Worship Musician! Magazine - Mar/Apr 2015

Carrying the WorshipMob Fire to Every Heart Record Reviews

Passion l Matt Maher l Vertical Worship Band l Aaron Gillespie l Third Day l

Product Review

3rd Power British Dream MKII

MAR/APR 2015 Volume 13, Issue 2 03

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US $5.95 Can $6.95

The Semi-Transparent Ramblings of a Worship Leader Who Got Fired

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Tedd T. Nashville-based Tedd T. (Mutemath, Newsboys, David Crowder Band) is not the type of producer who’s content to sit behind the console all day. He prefers collaborating with and inspiring artists with new approaches and fresh perspectives to music making. Tedd tells us about his process and what it’s like working on the road with For King & Country:

What is it like to record, literally, on the road?

The great thing about recording on the bus is that every day you wake up in a different city. Plus, you also have access to whatever rooms and venues you find. On the bus, I record with an Apollo DUO and a laptop with a solid-state drive. Mainly, what you’re trying to do is to capture inspiration. The DUO is so compact and does such a great job; it’s fantastic. We’d sit out there on the bus and use a little Akai controller keyboard. And, even confined to two octaves on the keyboard, it’s actually cool because it makes you work really hard on what it is that you’re playing. Plus, when you’re on the road, you’re more in the mindset of creating something great, with less of the pressure you might feel when you go to a big, fancy studio and you know you have to “nail it.”

Today, we’re setting up in a church to record. They have a fantastic old upright and an old M3/Leslie. I wondered if it would work, and sure enough, we got it fired up.

Even with a broken key, it sounded great. The church has a soundproofed room for newborns, so we’re setting up in there. That’s a nice surprise. We moved the upright and the M3 in there, and the church has some nice mics they’ve been gracious enough to let us use. So much of the adventure happens when you walk into a new scenario where there are things that inspire art.

Do you have a “go-to” mic you’re currently using?

The main one is the SM7B. It’s very focused. We also used a Peluso tube mic.

Tell us about the software you use.

I record everything in Logic. I use a lot of soft synths in Logic. I start with the presets and do a lot of modifying to get the sounds we’re looking for. I’ve got a lot of Logic-based sounds that we used for the record. I use Absynth a lot; I think it sounds really interesting. It’s great for creating textures and backgrounds. I also use Native Instruments Ultimate, and I love the iZotope stuff.

And I think Auto-Tune 7 is fantastic.

for

KING

&

H o n e s t y, F a i t h , a n d F a m i l y The name is also the mission statement: “It’s an old English battle cry, as they went to fight for what they believed and to stand for something greater than themselves,” says For King & Country’s Joel Smallbone.

“For us, doing music for people and for God is one of the main underlying themes of the band.” And the Nashville-based group, fronted by Joel and his brother Luke, takes their mission statement seriously. By turns exultant, introspective, atmospheric, and immediate, For King & Country’s uplifting music is also incredibly honest and authentic. The brothers spent their youth in Australia and cut their musical teeth in the U.S., eventually backing up their sister, Rebecca St. James, on tour. By 2007, they were making musical waves of their own, and by 2013, they had released two well-received albums and received a Dove Award. The band has played hundreds of shows since then — and they’re not slowing down. Their latest, Run Wild. Live Free. Love Strong., features their strongest material yet. During a stop on the band’s fall 2014 tour, Joel spoke with us about the importance of family, respect in relationships, recording on the bus, and the always-present role of faith in the band’s music.

How did you and Luke get interested in music?

Music chose us, I think, more than we chose music. We grew up in a very musical family. Our dad, who is our manager now, was a concert promoter in Australia.

He brought over a lot of artists in the ’80s, including Amy Grant. One of my earliest memories in Sydney was looking at vinyl records by my favorite bands or going to shows and plugging my ears. I was a t-shirt model at four years old, standing onstage with the shirt draping all the way to the floor. I remember there were always bands and musicians coming through the house. It was also on one of those tours that things didn’t go as well as projected, and my dad lost a quarter of a million dollars — which ultimately led to us having to sell the house to pay the debt. For years, he’d felt a prompting to move to the U.S., and he found some work over here in the music industry in Nashville.

Your move to the States was tumultuous.

It was after we got there that he actually lost his job.

So, it was to that point about a month in, and we were

stuck living in a furniture-less house without a car. And he was just trying to find any kind of semblance of work he could. We really knit together during that time. As a family, we raked leaves, we mowed lawns, cleaned houses along with our oldest sister, Rebecca. We really worked as a team.

I remember well: we’d sit in a circle in the living room, and we would just pray. We had nowhere to turn other than upward. We saw pretty miraculous things happen.

The first Thanksgiving we were here, we found out about a family who invited pretty much anyone who wanted to join to Thanksgiving dinner. At the end of the night, the father of the house walked up to my mum and said, “I feel like God is prompting me to give you the keys to our minivan.” Also, someone anonymously paid for our little sister to be born in a hospital. The list goes on — just amazing examples of people giving and serving.

Do you recall particular musical influences?

For Luke, growing up, bands like Switchfoot were very influential. Classic U2 was a big influence on me. I went to a few U2 shows during their 360 tour, and they segued from “Amazing Grace” into “Where the Streets Have No Name.” I was just sitting there flabbergasted at how much of a worship service it felt like, you know? There are other layers of influences too; Luke is a pretty avid reader, and we’ve both been major C. S. Lewis fans since we were kids, so hopefully some of that has rubbed off lyrically. I also love theatrical and cinematic scores.

When did you and Luke begin playing live?

Our oldest sister began traveling as a musician. Dad needed cheap labor, so he put us brothers to work as the crew: lighting, sound, background vocals. That was when Luke and I really began to see the impact of music. It was toward the end of Rebecca’s career that we started kind of leaning in on our own. We ended up writing over a hundred songs and began doing showcases for labels — and got shut down more times than I want to count.

Then, fast-forward to 2009, a gentleman by the name of Mark Bright, who’s primarily a country producer and runs a publishing company, took over our label.

COUNTRY Mark produced Carrie Underwood and Reba McEntire and a lot of country icons. He was a real champion for us and signed us, and we recorded some material under his leadership.

How do you approach instrumentation?

Neither of us is classically trained. Luke grew up very rhythmic, and I’d say I grew up more melodic. I’d have a laptop and a little keyboard for the demos we’d cook up. I’d like to say I could “play” everything without playing anything. And now, live, Luke and I don’t do any of the heavy lifting, instrumentally. Luke may play some percussion, and I might play a bit on the harmonium or on a few various drums or tubular bells onstage. But it’s all a very ancillary thing that lets us focus on the vocals and the melodies and the message.

Tell us about your recording process.

We actually have a producer [Tedd T.] out on the road with us right now. We worked with him very closely on several songs on our last album. It’s very collaborative — in sort of a “cyber” way. He and I have a studio setup in the back of the tour bus, with a laptop MIDI controller and a microphone. We’ll build a very rough skeleton of the song and send an MP3 out to the band. Then, they will, respectively, set up their own laptops and will kind of layer in other sounds. Sometimes, we’ll even go into the venue prior to the show and mic up an instrument to get a track.

So, you’re assembling both demos and the final product at the same time?

Yes. In our opinion, your ears don’t lie. Technical perfection does not match the beauty of a really heartfelt piece. I think basically all the vocals on “Run Wild” were sung on the bus. It’s not a pristine, clean kind of thing, but what we went for was “heart over art.” If it feels right, go. Being so busy and being on tour allowed us to discover this recording process.

What about the centrality of faith in your songwriting?

I find that it’s hard to separate the song — regardless of its theme — from our faith. We might be writing about someone who is going through a hard time. In fact, Luke was very ill last year. We wrote a couple of songs walking through, almost in journal form, his illness. Inside the song, you can see the spiritual ramifications.

And on a song like “Shoulders” from the new album, it’s almost a prayer. Almost a psalm, if you will. Or on “Fix My Eyes,” the lead single, that song was very much built around wanting to be

a good human being and contributing to society society, but above all of those things, we want to fix our eyes on Heaven and maintain that focus. Because keeping that focus holds us in good stead — in not making it about ourselves.

Familyy is such a strong element of the band.

I honestly feel that, without my wife and Luke’s wife, Courtney and their son [and they veryy recently had a second son], the strength of the group would be dramatically decreased. YYou get a balance and a purpose.

For King & Country’s latest album, Run Wild. Live Free. Love Strong., is available now.

To find out more, go to forKingandCountry.com!

family. I’ve mentioned that The heartbeat of For King & Countryy is family brother, does a lot of the our dad manages us. Daniel, my oldest brother lighting and design. Brother Ben does any video work that we do.

Mom is out on the road with us right now as well. But even beyond the blood family, the guys onstage with us and the label... there’s a big sense of family. espect and honor in You’ve mentioned the importance of respect relationships.

Our parents have been married for almost 40 years, and we’re a really strongly knit family. And borne out of that was the idea of saying to young ladies — and also to men, but especially to girls — don’tt let anyone disrespect you in a relationship. Don’t re worth; know that you ever settle for second best. Know what you’re matter. We say to guys that, hey, it’ss time to step up. Chivalry is alive and well. You might think that we’dd get people who scoff, but the whelming positivity positivity. response has been one of overwhelming Your producers (Tedd T., Seth Mosley, and Matt Hales) ar are ecording ecor ding process. very collaborative with you in the recording I can’t speak more highly of them. One of the things in the creative process that I find most stifling is a “we can’t” attitude — versus a “we can” or a “let’s try.” And these guys are so willing to think outside the box... I hesitate to say even that, because I almost think they don’t acknowledge the box. Their approach is music is music; let’s have fun and be creative.

What is next for you and the band?

After this tour, we’llll do something we’ve never done as a band, which is to take off about a month. Then, we’ll be on an arena tour early in 2015. Wee will be contributing a song to an upcoming television series, and there’ss talk about working on music for a film re also thinking about a Christmas EP that’s shooting this year. We’re EP, and there will be another tour in the fall of 2015.

Given this approach to recording, how do you manage to get such a cohesive sound?

I attribute a lot of that to the guys knowing what they want the music to become. They have a lot of musical input on the parts, and they know what they like. They’re very aware of what’s “them,” and they’re mindful of what’s going on track-wise and arrangement-wise.

!

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Editor’s Corner

The Best Night...

As many of you regular readers know, during the Winter NAMM Show (that colossal convention with 1,500 exhibitors and over 95,000 participants) Worship Musician! magazine co-produces the Night of Worship concert on Thursday night at the Hilton Hotel in Anaheim (directly next door to the large convention center there across the street from Disneyland’s California Adventure theme park). Our partners are the Worship Arts Technology Summit folks directed by Mike Overlin of Yamaha. WATS consists of Yamaha, YCAS (Yamaha’s Commercial Audio Systems group), Shure mics, Elite Core and Elation Lighting. That sounds like a good group of folks right there to partner with don’t you think?

This was our 6th year of producing the event and I have to say that even though they are always really good, this particular one just felt better than all the rest. Some might reason that it felt like the best because it was our largest crowd yet. The Pacific Ballroom was set up with about 1,500 chairs again and a large stage with at least 60 feet of screens flanking both sides (it looked remarkable). At 15 minutes before the concert started the room already was the biggest crowd we had ever had. The middle was full and the sides were more than ½ filled. By 15 minutes after the concert was underway I was directing traffic to fill up the last seats on the far left and right sides. We held out for another 15 minutes and then there ended up being about 50 people just standing along the back wall.

It really was SRO (Standing Room Only) at that point. Amazing!

We all know it just feels better with a full house but I wouldn’t go as far as to say that was the only reason the Night of Worship felt so special to me.

The kicker for me was that we had four very different music acts that night and each one of them ministered in such a different way. We really are all made to be unique by the Lord, and our artists on stage displayed that perfectly.

First up was Bob Bennett playing the pre-concert music. His self-deprecating humor and singer/songwriter friendliness came through loud and clear. He garnered the crowd’s attention; they settled down right away to listen to Bob and Continued on page 45

MAR/APR 2015

Features 6 Product Review

By Michael Hodge 3rd Power British Dream MKII 8 From the Drummer’s Perspective

By Carl Albrecht Changing Your Drum Kit to Stir Up Creativity 10 Keyboard

By Ed Kerr Play The Changes 13 Bass

By Gary Lunn Bass Tone and Effects More Tone, Fewer Effects

Adolph Agency Direct Line: 253.445.1973 Fax: 888.391.4440 Website: www.worshipmusicianmagazine.com Publisher/Editor: Bruce Adolph bruce@christianmusician.com Vice President: Judy Adolph Customer Service: Brian Felix, 888.391.4440 x1 brianfelix@christianmusician.com Design Layout & Production: Matt Kees

34 Percussion

By Mark Shelton Tambourine Primer Part 2: The Basic Ins and Outs of Shake 36 Cut-Capo

By Mitch Bohannon Capo Etiquette and the Worship Musician 38 Guitar Grab Bag

By Jeffrey B. Scott Look Around 40 Camera

By Craig Kelly Exposures, Zebras and You

15 Vocals

By Sheri Gould “Let It Go”

42 Leading Worship For Small Groups

by Rick Muchow

17 Equipping the Church

By Chuck Page Launching Wireless Internet in your Church

44 Product Review

By Mitch Bohannon Dream Foot

24 Songchart “Satisfy” WorshipMob

by Garett, Chynoweth, Jarrod Gipson, Nico Perez, Gina Milne

50 A Few Moments With...

Brad Blythe NAMM 2015

28 Record Reviews

By Gerod Bass • Passion • Matt Maher • Vertical Worship Band • Aaron Gillespie • Third Day 31 The Band

By Tom Lane No Competition

4227 S. Meridian Suite C-275 Puyallup, Washington 98373-5963

vol. 13, issue 2

32 FOH Engineer

By Kent Morris Alligator Bunny: The Art of a Thick Skin and a Soft Heart

Interview 18 Carrying the WorshipMob Fire to Every Heart

by Aimee Herd

Open Letter 47 What Do You Have To Say? The Semi-Transparent Ramblings of a Worship Leader Who Got Fired

by Anonymous

Director of Advertising: Steve Sattler steve@creativesalesresource.com 626-836-3106 ©2015 Worship Musician! is published bi-monthly by The Adolph Agency, Inc.

WORSHIPMUSICIANMAGAZINE.COM MAR/APR 2015

5

Product Review

By Michael Hodge

3rd Power British Dream MKII

This month I’m excited to share my review of the new British Dream Amplifier MKII. This handwired point-to-point boutique amp is one of nearly half a dozen models built right here in down town Nashville by Jamie Scott and his team at 3RD Power Amplification. What sets it apart from most guitar amps is that it’s a two-channel amp emulating the two most coveted British amps; The vintage VOX AC 30 and the ’68 Marshall Plexi.

OUT OF THE BOX:

road I’ve often seen amps with the hanging ones somewhat loose.

