Worship Musician! Magazine - Nov/Dec 2014 by Worship Musician & Christian Musician Magazine

CHRIS TOMLIN

On ‘Love Ran Red’ and Songwriting for the Church

Product Review

Santa Cruz OM Grande

Product Review Kevin Michael Carbon Fiber Guitar

Record Reviews Lauren Daigle l Chris Tomlin l Aaron Shust l Citizens & Saints l Dustin Smith l

NOV/DEC 2014 Volume 12, Issue 6 11

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US $5.95 Can $6.95

When the Well Runs Dry by James Eric Myers

Product Review

Agape Tribute 18 Watt Amp

”Greater” Songchart

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THE

DIGITAL AGE

In January of 2012, the David Crowder Band ended their 12-year run as one of the Christian music industry’s most successful groups. Former DCB guitarists Mark Waldrop and Jack Parker, drummer B-Wack, and bassist Mike D went on to start a new musical venture called The Digital Age. Their debut album, Evening : Morning, was released to rave reviews in 2013. Recently, Sweetwater’s Jeff Barnett caught up with Mark Waldrop. Can you give us a little history and recap what has happened since the last David Crowder Band show? For those who don’t know what the David Crowder Band was, we started as a little worship team from University Baptist Church (UBC) in Waco, TX, a church that David Crowder founded with Chris Seay in the mid-’90s. We toured for about 12 years. Then in 2010, David transitioned from Waco to Atlanta, and the rest of us really wanted to stay in Waco and stay involved with UBC. So The Digital Age is essentially that. We’re still involved with UBC, and we’re still writing the same genre of music: upbeat, programming-heavy “fun worship,” as we call it. The Digital Age has been a band for a little over two years, which is crazy to say because it still seems so new. We released a live EP called Rehearsals in 2012. We were just rehearsing for church, tracked it, and released it as an EP. And in 2013, we put out a record called Evening : Morning and followed that with a fall tour. Evening : Morning doesn’t sound like just another DCB album, though. Can you describe the sound of The Digital Age? When you’re in a band and have an established sound and way of doing things, then you start a new band, you get to pick and choose what you liked about what you’ve been doing. But you also have a really natural moment to question what you want to do differently. With The Digital Age, we’re still writing songs for the same congregation. UBC is about 70% college students, so we tend to sound like what college kids are listening to. We keep a close pulse on that.

The Digital Age’s latest album, Evening : Morning, is available now. To find out more, go to thedigitalagemusic.com!

David led from an acoustic guitar, and he would be a hard person to replace. One of the very first things we all agreed on was that we shouldn’t attempt to replace him. I usually play an electric, so now I’m leading on electric, and that fundamentally changes the sound of things.

You mentioned your studio in Waco. What made you decide to open a studio? When David moved to Atlanta, we effectively lost our recording and rehearsal space. We found this place in downtown Waco that was an old dirty boxing gym, and we built a studio in it. We spent three months renovating it. The boxing ring was where our control room is now. It was designed by B-Wack, and it’s been really great for us.

We’re very programming-heavy, and we use a lot of synths onstage. We’re multitasking a lot more, too. As for what we sound like, that changes from one song to the next. All of us listen to different genres of music, so, “What do we want this to sound like?” is a conversation we have with every song. We don’t like to be the same on every song and on every album, so the sound of The Digital Age from album 1 to album 2 could be completely different.

We practice and rehearse there, and we also have bands come in and we record them. It’s an extension of our ministry. It’s been great for us to be able to help new worship bands.

Walk me through your creative process in the studio. We all have our own mini Pro Tools studios at home, and we track these ideas as they come. Sometimes they’re full songs, sometimes just pieces. When we each have a handful of ideas, we all get together in our studio. All of these ideas start coming together, and we start to figure out how we are playing things as a band. We’ll either sit around the computer and start programming it out or head into the tracking room and start recording live parts. We all write, but we realize not all of us have the same strengths. I think one of our collective strengths is that we keep a really loose attachment to our ideas, and we see that they are all just pieces to a larger puzzle.

You still lead worship at UBC? We’re still very involved at UBC. When we were in the construction phase on our studio, we took a break from leading and just went to church without leading worship for the first time in a decade. Those three months were amazing; it was something we took for granted, and we didn’t realize how important it was. Now, we’re one of several worship bands at UBC. Our goal is to play there around once a month, depending on our tour schedule. What gear do you use in your studio? We are running Pro Tools HDX in our main control room. We use a lot of API preamps and the PreSonus ADL600. We use an LA2A compressor and a lot of gear that B-Wack made himself. Our main vocal mic is the Blue Bottle — so much character and so easy to change sound. For guitars, we use a mix of Shure SM57, Sennheiser e906, and Royer R121 mics. For bass, we use the Shure SM7B microphone. On drums, we mostly use the same Sennheiser Evolution series dynamic mics that we use live. We use a Yamaha SubKick on kick drum, and a Sennheiser MD421 on snare. We’re really into soft synths. We use Native Instruments Komplete. We also use Native Instruments Maschine heavily for programming. We lean a lot on Spectrasonics’ Omnisphere for pads. We use Reason a lot for piano sounds and sequencing. We also have a lot of vintage synths. How do you translate an album like Evening : Morning to something that works live? A lot of it is decisions made in production. We use a lot of loops live, but one of our rules is that we never put anything in the loops that can be played live — no vocals or guitar parts. That makes it more challenging in a live setting. So when we record, we have to be very intentional with things like guitar parts and not put anything on the record that we can’t re-create live. What software do you use onstage? Ableton Live. On Mike D’s keyboard rig, he runs Live and Reason. He has a slew of Korg Nanokeys in addition to an M-Audio MIDI controller, and some of the keys are assigned to things such as mutes and changing different values instead of triggering notes. We also run some vocals through Live for effects. What kinds of technical challenges do you see worship leaders facing today? For us, the coolest thing you can do is create your own loops. I think when a lot of people see something that is loop heavy, they think that it doesn’t fit into the way they do music. Or they think they can’t do the songs because they don’t have the technical know-how to pull it off. It’s possible to do it. You can get a copy of Ableton Live and a MIDI controller for next to nothing and make incredible sounds with it. It’s been really cool for us to travel around and see these churches start to learn and incorporate the technical stuff into the church services. We love it when churches take one of our songs, create their own loops for it, and make it their own.

blisskatherine.com

You guys have had a very long relationship with Sweetwater. Why is that? Relationship says it all. We love that if we have questions about gear, we can call and ask. We love that if there is something that piques your interest, we’ll get a phone call to tell us about it. The prices are always competitive, and as far as customer service goes, it’s always great. If anything is ever wrong, it’s always taken care of quickly. We travel a lot. If something isn’t working, getting a replacement quickly and easily is really important. It’s great to be able to get things fixed or questions answered without hassle. We really love the personalized nature of what Sweetwater does. You’re always great about asking what we need the gear to do. Even with a band like us, it’s so good to have somebody showing us how the gear we use can help us be better at doing what we do.

Photos by: Bliss Katherine

You can find out more about The Digital Age at thedigitalagemusic.com.

Freelance live sound engineer

Daniel Ellis

FOH engineer for The Digital Age How long have you been working with The Digital Age? The first tour I did with them was as the David Crowder Band, during the Remedy Club tour in 2007. I was with DCB for five years. Then, when they started The Digital Age, I mixed their very first show and I did their first tour, as well. What gear do you use with them onstage? We use mostly Sennheiser mics, on just about everything. Mostly the Evolution series. One thing I don’t think I’ve seen anybody else do is that we use a Sennheiser MD441 on B-Wack’s snare. It works great and gives us a fatter sound than other mics I’ve tried. On vocals, Mark and Jack both use a TC-Helicon VoiceLive Touch to add reverb and delay to their voices before they ever get to me. That’s cool; it makes my job easier. At front of house, I run a Behringer X32. We use the S16 digital snake system, as well. That console is amazing. It’s so small and light — I can set it up by myself if I need to. When we started the tour, I was thinking, “There has got to be a reason this thing is so inexpensive, and I’m going to find out why.” I still don’t know why. It’s a great console. I love it. The guys use Sennheiser 300 series in-ear monitors, and they mix them themselves using Behringer’s X32-Q app for iPhone. That’s been amazing. It’s so much easier to not have to worry about doing FOH and monitors at the same time, and we don’t have to have a monitor engineer. Are there any unique challenges working with The Digital Age? Since they run all those effects on the stage, what I get is a wet vocal. When we started out, sometimes it was way too wet, and we didn’t really have enough clarity in the FOH mix in the vocals. So we had to work on getting those reverb levels down and make sure that they trusted me to add more reverb at the console if it was needed. You and The Digital Age have been very loyal Sweetwater customers for years. Why is that? Because of the relationship. Because of you! Seriously, it’s because of you. We don’t just call a 1-800 number and get some random guy; we get the same guy. And the candy. You send candy with everything we buy. I never share it.

From left to right: BWack, Mike D, Mark Waldrop, and Jack Parker

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Editor’s Corner

Are You With Me?

NOV/DEC 2014 vol. 12, issue 6

First of all, a huge disclaimer… are you ready? I am not an avid reader of books. I know, that is the opposite of what you would think (and the opposite of what just about every Christian songwriter would advise you). Between reading 8 the articles and columns from publishing three magazines now, my own personal reading of the Word (which wouldn’t impress bible scholars either) and a slew of emails that come 10 across my desk… I am not an avid reader of books.

Features Product Review By Bruce Adolph Santa Cruz OM Grand From the Drummer’s Perspective By Carl Albrecht Anatomy of a Live Recording for Drummers

So, when I do pick one up it is significant. The one I am reading now has been illuminating to me and I am totally invested in it. Deep & Wide – Creating Churches Unchurched People Love to Attend by Andy Stanley (Zondervan Publishing). I am about half way through reading it and not 12 Keyboard only has it made a lot of sense to me in my understanding By Ed Kerr of congregational church itself, but I have been able to take Lessons, Leaps and Lines some of those concepts from the book and apply them into my vocation of publishing magazines and producing training 15 Bass conferences. By Gary Lunn

Directional Bass To give you a taste of what I am talking about, here are three of Andy’s points (he goes into them deeper in the book of course) that I am transferring into my work life. He asks these 16 Vocals By Sheri Gould three questions of local churches.

The “New” Choir - Part II

1). Is the setting appealing? Andy talks about your church décor, first impressions and an overall feeling you give 18 Equipping the Church that would make people think you were expecting them to be By Chuck Page there on a Sunday morning - in a welcoming manner. When The Next Presentation it comes to the magazines we publish, this matters to us as Computer For My Church well, in design and also how we strive to let you know that our readers (and also those of you who attend our Christian 26 Songchart Musician Summit conferences) are a welcomed part of our “Greater” community. By Chris Tomlin, Ben Fielding, Ed Cash, Matt Redman 2). Is the presentation engaging? He states that the reason most people aren’t engaged in the local churches is that we aren’t that engaging in how present ourselves. Ouch! 30 Record Reviews By Gerod Bass I am more encouraged than ever to work with our writers to • Lauren Daigle keep presenting authentic and engaging columns for you – • Chris Tomlin our readers. I will personally try to up my game in this area.

42 The Band By Tom Lane Difficult People 44 Camera By Craig Kelly Thank You 45 Ministry + Artistry = Profitability? Creating your MAP™ By Scott A. Shuford Do You Know Your “Customer Persona”? 48 Product Review By Mitch Bohannon Kevin Michael Carbon Fiber Guitar 49 Product Review By Michael Hodge Agape Tribute 18 Watt 1X12 Combo Amp 50 Worship Team Training By Branon Dempsey The Me, Us and Them Mindset 52 A Few Moments With... Brad Blythe The Power of Touch

• Aaron Shust

3). Is the content helpful? Andy states that we assume • Citizens & Saints the content is true, but is it helpful? Is it useful? This is where • Dustin Smith I want to shine, I want you (our readers) to say to yourselves after reading the magazines, “OK, I can use this, this will 34 FOH Engineer Continued on page 24

By Bill Gibson Compressors & Limiters

36 Percussion By Mark Shelton Snare Drum 411: The Quick Guide 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@christianmusician.com Design Layout & Production: Matt Kees Director of Advertising: Steve Sattler steve@creativesalesresource.com 626-836-3106 Worship Musician! is published bi-monthly by The Adolph Agency, Inc.

38 Cut-Capo By Mitch Bohannon Ministry 40 Guitar Grab Bag By Jeffrey B. Scott Guitar Solos - Where’s Your Heart?

Interview 20 Chris Tomlin: On ‘Love Ran Red’ and Songwriting for the Church by Aimee Herd

Featured Story 46 When the Well Runs Dry by James Eric Myers

Chris Tomlin photos by Lee Steffen

WORSHIPMUSICIANMAGAZINE.COM NOV/DEC 2014

Product Review

By Bruce Adolph

Santa Cruz Guitar Company’s OM Grand

larger than normal (thus the OM Grand moniker) which places it somewhere between that big dreadnought body shape with all of it’s bigger bass and full tone but still not too far removed from merits of a standard OM body style. SCGC calls it the “bigger, lusher, louder sister” to the OM. This middle ground proves to work quite well here. Now you start adding in the quality tone woods (all responsibly selected, voiced and tuned) and attention to detail that SCGC pours into each guitar (they take three months to build each one) and you can start to see why I made the opening remarks I did about this guitar. The OM Grand comes with solid Indian rosewood back and sides and a solid Adirondack top. Where you get into the art of guitar building details is when they use Adirondack spruce for the internal bracing that is attached with hot hide glue. They use hot hide glue because it is traditional to these vintage models and is the hardest drying adhesive available. It dries like glass, pulling the bracing and the top of the guitar together so there is no break in resonance as the vibrations travel throughout the guitar.

peghead and body binding. Plus a 1934D style tail wedge and rosette. To complete the drop dead gorgeous appointments this guitar has a Brazilian rosewood peghead overlay, a tinted top, the SCGC logo on the fingerboard and to top it off a Dalmatian pickguard. This particular guitar is a fine example of how SCGC can customize a guitar build for you to get exactly what you are looking for tonally and cosmetically. It is a pretty cool thing to be so involved with your guitar being made for your own tastes. And if you want all Brazilian back and sides, you can add that to the mix as well (there is an up charge of course for Brazilian though). What a good-looking instrument! How does it sound? This guitar is rich in tonal textures, vibrant in harmonic overtones and resonant as can be. Whether you play with your fingers or a flat pick this guitar rings true. Beautiful dynamics and action that is solid as they come. Really a remarkable instrument… thus my high praises. If you like the sound of a vintage dreadnought but the body size is not ergonomically comfortable for you or your playing style, this OM Grand may just fit the bill. It is not has wide as the full body dreadnought nor not as deep of a body either. The founder of SCGC is Richard Hoover, a soft-spoken humble man and a complete joy to be around. The more I speak with him at conventions or guitar shows, the more I like the man. You can see how his personality translates into his finely built guitars.

