Worship Musician! Magazine - Nov/Dec 2012 by Worship Musician & Christian Musician Magazine

THE

STRATO-CAROLS OF

LINCOLN BREWSTER

Product Review

Intellitouch Freedom One Digital Wireless System NOV/DEC 2012 Volume 10, Issue 6

74470 58440

iPad App: OnSong

Record Reviews 11

Product Review

Brenton Brown

Gateway Worship l Kristyn and Keith Getty

US $5.95 Can $6.95

“Genuine Worship” by Jeri Nicholson

“Finding Your Voice” by Tom Lane

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Finding the Right Music Gear for Your Church Just Got Easier!

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The Best Technology for Worship Lincoln’s Go-to Gear:

Real Live: Re

practicals as well — the musicianship. I’ve said this for years, that all really good gear does is better re-create reality.”

LLincoln Brewster

This approach applies to recording as well as live sound in the church. “People say, ‘If I could just get Pro Tools, then I can make a record.’ Well, no. Pro Tools is just going to better reveal what you have. Pro Tools doesn’t make records; Pro Tools ALLOWS people to make records.” He adds, “We’ve got to be careful of the “golden hammer” syndrome. We don’t worship the tools. They’re just tools. We commit to being smart with what tools we need, how much we need to spend, be frugal, make wise choices, and then get after the task at hand and focus on doing a great job.”

on Music Technology in Modern Worship You would be hard pressed to name a modern worship leader and musician who has better utilized music technology than Lincoln Brewster. Renowned both for his songwriting chops and his virtuosic guitar skills, Lincoln makes the most of his cutting-edge music gear — while sharing the message with heart, grace, and humanity. Currently serving as the worship arts pastor for Bayside Church in Granite Bay, CA, Lincoln also continues to tour nationally. He has released seven full-length albums since 1999, including his acclaimed latest, Real Life. A new Christmas album is due out this year, and plans are in the works for a live album. It goes without saying that he has come a long way.

Lincoln’s own setup pairs the latest technologies with classic tones. “I’ve got two Custom Shop Strats that are sort of based around ’57s.” Rather than relying upon miked amplifiers onstage, Lincoln opts to run his POD HD 500 rig direct. “Most of the dates I do on the road are fly dates; we’ve got to fly just about everywhere we go. I want something that sounds great, that feels great to play, and will give me consistency every night. For me, that means being able to fly with it. So, for me, that’s where it [using the POD] started. I recorded some tracks on my very first album with Line 6’s Amp Farm, and I remember thinking, ‘Gosh, it’d be great if I could take this on the road.’ And then the POD came out. I started using it, and, back then, running direct was blasphemy. I’d have people show up after we’d play at a festival and they’d say, ‘How do you get your tone? I want to see your rig!’ And I’d go, ‘You don’t want to know, trust me.’ And they’d say, ‘No, no, I wanna know!’ And I’d show them. What I’ve found consistently is that people’s brains would not allow them to hear what their ears heard. They just couldn’t get past the reality of what it was.” He usually opts for a Line 6 G 30 or the G 50 wireless instrument system for his guitar. Lincoln also points to the flexibility Line 6’s new XD 75 wireless microphone system gives worship groups, thanks to the handheld transmitter’s array of built-in mic models. “I was really shocked at how good the models were inside the microphone. The fact that you could flip through a bunch of different mics and try different ones out and see which one worked was killer.” For onstage monitoring, Lincoln depends on Westone in-ears. “I think top to bottom there’s not a better company for in-ears. The UM Series is great. I carry around UM 3Xs along with my 5 drivers for backup. They sound awesome and they fit great.”

Lincoln’s upbringing in Alaska was anything but idyllic. He grew up in a broken home, seeking solace in music. Gifted at guitar and other instruments from a young age, Lincoln poured his energies into improving as a player and performing live. By age 19, his talent and hard work got him noticed. Recording contract offers began coming in, but by then, Lincoln had let the Lord into his life and chose a different path. He played on a Steve Perry (formerly of Journey) solo album and toured with the singer for six months in the mid-1990s, but soon returned home — now in California — to be with his new wife and work with his church as a sound technician. Eventually, Lincoln moved to Nashville, working alongside his wife as a youth pastor. Upon hearing his production work during a demo session, executives from Integrity Media took notice of his talent and signed him to their Vertical Music label, and Lincoln relocated to California and began his work at Bayside Church. His experience on the platform, on tour, and behind the scenes gives Lincoln unique insight into what it takes to make technology work in the context of worship. As he points out, “I think that a lot of people have allowed for things to get overly complicated, and ‘technology’ for some people is a bad word — when technology is supposed to be our friend and help us out.”

Renowned singer, songwriter, and guitarist Lincoln Brewster’s acclaimed latest release, Real Life, is available now. To find out more about Lincoln and his uplifting new album, go to linconbrewster.com.

Worship Sound Pro 101 Guides

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Take a look at the instruments we’ve highlighted in this guide, including Yamaha’s MOTIF XF8, the affordable Roland FP-7F, and the piano-like Kurzweil PC3K8. You’ll also want to check out the Hammond XK-3c.

Workstations: Powerful Tools for the Worship Leader

Choosing the Right

KEYBOARD Whether you’re looking for a simple instrument that just plays and sounds like a real acoustic piano, or you’re seeking a powerful centerpiece for all your worship team’s ambitions, there’s a digital piano that’s right for your church. To help you zero in on the perfect keyboard for your needs, let’s take a look at the different kinds of keyboards available, as well as the important factors you’ll want to consider when making your decision.

When Less Is More

If this sounds like you, you’ll want to select what’s called a stage piano — and ideally one with a full set of 88 weighted keys (also called weighted action). These keyboards actually mimic the response of a grand piano’s keybed, where the lowest keys require more force to strike, and the upper keys feel light and airy beneath your fingertips. To nail the sound of an acoustic piano, today’s top keyboard manufacturers have gone to great lengths to record some of the finest grand pianos in the world, putting these sounds right inside the instruments. Not only can you get the sound of a classic Steinway, but on many you can also push a single button to get the sound of a Bosendorfer, a Yamaha C7, or a character-filled upright. If you’re replacing an acoustic piano, you should consider the importance of aesthetics to your church. If you have more-traditional services or are seeking a really natural look up on the platform, then you may want to choose a more authentic-looking stage piano. We have options available with wooden cabinets, in a variety of finishes, so you can choose an instrument that matches the decor of your church.

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AV D AVID Pro Tools + Eleven Rack

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Lincoln also relies on Avid’s Eleven Rack to get his favorite guitar tones in the studio. And, speaking of getting guitar tones, he gets plenty from one of his favorite new guitars, the Line 6 James Tyler Variax. “I think every studio ought to own one of those,” he enthuses. “It’s just amazing how spot on those models are. It was pretty stunning; I knew the guitar was cool, but at that point I was just a complete believer.”

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You can find Sweetwater-exclusive signature Lincoln Brewster patches on both the POD HD Pro and Eleven Rack systems. What’s more, Lincoln has been a Sweetwater customer “for almost 24 years. I could tell even back then: well-run company, thought a little bit outside of the box. If a church calls you up, ‘Here’s what we’re wanting to do,’ Sweetwater is able to really give them a comprehensive view of product options.” Lincoln neatly affirms his path as a musical messenger when he paraphrased a quote by Martin Luther: “Aside from theology,” he says, “there’s not even a close second to music in terms of communicating God’s word to people.” He adds, “It’s obviously a very important part of what we do as a church.”

Westone UM3X RC

lincolnbrewster.com

pg. 34

FIVE Main Features to Consider As you take a look at the keyboards featured on the next few pages, these five factors will help you start narrowing down your decision:

1. Action

Do you want keys that are weighted to feel and play just like an acoustic piano’s? Or do you want keys that glide beneath your fingers so that you can easily play synth and organ parts?

2. Sounds

Do you primarily need an authentic acoustic piano sound, or would you like to have other sounds such as strings, synths, electric pianos, organs, and more?

3. Arranging/Recording Capabilities

Will you be composing songs with your keyboard? If so, you may want to have a built-in sequencer, onboard drum sounds, and a direct-to-computer connection.

4. Size and Portability

Choosing a 76-key keyboard instead of a full-size 88-key instrument can be a great way to cut down on weight while maintaining a first-class playing experience.

While streamlined, piano-like instruments are ideal for a number of worship leaders and church pianists, many other houses of worship rely on keyboards for much more than just piano sounds. In fact, if you’re a piano-centric worship leader, you may very well be able to perform and produce your entire service with a single powerful instrument called a keyboard workstation. More than just keyboards with hundreds, sometimes thousands, of instrument sounds, these instruments often feature multitrack sequencers, so you can layer all the different instrument parts into a full orchestration. It’s very similar to working with audio editing and production software, only you’re not tethered to a computer — and you can easily play these backing tracks right from your keyboard during services. And even if you do have a complete worship band, you can use a workstation to add a few choice backing instruments to fill out your sound — perhaps a second trumpet part, a string section, or even an extra kick drum sound for more power.

Keyboard

Picks

359999

More info on pg. 104

Kurzweil PC3K8

Amazing feel and piano sounds

349500

More info on pg. 107

Increasing in popularity are keyboards that feature a built-in microphone input. These are perfect for the performing worship leader and great for scaled-down youth services. The vocal microphone goes right through the keyboard’s output, so you’ll need to amplify only one signal. Better yet, there are professional vocal effects built in, so you can refine the vocal sound without having to purchase an extra piece of gear.

Don’t Forget About Realistic Organ Sounds The organ is still a very popular instrument for worship services. And while most of the keyboards we carry feature a built-in organ sound, you can get that organ-playing experience — complete with drawbars — by choosing a dedicated instrument for the task. Have more questions? Our Sales Engineers are here to help you choose the best keyboard for your church’s goals. In fact, what you see in Worship Sound Pro is just a small sampling of the many keyboards we have available. Give us a call today at (800) 222–4700.

5. Appearance

How important is it that your church’s keyboard resemble an acoustic piano? Do you want an integrated stand, or would you prefer to use a more portable stage-style keyboard stand?

Roland Jupiter-50

Incredible piano and synth tones — and more

199900

More info on pg. 112

Hammond XK-3c

Classic Hammond organ sounds

252500

More info on pg. 111

Roland RD-700NX

Platform-ready playability and sounds

2699

More info on pg. 108

Roland FP-7F Fantastic piano voices plus modern capabilities

>> Sennheiser

EW 335 G3

It’s bound to happen at some point: the mix disaster. Maybe your church’s regular sound person calls in sick at the last minute. Maybe the new volunteer sound person doesn’t know a volume slider from a sliding door, or a mixing board from a mixing bowl. Whatever the circumstance, something has to be done to save the service. Without decent sound, the congregation won’t be engaged or inspired by the music, >> Line 6 $ 44999 lost. and the message may be completely XD-V55 (HANDHELD)

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Churches across the ccountry swear by wireless system! this pro-level UHF wi

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A Balance of Features for Modern Worship If you don’t need the all-out power of a workstation, but you’d still like a handful of cutting-edge capabilities — maybe built-in drum patterns for rehearsals and a lighter sequencer for a quick songwriting sketch pad — there are a number of options that fall somewhere in between the two categories we’ve already mentioned. Instead of choosing an 88-key option, which has the same number of keys as a full piano, you can select a 76-key — or smaller — version. These instruments trade a slightly reduced range (many keyboardists never use the highest and lowest keys anyway) for lighter weight and a more portable form factor. You can still get fully weighted keys on a 76-key piano, or you can choose a semi-weighted version that works well if you perform a blend of classic and modern instrument sounds, rather than strictly piano.

Building a Mix

Yamaha MOTIF XF8 Great workstation, loaded with free extras

More info on pg pg. 22

WIRELESS W WI

Wi Wireless technology can be a little daunting at first. But don’t worry, wireless systems techn easier to understand today than ever before. Most wireless systems set are much easie themselves up for you, and once you’ve set them up, you don’t need to touch them again. Here’s a simple overview of wireless microphone technology, how you can put it to work in yyour church, and how to avoid some common pitfalls. There are two basic types of wireless transmitters: handheld units and bodypacks. Handheld units combine a microphone and a wireless transmitter into one device. They are extremely convenient for worship leaders, and even some pastors prefer them because you can move a handheld microphone away from your mouth if you need to cough. Wireless handheld microphones are also less susceptible to dropout, because the transmitter part of the unit naturally points out toward the receiving antennas.

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RSS V-MIXING MIXING M SYSTEM

The Basics of

Worship Worsh ip Sound Pro 101 101 Guides

Bodypack transmitters allow you to plug in a lavalier microphone or a guitar cable, giving you both wireless and hands-free convenience. If you are going to use a lavalier microphone, you’ll most likely want to choose one with a cardioid (unidirectional) pickup pattern rather than one with an omnidirectional pattern. Cardioid lavaliers reject sound that doesn’t enter them directly, making them less likely to create feedback. Just remember this: no matter how much freedom wireless microphones give you, you still can’t walk in front of the loudspeakers without causing feedback. >> Shure

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Dropout is just as bad as feedback. Even intermittent dropout opout ne can ruin an otherwise wonderful service. An unbroken line nnas of sight between the transmitter and the receiver’s antennas t, the is ideal, but seldom is that possible. More times than not, aces wireless signal must rebound off of walls and other surfaces out out. to reach the receiver, and that increases the risk of dropout. he If you put a bodypack transmitter in your back pocket, the signal (unable to pass through you) will have to find an alternative path to the receiver. So, to minimize the risk of signal dropout, keep your bodypack in your front jacket pocket. Another major problem is broadband noise and radio n interference. If your church is in a city, chances are that an k inexpensive entry-level wireless system simply won’t work he for you. The same precision technology responsible for the end high simultaneous channel count common to most high-end ut professional wireless systems is responsible for shutting out ich h noise and radio interference. Digital wireless systems, which e reject noise and other nondigital signals out of hand, are excellent cost-effective alternatives to traditional wirelesss systems. eivers, All professional wireless receivers are “true diversity” receivers, hat which means that they use two independent antennas. That an way, if the wireless signal doesn’t reach one antenna, it can nnas still reach the other. Quality wireless receivers have antennas d that twist off, allowing you to mount them on stands and ses spread them out. Separating your antennas vastly increases >> AKG

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Though creating thedifferent perfect modeled sound mix a service is a a mong mic for types! among true art, a sound person with little or no mixing experience can still achieve good sonic clarity and deliver the message with pleasant and effective audio. Here are some tips for their effectiveness. Even spreading your antennas out just a saving the day with a quick, last-minute mix — whether few feet and moving them away from your other gear will you are working the sound booth yourself or have the help vastly improve your system’s performance. Also, if you have a of a volunteer. multichannel wireless system, you may also need an antenna distribution system, which will allow you to connect only a 1. Keep it simple. single pair of antennas to multiple receivers. Unfortunately, mix emergencies rarely occur when you have Whether your future wireless system is a single-channel, loads of spare time to work on a solution — it single-speaker setup or a larger system for the whole worship almost always happens minutes before the service is team, it should effectively and accurately spread the message. supposed to start. While your sound booth may have racks Unfortunately, many budget-priced wireless systems may make of processors and sophisticated audio equipment, now is it difficult and unpleasant for your congregation to hear that not the time to experiment with effects or to randomly message. If the number of quality wireless systems you need start turning knobs. Focus on the bare minimum you is beyond your current budget, practice wise stewardship and need to get the job done. Leave the special effects for save your money until you can afford the system that your another time. house of worship deserves. There are excellent single-channel wireless systems that you can start with and expand later. Your 2. Use what’s already there. Sweetwater Sales Engineer will be happy to help you find the Hopefully, your sound system is already set up, the cables and right system for your church. the snake are run to the mixer, and the monitors are tuned in to prevent feedback. Plug the mics into the mixer or snake in their usual positions. Try to use the same “old standby” microphones and other gear you usually use — again, now is not the time to experiment with new gear!