There are two channels with a number of voicing options. The AC Channel has one input, a Volume knob and a Top Cut knob typical of a VOX. There is a Mid Contour switch that changes the sound from a classic Vintage AC30 to what sounds to me like the mid forward tone like a newer Matchless Amp with more breakup

Weighing in at 29lbs, the amp ships in a well-packed protective box. Jamie was confident the amp would safely arrive in one piece, and that was my experience. 3RD Power amps are covered in Black or Ivory Tolex with piping trim, and for an additional $30.00 there are a bunch of vibey color options like Surf Green, Fawn, and Red. The cabinet and face plate workmanship are spot on. For this review we’re looking at a British Dream MKII, a hand-wired Class AB Amp head. At 24” wide x 10.5” tall x 9.33” deep, it’s size is similar to a typical 50w Marshall. Also included is a hand wired pedal sized A/B box so you can access either channel remotely.

UNDER THE HOOD: The first thing I noticed that was different from the original British Dream is that the Chassis has been turned upside down like a Marshall, and the front panel layout has changed. This makes sense to me that the tubes are now upright not hanging upside down. I’ve never had one fall out, but on the

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MAR/APR 2015 WORSHIPMUSICIANMAGAZINE.COM

and growl. In the down position, there is more headroom in case your Pedal board has a blazing hot signal, or you want a super chimey clean sound. I’m a fan of traditional and modern amp tones and both settings of the Mid Contour switch are killer. There is a rotary preamp Voicing switch with four positions. This gives the option of Normal, Brilliance (which doesn’t change the lows but adds sparkle), Top Boost 1 (adds Hi end and cuts the lows a bit), and a Top Boost 2 (which is super mid-rangy with amazing sparkle on top). Using the Top Cut Knob and dialing back some Hi end these are all very musical sounding options. I’m an AC 30 fan and the British Dream MKII has everything my vintage 1962 AC30 Copper Top w/Top Boost head has and much more. I must say, I am surprised at how accurate the AC tones are coming from EL34s and not the more typical EL84s but Jamie somehow captured the magic while eliminating the noise, microphonics and heat issues associated with the latter. Maybe I shouldn’t be surprised as it turns out, Jamie tells me the original Fawn 1959 Vox AC30 ran on EL34s! The only thing missing is the interesting waxy smell that my vintage amp gives off after about 20 minutes!

The PLEXI channel is based on a 1968 Marshall Plexi Super Lead. It may be the best-loved amp Marshall ever came up with. Again to my ears it sounds and feels like a great vintage Plexi without all the issues that come with a 40+ year old amplifier. The Plexi channel has one input, with Volume, Presence, Bass, Middle, and Treble, knobs. This channel responds just like a classic Marshall and if you turn the Gain Switch to the up position, it responds more like a JCM 800.

Next to the Presence Knob is the Patent Pending Hybrid-Master knob. This is a circuit Jamie has come up with that gives more flexibility and works somewhat different than a typical Master Volume. The Output Mode Switch gives you the option of STAGE –(100% output or roughly 50 Watts), and STUDIO –(around 20% output roughly 12 watts). Both together allow you to separately dial in just the right volume for your specific setting while letting you get the front end of the Amp responding the way you like. The Amp is powered by two Mullard Reissue EL34’s. Preamp tubes include a JJ EF806 Pentode, two JJ 12AX7s and a Sovtek 12 AX7LPS Phase Inverter. The power supply features a GZ34 Rectifier tube as well as a Diode Rectifier insert under control of a toggle switch located in the front panel.

When operating the amp in the tube rectifier mode it sounded and felt noticeably vintage with just the right amount of compression and sag. With the diode rectifier selected, the amp felt noticeably quick with a faster response that seemed right at home when playing through the Plexi channel.

The BACK PANEL has a typical IEC AC input socket. The FX LOOP has a pretty hot signal. It’s perfect for Rack gear or some of the newer pedals that can take that kind of level, but I wouldn’t recommend it with vintage pedals unless you add a buffering device. It’s a nice feature especially if you Continued on page 49

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From the Drummer’s Perspective

By Carl Albrecht

Changing Your Drum Kit to Stir Up Creativity It is interesting how different it can feel when It’s OK to play the same drum kit for the sake of consistency. Normally I play a typical 5-piece kit switching between a 5-piece kit and a 4-piece with an extra side snare just for added color and set up. Just loosing one tom and moving the ride back beat options. That set up is shown in this cymbal over and down a bit can really make me aware of musical photo. decisions I have to The sizes are a 22” make. And that’s kick; 10” and 12” rack a good thing. toms; a 16” floor tom; I recommend a 14 x 5 maple snare doing this on (*or optional 14 x 7 occasion just to brass snare); and a 13 challenge your x 4 brass piccolo snare musical creativity. on the side. I also use With any set up a typical cymbal set a drummer can up of hi-hats, a ride, overplay or not two crashes, and give the music sometimes various what it needs others for color. But I (under-playing). often find that changing Although, the the set up inspires me latter is not usually the problem for drummers. J and keeps me on my toes. Yes, in any situation Of course that is a very subjective thing. That’s the music rules and I’m adapting to what a why a musician/drummer has to be listening to producer or artist wants to hear. This first picture what a leader is asking for or how they react to shows the drum kit configuration I use most often what you’re doing. It’s always a good idea to in the studio and for most live recordings. ask if what you’re playing is working for them.

Of course there are also many situations where That’s your job.

I will only use 2 toms and no extra cymbals.

For an extreme change I’ve lately played events When I’m working with Paul Baloche he likes where I play the acoustic kit for one set and then me to keep it simple and opened up. In fact if switch to a total digital set up for the next. I’m the band sees three toms at a venue they’ll tease not doing this at Paul Baloche’s events, but at the me and say, “Are you really going to hit all those Worship Arts Technology Summit conferences it toms?” LOL (Laughing Out Loud). On most of the is part of the training workshops we’re doing. recent recordings this is the only type of set up www.gotowats.com I’ll use with Paul. I will adjust tuning and muffling on the kick and toms, and maybe switch snares Yes, I do I like playing this kit. The Yamaha according to the music. And forget using any DTX digital drums have really made the quantum splash or china cymbals. Those are not part of leap in electronic drum technology. It’s still not the sound that Paul is looking for right now. So an acoustic drum kit for sure, but it’s a great option when digital drums are a must. Creatively here’s a shot of that set up. speaking it’s almost overwhelming how many options I have with this kind of set up. Literally thousands of sounds and

The extra cymbal low over the floor tom was just me experimenting with the new Heartbeat cymbals I’ve been playing. I wanted to hear the tone of a Classic series 18” crash compared to the Custom series I’ve been trying out.

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MAR/APR 2015 WORSHIPMUSICIANMAGAZINE.COM

variations are available at the turn of a knob. But I still have to remember to give the music what it needs. When I prep songs for an event on the DTX drums I try to find the most realistic sounds I can that match recordings or feel good in a particular auditorium. This makes being friends with the engineer very important. Ask how the drums sound in the mix and allow positive constructive feedback from them. Fortunately many of the drum kit presets in the DTX series work perfectly without any tweaking. I have to say that’s the first time that has happened with digital drums and me.

Now… for something COMPLETELY different!

An “unplugged” kind of kit.

That’s it: A kick; snare; floor tom; ride cymbal; crash cymbal; hi-hats; and a bunch of percussion toys. You can see that the singers have chairs just in front of me. I’m playing very soft in this setting.

A small church service or coffee house demands that you adjust. I like to make the radical switch to something small for situations that call for it. Sometimes I’ll just play a shaker in one hand and the kit with Blasticks or Hotrods. I listen carefully to be sure my volume is softer than the piano, guitar, vocals and any other instruments that are in the ensemble. Balance and musicality in small venues is a huge challenge. Listen carefully. Be musical! Be solid!

One thing I’ve been doing lately is recording musical soundtracks and spontaneous moments of worship in my studio. I open my recording software, arm 16 tracks of drums including overheads and room mikes, and hit record. I’ve got my full kit set up with a 31” concert bass drum as a resonator standing in front of the kit. I sometimes just hit it as I’m walking around the kit… There are lots of percussion instruments set up around the Continued on page 48

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Keyboard

By Ed Kerr

PlayPlay The Changes The Changes For years I’ve taught in worship seminars around the world. In these seminars I might have an hour or two, maybe three, to of the Forcommunicate years I’ve taught some in worship seminars around the world.

In these seminars essential concepts of worship musicianship with For years I’ve taught in worship seminars aroundI might have an hour or two, maybe three, to comFor I’ve taught inother worship seminars around keyboard and worship the years world.players In these seminars I might have anconcepts hour of municate some of theteam essential the world.

In these seminars I might have an of hour members. worship musicianship with keyboard players or two, maybe three, to communicate some the other worship team some members. or two, maybe three,and communicate of the essential concepts oftoworship musicianship with Now I’mof serving asteam Director of Worship essential concepts of worship musicianship with Now I’m serving Director Worship Studies at keyboard playersasand other worship Studies at worship The Church King’steam University/Gateway keyboard players and other The King’s University/Gateway in Dallas, members.

Church in Dallas, Texas. Rather than having members.

Texas.

Rather than ahaving a few hours spendseminar few hours to spend withtoworship attendees, I have two to four years to at spend with worship seminar attendees, I have two to four Now I’m serving as Director of Worship Studies with students in our various degree programs.

Now I’m serving as Director Studies at years to spend with studentsofinWorship our various degree The King’s University/Gateway Church in Dallas, One of the concepts that has presented itself The King’s University/Gateway Dallas, programs.

One of the concepts that hasin presented Texas.

Rather than having hours to spend most often ain few myChurch university classes is my title for this article, “Play The Changes”.

Texas.

Rather than having a few hours to itself most often in my university classes isspend my with worship seminar attendees, I have two to title four with worship seminar attendees, I have two to four for this article, “Play The Changes”.

This concept addresses one of the most years to spend with students in our various degree common problems keyboard players have, years to spend with students in our various degree programs. One of the concepts that has presented overplaying. Though any member of a worprograms. ofinthe that hasinpresented This addresses onecan of the most common itselfconcept most One often my university classes ismymy title shipconcepts team overplay, experience keyboard players do this most often, itself most often“Play in my university is my titleespeproblems keyboard players have,classes overplaying. for this article, The Changes”. they’re classically trained pianists, for this article, “Playcially The Though any member of aifChanges”. worship team can like I am. When you consider that so many overplay, in my experience keyboard players do This concept addresses one the most common recordings ofof modern worship songs are dominated by the acoustic orcommon electric guitar This concept addresses one of most this most often, especially if have, they’re classically problems keyboard players overplaying. players definitelythat need to problems keyboard players have,you overplaying. trained likeparts, I am.keyboard When consider Thoughpianists, any member worship team can findofaaway to create parts that contribute Though a worship team can do so manyany recordings ofofmodern worship songs are overplay, in member my experience keyboard players well. overplay, myacoustic experience players dominated by or electric guitar parts, this most in often, especially ifkeyboard they’re classically “Play the changes” has provendouseful to this mostpianists, often, especially they’re classically keyboard players definitely need to find to me whenif I’m playing on aa way worship team, trained like I am.

When you consider that and I’ve heard after example of this trained pianists, Iofam.

When you consider that create parts that like contribute well.example so many recordings modern worship songs are concept being utilized on recordings. And, so many recordings of modern worship songs are dominated by acoustic orhere’s electric guitar parts, finally, what the concept means. dominated by acoustic or electric guitar parts, “Play the changes” has proven useful to me when keyboard players definitely todetermine find a way If you’re need trying to how to much or keyboard players definitely toafind a“play waythe tochangI’m playing onthat a worship team, I’ve create parts contribute well. how little toneed playand in song,heard es”. Just the chords. being Take “Oceans”, for create parts that contribute well. example after example of play this concept example. Here are a few lines of the first utilized onchanges” recordings. finally, here’s what the “Play the hasAnd, proven useful to me when verse, with chords.

“Play themeans. changes” has proven to heard me when concept I’m playing on a worship team, useful and I’ve I’m playing on aexample worshipofteam, and I’vebeing heard example after this concept Bm A/C# D example after example of this concept being If you’re trying to determine how much or how little utilized on recordings. And, what the You callfinally, me out here’s up - on the water utilized on recordings.

And, finally, here’s what the to play in a song, “play the changes”.

Just play concept means.

A G concept means. chords. Take “Oceans”, example.

Here The for great un- known, whereare feetamay fail few lines trying of the to first verse, with chords.

If you’re determine how much or how little Iftoyou’re to determine how much orsound, how little play intrying a song, “play the changes”.

Just playan the If you’re using a piano infinite to play inTake a song, “play the Just Bm A/C# D number options present themselves chords.

“Oceans”, forofchanges”. example.

Hereplay are the a as ways you might play thisHere verse.are For example, chords.

Take “Oceans”, forthe example. a call out on water fewYou lines of me the firstupverse, with chords. could use this commonly-heard piano few lines of theAfirst you verse, with chords.

G figure, where an up/down 8th note pattern The where repeats: Bm great un- known, A/C# feet D may fail BmYou call me out up- A/C# on theDwater You call mea up- sound, on the water If you’re using piano an infinite Aout G number of G fail options present themselves asfeet ways you might play The great un- Aknown, where may The verse. great unknown, where feet may fail this For example, you could use this commonly-heard piano sound, figure, where an up/down If you’re using a piano an infinite number of th note pattern repeats: If you’re using a piano sound, an infinite of 8options present themselves as ways younumber might play options present themselves waysuse youthis might play this verse.

For example, youascould this verse. For example, you could useanthis commonly-heard piano figure, where up/down 10 MAR/APRpiano 2015 WORSHIPMUSICIANMAGAZINE.COM commonly-heard figure, where an up/down 8th note pattern repeats: th 8 note pattern repeats:

Play The Changes Play The Changes

Also often heard is a piano part with a quarter note pulse: Also heard a piano part with anote quarter Also often often heard is aispiano part with a quarter pulse: note Also often heard is a piano part with a quarter note pulse: pulse: It’s quite apparent that this second example is more restrained that the first and could serve as a good example the “less It’s quite of apparent that is thismore” secondprinciple. example is Still, more there’s restrained aIt’s more restrained part possible, and it’s what’s that quite the firstapparent and could that servethis as asecond good example of theis“less is example more more” principle.

Still, aand more restrained partas possible, It’s quite that this second example more heard on apparent the original recording of “Oceans”.

In it, and restrained that thethere’s first could serve ais good it’s what’s heard on the original recording of “Oceans”. In it, the restrained the first could serve as a good the keyboard player simply “plays the changes”. example ofthat the “less is and more” principle.

Still, there’s keyboard player simply “plays the changes”. example of the “less is more” principle. there’s a more restrained part possible, and it’sStill, what’s aheard moreon restrained partrecording possible,of and it’s what’s the original “Oceans”.

In it, heard on the original recording of “Oceans”.

In it, the keyboard player simply “plays the changes”. the keyboard player simply “plays the changes”.

It couldn’t be more apparent how sparse this example is. The chord changes are be played.

That’s it. No repeated notes within It couldn’t more apparent how sparse this a measure.

Only the changes.

example is. The chord changes are played. That’s present these 3 written examples to you with Only a challenge. it.I No repeated notesout within a measure. the How often do you only play the changes? Are most of the piano parts you changes.