In this same traditionally minded model it comes with advanced (or forward) X bracing for the purpose of making the best vibrant tone you can get from this body style. The 1930’s dreadnoughts shared this same bracing for structural The OM Grand with the mentioned reasons as well. All of this adds to a true OK, I only say this one every “blue appointments retails for $7,800.00 and vintage tone from this instrument. moon” so pay attention. It is rare to play comes with a high caliber guitar case. SCGC continues with a 1934D (the “D” a brand new guitar that makes me think www.santacruzguitarcompany.com about replacing my favorite acoustic that is for dreadnought) style fingerboard, I own now (an OM-42 Paul Simon model Martin #60 of just 220 made) or that makes me think that the current guitar I am reviewing may just equal the best acoustic guitar I have ever owned in my life (and the one that got away from me :) a handbuilt James Goodall with all of it’s uniquely rich overtones. That is a significant claim even for me to hear myself make. Nonetheless it is true. Now let me tell you how the Santa Cruz Guitar Company (SCGC) accomplished this. First of all they have taken a regular OM size guitar body (just like my Paul Simon guitar) which is appreciated most by fingerstyle guitar players for it’s clarity and made it a bit

NOV/DEC 2014 WORSHIPMUSICIANMAGAZINE.COM

photos by Drew Adolph

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the stage.

From the Drummer’s Perspective

By Carl Albrecht

Anatomy of a Live Recording for Drummers 1. THE CALL It always starts with that hurried phone call. “Hey Carl, are you available to play drums for this live project I’m working on next month?” Sometimes they call a little earlier. It might be in two or three months, but it’s usually not much farther away than that. Live recordings seem to come together rather quickly. The schedule is open, or it’s not… and then the artist or producer calls some other drummer or we talk about optional dates. There have been times I get the call because another player was not available and I was the next one on the list. I’m not offended by that kind of situation. It happens. Either way it’s an honor to always get the call to work on a recording. Live projects can be the most challenging and rewarding at the same time. Let’s look as a few things that happen in the process. 2. THE VISION On very rare occasions there is little or no discussion about songs, style, and the vision of the project. You just show up and everyone is expected to bring his or her best effort. But more often, the artist wants you to really know what they’re thinking about their music. They might ask you to listen to certain styles of music or even reference a particular project from another artist that really inspires them. This could be the foundation for the whole recording or there could be several references according the songs they are writing. I often receive a listening list to check out what the artist or producer have been inspired by and feel that it’s the direction for this particular project. Some artists can be very decisive about the style, feel, or sound of the drums for the recording. Others just trust your judgment and experience and want to see what happens when everyone comes together. 3. THE REFERENCE LIST OF SONGS If an artist is just focused on the songs they write and not really thinking of referencing other music I will usually ask more questions to see if something

NOV/DEC 2014 WORSHIPMUSICIANMAGAZINE.COM

stirs their interest. I will ask about what inspires them musically or what’s the latest music they’ve been listening to. In the end I have found that there is always a source to a musician’s creativity. Everyone has musical inspiration of some kind. It could be a certain artist or current hit project. It might even be something old and nostalgic. I just like to get an idea of what that is before I get in the middle of a recording. This becomes the list I start practicing to and work on to find drum loop ideas.

ideas. This could also happen after the recording and become something we add in later. No matter what kind of project I’m working on there’s always some level of this technical preparation on my list. 6. THE ENGINEER AND PRODUCTION TEAM

The head engineer or their assistant will usually call me about the drums and tech gear I’ll be using on a project. This happens for studio recordings as well as the live projects I get called for. It’s very 4. THE DRUMS TO USE important to know how many channels So after the preliminary talks I start are needed to record all the drums doing my homework. As I’m listening to and electronic gear for any project. references and demos I’ll think through Sometimes they ask if I have my own my drum kit of choice for the recording. microphones. I actually do have enough If there is percussion needed I’ll add good mikes to cover the job if necessary. that to my list too. I might need to buy Here’s a recent input list from a live something if that’s what it takes to be project: ready. After all the years of playing I have a pretty good collection of drums, 1.) Kick 2.) Snare#1 TOP 3.) Snare#1 cymbals, and percussion gear. But BOTTOM 4.) Snare#2 [yea, I almost occasionally I have to get something to always use a second snare] 5.) Hi-hat be ready for the project. Fortunately, at 6.) Tom1 7.) Tom2 8.) Floor Tom 9.) this point in my career I don’t have to go Overhead Left 10.) Overhead Right shopping too often, but I’m always open 11.) Click 12.) Loop LEFT 13.) Loop to the idea. As I’m listening to the tunes RIGHT. I usually get a pretty good idea of what Yes, we can have that many tracks my set up needs to sound like. for drums and quite often it’s more than that. We might even add an extra 5. THE CLICKS AND LOOPS kick channel for a Yamaha Subkick or A huge element in modern recording second microphone of some kind and for drums is being able to create click we also might add more room mikes. tracks and drum loops for the music. This Bottom line… allow the engineer to do can be as big a deal as having the right what they have in mind for the kit. They drums. As I listen to the music I’ll make will usually know what they’re looking tempo marks and set up a project file in for and how the kit sounds in the room Ableton Live. Although I use Cubase 7 and what they will do when they get to for my recording software I like Ableton the mix down. Live for doing song playlists and then 7. PRACTICING NEW MATERIAL dropping in drum loops, samples, or guide tracks into the song files. ALONE Sometimes the producer has done all of I always listen through the demos and this work and I don’t even have to deal reference material and play along to see with it. But I still keep building my library how it feels to me. There are times they of samples and loops for when the need have a drum machine programmed on a arises. demo and I like to know how to play that I might get together with the producer part. An artist can often have “demo for some preproduction work. We might love” and want the drums to copy the work on programming new loops or vibe they created on the reference. even recording drum and percussion That’s cool with me. I start with that as grooves to use to build new loop Continued on page 24

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SOUND LEGACY

Keyboard

By Ed Kerr

Lessons, Leaps and Lines There’s been an exciting addition to my resume since my last article here. I’ve begun work as Director Of Worship Studies at The King’s University/Gateway Church in Dallas, Texas. In great contrast to my work teaching keyboard classes in worship conferences around the country where I teach one or two sessions, my work at The King’s University gives me a chance to spend a full semester delving into musical concepts with student keyboard players. In a recent lesson I was working with a student who’s playing “Revelation Song” by Jennie Riddle. A concept from that lesson will be my focus here. “Revelation Song” and many other popular worship songs can feature a right hand pulsing quarter note pattern played with an acoustic piano sound. Something like this:

You’ve heard piano parts similar to this on well-known recordings of the song and probably played them yourself. The quarter note pulses work very well in establishing the mood of the song. Consider creating an intro for this song that involves leaps in the right hand. Strictly speaking a leap is a move from one note to another that skips a note in the scale. There are a couple of leaps in my example above, from G to E at the beginning of bar 2 and from E to G and G to C in bar 3. But I want to show you how effective larger leaps can be and encourage you to experiment with using leaps in your own keyboard parts. Something like this:

Note that in measure 3, when the C chord is indicated, I’ve used a D on beat 1. That represents the 2 of a D2 chord. Remember that this colorful note is often used in modern worship, and that your chord chart won’t always indicate that the 2 chord is an option. And notice how wide the leaps are in this 4 bar example. Quite a contrast to the generally static right hand activity in my first example. Next, check out what you might do with your left hand below this leaping melody.

Call up a string sound on your keyboard and play the right hand of the example above. Sounds nice, doesn’t it? Keep this principle in mind when you’re creating string parts during a worship song: Leaps are very effective for strings. Speaking of strings, what if you used a string sound, played the new melody shown here in your right and created a part that might be played by cello with your left hand? In this next example, look how many leaps there are in the left hand.

This is now a very significant departure from the familiar acoustic piano part in example 1. The lesson here is so important for us as keyboard players. Since our modern keyboards are capable of making a huge variety of sounds, why not learn to create parts that take advantage of this variety? Drummer Carl Albrecht, whose articles you can read in this magazine, says that a great musician has big ears. Always listening. Always alert to musical possibilities. As I look at the example above where the left hand plays cello-like lines, I’m thinking that this line could be a nice intro all by itself. Just the left hand played with a string sound or by a cellist. You might then repeat the 4 bars and add the right hand, again with a string sound. Or you could play the left hand/cello line through once and repeat it as an acoustic guitarist finger picks the progression. What do your big ears suggest to you musically? As I’m teaching my students here at The King’s University, the chord progression of your song is the foundation over which you can build music of incredible variety. And as I said in my article for the last issue, you have permission to be creative. Permission to explore the possibilities hidden within each worship song you present. Permission to spend some time with your worship team creating your own arrangement of songs like “Revelation Song”. Experiment with leaps. Experiment with creating beautiful, expressive lines in your melody. Ed Kerr is Director Of Worship Studies at The King’s University/Gateway Church in Dallas, TX. He has a Master’s Degree in piano performance, has written many songs published by Integrity Music and teaches as a clinician with Yamaha and Paul Baloche. He plays Yamaha’s motif xf8. Visit Ed online - www.kerrtunes.com

NOV/DEC 2014 WORSHIPMUSICIANMAGAZINE.COM

Bass

By Gary Lunn

Directional Bass Acoustically speaking, bass is omni directional. However, there are several different “directional” perspectives that we possess as bass players in a worship team. Being a bass player is not as simple as some people might think (“Its only one note at a time; how hard can it be?” Blah, blah, blah…). The bass position in the band is the most aware of everything else that is going on. By discussing several of these important perspectives I sincerely hope that people who need to learn the often underestimated significance of this “lowly” calling will have a deeper, more personal understanding of it and receive encouragement. The Root The fundamental importance of the root is that it’s the actual “beginning” of every chord. It is the single most deciding factor that indicates the harmonization of the chord. Being the lowest note heard, it is always the first one listened for by everyone who is trying to determine the harmonization of a chord. It also is the most important tuning reference for every instrument or voice in a band or ensemble. It can effect the feel of the music and change everything about a song in a single moment. It can make everything right or wrong. Anyone who thinks that one note at a time is insignificant is misled at the very least. The Foundation There is a certain solidity that is present when the bass is where it is supposed to be. It adds comfort to the music, the song and to the moment. It is sorely missed when it is absent. When the bass is not present, the music has no pedestal for the spelling of chords to rest upon. It also can supply a “thunder” feeling in the music when needed. It’s staying power and consistency can carry the entire band. The bass is meant to be played with fortitude, and to supply a proper foundation it requires skill and courage. Essentially, the bass sets the stage for the entire band.

Locking in with the drummer is of utmost importance, though not stressed enough. The bass and drum relationship is vital to the groove. You can still find your own “voice” in that process, but always remember that it is not about you - it’s about everyone else that you share the platform with and what you can offer to ensure synchronicity and flow. The Energy The bass can effectively change the energy in any part of a song. Dynamically, it can soften the tone of a song when played in a higher octave, and build a song when moved to a middle or lower octave. It can soar over other movement by simply sustaining, creating an openness in the music even though it’s still there. It can also part the waters by pausing, then, upon re entry, can restore complete harmony. By multiplying or changing rhythmic values, it can propel a song to new levels. By playing in syncopated fashion, it can either create interesting changes in the music or, through insensitivity, it can cause complete chaos. By seizing an appropriate moment and playing a melody in a higher register it can speak with a prophetic voice to souls that are meant to hear it and will receive direction and inspiration from it. It can also cause utter confusion if the player ignores the other musicians playing along. The bass has great and powerful responsibility, being the anchor and support of the team. The Cause

a path. This way, everyone in the band is made more aware of where they are in the chord progression of the song. In other words, you’re leading without everyone being completely aware of it. The Outcome The key is to constantly survey the music around the platform and groove with it. Listen closely to the drummer and play right with him (or slightly behind him). It might mean that you will have to play a little ahead of the beat sometimes, but when you’re following the drummer it’s always going to feel better. Doing this takes massive amounts of practice, skill and discipline, but the outcome is totally worth it. The Overall Effect The role of the bass player can be summed up in three steps. First, the bassist should try to make everyone else on the team sound better. If the other musicians are less seasoned, then he should lead them to greater heights by holding down the bottom, occasionally filling in the gaps. If the other players are very accomplished, then he should offer them adequate support. Either way, if you make the other musicians sound good, you will sound good too. Second, produce bass sounds that contribute to the overall sound of the team while adequately supporting the song. This is why the writer wrote it originally - to have a positive effect on the listeners. The bass tone can drastically affect that purpose.