3. Have a conversation with the worship team. Explain to everyone that the regular sound person is not available and that help is required to have the service go well. This means guitarists need to turn down, drummers need to control volume, and so on. Explain that the monitor

8. Build the mix by bringing up the volume faders for the basics first. Start with the bass drum and the bass guitar, turning them up to a comfortable level and balancing them against one another. You may need to adjust the level of the master volume fader to get the overall level to the right point.

9. Turn up the volume faders for the vocals.

system may not be perfect — forewarning the team that everything may not be ideal will go a long way toward easing the process for everyone. At least they will know what to expect!

Now focus on the vocals. Set them to a comfortable level, balanced against the bass guitar and the bass drum. The lead vocalist needs to be the loudest, with the background or harmony vocals filling in behind.

4. Turn it on.

10. Turn up the volume faders on the other instruments.

Turn on the speakers or the amplifiers last; this prevents loud thumps and pops from coming through the system.

5. Reset the mixing board. Begin by pulling all the volume sliders (faders) down to zero. (Usually these are found at the bottom of each channel on the mixer.) Set the channel gain to a mid position (Usually this knob is found at the top of each channel on the mixer.) Next, reset all the equalization (tone) controls on the mixer to their center position, which is essentially off. Turn the auxiliary or monitor sends off. Make sure that mute or solo buttons are disengaged. (Usually these buttons are off in the up position.) Set the master volume fader to about 50%.

6. Begin testing each sound source through the mains. Have the main vocalist speak or sing into his or her mic. Bring up the volume slider until you can hear the vocals in the main speakers. Turn up the auxiliary or monitor sends until the vocalist can hear himself or herself in the monitors. As you verify that each mic or source works, pull its volume fader back down to zero. You can leave the aux (monitor) sends turned up so that the singers can hear themselves. To prevent feedback, don’t run the stage monitors too loud.

More info on pg. 26

This inexpensive digital wireless system is a real performer onstage!

Photo by Jon James and Troy Behrens

7. Have the worship team begin to play a song. Watch for red overload or “clip” lights on the mixer. If you see these, turn down the gain controls at the top of that source’s channel.

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One at a time, begin turning up the other instruments. Start with the rest of the drums, then the guitars, the pianos, the keyboards, and any other instruments; adjust the volume as needed. Balance each one against the vocals, the bass drum, and the bass guitar. This is a place where you can err on the side of being conservative. The vocals are the main focus, and you want to ensure that they are clearly audible. Use the other instruments to fill around the vocals, without obscuring them. As you go, adjust the master volume fader to control the overall level.

Sweetwater-exclusive Interview with Lincoln Brewster

The inspiring songwriter and guitarist shares advice on using music technology in your house of worship — and talks about his favorite gear.

Essential Guides for You and Your Volunteers

Worship Sound Pro 101 Guides

Customer-favorite >> KORG

Kronos X 61

Many church pianists we work with often feel overwhelmed by the number of choices out there — and even more so by the number of knobs, buttons, and controls on keyboards. “All I need,” they tell us, “is an instrument that plays like an acoustic piano and has a fantastic natural piano sound.”

When he heads into the studio, Lincoln uses a Pro Tools HD rig outfitted with Waves and Universal Audio plug-ins. He also uses plenty of outboard gear in addition to working “in the box.” Mic-wise, “I use a handbuilt ADK tube mic (CS67J) that’s based off of a U-67; it’s awesome. I’ve also got a pair of Shure KSM 44s. I use them for vocals, but those mics work on anything.”

So, how would Lincoln approach gear and technology if he were starting from scratch? With an eye for effective sound solutions that don’t overwhelm the team or the budget, for starters. “”I think, if I were to go back to some of my earlier ministry days and start smaller, I would start with a good sound system,” he says. “The nice thing is that you can get some great sound systems that don’t cost a lot of money, that have a lot of flexibility, and are designed for volunteer use or for people who aren’t at a ‘professional-caliber’ level. Line 6’s new StageScape PA system is just phenomenal,” he says, pointing to the system’s intuitive touch-panel controls. “What a cool concept! Things like that which are now available are making it possible for churches that are smaller and don’t have the big budgets to come up with really great results.” He warns against looking to technology as the total solution, rather than an aid. “Before you have something in place the way you want it, it can often become your focus. Technology is definitely one of those things that offers that danger. So, we can consistently, day in and day out, be about, ‘Oh, if we just had this, or if we just had this.’ You’ve got to have the right components, but it doesn’t require as much as most people think.” He adds, “Once you get some things in place, I think a lot of people need to ask what they’re going to do with it. I think a lot of worship ministries, if you went, ‘Okay, here’s everything that you’ve ever needed. Ready, go,’ then some of them might freeze for a minute because they’re so not used to thinking about what they’re actually supposed to be focusing on.” He points to the bottom line: “I think that our focus has to be on: how do we get God’s people connected in an authentic way? How we get them worshiping? What’s going to make that experience work? I ask myself that every week when I’m putting my set together. I’m going, ‘Alright, Lord, what’s it going to take this week? What are the songs? Anything I need to say?’ And really focus on the experience from that angle and work on the

Lincoln Brewster puts a lot of thought and experience into choosing the gear he relies on when he’s performing on the platform and recording in the studio. Throughout this issue of Worship Sound Pro, you’ll find several products that are similar to the ones Lincoln prefers. Here are a few great examples! es!

Worship Sound Pro features the latest and most essential music equipment and technology for today’s houses of worship.

>> MACKIE

DL1608

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spikes in sound. Ask each worship team member what he or she needs to hear from the monitors — one at a time so that everyone doesn’t speak at once — and adjust the auxiliary sends accordingly.

13. Don’t try to overtune the mix, and don’t make it too loud. Set things up so that they are clean and clear, and at a comfortable, conservative volume level. Then stop! Once you get to the point where it sounds okay — this should happen fairly quickly — stop tweaking the knobs. It’s easy to lose perspective and get lost in knob turning, even though the goal has already been achieved.

14. Here’s a final tip. When in doubt, focus on making the vocals, whether spoken or sung, clearly audible. The congregation is there to hear the message, which is contained in the words and lyrics. The music is inspiring and essential to a great service, but it plays just a supporting role in the grand scheme of things. Ensure that the vocals are heard, and the service will be a success!

11. It’s time for the equalizers. Up to this point, we haven’t touched the equalizers (tone controls) on the mixer. If you find that the sound is getting too bassy or boomy, use the “low” or bass tone control to reduce the bass frequencies a small amount on instruments such as bass guitar, keyboards, and piano. Vocalists, especially male vocalists, may also need their bass reduced a small amount. To increase the clarity of a vocal or an instrument, add a small amount of treble or high frequencies by using the tone controls on that mixer channel. Be careful with the tone controls, as overuse can lead to feedback!

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

12. Fine-tune the mix and the monitors. Adjust volume levels so that instruments and vocals are balanced, and adjust the bass and the treble controls on channelss as necessary to prevent boomines ominess, harshness, orr boominess,

>> PRESONUS

STUDIOLIVE 24.4.2

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We'll help you set up a system that fits your church's needs perfectly!

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

News and Articles

Get useful, up-to-date editorials, reviews, and information from experts in worship sound — and stay current on the latest developments.

Practice, Rehearse, and dP Perform f

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ithout a sweet suite of seamlessly integrated software, a digital mixer is just a mixer. And that’s what makes StudioLive different from its competition. Our posse of perspicacious programmers have created the tools to do multi-track recording, control by laptop or multiple i-devices, serious production and even squeezed in a hunk of the world’s most powerful acoustic analysis software. Bottom line: PreSonus is the only digital mixer manufacturer that offers this level of software features — all without buying extra programs or hardware. Which is one reason StudioLive is the world’s best-selling compact digital mixer series. Visit our site, check out the hundreds of bayou-grown videos we made for YouTube and Vimeo. And then visit your nearest PreSonus dealer.

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Editor’s Corner

NOV/DEC 2012

Music City Musicianship is Off the Hook Features Driving down twisting country lanes in Franklin, TN towards

historic Leipers Fork I really didn’t know what to expect at our 8 first Christian Musician Summit Nashville conference. It had been a bit of a hard time letting a new region get educated about what a CMS event really is all about. We had twice the promotion going for any of our other conferences and we were still low on registrants… in fact we were still a ways off from 10 even breaking even, dollars wise. Ouch!

Product Review By Mitch Bohannon Intellitouch Freedom One Digital Wireless System From the Drummer’s Perspective By Carl Albrecht Today’s Top Worship Grooves - #1

I had been stressing some the weeks leading up to it hoping that we would get a big rush at the end (after all, everyone says that Nashville is a last minute town for events). When I saw that the last minute flood of folks signing up wasn’t happening I was left with an anxiousness that I didn’t like. A visiting pastor made a comment, almost in passing on the Sunday service 12 Keyboard By Ed Kerr back home before I left for Nashville and it floored me. He said, Beyond the Chart “Don’t worship the provision, worship the Provider”. Wow, I was looking so hard to see if the provision was coming in through more registrants that I was forgetting to simply worship 15 Bass By Gary Lunn the Provider… no matter how many folks did or didn’t show up.

Things not to do, and how

This perspective change made a world of difference to me and not to do them. dropped the stress level by a mile. As the days drew closer and it was evident we were going to take a loss, I again adjusted my thinking by saying to myself, “Well, if this is how it is going 16 Vocals By Sheri Gould to be, then I’m going to treat it like throwing a party. It costs Chest Voice, Head Voice & money to throw a good party, and if I’m spending money then Falsetto I should just have some fun at the conference”. We had some Continued on page 50

VOL. 10, ISSUE 6

44 Camera By Craig Kelly Take it for the Team 46 Worship Team Training By Branon Dempsey Microphone Check 1,2. Dealing with Mechanical Failures in Worship 48 Percussion By Mark Shelton Tambourine Tips: Random and Useful 50 Product Review By Mitch Bohannon iPad App: OnSong 54 A Few Moments With... Jeri Nicholson Genuine Worship

18 Tips for Tight Teams By Sandy Hoffman What This Worship Leader Saw (Taking the Time to Tweak the Team) 26 Mandolin “O Sacred Head” by Martin Stillion 30 Record Reviews By Gerod Bass • Brenton Brown • Gateway Worship • Kristyn and Keith Getty 36 Ministry + Artistry = Profitability? Creating your MAP™ By Scott A. Shuford How To Increase Your Email Response

4227 S. Meridian. Suite C PMB #275 Puyallup, Washington 98373-5963 Phone: 253.445.1973 Fax: 253.655.5001 Email: bruce@christianmusician.com Website: www.worshipmusicianmagazine.com Publisher/Editor: Bruce Adolph Vice President: Judy Adolph Customer Service: Brian Felix brian@christianmusiciansummit.com Copyediting: Kevin Wilber Design Layout & Production: Matt Kees Advertising Sales: Bruce Adolph bruce@christianmusician.com • 253-445-1973 Worship Musician! is published bi-monthly by The Adolph Agency, Inc.

40 Guitar Grab Bag By Doug Doppler Harnessing Technology to Learn Songs and Multiple Arrangements 42 The Band By Tom Lane Finding Your Voice

Interview 20 The Strato-Carols of Lincoln Brewster by Aimee Herd

WORSHIPMUSICIANMAGAZINE.COM NOV/DEC 2012

PRODUCT REVIEW

By Mitch Bohannon

Intellitouch Freedom One Digital Wireless System OK, let’s imagine you’re in the world of “too-good-to-be-true” prices. You know, where boutique guitars are $500 and comparable amp cabinets are $200 and cut capos are free! Wouldn’t that be incredible? Keep dreaming… How about a wireless guitar system with a list price of $149.99 that’s actually worth playing through. Well, grab Toto, we’re no longer in “dream-land.” I first saw this system at the Dallas Guitar Show this past April. Art Harvey, from the OnBoard Research Corporation, was demonstrating it and I was thoroughly impressed. What we have here is an industry first. A digital wireless receiver built into a pedal tuner. The Intellitouch Freedom One is a wellplanned and highly useful system. So, it’s a pedal tuner…fitting nicely on your pedal board…AND, it’s a wireless system all built into one. Built in Dallas, Texas and housed in a strong polycarbonate enclosure, the Freedom One sends a high-quality, 24bit digital wireless signal from a small, lightweight transmitter to the pedal tuner. Intellitouch has been a trusted tuner for guitar players for many years. I know that I’ve been using their tuners for over ten years, so the tuner feature is very familiar and intuitive. The backlit screen is large and easy to read…lights up RED when out of tune and GREEN when tuning is correct. The footswitch is also backlit, making it easy to see on a dark platform. Stepping on the pedal puts the pedal into tuner mode and mutes the guitar signal. It’s a very simple and seamless operation. The pedal has a standard ¼ inch output that plugs directly into an amp or effect pedal. There is also a ¼ inch input so that you can use the pedal tuner without going wireless and save on batteries when practicing.

wireless, my acoustic tone is nice and full with crisp highs and nice, round lows. The signal was very responsive and clean. With my electric, I had the same results. It definitely had a noticeable signal boost with clear and true tone.

At first, I tried powering the transmitter with my shared power-chain on my pedal board. Because that particular power supply uses a common ground, there was quite a bit of noise in my signal from a I had a few friends asking if this system ground loop. However, using a separate reduced the guitar’s tone. Well, quite the power supply (just a standard 8v-12v opposite. I did a direct comparison of 100mA power supply), the signal was the tone and overall sound between the crystal clear… absolutely no noise. I Freedom One and that of plugging in am really digging this unit. I’ve used it direct with a cable. Using the Freedom the past three Sundays and am going to One wireless system, there is actually enjoy having it in my rig. It’s so nice to a noticed signal boost. Through the not be tied down with a cable!

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In Him, Mitch Bohannon mitch@bos-capos.com www.bos-capos.com www.p33music.com Mitch is one of the pioneers in the development of the cut-capo, an alternate tuning device used by many worship leaders today, including Chris Tomlin and Rick Cua. He is a worship pastor in Sulphur, LA, a regular contributor to Worship Musician and Christian Musician Magazine, and has been part of CMS since 2004. Mitch and his wife, Noelle, have been married for 20 years and have 3 awesome kids!

FROM THE DRUMMER’S PERSPECTIVE

By Carl Albrecht

Today’s Top Worship Grooves - #1 I feel it is time to do a series of articles on drum grooves we use often in worship. This first one looks intense when scored, but I’m sure many of you have played it on hundreds of songs. Although this is not the easiest of patterns to play for a beginner, it is a pattern that is important to have in your vocabulary immediately if you’re going to play in a worship band.

just go slow and keep your lead hand (hi-hat) moving on constant 8th notes. Then carefully line up the notes you see under your lead hand and gradually add the notes you see in between.

The term I use for this groove is an “Alternative Rock Feel” with an 8th note ride pattern. You would count “1 & 2 & 3 & 4 &” , and then fill in with 16th notes according to what the song needs. This type of groove is heard in songs like “How Great Is Our God,” “You Have Saved Us,” “Hallelujah, Your Love Is Amazing,” and many others. Here’s what it looks like scored (Fig.1). You can count along with what I wrote underneath, but you should always feel a flow of continuous 16th notes: (1 e & ah 2 e & ah 3 e & ah 4 e & ah). If reading is new to you

OK, now lets start taking it apart. You could choose to leave out the snare filler notes or “ghost notes” as we call them in drum talk. I think most of the songs we play with this feel would have some filler snare notes, but to first learn the basic groove this would be a great place to start. It would look like this (Fig.2).