It couldn’t more apparent how thisshown, or full play fairly busybe with 8th note activity, like the sparse first example of pulsed quarter notes likeapparent the changes secondhow example?

If so, this try modeling Itexample couldn’t beThe more sparse is. chord are played.

That’s your piano parts is. after the 3third example, the one from the “Oceans” example The chord changes are played.

That’s Iing. present these written out examples to you withrecorda it. No notes within a measure. Only the Playrepeated the changes. it.

No repeated notes within a measure.

Only the challenge.

How often do you only play the changes.

I stress this with my students and want to stress it with you here, bechanges. changes? most ofisthe piano you cause playingAre the changes a great wayparts to build in play momentum and note likefirstthe first fairly busy with 83thwritten dynamics to these arrangements youactivity, present.

By choosing play avery I present out examples to youtowith sparse partsshown, you have the laterquarter to create busier parts, Ichallenge. present these 3often written examples to you with a as example or fullpossibility ofout pulsed notes like How do you only play the the “Oceans” pianist does in the repeats of the bridge. There, pulsing challenge.

How often you play you the the second example?

Ifgreat so, tryonly modeling your piano changes? ofdo the piano parts play chords on eachAre 8th most note add energy, energy that would mean less th example, changes?

Are most of the piano parts you play parts after the third the one from the had that activity been heard sooner. fairly busy with 8 note activity, like the first note activity, like the See first fairly busy with 8thor “Oceans” recording.

Play the changes.

Analyze recordings and analyze your playing. how often example shown, full of pulsed quarter notes like you hear “play the changes” illustrated and how often incorporate it example shown, or full of pulsed quarter notes like the second example? If so, try modeling you your piano yourself. second example?

If so, tryand modeling Ithe stress thisthe withthird my example, students wantfrom toyour stress it parts after the one thepiano parts after the third example, the one from the with you here, because playing the changes is a “Oceans” recording.

Play the changes.

Ed Kerr is Director Of Worship Studies at The King’s “Oceans” the changes. great way recording. to build ininPlay momentum to University/Gateway Church Dallas, TX. Heand has adynamics Master’s arrangements you present.

By first choosing to Degree in piano performance, has written many songs I stress this with my students and want to stressplay it published by Integrity Music and teaches aspossibility awant clinician Iwith stress this with my students and to with stress very sparse parts you have the later you here, because playing the changes is to ait Yamaha and Paul parts, Baloche.

Hethe plays Yamaha’s motif xf8.does with here, because playing the changes is atoin create busier “Oceans” pianist greatyou way to build inas momentum and dynamics Visit Ed online - www.kerrtunes.com great way toofbuild inpresent. momentum and dynamics the repeats the There, pulsing chords on arrangements youbridge.

By first choosing toto play arrangements yougreat present.

By choosing to play add energy, energy thatlater would each 8th noteparts very sparse you have thefirst possibility to very sparse parts you the possibility later to in mean less had that activity been heard sooner. create busier parts, ashave the “Oceans” pianist does create busier parts, as the “Oceans” pianist does in the repeats of the bridge. There, pulsing chords on th recordings the repeats of the bridge.

There, pulsing chords on Analyze and analyze your playing.

See each 8 note add great energy, energy that would th note add great energy, energy that would each 8less how often you hear “play thebeen changes” mean had that activity heardillustrated sooner. mean less had you thatincorporate activity been heard sooner. and how often it yourself.

Analyze recordings and analyze your playing. See 1

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Bass

By Gary Lunn

Bass Tone and Effects More Tone, Fewer Effects When I first got started doing live gigs and recording sessions there was much experimenting with gear going on that I really was not “equipped” to deal with properly. Of course, being the excitable, starry-eyed youngster that I was, I managed to buy all of the faddish, unnecessary stomp boxes and rack gear that I could afford. Eventually, after chaining all of these noisy gizmos together in a hundred different ways, I managed to completely destroy my own concept of what MY SOUND should be. Years later I would emerge with the slogan, “less is more,” especially when it comes to bass guitar.

I learned that the more stuff you have in your signal chain, the noisier your sound is going to be. Also, it WILL be colored (take on certain characteristics of the gear you’re running through), and not always in a desirable fashion. It was a valuable lesson learned. I hope that you can pick up on a few things regarding signal to noise ratio, good gear with good components, etc. Read books, articles, and ask a lot of questions. The information that you gather will come in handy later on. I will offer you my opinions (they are my opinions, but they work for me).

is not necessary beyond what you may have built in to your bass. For instance, the Teegarden Audio Fatboy Tube D.I. is very capable of satisfying that particular itch.

For around $700, it has replaced many a $7000 vintage audio input chain on several hit records. I own one myself and I can’t say enough good things about it.

Other honorable mentions are the Radial D.I., the Sadowsky Bass Preamp/D.I., or any passive direct box with a Jenson or Lundhal transformer in it. You can’t go wrong with any of those suggestions. You will just have to try them out for yourself.

Always keep in mind that everybody has their own unique sounding set of fingers so you have to get what’s right for you.

The EQ units available to you depend on your budget (of course), but you’d be surprised at what you can do with the simplest of pre-amp/eq units. These days you don’t have to spend thousands of dollars for a Neve/API/ pre-amp/eq to get a professional, quiet, “vintage” tone.

One suggestion would be the JHS Colour Box pedal. These boxes are becoming very popular because of their value and the convenience they offer in such a small package. They sound very similar to a vintage Neve console channel… with EQ! It also has multiple gain stages that you can adjust to achieve overdrive effects.

There are several other similar, fairly inexpensive, stomp-box type pre-amp/ EQ units that are all worth trying out, like the Aguilar Tone Hammer, the Radial Bassbone, and the (previously mentioned) Sadowsky Bass Preamp/D.I. The Wunder Audio Cobalt mic pre is killer for bass too.

Some of the more “fad” oriented effects for bass are chorus, delay, phase shifting, flanging, wah-wah, and any other kind of effect that changes the bass from a fundamental backbone type instrument to a “look what I can do” thing. The two main effects that I want to talk about are EQ (equalization) and compression. These are the effects for bass that will always be useful and applicable in just about every situation where you plug a bass in and My “rule of thumb” for EQ’ing the bass is play it. to start at the “flat” setting (cut and boost Speaking of plugging in, the place a for ALL available tone controls are set to great bass tone starts is with a good input “0”) and then adding in what you want source. This can be either a decent direct to hear for whatever environment you box or a good mic pre with an instrument happen to be playing in; a venue, a song input. There are so many different ways for a session, a jam session in a living to approach this very basic step. Of room, a rehearsal, etc. Another way to course, a lot depends on how much you approach EQ’ing bass is by listening for a want to spend and where you want to frequency in your tone that you don’t feel is spend it. If you invest in a great direct desirable for the environment, finding that box, you may find that more tone control Continued on page 48

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Vocals

By Sheri Gould

“Let It Go” I have two adorable granddaughters.

Both of them recently celebrated their birthdays in “Frozen” style (a month apart).

If you live anywhere in the dim view of Disney/Hollywood movies (in other words not under a rock) you will have heard of the latest movie phenomenon: “Frozen”.

Last year I was introduced to the world of “Frozen” by my eldest granddaughter (now 6) while I was tucking her into bed one evening and she asked me to read her a book. Her favorite book at the time was none other than aforementioned movie—in book form--geared toward the attention span of 4-5 year olds. It was my first real foray into the frozen world of Elsa and Anna the sisters who are forever emblazoned into the hearts and minds of children everywhere. Since then I have watched while both of my beautiful granddaughters enjoy their “Frozen” themed birthday parties, their “Frozen” costumes, “Frozen” birthday cakes, “Frozen” tea parties replete with themed dishes, and last—but surely not least—a full on costumed performance (duet) of the theme song “Let It Go” for the entire assembled family on Christmas Eve. Surely one of the highlights of the evening. J

“Let It Go”. Their screams are deafening to our vocally educated ears. But who will be there to sound the alarm to this generation of little girls who lift up Ms. Menzel’s singing style as the standard of singing perfection and the ultimate in success?

As a nation we have had a couple of opportunities to listen to the theme song “Let It Go” aside from the movie. Idina Menzel belted out her famous rendition at the Oscars and in NYC for New Year’s Eve. Both of her live performances were highly criticized. In both circumstances it was obvious that Ms. Menzel had intonation issues, vocal problems and other problems associated with her performances. The blog on the NATS (National Association of Teachers of Singing) website was erupting with observations and strong opinions most all of which were concerned with Ms. Menzel’s style of singing and the obvious injurious vocal technique(s) she was displaying.

I often feel like my message is negative.

Many times I am out there waving the banner of VOCAL HEALTH while other vocal coaches can smile and talk style without giving a nod to the importance of treating the voice with respect. Although it is becoming more and fashionable to talk about vocal health in vocal training circles, it is still not changing the popular view of artists and wannabes. Many unhealthy vocal techniques, such as belting, screaming and singing with a raspy (airy) tone are being used by singers of all genres - Contemporary Christian music is far from immune. The fact is, most of these singers are getting NO training or very light training and a good deal of encouragement to go for whatever style suits them regardless of the cost to their body, often until it’s too late. Then they have to go through a difficult rehab, relearn how to talk, sing and come up with a style that won’t slowly squeeze out the life of their vocal cords. Sadly, some just end up fading into the sunset of their singing careers far too soon.

It is not just little girls who are trying to emulate her style of singing either. She herself is likely a product of a generation given to a type of singing that is a form of vocal gymnastics forever pushing the limits of what is physically possible. Vocal feats heretofore untried - and for good reason are constantly lauded and applauded. The general public wants more and more of a type of “passion” we see being pushed on singers, that depletes them of their vocal health and renders them vocal cripples while still in the prime of life. (It is notable that most of this type of vocal acrobatics is not genuinely able to be reproduced live - thus so much of the lip-syncing and auto-tuning we see so often employed nowadays) It is SO COMMON now for singers to end up with vocal damage, vocal nodules, vocal polyps, exploded vocal cords, etc. It’s hardly even news now. This rampant vocal damage is pandemic.

Here is my concern. When the world looks at Ms. Menzel, they see a successful artist. At this point she is a household name. The song she has become famous for is literally an international sensation. Thousands—if not hundreds of thousands—of little girls all over the world are belting out their own wannabe version of “Let It Go”; even my own kin. What the concerned educators on NATS are We need to use our heads. I remember ruminating over will be completely missed many years ago my mother telling me by the adulating public and the little girls that people had no idea that smoking lined up to be little “Elsas” screaming out Continued on page 48

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EQUIPPING THE CHURCH

by Chuck Page

Launching Wireless Internet in your Church Some of you may have wireless Internet access in your church and have gone through what I’m about to write. Others may be considering it but are unsure on how to proceed.

Still some may have deployed wireless Internet but have never thought about the ramifications this tool might bring. So the idea behind this article is to share what I’ve learned when deploying wireless internet access to not only a church but any organization that has a need to keep proper controls in place.

The first place to start is to bring in a professional IT company that understands wireless access, firewall controls, and internet content filtering. The IT professional should conduct a thorough walk-through with tools that will allow for proper wireless mapping. When the coverage is mapped out the IT pro will know where each access point should be located.

Notice that I’m mentioning access points not a wireless router. It’s important to stay with an access point so that the only device handing out an IP address is the main firewall/ router. It’s true that wireless routers can be put in “access point mode” and not hand out IP addresses. But too many times I’ve seen these devices power cycle and when they come back up they start acting as a router, thus causing IP conflicts throughout the network.

Most churches will need more than one access point to provide coverage over its entire building or campus. It’s important to let your IT person know what your goals are in terms of coverage so a proper footprint can be made concerning that coverage. One other point to consider is will you need coverage in any outside area around your church. Providing this type of coverage is not difficult but may require a more ruggedized piece of equipment to get the job done.

The next step in this process is determining the proper firewall/router to handle the job at hand. This decision is probably the biggest mistake I see churches make concerning wireless installation. The internet modem should not be considered the router or firewall. While this device most likely will be able to hand out some IP addresses it’s not a fully functional firewall. It will not provide the protection a church or any organization needs. When I mention a firewall what I’m talking about is a hardened UTM (Unified Threat Management) device that will provide protection from outside threats. There are firewall’s that also come with a security suite that gives Intrusion Protection, Gateway Antivirus,

Spam Blocking, and Content Filtering. Companies that provide this level of Firewall are Watchguard, Cisco, as well as some minor providers such as Netgear or Sonicwall. This really is the backbone of your entire wireless network so DO NOT “skimp” on this piece of equipment. For instance, I always recommend to churches that their wireless network must have a strong Content Filter in place.

Open internet browsing is a dangerous media to be allowed inside anywhere, especially a church. Also, make sure your firewall has the ability to hand out the proper number of IP addresses for your church. A rule of thumb I use is two times the number of adults and youth that typically attend your service. Why two you ask? Because each device brought in by your attendees will require an IP address.

That’s every phone, tablet, or computer. I’m seeing more and more attendees with their tablets and phones in church with a bible app running. By doubling the number based on attendance you will cover everyone on premise and give yourself some room to grow.

The final step is to determine how much internet bandwidth you’re going to need to give the users a positive experience. Most bible apps are pretty “skinny” when it comes to internet usage so they don’t use much bandwidth.

But more and more people are using internet search engines during the service to look up facts and such pertaining to the pastor’s sermon. This does use a lot of bandwidth so the thought process needs to be on how much upload your bandwidth gives you. Typically DSL or Cable will give you large download but it’s really the upload that slows a church’s internet experience during the service. Try to find an Internet circuit that has an upload of a minimum of 50Mbs per 100 people attending.

For example with 400 in your service try to get at least 2Mbs of upload with your Internet service. Remember this is the minimum. More bandwidth is always better.

Chuck is a partner and General Manager of GoFishMedia, LLC. He has been involved with technology for over 15 years and worship for over 20 years. He resides in Boise, Idaho with his wife Lisa.

Visit: www.gofishmedia.net Send Chuck an email: chuck@gofishmedia.net

WORSHIPMUSICIANMAGAZINE.COM MAR/APR 2015

17

Carrying the WorshipMob Fire to Every Heart

by Aimee Herd

Aimee Herd: Can you give us a little background of how WorshipMob got started?

Sean Mulholland: I’ll try to give you some of the basics... In 2011 I was going through some transition, and some stuff, and church situations that I was needing to get healed from. I had this vision of something that would be a sort of richer worship experience that didn’t include stages, and which would be freer - not on a schedule. And that this worship time would be a meeting of

18

MAR/APR 2015 WORSHIPMUSICIANMAGAZINE.COM

people from all different churches - a kind of stepping down of the church walls to meet together and pray together, and to see what God wants to do.

I had built up a studio at that point (late 2010-early 2011), and then I felt very strongly that I should invest more heavily in the studio for the purpose of making semi-professional recordings of these experiences; and eventually to even have the videos of them.