Lastly, don’t expect too much attention The bassist can make or break connection between rhythm and melody. or credit. Not everyone understands Bass is crucial to the music, completely the significance of the bassist, but God related to everything else going on. certainly does! It can set the tone of the music with a hundred notes or just one. A primary goal is to keep precise time, locking in with the drummer. This is a critical part of a bassist’s role, along with outlining the tonality of the music and marking out the significant notes of each chord (or even an approaching chord) in the bass line - a lot like signposts along

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

WORSHIPMUSICIANMAGAZINE.COM NOV/DEC 2014

Vocals

By Sheri Gould

The “New” Choir - Part ll Last time I reviewed some important aspects of being an effective choir director especially in light of some new and different ways that choirs often function in today’s worship settings. This month I’m going to outline some more practical things we can do to make our choirs more effective. Covenant Agreement and Commitment First of all, we can’t get anywhere without a solid level of commitment. Anyone who has ever tried to manage or direct a group of singers knows the TOTAL frustration of trying to deal with absences and lateness. When half of your group meanders in over a period of 15-20 minutes late it is disruptive and disrespectful to everyone involved. Rules regarding involvement should be outlined in a covenant agreement that should be signed yearly by everyone. From time to time these agreements may need to be updated but they are very helpful for making clear what is expected of everyone and what the consequences are for not living up to your commitment. We are often hesitant to require commitment of people in our music ministries because it’s all volunteer (most of the time anyway). However— that is erroneous. YOU are most likely a volunteer and YOU are committed! We can eliminate so many problems if we can simply establish a firm level of commitment from the beginning. I have often said in my workshops, “Give me three committed people and I can give you a kickin’ trio. Give me 15 people who are Uncommitted and all I can give you is chaos!” It is a privilege to serve in this capacity and it needs to be treated as such. Personal Growth A side note to commitment is personal growth. One of the reasons I recommend requiring auditions for all choir/worship team members every year, is to help challenge members toward growing in their craft and musicianship. (For more information on the importance and

“how to” of auditions email me and I’ll be happy to send you information on this important topic) Without an incentive it’s easy to become lax in this. Everyone benefits when each person takes responsibility for growing. Consider making this a part of your covenant agreement. Vocal Health Today’s singers are inundated with harmful vocal practices from many different sources. It’s more important than ever to make sure that your vocalists understand and use proper vocal technique—especially low larynx singing. It’s particularly easy for singers in a choir to default to high larynx singing and that takes its toll vocally very quickly, leaving your singers with sore throats and strained neck muscles. In addition, a thorough understanding of what makes for good vocal health is essential for all singers. Hydration is SO IMPORTANT so make sure that water is always available for your singers. Making water easily accessible during rehearsals will increase their ability to stay hydrated and help to get the most out of their voices. Also make sure that no one consumes any type of drop that contains menthol—menthol is very drying. If good vocal technique is applied and proper vocal health care is followed, your choir will have the essentials for thriving! (For a more complete discussion of vocal health care, don’t hesitate to contact me and I can send you some helpful information)

should certainly be applied to singing in a choir! Listening is the key to changing each of the above mentioned issues from problems into assets. So make sure you spend a lot of time focusing on the importance of listening and even employing some exercises and warm-ups that help your choir members learn how to listen better to each other. One way to help improve blend—and listening—is to have each section sing a selected part and have the other sections assess whether or not they were blended, in tune, singing with proper dynamics, etc Then, of course, give each section the opportunity to be on the hot seat! One great thing that happens as a result is that everyone becomes a vocal coach, to an extent, and it doesn’t always have to be YOU pointing out issues. You will find that your singers are better at this than you may have thought and that they respond well to each other (providing no one gets critical). Presentation

The final step for any choir is the actual presentation. With today’s modern church choirs we often have what is commonly referred to as a “Worship Choir” either instead of or in addition to the more traditional choir. This often makes the final presentation somewhat different in that the songs are not sung as a type of “special’ music to be focused on but rather as an extension of the worship team/congregation in worship. There is an important difference here in terms of preparation. Traditional choirs need to perfect their songs musically so that the Blend presentation is an accurate depiction Getting your choir to blend their voices of the written choral piece including, is essential to getting a unified and but not limited to: dynamics, harmony, powerful sound. Lots of different things rhythm and overall countenance. affect blend: vowel shapes, vibrato, Whereas the “Worship Choir” is volume levels, tone quality, resonance, typically less focused on perfecting the registers, timbre, etc. However, I would musical aspects and more focused on venture to say that nothing is more leading in worship through the medium important than the art of listening to of song. This is not to say that they are each other. This cannot be emphasized off the hook for preparing musically, it enough. The old adage “God gave us is simply to say that because they serve two ears and one mouth so we would a different function in the service they listen twice as much as we speak” have a different priority in presenting. Continued on page 24

NOV/DEC 2014 WORSHIPMUSICIANMAGAZINE.COM

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EQUIPPING THE CHURCH

by Chuck Page

The Next Presentation Computer For My Church Every week churches all across the country call and inquire about what type of computer they should be using to operate their presentation software. There are many factors to consider before making that purchase. Within this article we’ll look at the three of these factors. After all, once the service starts, having your computer fail is probably one of the most distracting things that can happen to your Pastor. Factor 1: What operating system platform are you planning to use? For most people that means either Windows or Mac. We realize that there are other operating systems out there such as Linux. But for the majority of people, staying with an operating system that is fully supported and has presentation software specially designed to run on it should be the priority for your church. There are some cloudbased presentation programs starting to be released but the majority of proven products available are designed to run locally in either the Windows or Mac environment. Keep in mind that this will no doubt change in the future. As internet services continue to improve, as well as fall in cost, cloud based programs will gain in popularity.

Factor 2: What are the requirements to choosing the correct computer?

Mac and PC products are equally good as long as you’re comparing the same If you’re planning to use the Windows system spec. There is much more to take operating system you have many into consideration than the processor choices of computers to choose from. speed, amount of memory, and hard Make sure you choose based on the drive size. For instance, what is the bus following requirements.. speed of the motherboard? What is the 1. The manufacturer has a solid memory speed? How about the speed reputation for quality. of the hard drive? How much memory 2. The manufacturer has a competent is on the video card? Is the video card support staff that is accessible and can integrated or is it an independent device? If all these questions are not communicate well. considered then chances are you’ve 3. The manufacturer has a solid created a “bottleneck” somewhere in warranty. the system. Remember this is the same Notice that I’m not mentioning price in system you’re depending on to provide the above conditions. When it comes a seamless presentation for your Pastor to your church’s presentation computer during the service. So back to the correct DON’T budget shop. This is one piece price question... The correct price is of equipment that you can’t afford to whatever price is necessary to give have fail, lock up, or under perform. your church the system needed to create Too many times we hear from churches a seamless and flawless presentation that have purchased an inexpensive during your service. computer and it continuously fails to perform, even to the lowest expectation. So the next time you’re in the market for If you’re leaning toward purchasing a a presentation computer system choose Mac, plan to spend a bit more for the wisely and contact a professional; one computer as well for the service required that is dedicated to provide your church to maintain it. Also, keep in mind, that with a high quality system. while Mac has proven to be a stable platform, it’s no more stable than a PC of equal design and quality. So be sure Chuck Page you have good local support for the Mac Sawtooth Technology system you’re looking at purchasing. Factor 3: What is the correct price to pay?

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

The cost topic pertaining to a computer system is really perplexing to me. The market place seems to think that if they’re purchasing an Apple computer then it is ok to spend whatever it takes to get the correct system in place. But the same market thinks that if it’s a PC then Visit: www.gofishmedia.net the lowest cost system is the correct way Send Chuck an email: to go. It’s my experience that both the chuck@gofishmedia.net

NOV/DEC 2014 WORSHIPMUSICIANMAGAZINE.COM

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Chris TomliN

On ‘Love Ran Red’ and Songwriting God has raised up some gifted worship songwriters over the years, and Chris Tomlin would certainly be included in that list. I was glad for the opportunity to spend a few minutes getting a picture of the process, motivation and especially the heart behind this important calling on Chris’ life. Of course, another important calling of his is being ‘Daddy’ to his brand new little girl... Aimee Herd: Congratulations, Chris, on your new little daughter... Chris Tomlin: Oh she’s so sweet, we’re just thrilled! AH: And how is Lauren feeling? CT: Lauren’s doing really well; she told me this morning, ‘I think we should have three.’ So, she must be feeling really good. (Laughs) AH: Must be! Well, Chris, as I was preparing to speak with you, I was thinking about how you’ve been so faithful to the apparent call of God on your life, in writing songs for the Body of Christ to express worship and love to God. It’s a real responsibility; writing songs for the Church—like an offering—it’s special... kind of a King David thing. I just wanted to—on behalf of all of us who appreciate being able to sing these songs back to God—thank you for being so faithful in that calling. CT: Oh, I really appreciate that. It is a responsibility and I am really serious about it... thinking about these songs, and how these translate to the Church. And I’m not thinking of the church with the latest, greatest worship band, but the average church out there. How can I write this so it’s something they can sing? It’s a song in my heart and I’m trying to put it out there that it might come from their hearts as well. It’s just been amazing—this journey through the years. Seriously. I’m so grateful, and thankful to still be writing these songs. AH: You mentioned ‘the journey’... when you look back at all the time, not just leading worship with Passion but the whole picture; sitting under the teaching and amazing messages of Louie Giglio... what has this whole journey been like for you?

NOV/DEC 2014 WORSHIPMUSICIANMAGAZINE.COM

CT: It’s been amazing. Passion is a platform that God allowed me to be a part of, and it’s been the significant marker of my life. Louie is someone who came along and really believed in me early on, and saw something inside of me that I probably didn’t even realize myself. He really believed that God had put songs in my heart for the Church, and came alongside and mentored… and was such a friend. These have been amazing years.

CT: Oh yeah, quite a number of songs. At the beginning I’ll think, “These are world-changer songs...this one will be ‘the one.’” and then at the end of the day, it doesn’t even make it on the record. Or it gets pushed off into something else. It’s crazy how they all evolve, and it happens every time. And then, we’ll be almost done and there’s a song that comes in at the very end— like “Jesus Loves Me.” It’s like, “Where’d that song come from?” I wish I’d have We had no idea what Passion would had that song from the start! It’s quite become. It’s been incredible to look a game-changing song, and it came back and see God’s faithfulness. It in at the very end of the making of the was definitely a life-changing moment; record—even past that. It’s crazy when when God connected me with Louie, you get in there [to record]. and our journey started. We’ve kind of And I take it so seriously—I’m not just been inseparable since (laughs), but I’m trying to put out the next record. It’s got so grateful. And while we look back, to be right. And that’s what I love about we’re also looking ahead and saying, our team. We work so hard at it, and “What does God have for us in this next it takes an amazing team with great season? talent. The success and the platform AH: So I hear this new album; Love that God has given me, has so much Ran Red, took a while to finish, with all to do with the people that God has put around me. And I’m so grateful to lean the refining that you put into it. on them. I lean on these guys in such CT: Yeah, it always takes a while for me. a strong way. Especially at a moment When I make a record, I put everything when we’re putting out a new record into it—go back and revise... I don’t like we are now, it makes me reflect ever come at it like: “OK gotta put an even more about the fact that none of album out, gotta have ten songs...” It’s this has happened without this amazing always a lot more than that. It’s trying to team. find what is best for this moment, which I don’t have enough gifting on my songs are best—it’s quite a process and most people would never realize what own to do this. I’m grateful to carry it by God’s grace, but I definitely want goes into it. to give credit where credit’s due: to I’ll refine it and then I’ll think, there are this incredible team around me. From better songs; I want to keep pushing the management, the band, to the and writing better songs. It’s also letting producing, and the songwriters and the people speak into what you’re doing. record companies—all that. Everybody That’s always important. I’ve had has this one heart; to really encourage, amazing producers, and management to lift up and inspire the Church. I think around... I never want to just settle for sometimes people think its just business. what’s good, but I want to put out what It’s definitely not that. It’s been wonderful will inspire, and really feel like God’s to be surrounded by people who want presence is on it. the best for the Church. This record has been that for me. It’s AH: Can you bring us inside a been a labor of love this year—pretty songwriting session and give us a picture much the whole year, 2014—making of what goes on? Do you normally write this music, and writing these songs since with them from the start, or so you have Burning Lights. I was so grateful; it feels a song almost all written and then you right, and there are so many good songs bring it to them for tweaking? How does that will be coming out and I can’t wait that process look? for people to hear them. CT: It’s all of that. (Laughs) It’s all AH: And yet, there were a number of different kinds of ways. Sometimes songs that were left off of this project? we’ll have a song and they’ll finish it;

for the Church by Aimee Herd

sometimes we get in a room and just talk about ideas... I hardly ever just walk into the room with a bunch of guys and say “Let’s just see what happens.” Somebody always has some ideas on their heart. And the guys who are writing, aren’t just great songwriters, they have a heart for worship songs, and songs for the Church. So it’s not just good song-crafting, it’s also, how do we translate this to the Church? We’re not interested in writing a pop song, we’re interested in writing songs that get to the heart and really cause people to sing. When you’re friends with people like that, it’s just amazing. You get together and start praying for God to put His presence on the songs, and the songs start flowing. We’ve had a lot of songs where the songwriting’s good, but every once in a while you land on something that you really feel special about. I’m so grateful to be surrounded by my songwriting buddies and brothers. AH: It must be really fun too. CT: Oh yeah—we love it! We find ourselves always running out of time because we’re so in it. We might fly to different cities [to get together to write]. I’ve flown overseas to London to write with my buddy, Matt Redman; or to Nashville to write with Ed Cash or Jason Ingram... or they might come to me— and it’s amazing. It never stops and it’s so fun! AH: I want to zero-in on this one lyric for a minute, because I love it, from “At The Cross.” It’s just so riveting when you say, “Your love ran red, and my sin washed white...” It’s such a beautiful description of what the Lord has done for us. How did that song come about? CT: Well you can’t write enough songs about the cross. It’s at the center of worship; it’s the only way we really can even have a song for God and connect to Him is through Jesus’ cross. He made a way and bridged the gap so we can approach God through His grace. We want to keep writing songs around the cross—the centrality of our faith. This song began with Matt Armstrong and Ed Cash; they had some pieces of that chorus, and a piece of the verse. It didn’t start with the cross, but it got around WORSHIPMUSICIANMAGAZINE.COM NOV/DEC 2014

Chris Tomlin

continued

goes beyond me and becomes a song people are singing to God. AH: Chris, to wrap things up, I’d like to get your perspective. All these years, leading worship with Passion— and now with Passion City Church— you see these young people who are coming into a deep place with the Lord; it must be so encouraging and exciting. Especially when you read the headlines that are so frightening right now... do you feel like there really is an undercurrent of young people who will stand for the Lord, and does it give you hope for the future?

to that lyric about “love ran red and my sin washed white.” I heard that one line and was like, “Oh my goodness that’s amazing.” It makes you see it in a different light, when it’s worded a different way. I’ve always thought about songwriting as (I heard this years ago) everyone is looking at the same mountain, and the good photographers are the ones who can take a picture of the same mountain, but you see it in a way you haven’t before. I feel like songwriting is a little bit like that. We’re all singing about the same things; the cross, the greatness and mercy of God, the love of God... but sometimes you can write it in a way that people will see it differently. Even that title: Love Ran Red—people who don’t even know Jesus or anything about the Gospel—if they see it in Target or somewhere and read “Love Ran Red,” they might say, “What is that?” and be intrigued. I love that. Obviously we’re talking about the blood of Jesus that washes us clean, and the love of God running—washing over us. I feel like it’s one of the better songs that I’ve been a part of in my life in writing, and I love leading this song—I can’t wait to see what happens when the song goes around the Church. And any church can play this with a piano, or organ, acoustic guitar or choir, or with a great band—it’s simple and so singable, and yet it’s profound in what it’s saying. That’s why I named the album Love Ran Red, because I feel like that is the centerpiece of the album.