(Fig.1)

e &

ah (3) e

1 e

*Note- Even though the 2nd bar has a different type of scoring it is really the same groove as bar one. I just wanted you to see it both ways.

Another great exercise to get your hands use to this without playing the kick pattern To play the groove without any 16th is to only play the “e” count filler snare notes whatsoever play this basic 8th note note of the 1 and 3 of each bar. Try this… version of the groove. (Fig.3) It’s a great (Fig.4) way to feel the larger frame-work of the And then try filling in one more note: the groove. “ah” before 3 and before 1. (Fig.5)

ah (3) e &

(Fig.2)

ah (3)

(3)

(Fig.3)

(3)

repeat…

& ah 3 e

& ah 1

(Fig.5)

e &

NOV/DEC 2012 WORSHIPMUSICIANMAGAZINE.COM

& ah 3 e &

After you feel these hand rhythms are really solid in time and feel relaxed, then you can start adding the kick patterns back into the exercise. Starting with only the 8th note kick pattern, and then finally the kick pattern with the 16th note on the “ah” of 2. Of course you can do variations of this groove as much as you’d like, but be sure to get the basic feel rock solid first. Remember to always breathe and keep your body and arms relaxed as you do any exercise. Also, be sure to try this groove at a variety of tempos – slow, medium, and fast. You will see this type of pattern in every kind of song, from slow ballads to driving rock tunes. OK, head out to your practice room and see what happens!

(Fig.4)

If your time still feels a little inconsistent go back and spend some time playing a regular single stroke roll (RLRL RLRL …) counting in 16th notes: 1 e & ah 2 e & ah 3 e & ah 4 e & ah. First play them on the hi-hat for a couple of minutes. Then play them on the snare drum at the same tempo… YES, always with a metronome. Gradually move your lead hand (right hand for me) up on the hi-hat, but leave the left hand on the snare. Be sure to keep it as perfectly steady as you can. Don’t let the two different sonic elements distort your time keeping. This is the feel of the filler snare notes you will play on this kind of groove.

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.

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KEYBOARD

By Ed Kerr

Beyond The Chart I’m in the middle of a 2-week road trip, teaching in worship conferences up and down the East coast. Unite Worship Conferences, WATS events, and a Paul Baloche Leadworship Workshop. One of my favorite classes I teach at these events is called “Beyond The Chart”. The goal of the class is to create a new arrangement for a familiar worship song. In the Unite event in Pittsburgh, a particularly effective reworking of a popular song emerged, and I want to share it with you here. God has truly done an amazing thing in pouring His favor on writers of worship songs these days. Some of those songs become standards in the church worldwide. They’re sung by thousands of churches in hundreds of nations. Among the songs to become so popular is “Mighty To Save”, written by Ben Fielding and Reuben Morgan. What powerful truths it contains. It’s no surprise that it resonates with so many believers. I’m sure you’ve sung it, played it, and led it many times. Some of you might have reached that “I think I’ve overused that song” point and find that lately you haven’t been including it in your worship times. It’s important for us to remember that one of our primary goals as worship musicians is to facilitate an encounter with God and His Presence in corporate worship. The use of familiar songs is an important way this can happen. Resetting the familiar lyric and melody with new (Fig.1)

(Fig.2)

(Fig.3)

(Fig.4)

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of yielding, of surrender, of waiting. Again, I’m trying to interrupt the usual momentum of the song and give people a chance to lay hold of the humility spoken of in the lyric. Since I’m suggesting you repeat these 2 lyric lines rather than proceed to “I give my life to follow...” chord progressions can revitalize the song it’s a good idea to prompt the people for you and your worship team members. by saying something like “Let’s sing that Beyond that, from time to time, you might again...” as you head back to singing want to “interrupt” the normal flow of the “So take me as You find me...”. song to emphasize a lyric, driving home For the repeat of the lyrics, use this an important truth contained in the song. progression when you’re ready to head For example, here’s the complete lyric out of it into a regular chorus: (Fig.3) for verse 2: The D chord at the end of bar 4 above So take me as You find me, all my fears propels us nicely into the chorus, “Savior, and failures / Fill my life again He can move the mountains...”. Please I give my life to follow everything I note that you’ll want to adapt the last bit believe in / Now I surrender of the melody where you sing “Fill my The reality in many of our congregations life again”. Since the chorus’ first note is is that many individuals struggle with sung on the downbeat, you might want to believing that God really accepts them just sing “Fill my life” to give everyone a right where they are. Perhaps that’s your chance to catch a breath before singing struggle sometimes. Rather than sing the the chorus. Like this: (Fig.4)

full verse, we could sing lines 1 and 2 Note too that you’ll want to coordinate a of this verse a couple of times. To set this moment like this with your media people. moment apart from the rest of the song, It would be a good idea to create slides you might choose to use different chords. for this altered verse so that the crowd Here’s the original chord progression only sees what you intend them to sing. No need to project all of verse 2, since used for that lyric: (Fig.1) you’re only presenting the first 2 lines at Since I want to sing only a portion of this moment. the verse, and because I want to make Some of you may read the above the lyric stand out from the rest of the material and think it would be awkward song, I might also use a unique chord progression. In the Pittsburgh “Beyond for the crowd if the usual full verse weren’t The Chart” class, here’s what we settled sung. Okay. Go for it. Present the song as you always have. I usually do that, too. on: (Fig.2) But as I listen to the Spirit each week and Take a minute and play that progression consider what He might like to minister as you sing the lyrics. Using that E minor to the people when we gather, shining a chord for 3 bars seems to paint a picture spotlight on a lyric like this can be effective. So, I find a way to give the people a chance to reconsider the beautiful truth of verse 2’s first lines. Perhaps that repetition of the lyric will become a breakthrough moment for someone. Perhaps our return to that lyric will help someone realize that they truly need to be filled again by the peace and joy of God. Perhaps you or someone on your team will be revived. Take a chance and go beyond the chart and you might discover a treasure within a song that you’ve never found before. As a songwriter Ed has written over 100 songs with Integrity Music. He has a Masters Degree in piano performance. Ed and his family live in Washington State. Ed plays Yamaha’s Motif XS8. www.kerrtunes.com

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BASS

By Gary Lunn

Things not to do, and how not to do them. My parents gave me a 1971 Precision Bass for Christmas at the age of 11. That was when my journey as a musician began. At such a young age, and with my whole life ahead of me, I could not possibly have imagined the kind of musical, mental, and social situations that I would encounter in just a few short years. Looking back it seems like every moment was a lesson in music, behavior, life, etc., with every high and every low that I would experience. From bliss to blunder, I quickly learned that I would never stop learning. As I came closer to growing into my calling, I certainly made my share of mistakes (I still make them. “For all have sinned and fall short of the glory of God”). I have been in several different bands and have been confronted with so many varied kinds of situations: musical, social, spiritual, relational and more. The list is a long one and it continues to grow, but when dealing with people the most important (obviously) is relationships. Considering that, I decided to compile a short list of “do’s and don’ts” as suggestions with regard to working with other people in any kind of musical ensemble, band, or studio. Meditate and pray about these as they may or may not resonate with your own personal convictions. These are just some of the ones that resonate with me as a bass player. First I should mention that, as I am sure you are already aware, everyone is different in personality and style, both men and women alike. My emphasis here is on the type of person whose desires is to be like David - a man (or woman) after God’s own heart. I cannot stress to you enough that these are mere suggestions for your consideration. Still, I feel that if everyone on the worship team (and staff) considered just the essence of some of these thoughts many churches would probably be much happier places. Also, some people are kind and considerate of others first because of their own wonderful, God-given nature . . . It’s inherent to their personality. To them most of these thoughts will seem more like confirmations or simple reminders. Rehearsals are where tensions can

rise between musicians and singers. Everyone has his or her own musical ideas about certain aspects of the songs being played. It could be suggesting a melody line for the intro, a chord substitution in the second phrase of the verse, a dynamic idea to insert a short stop on the downbeat of the third chorus, etc. This is a part of interaction within a musical ensemble that is a thing of beauty (and one that will never happen when you’re overdubbing by yourself in front of your ProTools screen). But whenever you have an idea, do not ever try to force it. Ask politely if you can have an opinion and don’t be offended if your idea is not heard. Proverbs 29:23 says, “Pride ends in humiliation, while humility brings honor.” As for me, I’d much rather receive honor over humiliation. Humility is always the high road in every situation.

No matter how excited you get during a performance, do not overplay. There is no exception. Listen to what the drummer is doing and “lock in” with him. The last thing that you want to do is to draw attention to yourself. If you are asked to play a solo then play your heart out, but be sensitive to the worship leader’s approval and to the audience’s reaction as you play. A good rule to keep in mind is this: if what you are playing is not helping the experience in the room, then you should have the sensitivity to stop soloing. Keep your focus on God and all that he has done for you. Concentrate on the duties of your “post.” I guarantee that it’ll make you lay down that foundation just like you’re supposed to do.

Do not cause conflict in the band. Never gossip or stir up any bad blood between players. I heard a pastor once telling If you are playing songs for someone, you a person who questioned a negative are serving them. So when considering an dilemma in a band where a member had upcoming performance with them it’s not left in a bad light. He said, “Just be glad always a great idea to question or have that you’ve never been caught in your an opinion about how they have already own sin.” been recorded (or demo’d) as it relates to In all of us there are thousands of the upcoming performance. If the artist / similarities and differences, sensitivities worship leader feels that there is a song and numbnesses, gifts and “wannathat needs to be changed or “updated,” be’s.” The person that you don’t want they will most likely ask for your opinion. If to be in the band is the person who is or when they do, you should immediately constantly “noodling” around on their ask yourself if making a suggestion would instrument, playing licks constantly, and be the most productive thing to do at never looking up while they’re playing. that time (considering time constraints, But the key factor to having long-standing the artist’s personality, etc.). If you do harmony in a band or worship team is offer your opinion, convey it in the most to be the guy who constantly listens for sensitive and inoffensive fashion possible. the next opportunity to get out of the way And when others offer their opinions, no musically. When everyone is on that matter how “good” or “bad” you might same page, wonderful things happen in think they are, always give everyone’s that group during worship. ideas a fighting chance by playing them with your best effort. People will respect Blessings on every note that you play, you for it and they will want to know one at a time! what you think. You will also gain new, Gary is a recording session REAL friends at a much faster rate. To sum player/producer/writer in up: if your opinion is wanted, it will be Nashville. He attends Grace asked for, but if there is an issue that you Church in Franklin, TN. Contact absolutely can’t stop thinking about, then him for sessions, production, or ask them privately, either on a break or overdubs at garylunn@me.com after rehearsal is over. Always inquire www.facebook.com/garylunn,www.twitabout musical dilemmas in a “what if” sort ter.com/garylunnbass, of approach; but in the end, you should submit to their authority. www.gracechurchnashville.org

WORSHIPMUSICIANMAGAZINE.COM NOV/DEC 2012

VOCALS

By Sheri Gould

Chest Voice, Head Voice & Falsetto Understanding the different parts of our voice can at times be confusing. There is so much terminology out there, and so many people using those terms without a real understanding of what they mean. One of the most common misunderstandings of the human voice can be boiled down to one question:

Falsetto

female singers DO sing in this way. The reason for this is simply ignorance of Simply defined, falsetto means “false the female voice and how it can work. voice”. This is because of what happens There is no physiological reason for the to the vocal cords. The vocal cords are female vocal cords to abduct (split apart) muscles, and as such they have some in the middle of a woman’s range except incredible abilities! They can stretch out for the application of too much pressure and become long and thin, or they can on the cords. Women can learn, with shorten and become thick as they vibrate “Isn’t ‘head voice’ the same as ‘falsetto’?” against one another, resulting in many proper training, to keep their cords fully adducted for the full length of their vocal The lack of understanding about this varied pitches. As a singer climbs to range. higher notes, the cords begin to tighten aspect of the voice is responsible for many So what is Head Voice? vocal problems. Even many vocal teachers (and stretch), much like a stretched rubber and coaches don’t really understand band or even like a guitar string when Many people commonly refer to a the difference, and often use the terms tightened. At some point however, the “falsetto” voice as a “head voice”. In the interchangeably. This is largely due to the cords will reach a crisis point; they can same way that a chest voice is a voice fact that the original intent behind the terms only stretch so far before they risk damage. that is resonating in the chest, a “head has been lost as a result of so little “real” At this point, they will come apart—often voice” should be a voice that is resonating or classical vocal training in the world of with a “pop” or a sound similar to the in the head. It is specifically NOT a contemporary music. Let’s have a look at shifting of gears in a car. Then the singer falsetto voice. Falsetto is a voice that is the terms and what they were originally can go on to sing higher and higher made only when the vocal cords are not notes in the new vocal configuration. This completely adducted, and unfortunately designed to mean. takes the stress off the cords and prevents that is typically the type of voice people Chest Voice damage from occurring. are referring to when they say “head Most of us truly enjoy singing in what is At this point the voice is typically much voice”. Because of a lack of training/ commonly known as the “chest voice”. The weaker for a number of reasons. First of understanding there is lot confusion today term “chest voice” is actually a term used all, without training and a good deal of over this. I don’t like the terms “head voice” to, in essence, describe an area of the practice, there will be a tendency to have and “chest voice” because they add to voice that is resonating (or more technically: a more airy tone since the cords are not the confusion. We should have ONE registering resonance) in the chest cavity. The fully adducted (closed) and air can easily voice as women. Men have two distinct “chest voice” is the area of your range that escape. Secondly, since you are only types of voices: full voice and falsetto. is typically used for speech. If you put your vibrating on a portion of the cords, the There are different areas of resonance hand on the upper part of your chest and voice will naturally be weaker since the that allow for different registers. When speak you will most likely feel a vibration. vibrating length of the cord is now shorter. we resonate primarily in the head, we are The chest cavity is one of the largest areas Thirdly, the cords will be thinner as well; in our head register. Although our cords that can resonate. So in other words, we this is in order to hit those higher pitches. are thinned out at this point, they should are (more properly stated) singing in a All of this is actually wonderful news if not come apart if we are using proper chest register. This was the original, and you are a guy. Why? Because if you are vocal technique. The term “head voice”, yes “classical”, term for singing in this area a man, the ability to go into falsetto will although frequently used interchangeable of the voice. But, for reasons which I will typically double your range. with the term falsetto, is not one and the attempt to explain as we go along, we now same, and should be exchanged for the What about Women? more often hear the term “chest VOICE”. more accurate term of “head register”, In reality, there is no functional falsetto otherwise it’s confusing and sends the When we are resonating in the chest, we are also most likely experiencing full vocal for women. Yes, they can reproduce the wrong message. cord adduction. This means that they are same scenario described above but it Want to further this discussion? Join completed connected and have a “seal” doesn’t serve the same function. Instead, me on my Facebook page and let’s all along the edges of the vocal folds. it becomes the natural consequence of chat! https://www.facebook.com/ Therefore, we are able to utilize the full singing incorrectly—with too much strain officialsherigould length and strength of the cords. This is why on the vocal cords. In the end, this vocal we like the chest voice. It is rich, it is full of configuration mimics a falsetto in tone Sheri Gould is an internationally acclaimed resonance, and it’s powerful (we have full quality but doesn’t provide the extra vocal coach. With a degree range as it does in a man. It simply cuts use of the cords and we’re very comfortable from the University of Ill, she there because it’s in our speaking range). the woman’s range in half rather than has been coaching since Since this is such a favored sound, many doubling it! It relegates everything above 1979 and leading worship people will try to continue singing in this an A, Bb or B (on average for most since 1985. For weekly vocal manner into a range beyond what the women) to a voice using only a portion of tips, check out Sheri’s FB page vocal cords are able to withstand. This, of the vocal cords. I doubt that the average at www.facebook.com/officialsherigould. For course, can cause multiple problems for the female singer with a “break” in voice does information on products, including instructional this on purpose. Nonetheless, countless DVDs, check out http://sherigould.com vocalist—including serious damage.