Since that time, we’ve grown through many different levels of professionalism,

Sean Mulholland and Garrett Chynoweth weren’t looking for any kind of record deal. They were just trying to follow God’s lead into the great unknown of deeper worship and stronger relationships with others; to facilitate healing and life, and foster an atmosphere of unity where Father God, Himself, can touch every heart. But what began as a collection of YouTube videos documenting these powerful worship times, has resulted in an album aptly named “Carry the Fire” that captures the essence of what has become known as WorshipMob.

experiences we had had so far just soak in His presence, and hear His in many church settings. words to them and for others. Having So we both decided to start served on various worship teams, I working with people from know not everyone is brave enough to different church settings to step out on that level however. So, what break down the “us and them” kinds of things were you and Sean able to do to help bring down those walls mentality. and inhibitions?

Garrett Chynoweth: Like SM: One thing that was really on my heart anything growing, WorshipMob got started as something totally from an early stage was to welcome and different than what it is now. embrace people from different churches.

One of the things we felt early on They might have heard about it, but would was that we didn’t want to lead be worried that it’s a comparison kind of this, but we wanted to empower thing, between churches. That wasn’t our different people [to lead]. heart at all, we literally wanted people Changes started happening with all different abilities, and different when we began to say, “Holy gifts - and even if they didn’t have an Spirit, we don’t want to have an obvious gift and were there to just soak agenda, what do YOU want to in worship - we wanted to be welcoming do, what do we need, and how to them, and become family with them as quickly as we could. do YOU want to minister?”

One of the hallmarks of GC: We found that it’s so hard, in 30 this particular ministry is that minutes, to get past our jobs, and life, it typically starts with God and stuff that clogs our brains and hearts speaking into us each week - first - but when we decided to just hang out us going after Him - that seems and let God tell us what to do, and how to have really propelled some to lead it, it created a vulnerability. That of the outcome of the videos. time in soaking kind of disarms peoples’ When we started opening it up hearts. All of a sudden the power of [for others to lead out], all of a God’s word will cause people to feel sudden peoples’ giftings; they more safe, and that safety started allowing started getting more comfortable real heart matters to surface. The things in hearing from the Lord and that surfaced were the things that were then hearing for other people, keeping people from really entering into and they began to speak it out. worship. Things like people were very Then it would be edifying for insecure even in just how God loves them. everybody. When we released I’m talking about leaders of churches as our agenda [and sought God’s], well - they were deeply insecure because all of a sudden there was LIFE of different questions and hurts in their and freedom and the atmosphere lives that had never been dealt with. Tears became electrified in a lot of would flow and then the power of God would come and love them deeply and ways. compassionately.

We weren’t doing it, we were The vulnerability was the key, I think, to facilitating this thing, and it was and now we have amazing people very edifying as people were getting a unlock the heart to receive that healing. helping on the video side, as well as the bunch of revelation about the character God convicted us early on that He wanted audio and worship leading... so it’s been and the heart of Abba for them. It started to be Abba; a Dad, and a safe place [for baby-steps the whole way, but God’s becoming deeper experiences at a heart people to come to] to receive healing. brought the right people together to help level. For a lot of people, it blew their mind Because that started happening, those us grow into that. that God could use them to encourage videos started manifesting and creating that environment [of a safe place] to Garrett and I had known each other another person. That also built trust. That is find God. People came back because some of the ground work for the music that for about seven years before this time; it became the place where people felt we’ve always been friends and are both has become what it is today. so securely loved and safe; and that passionate about worship, music and the AH: It reminds me of that Scripture empowered them to touch other people power of music. And we both felt that there about there being a famine for the Word [for the Lord]. That was the transformation was something richer than the worship of the Lord... there’s a huge hunger to into what people are witnessing now. hear from God, and people need to WORSHIPMUSICIANMAGAZINE.COM MAR/APR 2015

19

WorshipMob

continued

often too busy to walk with you through it, and to hear it all out, and then to validate that it’s okay that you felt that way. We believe the role model Jesus provided is actually caring with the person, in the hurt, and actually walking with them in it, and validating it, even the stuff that we can’t relate to. That’s just something beautiful that has been happening, I actually think it’s a “Jesus-heart” type of thing.

AH: Let me ask you this, because it’s been in the news as an unfortunate trend, that kids who have grown up in the Church, who are maybe considered Millenials now, many of them are leaving the Church as they grow up.

Are you seeing some of them coming back into these worship settings you’ve described, and getting healed?

SM: And Garrett and his wife Elaina, have gone through a tough year where they’ve been getting healed of things, and from their own past; and both Garrett and I are realizing that we’re caring for people that are a lot more damaged than they look like on the outside. We’re learning for ourselves, that even as we’re being perceived as leaders for this ministry (I don’t think we fought for that!), we’re learning the difference between listening to peoples’ hearts and listening to their minds.

GC: Let me give an example of that... when people are getting their identity and life from stages [instead of from God]. They’re saying, “Well where am I gonna be used? Where am I gonna sing?” And it becomes about the stage instead of it being a heart-level thing where I am loved because I’m a child of God, and He made me righteous and holy. Everything’s fine until it comes time to see who gets to sing the song out of 10 singers or who gets to be in the video. Then you have those real issues surfacing that would never have surfaced if you didn’t have a dynamic like that. It’s all fine when there’s nothing on the line. But the cool thing is, even that became a place for God to minister to their identity and value, and it became a healing part - but it wasn’t healing at first. It was tough; people had to learn how to die to that need [to be on stage], or of comparison where they’re thinking “I’m not important,” or “I’m not as good as that person...” That’s a continual thing in ministry, but God is actually using it now to grow the people in their TRUE identity.

Now we have a culture with the people who’ve been there for a while are like, “No let that person sing!” Everyone is trying to help and prep someone else for a part, and that’s because they’re finding their security more and more in their purchased identity in Christ. That, to me, is the Kingdom culture that we’re all about.

Now we’ve become addicted to allowing other

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GC: Yes, there are so many people who are feeling deeply unloved... I came from a pretty hard place - God rescued peoples’ gifts to flourish. That is the hallmark me from the deepest, darkest hell. He behind the scenes of this ministry is people literally became the Father of the fatherless to wanting other people to do well; and that, to me; He became my Abba long ago. It’s kind of me, is its own reward for the people. given me an empathy for others like that, kind of AH: That’s huge, because that’s something a wounded healer concept. God has used me to that every worship team struggles with at one help counsel hundreds of people, and it’s really a lot of the same thing a lot of the time - feeling time or another. unloved keeps them from receiving God’s love.

GC: Absolutely, but I don’t want to paint the We’re just trying to find a format to let God do picture that we’ve got it all figured out! Like Sean what He does best; which is to love people and was saying, the injuries are really tough. People to help them love each other. feel very unloved and very rejected. The thing AH: Are you hoping to use this format to is, we can teach it all day long, and it will work - for a week. But God does that work slowly facilitate this kind of thing in other cities? in peoples’ lives who are meeting Him in His SM: Absolutely. What’s interesting is that we’ve presence where it’s safe. You may have a bunch communicated on our Facebook page, which of leaders in the room, but we give it to Him and we set up early on to share videos and discuss then all of a sudden [He is leading through His things. We didn’t make it a “fan” page because people], but it’s got to get to that kind of heart we wanted it to be an interactive experience, level; and that’s what hours in His presence does not a “we’re the band and you’re the fans.” We for us. don’t want WorshipMob to be some protected A lot of what we speak is about the finished work thing that we own; we want it to inspire people of Christ and about who we are in Christ - what to jump in and use it. And what we want to do is that makes us and what Jesus accomplished, and to encourage people that there is some kind of a that you are important because you are important model and a form they can follow.

- not because of what you sing.

SM: One of the things Garrett has really fought for is to let people know that the pain and their hurts are valid, and we’re not going to gloss over them. I think we are blessed to be allowed to be Jesus on this earth to each other. So we believe that we are the instruments God uses to live out what Jesus lived out, which is to love each person exactly where they’re at. I think it’s offputting to some people or scary, because it takes investment. It takes hearing where that person is coming from, even hearing their anger sometimes they have to cuss or yell at God about it, and you’re just there to coach them through it, to help them release this stuff so they can receive God’s love. These are the things we hang onto because of our fear and our flesh. Others are

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So, there are already 15 different WorshipMobs going on in places around the country, and also a few in Africa, and three in Australia. They’re functional to different levels - most of them are not doing a studio recording thing like we are, but that’s not really the point of it anyway.

GC: “WorshipMob” isn’t important. It’s just a name for people to resonate with letting God completely explode their lives through worship.

They don’t have to call it that - they can call it whatever they want. It’s about a message... a message of freedom and of life in the Holy Spirit; and how He can heal all the broken places, and putting that into action and not making it exclusive. That’s the one thing we ask of people is to make it inclusive of people from other churches. To experience and honor each

WorshipMob

continued

SM: What’s funny is, on the album itself, there are only a couple places where you hear where that happens, you’ll get more of the full experiences from the videos on YouTube. But you can hear a little bit of the “breathe” even in the album. For the album we wanted to keep it more of a 5 to 7 minute format, where on YouTube it’s anywhere from 10 to 46 minutes for these songs.

others’ gifts. Honor the value of those around you and you will be honored yourself.

AH: That’s so good! And kudos to Integrity Music for being courageous enough to invest in a format that is more spontaneous and not as refined to radio.

Can you speak a little about the actual recording process for the worship times, and this debut album, and how you’ve gone about it?

SM: (Laughs) It isn’t the pretty process that you maybe see on YouTube; I - as a sound guy, an engineer and a mixer - have had to grow miles and miles, and I still don’t think I do a clean job of the actual execution. In my off hours I’m trying to patch back together the very best of what happened [during the worship times] and really capture the Spirit that is there.

AH: And what kind of software are you using to record, Sean, are you using ProTools?

SM: Yeah, I’m using ProTools, and a PreSonus StudioLive board mostly for the general in-ear monitor mixing. And I’m going through a number of mid-level preamps with the mics. I use all this SM: The process has been evolving. I’m learning because we want to record it all live in unity that when we go into recording mode, there are instead of having to go back and record in parts. about a thousand technical deals that I keep in AH: So, say some people have seen the my mind - because these are truly live recordings.

When Garrett said it was a different band every WorshipMob videos, and have your album, Some nights we record and other nights we’re time, it’s more that it’s a different assortment of and have been inspired to start something like just worshipping for 3 or 4 hours just praying for people. You’re hearing songs from groups of WorshipMob in their own city. What would be each other. Some nights we will pray and worship people who, in some cases, have never played your advice to them? for a while, and then go into the studio to record with a single other person in that room, and GC: Well, one of the reasons it’s grown so much some songs. Most of what you’re hearing on the they’re just worshipping with them, and they’re is because Sean goes out and visits and loves album are songs that were recorded after about on this album. on other churches; he starts building relationships 10pm at night, after a worship time happened in So, you’re hearing take one, or take two, of that with other people as opposed to just the people a non-recording format. person jamming and doing the song the first time inside our own church. It’s really about building GC: And Sean is a miracle worker with these with those people. That leaves so much up to relationships, that’s the most important part of it. mixes! There’s no one else in the world that things going wrong, that I end up - even though I It’s not about the music, it’s about the relationships I know who can do this. The deal is, though, want to be free and in worship mode - I end up - the music is just a format to speak truth and life we don’t care about the quality of the recording usually sacrificing that some (I think most worship to people. And hopefully it’s about us learning first, we don’t want people to be thinking about leaders admit to this), because I’m carrying so how to love and care for each other like Jesus technique, or getting it just right - what we want many balls. cares for us. is for people to get lost in singing to the Lord So I think, that’s the biggest part. If people say, The model I’d like to see going forward would and hearing from Him, and then letting that spirit “Listen, we believe and want God’s presence to be to have the right people in each position a of worship be cultivated and manifest with the mixing guy, and a set-up guy; different people come in here, and we’re opening it up...” And whole band. handling these roles so each of us can be as do it in as neutral a location as possible, so walls So every song on this album; that specific close to free and open to our Father in worship won’t come up when people naturally associate band came together for that night - there’s a as possible. with my church vs. your church. People [need different band every single time, there is rarely to be] willing to lay the division aside, and just ever the same band twice because we have But what it’s been is a lot of set up, sound say, “We’re all seeking after the heart of Jesus, over 50 musicians on the album. Every song has checks... and then we actually just record 24 we’re all healers, and we all have something to a different combination; we actually learn it in tracks live all at the same time. There are usually add to the Kingdom.” If they have that heart, about 20 minutes, press record and just worship four to six vocalists, and we plan out which parts then anything is possible. Then God honors that to it. Technically it’s not as great at first, but what they’ll likely sing of a set song. We do a full and He starts building bonds like you could is captured is the spirit and the heart, as we’re live drum kit, we’ll do stereo keyboard inputs, never imagine. And then when you add music asking people to just let the Spirit and the heart we’ll do two electric guitars, bass, sometimes a into it, then literally God comes in and just starts cello or trumpet or sax or whatever. The idea is wrecking the place with His love, and He starts flow through them. to capture that live experience and then to not The reason it sounds so amazing is because put a cap on the end of it - not end on some big doing things that He couldn’t do before because God has gifted Sean with such an ability. He downbeat or something - but we let it breathe of division… it’s amazing! created his own system to make this happen, and see if there’s anything beautiful that can Visit WorshipMob’s website: and he’s able to bring out the most beautiful parts come out of it.

Worshipmob.com, and their Facebook page: around the heart. That is what we’re committed Facebook.com/WorshipMob, where you can to is letting it be a heart-first thing, not a specific AH: Yay! I love that! find out more about them, and enjoy their many quality standard thing. Because that, to me, worship videos.

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doesn’t make a difference at a heart-level - if you have to have one or the other, it’s got to be a heart-first thing.

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Songchart

Satisfy

Key of G

GARETT, CHYNOWETH, JARROD GIPSON, NICO PEREZ and GINA MILNE

INTRO G

Am7

Em7

C

q = 75

(repeat)

VERSE 1 Em7 C Come lay down your burdens and I’ll become your peace Em7 C Hold on to My promise, let fear and striving cease Am7 C Seek and you will find Me where faith and struggle meet CHORUS 1 D G/B C D Em7 C Come rest, come rest in Me, come find I’m all you need VERSE 2 Em7 C I feel your desperation, I see your raging war Em7 C No, I don’t need perfection, I just want your heart Am7 C I overcame your failures, now, all I have is yours CHORUS 2 D G/B C D Em7 C Come rest, come rest in Me, come find I’m all you need D G/B C D Em7 C I’m Yours and you are Mine, come find I satis-fy BRIDGE Am7 G/B C Am7 G C You have My, you have My heart, have courage, I did your part Am7 G/B C Am7 G C Come closer, look in My eyes, beloved, I satisfy

Repeat BRIDGE for free worship as required Repeat CHORUS 2 G

Am7

Em7

C

D

G/B

© 2014 Integrity's Praise! Music & Brave World Publishing (both adm worldwide by CapitolCMGPublishing.com, excluding the UK which is adm by Integrity Music, part of the David C Cook family. songs@integritymusic.com

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Covering You. Over 160,000 churches across North America count on CCLI for license coverage and worship resources—each and every week.