NOV/DEC 2014 WORSHIPMUSICIANMAGAZINE.COM

CT: Yeah, I think the Church is strong. You see the news and feel like the Church is dying away, but I think the Church has strength and passion all over the world. That’s never going to be in the media—you’re never going to see that there—you’re only going to see what wrong and what’s bad, and you’re never going to see the goodness of what God’s doing with His Church [in the media]. But I think it’s so strong. We’ve seen it with Passion, but Passion AH: You mentioned just now, the is just a little glimpse of what’s going Church taking those songs and running on in the world, and I feel like there with them... I read about an experience are more young people who are really you had recently when you attended a trying to figure out and do the work of church where you didn’t know anyone— God, and not just attending a church. I can you talk about that? think that’s beautiful. CT: Oh yeah. From time to time I get Songs are a part of that; music is a part to walk into church on a Sunday—I’m of that. And we get to be a part of that in usually leading at a church and rarely that way. If you judge it by songs, you’d do I get to go in and just attend and think the Church is at its greatest moment receive. I was in the back of a small in history—but we’re not judging it by church; the music was not good at best songs, or saying the Church is strong (laughs). They didn’t have all the bells because of the songs... but one day we and whistles, but the leader started will see the impact that this generation playing “Jesus Messiah,” I thought “Oh has had on the world, because it’s so my goodness.” And then they went much more than just singing a song. into “Whom Shall I Fear-God of Angel It’s living a life devoted with a heart for Armies”... I was just in the back and I God, and to go wherever He takes you, was reminded again of why God puts and I think young people are grabbing these songs on my heart, and why I onto that. I think we’ll again see an write the kind of songs that I do; that I’m explosion of the Church; an explosion not trying to make it the latest, greatest of young people with passion for God, thing, but trying to write songs that or a renewed passion for Him. I’m translate and are accessible to people. thankful to be able to see that and I’m I hear those songs in big arenas, and grateful. Jesus said, “I’m going to build then to hear them in the context of a My Church...” and nothing is going to small church, it’s just powerful. It was come against it. That’s what we hold one of those little nudges from God onto. That’s Jesus’ promise, and we’re saying, “Here ya go, this is the work holding onto that promise. I’ve given you to do, and this is what it’s about.” To me, that’s more important Chris Tomlin plays Collings than any kind of award, or recognition acoustic guitars. Visit his official of record sales or number one songs... by logging onto: To me, that was so much more important website ChrisTomlin.com than hearing my song on the radio— was hearing it sung in a little church. It was amazing to me. Because then it

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EDITOR’S CORNER Continued from page 7

help!” That is also what I see a lot from our CMS conference attendees. When they shake my hand and tell me how much they got out of the conference… that it is a really good feeling. My desire is to live in those three questions/zones with what I do, welcoming folks into a larger community and to walk along side my writers and readers in a more engaging fashion. That sounds like a lot of fun and in the long run, a much more rewarding way to go. Are you with me? Bruce & Judy Adolph

FROM THE DRUMMER’S PERSPECTIVE Continued from page 10

a base line and then play through some of my own ideas to have some options ready. If we’re suppose to play cover songs I’ll make sure I know how the original sounded and have some options available for those songs as well. I make a lot of notes on the charts that we get for a recording. Usually the producer or arranger sends those ahead of time. If not, I’ll make my own outlines of a song with all my ideas. 8. SHIPPING THE EQUIPMENT On some live recordings I just have to fly a few extra pieces to the venue. Many events now are recorded in places that have great drums, or backline (rented gear) is brought in to match the list of drums I send the producer ahead of time. There are some favorite snares I always have with me for a recording, as well as my personal cymbals, some percussion gear, and of course my stick bag. All my electronic stuff, loops/ clicks/ etc. are on my laptop. I don’t travel with big racks of tech gear anymore. Technology is an amazing thing. I’m learning more and more to take advantage of it. On certain projects a production truck will come from Nashville and I can put all of my personal gear on that rig. I’m not always that fortunate, but it does happen. 9. TRAVEL AND RETURN It seems obvious, but it’s important to follow through with the agent in charge about travel details. I try to get them to purchase airline tickets as soon as possible and on my favorite carrier so

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there is no charge for extra bags, and so there is no confusion about arrival and departure times. If I’m coming from another event or heading out to another immediately after the recording I have to be careful how these events “piggy-back” on to each other. 10. AT THE RECORDING No matter how much you get ready things can change. Creative juices are flowing and you have to go with the flow as things are being worked out. As a band starts playing music live it can feel very different from a demo or other recording. Artists and producers can come up with something very different than first discussed. I’m always listening; always watching to make sure they’re happy with what’s happening with the music. Everything is “on the table.” – Sounds; tempos; groove ideas; arrangement; etc. etc. Don’t get locked into one thing or what you think is great. I have to remind myself all the time that I’m serving someone else’s vision. And that’s why I’m there. I’ll keep trying things until those in charge are happy with the direction. When the whole band and production crew are in this frame of mind it makes for a fun and exciting recording experience. 11. WRAP IT UP. After a live recording I’ll check in with the engineer and producer to see if there’s any post-production work. We might do some overdubs of extra percussion or drop in some re-edited loop files. It all depends on what is needed. I never just walk away, get my check, and not ask if I can do anything to help. Caring about your work is all part of the event. Always do you work like it’s your personal project and you will find your heart and mind fully engaged in the process. Thanks for listening. I have to dash to the airport now for another event. Peace, Carl

Carl Albrecht has been a professional drummer & percussionist for over 25 years. He has played on over 70 Integrity Music projects; Maranatha Praise Band recordings & numerous other Christian, Pop, Country, Jazz & commercial projects. He currently lives in Nashville doing recording sessions, producing, writing and continuing to do various tours & seminar events. Visit his website: www.carlalbrecht.com or send an e-mail to: lmalbrecht@aol.com.

VOCALS Continued from page 16

This will obviously affect what should be focused on during preparation. Both types of choirs need to know their music. I am a huge proponent of memorizing music whenever any type of presentation is involved. However, with a “Worship Choir” this may be nearly impossible at times considering the sheer volume of music that must be sung and prepared. Many of the songs will be sung repeatedly over time and that will help, but preparing multiple songs each week with only one rehearsal of likely no more than 2-3 hours will make it very difficult to memorize each and every song. The use of lyric projection can help to make it appear as though the songs are memorized and that is helpful. Since the “Worship Choir” functions as a part of the overall worship team, they need to remember that their primary function is to serve as worship leaders. Therefore, they need to focus more on being able to worship freely as they sing. Two important exercises I recommend are 1) speaking through the lyrics individually and as a group so that the meaning becomes more clear to the singers. So often we, as singers, gloss over the words hastily without taking time to truly ponder and understand their meaning. We cannot effectively communicate the message behind the song if we don’t understand it ourselves. 2) All members of any worship team need to be taking time to worship alone at home. This should involve not only singing through the songs in terms of practice but worshiping through the songs as well. Having a clear understanding of the lyrics will help to make the meaning more personal. As the Lord speaks to you through the songs during your practice throughout the week, you can pray, worship and sing through the songs in a true spirit of worship that will help to prepare you for leading others in worship when you gather corporately.

Sheri Gould is an internationally acclaimed vocal coach. With a degree from the University of Ill, she has been coaching since 1979 and leading worship since 1985. For weekly vocal tips, check out Sheri’s FB page at www.facebook.com/officialsherigould. For information on products, including instructional DVDs, check out http://sherigould.com

Dove Award-winning arranger, conductor, producer, and pianist

DAVID CHOOSES HAMILTON FINALE “AS AN ARRANGER FOR MICHAEL W. SMITH, AMY GRANT AND MANY OTHERS, I’M EXPECTED TO BE CREATIVE, TIMELY AND ACCURATE UNDER PRESSURE. FINALE HELPS ME MAKE IT HAPPEN.”

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“AS AN ARRANGER FOR MICHAEL W. SMITH, AMY GRANT AND MANY OTHERS, I’M EXPECTED TO BE CREATIVE, TIMELY AND ACCURATE UNDER PRESSURE. FINALE HELPS ME MAKE IT HAPPEN.”

Songchart

GREATER 74bpm

"Greater" Written by Ben Fielding, Chris Tomlin, Ed Cash, Matt Redman Copyright ÂŠ 2014 Hillsong Music Publishing (APRA) (adm. in the US and Canada at CapitolCMGPublishing.com) Thankyou Music (PRS) (adm. worldwide at CapitolCMGPublishing.com excluding Europe which is adm. by Integritymusic.com) / worshiptogether.com Songs (ASCAP) Worship Together Music (BMI) sixsteps Music (ASCAP) sixsteps Songs (BMI) Said And Done Music (ASCAP) S.D.G. Publishing (BMI) Alletrop (BMI) ( All rights reserved. Used by permission

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Record Reviews Lauren Daigle How Can It Be 1. I Am Yours 2. Trust In You 3. How Can It Be 4. O Lord 5. Come Alive (Dry Bones) 6. Power to Redeem (Feat. All Sons and Daughters) 7. Salt and Light 8. Light Of The World 9. Once and For All Growing up in Lafayette, La., singersongwriter Lauren Daigle had the opportunity to immerse herself in the soulful surroundings brimming with an eclectic mix of zydeco, blues and Cajun music. These diverse sounds help mold Daigle’s music into a colorful and unique brand of modern worship. With influences ranging from Adele, Amy Winehouse and Billy Joel, Daigle began leading worship at a small church. At the encouragement of her dad, she tried out for “American Idol” and ended up being a contender in 2010 and 2012 before Centricty music heard her voice and signed her in 2013 thus beginning a career in the Christian Music business that people are beginning to take notice of. Her nine-song debut album, How Can It Be, is a creative collection of honest and moving worship that will touch your heart and excite your spirit. Some of the better cuts include the title track “How Can It Be,” a mid-tempo, piano backed ballad that reaches deep into the heart speaking of our inadequacy compared to God. Daigle’s grainy, soulful vocals hold nothing back on the melodic “Once and for All.” With just the piano as her accompaniment, the awe and majesty of a life surrendered to the sovereignty of God comes through loud and clear on this beautiful number. “Come Alive (Dry Bones)” is a gorgeous retelling of Ezekiel’s prophecy of the dry bones filled with vivid creativity and imagination and “Salt and Light” is a celtictiled reminder of the words of Jesus from the Sermon on the Mount. Lauren Daigle’s vocal sincerity and emotion make this little album stand out and one of my favorites of 2014. Each song is

By Gerod Bass amazingly intimate and doctrinally spot on. I only wish there were more songs to enjoy as only having nine tracks kind of left me wanting more. The writing here is above average and there are definitely more than a few cuts that should make their way into your Sunday morning worship collection. Chris Tomlin Love Ran Red 1. Greater 2. Waterfall 3. At The Cross [Love Ran Red] 4. Jesus Loves Me 5. Boundary Lines 6. Almighty 7. The Roar 8. Fear Not 9. The Table 10. Psalm 100 11. I Will Boast 12. Jesus This Is You Deluxe Edition Bonus Tracks: 13. In The End 14. Waterfall (Tritonal Remix) 15. At The Cross (Love Ran Red) (Acoustic) 16. Let It Be Jesus (Acoustic) Grammy winner and worship icon, Chris Tomlin is at the top of the CCM world. His songs are sung in churches around the world every Sunday and he has been the trendsetter for what we now consider the modern worship era. His formula of simple yet complex songwriting with memorable and singable melodies is unmatched and his latest album, Love Ran Red holds true to what makes him great, yet this album brings with it a few pleasant surprises. Thematically, Love Ran Red focuses mostly on the majesty and power of Jesus to overcome sin and death. Songs like the opener, “Greater”, “Fear Not” and “Jesus, This is You” are all classic midtempo Tomlin worship songs that are singable and somewhat memorable. It was refreshing to see Chris take a few musical risks on this album as he ventures into a few different musical genres different than what you might expect. “Boundary Lines” and “Psalm 100” both rest in the dance/techno category while “The Table” features an interesting southern gospel groove that is fun and

*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

Lauren Daigle How Can It Be Chris Tomlin Love Ran Red Aaron Shust Unto Us Citizens & Saints Join the Triumph Dustin Smith

Coming Alive highest marks

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believable. “Waterfall” is a rhythmic anthem that tells of God’s healing love that falls on our lives like, yes you guessed it, a waterfall. “Almighty” boasts the most intimate lyrical moment on the album as this piano-backed prayer speaks of the sovereignty of God. The best song on the album is of course the title track where Chris sings passionately about the sacrifice of Christ and the love that ran red for us in the blood of Jesus. One mark of a great worship song (or any song for that matter) is the ability of the writer to convey an idea that the listener has heard many times in a way that is new and fresh. When this format is combined with a great melody and memorable hooks, a great song is born. Love Ran Red is one of those songs that your congregation will probably fall in love with. Honestly, this isn’t my favorite Tomlin album. I am used to Tomlin albums being chock full of great unforgettably catchy songs that lyrically connect our hearts with the heart of God. This one left me a bit flat and although I appreciate that Chris made some different choices musically, it seemed that the lyrics didn’t really fit with the arrangement and instrumentation in a few of those tracks. That being said, there are a few great congregational worship songs here, so go pick it up. Aaron Shust Unto Us 1. Star of Wonder (Overture) 2. Gloria 3. Unto Us 4. Advent Carol 5. God Has Come to Earth 6. Sanctuary 7. Keep Silent 8. Bethlehem 9. Rejoice 10. Go Tell it Aaron Shust is no stranger to writing great worship songs. Hits like “My Savior, My God” and “To God Alone” helped win him Dove awards and put him on the map with some of the better worship writers of our day and age. Shust’s latest release, Unto Us, is a Christmas collection that showcases his unique writing and arrangement abilities. Christmas albums are an interesting phenomenon. While many artists can write a few great Christmas songs, few can put an entire album together that will be anywhere as great as their “normal” studio releases. One of the potential problems of Christmas albums is that so many mainstream holiday songs that have been done so many times by so many artists generally become white noise. Shust’s Christmas offering, Unto Us avoids these problems by focusing entirely on Christ from start to finish, and also by having a higher dose of original

