when played, louder than a laptop and similar to a full sized keyboard. With the octave buttons you can play three octaves up and three octaves down. The keys are velocity sensitive and even support polyphonic after touch. I did some programming and quickly got used to the feel of the keyboard. The soft buttons on the left side are useful and though the sustain button takes a minute to adjust to it’s a brilliant idea. I opened up IvoryII and pulled up a Steinway
and laughed at how cool the after touch was. Pure fun! In Superior drummer the velocity sensitivity absolutely was “superior” to my other smallunnamed USB keyboard. APP SUPPORT: The free App Xkey Plus is pretty deep and has five pages of all the features you need for this product. When opened it tells you the serial number and firmware version of your unit. A button to check for updates is also on the same page. Each page gives customizable parameters and can also read and store what is already programmed into any Xkey. The Velocity Curves page has a number of curves and like all the App’s features are customizable and recallable. The MIDI assignment page has a ton of MIDI parameters and after touch control. The Sensitivity page has a unique feature where you can adjust the sensitivity of each individual or multiple keys differently. The Timing page has six advanced user settings all measured in milliseconds. This makes for a very professional application and is well suited for complex recallable customizations. There are twenty-two additional IOS Apps and many others for Mac & PC found on the CME website for Xkey at this time. Several are free and I’m sure many more will follow. I’m looking forward to checking them out. CONCLUSION: The Xkey is a wonderful product. At
Summer NAMM, the demo was impressive. It’s fun to watch a new product come to market that can help your work flow and become a part of your everyday world. At a street price of about $99.00, the Xkey is an affordable light versatile tool that will likely be a big hit. I recommend getting a case for it. Supernova makes one that sells for about $25.00. I noticed several vendors combining the Xkey with that case. The manufacturer is very confident of the durability and offers a two-year warrantee. This would be a great Christmas gift for any musician, and one that they will love. Someone please tell my wife! LOL! For more info go to: http://www.cme-pro.com Michael Hodge is a Producer, Writer, and Staff Musician at Lakewood Church in Houston Texas.
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SEP/OCT 2014
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CODA Aiming For Impact by Alex MacDougall
Not long ago I was visiting with a record label “A&R” (artists and repertoire) man. Referring to a new song that his company’s publishing arm had secured the copyright for, he enthusiastically proclaimed, “I think I can get this on (name of TV show) as “incidental” music, for 20 seconds or so”. He was giddy with excitement. The song had not even been released to the general public, and was in the beginning stages of being worked at radio. In other words, virtually no impact had been made upon the public by hearing this song. Incidental music, also referred to as an “underscore” or “background’ music, is used to help paint an overall sensory picture in a movie or television production. Its purpose is help create or reinforce a mood that is desired. It’s often somewhat “faceless”, and may even go completely unnoticed, especially when the music track (without vocals) is what is actually used.
music whose first purpose and goal is to be included as incidental music within a TV show should be appalling to any true artist. No wonder so many songs created today are so often discardable, and have such short lives as works of “art”. Whatever happened to crafting songs whose first purpose was to impact the culture and the church? There are certainly those who aim for this dynamic first. Matt Redman, Martin Smith, Stu G., Paul Baloche, Brenton Brown, Kathryn Scott, the Wickham brothers and Chris Tomlin, are just several writers that consistently hit their target. And when we dig back, we can cite Larry Norman, Keith Green, Bob Bennett, Kelly Willard, Terry Taylor, and others, who are/were wordsmiths of the highest caliber, affecting and impacting an innumerable amount of listeners. These folks have aimed for impact, not background.
SEP/OCT 2014
Letting the record label’s goal of making a quicker return on their investment in you, should not become your primary goal as an artist. Remember, when you write from the heart and write from experience, you will be doing things right! That’s the way art is supposed to work. Aim higher than simply being a part of the background, because incidental music should be incidental.
Alex is an Adjunct Professor at Dallas Baptist University, and currently serves as Managing Can you imagine Bob Dylan, Joni Mitchell, Director of Christ For The Johnny Cash, Bono, or Lennon and McCartney Nations Music. He has held the aiming for “incidental music” as the primary titles of VP Special Projects/EMI goal in their songwriting? Songwriters and Christian Music, Executive VP/ composers: set your sights higher! Aim for Maranatha! Music, and worked your craft to be listened to for a long time and as an advisor to several other don’t settle for anything less. Affect and impact labels as well. He has toured with many artists, and the world. If your work ends up being used as recorded on and produced, hundreds of projects.
Since my encounter with the “A&R” guy, I have learned that many songwriters are aiming towards that great hope of their music being used as incidental music. In fact, it’s their primary goal for the music! The sync royalties can be lucrative, and in a time of economic uncertainty and collapsing music sales, those cash royalty infusions would certainly be nice! incidental music, that’s great, but just don’t let that be your primary goal for the talent that But there is a fundamental problem with this you’ve been given and developed. The song thinking. The idea of a songwriter creating
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“For What It’s Worth”, written by Stephen Stills and recorded by Buffalo Springfield, is a great example of this. The song was FIRST a hit, and then impacted the culture, before it was ever used as background music. It remains today an often-used incidental music bed used in movies and television.
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