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Song lyrics, audio samples and transposable chord sheets, lead sheets and vocal sheets. Choose the version that best suits your needs.

Allows your worship teams and choirs to legally copy and share commercial audio recordings for rehearsal purposes.

Allows you to stream or podcast your live-recorded worship music on your church’s website or other streaming service.

Movie/Video Licensing and Resources

If your church uses movies for any ministry-related activities, you’ll likely need the legal permission that the Church Video License provides.

http://www.ccli.com

Movie clips and ideas to use for your sermon/teaching illustrations.

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A160

Record Reviews Passion Even So Come 1. Even So Come (featuring Chris Tomlin) 2. Shout Hosanna (featuring Kristian Stanfill) 3. Forever (featuring Melodie Malone) 4. Lift Your Head Weary Sinner (Chains) (featuring Crowder) 5. Draw Near (featuring Kristian Stanfill) 6. The Saving One (featuring Chris Tomlin) 7. The Awesome God You Are (featuring Matt Redman) 8. My Anchor (featuring Christy Nockels) 9. Wonder (featuring Crowder) 10. The Way (featuring Brett Younker) 11. You Found Me (featuring Kristian Stanfill) 12. The Cross of Christ (featuring Chris Tomlin) Each year the Passion movement grows as thousands of college students to gather at multiple gatherings around the country to hear of God’s goodness and plan for their lives. Each conference also gives us a look into these conferences with a collection of new and fresh worship to use in our personal and corporate worship gatherings.

This year’s Passion release, Even So Come was recorded in front of over 30,000 college students at three separate Passion gatherings in Atlanta and Houston. The new album follows in the footsteps of many successful live Passion recordings and features worship icons like Chris Tomlin, Crowder, Kristian Stanfill, Matt Redman and Christy Nockles.

Most of the songs contained in this release are typical of what we have been hearing now for many years with simple melodies, driving guitars and endless pads but there are a few tracks that break the mold and make this album worth owning. The most notable being “Lift Your Heavy Head Sinner” which is sung by Crowder. The groove on this number is just dirty with over driven guitars and earthy drum rhythms. This song is as raw as it gets as Crowder sings about a prodigal son who is mired in selfishness and sin looking for a way out. The verse builds to a climatic chorus as he shouts... ”Let the chains fall, see the walls start crumbling, let the gates of glory open wide”. This track is a prime example of the arrangement mirroring the song theme thus creating an incredible worship experience.

By Gerod Bass Some of the better cuts include the bluesy “Sons and Daughters” which includes part of Dr. Martin Luther King’s “We Shall Overcome” speech and talks of how we as adopted sons and daughters of God have nothing to fear in this life because of the blood of Jesus. “Instrument” is a quiet, humble prayer asking God to use us as His instruments for change in this world and “Glory Bound” is on the opposite side of the musical spectrum as we hear about Christy Nockel’s performance of “My the train headed to heaven with a driving Anchor” is stirring and honest and reminds southern rock flavor that is truly infectious. us of the safety we have in Christ while Maher’s classic rock roots come through Brett Younker adds his youthful flavor and passion on “The Way” which features in fine style with the energetic “Land the jubilant dance rhythms and techno of My Father” which sounds a lot like sound that is becoming more prevalent in Fleetwood Mac’s “Second Hand News” and would be a perfect opener for any modern worship. worship service. “Rest” is a stripped down If you love Passion albums, you won’t be sincere acoustic interpretation of Psalm disappointed with this collection as for the 23 that features gorgeous harmonies and most part it pretty much is what you have sounds like it was recorded sitting around come to expect from them over the past a campfire. few years. This is another great album from the folks at Passion full of songs you The best song on the album and the can use for personal and congregational one that is sure to find its way into church worship services all over the globe very worship. soon is “Because He Lives (Amen)”.

Matt Maher Focusing on the celebration of Easter, Saints and Sinners the melodies here are nothing short of 1. A Future Not My Own genius and I guarantee this song will be 2. Because He Lives (Amen) stuck in your head long after you hit the 3. Rest stop button. The thing you don’t see (or 4. Deliverer hear) coming in this song is the chorus 5. Glory Bound which is a reworking of the old hymn 6. Land Of My Father “Because He Lives”. Now normally I 7. Everything Is Grace am not a fan of changing the melody 8. Sons and Daughters of a well-loved hymn, but here it works 9. Firelight very well. Maher’s joyous vocals and 10. Instrument the exhilaration of the arrangement 11. Abide With Me make this one of my favorite worship songs of the year. I can’t wait to teach my Matt Maher’s music is God’s gift to the blue collar Christian. His songs speak worship teams this song.

Starting with the ethereal tone of ghostly pads and delayed electric guitar hooks, we hear of the story of Jesus on the cross and how he broke the power of hell.

The instrumentation builds in intensity as Melody erupts into a celebratory chorus proclaiming victory that He won for us as she proclaims...”Forever He is glorified, forever He is lifted high. Forever He is risen, He is alive!”

to those who struggle with sin and pain in their lives in a way that is real and honest. His 9th album, Saints and Sinners continues this trend of raw, edgy worship with eleven new songs that bring the peace and hope of Christ to a hurting world.

Matt Maher is a nothing short of amazing and this album is the best I have heard this year. Every song is memorable and chock full of deep spiritual truth and relevance no matter where you are in your walk with Christ. The musicality and lyrical depth of this album make it rise to the top and you Every song on this album is well written should definitely pick this one up. Thank and the arrangements are phenomenal. you Matt Maher for connecting our lives Maher’s enthusiasm and heart for with the heart of God. My favorite song of the album is the Easter the Gospel is evident throughout as Vertical Worship Band themed worship anthem, “Forever” featuring thematically most of the album is centered Church Songs the powerful voice of Melody Malone. on the everlasting grace of Christ for lost 1. All the Earth and lonely people. *Gerod’s Personal Picks in bold.

2. Do What You Want To 3. Lamb of God Overall impression 4. Spirit of the Living God Average person could learn/participate on the first hear 5. Psalm 96 6. It’s Who You Are Can be learned/adapted by a band of average skill 7. If I Have You Lyrical creativity and integrity 8. Shout It Out 9. Come Ye Sinners Passion Even So Come 10. None Like You Matt Maher Saints and Sinners 11. Restore My Soul Vertical Worship Band Church Songs 12. Bound For Glory Aaron Gillespie Grace Though The Wandering Church Songs is the third full-length worship album by Vertical Church Band Third Day Lead Us Back which is a music ministry formed out of highest marks Harvest Bible Chapel in Chicago. This

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band, The Almost; and more recently Aaron collection of 12 inspiring new worship songs for became the fill-in drummer for massive band the church feature well known and rising worship Paramore on their last world tour. leaders Seth McConkey, Meredith Andrews, Andi Rozier, Tyler Miller, Kyle Fredericks, Tara Amidst the craziness of a world tour and being a member of multiple bands, Aaron Gillespie Rios, Jon Guerra and others. has somehow found time to write and record Like most present-day live worship albums, 11 new worship songs that will surely appeal Church Songs, has its fair share of ethereal to a much wider audience. Grace Through The pads, driving guitars and easy-to-sing choruses Wandering, was recorded in hotel rooms while which to some extent make this album not much on his world tour with Paramore and the songs different than everything we have been hearing written here reflect the overall message of the for the past few years but there are a few tracks album; follow God willingly wherever He leads. that impressed me.

Personally, I had no idea who Gillespie was Let’s just get to the best song on the album. but when I heard the first track, I immediately “Spirit of the Living God” is beautifully sung by was drawn to his vocal style reminding me of long-time worship leader, Meredith Andrews. This Kevin Max from the old DC Talk days. This is honest song of worship showcases lyrical depth definitely a high energy offering of worship and and creativity as she paints a picture of God’s is probably geared to a younger crowd with people hanging on every word of God and many of the songs reminding me of the band wanting Him to change them as only He can. Citizens in their arrangement and feel.

The powerful images of faith and humility mixed with a wonderful arrangement and Meredith’s A few of the better tracks include the opener, soaring vocals stirred my heart and helped me “Wake Us Up” which kicks off the album consider my own need for God’s word in my life. appropriately with a foot-stomping communal worship song that calls for God to wake His A few other songs of note here include the people up. driving acoustic ballad, “It’s Who You Are” which “You Alone Are God” boasts an acoustic uses Hebrews 13:8 in its hook-laden chorus to remind the worshipper that our God never rhythmic vibe as Gillespie sings of God’s changes and is faithful to His people throughout faithfulness and hope that only He can bring history. “Lamb of God” is an emotive and poetic amidst the struggles of life and “Give Us Your description of the theology of the cross that builds Heart” is an intimate prayer asking for the heart to an energetic powerful chorus declaring the of God to live inside us. love of Christ. “Do What You Want” is a song of The album wraps up oddly with an bluesy surrender that takes more a celebratory tone with Americana version of the classic hymn, “Come the electronica dance arrangement that actually Thou Fount” that seemed a little out of place. I works well. really loved the delta blues guitar feel of this track The album wraps up with the down home but the arrangement didn’t seem to fit with the southern toe tapper, “Bound For Glory”. This is a lyric. I did however appreciate the out-of-the-box fun bouncy tune that has some great little guitar thinking and the musical versatility that Gillespie riffs as we hear about the future that Christ won shows on this track. for us on the cross.

Lyrically this isn’t a strong album as it is a For the most part this album sits in the more laid- bit cliche heavy and seems a little light on back realm of worship with most of the songs vulnerability. That being said, the arrangements, being more on the contemplative side. There are ease of melody and musicality of the album are some really nice lyrical moments and most of the very strong and are worth a shot for those of instrumentation and mixing is well done for a you worship leaders with a young congregation live album. I appreciated some of the different looking for some new edgy worship songs to angles at spiritual truths the writers took but a few add to your repertoire. tracks seemed to fall flat in comparison… that Third Day being said, there was just enough creativity and Lead Us Back musical difference here to keep me interested.

1. Spirit Aaron Gillespie 2. Soul On Fire Grace Though The Wandering 3. Your Words 4. Our Deliverer 1. Wake Up 5. He is Alive 2. Praise Him 6. In Jesus Name 3. A Love Like Yours 7. Lead Us Back 4. Meet Me 8. Maker 5. All That He Says I Am 9. Victorious 6. Keep Me In 10. I Know You Can 7. You Alone Are Good 11. Father of Lights 8. In You There’s Hope 12. The One I Love 9. Hold Me Close 10. Give Us Your Heart It’s been 12 years since Third Day blessed the 11. Come Thou Fount church with a worship album, but now the wait If you are at all a fan of Christian hardcore is finally over with their March, 2015 release, music, you know the name, Aaron Gillespie. At Lead Us Back. Thematically, this is a very honest, the young age of fourteen he was one of the selfless project with the main themes centering on original members of the massively popular bad, forgiveness, our own humility before God and His Underoath. After leaving the band in 2005, he Continued on page 45 started another wildly popular Christian metal

MAR/APR 2015 WORSHIPMUSICIANMAGAZINE.COM

The Band

By Tom Lane

No Competition Some of the most vivid memories I have as a kid involve baseball. We lived at the ball fields, it was a community event, and when we weren’t there we were in our yards or the streets throwing the ball. I loved the smell of my leather glove and would put it over my face and just breath it in. I oiled it regularly so it could withstand the red clay dirt and chalk from the field. I was just a so-so player compared to some of my buddies that were naturals, but it was none the less a huge part of my life. When we faced teams that we knew weren’t as good as we were I remember we used to say, “no competition!” We’d even yell it from the dugout at them.

of the bright lights that is responsible for living out the kingdom and it’s values.

One way we can avoid becoming self consumed as we grow is to make humility and sharing a goal a priority. The more genuine relationships are, the less we feel a spirit of competition.

In truth the heart of the church should be to expand more by helping others go do it, than to grow our own particular congregation to mammoth size. We should be planters and sharers, not gatherers and hoarders. When we reach out and develop relationships, we are more inclined to help them succeed and give them what we can because we’re invested.

Regarding worship teams, if we made sharing what we have as much a part of the plan as the services, we’d ultimately create more room for others to participate with their gifts and talents.

We’d also shift more of the emphasis from the platform and focus it outwards, where it matters even more! The goal of our corporate worship times as a body is never solely about our own experience and encounter. We cannot separate ourselves from the missional heart of God: to reach out, go, serve, and share. If our worship doesn’t transcend the corporate time and spill Though I don’t think it’s intentional, one thing over into our daily lives as living sacrifices and that sometimes accompanies thriving churches testimonies, then it’s of no more use than a great and movements is an air of arrogance and pep rally really. pride. When amazing things are going on it’s As we strive to build good worship ministries natural as humans to feel a sense of identity and raise up other worshipers, let’s be mindful to and ownership. But at the end of the day our do more than create artists platforms. Here are own success and growth, are never simply just some practical suggestions that apply to us all, for our own good and glory. It’s all to give big or small. away, to share, to spill over into our world; so If we have multiple leaders, teams, musicians, that none miss the opportunity to know Jesus, etc., adopt smaller churches or gatherings and and the hope he is for salvation. share them. Seek out opportunities and needs, We would all likely say that it’s a blessing offer what we have. Encourage our own to find to have an abundance of musicians, singers, opportunities to serve aside from the platform. artists, resources, tools, etc. in our churches.

There are some profound and shining exam- Invest in relationships with other area churches ples of churches that are growing and impact- and leaders, benefit from one another. ing. There are far more churches that are much Foster a planting mentality, encourage our own smaller in size and scale that don’t, and may to initiate opportunities, gatherings, or any other never, have as much. In truth they’re a more creative idea that reaches outside of our own realistic picture of most of the rest in the world. congregation into the community.

The big, huge, and high profile are really the Partner with other ministries, churches, and minority. The tendency is sometimes to criticize the high profile and dismiss what God has gen- leaders. Doesn’t really matter what you do, just uinely done among them. But that’s not good or do something together. right to do because again, we’re not in a comNashville, TN is home for Tom Lane petition with them. Another historical tendency is to become so enamored and involved with though he is involved in ministry and music our own movements that we lose sight of the around the world. As a singer, songwriter Kingdom view. Jesus is always concerned with and guitar player, Tom has been teamed his kingdom coming on earth as it is in heaven, with many worship leaders and artists. it’s the whole body of Christ and not just a few He continues to record his own work, Competition starts early and isn’t all bad. It’s challenging, fun, and in some ways prepares us for the real world where survival is a reality. There’s a time and place for it certainly, but one place it doesn’t need to exist is within The Church. It’s counter productive and totally opposite the heart of God. No player on our team is insignificant, no matter how weak. No team is worse than another because they each serve a purpose and matter to The Lord, and more importantly, they’re part of our family!

Darlene Zschech A LEGACY OF WORSHIP & FAITH

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lead worship, and writes regularly for various worship publications worldwide.

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31

FOH Engineer

By Kent Morris

Alligator Bunny: The Art of a Thick Skin and a Soft Heart Words hurled toward you in anger reflect on the situation, not on you. Worship leaders and pastors are fallible humans just as we are, so they will cut you with sharp words at some point in a service.