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TIPS FOR TIGHT TEAMS by Sandy Hoffman

What This Worship Leader Saw (Taking the Time to Tweak the Team) This summer, after thirty-one years of almost non-stop worship leading responsibilities, I enjoyed some time to get outside of my decades-long weekly routine and visit a number of churches in our home area and beyond. I worshiped with congregations ranging from Presbyterian to Pentecostal, from AOG to EV Free! We met in buildings as diverse as college auditoriums and gymnasium activity rooms. I saw worship spaces that reminded me of movie theaters, with dim overhead lights, carpet, and dead acoustics. Others looked and sounded more traditional: stained glass, hardwood pews, pipe organs, and choirs. I heard old hymns, new songs, prophetic words, and sing-alongs. Electric praise with overdrive, and voices lifted loud and high. Drums and cymbals, flutes and strings, bass guitars, and tambourines. Screaming solos, mellow tunes, and all just since the month of June! [Whew! Have I waxed poetic?] With this in mind, what became instantly evident as I traveled from fellowship to fellowship was just how diverse the Christian worship-community is. You don’t have to go very far, maybe only a few blocks down the street, to begin to appreciate the enormous variety in expressions of worship, taste, space, style, instrumentation, decoration, solemnity and even outright jocularity! While I enjoyed all these wonderful, diverse, personalized, creative, and even opinionated ways-to-worship, I also observed some common elements, both positive and negative, which, when properly analyzed and applied, could help us to grow into tighter worship teams. The following are snippets of what this worship leader saw: good and not-so-good (nod to Malcolm Gladwell here). I’m trusting that by the time we’ve finished reading, we’ll all be motivated to take the time to tweak the team! THE GOODS 1 Comfortable Camaraderie. This one shows like crazy! If the team is, as the old Turtles’ song says, “so happy together,” the attitude spreads like wild fire to everyone within ear and eye shot. In contrast, “one bad apple does spoil the whole bunch (girl)!” A single stress, tension, or unresolved conflict between team members can negatively impact the entire worship ministry. In order to draw others into worship, a happy face must reflect a genuinely peaceful heart. We are told in Matthew 5:24b to “...First be reconciled to your brother, and then come

NOV/DEC 2012 WORSHIPMUSICIANMAGAZINE.COM

and offer your gift.” (NKJV) When we take the time to tweak the relationships within our team, we set ourselves up for multiple victories. Remember: powerful praise emanates from peaceful partnerships! 2 Vocal Validation. Some of the best moments I experienced in worship this summer were vocal in nature. There were some great voices out there, and I don’t just mean individuals. Teams, teams, teams! Those who really put in the time to “blend and bend” (that’s blend the voice and bend the heart) seemed to be richly rewarded with musical satisfaction and respect from the listeners. The net result was less distraction to those being led. Intentional preparation conferred upon the worship team greater authority to draw people towards the Object of Their Affection. I believe that vocalists become more worthy to be followed when they invest the time to warm up, practice hard, and unify. Remember: leadership is not a right, it is a privilege, conferred upon the worthy leader by the discerning follower. 3 Instrumental Intuition. Ever notice how some guys just “get it?” They know what to play and exactly when to play it. A splash of color here, a fill or a lick there, and suddenly the music is transformed from dull and uninteresting to irresistibly engaging. It comes alive. But what’s the secret? Proper preparation (acquired knowledge) intermingled with instrumental intuition (wisdom) (see Psalm 33:3 and I Chronicles 25:1). I like to call these types of worship musicians atmospheric adaptors. They create, through skillful precision and Spiritinspired expression, an environment which facilitates an emotional connection to God. We are then moved, in the same way we might be by watching a beautiful sunset or listening to the peaceful, comforting sound of ocean waves, to offer our praise and thanksgiving to the Most Magnificent God. Remember: we are drawn, encouraged, and released into worship by the sights and sounds of worship-wisdom in action. THE NOT-SO-GOODS 1 Audio Application. During a number of my church visits this summer, I noticed an interesting (un)balancing act going on (and sometimes the fall from the high wire proved to be sonically fatal!). Whereas the bass often seemed too hot in the mix, the lead vocals sometimes hardly made an appearance at all. What’s that about? Yes, I love low end in the room. Bass guitar rocks! It is vital to that satisfying cacophony

of audio stimulation we call “the mix.” But when the balance leans too heavily on the bass (or any other instrument, for that matter) at the expense of lead vocal clarity, we’ve totally missed the point of “Worship Team Class 101.” Remember: remove audio distractions to worship! 2 Video Velocity. How quickly can you hit the arrow key on your computer keyboard? Now hit it again. And again. Perhaps it’s just an understanding-of-timing issue, but it seems that many congregations of worshipers are having their worshipflow disrupted by almost EVERY lyric slide change in EVERY worship song. Why? Most obviously, the computer operator is simply waiting too long to hit that arrow key. When I was a kid, I did some bird hunting. Doves and quail mostly. Any time I consistently aimed directly at the flying fowl and pulled the trigger, I was richly rewarded with a BIG ZERO for the total take of the day. You have to lead the quarry a bit, firing your shotgun just ahead of where the bird might be a millisecond later. With this method, you bag your limit and arrive home ready to cook up a big meal of fresh game. Changing projected lyric slides is a lot like that. While the worshipers are just finishing reading the last line of a slide, the operator should be hitting that arrow key to move to the next one. It requires a bit of practice, but it’s well worth learning to anticipate the reader/singers. In this way, they’re never left dangling, unable to guess what the upcoming words might be. Remember: applying a little video velocity insures that when it’s time to sing the next line, the eyes of those gathered to praise will already be there. SEE? And that is just some of what this worship leader saw. Now it’s your turn. After an amazing summer of being wonderfully led into worship by others, I’m headed back to a more routine weekly schedule (and may our actual worship times never become routine!). For a while, there’ll be no more transient observations or big surprises as I move from one worship venue to the next. But let me close by encouraging you, the worship leader/team member, to be an intentional observer of worship yourself - whenever and wherever you can. Then bring home what you saw, and apply it as you take the time to tweak the team! Achieving tweakage, Sandy

Sandy Hoffman serves the worship community in Santa Fe, NM Find out more about his “Tips for Tight Teams” online at: www.WorshipTeamWork.com

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When it comes to lightning-fast finger work on the fret board of a Strat and worship that is crafted with the “heart of David,” the name Lincoln Brewster is certainly in the forefront of your mind. Now for the first time, this smithy of high energy praise has forged a new rendering of classic Christmas carols that will find their way onto many iPod “recently played” lists—dare I say—all 12 months of the year.

So I thought, what if we just took a stab at it—breaking all the rules— what would this song sound like if we made it sound really passionate and aggressive? So that was kind of fun to mess with that and to play with all those different textures and grooves. And of course I worked the guitar in as much as I could! (Laughs) AH: Of course! When you’re taking that kind of approach, were you worried at all that in breathing fresh breath into a classic song, you might border on some aspect of irreverence (for lack of a better word)? Or is that just a subjective concept some may hold toward a beloved carol or hymn?

Aimee Herd: I would think, for an artist who’s released numerous projects, but not yet a Christmas album, that this would be fun to put together. Did you have any particular angle or approach LB: I didn’t, in my mind, picture it as to this project: Joy to the World? irreverent because I don’t think songs Lincoln Brewster: Yes, definitely. I in and of themselves are holy. They’re thought, “If I’m going to do a Christmas just songs. Do I think it was risky? Yes. CD, the last thing the world needs is Because even though the songs aren’t another Christmas CD that sounds like in fact holy, people can perceive them all the other Christmas CDs!” I wanted that way. Some people may not like each of the songs to have a relatively it at all, because they think it “should new twist on them, where it’s a whole sound like this.” But I thought, that’s new approach on each tune. So, okay if that happens because there are we worked really hard to come up lots of projects out there that sound like with some unique arrangements and that. If they want something different different styles, to make them sound that has a new take on the songs, then that’s why I did this. different. That was actually pretty exciting, I like doing that kind of stuff: taking an existing song that has been presented in certain way, and really tweaking it. I realized along the way that traditional Christmas music—which I really do love—the traditional treatment of a song such as “Joy to the World” does not sound like what the lyrics are saying. Those lyrics are very intense and very moving—if you just read them—they don’t read “cheeky-happy,” but they’re very intense and emotional.

NOV/DEC 2012 WORSHIPMUSICIANMAGAZINE.COM

I’m not normally a big risk-taker kind of person, but I felt like if I’m going to do a Christmas album, I should be true to myself and do it the way I’m hearing it. I like to do things that I feel will work for the Kingdom and for the people I’m trying to serve. I wouldn’t have done it if I didn’t think it would work, but I wanted to push the envelope a little bit. Of course, when you’re messing with classics, feathers can get ruffled. I counted the cost and said, “Am I willing to ruffle some feathers?” Then I thought

about whose feathers those might be, and I said, “Yeah, it’s fine!” AH: (Laughing) That’s great, I love it. Those feathers would be ruffled eventually anyway. Lincoln, what went into the decision to include KJ-52 in the mix for “Little Drummer Boy?” LB: That was the first arrangement that we came up with, and as it developed, Colby took it and added a super cool drum beat with a loop that comes in about halfway through the intro… (demonstrates with a little beat box) it just had this swagger to it. When we got to the third verse, I was singing the song in the vocal booth, and verse three just screamed to do something different. I said we should get someone to do a rap on it, Colby said, “Dude that would be great.” We kicked around some people who we thought would be good; KJ came to mind and fortunately, he was available to do it. So we sent him the track with no direction, and he sent back exactly what’s on there—it was amazing! AH: He nailed it. LB: …and that’s why he does what he does. (Laughs) AH: I also appreciated your nod to Leonard Cohen’s “Hallelujah” in your cover of “O Holy Night.” LB: That’s a song I did live a few years ago; in our Christmas services, we’d started to incorporate that. [On this project] we were originally going to do something totally different with that treatment, but it ended up not working. I was actually going to do a medley— and maybe someone else can pull this off—we were going to do a medley of “O Holy Night” and “How He Loves,” but the vocal was too high for me.

THE

STRATO-CAROLS OF

LINCOLN BREWSTER by Aimee Herd

We were trying to figure out what to do, and then that whole thing just fell into place one night, and I thought it was perfect for it. We recorded that song in a whole different style . . .less traditional. But, it felt honest. When we started doing it and came up with the grooves and the chord changes, I thought, “This music feels like the lyric.” So, I was okay with it.

last 20 + years and I’ve just never done anything with them.

LB: Oh thank you, I’m glad you said that, it’s about 20 years overdue. But you know what; it is in the works. A lot of things converging right now seem to be pointing toward me doing that. I’m going to be doing a live album for my next project, but [that and an instrumental album] may actually come out really close together. It’s funny, I’ve been writing instrumental songs for the

my own arrangement that doesn’t have anything to do with TSO.” So that’s how it started, but my goal is—which probably won’t be out till next year—is to have a mini movie that we’re working on, that would go with the song. The movie tells the story of the Gospel. It’s really cool; we use some footage out of “The Nativity” movie, and some other things. We may have it filmed this year

. . . At the end of the song, it goes to “O Come O Come Emmanuel” and then as it goes back into the “Carol of the Bells,” it culminates with “Nativity” footage of Joseph and Mary hiding, and they’re scared, and end up in a cave. Then Mary goes into labor. As the music is building, it shows her in labor, she’s scared, but at the same time it’s a really exciting thing that’s happening. And right as it gets to the “O Holy Night” part, she has the baby. It’s really intense.

But, on the instrumental song, we started out a few years ago at church doing some TSO songs—they’ve really created a really neat niche, the way people respond to it is so cool, they love it. It’s like that St. Francis of Assisi quote; “Go out into all the world and preach the Gospel, and if necessary, AH: That’s a good way of putting it. use words.” So, we did that for a few And then, embedded in the middle of years and were adding to it each year, all the great vocal carols on this project, but what I found was the selections of you’ve got a knockout instrumental traditional Christmas songs that would AH: Oh wow. which you call, “Miraculum.” I’m a work in our environment were really LB: Yeah, the first time I watched it huge fan of Tran Siberian Orchestra, limited in terms of what people would with the music, I just burst out in tears. and it’s a little reminiscent of them— know. When I tell this story, I get choked up but it has great energy and melody . . I started working on another TSO still, just thinking about the visual. The . Seriously Lincoln, you need to do an thing, and I stopped and said, “I want to goal was; could we play music that was entire instrumental album! start completely from zero and just write really passionate and playing as good

as I can play—everybody’s stretching, we’re maximizing ourselves—but doing something that’s musical and telling the Story, and at the same time have the people who are experiencing this thing . . . to move them to tears? We saw that happen, it was the wildest thing; it was the most rockin’ part of the whole night, it was loud—I was in full-on guitar solo mode—and I’m watching tears [stream WORSHIPMUSICIANMAGAZINE.COM NOV/DEC 2012

Lincoln Brewster: by Aimee Herd

continued

money to help them out. Our church has committed a million dollars to this, so this CD is going to help us get there. And the same thing with our Christmas tour; 100 percent of proceeds from the tour will go to Covenant Kids Congo. We’re also going to be auctioning off some guitars—somewhere between 25 and 30 limited edition guitars… AH: Fenders, right? LB: Fender Strats, of course, yeah. And they’ll be painted by a guy named David Garibaldi—he was one of the finalists on America’s Got Talent, he’s a performance painter with fantastic talent. You can’t tell what he’s painting until the last minute when he reveals it. I asked him, and he said he’d love to do a piece of art for the guitars. The guitars will all be signed and numbered, and then every concert night, I’ll play one of them for a portion of the concert, and then we’ll auction it off afterwards. And we’ll do that at every service at Bayside as well. down people’s faces]; it was crazy.

what Christmas brings in terms of the emotional; traditions, the meal—I love all that. But Christmas has also become a time where people tend to get busier than they are normally, and more stressed.

Part of the catalyst for doing something original along the TSO lines was to create something in the Church community that other churches could do. So I would be thrilled to see YouTube videos of different churches doing this One of the things I wrote in the liner arrangement. I would be stoked! notes was that we stress out about We’re actually going to be releasing getting “just the right gift,” when in stem-packs of all these Christmas songs, reality, the greatest Gift has been sitting so if you are a church who wants to right in front of us the whole time. It’s play the music, you’ll be able to get an easy now to go through Christmas and Ableton Live, or Pro Tools, or Logic Pro forget all about celebrating Jesus. So session that’s pre-formatted and ready we, my family and I, wanted people to go, with all the video backgrounds to remember that Christmas started that we use—and the movie that goes with a Gift. Which is why we do the with “Miraculum”--for your church. The gifts. It’s God giving the greatest Gift orchestra section will be on a stereo ever, that’s what Christmas means to track, and the keyboards, and guitars, us: celebrating the birth of Christ, and and whatever else. So that will help making sure we fully embrace the spirit people along to be able to play these of giving. songs.

AH: That’s fantastic! What a great idea. LB: I hope so; I hope it generates a ton of money for those in the Congo who desperately need it. Y’know when you talk about giving to any charitable cause, it’s a little overwhelming sometimes, because when you start to look into it, you realize the enormity of the need. But, this is where God led our hearts. AH: Well, I’m really glad you talked about that—people can really get behind this, and become a part of that spirit of giving. Lincoln, you mentioned the tour, can you talk a little about your band on the road, and also in the recording studio? LB: Actually, the road band intermixes with recording; some of them played on the Christmas CD. The guy who coproduced the record—and really he did most of it, he’s a genius, his name’s Colby Wedgeworth—he played a lot of the stuff. He did a lot of the programming stuff, he played some of the drums . . . I played some of the drums, and Mike Johns played most of the drums—he’s our road guy. Then Colby played a lot of bass, I played some of the bass and Peter Burton our road guy played some as well. We didn’t note it in the liner notes, but I played bass on “O Come O Come Emmanuel” and “O Holy Night” and maybe one other, and Colby did the rest of them.