Record Reviews content (about half the album) than most comparable records. When I hit the play button for track 1, “Star of Wonder (Overture)”, I was instantly transported into a winter wonderland full of the excitement of Christmas. I actually muttered the words, “Man, I can’t wait till December” while listening to this gorgeous opening instrumental medley recorded with the Prague Symphony Orchestra full of Mannheim Steamroller influence. The album is cleverly broken into three parts, proclamation, adoration and celebration with each track overflowing with gorgeous choirs, orchestral backing and glorious melodies that are unforgettable. “Unto Us” is a bouncy, vibrant song of joy that will be a Christmas radio hit this December. This song is huge, with soaring choruses and bridges as Shust takes the listener on a vibrant musical journey announcing the birth of Christ. “Advent Carol” begins with a haunting cello and will bring you to your knees in front of the cradle of Christ while “Sanctuary” speaks of how fear and sadness have vanished because of the birth of Christ. Shust’s renditions of traditional carols make up the last four tracks. “Keep Silent” is a take on a classic hymn melody (“Picardy”) that is beautifully done and it seems to fit well despite not being traditionally known as a Christmas song. “Bethlehem” is an updated rendition of the classic “Oh Little Town...” getting a new melodic treatment that mostly works while “Go Tell It” closes the album in appropriately grand fashion while reminding us to daily proclaim and celebrate the birth of the Savior. From the piano-driven intros to the chilling choral harmonies, this is one record that is authentically Christmas. I would even dare to say it is bordering on the term, “masterpiece”. Shust has succeeded in finally giving the CCM world a Christmas album that is both worshipful and artistic. It’s obvious that a lot of thought and work went into this project. It will be difficult for the average worship team to emulate the full sounds and feel of many of these tracks but overall this is one of the best Christmas albums I have ever had the pleasure of experiencing. Citizens & Saints Join the Triumph 1. The Strife is Over 2. There is a Fountain 3. You Brought Me Back to Life 4. The Mighty Hand of God 5. You Have Searched Me 6. Be Thou My Vision 7. Oh! Great is Our God 8. The Gospel 9. Greatly To Be Praised 10. Father You Are All That We Need 11. Before the Throne Citizens & Saints (Formerly Citizens) made a splash with their 2013 independent release “Citizens” which completely turned

NOV/DEC 2014 WORSHIPMUSICIANMAGAZINE.COM

the tables of what most people would consider “acceptable” worship music for the corporate church. Since 2013, there have been some changes for the worship band from Seattle. Front man Zach Bolen is no longer serving as the worship leader at the U-district campus of the mega-church, Mars Hill, yet the band has agreed to stay together and continue the musical artistry they feel God has called them to. Their sophomore release, Join the Triumph brings forth 11 new songs of energetic vertical worship full of creativity and theological truth. Centering on the themes of victory and redemption, Join the Triumph mostly sticks within the alternative and electronica class with plenty of electronic drums, driving bass lines and 80’s replica keyboards. Lyrically, this is not an album full of too often used Christian cliché’s, but of deeply personal cries of worship to a loving God surrounded by instrumentation you wouldn’t expect. Some of the standout tracks are “The Mighty Hand of God” which is a bright and joyful song that speaks of the security we have in Jesus. “You Have Searched Me” is an intense prayer about the need of forgiveness and “The Gospel” is a creedal song about what we believe presented in a bold arrangement with authenticity. Citizen’s & Saints’ take on the classic hymn “Be Thou My Vision” is raw and edgy yet does a superb job of keeping the native melody line while “Father You Are All That We Need” is a stirring song based on the Lord’s Prayer. Overall, Citizens & Saints have again produced a wonderful collection of “outof-the-box” worship songs for the church. Every song is expressive and imaginative. These songs are played and sung with passion and once again I was blown away by the creativity and lyrical quality of Zach Bolen and the guys from Mars Hill. My only nitpick would be that some of the melodies were almost too creative making them difficult to sing along with and obviously the technical aspects of their music would be too much for the average worship team to copy. But all in all, this is a very moving worship album and I applaud their efforts. Dustin Smith Coming Alive 1. Coming Alive 2. Now and Forevermore 3. Who Is Like Our God? 4. He’s Alive 5. Extravagant Love 6. Breathe On Me 7. Come Rushing In 8. We Want To Know You 9. Surround Us Now

10. Home 11. Eyes Like Fire 12. (Be Exalted) In the Dust Former worship leader at Kansas City’s World Revival Church, Dustin Smith’s second solo project, Coming Alive is a body of twelve new songs that Smith says are written from a different perspective than most worship albums. These songs aren’t written out of personally emotive places he’s been to as a singer/ songwriter and worship leader. In truth, these songs represent the movement of God in the lives of the people he is called to serve. Dustin would be the first to say he’s just the note taker. Coming Alive was recorded live at the World Revival Church in Kansas, City in May earlier this year. Working with Kyle Lee (Michael W. Smith, Leeland, Hillsong UNITED) at the helm, Smith Co-wrote all the 12 songs here with a red carpet of scribes including Michael W. Smith, Ed Cash, Stu G, Jack Mooring, and Michael Farren. Album opener and title cut “Coming Alive” is a bombastic worship number that dramatically brings us back to Ezekiel’s Valley of Dry Bones where we get to see how God puts flesh, skin and life back to a pile of dry bones. “Home”, one of the more contemplative songs on the record, speaks of the dichotomy of God’s presence—the fear, the conviction, the longing and the embrace of a God who loves His people.”Now and Forevermore,” is an explosive declaration of our trust in God and “(Be Exalted) In the Dust” ends the album on a humble note and serves as a reminder that even though we deserve death for sin, our God adopts us as heirs of the Kingdom. Smith’s powerful and emotive vocals are one of the highlights of this album and I was impressed with his vocal ability throughout. Some of the songs tended to run together and sound similar but Coming Alive is a nice collection of genuine worship songs that are deeply steeped in biblical foundation while drawing the listener closer to the heart of God. Gerod Bass is a ministry veteran who has been serving God’s people through worship and youth ministry for more than 20 years. Since 2009, he has been living his dream serving as the minister of worship and Jr. High at Our Savior Lutheran Church in Tacoma, Wa. Gerod is a singer, guitarist and recording artist who has a passion for impacting lives for the sake of the Gospel. You can find out more about Gerod, his ministry and his music, including his newest album release at his website, gerodbass.com.

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FOH Engineer

By Bill Gibson

Compressors & Limiters might peak at 0 VU; while the limited mix also peaks at 0 VU, the difference RMS refers to average signal amplitude, is that the limited mix sounds louder. A The ratio setting determines the difference based on the mathematical function good limiter operates in a way that is between a compressor and a limiter. Ratio of the root mean square. Peak refers imperceptible to most listeners. It reacts settings below 10:1 result in compression. to immediate and transient amplitude quickly to transient peaks and maintains which occur frequently Ratio settings above 10:1 result in limiting. levels, a full, impressive, aggressive sound That explains why most manufacturers offer throughout most audio recordings. The throughout the limiting process.  combined compressor/limiters. Extreme Peak/RMS setting determines whether the compressor/limiter responds to Setup Suggestions for the compression becomes limiting. average amplitude changes or peak Compressor/Limiter Hard Knee Versus Soft Knee amplitude changes. RMS compression Use the following procedure to set Compression/Limiting is more gentle and less obtrusive than virtually any compressor/limiter. Even Hard knee/soft knee selection determines peak compression. Peak compression though it seems like there are countless how the compressor reacts to the signal is well suited to limiting applications. dynamics processors available, they once it passes this threshold and the It responds quickly and efficiently to all work essentially the same. Whether amplifier circuitry engages. Whereas the incoming amplitude changes containing digital or analog, vintage or new ratio control determines the severity of transient information. technology, this procedure will work. compression, the knee determines how Side Chain • Adjust Ratio to determine function. severely and immediately the compressor below 10:1 produce The side chain provides an avenue for Settings acts on that signal.  activating the level-control circuitry from compression; settings 10:1 to infinity:1 When the compressor is set on soft knee a source other than the audio signal produce limiting. and the signal exceeds the threshold, the connected to the device’s main input.  • Set the attack time to fast or slow, amplitude is gradually reduced throughout the first 5 dB or so of gain reduction. Any audio source can be patched depending on the audio source and When the compressor is set on hard knee into the side chain input for creative desired effect. and the signal exceeds the threshold, it is applications. However, it’s common to • Set the release time to about .5 rapidly and severely reduced in amplitude. run a split from the audio signal through seconds for general use. The hard knee/soft knee settings are still an equalizer then back into the side dependent on the ratio, attack, release, chain. In this way, the equalizer can • Select soft knee for gentle compression and threshold settings. The knee setting be boosted at a specific frequency and or hard knee for limiting applications. specifically relates to how the amplifier cut at others, allowing the user to select • Select RMS for most compression circuitry reacts at the onset of compression a problem frequency to trigger gain applications or peak for most limiting reduction. This technique works very applications. or limiting.  well when low-frequency pops or thumps The difference between hard knee and must be compressed while the rest of the • Adjust the threshold for the desired soft knee compression is more apparent audio signal is left unaffected, or when amount of gain reduction. You should at extreme compression ratios and gain certain high-frequency transients must typically have 3 to 6 dB of reduction at reduction. Soft knee compression is most the strongest part of the track, and there be controlled. useful during high-ratio compression should be times when there is no gain or limiting. The gentle approach of the The Limiter reduction.  soft knee setting is least obvious as the A limiter and compressor perform the compressor begins gain reduction. Hard same basic task, although a compressor • Consider all rules carefully, then break knee settings are very efficient when controls level and amplitude in a soft them at will, and intentionally, any time extreme and immediate limiting is called and gentle manner, whereas a limiter the music demands. for, especially when used on audio controls level and amplitude in an containing an abundance of transient extreme way. peaks.  Limiters are often used to control the For more from Bill Gibson check Typically, soft knee compression is level of the entire mix. An excellent mix out www.billgibsonmusic.com. gentler and less audible than hard knee typically contains several transient peaks This month, Bill celebrates the compression. Try this setting on a lead (levels that exceed the average level release of The Bruce Swedien vocal or lyrical instrument for inconspicuous of the entire mix). Although the limiter Recording Method by Bruce Swedien with Bill Gibson. level control. ignores the majority of the program Swedien is the iconic engineer Hard knee dynamic control is more material (audio that doesn’t exceed who recorded all of Michael Jackson’s solo extreme and much less sonically forgiving. the threshold), a peak that exceeds the records (including Off the Wall, Thriller, Bad, Try hard knee limiting when absolute level threshold will be turned down quickly. Dangerous, Invincible, and HIStory), Quincy Through the use of limiters, the mix Jones’ most successful recordings, and Count control is necessary. maintains a constant and aggressive Basie, Duke Ellington, Jennifer Lopez, and many level and amplitude. A master mix more! The Difference between a Compressor and a Limiter

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PERCUSSION

By Mark Shelton

Snare Drum 411: The Quick Guide Unless you are on a “media fast,” it’s hard • The primary striking area for concert to go very long without hearing the snare playing is between the center of the head and drum. Seemingly ubiquitous, the instrument is the far rim area. at home in symphony orchestras, rock groups, • If a dry, articulate sound is desired drum lines, jazz combos, worship bands and (rudimental/field snare tone), move to the many other musical ensembles. center of the head. With the recent trend for the hand percussionist • Position the snare drum so the strainer to include more “stick percussion” in modern control is directly in front of you (not to the worship music, it might be time to consider side). This places both striking areas directly adding the snare drum to your percussive over the snares (and provides easy access to sound palette. the strainer knob and the throw-off). Perhaps you have years of snare drumming in your background but need some ideas on composing a suitable part, or maybe you have come into the hand percussion world without an abundance of stick experience. My short Snare Drum 411 will provide pointers on tone and technique along with ideas on how to weave the “caisse claire” into the musical fabric of your worship team. TONE & TUNING Many years ago, a drummer confessed in an article that he could never achieve the snare drum tone that was in his head. His admission brought me great relief. Despite changing heads, tightening or loosening tension rods, and adjusting the snares, my perfect snare drum sound seems forever confined to my brain. Though we may not totally realize the ultimate tone, it is important to have a great sound in your mental sound file and TRY to tune your way in the direction of snare utopia. I’m thinking that there will be no need for a drum tuning key in heaven--but until then: • Do not get carried away with bringing all the tension points precisely to the same pitch. Adjust the drum with a tone in mind rather than a formula. • For my concert snare drumming (which includes worship band), I generally prefer a deep wooden shell with a single ply coated head. • Having some ring in the basic tone gives you flexibility. Deleting some or all the ring is easy with a muffling device but you cannot add resonance if you start out using a double ply head with an integrated muffling ring.

both standard and hybrid varieties at www. vicfirth.com and www.youtube.com/ marksheltonmusic. CREATING A PART Since the drum set player is already armed with a robust snare drum, adding an additional one to the musical mix requires some judicious musicianship. Consider these ideas as you find places to insert the “second snare drum” into an arrangement. • Instead of a shaker, substitute snare drum with brushes. • Play a busy rhythmic pattern on the snare drum while the drum set player lays down a simple “snare-less” linear groove. • Thicken a snare cadence pattern coming from the drum set by playing along in unison. • Turn off the snares and lay down an “old-school tenor drum” rhythm. • When a section of a song is building intensity, a crescendoing stream of single1 stroked thirty-second notes played with

TECHNIQUE

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« « «ˆˆˆˆˆˆˆ « « «« « « ˆ« ˆˆˆˆˆˆ« « «« «« « ˆˆˆˆˆ‚ˆˆˆ « « « « «« «« ˆˆˆˆ « « « ˆ«ˆˆˆ « « ˆ« ˆˆˆˆ « ««« ˆˆˆˆˆ «« « « «ˆˆˆˆˆˆˆ« « « «« ««« ˆˆˆˆˆˆˆˆˆ «« « «« «« « ˆˆˆˆ ««« «ˆ«ˆˆˆ « ˆ« Developing proper ======================= / 4 ˆˆ l =” poco a poco cresc. RLRLRLRL simile snare drum technique will be valuable to any percussionist whether playing classical, bundled rods can provide extra momentum. marching, or even hand percussion. Time • Experiment with the wide range of invested in developing an ergonomic timbres on the snare drum such as rim shots, stroke along with proficiency in dozens stick shots, tapping the rim, and striking with of sticking permutations will transfer into mallets, bundled rods, brushes, or hands. your performances on conga, djembe, or glockenspiel. The snare drum need not be the sole province If you are looking for practice materials, check out Stick Control by George Lawrence Stone of the drum set player in a worship band. and the Percussive Arts Society International Another snare drum (used sparingly) can be used to great effect when added at the right Drum Rudiments (www.pas.org). spot in a song. Be ready with your tone and • If your are already well-versed in technique when you find that proper musical playing the patterns in Stick Control, take a moment. suggestion from noted drum set artist, Ed Soph and play the first few pages with wire brushes using a sliding motion. An active freelance musician,

• Are you ready to journey beyond the basic rudiments? Expand your repertoire of • Adjust the snare tension so that the licks with some hybrid rudiments. snares respond at all dynamic levels (even with • You can find video tutorials on a pianissimo tap).