From their perspective, they studied and practiced for hours only to have it marred by something simple like a microphone.

There is no benefit to peppering them with complex technical explanations of physics and electronics. And stay away from the talkback mic. The words coming through a talkback mic always contain anger. Instead, when appropriate, go to Remember the best thing about live the person, smile, apologize and assure events – they end. Try to keep a long-term them you have their best interests in mind. perspective on the situation. As bad as it is By taking the high road, you diffuse the right now, it will get better eventually, even situation and enable something positive to if that moment is the end of the service. occur next. A soft answer still turns away If you prepared with all due diligence, wrath. checking the lines, ringing out the wedges, walking the stage with the wireless and, There is always a simple reason something yet, something still happened, God was quit working. Never, and I mean, never, aware of it eons ago and chose not to start ripping cables out during rehearsal step in, so let it go. A good idea is to mark when something quits working. Stand “TTSP” (This Too Shall Pass) in Sharpie on back, recall the last thing that happened the back of your right hand before a big before it quit and make one reversal adjustment at a time. Panic is not in our event as a reminder.

“Everyone knows two things: their day job and sound.” This quote condenses the myriad struggles audio techs face into a single statement. It seems it’s not enough to be the first one there, the last one to leave and the one held accountable for all errors, but anyone with ears wants to tell you how to do your job. While maintaining Christ-like composure in the midst of a production storm is more difficult than ringing out an omni lapel mic with four monitors, here are some guidelines to help you in your journey.

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repertoire. Almost all failures are related to cables, batteries or routing. If the issue is significant, go to the stage, explain to the worship leader there is a problem, but it will be resolved, and ask her to carry on with the rehearsal unplugged.

Never have a single point of failure. If your pastor is on a wireless ear-set mic, always have a wired dynamic hand-held mic on a stand with a long cable on the platform ready to go. Explain to the pastor beforehand all wireless mics can fail, so, if it does happen, simply walk to the wired mic and continue the sermon. No drama is our goal.

Being an audio tech can be a wonderfully fulfilling role in the service of worship, but only if you are prepared, composed and have alligator hide covering a bunny rabbit’s heart.

Kent Morris is a 35 veteran of the worship technology arena with a passion for excellence balanced by the knowledge digital is a temporary state.

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PERCUSSION

By Mark Shelton

Tambourine Primer Part 2: The Basic Ins and Outs of Shake Turn up the volume the next time you hear “Reach Out (I’ll Be There)” on the oldies station and enjoy some quintessential shake tambourine.

The sixteenth note pattern gives a certain drive and sparkle to the song. You can hear that chickachicka shake tambourine sound in hundreds of hit records from rock, country, and Motown, as well as CCM, gospel, and worship genres.

motion. Allow your ear-brain-hand connections to guide you in learning how fast and far to move the instrument for tempos and rhythms.

Try these exercises paying close attention to observing the IN (I) and OUT (O) motions.

Make sure that the eighths and sixteenths are even (No swing/shuffle rhythm). As you play the The shake style of tambourine playing can final note of the exercise, give the tambourine a be performed on either a headed or headless slight drop to 45 degrees so that the jingles settle instrument. With no head to catch air and a quickly to give a tight release. lightweight shell, the headless variety (also known as a rock tambourine) is designed for speedy oscillation.

As you read further in the article, you will discover that much of shake tambourine technique is based on understanding the “ins and outs.”

Basic 4/4 Pop/Rock Sixteenth Note Pattern

Online Resources Duple Rhythm Strong Subdivision Accents The free hand can be used to play accents within a shake tambourine rhythm. In duplebased rhythms, the stronger rhythmic subdivisions usually occur on the IN motion and the weaker subdivisions occur on the OUT motion (downbeats in a series of eighths and downbeats and upbeats in a series of sixteenths). The strong subdivision accents are played by striking the inside edge of the shell against the heel of the palm at the conclusion of the IN motion.

As you practice these exercises, think about the tambourine striking your free hand to make the accent (NOT striking the tambourine with the free hand). The free hand remains stationary as it receives the impact of the instrument.

Video tutorials on shake tambourine basics are available at www.youtube.com/ marksheltonmusic.

Check out a combination of standard and extended shake tambourine techniques incorporated into a solo performance at www. youtube.com/watch?v=4toGRMULd0w

An active freelance musician, Mark’s percussion work can be heard live and on recordings with Gateway Worship.

Recently named to the Texas Commission on the Arts Touring Roster, Mark performs frequently as a percussion soloist.

Check out more of Mark’s educational materials at www.percussionforworship.blogspot.com and www.youtube.com/marksheltonmusic. ©2015 Mark Shelton Productions Percussion For Worship

After playing the exercise in 4/4, go back and learn it in cut-time.

Once you have control of the basic shake tambourine technique along with the ability

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Basic 4/4 Pop/Rock Eighth Note Pattern

Get familiar with the playing methods in this article and be ready to dive deeper into shake tambourine in the next issue.

Shake Technique for Even Subdivisions Hold the headed tambourine in the area of the shell where there are no jingles. Curl your fingers around the bottom and your thumb over the top of the shell. I generally hold the tambourine in my dominant hand so that I can make use of its superior strength and coordination. Imagine a line extending from the middle of your chest. Position the instrument chest high on your dominant side and several inches to the side of the imaginary line. With the tambourine at a 45 degree angle to the floor, gravity will insure that the jingles are back in the ready position (see photo). Using the wrist and arm, begin movement that will bring the instrument to a perpendicular position on a course traveling toward the imaginary line. Use enough speed to send the jingles sliding to the opposite side of the slots. Stop the motion as the jingles strike the shell (the IN motion). Immediately move the tambourine in the opposite direction (away from the imaginary line) and allow the jingles to slap against the opposite side of the slot. (The OUT motion). As you repeat these steps, you should quickly learn the short distance that the tambourine travels back and forth to accomplish the two sounds. The velocity and movement should be such that the jingles give a firm attack with the tambourine traveling in a fluid

to play strong subdivision accents, learn and memorize the following common tambourine patterns.

MAR/APR 2015 WORSHIPMUSICIANMAGAZINE.COM

Cut-capo Guitar

By Mitch Bohannon

Capo Etiquette and the Worship Musician Intonation (definition) the ability to play or sing notes in tune.

A good way to think about it is...

In-tune-ation. It seems, the more I talk with guitar players across the country, I find a large percentage who do not understand much about the intonation of their particular guitar and/or how to avoid intonation problems.

Guitars, when they are first sold from music store, should be properly “set-up.” The set-up is a fine-tuning adjustment that takes into consideration the angle of the neck, the over-all scale-length, the bridge, and the string gauge.

Some guitars naturally have intonation issues in their upper frets. For example, playing an “E” note on the 6th string at the 12th fret may be sharp or flat relative to that string’s open “E” note. For guitars that inherently have intonation issues, using a capo can quickly expose those issues and cause problems.

There is not much more frustrating than playing a worship set and having tuning problems in the middle of it… talk about quenching the Spirit.

Mic stand? Music stand? Your pocket?

Or on your strap? If it’s not convenient, it can be a distraction in worship. [product plug…Kyser just released a strap with a “capo-keeper” to hold your capo].

When I am leading, I find the headstock or the strap is the most convenient and least distracting. Placing it on the mic stand can be a distraction because it looks out of place. A music stand is a distraction in and of itself – using it to hold your capo is a double distraction!

In the pocket? Nah! Who wants to see you dig in your pocket before you sing “Here I Am To Worship?”

4) Capo Notes: As I just pointed out, a music stand is a distraction. Come on folks! If we can’t lead music from memory, we’re either doing too many songs or using songs before they are ready. We lead from experience of worship not from a paper! (One of my soapboxes) I keep a set list by my volume pedal with song, key, and (if needed) capo fret number… in fraction form if I’m using a Short-Cut capo. So, my list for this Sunday reads,

stretch the strings much more as it pins the 1. Open Up The Heavens, D strings against the fingerboard. This can often cause some strings to play “sharp” 2. Greater Is He, Bb, 1/3 I titled this article, “Capo Etiquette,” and thus, you’re out of tune.

because not paying attention to these

points is much more like stepping on the Removing distraction on a worship toes of your dance partner rather than just 2) Capo Tension: There are a handful of platform is so very important. It could be the using the wrong fork. major brands that probably come to mind difference between someone responding when you think of capos. Some have on- to God’s voice and them putting it off for board adjustments and the appropriate another week. The way we stand, move, Keys to proper capo etiquette: tension for your guitar can be set. (I’m look, play, sing… so many things can 1) Capo Placement trying to be non-biased as I write…as I cause a distraction. Please follow these work for Kyser Musical Products). I’ve simple points of capo etiquette to make 2) Capo Tension been asked for years about when Kyser sure our capos don’t cause a distraction 3) Capo Storage would have adjustable tension. We this Sunday! have uploaded a few videos on YouTube 4) Capo Notes demonstrating how the Kyser capo is, in fact, tension adjustable. If the tension 1) Capo Placement: Often, this is very is too loose, the strings will buzz. If the “guitar-specific.” You really need to learn tension is too tight, the strings will have the Mitch Bohannon the “sweet spot” within the fret to know tendency to play sharp. So, if it’s loose or developed the Short Cut Capo for Kyser and exactly where to place your capo. I tight, make the adjustment once and it will is a worship pastor in most likely be set for use up and down the always instruct folks to place the capo Louisiana. He and his right up-next-to-the-fret bar. On electric neck of your guitar. beautiful wife, Noelle, guitars, my capo will sometimes be on top have been married for of the fret bar. Think about it…a capo that 22 years and have three 3) Capo Storage: Where are you going awesome kids! www.kysermusical.com is placed right between the fret bars will to put it when not in use? The headstock?

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GuiTAR GRAB BAG

By Jeffrey B. Scott

Look Around It’s been on my heart lately that we are on a one-way road. There’s no going back, only moving forward. So as I move along the path further every day, what am I doing to help the people behind me along the way?

I’ve been a part of some great things in my journey, but I haven’t seen this done very well in many of them. The tendency to gravitate toward fresh or new talent is undeniable. But it also means we leave people in the dust. We (I say “we” because I’ve been guilty of it, too!) have a certain ideal in mind, and unfortunately, that tends to look and sound a certain way when it comes to the makeup of our worship teams.

Now, I’m not fighting for or against the idea that you as the Worship Pastor of your congregation can’t decide to go for a certain aesthetic on your platform. I’m not saying you don’t have the right, as the person God put in that position, to set the parameters for who plays what and when.

But what I am saying is that God has not called you to leave people behind as you move forward with that vision. Too often, the vision I’ve seen play out is one that looks like carbon copies of the leader. But the body is made up of many different facets and colors! More on that in a minute…

As Paul writes in Romans, “For as in one body we have many members, and the members do not all have the same function, so we, though many, are one body in Christ, and individually members one of another. Having gifts that differ according to the grace given to us, let us use them…”

Rom 12:4-6a (ESV)

You see it in people that aren’t threatened.

They might not be the expert in the room, but they get the respect of those around them because they very well could be and don’t assume that they are. Everyone becomes co-laborers in the process.

One more thing…

This may look different in your church, but As I mentioned earlier, Paul talked about I’ve seen that, where it’s done well, everythe makeup of the body being varied one involved comes away better for it. and unique, and that not everyone was I remember meeting a guitarist at an gifted the same way for a reason. So that event once, and we both remarked how in the context of community, each memwe’d wanted to play together for some ber served in a way to help the whole time, but because we both did the same be more than the sum of its parts. Here’s thing, no one ever needed both of us for where I think sometimes we get it wrong the same event! So we never got to hang in our teams - we don’t allow everyone out, we never got to play together. The to be used for the whole team. Maybe it same is true for most worship teams. As- looks like an age range. Maybe it actually suming you have more than one person looks like a “style” thing in your church. for each instrument, there’s someone who But whatever the reason, people who are isn’t playing any given week. What if you talented and serve faithfully don’t get to be brought them both in for rehearsal any- on the platform. The challenge for all of us way, so that your people could help each is to look around and make sure we’re not other grow? Your bass players could help sidelining folks who still have a lot to give. each other with parts. Your guitarists could This is a challenge specifically for the worhelp listen for tone. Your drummers could ship pastor - mentoring in the context of help each other with timing. The result is community offers a person who is qualia beautiful picture of the body of Christ, fied to participate in the ongoing maturing working together to form a better offering of your team the opportunity to propel your for His Kingdom! younger team members forward faster A couple of things must be addressed if than they could get there on their own! You offer them purpose: “Watch this guy/girl this is going to work in your team: for me. You’re a quality [vocalist/guitarEstablish Relationship ist/drummer], and I’d love to have you in If you have a large team, your members their life to help them be better in their giftmight not know each other well. So foster ing.” And they can offer you their wealth that relationship building through an event of knowledge and experience inside your or a get-together. Then make sure that team, not grumbling and complaining on people who serve the same function come the outside. together and get to know each other. Even I hope this helps us all to be better at if your team is small, everyone knowing what God has called us to do. It’s a chaleach other is key to a good community. lenge worth figuring out as we grow in Christ!

Foster Mutual Respect

It wouldn’t be right to think that you could leave your foot behind while you go about your day, or leave your kidneys in your car to rest up while you take on some other This probably happens naturally when task! And yet, I don’t intentionally look for players of the same instrument get to see ways that I can help the rest of the worship each other in context of a worship environ“body” to move along together. ment. But if you plan on allowing people What I believe God is challenging me the opportunity to speak into each other’s with personally is this idea of mentoring in lives, they have to respect each other. I the context of community; turning around was recently introduced as “a phenometo look and see who might be coming up nal guitarist” to someone you’d all say that behind me that I could help in their jour- about, and while it was really kind of my ney (musically and spiritually). It may not friend to do so, he established a baseline be what happens in a traditional sense for the person he introduced me to, a level of mentorship, but more organic, open, of expectation. So if you have players on fluid. More idea-sharing, less closed off. your team that need to be introduced,

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don’t shy away from putting them on the same level. They can both help each other grow when given the opportunity, even if they’re not actually on the exact same skill level.

Jeffrey B. Scott lives in Atlanta, GA with his wife and 3 children, and is deadset on delivering his best for God’s glory. He’s a guitarist, vocalist and songwriter. He served with Lincoln Brewster at Bayside Church in California and is currently serving alongside the team at Passion City Church in Atlanta, GA. Twitter: @jeffreybscott

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Camera

By Craig Kelly

Exposures, Zebras and You I have to admit that as a Director of Photography back in the day, I never used a light meter. Oh, I knew what they were for and the value they added to setting up lighting a shot – I just didn’t use them. The reason was, the camera lens is a better, more practical tool for me and I never made the connection on how to translate the light meter reading to the camera controls. As a broadcast VO (sometimes called a shader, V1 or Video Op) I knew that on a waveform monitor (scope), the optimum light level for a person’s face is close to 70% - on the brightest side with an f-stop around 5.6.

that if I (1) turn on the zebra indicator, (2) zoom into the face or faces of my subject using manual iris control to open the iris until the stripes show up on the brightest part of the face.