So, my wife and I prayed about it, AH: That’s a fantastic resource. And, and we decided that we were going the Christmas tour itself, sounds like it’s to take ALL the profits from the CD and donate them to an organization very audio-visual? called, Covenant Kids Congo (www. LB: It really is. The tour set is a forty- covchurch.org/covenantkidscongo). foot wide LED video wall, and the entire It’s in the northern part of the Congo, time, it’s painting the picture, it’s got the and they’re a partnership with our lyrics…it’s quite a visual experience as church (Bayside), the Evangelical well as audio. Covenant Church and World Vision. AH: Lincoln, I know you wanted It’s a place that’s in super bad shape, to mention another thing about this and there are a lot of children there Christmas project, and the tour as well, who die of things that are simple—like that really captures the whole meaning malaria, because they don’t have a behind what we’re really celebrating at 6-dollar malaria net for the mosquitoes that bite at night. These people don’t Christmas… And then, Mike’s dad Kip Johns LB: Yes, I really felt the need to do a name their children until they’re at least played on “Miraculum.” Believe it or Christmas album, but at the same time, 2-years-old (because of the death rate). not, that was a track that we used from I struggle a little with what Christmas And this is one of the reasons we did the demo, and he just did a killer job, has become. Like many people, I enjoy the CD; to have a way to generate some so we kept it just like that.

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Lincoln Brewster: by Aimee Herd

continued

Roman Vysochin is our keyboard player, he did some of the orchestral stuff, and a lot of pads (Colby and I did some too). On “Miraculum,” our former keyboard player, Steve Padilla played and did some of the composition. Steve is just staying home now and not touring. He and his wife are worship leaders at another church here. We got to work a lot of different people into it. AH: That’s great. You also provide another great resource for other worship leaders and team members with the instructional videos you have on your website. LB: Thank you, yes. We’re still working on doing more of those, we get lots of requests to continue to do more. Sometimes it’s difficult to balance everything that’s on the plate. AH: I bet. I know musicians who read this mag are always interested in what your current preference is when it comes to gear . . .

LB: I’m still a Line 6 junkie. I had gone the route of the Axe-FX by Fractal Audio for a while, then came back to Line 6. I think sometimes people make more of those types of moves than the people who are making the moves do. To me it wasn’t all that big a deal, I was just trying out some new stuff. But for the Christmas album, I used all Line 6 stuff. I’ve had people before say, “Man, I can’t believe you’re not a tube amp guy.” I am a tube amp guy; I use software-modeled tube amps, so I can fly around with a small box that gives me the same sound all the time. If it didn’t work, I wouldn’t use it. So, I’ve really worked hard to program patches that worked, and I think we got some really good guitar sounds on this record. I’m really pumped! Like the sound I used on “Drummer Boy,” that kind of ‘fuzz-octave’ thing . . .I hadn’t really done anything like that before. Colby’s really good at getting good tones as well, so it was nice to work

together. The main guitar part on “Miraculum” is actually a really challenging tone because I didn’t change patches through the song. So, there’s sort of that cleaner, finger pick thing in the beginning, and then it gets higher gain, but that’s just a twist of the volume knob. Because I really wanted to just feel my way through that song, and let it be the hands and not really an overdrive pedal or anything. That whole song is pretty difficult to play, but the three sections are difficult for different reasons. The first one is difficult because if you have a patch that has dynamic range like that one does, when you’re fingerpicking you can’t pluck the strings too hard or the notes get really loud. So I really had to work on my hybrid technique, trying to get it as smooth as I could. Then the single-note stuff toward the end is challenging just because it’s fast. (Laughs) And then the middle section, I did use a different patch there. So, I’m still a Line 6 guy; I like the company a lot. At the core, there are a lot of true, blue musicians who work on the products and develop them, and I think that’s part of why their sound is as good as they are. They’re real guitar players who are speaking into that stuff all the time. And of course, I’m a Fender Stratocaster guy all the way. Always have been, always will be. The big news here is that Fender and I are in the process of developing a signature model Strat. This is such a huge honor for me! AH: And when you’re not on tour, and you’re home, do you still lead worship there at Bayside in Sacramento? LB: Yes, I still oversee all the worship there and am a part of our executive team. I’ve been there for 12 years and am embarking on my 13th year at Bayside, it’s amazing. Visit Lincoln’s official website for instructional videos, music and more: w w w. l i n c o l n b r e w s t e r. com And remember, 100 percent of the proceeds from Lincoln’s Christmas album go to helping children through Covenant Kids Congo.

NOV/DEC 2012 WORSHIPMUSICIANMAGAZINE.COM

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MANDOLIN By Martin Stillion

Playing the Mandolin: O Sacred Head Just in time for Christmas, here’s an Easter tune! “O Sacred Head” was originally the tune of a secular song by Hans Leo Hassler, but J. S. Bach reworked it for his St. Matthew Passion. (It was later reworked yet again by Paul Simon as “American Tune.”) I was asked to play it as a solo tune recently, and worked it up on the mandola. I’ve transposed it here for mandolin.

lifted straight from Bach. I had to change, I think, one note in the alto line. It’s a bit of a “finger buster,” and involves some tricky shifting, but it is playable! It is a slow piece, and it’s perfectly acceptable to pause between phrases, so you can take your time with it.

(starting on the seventh fret of the E string), forget about most of the chords, and use lots of tremolo.

The second half is a little more typical of my arrangements. I’ve moved the melody to the lower half of the instrument and What amazed me about Bach’s four- laid some chords (again, all borrowed part choral arrangement is that the from Bach’s brilliant harmony) on top of soprano and alto lines sit very nicely on it. If you feel like playing the tune a third the mandolin just as he wrote them. So the time, and you want to show off, you can first half of my arrangement is pretty much move the melody into the highest octave

Multi-instrumentalist Martin Stillion, a 20-year veteran of worship bands, plays at Seattle’s Bethany Presbyterian Church. In his other lives he’s a husband, father, writer, editor, Webmaster, composer, and musician. Learn more than you wanted to know about Martin at www.stillion.com/ martin or www.emando.com.

Have fun with it – start practicing now and you’ll have it ready by Good Friday.

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Hans Leo Hassler harm. J. S. Bach arr. Martin Stillion

Bsus

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RECORD REVIEWS Brenton Brown God My Rock 1. Our God is Mercy 2. Joyful 3. God My Rock 4. Jesus, Take All Of Me (Just As I Am) 5. Send Us Out. 6. Wonderful Redeemer 7. Jesus My Victory (Communion Song) 8. Hosanna 9. Word of God 10. Humble King 11. Glorious 12. Like the Angels 13. I Saw the Light 14. Everlasting God/How He Loves Marking Brenton’s first live solo record and first live worship project since the Vineyard UK’s release of Come, Now is the Time and its all time best-selling album Hungry; God My Rock features six brand new songs and new versions of many of Brenton’s worship classics all recorded with his band, The Worship Republic. Brenton Brown’s driving rock mixed with Americana worship style, along with his sincere vocal prowess and honest writing, come through in fine fashion to create an enjoyable collection of worship. The title track was written with longtime friend and worship music icon, Paul Baloche. This up-tempo, Coldplay-esq song will speak to every heart that has ever felt lost or alone and remind them that amidst the storms of life, there is a God who is never changing, a rock of refuge that we can cling to in every circumstance. The chorus is a bit “campy” but is easily sung and very memorable. Hope for those who are lost seems to be a recurring theme weaving its way throughout this album. Songs like the opener, “Our God is Mercy”, which speaks of the oasis of love that God has for us while we are in the desert of life and “Word of God”, a hook-laden, mid-tempo song that celebrates the eternal hope we have in an unchanging God are just two examples. There seems to be a recent trend in the world of modern worship music where artists are taking old, familiar hymns and freshening them up by slightly altering melody lines or adding a new chorus. Brenton jumps headlong into this bandwagon not once, but twice on this album. “Joyful” is

By Gerod Bass a palatable modern expression of the classic hymn, “Joyful, Joyful We Adore Thee” that features a more acoustic rock feel with a new chorus that celebrates the saving power of Christ as Brenton sings; “You are the One who saves, You are the One whose hands raise us from the grave. You are the light of life, the everlasting day. You are the one who takes all our sins away”. “Jesus Take All of Me” continues this trend of old mixed with new as Brenton revives one of my personal favorite hymns, “Just As I Am”. This acoustic, more up-tempo version features a chorus that brings nice warmth and adds a little different flavor to an already wonderfully intimate song of sacrifice. I have said before that there are a few important areas of worship that I wish more writers would concentrate writing songs for such as baptism, confession and absolution, sending, or Holy Communion. Brenton grants my wish in what I believe is one of the better songs on the album, “Jesus My Victory (Communion Song)”. Can you tell by the title what “gap” he is filling? If you said, Communion songs, you would be correct! Finally, someone who is not afraid to write about one of the most important aspects of worship that we celebrate, the Lord’s Supper. Brenton does an amazing job in this contemplative worship ballad at bringing solid theology into a singable format that is perfect for use in your weekly worship service. This song features an incredibly powerful and declarative bridge as well: “King of kings, You laid your body down, Oh what love that lets the lost be found. All who die in You will rise again. King of kings forsaken for my sin. The Lamb of God and yet the Lion wins. Lifted high for all the world to see, Jesus my victory”. Brenton brings back a few of his all time favorites in this collection including, “Hosanna”, “Humble King”, and “Glorious”, all of which are done in the live setting and sound just as energetic and worshipful as the day they were first recorded. “I Saw the Light” features the impressive guitar work of Scotty Murray

*Gerod’s Personal Picks in bold.

Overall impression Average church congregation could learn/participate on the first hear Can be learned/adapted by a band of average skill Lyrical creativity and integrity

Brenton Brown God My Rock Gateway Worship Forever Yours Kristyn and Keith Getty Hymns for the Christian Lifer highest marks

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and the album wraps up with Brenton’s most famous worship song, “Everlasting God” which tags the chorus from John Mark Mcmillan’s classic, “How He Loves”. For the most part, I enjoyed listening to and worshiping with the songs from God My Rock. Brenton and his band don’t really take a lot of musical risks on this album as it stays pretty much along the lines of the current CCM worship, and it was a bit odd to have both live and studio recordings on the same album. I think this took away from the continuity of the project and although I personally love his older stuff, I would have liked to have heard a full album of all new songs from Brenton. All in all this is another solid offering from a man who is a true worship artist with an incredible ability to bring out the emotions of our hearts and turn them into songs of praise to our God. Gateway Worship Forever Yours 1. Not Ashamed 2. Be Lifted Higher 3. As We Pray 4. Forever Yours 5. Mystery 6. Love Has Done It 7. God and King 8. All He Says I Am 9. The Father’s Love 10. 139 11. We Will See 12. Worship the Great I Am 13. The Whole Earth Over the past 10 years, Gateway Worship has evolved in their powerful expression of worship as they passionately pursue a journey of discovery and understanding of the power of a unified response to God’s presence and love for His people. As a worship ministry that began leading 200 people, Gateway Worship, located in Southlake Texas, now ministers to over 20,000 people each week through vibrant worship ministry; capturing the sound and songs of the local church Body. Led by senior worship Pastor, Thomas Miller and outstanding vocalist, Kari Jobe, Gateway worship is set to release their 5th live album, Forever Yours on October 9th. Filled with upbeat, jump-out-of-your-set- in joyful-praise worship anthems and quiet, tender musical moments, this collection of 13 new songs for the church will lift your soul and stir your heart. Some of the more notable tracks include the opening tune, “Not Ashamed” which brings the worshiper into God’s presence with some techno beats and a driving 4-on-the-floor kick while David Moore proclaims, “I am not ashamed,

WORSHIPMUSICIANMAGAZINE.COM NOV/DEC 2012

RECORD REVIEWS I am not ashamed, no way! I am saved by amazing grace and nothing’s gonna take it away, away!” The theme of being bold followers in Jesus continues in the rock anthem, “Be Lifted Higher” which sounds a lot like Hillsong with the constant primal drum rhythms and declarative statements of worship. My favorite song on the album is the title track, which rests on the idea of freedom that we have because we have been rescued by the power of the cross, and therefore we can proclaim that we belong wholly to Jesus. This piano driven piece features the best melodic chorus on the album, and as I am writing this review is still stuck in my head some 36 hours later. We will be doing this one at our church very soon. “Mystery” is another piano-led song that features the smooth, soaring vocals of Kari Jobe. More of a performance piece than a congregational worship song, this quiet anthem describes the supernatural nature of God made man, while at the same time exploring the mystery of God’s love for the seemingly unlovable. This song could be easily used as an advent performance piece when you need a moving, quiet song about the coming birth of Christ. Rebecca Pfortmiller is another incredible female vocalist that is featured on this album as she leads the song “God and King”, which gives us a different take on the hymn “All Creatures of Our God and King”. A new chorus and ending give this classic hymn a fresh feel. “139” is a gorgeous prayer based on Psalm 139. Led with an acoustic guitar, Alena Moore’s vocals bring the listener to the feet of Jesus in this intimate song of praise. The combination of pure scripture and fresh melodic thought is just sublime on this track. Although the songs and overall style on Forever Yours are somewhat typical of the current popular worship genre, I really appreciate how the writers at Gateway write songs that are theologically meaty and lyrically intimate. I could tell that a lot these songs were written from personal spiritual experience. I love when worship writers write songs that I didn’t even know I needed to sing as a worshiper on Sunday morning. These songs are genuine and heart-felt. I could have done without some of the extended endings contained within but I guess that is just a symptom of a real worship experience at Gateway. I wouldn’t consider every song on this album to fit the “worship song” model as some are just simply more difficult to sing and play than others, but for the most part there are some offerings here that any church team could put together for a Sunday morning set. Overall this album has some wonderful scripture-based worship songs and honest, uplifting performance pieces that you and your church will enjoy.