Mark Shelton has created programs, products, and educational services for a variety of ages. Mark’s percussion work can be heard live and on recordings with Gateway Worship. Check out more of Mark’s educational materials at www.percussionforworship.blogspot.com and www. youtube.com/marksheltonmusic. ©2014 Mark Shelton Productions / Percussion For Worship

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believe

WORSHIPMUSICIANMAGAZINE.COM NOV/DEC 2014

Cut-capo Guitar

By Mitch Bohannon

Ministry Ministry. If we are believers in Christ and have experienced the power of the resurrection, ministry ought to permeate everything we do. Whether you teach school, run a business, work in a cubicle, serve food, or deliver boxes… to those around us, it should be as evident that we love Jesus as much as it is evident we enjoy our favorite restaurant. And, (I’ve said this before) if you’re reading this magazine, it’s a good chance you’re a creative or you are married to one! We “creative” seem to see things quite uniquely, which is great in coming up with new ways to share the love of Christ.

East? Or, how about those suffering from PTSD? What if you added a class an hour before or after a Celebrate Recovery meeting? Prison Ministry? Just getting you thinking. We know that music is tied closely to our emotions and can be very therapeutic. You play guitar… do you ever have a rough day and pick up a guitar and get lost in it? Wouldn’t that be beneficial to these folks also if they knew how to play?

Of course, if you’ve never tried one, you need to! Adding a new dimension to your guitar playing is kind of an understatement. I have a blast watching folks experience it for the first time. Take a minute and look up Worship Team Training on YouTube. On October 3, I filmed a lesson with Branon Dempsy from WTT and had such a great time. Branon can tell you, he really just expected me to show him some simple chord versions. But, when he actually In the past two issues of Worship heard the chord inversions it creates and Musician, I have written some very how they opened up the guitar, making basic introduction articles on the Short- it super-fun to play… Branon just started Cut capo. In the July/August 2014 laughing and stating how exciting it was issue, I discussed how useful it is across to play! So, let me pose this idea that I was all ability levels (beginner to expert). In brainstorming about with someone this the September/October 2014 issue, I tell you that story because there are past summer. How about starting some I showed how to start applying the people in your area that you have Guitar Ministry groups with a goal, not Nashville Number System to the chord access to that need to experience that of teaching the teenager asking to play shapes. The main focus here is that kind of joy in their lives. And, when guitar, but to the injured soldier returning the Short-Cut capo makes chords quite they do, their heart just may be open to home from conflict in the Middle simple to finger and brings near-instant hearing about the saving grace of Jesus. success to the one playing. Mitch Bohannon developed the Short Cut Capo for Kyser and is a worship pastor in Louisiana. He and his beautiful wife, Noelle, have been married for 22 years and have three awesome kids! www.kysermusical.com

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GuiTAR GRAB BAG By Jeffrey B. Scott

Guitar Solos - Where’s Your Heart? This month, I’d like to tackle a heart issue. melting, ear-bending, mind-blowing If you play guitar, there’s a specific thing solo either. They need Jesus. They need that happens when you hear a skilled to be pushed towards Him with every guitarist play a solo. There’s a visceral ounce of strength and focused intensity reaction, usually accompanied by grunts we can muster. We are all worship or outbursts of “Whoa!” or “Nice!” and leaders, after all, whether we are the sometimes a facial expression that might front man (or woman) or the backline. When it comes to leading worship, look like you just ate a lemon whole! our role is a part of the whole, not an There’s just something about it that causes individual effort. We all need to push a reaction. towards the goal of engaging worship, Why do we do that? Why do we respond fostering an environment that allows our that way? What is it about a great solo congregation easy access to God. And that lifts our spirits, inspires us, causes us to stay out of the way while that happens! want to have blistered fingers from hours Remember Where You Lead upon hours of practice? From I believe it is our nature to worship. Built My pastor, Louie Giglio, says, “I want in, hard-wired into our DNA, we were you to lead FROM love and acceptance, literally made to worship. The object of not FOR love and acceptance.” If we our worship is ours to choose, but whether remember who we are - that our worth or not we worship isn’t up to us; we have comes from God, not from what we do to. We cannot stop ourselves, we simply - this one will be easy. But if we don’t, if must worship. we lead from a place of looking for love So when it comes to what we DO, how and acceptance and pats on the back do we make sure that the object of our from our team and our congregation, it won’t be easy at all. It changes the worship is the right thing? dynamic to be able to fully lead without It Starts With The Heart worrying about what you’re getting We have to begin with a right attitude. back from the audience. The focus shifts; The Psalmist writes, “…A broken spirit you’re giving, not trying to get. and a contrite heart, O God, You will not So how does all this play into guitar despise.” Ps 51:17b (ESV) Actually, that solos in worship? Well, if we have all whole psalm is a great one to begin with. the heart stuff right, then we can focus If you have any concern whatsoever that on giving a good offering. your heart isn’t in the right place, pray that psalm as a prayer. Let it become your soul- Give Your Best (Not Mine) cry, your prayer to open every worship set We all have different gifts and abilities. or rehearsal. Open your heart to God and Mine won’t be the same as yours, and let Him fascinate you with who He is. Then vice versa. We all have different levels point your heart in that direction, and let of skill, too. What comes easy to me your worship focus on Him. because of my background, experience and natural, God-given skill will give Remember Who You Are you fits, and what you do with ease, I We all struggle with this. We label might never be able to master. So when ourselves because it’s easy. “Who are that comes down to how we perform in you?” might be the question, but most of a worship context, it’s easy to get hung the time, our answer is what we do, not up on the excellence of the execution who we really are. You need to remember (especially with solos) and lose the that before you were a guitarist, you are understanding that it needs to be your a Child of the King, dearly loved, sought best offering. And your best might not after, purchased, adopted, and completely be an exact duplicate of the original. accepted. Anything you DO is secondary (To the worship pastor who just freaked to who you are. And any offering that out: I’m not trying to offer a license comes without that understanding will most here for the guitarist to just “go off” likely be unacceptable. instead of learning an original part; that’s just laziness. Rather, the freedom Remember Who They Need to make a reasonable facsimile of the The people in your congregation don’t original if the skill level isn’t equal to need you. They don’t need another face- the challenge.) One of my favorite

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people on the planet, Lincoln Brewster, is an incredibly talented songwriter and guitarist. When I went on staff with his church, I learned a valuable lesson: he tries to play every solo verbatim from his own recordings. The reason was simpler than you might think, too - if you don’t have to come up with something new every time, your focus is only on the performance of the part, not on creating something “impressive”. The focus then stays on worshiping God with the abilities that He’s given. And the same is true for each of us. We can execute the solo to the best of our ability, and know that without a doubt, we are worshiping God while doing so. Notify Your Face My dad has been a worship pastor all my life. I remember so many times growing up, he would stand in front of the congregation and ask, “How many of you love Jesus today?” Naturally, the people would respond with raucous applause. Then he’d say, “Some of you need to notify your face!” It was a joke, of course, but it highlighted the fact that so often, our countenance doesn’t tell the whole story of our heart. We may love Jesus, but we look like we just ate sour grapes! It sends a confusing message. If you intend to give a good offering, it needs to be so ingrained in you that it’s easy to look up, not stare at your hands. Then whether the camera is on your guitar or your face, there’s worship happening. People get that, they respond to that. Our ultimate goal in a worship environment should be pointing people to God and helping them connect with Him in as uncluttered a way as possible. When we can focus our heart on Him, even in the execution of a guitar solo, we can keep our eyes and theirs on the right thing, the right object of worship, Jesus Christ. Jeffrey B. Scott lives in Atlanta, GA with his wife and 3 children, and is deadset on delivering his best for God’s glory. He’s a guitarist, vocalist and songwriter. He served with Lincoln Brewster at Bayside Church in California and is currently serving alongside the team at Passion City Church in Atlanta, GA. Twitter: @jeffreybscott

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The Band

By Tom Lane

Difficult People Dealing with difficult personalities and attitudes is not the most fun part of worship ministry. But at some point it’s part of the equation and we either figure out how to do it well, or allow it to possibly threaten the overall health of a team. There is dysfunction in every family. Some learn to accept it as normal, but dysfunction ultimately undermines us somehow, somewhere. When I began to lead worship, it was an outflow of my heart—a deep desire to express honor and thanks to God for who He is and what He’s done for me. As pure as my heart may have been, I was still very human and flawed. I was actually very moody and my moods could swing fast. My close friends and bandmates never knew which Tom they would be dealing with and had started to tiptoe around me. They lovingly confronted me about it and that eventually led me to realize that I had my own issues and dysfunctions, and I began working on them. When a mirror is held up to us (which is what happens in close relationships) we can dismiss and ignore it, or deal with it honestly— even if it’s uncomfortable. Every church has a leadership structure that sets the tone and context within which we operate. As team members and worship leaders we enter that context and often have no control of it. What we can control is our own actions, attitudes and choices. We can do our best, but even that may not change some of the difficulties and dysfunctions that exist in our church family. God is only interested in our individual response to Him in a difficult situation, not how our response compares with another’s. Recently a guy asked my advice on

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dealing with a team member’s horrible attitude. He described him as very talented and someone they needed on their team. But he had an attitude of entitlement and did what he wanted, despite how it affected the team. He went on to describe the leadership: the worship leader was related to the pastor, who had a total mercy heart and would not confront the bad behavior. The team became increasingly frustrated, the leader wouldn’t deal with the problem, and the guy didn’t know what to do. The situation may change, but whatever the problem, we can choose to respond rightly and in a healthy way, regardless of what others do. Some of the dysfunction we experience stems from unhealthy or unspoken expectations. I’m a proponent of building teams and programs around what best suits the lives of those you intend to involve, as opposed to something that’s unrealistic or a burden on others. It’s one thing to have a vision and plan for doing great things, but we don’t need to run people into the ground while accomplishing that vision. What some programs require of volunteers is amazing, but it can lead to a wake of burned-out people. That said, it’s not bad to ask volunteers to commit to something that requires a lot of them—just be clear about those expectations up front. If everyone understands what’s required and opts in, we have a reference point to come back to as problems arise. If you have an issue that keeps you up at night and makes it difficult for you to be in the right frame of mind and heart in worship, I do encourage facing it. Good communication saves a lot of messes. Over-communication is a good

habit to practice. My natural instinct is to just expect people to get it by osmosis. I’d rather not remind or suggest things to people. I also have a mercy heart and confrontation is hard for me. I have come across as angry at times, and the effect was opposite of what I intended. So I’ve worked on taking my time to be in the right posture before confronting people. Timing and tact are everything! Simply avoiding difficult situations won’t make them go away, and passive-aggressive behavior only prolongs the inevitable. If we don’t deal with problems or problem people, then the situation can become even worse. The simplest steps can sometimes lead to unraveling core issues with people. Grace and humility disarm and can defuse volatile situations. If we’ve prayed about it and feel we need to speak with someone, let’s do it gracefully with love—not out of anger or bitterness. The hardest truth I’ve ever had to learn and practice is this: no matter how mistreated, misunderstood, or misjudged I’ve been, the only godly and right response is forgiveness. If I’m motivated by anything other than humility I’m out of line, because I’m entitled to nothing. We owe others grace, mercy and truth in love.

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.

Camera

By Craig Kelly

Thank You So you have just been given a chance to work as a Cable Grip, a Production Assistant (PA), a Runner, a Driver – whatever entry level position you have managed to weasel yourself into. Maybe you have been persistent in contacting the person in charge of hiring. Maybe one of your parents is management in the company. Maybe you were the Production Student of the Year at your Broadcasting school. Maybe your next door neighbor’s cousin knows a guy who used to know a guy – whatever the reason you got your foot in the door doesn’t matter. What matters most is what you do after you get in. Every veteran in the industry had to get a start somewhere, somehow. You only get one chance at a first time – make it a good one. It’s these 1st time opportunities that will shape your future in the business.

Your goal? Make yourself indispensable someone who rubs you the wrong way – make yourself the best PA/Grip/ – they might be the Executive Producer’s Runner/Driver the business has ever cousin’s neighbor who knew a guy. seen. How do you know if your first day was We’ve talked about this before, but it’s a success? If you are lucky you will get always good to know - What are some asked back for the second day. If you tips for the first day? Not in any order… get thanked and told they have decided Be smart. Be early. Be clean. Don’t be they have enough help on the next day late. Be willing to do anything. Be early. - you probably didn’t make yourself Be polite. Be forward thinking – find out indispensable enough. If that happens – how you can be the most help. Jump in try for another first-day somewhere else. to help where you can. Don’t be late. If you are a volunteer at your church or Be kind. Be attentive. Be early. Take community center, these insights are just notes if you have to when you are out as important but probably not as career of sight. Figure out who the boss really changing. But it’s never a bad idea to is. Be early. Pay attention to the overall play nice, right? production going on – you might not get Have a question, observation or idea a chance to ask the DP what filter they are using but you might get an idea of you want to share? Please feel free to the professionalism on the set. Be quiet email me at zoomit.cam@craigjkelly. – you might be in a sound sensitive com. Also, anyone is welcome to join location. Watch your step – there might the discussions at the free TV Camera be cables everywhere. Learn quickly Operators group on the free website what your expectations are. Remember Linkedin or read my other articles at your place – you may have been the best www.craigjkelly.com. and brightest in your AV department at Summer Camp but chances are on the set of a real broadcast studio project (or whatever you have gotten yourself into) it might not be a good idea to offer advice Craig Kelly is a veteran Freeon how to best light the next scene. lance, TV camera operator/DP Collaboration was fun at school, believe for over 25 years. He writes me, no one wants to hear from you right these articles to be included now – even if you are the Director’s kid. in his blog found at www. craigjkelly.com. Often the Sarcasm may have made you the life of subject matter comes from the 3,000 + global the class back at tech school but it may membership in the LinkedIn group he started for not be a good idea commenting on the new camera operators and volunteer operators called TV Camera Operators. Kelly is also the shape of the Talent’s head here. You might not think anyone is paying attention but you are being watched intently and here are some of what you are being tested on; how timely you are. How you get along with others, how much you pay attention, how engaged in the tasks you are. How helpful are you? How polite are you? How politically aware are you? It might be a good idea not to talk smack about

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International/North America Representative to the Guild of Television Cameraman as well as advisory board member for 2 colleges and 2 high schools in the greater Seattle area. In addition, he writes for Worship Musician Magazine and conducts workshops for new and volunteer camera operators. Kelly welcomes comments here or via email at zoomit.cam@craigjkelly.com

Ministry + Artistry = Profitability? Creating your MAP™ By Scott A. Shuford

Do You Know Your “Customer Persona”? If you were asked to describe your key audience, what would you say? Do you know the heart of your demographic? Do you understand the details of the people you want to reach? Using a technique called “customer personas” can really boost your ability to discern who you can and want to reach, and how to do it with ease. Here’s the lowdown on what a customer, or in this case a fan or ministry persona is and how to craft one. What is a customer persona and why should I use the idea? Creating a customer persona centers around the idea that the persona is an “ideal customer”, and also a representation of the kinds of fans you already have. The best customer personas are founded in tangible data, which you can collect from your fans themselves via the personal contact you already have, and by setting up a simple poll you can promote through your social outlets or email newsletters. In essence, you are combining all your demographic data into one fictional “customer”. The reason this is effective is because you and you team can become united around this target person to achieve your goals. Having a customer persona or personas for key target audiences brings focus while eliminating confusion, and will most often inspire better creative content because you have a specific target in mind. It can help launch and guide your entire outreach strategy for your music, web site, emails, social media, print materials and more. How do I build a customer persona that works? Find the people on your team who are in contact with your customers, and begin looking at common demographics. Those people may include you, your manager, your band members, your pastor, and other key influencers or supporters. Contact me for a great template with the 6 categories that you should identify: name and title, basics, professional background, quote, technical background, and favorite website.