Note what your f-stop is in case you need it later Most camera lenses have two modes; the pan around automatic and manual. This refers to the the scene until you find the zebras on other exposure level, or f-stop settings. Most items; walls, floor, furniture, etc. If you cameras have some form of exposure level want to make your subject stand out from indicator as well - called zebras because the back ground, then make sure the light of the electronic stripes it overlays on the level on that background is a lot less than picture in the viewfinder. Logic tells me the subject (maybe ½ of the 70%?)

On some cameras there is also a zebra setting for 100% indication. This is great if you want to know what in the scene will be at the clipping level – or sometimes called folding over. This is the video equivalent to distortion. Legally, a broadcast signal cannot be transmitted over 100% and the broadcast station will actually do it automatically anyway, so it’s nice to know and have control over your shot yourself. In reality though, you should learn to look at your viewfinder and see where the video is clipping – or at 100%.

What you do not want to end up with is anything over 100% - 105% maximum because you cannot fix over exposure in the grading process.

While we’re on the subject of exposure, let’s talk about minimum exposure too.

Every camera has a sweet spot of what it likes/needs for minimum exposure and every camera is different. How do you find it? Set your manual iris level for good facial exposure (70%) and start looking around the scene and look at the dark areas and add the minimum amount of light until the spot looks good. It should be way below the 70%. Something to remember too is that everything in a scene should be lit. If you can see it – light it.

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Using the zebras to light a green screen can be done to; first, use the auto iris and 70% indicator to shoot the brightest spot on the background then pan around and toy will see the indicator drop off in areas that need more or less light. That way you can get it li evenly across. Then se you iris to your 70% facial exposure and you can bring your back ground level up or down from there - the subject to background levels should be about 2:1. Make sense?

If not, experiment with your camera and zebra settings until it does make sense.

As always, if that just doesn’t click with you let me know at zoomit.ca,@ craigjkelly.com and I will try to explain it better. Good luck.

Craig Kelly is a veteran Freelance, TV camera operator/DP for over 25 years. He writes these articles to be included in his blog found at www. craigjkelly.com. Often the subject matter comes from the 3,000 + global membership in the LinkedIn group he started for new camera operators and volunteer operators called TV Camera Operators. Kelly is also the International/North America Representative to the Guild of Television Cameraman as well as advisory board member for 2 colleges and 2 high schools in the greater Seattle area. In addition, he writes for Worship Musician Magazine and conducts workshops for new and volunteer camera operators. Kelly welcomes comments here or via email at zoomit.cam@ craigjkelly.com

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FOR LEADERS

By Rick Muchow

Leading Worship For Small Groups Over the years I have led worship for many small groups. I love it! Almost every small group I have led worship for has been grateful for the music as if they had a deep hunger to worship together in their intimate setting. One thing I have found in common with vibrant Small Groups is that they worship together. These groups find a way to sit together during most weekend worship services, attend Nights Of Worship, talk about worship, include worship in their group time and more.

However many groups, sadly, have yet to discover or incorporate this missing jewel.

The two most significant barriers to having meaningful worship in the small group are musical leadership and the misconception that worship is synonymous with music.

Biblical worship is, of course, more than music and is not synonymous with it (see Romans 12). The essence of worship is faith not the soundtrack! Biblical worship is faith expressed! There are many ways to worship God without music. However, one of the most common, most beautiful, most effective ways to express faith corporately involves music.

“Music is one of the most magnificent and delightful presents God has given us.”

Martin Luther Here are some practical tips for leading worship with music in the small group gathering.

1. CALM FEARS If public speaking is the number one fear of most adults then public singing was overlooked in the survey! Most people like to sing but prefer to vocalize privately or in a setting where their individual voice will not be noticed. Getting people to sing in a small group can be a challenge.

An affable worship leader encourages participation by intentionally gaining the group’s trust. Being friendly, relaxed and likable will help calm fears about the “singing” part of the worship time.

are speaking to the group but will feel awkward to others while singing in a small setting.

Know your music and sing from the overflow. The bible says, “If we are leaders Simple Rule: Be caring without staring. we should do our best.” (Rom 12:8) The Worship leader should know their music 2. CHOOSE FRIENDLY and words well enough that their leading Use songs that are group friendly: is easy for the group to follow. Effective familiar, well liked and in sing-able keys. worship leaders are more than just skilled Singing gets better with confidence. troubadours. The Worship leader must Confidence grows with familiarity. Avoid have an authentic relationship with the using songs that are unfamiliar, hard to Father, faithfully living a life of worship. learn and difficult to sing. Another way to Simple Rule: Leading worship with be friendly is to put the song in the right music requires spiritual and musical key. Most groups stop singing when the preparation. key is too high. This is because many people have to sing louder when they sing 7. CONTINUE PRAYING higher. Some can’t reach the high notes Think of singing to God as a form of and most people become self-conscious if prayer. Don’t just play your songs. Pray they hear their voices above the rest and them. People respond to sincere prayers will stop singing. especially in an intimate group setting.

Simple Rule: Use familiar songs and Be aware of those you are leading while friendly keys. staying focused on the conversation with God while singing. Approach worship 3.CONTROL VOLUME leading as more of a prayer time than People follow voices. Be careful not to “Special Music” or a mini concert. drown out the voices with your guitar or Simple Rule: Pray and Play. other accompaniment. There’s a difference between louder and energy.

Simple rule: Sing brighter and strum lighter. Your guitar can be louder than you realize.

4.CONTEXTUALIZE SONGS Participation will increase when the group relates to the song. The worship leader can share interesting facts about the song: what the song means to them personally, it’s scriptural reference or how it relates to the group study.

Simple Rule: Plan your speaking and be brief.

5. CONNECT GROUP The goal of group singing is connection: connection with God and each other.

Music is a language that speaks directly to the soul. The worship leader’s job is to make the introduction and then stay out of the way.

Worship leaders should avoid making direct eye contact with the group members while singing words directed to God. Staring in general makes people nervous Simple Rule: Focus on connecting not but during singing it can be particularly weird. Picture singing the words “I performing. love you, Lord” while staring directly at someone just five feet away from you.

Direct eye contact is important when you

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6. COME PREPARED

Rick Muchow was Saddleback’s Founding Worship Pastor and served with Pastor Rick Warren for 25 years. He has helped train over 150,000 church leaders. Rick continues to equip and encourage local church worship teams, Pastors and Worship leaders around the world.

Contact Rick at Info@encouragingmusic.com Instagram, Twitter, Facebook @ rickmuchow Please visit www.rickmuchow.com for more worship resources from Rick.

Worship Arts Technology Summit

Music - Vocals - Audio Lighting - Media

Early bird and group discounts are available, so bring the whole team. This two day comprehensive hands-on training event is unlike any you will ever attend. Our world class teaching staff includes:

Carl and Leann Albrecht - Ed Kerr - Michael Hodge - Tom Lane Camron Ware - Aaron Williamson - Sean McCurley - Lee Fields Harold Ruben - Scott Ragsdale and more...

See website for details

Check the website for 2015 dates and locations

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Product Review

By Mitch Bohannon

Dream Foot Worship leaders… worship musicians, we’ve got a lot in common. I’m sure many of you are sitting in front of your MacBook Pro with iPhone in hand as you are studying, planning, and arranging music for your upcoming services.

Most of us are admittedly “gearheads”… always on the hunt for that right “thing” whether it has strings, cables, or ¼” jacks. Many of you probably also fall into one of two categories…

Audio Workstation, mine is Ableton Live).

Did I lose anyone? Just in case… if you have recording software on that MacBook Pro of yours like Live, Logic, ProTools, FL a). Those who run click-tracks and stems Studio, or the like, then you’ve also got (enhancements) your hands on some VST (Virtual Studio b). Those who will, as soon as they learn Technology) instruments that are built into your DAW. how, or once they get in-ear monitors.

Once Dream Foot has been assigned Well, I stumbled upon a post from my friends at Loop Community that mentioned to play the VST sound that you like, you the new app, Dream Foot. It raised my can then program it to play a chord curiosity enough to give it a try and what progression of your choosing and at your a fantastic option for running pads and command. strings for worship. I’ve recently taken a position as an interim worship leader. For years, I have been accustomed to having in-ear monitors and running click tracks and stems. Now, I find myself needing to use wedge monitors again and my keyboard player is out one or two Sundays each month due to work. I believe the Lord lead me to Dream Foot at just the right time.

It’s a great solution for my current situation and, I believe, it could be one for you as well.

You see, Dream Foot is a program that utilizes VST’s in your current DAW (Digital

Open the Dream Foot program and you’ll see a large keyboard and a variety of control sections… a MIDI in/ out section for routing; the middle section is for building chords and creating progressions; a VST Host section allows you to access your virtual instrument from within Dream Foot; and then a list of 16 programmable scenes.

One of my favorite things about the program is in the creativity you’re allowed in creating a specific chord voicing. It comes with basic chords built in – like G, C, Em, D. However, if I wanted my “G”

chord to be a 1 over 3 chord (G/B), this is easily assignable within what is called the “FACTORY”. I can pretty much create any kind of chord I want, and from there I can listen to it and save it. Beyond that, what if I want something really specific… what if I wanted a “G” chord with no 3rd in it? I am able to go into the “LAB” and create the actual chord voicing I desire and save it for future use.

After I have programmed all of the chord voicings I’d like to use, I click onto the “SEQUENCE” page. There, I am able to list out five different chord progressions on each of the 16 scenes.

These chord progressions are ready, then, to be stepped through using a MIDI foot controller. There are many foot conrollers on the market and, if you’re truly a “gear-head”, you probably have one or you know someone you could borrow one from. I use the Looptimus from Loop Community. If you think about it… anyone on the team who is playing an instrument with their hands (guitar, keys, horns) could use a foot controller and Dream Foot to add pads/keys to the mix.

Dream Foot was actually a thesis project for Filipe Mora, who is a guitar playing worship leader himself. I believe Dream Foot could be useful for you whether you’re playing on a large church platform or at a coffee house gig. There is huge potential for this little app! The program is a quick $250 download from www. dreamfootexperience.com. The website has very easy-to-understand tutorial videos as well.

Mitch Bohannon developed the Short Cut Capo for Kyser and is a worship pastor in Louisiana.

He and his beautiful wife, Noelle, have been married for 22 years and have three awesome kids! www.kysermusical.com

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none other than the very talented Israel Houghton. Israel has lead that team of players many times before and the band was tight, tight, tight. Add to that Israel’s infectious attitude and high caliber of musicianship and he led the band through their paces, skillfully guiding the audience in worshiping the true and living God. It was amazing again! Israel had just been at the funeral services the day before for Andrae Crouch and he invited seminal artists and producer Tommy Simms to join him on stage for a tribute to Andrae and his music. Wow, the audience loved that too!

“Editor’s Corner” Cont. from page 5

he won them over. Bob prepared the way for the opening time of “welcoming the crowd” and announcement of the first band for the night – Tim Timmons.

Tim’s style of worship and how he relates to the audience is very different than anyone else’s. He starts and stops quite bit, stopping to make pointed statements about us, worship and God Himself.

He is spontaneously adding in lines or comments that fit quite well with the live situation in the room. His worshipful and encouraging style was a total hit.

We wrapped up with a few words by our local California pastor friend Holland Davis who gave an invitation.

A man came forward to accept the Lord and many others were touched by the closing prayer.

Master – Doyle Dykes! Doyle’s guitar playing was on fire and the audience was loving it. He had the whole room right in his hand and then with his country style grace and composure Doyle would make a comment or two about the gift of music and God’s love that really got you thinking. The crowd felt lifted up not only by his guitar talent but also by Doyle’s humbleness of Spirit. Doyle made you want to play your own guitar better!

When the concert was over Mike and I thanked the crowd and I encouraged them all to visit the artist’s merch tables in the lobby to thank the artist for playing for us. There was such a good buzz in the room that 30 minutes later there were still a lot of people fellowshipping in the ballroom and the lobby.

I was so grateful. Thank you Lord for your faithfulness! I got to see four amazing artists do what they are called to do and my job was We took an intermission and then came to simply prepare the stage for what had now become… the on our friend Michael Hodge (writer for our best night!

Then came our time with a master on magazines) with the Lakewood worship In His Love, Bruce & Judy guitar and a man with a heart for the team and to lead the band that night was “Record Reviews” Cont. from page 30

renewing power in our lives. This album has lots of intimate moments but that doesn’t mean that there aren’t plenty of southern toe-tappin tracks that we all have come to love from one of the best worship bands in history. A few of the cuts include up and coming worship leaders All Sons and Daughters which give this album a fresh, fun feel.

piano led cry to God to lead His people back to where we belong, in the arms of Jesus. It spoke volumes to me and made me think about my own faith and how far away from God I get sometimes. I think this is the vision of Third Day and their music, to remind hurting people that there is a God who loves them and is waiting for them to return to His loving arms.

“Soul On Fire” is a peppy, countryesque offering that asks for God to set our souls on fire for him and “Your Words” is a great blend of Powell’s throaty voice and members of All Sons and Daughters.

Lyrically, this is one of the stronger songs on the album as we are reminded that God’s word is the source of life and hope that never fades.

I applaud Third Day for listening to God’s call and giving the church another set of wonderful worship music through this album. Every song is well written and very singable. The arrangements here are just different enough to make the entire album interesting and well worth a purchase.

“He Is Alive” is a powerful and victorious song of Easter complete with soaring choral harmonies and a glorious string instrumental section while “Maker” begins as a stripped down acoustic ballad begging for God’s forgiveness and renewal and winds up a celebratory anthem of honest worship.

I found it interesting that the title cut contained in this collection is by far the shortest at just under a minute and a half but gave one of the most powerful messages on the entire album. “Lead Us Back” is a

Gerod Bass is a ministry veteran who has been serving God’s people through worship and youth ministry for more than 20 years.

Since 2009, he has been living his dream serving as the minister of worship and Jr. High at Our Savior Lutheran Church in Tacoma, Wa. Gerod is a singer, guitarist and recording artist who has a passion for impacting lives for the sake of the Gospel. You can find out more about Gerod, his ministry and his music, including his newest album release at his website, gerodbass.com.

Wear it well...

MusiciansThreads.com

WORSHIPMUSICIANMAGAZINE.COM MAR/APR 2015

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OPEN LETTER...

By Anonymous

What Do You Have To Say? The Semi-Transparent Ramblings of a Worship Leader Who Got Fired (Editor’s note: This was written by a good friend of Worship Musician magazine… someone who has written many times for us… they wished to keep their name anonymous because of that fact and I respect that. This open letter is good for us all to learn from… ) It’s so sad. The church chewed up and spit out another friend of mine. How many of you us have had friends in the ministry that were simply kicked to the curb? The first of my friends was hired next to me during my second year of full-time ministry.

He moved his whole family all the way across the country to serve as youth pastor and work “part-time” until the church could afford “full-time” pay. All seemed perfect and, less than a year in, the pastor decided it was not “working out.” “Sorry, I have to let you go.” What do you say, what do you do?