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Kristyn and Keith Getty Hymns for the Christian Life 1. Christ is Risen, He is Risen Indeed 2. Oh How Good It Is 3. A Mother’s Prayer 4. Simple Living 5. Before You I Kneel (A workers prayer) 6. The Village Reel 7. The Perfect Wisdom of Our God 8. Kyrie Eleison 9. My Heart is Filled with Thankfullness 10. In Christ Alone 11. Nothing But the Blood 12. Holy Spirit Preeminent Irish modern hymn writers Kristyn and Keith Getty, along with Stuart Townend, have released their highly anticipated 4th worship album, Hymns for the Christian Life. Produced by Charlie Peacock and Ed Cash, this worship collection features 12 modern hymns that combine Celtic folk music and down home southern bluegrass to create a worship experience that is truly refreshing. A plethora of instrumental creativity and style mixed with solid theological lyrics make Hymns for the Christian Life stand alone in the CCM worship world. Keith and Kristyn Getty describe the thought process behind this project; “We considered how the Gospel has an effect on daily things: work, money, poverty, children, and daily joys and struggles, and tried to craft lyrics that people could sing on Sunday morning but also carry with them throughout their week”. After listening to this eclectic collection, I would have to say that they have accomplished this in fine fashion. The album begins with a celebration song of Easter entitled “Christ is Risen, He is Risen Indeed” which begins with the odd sound of a bagpipe warming up. At first listen it was a bit strange and distracting but before too long I was transported to the green hills of Ireland as the soaring pan flutes, mandolins, and bagpipes began to take me on a magical worship journey. Co-written by the Getty’s and Ed Cash, this song is a scripturally rich celebration of doubt turned to unshakable joy through the resurrection of Christ that is sure to be sung on Easter Services all over the world this coming March. “Oh How Good It Is” continues the Celtic folk feel with driving drums, banjo, and mandolin that give this song power and creativity. Inspired by Psalm 133, this worship tune celebrates the importance of Christian community and how God places brothers and sisters in our lives to give encouragement, hope, and joy in the midst of sorrow and despair. I was very impressed with how the Getty’s weaved in different relevant

themes throughout this album that listeners can connect with on a very personal level. Nowhere is this more evident than in the parent prayer song, “A Mother’s Prayer”, which describes in wonderful detail the desire for faith that a mother has for her child. I wouldn’t consider this a worship song, but rather a sung prayer that could be used very effectively at a baptism or service about parenting. Featuring a verse sung in the old Gaelic language and the ghostly vocal of Irish singer Moyra Brennan, this is one of the best-written songs on the album. This collection also contains a special 10-year anniversary arrangement of what is arguably the best modern hymn of the contemporary worship era, “In Christ Alone”. Joining Kristyn Getty on vocals is 27-time Grammy award winning artist, Allison Krauss. A bit more stripped down instrumentally, this version highlights the two ladies’ vocal prowess as we hear the heavenly violins and other Celtic folk instruments throughout. “Kyrie Eleison” takes us to a different place in the world altogether as we hear a song that totally changes the style of the album at just the right time. With a distinct South African feel, “Kyrie Eleison” challenges the listener to develop awareness to the spiritual and physical needs of those around us, both near and far. This song is both convicting and is a call to action for the listener. It is a bold choice and one that I am glad they decided to include on this album. I really enjoyed listening to this collection from the Getty’s. These songs are bold in nature and very interesting to listen to. Every song is intelligently written and steeped in scripture. Most were very singable and could find a lasting spot in any church worship repertoire whether liturgical, contemporary, or both. These are songs that will infect your heart, point you to a loving God, and stick with you long after you turn off your CD player or leave your place of worship. Outstanding job! 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 Music at Our Savior Lutheran Church in Tacoma. Gerod is a singer, guitarist, songwriter, and recording artist who has a passion for taking Biblical truths and implanting them on the hearts of God’s people through music.

WORSHIPMUSICIANMAGAZINE.COM NOV/DEC 2012

FOH ENGINEER By Bill Gibson

Electric Guitar Sounds: Part 2 Although an electric guitar seems simple enough, there’s a lot more that goes into finding just the right sound than one might imagine. As with most sound-related considerations, there’s a simple solution— buy a Marshall and a Les Paul and turn it up—or there’s the solution that provides more insight and offers a greater level of creative flexibility. Both part one and part two of this article are excerpted from the second edition of The Ultimate Church Sound Operator’s Handbook. Tone Controls Most guitars offer passive filters for tonal control. When the bass or treble controls are all the way up, they are providing 100% of what the pickup has to offer for that range. Backing off the treble control simply trims off the frequencies above a certain point—functioning as a variable low-pass filter. Backing off the bass control trims off frequencies below a certain point— functioning as a variable high-pass filter. Guitars with active circuitry typically contain amplification circuitry that provides boosted treble or bass frequencies. Frequency Content Most guitars and guitar amplifiers exhibit a fairly modest high-end rolling off above 5 or 6 kHz. However, an electric guitar can be adjusted to include massive amounts of lowfrequency content. This might sound great when you’re alone in your bedroom, but in the context of a band, it will probably sound muddy. In order to fit the guitar perfectly into a mix, you must decide which frequency range supports the song best, then adjust the tone accordingly. Equalizing the Guitar There are certain EQ ranges that add specific qualities to guitar sounds. Depending on the type of guitar and style of music, EQ changes can have varying results. Here are some good starting points for equalizing a guitar. • Boosting 100 Hz can add a good, solid low end to most guitar sounds. Boost this frequency sparingly. It can be appropriate to turn this frequency up, but most of the time a boost here will conflict with the bass guitar. I end up cutting this frequency quite often on guitar. • Two hundred Hz tends to be the muddy zone on many guitar sounds. A boost here can make the overall sound of the guitar dull. A cut at 200 Hz can expose the lows and the highs so that the entire sound has more clarity and low-end

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punch. Cutting this frequency can help a double-coil pickup sound like a single-coil pickup. • The frequency range from 250 Hz to 350 Hz can add punch and help the blend of a distorted rock sound. • The frequency range from 500 to 600 Hz often contains most of the body and punchy character. • The frequency range from 2.5 kHz to about 5 kHz adds edge and definition to most guitar sounds. • Boosting 8 kHz to around 12 kHz makes many guitar sounds shimmer or sparkle. These frequencies can also contain much of the noise from the signal processors; so cutting these frequencies slightly can minimize many noise problems from the guitarist’s equipment. Running Direct into the Mixer Modern guitar effects processors provide excellent digital amp models, speaker simulators, microphone modelers, and every imaginable dynamic and delay effect. In addition, they provide subtle sonic characteristics that imitate the sound of a well-miked speaker cabinet. Electric guitar can easily sound very good running directly into the mixer. This helps eliminate stage volume from the guitar amp—and we all know how much guitarists like to turn up their amps—and it lets the sound operator shape the guitar sound perfectly for the house. If your guitarist is willing to run direct, spend some time to find the effects unit that provides the best sounds for your musical preference. The Line 6 company helped pioneer this digitally modeled guitar sound—they provide some excellent devices. Also, other companies offer viable options. It’s up to the guitarist and the sound operator to make sure that the guitar and effects sound great in the mix. This is a perfect opportunity to test your relationship with the local music retailer. Try a few different devices through the house system with the music team. Make your choice based on the sound, not on the name brand or what someone else uses. Be discriminating about the sound— use your ears! Miking the Speaker Although running direct into the mixer provides unsurpassed control, some

guitarists will go straight into a coma when presented with the option. On one hand they’ll probably be surprised at how great the guitar can sound in the mix when run direct through an excellent ampmodeling processor; on the other hand, their coma is partially justified. Much of the tone and musical character comes from the combination of an amplifier and a speaker. Each amp-speaker combination provides a tonal ingredient that can be difficult to completely emulate through a digital model. Even though industry hype might say that the digital model is just like the real thing, when compared side by side the real thing wins. However, the benefit of running direct and the ability to shape the tone through myriad available settings make the digital modeling effects device a very attractive option. If the guitarist really wants to use his or her amplification system, there are a couple of good compromises. • Place the amp in a side room off the stage and mike it. • Place the amp in a box constructed specifically to house it, or use a specially constructed isolation speaker cabinet. Both of these options provide excellent results while taking advantage of the superior tone quality of an excellent guitar amplifier. An isolation cabinet, such as the Randall Isolation 12 speaker cabinet, provides authentic speaker tone while controlling the stage volume—it lets the sound operator mike the speaker inside the isolation cabinet with minimal stage volume. The isolation cabinet contains a microphone mounted inside the cabinet, with ¼-inch jacks to access the speaker and an XLR connector to connect the microphone to the mixer. • Turn the amp up to a fairly strong level. This doesn’t have to be screaming loud, but most amps sound fuller if they’re turned up a bit. • Next, place a moving-coil mic about one foot away from the speaker. Most guitar amps will have one or two fullrange speakers. These speakers are typically 8 to 12 inches in diameter. Moving-coil mics are the preferred choice for close-miking amplifiers because they can handle plenty of volume before they distort the sound. Also, the tone coloration of a moving-coil mic in the higher frequencies can add bite and clarity to the guitar sound. • If the amp you are miking has more than one identical speaker, point the mic at one of the speakers. Point the mic at Continued on page 38

Aesthetically Pleasing… to the Eye and the Ear Yamaha’s newest addition to the digital mixer family is a crowd-pleaser for sure. Embodying sonic superiority, all three models — CL5, CL3, and CL1, come equipped with a Premium Rack featuring Yamaha’s unique VCM analog circuitry modeling technology and the highly acclaimed Rupert Neve Designs Portico 5033 EQ and 5043 compressor. Now more than ever, creative freedom to color your sound is in your hands. Complete with an eye-catching exterior featuring a channel color bar, channel naming and sleek faders, this new addition looks and feels as good as it sounds.

MINISTRY + ARTISTRY = PROFITABILITY? CREATING YOUR MAP™

By Scott A. Shuford

How To Increase Your Email Response Direct emails are still one of the most popular and effective ways to reach out and get your Christian market target audience to respond to your message. If you are sending email newsletters out to your subscribers (and you SHOULD be) then you are doing direct emails. If you are doing direct email ads about your worship projects to the subscriber lists at NewReleaseTuesday.com, Christian Musician Summit, ChristianGuitar.org, iTickets.com and so on, then the whole goal, in my mind, is to do this for the purpose of DATA CAPTURE, enabling you to market to these people directly in the future. If you are doing your monthly email newsletters emailed to your own existing customers, or targeting new prospects using one of our email lists, there are a number of ways to boost email response and increase the return on investment of time and/or money. Successful email campaign marketing isn’t any different than any other form of marketing. You must find out what actions work well for you, and then repeat those actions. Embrace the learning curve. Let me share with you some guidelines that will increase the success of your direct email ads. These come from my experience helping Christian labels and artists, including Integrity Music, EMI CMG, Vineyard, and others, as well as publishers and authors, music labels and artists, non-profits and causes, colleges, films, and more. All of these are direct email ads that we’ve run as one of the leading Christian market media groups, particularly through various targeted subscriber segments in our iTickets.com Christian email database with 400,000+ subscribers. Not One Big Image Having one big graphic as your direct email ad or newsletter is an EPIC FAIL. Your ad should be at least 50% text and 50% images. Images should count for 50% or less of your email. Text in the HTML should ALWAYS be 50% or more of your total email. One big fat image

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all by its lonesome immediately increases audience you are sending to. your SPAM ranking, decreasing your Have A Clear Offer & Call To success. Make sure the email has a great Action chance of actually getting through the The recipient has opened your email many SPAM filters on the Internet. because the subject line was compelling. Subject Line Is Most Important So now, let your content within the email Spend more time creating your Subject body deliver exactly what your subject Line than creating your HTML. Those line said. Keep your email ad simple and pretty pictures are no good if no one clear. State your purpose or offer at the opens your email to see them. The top. You don’t have to provide a story Subject Line is the first impression and explaining all the reasons why this is such communication with your prospective a great offer. JUST OFFER IT. The sole target subscriber. It’s gotta be short: purpose of the body of this email ad is shorter than a tweet, as short as you to deliver a message that will cause the can get it and still be clear. Your only recipient to click on the link to your landing purpose is to get the subscriber to open page. Make sure the link to the landing the email. Let me say that again. Your page is easily found and communicates ONLY purpose is to get the subscriber why the reader should click. Make every to open the email. Without that, you image link to your landing page. are through. Including something in Tune Into WIFM the subject line that resonates with the Answer your Christian email reader’s recipient is crucial to getting the email to be opened. Recognizable brands are question “What’s In it For Me?” Don’t more often opened than not. Stay away merely tell about your product, service, or from typical words and phrases that cause. Instead, offer something of value you probably already know are SPAM to the audience you are sending to, such triggers because you see them in your as solving a problem, giving help, etc. emails, things like “FREE”, or “No Cost”. Turn In HTML & Text Versions Check yourself against one of the SPAM There are still people using image Trigger Word lists (Google that for a list of blockers in their email in order to increase sites.) If your subject line did what it was supposed to do, the email was opened. download speed and protect themselves from unwanted images. For your Make It Clearly Christian newsletter or ad, always turn in both an In general, the majority of all emails sent HTML ad and a Plain Text version with are never opened. Think about how many no text formatting. Most email systems SPAM related emails you get daily, along are set up to send out both versions so with the general emails you skip over. This that any individual subscriber will see makes for a HUGE opportunity if you can what their settings say they should. Just create any slightly more appealing and copy your text from the HTML into any of interest for the person receiving your plain text editor like Notepad, and then email. Connecting to the user’s faith is add back in text for the missing message one of the most passionate connections elements. If you have links that are that can be made! Don’t assume that more than 65 characters long, then use because your message is coming through a shorter URL instead. Either have your YOUR list, or a Christian company like web designer create a short URL on your NewReleaseTuesday or the iTickets, that site, or use a free service such as http:// their subscribers will “just get it” that tinyurl.com. For example, http:// you are a Christian album or worship w w w. frontgate m edia.c om/blog / resource. The reader’s inbox is full of index.php/category/tweetdeal-of-theeverything just like your inbox. Design week/ would instead be http://tinyurl. your Subject Line and the email itself com/frontgateoffer. to connect the dots for the Christian Continued on page 38

CHRISTIAN MUSICIAN SUMMIT WORKSHOPS AVAILABLE ONLINE... FOR YOURSELF or FOR SHARING WITH YOUR ENTIRE TEAM.

CMS@theCHAPEL 2012 • Christy & Nathan Nockels - from generation to generation • Gregg Bissonette - the servant drummer • Brenton Brown - thoughts on songwriting • Norm Stockton - musical styles and the worship bassist • Tom Brooks - keyboards (pt 2) • Bob Halligan Jr - songwriting • Brenton Brown - worship band workshop • Rick Cua - when commitment is there, but skill is not • Jon Cook - live streaming your church • Scotty Murray - guitar tones and tricks • Daniel Ornellas & Ben Showalter - bass & drums • Doug Gould - digital audio mixers for the non-megachurch • Jerry Gillis - keynote messages • behind the scenes...

CMS NASHVILLE 2012

• Brenton Brown - worship band workshop • Ian Eskelin - songwriting • Dave Cleveland - number system/guitar • Tom Jackson - live music production demonstration • Ron Block - music & identity • Tom Hemby - worship guitar • Daniel Ornellas - bass guitar • Jim Daneker - keyboard gear • Jason Ingram & Paul Mabury - songwriting • Jimi Williams & Brenton Brown - New Song Café • Leann Albrecht - vocals • Jerry McPherson, StuG, Tom Hemby, Tom Lane - guitar tone • Steve Taylor - songwriting • Cindy Morgan - songwriting

$49 for a single user license per event *$99 for a multi user license per event

*share with as many people as you like

www.ChristianMusicianSummit.com/streaming.php

FOH ENGINEER

CREATING YOUR MAP™

Continued from page 34 the center of the speaker to get a sound with more bite and edge. Point the mic more toward the outer rim of the speaker to capture a warmer, smoother sound. Pickups Guitar pickups all work on the same essential principle. Their purpose is to convert the string vibrations into an electrical signal. This is performed by a combination of a magnet and copper wire coiled around the magnet. The string motion produces a variation in the magnetic field, resulting in an electrical image of the string vibration rate and intensity. The variations between pickups have become greater through experimentation with the amount of wire wrapped around the magnet and combinations of close-proximity pickup assemblies, but the fundamental structure is very consistent between pickups. Increasing the amount of copper wire coiled around the magnet produces a stronger signal. In fact, some pickups create such a strong signal that they naturally overdrive the amplifier input. With super-high output pickups like this, the only way to get a clean sound is to reduce the instrument volume control. Some players prefer these stronger pickups because they provide an aggressive sound and feel. Some players prefer the natural clarity of a weaker pickup. The main downside to extra-strength pickups

Continued from page 36 is that they can reduce sustain. If the pickup configuration is too strong, the strings actually stop vibrating sooner than normal because of the magnet pull induced by the pickup. Most players who experiment with pickups end up using a stronger pickup at the bridge position—because the signal is weaker at the bridge—along with a more natural sounding, yet full, pickup in the neck position. Many people credit the pickup for the sound of the instrument. In actuality, that is partially true; however, the position of the pickup can be more influential on the sound of the instrument than the actual pickup design. If the pickup is placed at a node of one or two harmonics, it will sound vastly different than if it’s placed at the precise point where all harmonics are working together optimally. There is definitely an inherently different sound between single- and double-coil pickups, but their placement determines the essential sonic timbre. There are two basic types of guitars: singlecoil and double-coil. Additionally, some modern pickups contain active circuitry. Single-coil pickups have a thin, clean, and transparent sound, but they can be noisy, picking up occasional radio interference. These pickups, typically found on a stock Fender Stratocaster, are usually about 3/4inch wide and 2-1/2 inches long. Doublecoil pickups have a thick, meaty sound and are the most noise-free of the pickup types. They get their name from the fact that they have two single coils working together as one pickup. These are wired together in a way that cancels the majority of noise that is picked up. These can also be called humbucking pickups. Double-coil pickups are common on most Gibson guitars, such as the Les Paul. Many guitars have a combination of singleand double-coil pickups. It’s common for a double-coil pickup to have a switch that will turn one of the coils off. This gives the player a choice between single- and double-coil. Active pickups contain amplifying circuitry to boost the pickup output level. Therefore, the active pickup typically uses fewer windings, resulting in decreased impedance and magnetic draw in the string vibration. Decreased impedance results in a signal that is less affected in the high frequencies by cable influences. An active guitar pickup is typically capable of very clean sounds while also providing a strong signal for aggressive and characteristic distorted sounds. Bill Gibson is an author, instructor and music producer. He has recently worked with Quincy Jones writing his autobiography published by Hal Leonard.