Let’s say you are have a Christian album and want to build your following and sell your music. You go to your team members, who give you demographics about the people who are already fans and are buying your music and related products. Maybe for your band, you find out that your audience is primarily (for demonstration purposes only): • • • • • •

40+ year old females Family oriented, generally conservative, Christians Parents of children Married Moderately familiar with social media, and favors Facebook Part time working or stay at home mothers

So, you come up with Susan, a stayat-home mom who loves to replace outside entertainment with Christian entertainment for her family at home and in the car while she drives her kids around to sports in their minivan. She used to be in business, and left when her children were born. She loves Facebook, and likes to write on her mommy blog. She struggles to find time to feel relevant to pop culture, so she likes to stay current via NewReleaseTuesday.com to help her find what’s new and safe for her family to enjoy. To grab a customer like Susan, you will need to find ways to help her save time or to save money

(i.e.: sales, coupon codes, etc), and that what is important to her is the godly, family-friendly aspect of your music and how it affects her and her children. By staying clued in to who is in your customer database and what their needs are, you will remain in tune with how to retain them as customers. You and you key influencers or team members will have ideas about who these customers are. The Google Analytics report for your website will tell you information about them as well. You can also survey them to get more detail about who these customers are and what they need/want. They will also feel valued, and will likely continue coming back to you because they feel you respect and identify with them as people, not just consumers. Scott has led classes for us at CMS and NAMM as well as teaching on marketing for the Gospel Music Association, Christian Leadership Alliance, and the Evangelical Christian Publishers Association. Scott is the Chief Engagement Officer at FrontGate which provides marketing strategy, online promotions, public relations, and social media marketing to reach the Christian audience. Their site at www.FrontGateMedia.com was recently awarded the “Best Marketing Website” and “Best Faith-based Website” in the 2014 Internet Advertising Competition. Get more marketing and social media tips at FrontGate’s blog.

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WORSHIPMUSICIANMAGAZINE.COM NOV/DEC 2014

FEATURED STORY

By James Eric Myers

When the Well Runs Dry There are seasons in my life when I just run out of fresh ideas, and it seems like the old saying goes that “the well has run dry.” During these times words like disdain and loathe don’t even begin to describe how I feel about being in a dry spell. I really love writing songs, especially songs about Jesus. Writing is how I express myself and it’s also one of the ways I connect with God. So when the creative juices aren’t flowing, it’s very frustrating for me, to say the least. Recently I was doing some research on new ways to be creative. In particular I was looking for ways to not let the well run dry. As I researched I found numerous books and articles on the creative process. I also found plenty of people willing to be paid a nominal fee to help me become more creative. Instead of reading another book or paying someone for a lesson in creativity I started looking at it from a non-creative perspective. I sat down and started looking for information on drilling. Later on I googled the question, “What makes a well run dry?” Surprisingly as I read through various articles and posts I found three similarities between what makes a water well run dry and when the writer’s well runs dry. False Alarms Sometimes a water well runs dry when there isn’t anything wrong with the source. The water is there but there’s no output. So if there’s plenty of water and nothing’s coming out then the only other possible culprit is a mechanical failure.

and struggles we are currently going through.

sabbatical. There may be a season when you need to step away for awhile and So if I’m at a point where my creative allow time for the well to be replenished. juices have stopped flowing and As humans we don’t have the option of nothing is coming from the source, I drilling a new well. So if you or I get into have to ask myself, “What’s causing that place of a dry well, then we need to this breakdown?” Sometimes it can be be willing to take a long pause and allow life situations that have me distracted, our minds to rest. For some of us, that’s a or maybe I’ve not been consistent in my scary thing because we get our identity routine to keep the juices flowing, or I’m from our creativity. That’s when I have to falling into the trap I so often do in life remind myself that I’m not really defined and ministry—heavy usage. by my creativity, but by my Maker. As believers our identity is in Christ, and He Heavy Usage will not leave us nor forsake us. He will When there’s too much demand put on give us everything we need. Even if we a water source the well begins to have get to a place where we are all used up, low pressure and will sometimes sputter He’s still there. We just have to tap back and not produce like it should. The same into the Living Water that never runs dry. goes for our creative minds. We can Well Maintenance take on too many projects, or maybe there are too many deadlines that have God has gifted us with one well to crept up on us. All of a sudden we are draw from, so we need make sure we producing but the output is nominal or take care and do proper maintenance weak. so we don’t run into false alarms, heavy In times like these I have to take a step usage or take the chance of being used back, breathe, and look at what’s going up. Here are a few suggestions of things on in my life. Oftentimes it’s a mixture that I’ve done over time to keep my of projects, ministry, and personal life creative well flowing. issues that have begun piling up. Then next thing I know my creative output is almost nil. When this occurs I have to do some reprioritizing and make some hard decisions about things that I need to let go. All of us get the same amount of time each day, and there has to be a balance kept with work, family, and ministry. So before I take on a new project I remind myself that when I say yes to something, I’m saying no to something else, because I only have so much time to do a few things well.

Like a water well, when a false alarm Used Up hits, the problem often becomes what’s getting in the way of the flow. In a There are times a well does genuinely well there might be a clog, a leak, or run dry and it’s all used up. If the well something wrong with the pump. gets used faster than the rainfall can For creative people it’s the same. We replenish it then the water in the well all have a strong healthy source to will be depleted and the well is dry and draw from—our lives. If we are living useless. Your only other option at that and breathing then there are countless point is to drill a new well. experiences that we have to draw from If we get to the point where there’s every day. Each new day will yield nothing in our creative well anymore, something new to draw from whether it’s then it’s time to take a long rest or a the simple blessings in life or the trials

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Journaling—Setting a specific time to write down what’s going on in my life. Writing down praises, prayers, family events and how God is moving in my life. Making sure to record spiritual markers and answered prayers.

Rest and Refreshment—Taking at least one day of rest each week, and intentionally planning longer breaks (about a week at a time) at least twice a year, if not more, where I detach and let my mind rest. Intellectual Food—Reading new books on the creative process and also reading classic literature. I’ve found so many hidden gems in reading classic literature, poetry and old hymns. Also I need to make sure I’m reading the Scriptures regularly. Learning to Say No—One of the hardest but most valuable lessons I’ve learned for my creative health and the health of my family is knowing when Continued on page 54

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Product Review

By Mitch Bohannon

Kevin Michael Carbon Fiber Guitar If you’ve seen me around CMS or any of my Short-Cut capo videos on YouTube, you probably are well aware that I’ve been a fan of carbon fiber guitars for many years. I got my first Composite Acoustic guitar back in 2004 and loved it. Over the years I had a few of their guitars and really grew to like Ellis Seal, the founder of the company. I remember when Composite Acoustic was sold, I was quite disappointed… kind of like when your favorite restaurant gets a new owner and you’re scared the hamburgers just won’t be the same! Then just over a year ago, I found out that Ellis had teamed up with Matt McPherson to make a new carbon fiber guitar under the McPherson umbrella! Oh my goodness! I’ve owned and played some fabulous guitars before, but one I have desired ever since seeing Paul Overstreet playing one back in 1998 or so… a genuine McPherson (I’m sure many of you have the same dream). It was right up my ally, so I just had to give one a try. When I first contacted Ellis, the guitars were not ready… still in the design phase. Then a few months later, I got word that they had one ready for me. I was totally stoked when it arrived. The first Kevin Michael guitar released is a travel size. I’ll start with some specs… It weighs in at 3.70 lbs. (no typo… three point seven pounds)! Scale

length 22.75”; Overall length 36.25”; Body depth 4”; Nut width 1.75”; Soft-V profile on the neck; Hipshot Tuners; Custom L.R. Baggs pickup w/ volume and tone control in the soundhole; and a Padded Gig Bag.

I received the guitar right at the start of my traveling season. The guitar was incredibly convenient on the plane. It was so lightweight and easy to carry around. As I mentioned earlier, I’ve had a number of really nice guitars and never before did I ever think I would lean heavily on a travel size guitar. Despite its size, the 4” body depth and the 1.75 nut width make the guitar feel very natural and comfortable. I see many artists currently playing small (parlor) size guitars… the scale-length may be shorter, but to me, the overall feel is similar. I can honestly say, that even if I still had every one of my former guitars still in my possession (BTW, wouldn’t that be cool?), I could very easily make the Kevin Michael my go-to main guitar Mitch Bohannon | Worship at home and on the platform. I said it Division Sales Executive and I mean it! mitch@kysermusical.com Acoustically, this little guitar packs a big punch with a full body and a striking tone. One of the events I was at this Summer was Camp Electric at Trevecca University. I worked my Kyser booth in a foyer area and received a number of comments on how the guitar (unplugged) filled the space and compliments on the sound. Unsolicited compliments are great confirmation. After Camp Electric, I worked a booth at Kingdom Bound in Buffalo, NY. This is an outdoor event with the booth inside of a tent area. Again, the Kevin Michael had plenty of volume and turned lots of heads. This past summer, I started working fulltime for Kyser Musical Products (developing a Worship Division – email me for details) and so I’m not plugging in every

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weekend. I did, however, have the opportunity to lead worship at a friend’s church in Texas one Sunday and then played in the band last week at our new church, Trinity Baptist in Lake Charles, LA. Last week, at Trinity, I was able to listen in the room a bit. It’s a good size room – seats about 800 people. I’m well aware that I could mic up a ukulele (and make it sound loud) but the Kevin Michael however, was not just loud, but the tone was full and rich. I had one of those “that’s how I’ve always wanted to sound” moments. The guitar has a sound befitting of its ties to McPherson Guitars. It’s not just fun to play… it’s an honor to play such a fine instrument. These guitars are 100% made in the USA and are worth the cost. The Kevin Michael has an MSRP of $2400.

Product Review

By Michael Hodge

Agape Tribute 18 Watt 1X12 Combo Amp It was the white cabinet with the bold 1X12 amp comes stock with a Celestion Agape logo on a turquoise grill that G12H30. The 2X12model pairs that first caught my attention at the Summer with a Greenback. NAMM show in Nashville. FEATURES: It was an obvious hint that it was The Tribute is a simple yet elegant amp. a Christian manufacturer. Who else There is one input, one Volume knob, would name a guitar amp “Agape” that one Tone knob, a Variable Wattage translates to “unconditional love”. I was knob, switchable between 2-9 and 18 honestly curious to see if it was actually Watts, an Idle/Play knob (standby) and any good. I was about to be surprised! two small switches, Boost and Bump. The OUT OF THE BOX:

Power on indicator light is a vibey baby turquoise. On the back is an IEC type When the Tribute 1x12 Combo arrived, AC jack, a Power Switch, two speaker it was meticulously packed and shipped jacks and an 8/16-Ohm toggle switch. in an SKB road case with extra straps MEET YOUR MAKERS: and packing inside. The workmanship is top notch like you would expect for a high-end boutique amp. The amp is covered in white Tolex with black metal corners, and Turquoise Grill cloth on the front along with the angled Agape logo. The back is an open cabinet design. On the top are the controls, single input, two large oblong vents and a heavy-duty black semiflexible handle. Four solid rubber feet are attached to the bottom. INGREDIENTS:

Agape is a new company started by two friends Brad Pfister and Ron Kendzior who play on a worship team at a church in Florida. The idea of two worship musicians building boutique guitar amps specifically for worship musicians sounds interesting. They wanted a rugged amp that had a lot of clean headroom for guys who rely on pedals for most of their overdriven & distorted tones. One of the cool things Agape has going is their support of a blood-water organization with a percentage of all the company income to work against HIV/AIDS and the water crisis in Africa. http://www.bloodwater.org