Second was a friend who had discovered some wrong-doing of his pastor. When he tried to do something about it, the church turned on him and he was forced to resign. After the bridges had been totally burned down, the church found out the truth and called him, “we’re sorry, please come back.”…It was far too late.

“Another one gone, another one gone… another one bites the dust”. It would be different if these friends had done something wrong. Wouldn’t it? Shouldn’t it?

Now. I get to be third in this story. Last April, my pastor told me that he wanted to “go a new direction in worship”. What?

Go where? Within a matter of moments, I found myself, and my family, bouncing off of that same curb. My salary… gone, our health insurance… gone. What about my kids in school? My mortgage? Do I sell my house? How do I job search at this age?

I...was...over…whelmed.

It’s been just over eight months. I believe I’ve gone through way more than eight stages of grief. God told us in His word that He knows how much we can bear and His word is true! Pretty quickly, He showed me where he would provide for me to work. But there was still a process

of dealing with, sorting through, and overcoming the pain.

From the beginning, my wife and I clung to each other and to the Lord. We went on regular walks and talked out how we were feeling. We talked about what we were angry about and what we were thankful for. We recalled every step of the process… why did it have to happen this way or that?

Praying constantly against a spirit of bitterness.

It’s quite true.

God is so faithful and we are not so. You see, after several months, I tired of praying against bitterness and guess what started to set in? My anger was growing, my heart was turning sour, and my thoughts were turning hateful. We did realize we were actually thankful to be able to go to a different church and we were thankful to be able to attend church as a family. But yet, I had stuffed and compartmentalized my pain in a place where I would not allow God to heal it.

situation from the beginning, I honestly don’t really trust what he may have told the congregation. The way he did it, I didn’t even get a chance to say goodbye. I was just GONE. No closure. Oh, he told me I could address the church, but what would I say? Normally, people who leave a church leave to another job. Would I say, “I quit”, or, “Pastor fired me?” or, “Does anyone have a job to offer me?” I was trying to wait until I had a J-O-B before I addressed the church and then the pastor Maybe there’s something you need to ended up making an announcement that know about the person in your world I would no longer be there. Well, thank going though this or about to go through you, sir, for that! this. Our world had two circles. Our Guess how many of my band contacted family. Our church. We were left with only me? Well, one did about 8-9 weeks after our family. All of our other associations the fact and one more several weeks after were cut off because of the way the that. What? Weren’t we friends? Didn’t pastor handled this. Though we could we communicate regularly? Well, I take hold our heads up high knowing that I that back. That first band member dropped was not guilty of wrongdoing, we still felt by to show me a guitar he had purchased, and feel awkward going to the grocery he is also an associate “teaching” pastor or Wal-mart. Who would we see? What at the church. The following day was staff would they say or think? What DO they meeting and within like an hour of each think? The way the pastor handled the Continued on page 49

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Continued from page 8

room too. A couple of djembes; a Cajon; a talking drum; an udu drum; congas; bongos; chimes; tambourines; shakers etc. There are cases laid open for me to grab something in the moment and play.

I’m creating; playing; praying; worshipping before the Lord.

These have just been random moments without planning anything. I’ve just felt recently I needed to experiment freely without the pressure of a record being done or other people needing a specific result. These recordings may just be for the Lord and me, but that’s OK. It’s letting me express things I don’t normally get to do. I go for about five to ten minutes and then go back to listen to hear what happened. It’s been a really exciting experiment, and a very special time as a drummer in the

FREE SONG & DOWNLOAD: bit.ly/free15int

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All of this is meant to stir up your creative juices, your spiritual journey, and to keep your playing fresh. Don’t be afraid to try anything. Be brave. Do your own mixing up of drums, cymbals, and musical expression and see what happens. Please feel free to write to me, and let me know what happens. Blessings on your journey. Carl Carl Albrecht has been a professional drummer & percussionist for over 25 years. He has played on over 70 Integrity Music projects; Maranatha Praise Band recordings & numerous other Christian, Pop, Country, Jazz & commercial projects. He currently lives in Nashville doing recording sessions, producing, writing and continuing to do various tours & seminar events. Visit his website: www.carlalbrecht.com or send an e-mail to: lmalbrecht@aol.com.

Continued from page 13

Continued from page 15

frequency on your EQ and cutting (subtracting) it...but do this in VERY small increments (remember, less is more). Essentially, EQ’ing is changing the overall tone of something. Some engineers interpret “changing” the tone with EQ the same as “distorting” it. That is why you have to be careful to take baby steps when it comes to EQ.

cigarettes was bad for them. She told me how doctors would appear in cigarette commercials giving everyone a sense of how healthy it was to smoke cigarettes. Really? I know the public can be duped, but did it really take a genius to figure out that breathing smoke into your lungs all day long was unhealthy? Is it just me that thinks it’s pretty obvious that if breathing smoke for a just a few minutes in a burning house can kill you, then breathing smoke all day long into your lungs can’t exactly be good for you? To me, many harmful vocal techniques are just as obvious (some not so much). If your throat is sore or hoarse after singing, that is a pretty good indication that something is wrong. It may not always be obvious to the untrained singer WHAT is wrong, but we should be smart enough and aware enough to know that something is wrong.

I wish my mother had used her head a bit more rather than following the crowd back in the 50’s.

It was no fun losing her to lung cancer…

Compressors are the most significant enhancement to a bassist’s effects arsenal. If you know how to adjust a compressor properly, with a good sounding bass you can achieve many different “EQ’d” sounds without EQ. For instance, by delaying the attack time of the compressor you can allow the initial “finger-strike” sound to become more prominent in the tone, rendering an EQ’d tone effect similar to adding upper midrange frequencies around 3k (3000 hertz).

You can also create a fatter tone by applying a fast attack/slow release setting to the bass, rendering a cut in the “attack” frequency range and a boost in the later, bigger part of the bass sound. Basically, with a good input path (direct box, mic pre) and a versatile, quality compressor, you may not even need an EQ device in your chain.

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presence of the Lord. Maybe this is what King David felt as a shepherd boy in the fields worshipping God with no one around.

There is something to be aware of in your consideration of buying some or all of these various pieces. Do not be tempted by cheaper, all-in-one devices. If a salesperson tries to sell you a pre-amp/eq/compressor/D.I. for less than $1,500 (unless its used), don’t fall for it.

You are better off saving your money and buying the “good stuff” one piece at a time. Patience pays, and we are called to be good stewards of our money. Happy gear hunting! Be blessed!

Gary is a session player/ producer/writer in Nashville, TN. He plays for many recording session accounts, does home recording, production, and attends Grace Church (gracechurchnashville.com) in Franklin, TN. Email him for questions, comments or scheduling at garylunn@me.com.

MAR/APR 2015 WORSHIPMUSICIANMAGAZINE.COM

I want people to reach their full vocal potential.

I want to see people singing for a lifetime.

Following passing fads of crazy vocal gymnastics is most likely NOT the way to reach either of those goals. PLEASE—take care of your voice, pay attention to who you emulate as a singer and watch closely to see how your children are styling themselves vocally. Make sure you learn what the basics of good vocal technique and vocal health are so you can spot the difference between good and bad vocal practices. Let’s not just follow the passion of the latest trending song or singer—let’s be smart enough to know when to “let it go”.

Sheri Gould is an internationally acclaimed vocal coach. With a degree from the University of Ill, she has been coaching since 1979 and leading worship since 1985.

For weekly vocal tips, check out facebook.com/officialsherigould. For information on products, including instructional DVDs, check out www.sherigould.com

“3rd Power Amp” Continued from page 6

had two amps with a stereo rig, or wanted to use the preamp sections into a big Bradshaw controlled Rack and then back to the Power amp sections. That would be massive!

and we got one for Lakewood Church right away. We have a lot of visiting artists and bands, and they often comment how great it sounds. I’ve been fortunate to play through lots of different There are three Speaker configurations possible guitar amps. It’s pretty cool to have both a great via ¼ inch jacks. You can use anything from one AC30 and a killer Plexi in one head. I’ve been or two 16-Ohm cabs, one or two 8-Ohm cab, or using the original British Dream live for two years even a 4-Ohm cab. That’s a great feature. While now. It’s been a workhorse. I’ve been leaning into the AC 30 tone for a while now when we’re on that topic: recording. The MKII takes it to the next level. As SPEAKER CABINETS: Jamie was known for his much as I love the chime and growl of an AC30, unique 3X12 Triangle cabinets that could stack this Plexi channel with a Les Paul is amazing too. into giant Pyramids. I remember seeing Lenny If you are into Hendrix tones, you’ll be right there Kravitz having two giant stacks of nine each with a Strat and maybe a couple pedals. up on stage. 3RD Power has since focused on If you are going down the sound-scape more outwardly traditional cabinets, using the washy verb & delay road, the amp has a ton proprietary 1X12 Flex-Cab and 2X12 with TriCab chambers that eliminate standing waves. of headroom. It loves pedals. If I had only one You can see how they are designed on his Amp this would be my first choice. It has a 33 website. There are also combinations of open year warranty and lifetime support. Jamie and his and closed back designs. His cabinets do sound crew are great to work with. Moderately priced amazing, and the lack of standing waves does at $2,299.00, the British Dream MKII is great make a real difference. They are built out of value when you consider that it’s a full featured 5/8” Baltic Birch. The 2X12 cabinet has the two-amps-in-one that’s hand-wired in America. option of being an 8-Ohm mono or 16-Ohm For more information go to: stereo Cabinet. His Combo Amps also have the www.3rdpower.com. same features built in.

CONCLUSION: I was first introduced to Jamie and his amps when I borrowed one for a tracking session. The producer and engineer were super impressed,

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

“Worship Leader Who Got Fired” Continued from page 47

other, two other staff guys texted me some, “Hey, miss you man. How are you?” type of a message. Let me tell you, insincerity is obvious. Don’t send a “how you doing” text just to clear your stinking conscious.

I really hurt for my wife. It’s hard enough to be a staff person, but to be the wife of one and live in that glass house with people picking apart and analyzing your every decision and analyzing your children… that’s painful. Guess how many ladies have contacted her? One, who really just came across as wanting “scoop” and a couple of those same insincere texts. It’s been eight months mind you… I guess it’s kind of like the way you feel bad and suddenly get a stiff neck when you have to actually stop at the stoplight where the homeless person is holding up their sign. Then after you get to past the light, your neck begins to feel better and you’re back to visiting in the car. Those church people have turned onto a new road now. All’s good. Really?? Have you thought about how my teenage kids now feel about the church? How they feel about a pastor’s authority? How they feel about serving? We have really had a faith-quake in our house.

Why am I telling you all this? Partly, it’s for my own therapy. Partly, it’s to encourage you to do a self-check and maybe you’ll realize that there is someone you need to contact to make things right. Maybe you need to find out what the “termination process” is at your church. I really trusted this pastor. Heck, I’ve known him for 15 years. Oh, guess how many times he contacted me? One! And that was to say that he “put my name in” at a church that needs a worship pastor. Oh, really? Thank you so much! Wait, isn’t that one of the type of churches that you said you’d rather work at McDonalds than go back to? Yep! Sure enough was.

Could this happen to you? If you have a pastor who can make authoritarian-like decisions without anyone calling him into question, I encourage you to have a talk with him and have open communication about the subject. I would also encourage you to not allow this to happen to a costaff member. This is the church! If there is immorality or a legal issue, certainly people need to be terminated. If not, there needs to be a healthy exit strategy.

True, my wife and I do laugh about some of it now. But, I think that’s to make the pain “bounce” a bit. The pain is still there. Christ is all. He is sufficient – we know that full well. I love my wife, she loves me, and we love our kids. We are healthier as a family now than we were 9 months ago.

Going through such pain has drawn us together. I have prayed many times, “God, thank you for the pain. Thank you that it was not a long and drawn out process.”

But sometimes, my heart and my mind think and feel differently!

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A Few Moments With…

Brad Blythe

NAMM 2015 So … you don’t know me, but even my friends will tell you that I am a bit of an exaggerator. But any tale I tell about NAMM will be under whelming because of the colossal size, quality and showmanship of this event. Consequently, as I begin this article I understand that there is no possible way for me to describe the magnificent machine that is NAMM. Though, if I were to try, this is how I might start - if you are a musician, NAMM is like 1000 Christmas mornings all at once.

I have wanted to attend NAMM for years, but it just had never worked out until this year when I went as a guest of Collectible Guitar Magazine and Bruce Adolph. This turned out to be a prodigious thing because having the ‘Exhibitor’ badge designation allowed us to get in before anyone else. I attended with Joe Riggio of Riggio Custom Guitars, who is also a contributor to Worship Musician, Christian Musician and Collectible Guitar magazine and knows everything there is to know about guitars, amps, recording studios and pretty much anything about musicality. (This is not one of my exaggerations.)

Joe and I arrived early and entered what is comparatively the size of 10 Costco stores in size with three levels. The various exhibitors are compartmentalized into sections and moving from section to section systematically is important, as there is so much to see. If you are looking for anything musical you WILL find it at NAMM. The

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on Thursday night. We had three hours of worship while simultaneously being in sheer awe at the talent of the performers.

Bob Bennett, Tim Timmons, Doyle Dykes and Israel Houghton with the Lakewood As a musician that has played almost Worship Team created an unforgettable every week for 20 years I was astounded time of sweet communion and worship. at the amount of learning I did and Personally, I am blessed to serve in subsequently now understood areas I may worship music for a living, and the Night have neglected in my own musical world. of Worship evening made it all the more I truly believe that anyone attending this exhilarating getting to spend time with event will learn a great deal and without other believers who love music, but love a doubt, open fresh, creative musical Jesus even more. spaces in your mind.

In conclusion, quite candidly I believe A huge part of this sensation is the that at least one or two people from the relationships. In the first 20 minutes Joe worship team at our churches should and I ended up alone inside the 65 Amps consider attending this show. It is a exhibit with founder/owners Dan Boul reminder that there are so many tools to and band director for Sheryl Crow, Peter make our Sunday mornings a special Stroud. Peter sat two feet from me and musical expression to our Lord. effortlessly made that guitar sing. I never said a word, but learned more about Even though this is an “industry only” amps, guitars and band leading in that 45 event NAMM has a way that qualified minutes than I have in years. Taylor Swift’s worship leaders can register for the guitar player for the last 10 years, Paul convention. This is well worth the effort Sidoti was there as was Stevie Wonder, friends… check out www.namm.org Eddie Van Halen, Doyle Dykes and many more. The truth is that I was amazed at Brad Blyth is Lead Pastor the almost fraternal connection that even most of us regular folks had with each at Westside Community other. Being around these people and Church in Orlando, Florida. also hearing them perform has a powerful He lives there with his wife Melissa, son Jack and effect on a person. daughter Natalie. They also people are very helpful and desire to point you in the right direction if you get lost or simply want to know where something is located.

With all the fanfare of the NAMM have a huge 120 lb. Chocolate Lab named experience, the jewel of the entire Charlie and a cat named Wilson (after Seattle weekend for me was the Night of Worship Seahawk quarterback Russell Wilson). Brad can be reached at brad@westsidecc.org

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