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Landing Page – Success! Data Capture The landing page is where your email sends people to when they click on your email. Make sure your landing page reiterates the offer along with the action you want the person to take. Because the Subject Line succeeded in getting the email opened, and the email succeeded in getting the click, now the landing page should do what it is intended to do: collect the consumer data and then deliver their reward. The recipient likely wants to take action! They clicked here for a reason. Be sure that VERY little stands in the way of the prospect’s ability to take action. Again, keep it simple. Test It All First Let me tell the tale of the Christian software company that spent $5,000 to send a very generous offer for Bible software at a significant discount to part of our Christian subscriber audience. All the recipients had to do was enter a special code on the landing page. Imagine the response: a Bible software message offering Christians a major discount! WOW, the media email databases delivered to the subscribers and the subscribers responded! Except that the special code didn’t work. The advertiser’s web site rejected every single person who clicked to the landing page and completed the form. Now imagine the despair. I knew immediately when they said there was zero response that only one of two things was possible: either the email didn’t go out, or they had technical issues on their end. I hated being right. YOU MUST TEST EVERYTHING. See Scott as part of the Creator Leadership Network teaching team at this year’s Christian Musician Summits. His firm has been awarded two Standard of Excellence Awards in the 2012 WebAwards, and his site was named the #1 web site in faithbased advertising in the Internet Advertising Competition. He has led classes for us at NAMM as well as teaching on marketing to the Christian Leadership Alliance. Featured in Adweek, Scott is the President of FrontGate Media, the #1 culture-engaged media group reaching the Christian audience (www. FrontGateMedia.com) and the largest in reach to Church musicians.

GUITAR GRAB BAG

By Doug Doppler

Harnessing Technology to Learn Songs and Multiple Arrangements With a few exceptions like Jesus Culture, there seems to be a lack of inspired new material for worship leaders to choose from. Many teams are turning to alternate arrangements of older material to keep things fresh. While there is a lot to be said for worship leaders finding new inspiration from older material, this can wreak havoc for the rest of the team. In addition to keeping track of the various male and female keys, players also become tasked with remembering which version they’ll be playing with which worship leader. In this month’s column we’ll be addressing how to harness technology to address these challenges. This approach is equally applicable for working through weekly set lists. While some of the techniques require a bit of tech savvy, you don’t need to be a tech genius to pull them off—especially after some initial guidance. Noting that most teams have at least one tech guru at their disposal, I encourage you to approach your worship pastor about doing a team training on how to apply these tools to your repertoire. Planning Center, iTunes, and Transposr.com I’m a huge fan of using Planning Center to distribute songs, charts, and arrangement notes. The program also includes robust transposition tools, making it easy for worship leaders to present their teams with MP3s and charts in any key. Surprisingly, some worship leaders are also using Planning Center to post YouTube videos in the place of MP3s. Since these videos frequently differ in key and arrangement to that of the accompanying chart, they poorly serve the prep-minded musicians many teams depend on. If a YouTube video is all you have to work with, bite the bullet and buy the MP3 on iTunes. After collecting all the MP3s from Planning Center or iTunes, you might need to visit Planning Center’s free Transposr.com web site to transpose any of the songs that are not yet not in the proper key.

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Playlists

hard time lifting the parts out of the mix there are a couple of tricks you can try. My iPhone travels with me everywhere MP3s usually import as a stereo pair, I go, so the sooner I create a playlist for and most recording programs allow you the current week’s songs, the more time I to separate them onto their own tracks. have to live with them—there is a lot to Try muting one track at a time to see if be said about learning the motion of a that helps reveal the part you’re trying song before digging into the parts. And to learn. If not, work with an EQ plugspeaking of parts, the more times you’ve in to reduce the volume of parts that are heard them, the easier they become to masking the one you’re trying to get at. pull off of the recording. Weekly Setlists Snapping to the Timeline For weekly setlists, import the rest of the While MP3 playlists are helpful for songs and drag them to their respective looping a set or individual songs, they locations on the timeline. Creating tempo are somewhat clumsy when it comes to maps for each song makes it easier to being able to isolate individual sections. place markers and loop sections. The Most recording interfaces come bundled setlist approach is tremendously powerful with free recording software, the majority for teams who are committed to getting of which supports creating timeline the most out of their prep time. makers to document key sections of the arrangement. After you’ve input the tempo Song Archives of a song from the chart, many MP3s will You can use much the same approach line up with the bars and beats on the for creating a “song archive” to document timeline without issue. If not, I’d suggest the various arrangements your team using the wave-editing window to find a plays. Creating tempo maps is again kick drum transient to drag into alignment suggested since many arrangements with the grid. Since most measures are recorded at different tempos. Once feature a kick drum on the downbeat of you’ve placed each arrangement marker one, finding one to align to the grid is inside the recording application, map the fairly easy—especially when using the form on the top of each versions chart, zoom tool. Once the track is properly noting where and how the charts vary. aligned you’ll want to lock it in place Next you’ll want to start comparing in preparation for placing arrangement the recorded sections to identify parts markers. you can play in common across all the Placing Arrangement Markers, arrangements. These global Master Looping Sections, and Lifting arrangements make it easy to make adjustments for individual arrangements Parts while building greater continuity into your As you listen to the track from top to process. God Bless… bottom, create and name markers for each section of the song. I would suggest using a scheme like CH1 and CH2 to designate the different instances in which you return to a section. Once you’ve charted the song inside the recording Doug Doppler is signed to application, do the same across the top Steve Vai’s Favored Nations of the chart. To learn signature lines or label and is currently in perfect individual sections, select that production on the Get Killer sections marker and the one just after Tone DVD series. He and his to loop that section. If you are having a wife Melissa live to serve the Kingdom and are members of Cornerstone Fellowship in the San Francisco Bay Area.

THE BAND By Tom Lane

Finding Your Voice Very early on I became a scrupulous listener, I loved to single out parts, instruments, and voices. There are so many great talents in the sea of humanity, and yet our ears can discern specific ones because we know their voices, signatures, and imprints when we hear them. One of the bands I play in has three guitar players, and quite often we perform with a keyboard player and other special guests. It’s a recipe for mayhem . . .but it works, because each player listens to and works around the others—it’s never a competition. It’s been said that it’s not how many notes you play, but how many you leave out that counts, so true! There are various facets that contribute to a voice, and I mean voice in a general sense, it applies to players and singers alike. Sonic and tonal characteristics, timbre and register, taste and discretion, mechanics and technique, passion and talent; all play a part in the overall clarity and definition. When you hear the term muddy, it most often refers to a lack of clarity. Murky is another good word to describe a wash of sound that’s dark, dirty, or not very clear. Doesn’t make for the best music! Since every instrument occupies a certain frequency in the spectrum, it matters what notes we play and what register we play them. The more instruments and voices in the mix, the more we have to work to make a tasteful contribution rather than create distractions. The first thing that helped me begin to find my voice was learning to be OK with not playing the cool or out front parts, all the solos, etc. When I realized there are so many other better players and I have nothing to prove, I was able to settle into being me as a player. The beautiful thing is, there’s room for all in the Kingdom of God and we really are part of one family. As simple as that sounds it goes against the grain of modern pop culture where doing whatever you have to do to be noticed is the norm. From then on I focused more on some of the practical things I do naturally that I enjoy, and would add them to the mix in various situations. I began to carve out my own niche without vying for a place. Other players then begin to react and respond to what I do, and the good ones naturally complement rather than compete with it. There’s no better feeling musically than being in sync with your band mates without having to say a word, or really do anything other than flow. That’s the beauty of both time and experience! One good example for me is the use of open tunings and capos. I don’t even remember who taught me to do it, but one of the first things I did as a kid was tune my guitar to open E. From there I started creating my own tunings, and I’ve always loved DADGAD. The Cut Capo

quickly became my best friend, because I could use some of the DADGAD fingering without having to retune in a live setting. So I’ll naturally reach for a capo or start tuning to find a voicing within the band that’s not being covered, or isn’t competing. Another example is padding and ambient sounds, using delays and other effects. Often the glue you hear in a song is quite possibly the simplest part being played, yet it holds and weaves a song together—remove it and the entire landscape is different. If I hear another player naturally going towards a more rhythmic oriented part, I’ll dial in a sound and weave in and out with a volume pedal providing more texture and color, or vice versa. I’ve said it before, but inversions are your friend; simply changing up the order and placement of notes in a chord can pull you out of the muck and mire, and bring you into your own sonic space. Now you’ve made your engineers job a whole lot easier too, by not having to work so hard to make you heard and distinguishable. Last but not least is your instrument itself. In the Blues Counsel, the band with three guitar players, it’s a Tele and Strat heavy band. Something as simple as adding a Gibson to the blend creates another ingredient and texture that helps make up our sound. Every instrument speaks it’s own language! Even as it relates to artistry, finding our own uniqueness is what great artists throughout time have spent lifetimes doing. It’s a journey and process; few just arrive suddenly as a finished version! If you’re involved with worship then you already know that it’s about more than our artistry. Yet being creative, visionary, passionate, abandoned, etc., are also part of how God made us to be and contribute to our expressions in worship. Worship not only became more fun, but more authentic for me as I found my own groove and was able to rest in it. Though I’m musically aware and always seeking to embellish, I’m not doing it to impress anyone or to encourage adulation. I remember when that was always in the back of my mind, but at the end of the day that’s just insecurity talking, not the spirit of the Lord. Your voice doesn’t have to be louder, better, or prettier — just yours! Nashville, TN is home for Tom Lane though he is involved in ministry and music around the world. As a singer, songwriter and guitar player, Tom has been teamed with many worship leaders and artists. He continues to record his own work, lead worship, and writes regularly for various worship publications worldwide.

NOV/DEC 2012 WORSHIPMUSICIANMAGAZINE.COM

Improving Musicianship | Inspiring Talent

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CAMERA

By Craig Kelly

Take It For the Team A TV crew, whether it’s a live broadcast event crew, a studio news crew, a sports show, a documentary crew, a church service crew, concert IMAG crew, or a 2 person field reporting team, all have to be successful at two things – teamwork and professionalism.

of ego involved. Another thing that sometimes happens is that there is a miscommunication between parties. Think about the long line of television sitcoms that are structured around the misunderstandings or miscommunications of the featured characters in the story. What if everyone was to communicate with the others on their team? Then everyone would know what has to be done, right? Trouble is, we’re all human and don’t always get it right. But if we do our jobs the absolute best we can then, share as much information as we can, and communicate our intentions wherever possible, maybe some of the miscommunications will be avoided.

Let’s take a look at teamwork first; Video production is a slippery and formchanging beast. One minute all is going well, and then the slightest thing can change the game; from a script re-write, a venue change, or even.......... oh my gosh, a mistake! There are a million stories out there from producers, camera ops, sound crew, directors, dp’s, talent, etc. about shoots that went sideways, or down. Often because of another team I taught television production at a local member – up or down the line. technical college years ago and I realized I don’t think there are any real answers two things about the situation there; one to avoid all the problems, conflicts, is the students were there to be taught issues, or rants that are innevitable, but (most of them anyway) and it was my job I’m pretty sure there is a fair amount to teach them. Secondly though, just as important, was that the students needed to be invested in learning – I couldn’t do that for them but I could share with them as much as I could (I hope). One thing was for certain and that was if the student didn’t know something, it was very important for them to ask the instructors. That’s how I feel about a TV crew; if you are not getting the information you need, step up to the plate and ask. Even producers need to ask the client what they need. Clients ask producers how things are going to be accomplished, camera ops need to know what the look and feel of the project will be, runners need to know what they will be expected to “Matt Kees is a very musical do, sound department needs to know songwriter, producer, mixer and a very who will be talking and where. Everyone has decisions to make and information good friend of mine. I love is the key. Yes, of course there are the hearing his work as he odd exceptions to this where a last minute is one of the best in the situation arises, but everyone needs to business. I always look know what the expectations are.

MATTKEES.com

forward to working and making great music with Matt.”

~ Gregg Bissonette

(LA session drummer and member of Ringo Starr and his All Starr Band)

NOV/DEC 2012 WORSHIPMUSICIANMAGAZINE.COM

Also too, I have noticed that the higher the production budget, it seems to me, the higher the tension level there is. That makes sense in some respects because there may be a lot of money and reputation riding on the project. Everyone knows that when money is involved the

heat is turned up and the expectation level rises for everyone and everything. I don’t think that will change; but what can change is if everyone on the team realized what the other team members might have going on in their department, or that everyone wants to do their best, or maybe even thinks they are the best. Regardless, everyone on the team needs to be their best. If you absolutely assume that everyone you work with is a pro or is doing their best to be one, then you can concentrate on your own role first. What happens if someone, no matter the reason, doesn’t have something ready that you were expecting, or does something in a way that you aren’t used to, or has forgotten to share with you some information? What would you do, let the shoot fail? Complain? Or, ask some questions and help it to be a success. No matter the problems, we still work in a very privileged industry. Just as on a team, everyone needs to do their part as best as they can, learn what needs to be done, and execute according to the project at hand. As usual, a lot of the research and information for this article came from the discussion area on the Linked in group called TV Camera Operators. Feel free to join us, learn, participate and share in this group. It’s free. Check it out. You can also join me at www.craigjkelly.com – a free blog site for new or volunteer camera operators. Questions or comments? Contact me at zoomit.cam@craigjkelly. com

Television director Craig Kelly’s career has included over 3,500 live shows, events and concerts in broadcasting, corporate television, events and sports production since 1977. He is also involved in ministry based events and concerts, and has produced or directed internationally distributed DVDs. With a background as an international freelance cameraman, he has shot national and local level sports and corporate video for over twenty years. These days he is often involved in speaking, workshops, writing and talking about Television camera operators and directing.

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WORSHIP TEAM TRAINING

By Branon Dempsey

Microphone Check 1,2.

Dealing with Mechanical Failures in Worship A few weeks ago I led worship on a Thursday night. The evening began with a great reunion of seeing old and new friends. The song set was just right for those who came to worship. The lighting had a great ambiance and mood. The audio team was very accommodating and adaptive. I arrived early to set up my gear. The speaker and I went over our notes and everything was cool. I met with the sound team, tested the mic, and all seemed fine. I got a really nice sound. Then the problem hit.