The Tribute 1X12 combo weighs in at 49 pounds, not too heavy for a combo. For comparison, a Fender Deluxe reissue weighs about 42 lbs and is much smaller only 17 inches vs. 22 inches high. Some of the weight has to do PLUGGING IN: with the high quality 3/4” 13 ply birch I didn’t know what to expect and as well versus 5/8” 7 ply birch on the knowing a little of the amp’s back story, Deluxe. I hoped for the best. For one thing, I’ve The Chassis is heavy duty .090” never played through an amp using these Aluminum and the components are specific tubes. Plugging straight in with point-to-point hand wired. The Tribute a strat, I was impressed how fast and responsive the amp uses a Heyboer Transformer is. It starts out crystal with taps that allow for three different clean yet compresses wattage settings. The amp is powered a little in a good way by 2 EL84’s and the input tubes are when cranked up. The an ECC81 followed by an ECC83MG bottom end is pretty (mid gain) tube. These tubes have more tight and controlled. headroom than a typical 12AX7 and In the 18-watt setting, the ECC83MG is known for a nice the amp is plenty loud. mid range with harmonic complexity. I turned it up all the JJ electronics just released this model in way and this is where 2013. most amps start to get The amp also features a Diode rectifier, weird. The Tribute was Carling switches and Mallory Caps. The crunchy and didn’t fall

apart tonally. To my ears it starts with a chimey Vox like sound at low volume to almost a Marshall Blues breaker sound turned up all the way. When you put in the Boost switch it really starts sounding like a British EL84 amp. The Bump switch adds some “smile” to the EQ curve, and turns up the shimmer factor. Nice grind with both the boost and Bump switches in, again like an AC 30 but with more headroom. All that said I liked the switches both on plugging straight in. The Tribute is designed to be a Pedal board amp. Some Amps like pedals more than others for sure, but this amp also holds it’s own plugging straight in. There are a lot of tone variables considering it has the one tone knob and a couple switches. The 2-watt option is interesting if you are in a setting that requires it and though I miss the girth of power the tone doesn’t sound bad. In the 9 watt setting the amp is really sweet and the 18-watt setting of course is my personal favorite. PEDALBOARD TEST: Since the Agape is designed for pedal boards, some thought had to go into the input impedance, and preamp section. True to it’s design it’s very happy with pedals. Since many modern boards having 10-20 pedals, the signal is smoking hot going into the amp. If the input breaks up too quick, you can’t get a clean sound with high volume. Here is where the Tribute impressed me right away. I have been using a great amp already, but when I plugged my church pedal Continued on page 54

WORSHIP TEAM TRAINING

By Branon Dempsey

The Me, Us and Them Mindset The “Me,” “Us” and “Them” mindset is about Practice, Rehearsal and Sunday Worship. Does your team know the difference, or is it all blended?

of thought that focuses on your skill, approach and purpose. This is a mindset to help you gear the preparation of your instrument and/or voice. It also sets the If your team is like most churches, things pace of how well you’ll rehearse with the such as practice, rehearsal and worship team. This is a time to focus on what you all run together. It’s like each event is can do. You are practicing your sound, downplayed or given little thought, your tone, your control, your timing and until we face the day of service. Then other mechanics. Seek out 10 minutes we worry about how we didn’t practice per day and watch it grow. Implement a and rehearse well. We even begin to routine of practice and watch both your question the sincerity of our worship. skill and confidence grow. After the service, we subject ourselves to The “Us” Mindset. thoughts of defeat and feelings of doubt. Rehearsal: a practice or trial But it doesn’t have to end this way. Let performance of a play or other work for alone a discouragement for next week’s later public performance • the action or service. process of rehearsing. If we desire to be better leaders and Rehearsal is the “Us” mindset. Now we better bands, each of us need to learn are talking about you and your team. how to start well in order to finish well. How well did you manage your time in Practice, Rehearsal and the Worship your practice? How are you applying Service: “The Me, Us and Them” Mind- it to your rehearsal? Simply, you set. Each of these events are separate, rehearse “together” what you practiced they must be. In order to know the independently. The focus is no longer difference, we must understand this you, but now your sound added to the important concept: Practice time is not band. It’s called interdependency.

rehearsal time, Rehearsal time is not The “Us” mindset helps me identify practice time and the Worship Service what the room is hearing. You rehearse is neither. the sound, dynamic and texture of the The “Me” Mindset. Practice: band. It’s a playing-to-the-room effect, in 1. [noun] the actual application or which you hear the team as a whole. use of an idea, belief, or method. This perception gives us an inside clue 2. [verb] or perform (an activity) or on what to expect at the worship service. exercise (a skill) repeatedly or regularly Additionally, it also provides a sense of in order to improve or maintain one’s what the congregation will expect. The “Them” Mindset. The Worship Service: the environment Here’s an excuse: “I’m not a and condition of serving God through professional.” You’re right, so why worship. It’s also a kindness and way of bother? However, let me say this: just help for people to engage with God. because God hasn’t called you to be The mindset of “Them,” consists of a professional, doesn’t mean He hasn’t the worship team, putting themselves called you to be proficient in something. in the shoes of the church. We are Practice is the “me” mindset. Not also responding to God as a collective a selfish perspective, but a personal whole. What does the service sound reflection of your abilities. It’s a train like, look like and feel like? If you can picture inviting friends to your house, proficiency. Notice the word “improve,” it’s what good practice accomplishes.

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you most likely would be mindful of the food, cleanliness and appeal. It’s about delivering a humble quality of service for a good experience. Plus, people will come back. For worshipers and for God, we are to be conscious about the way we sound, lead and engage. When we prioritize the praises of our God, we become more aware of our presentation and authenticity to God as we are also before people. When the experience is right, we as the band join the people in ministering to the Lord as one. At this point, we transition from a “Them” mindset to a God mindset. When we learn to look at our preparation in these three perspectives, our purpose for leading worship changes. It becomes less about us, and more about God and the people we serve. In worship, our role as leaders is simple: worship and help the church worship. Worship Team Training - Branon Dempsey Branon Dempsey is the CEO/ Founder and Training Director of Worship Team Training® a ministry providing live workshops and online resources for local worship ministries. Branon holds an M.Div in Worship and BM in Music Composition/Performance and is an instructor with Christian Musician Summit, a writer for Worship Musician Magazine, Shure Notes as well as other worship publications. Branon and is a Training Partner with Yamaha Corporation of America | Worship Resources and part of the Expert Panel for Shure Microphones. Worship Team Training® is sponsored by Creator Leadership Network, Christian Musician / Worship Musician Magazine / Christian Musician Summit, as well as by Line 6, D’Addario, Proclaim Church Presentation Software, iSing Worship and endorsed by Promark Drumsticks and Jim Hewett Guitars. Visit: www.WorshipTeamTraining.com Copyright 2014 Branon Dempsey | Worship Team Training® | Administered by For His Music. All Rights Reserved. Printed in the United States of America. www.worshipteamtraining.com

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A Few Moments With…

Brad Blythe

The Power of Touch When I felt God calling me into ministry at a young age, my very first prayer was, “God, I don’t even have a dad who will guide me in faith issues and mentor me to do what you want me to – I am just a young kid with no one to help me be a pastor.” By God’s pure will, I put my finger on Jeremiah 3:15, “Then I will give you shepherds after my own heart, who will lead you with knowledge and understanding.” At 1am in the stillness of my basement bedroom, God told me that he would provide for me people who would touch my heart from His own. I hope these stories are a simple inspiration to all of you who, every day, have Kingdom influence more than you will ever know. Dana Key – My parents had gone through a very, very messy divorce and I was the pass-through for information. It was truly excruciating. After one particularly horrible week dealing with that junk as a kid, I had tickets to see Degarmo & Key on Friday night. I arrived early, so I went up into the upper seats in the 8,000-seat arena. I just

wanted to be alone and watch the set vast skills – a profound lesson for me. up and the sound check. Bryan Duncan – When I was 16 I saw All of a sudden, this guy comes and Bryan and after the show he and Chris sits beside me and says, “hey man, how Rodriguez sat and chatted with me for are ya doin’”? It was Dana Key. He 15-20 minutes and encouraged me to talked to me for at least 20 minutes and practice my guitar and do everything for he truly was an angel set from God. Jesus. He told me that the guitar and the He encouraged me about my parents; desire for music were given to me for he told me about all his guitar stuff, a reason – to glorify God and have a we talked about my guitar idol Eric sweet time doing it! He was so kind and Clapton, whom he loved too, and our patient with me and I was encouraged dream guitar rig. But most importantly, for months because I felt like his friend. he ministered to me like a pastor. He Lincoln Brewster – I remember I was made me feel that I had a future in driving in Tacoma, WA and it was God’s will away from the present pain the 90’s. I was listening to a new of my family. He had no idea how he Integrity Hosanna worship CD and cared for me in that arena. all of a sudden there was this ripping Gordon Kennedy – At the end of guitar solo that most obviously was a another great Whiteheart concert, I beautiful Stratocaster tone. All through had to go to the bathroom badly. I was this recording were sweet melodic lines looking for one and the security guy of pure joy and well placed tasteful lifted the rope and said, “here kid, just shredding that made me want to both go down there on the left.” I went down sell all my gear/give up – or find out the hall and happened to go around who this was and try to learn how to the corner in the hall and literally bump play that way. into Gordon Kennedy. Of course I was A few years later I was at a Lincoln star struck, but told Brewster concert and went backstage him I loved his to get something and there was Lincoln. guitar playing and I introduced myself and we talked for their songs were a while. He was/is one of the nicest always some of my people I have ever met. Very generous favorites. I asked with his time, encouraging, seeks after him how to play God, and funny as can be. In having one of them and another one of these moments where he proceeded to God allowed me to be with a Christian sit down with me musician, we sat there for quite a while for 15 minutes and chatting. As I watched him, Lincoln show me a bunch taught me about humility both by his of their songs and words and how he interacted with how he plays them. everyone from sound guys, to fans, to I never did go to other musicians. Treating others with the bathroom, I just dignity and respect and as Romans ran outside smiling 12:3 says, “think of yourself soberly.” like Amy Grant Arguably one of the best guitarists in had just asked music could have been mistaken for an me to the prom. usher because of his humble demeanor Gordon took the and servant mentality. Lesson learned. time to chat with a kid and share his Continued on page 54

Brad and his family. Brad Blyth is Lead Pastor at Westside Community Church in Orlando, Florida. He lives there with his wife Melissa, son Jack and daughter Natalie. They also have a huge 120 lb. Chocolate Lab named Charlie and a cat named Wilson (after Seattle Seahawk quarterback Russell Wilson). Brad can be reached at brad@westsidecc.org

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When the Well Runs Dry Continued from page 46

Agape Tribute 18 Watt 1X12 Review Continued from page 49

The Power of Touch Continued from page 52

to say “no.” For most of us there will always be more opportunities than we actually have time for. Learn to say no to things that you truly do not have time to do. If you must say yes, then before you do commit to something new, decide what you will let go of in order to make time for the new thing.

board into this amp, it made a huge difference in clarity for the clean stuff. The top end and midrange were very present and balanced. The chime was there for Pads and delay stuff yet when I kicked on distortion pedals, there was still plenty of headroom to cut through. This is an issue for pedal boards & amps. If you don’t pay special attention to your gain staging, the amp won’t get any louder when you hit a distortion or boost pedal for a solo. The Tribute’s design is very forgiving.

Paul Baloche – In leading worship, from the early 90’s until today, I have used at least 2-5 songs from every Paul Baloche CD. Having the treat a few times to sit and listen to Paul in private settings, he inspires me in numerous ways. One, to be the best, most open-minded musician I can be. Two, be honest about who you are and who God has created you to be. Three, devotion and loyalty to friends and family are second only to Jesus. If there is a sweeter guy in Christian music I am not aware. Paul is a person who shares what he knows honestly and lavishly.

Intentional Planning—Be intentional about keeping a calendar of events, projects, and goals. If you try to do it all in your head you will forget something and you’ll miss a deadline or be cramming to get things done. Take the time to get organized and keep yourself on track. Meditation and Prayer—Take time to meditate and pray. Spend more time listening than asking. Let God speak to your heart. Remember He’s the endless faithful source of life. If we allow Him to fill us, the well will never run dry. Our God is a creative God that is full of splendor and majesty. Psalm 19 tells us, 1 The heavens proclaim the glory of God. The skies display His craftsmanship. 2 Day after day they continue to speak; night after night they make Him known. God has chosen His creation to be His voice. So let’s make sure we take time to do what’s necessary to keep the well from running dry. We have a calling and God will give us what we need no matter where we are in life. As the apostle Paul writes in Ephesians 2:10, “For we are God’s masterpiece. He has created us anew in Christ Jesus, so we can do the good things He planned for us long ago.” Stay creative, my friends … there’s so much more of His story to tell. James Eric Myers is a pastor and independent songwriter in Northern California. His songs have been published by Lifeway Worship, Daywind, Discover Worship and Worship Leader Magazine’s Song Discovery. Currently he is the Lead Pastor of Pollock Pines Community Church in California Sierra Nevada mountains between Sacramento and South Lake Tahoe where he lives with his wife and two teenage sons.

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FINAL THOUGHTS: The Tribute is one of the best pedal board amps I’ve heard. It’s easy to get a great tone with the one knob theory. I really like the Boost switch on since I’m used to the AC 30 growl. The Bump switch is great too but if your pedals have a lot of high end you might not need it. Something about the simplicity makes you want to turn the knobs all the way up and see what happens. It takes no time at all to get to “know” this amp. If you are a pedal board guy, and are into delays, swells and ethereal sounds, this amplifier will be your friend. I also loved how the amp made my distortion pedals sound fantastic. It’s very common for guys to buy pedals and then be disappointed by how they sound. The amp’s input impedance and gain structure can often be the real problem. You notice it right away with the harsh high end. The Agape Tribute combo comes in both 1 and 2 X12 models. As Boutique amps go you have to pay a little more, and this amp is a good value IMO. If you are a pedal board guy, this may be the perfect amp for you. It’s also cool that these guys are fellow church musicians and understand what you need in an amp They are priced at $1,895.00 and 2,195.00 respectively. The Head sells for $1,495.00, and Cabs are $645.00 for a 1X12 and $845.00 for the 2X12. For more information go to: http://agapeamps.com. Michael Hodge is the music director and guitarist for Lakewood Church in Houston, TX

The point of these examples is so you realize the Godly power of influence you wield as a musician. You do not have to be famous! People look up to you on that stage and you can change the heart of a person in a split second. So giving a kid a pick or a drumstick may be the thing that keeps them going for months if they are being bullied at school. Telling a young girl that she matters to Jesus and there is a beautiful place for her in God’s world may keep her from making bad choices because you are someone she looks up to. Maybe the Holy Spirit has brought someone to church or to a show so that, like the woman simply grabbing Jesus’ cloak and being healed, you could allow someone to touch you and be encouraged. The very mission of this magazine and the CMS movement is to improve and inspire. I want to ask that you consider an action oriented defining moment in your musicianship and commit to reach out to one person at each church service or each show. Somehow touch someone’s heart and mentor him or her through even just a twominute chat or encouragement. As the apostle Paul talked about the process of one person working the soil and another watering, you have the opportunity to be a part of that. Having been in full time ministry for over 20 years now, every single person I have lead to Jesus, every message I have taught, every counseling session is counted as righteousness to God. Theologically, the people I have mentioned above who have cultivated my heart have a piece of every soul I have touched because they touched my heart and mentored me - even if only for a short moment.

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