Has this ever happened to you? So, what do you do in a situation like this? Keep playing. I continued to play through the song, while ad-libbing a bit. The congregation was not even aware of the problem. My mind was racing of what to do. Ah, yes. I got it. My acoustic mike was aiming between my guitar and upper body. I figured if I backed off a little space, the mike could catch both my guitar and voice.

In a subtle gesture, to the sound engineer, I motioned to turn up my mike. He was I just plugged in my guitar, strummed a aware of the problem and adjusted the few notes . . . and there was nothing. We volume. Success. I was playing and checked the cable, DI box, and patching. singing through the one mike with no All seemed to be correct. Still nothing. problem. Then guess what? No, the mike Our next resolve was to completely continued to work. However, I noticed a change out the cable and DI. In addition, sudden drop in volume when I pushed my we tried patching into different channels. dynamics. Problem? My trusty acoustic Again, nothing. mike turned out to be a condenser mike. At this point, the clock was ticking at 10 minutes until the service. Think fast. The audio team ran to the sound storage room (the youth worship center) and grabbed a couple of acoustic mics. We figured that I could survive by simply miking my guitar while singing through a separate vocal mike. Sounds simple, right?

A condenser is known for limiting loud peaks and sudden changes that occur in the overall volume. Every time I tried to push a note, the mike would drop out. It was almost like playing the game: You hear me, no you don’t. So what did I do? I backed off a bit and continued. What happened to the congregation? It was time for the service to begin. A Nothing as well. They continued to focus vocal singing group took the stage to on the words. I realized something in that open with a few songs. Afterward, it was moment. What became important was time for me to lead. I began playing. being at the feet of Jesus. Everything sounded great through the We choose the better part. When we acoustic mike. In fact, it had a really nice do, perspective comes and everything and rich sound. The lights came up on my else fades away. This is especially true face as I moved towards the mike. The when dealing with all kinds of technical congregation was beginning to engage failures in a worship service. The with eyes closed. I began to sing. All the difference is the one you make in knowing sudden, my vocal mic went completely how to respond – in being prepared. out. Interestingly, the song we were singing

was one I had written called “Have Your Way.” Never stop the flow of worship. Let God have His way in every and all circumstances. I will always remember this night as being the most challenging by logistics, but the most worshipful by the Spirit. “Now as they were traveling along, He entered a village; and a woman named Martha welcomed Him into her home. She had a sister called Mary, who was seated at the Lord’s feet, listening to His word. But Martha was distracted with all her preparations; and she came up to Him and said, “Lord, do You not care that my sister has left me to do all the serving alone? Then tell her to help me.” But the Lord answered and said to her, “Martha, Martha, you are worried and bothered about so many things; but only one thing is necessary, for Mary has chosen the good part, which shall not be taken away from her.”” (Matt. 10:38-42)

Branon Dempsey is the CEO, Founder and Training Director of Worship Team Training® (www. worshipteamtraining.com) a ministry providing workshops and online resources serving 40+ churches per year. Branon holds a MDiv. Worship Art Studies and BM in Composition and Performance Worship Team Training® is sponsored by Creator Leadership Network, Christian Musician / Worship Musician Magazine / Christian Musician Summit, Rain On Me Productions / Save The City Records, and Sibelius USA. Branon is a Training Partner with Yamaha Corporation of America | Worship Resources and is supported by Line 6, D’Addario, Proclaim Church Presentation Software, iSing Worship and endorsed by Promark Drumsticks and Jim Hewett Guitars. Branon is also a CCLI and BMI Publishing Artist. His original music and teaching ministries are found on: www.branondempsey.com and www.worshipteamtraining.com Copyright 2012 Branon Dempsey | Worship Team Training® | Administered by For His Music. All Rights Reserved. Printed in the United States of America. www.worshipteamtraining.com

NOV/DEC 2012 WORSHIPMUSICIANMAGAZINE.COM

PERCUSSION Another Kind of Grace By Mark Shelton

Tambourine Tips: Random and Useful The tambourine, like the triangle, is one of those percussion instruments that can really cut through the mix. I like the way that the tambourine gives a lift and sparkle to the music. The crisp shimmering sound is at home in modern worship music, traditional hymn arrangements, and choir anthem orchestrations. Tambourines come in three basic flavors: the headed tambourine, the headless “shake” tambourine (a.k.a. the rock tambourine), and the mounted tambourine. While playing the “tambour de Basque” in concert halls and churches (jingling my way through tunes by both Tchaikovsky and Tomlin), I have collected some ideas and techniques that might give your tambourine performance some new life. How’s My Tone? Should I use a plastic shell with nickel jingles or brass? How about a wooden shell with German silver jingles? Sometimes I bring three or four tambourines to a rehearsal so that I can fit the tone of the instrument to the texture of the music. Different shell materials influence the sound as well as the makeup of the jingles. Brass jingles tend toward a darker sound and seem to give off more of the “Rock” sound, while nickel jingles are brighter and might be a good choice to give some sparkle and drive to a ballad. Steel jingles can cut through a dense texture. I have even set up a tambourine with a combination of jingles and washers to get a “dry” sound. During a rehearsal, play along with the music for a few measures with one tambourine and then switch to a different one. You will probably hear the sound of one of the instruments fit better into the overall texture of the surrounding music. Sometimes a timbre that blends into the music works best, while at other times a tone that cuts through the mix is more desirable. (Fig.1)

The grace note technique should be in your tambourine arsenal so that you can add flams and drags (similar to snare drum rudiments).

To play two grace notes moving into a main note (on either headless or shake tambourine), start with the tambourine tilted at 45 degrees to the floor. Move the lower side down using a slight wrist rotation followed by the higher side with Similarly, changing to a brighter an opposite wrist motion. Each motion sounding instrument on the last chorus can should produce sound from the jingles. Immediately after the two grace notes are give a boost to the ending. produced by the jingles, strike the head Just A Few Might Do with your free hand to sound the main In many pop styles, the tambourine plays note. I try to think of the three separate an active stream of eighth or sixteenth motions as one quick movement. notes, but keep in mind that less is often more. While simply playing the backbeat has worked in many a hit record (more in the next section), you can also play some single strikes on other parts of a measure for great effect. Try these one-bar rhythms Leave out the second hand movement on the tambourine while the drum set for a single grace note to a main note. player lays down a standard Rock beat. You will quickly hear how each of these patterns can change the overall groove. (Fig.1) One of my tricks is to switch tambourines as a song modulates. Moving from a darker to a brighter sounding instrument gives the impression that the tambourine is changing key along with the band.

Which backbeat…2 or 4? Doubling the snare drum backbeat with a single strike on the tambourine is quite common and can give some variety to the groove. I usually choose one backbeat or the other; seldom do I play both 2 and 4. Less tedium and greater variety occurs when the snare drum is heard alone on one of the beats and the doubled sound on the other. Sometimes my choice is arbitrary, but often I make a studied decision based on the lyrics of the song. Listen to the phrasing of the lyrics and you will often find less vocal activity around either beat 2 or beat 4. Playing on that back beat allows the tambourine’s tone color to do its job without competing with the vocals. Both lyric and tambourine get their space.

With the mounted tambourine, the grace notes can be easily performed with two alternating strikes from the hands or sticks. Grace notes give a broadening effect to the sound. If the song moves to a halftime feel, I will sometimes double the drummer’s snare part on tambourine with grace notes. It seems to heighten the halftime “aural illusion” as the tempo seems to shift and broaden. Great is often separated from good by attention to subtle details, whether it is the pipe organ, electric guitar, or the tambourine. Use the ideas and techniques from this article along with your own creativity to elevate your tambourine playing toward greatness in both tonal and rhythmic elements. Mark Shelton’s experience in contemporary worship percussion is highlighted in the Gateway Create DVD series, Worship Team Director distributed by Integrity Music. His playing can be heard on the 2010 CD release from Gateway Worship, God Be Praised and the 2011 recording, Great Great God. An active blogger, Mark writes regularly at Percussion For Worship (www. percussionforworship.blogspot.com). ©2012 Mark Shelton Productions. Excerpts from Percussion For Worship (unpublished) by Mark Shelton

NOV/DEC 2012 WORSHIPMUSICIANMAGAZINE.COM

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Editor’s Corner - Continued from page 7

PRODUCT REVIEW

really good musicians coming to play and teach and I wanted to get the most out if it.

By Mitch Bohannon

iPad App: I love technology. Don’t all of us who enjoy Worship Musician Magazine? Loving it and having it is only separated by the thin line of affording it! Last Christmas, my family took the technological leap of buying an iPad. I’m certain that many of you have one and have been having fun finding new ways to use it beyond FaceBook and Temple Run. Some of you will remember my beautiful daughter, Sara, who has come with me and my wife to CMS a few times to help demonstrate in my Cut Capo class as I taught about how to teach kids. Sara is now doing great, playing acoustic guitar in our student “LifeLine” band! Immediately upon buying the iPad, Sara wanted to find a way to use it to hold her sheet music. I tried a variety of options and really just got nowhere.

reading charts on an iPad is sooooo easy! For text based charts, the low-light function can be used which gives you light blue text and a black background. This keeps the screen from glowing on a dark stage. I showed the app to my Sunday morning team and the two of them who had iPads purchased the app. My bass player, Garon Dugas, has always been very organized. He was always sporting the 3-ring binder with 100+ plastic sleeves full of charts….all alphabetized! Garon would pull the setlist, place those songs at the front of the binder and then after service, he would put everything back in order. Garon downloaded OnSong on a Wednesday night right as rehearsal began. I had given him a login to Song Select and connected him to my Dropbox. By Sunday, he had imported his entire binder-worth of music and has been using OnSong exclusively. So easy, a bass player can do it (love you Garon)! I asked Garon to share with ya’ll his impression… “OnSong has made the hassle of carrying around a songbook disappear. I can pull a set list or a song for worship in a matter of seconds. No more rushing to find a song… it is now a fingertip away.” Jonathan, my keyboard player, has a similar story. His daughter, Laura, is the leader for the LifeLine band and has begun to use OnSong as well. Her response is just as the others… “it’s so easy to use!”

A month ago I stumbled upon an iPad app that is absolutely amazing! The app is called “OnSong.” Imagine having complete access to ALL of your charts, the ability to organize them for your Sunday worship, and never showing up to rehearsal without the charts you need… Top that off with being able to house them all within the iPad for only $7.99! That’s right, $7.99! But wait, for the next 500 people to finish reading this article, OnSong will throw in the ability to play audio from within your iTunes library for practice or a backing track, add sticky note reminders to your charts, and even output lyrics to a projector, and MORE! Actually, they OnSong has undergone several updates have no idea who the next 500 readers are, so already and will only get better. It’s the creation they’ll just include it for everyone! How’s that? of Jason Kichline, who developed it to simplify So, how do you access charts? Good chart organization for his worship team. Here question! OnSong has plenty of answers. For are a few more features that I didn’t even discuss the sources I use, OnSong imports directly from yet… OnSong has an onboard metronome, it’s Song Select and also syncs with Dropbox. For controllable by an optional footpedal, can be the charts that I’ve written or ones that are not set up for hands-free scrolling (for multiple page within Song Select, I create them as a PDF and songs), onboard chord fingering library (guitar, place them in my Dropbox. They are then 4 or 5 string bass, and ukulele). The winner of immediately available within OnSong. Users the “what will they think of next” category goes can also import from Rockin’ With The Cross to…OnSong. and other publicly available chord charts. For chord charts that are text based, OnSong even has a transpose feature! Seriously, OnSong is extremely well planned and customizable. Assignable hot-corners and “live bar” menus allow you to make OnSong function the way you want it to. It can even be controlled by a wireless foot-pedal. I set up the song set for Sara and she was able to touch the top-right corner to go to the next song and touch the bottom-center to scroll down to a second page. And, on a dark platform,

www.p33music.com www.bos-capos.com Mitch is one of the pioneers in the development of the cut-capo, an alternate tuning device used by many worship leaders today, including Chris Tomlin and Rick Cua. He is a worship pastor in Sulphur, LA, a regular contributor to Worship Musician and Christian Musician Magazine, and has been part of CMS since 2004. Mitch and his wife, Noelle, have been married for 20 years and have 3 awesome kids!

NOV/DEC 2012 WORSHIPMUSICIANMAGAZINE.COM

Once the conference started it was quite evident that this particular one was going to set a record for the most musical moments of any of the 20 conferences I have had the honor to produce. Oh my gosh, from the top Nashville studio session players to a long list of Christian artists (most of whom live in and around Nashville) to the country songwriters to the guest appearances… it was a stunningly good time of giving the presenters the freedom to be who they are as believers and as artists and musicians. Wow – the music was phenomenal! Grace Chapel was the church that was hosting us, and their sanctuary was one of the most beautiful ones I’ve seen. It seats 900 and on Saturday morning their own worship team led us. They were the best sounding team I have ever heard. First of all, the sound system was really dialed in and the band mixed well, but the band themselves was really tight and was laden with great singers and players. Then, add in folks like Phil Keaggy, Ashley Cleveland, legendary slide guitarists Al Perkins, Russ Taff, Clay Cross, Cindy Morgan, Stu G, Jason Ingram, Paul Maybury, Steve Taylor, Lean Albrecht, Paul Moak, Zoro, Ben Glove, Ian Eskilen, Tom Jackson, Mia Fieldes, Ron Block, Blues Counsel, Dave Cleveland, Jerry McPherson, Tom Hemby, Brenton Brown and Band, Adam Nitti, NewWorldSon… and the list goes on. Several of our magazine’s writers were on hand, Tom Lane, Mitch Bohannon, Sheri Gould, Gary Lunn, Rick Cua and Keith & Sue Mohr. Then you add in four top country songwriters and you have quite a stable of players and teachers. In fact, we filmed 15 workshops and have a ton of footage of that great music I was telling you about. We are going to offer the workshop teachings and a lot of the bonus “live” music in a “Streaming Video” package that you can purchase and have full access to for a whole year (check out the website www.ChristianMusicianSummit. com for more info). I was really excited to be able to walk away from this conference with so much good content for our Streaming opportunities. We had many musical genres represented in those “musical moments” – from country to classic rock, to pop and blues and even a killer R&B Jazz Fusion set mixed in… and of course some great modern worship. Diversity and unity all rolled up in one conference… I thank the Lord that something special was born in Nashville. I look to the future with great expectation for the things to come from everyone’s efforts there. Lord Bless You All! Bruce & Judy

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AUDIO TRACK Scott Ragsdale, Lee Fields, Jacob Cody, Mark Rush, Mike Overlin, Peter Robinson

Signal flow, Digital Mixing 101, Speakers 101, Microphones, Soundcheck 101, Recording, Parallel Course Mixing, Wireless Systems, Critical Listening, The Art and Science of Mixing MUSICIAN TRACK Ed Kerr, Tom Lane , Carl Albrecht , Aaron Williamson, Michael Hodge

In-depth training on their individual instruments coupled with an understanding of the latest technology available to expand their music and ministry potential. LIGHTING TRACK:

Set-Up, Intelligent Lighting, Introduction to DMX, Automated Lighting Maintenance, Design Theory, Lighting for Worship, LED & Energy Efficient Technologies, Workshop with Live Stage. MEDIA TRACK Bob Felton, Camron Ware, Mike Overlin

Basics of Projection Media, Finding and Creating Media101, 101 & Advanced Features of ProPresenter 4, Video Recording and Live Video 101, Video Editing, Photography for Worship, Coloring Outside the Lines, The Intersection of Media and Lighting VOCAL TRACK

Sheri Gould, Mark Rush and Mike Overlin

Learn basic vocal technique, increase your range, improve your tone, and recording basics. All this and more are covered in these interactive classes that are fun yet very informative. Please note - Instructors are subject to change without notice

WORSHIP ARTS TECHNOLOGY SUMMIT